Publishers Desk.

OCTOBER, 1897.

Good-Housekeeping

CONDUCTED IN THE INTERESTS OF THE HIGHER LIFE OF THE HOUSEHOLD.

Publication and Subscription Office and Editorial Rooms 39, 41 and 43 Lyman Street, Springfield, Mass, where all business pertaining to these departments is transacted.

Advertising Department is in charge of Mr. H. P. HUBBARD, 38 Times Building, New York City, where correspondence and orders for this department should be addressed.

Entered at Springfield, Mass., as second-class mail matter.

GOOD HOUSEKEEPING Is a Monthly Family Journal filled with carefully prepared papers from the pens of eminent and practical writers of Domestic Literature, with a choicely selected Eclectic Department, made up of gems from the Domestic Treasures found in the rapidly increasing mines of literary wealth.

Subscription Price, $2.00 a year; 20 cents a month, at news agencies and on news stands.

Remittances should be sent by check, draft, express order, or P. O. money-order, payable to CLARK W. BRYAN COMPANY. Cash and postal notes to be sent by registered letter. We cannot be responsible for loss if sent in any other way. Change of Address. When a change of address is ordered both the old and new address must be given.

Receipts. We do not send receipts for subscriptions unless the request is accompanied with stamp. The change of date upon the address label will indicate within three weeks that the remittance was received.

Discontinuances. Subscribers wishing GOOD HOUSEKEEPING stopped at the expiration of their subscription must notify us to that effect; otherwise we shall consider it their wish to have it continued. All arrearages must be paid.

Good Housekeeping is the only magazine published exclusively "In the Interests of the Higher Life of the Household in the Homes of the World," and is widely quoted by both press and public as "The best household magazine published."

GOOD HOUSEKEEPING is altogether an ideal magazine for the housekeeper, and merits its wide popularity.-San Francisco Hotel Gazette.

AMONG THE EXCELLENT PERIODICALS OF THE Land.

GOOD HOUSEKEEPING opens up bright upon the new year. It deals in all living questions that interests the occupants of the American Home by practical and entertaining methods. It is among the excellent periodicals of the land.-Chicago Inter-Ocean.

THE MAGAZINE WANTED FOR SELF, wife and CHILDREN. There is no such a combination of excellent matter, to my knowl edge, published in any other magazine. It is the magazine that I want on my library table-for myself, for my wife, for my children.Editor Adams County Independent, Littlestown, Pa.

AN ENVIABLE PLACE AMONG THE BEST MONTHLIES.

GOOD HOUSEKEEPING is one of those periodicals that steadily holds its own, and it has a firm hold on an enviable place among the best of the monthlies. In the current number there are very valuable contributions from the most popular of writers.-Buffalo Commercial. ALWAYS LIVES UP TO ITS PROMISES.

GOOD HOUSEKEEPING for 1897 promises an unusually good bill of fare, and that publication always lives up to its promises. Ladies who once enjoy its monthly visits want to have them continued. It has no superior in its class, and it is high class. The family reading is hardly complete without this valuable publication.—The Westborough Chronotype.

OF POSITIVE MERIT.

GOOD HOUSEKEEPING does not limit its activities, as some publications thinking themselves of its class, and certain departments in those of larger growth, by a literal and narrow adherence to the daily routine of recipes for sick and well, for cooking and marketing, cutting and making, and mending, and all the thousand and one little cares of domestic life. It treats the home as an institution worthy the most serious consideration, the broadest development, and the most careful thought by the individual and by the social organization. GOOD HOUSEKEEPING enters upon the new year with a number of distinct and well-defined individuality, not only of positive merit, but suggesting power and prosperity for itself, and benefits to the public at large for a long time to come.-Brooklyn Standard Union.

No color in the landscape,

No sign of life or cheer;
The fields lie white

In the fading light,

The world looks blank and drear.

Within, the sound of song birds,
The flutter of many wings;

The hum of bees,

The sighing of trees,

The sounds that the summer brings.

The wind is a gentle zephyr;
No howling blast is there;

. The soft southern breeze
In the rustling trees

Brings the scent of flowers in the air.

The mother birds with their fledgelings,
Their quaint and curious ways;
The nests they build

With pearly eggs filled,

The warmth of summer days.

Would you know the cause of this wonder? How the butterflies, flowers of May,

The insects and bees,

The greenwood trees,

All come at our bidding to-day?

It's the great magician, John Burroughs, Who shows us these wonderful things

His sharp eyes have seen

With their sight so keen,

And the secrets of nature brings.

So when winter storms are raging,

And snow is drifting high,

And branches bare

Creak in bitter air,

And winds are howling by

Take the magic wand he gives you,
That lies between covers gray.
Away with the snow
"And the winds that blow,

And presto! A summer's day!

-E. R. Gardenier.

Original in GOOD HOUSEKEEPING.

SOCIAL GRACES.

For Every-day Service in the Home.

A SERIES OF TWELVE PAPERS, FRESHLY CONSIDERED AND CAREFULLY PREPARED BY

MRS. HESTER M. POOLE.

TITLES AND TREATMENT:

(1.) Home Culture and Refinement.

(2.) Mutual Courtesy of Husband and Wife, of Parents and Children, to Elders and Superiors.

(3) Dining room and Kitchen Civilities, Consideration and Claims; Courtesy to and from Domestics.

(4.) Neighborhood Courtesy; Informal Receptions; Home Gatherings.

(5.) Dinners, Teas, and Balls; dress for public occasions, of both Sexes.

(6.) Courtesies of Host, Hostess and Guests.

(7.) Good Form as to Engagements, Weddings, and Wedding Presents.

(8.) Letters of Congratulation; Letters of Condolence and Funeral Remembrances, Floral, and otherwise, Specialties in Stationery and Postal Proprieties.

(9) Courtesies, Comforts and Discomforts of Shopping; of Correspondence, proper and improper.

(10.) Courtesies of Traveling; Hotel Customs and Accommodations; Good Form in unexpected situations.

(II) Duties and Privileges of a Chaperon; Etiquette of Cards and Introductions.

(12) Courtesies between Stenographers and Typewriters and their Employers, from the two standpoints of Business Demands, and Custom and Privilege; Cycling Etiquette for both sexes; Proper Deportment on or off the Wheel; Etiquette in Woman's Clubs.

CHAPTER VIII.

T is quite commonly believed that the form and curve of the letters of a handwriting, as well as the general character of the sentences, indicate the kind of person from whom they emanate. Who can doubt that every manifestation betrays the real man or woman behind the scene, the invisible actor? The coarse and the refined, the educated and the illiterate, the modest and the egotistic, all, in spite of themselves, in every word traced by the pen, tell what they are and to what they aspire.

The etiquette of formal notes varies little. True, the monogram so much overdone, is no longer in

vogue, but its place is filled by the number of the writer, or the name of her home, printed in the middle top of the first page of either note or letter paper. Thus, Thistlecote, or 120 Rose street, appears in moderate sized Roman letters or German text, preferably the former.

In a formal note the date follows the name, not precedes it, and is written at the left and below the signature. When congratulation is expressed, there should be no superfluous words. It may read :

The note paper should be dead or creamy white, never tinted. It should show no glaze, and be rather thick than thin. Ruled paper of any kind has no place outside of office or warehouse, nor should the paper be perfumed. There should be a considerable space between the top of the sheet and the writing. Where the note runs over the page, it is usual to continue on the third, where the eye will most usually rest when the leaf is turned. Between the words, spaces should be ample, and at the left a half-inch margin should appear. Where there is formality, there should be ease, grace and elegance without too much stiffness. The old-fashioned copper-plate handwriting is as passè as the long spinster curls behind the ears of aforetime.

In letter and note writing as in all else, greater scope for individuality is allowable than formerly appeared. True, there are ephemeral fashions in handwriting as in stationery. Only giddy gushers and dudes are their slaves. To-day they may throw aside their old stock and betake themselves to long, thin envelopes, crossed by rainbow-hued lines, and small, mincing penmanship. To-morrow it may be a huge square envelop and a corresponding lengthy sheet, covered with characters large enough to be perused by the semi-blind. All these temporary fantasies suit stationers. They are held in contempt by those whose habits are worthy of emulation. The so-styled "swagger" set change their stationery about every three months.

Informal letters of congratulation should express one's feelings without regard to ceremony, but should never gush. Replies to everything ought to be brief, pointed, expressive. They should be sent as soon as possible after receiving congratulations. Unless there is great intimacy between parties, notes and replies of this kind ought to be confined to the subject matter, and not be mixed with general news or affairs.

To send notes of congratulation or of condolence by hand, where practicable, is more respectful than to transmit the same by mail. Still, this is not necessary even when the parties live in the same town. With them, in the former case, may well go bouquets. In the case of bereavement, the blossoms should be

white. The messenger should be instructed not to wait for a reply.

For a formal note, sealing wax is always an appropriate finish. It can be stamped with the family crest, which may, in fact, also appear upon the center of the note paper head, directly over the initials or name of the family seat of the sender. The crest, if used, may be in dark blue, red or brown, never, save in mourning, in black. As such insignia should never be obtrusive, crest and motto should not be more than half an inch in height.

Where there is no crest, there is no objection to the use of a mottó. In either case a copper plate engraved at a stationers may be used for a life time.

Neither congratulations nor condolence can be expressed upon a card. To send one in such a case is little short of an affront. Unless a note can be written, one would better be silent.

Notes of sympathy should never dwell by name upon the form of the bereavement. To tear open afresh a wound is needless. It is well to allude to whatever comforting circumstances and conditions are known to the sender. Where we cannot try to give light and comfort, let us abstain from giving anything. It is well to remember that, at such times, afflicted friends have neither time nor inclination to peruse long-winded sermons or explanations of the feelings of persons outside of the family. Golden are sincerity and brevity.

In all cases the handwriting should be plain and legible, free from flourishes and eccentricities and the letters not too small. Horace Greeley might traverse all these rules, but we are none of us Horace Greeley. It is better to have the writing too large than too fine. Take poor ink and a "finniky" handwriting and there is a combination to rouse the ire of a Job. About it there is nothing lady-like, but the contrary.

In signature a woman is always Helen Gifford, not Mrs. John Gifford. The exception is in writing upon business to a stranger, or in giving orders for the sending of a package. Even in that case she might sign thus:

Very truly yours,

(MRS. JOHN GIFFORD) HELEN Gifford. Should the writer be a professional woman, it would be proper to sign as Dr. Helen Gifford

It is customary for a woman, upon marriage, to retain for the middle cognomen, her family name. Thus, Mrs. Gifford, who was a Slater in girlhood, is now Helen Slater Gifford, or Helen S. Gifford, even if she should drop her own second name in so doing.

In signing a legal paper Mrs. Gifford must never write Mrs. John, but her own name. The law knows nothing about Mrs. John, but it does know Mrs. Helen. In this connection it may be well to state that in endorsing a check or draft in order to draw the amount of money mentioned therein, the endorser must sign her name in precisely the same manner in which the sender of the check has written it. If he has made it Helen S. Gifford or Mrs. H. S. Gifford,

it is her business to write across the back of the check, at the left hand as she turns it over, and not too near the top, her name exactly as it is within. To know these rules is not only good form and good business, but good sense.

It is well for every person to fix upon a certain make of paper and envelopes and hold to that. They become a part of one's individuality. A wellfitted desk, good pens and black ink are a great comfort. There should be one style of stationery for business purposes, another for common correspondence and yet another for ceremonious occasions. A package of postal cards is convenient, to order supplies from butcher and baker. In other cases cards are vulgar. To detail family matters on a postal is ignominious. To send out a marred or slovenly sealed envelope is also disreputable.

The exterior of any missive should be as presentable as the costume of the writer. The address plainly across the middle of the envelope, with the town, state and number of street below, should be written with care. Suppose the letter is sent with the envelope crossed with hair-line script, when it has to pass through a half-dozen hands between the sending and the receiving? Would it not be followed by the anathemas of the clerks who bend over the mail in ill-lighted offices, half ruining their eyes in trying to decipher the superscription? To torture our fellows is a thoughtless piece of fine ladyism.

On the upper right corner of the envelope is the place for the postage stamp, never out of line with its rectangular sides. That is one place where the lack of precision is lack of fitness. It betrays haste and carelessness. In writing upon business requiring an answer, or in asking anything of a stranger, a postage stamp should always be enclosed. It must not be attached by a corner to the note. If placed within the folded sheet it will be safe.

The quality of paper gives the tone to the superficial character of a letter. Linen paper is best. It is advisable to have several thicknesses, so that if one desires to pour out her soul in "words, words, words!" she may neither ruin herself in extra postage nor cross and recross voluminous sheets. A thin paper will contain many an oh and ah without inflicting extra weight upon Uncle Sam. Where there is the faintest suspicion that he is thus oppressed, be sure and have the missive weighed. Should there be an extra fraction of an ounce, be certain that the price of the carriage comes out of your pocket, not that of your friend.

Letters going abroad require extra care in sealing, directing and weighing. Nothing of value should be included within an envelope going anywhere by mail. The Dead Letter office overflows with things lost or misdirected. Often contents cut through the envelope. Others are not sufficiently prepaid, or the persons to whom they are sent have removed. Where contents are prized, or are upon business, it is well to write across the left hand end of the envelope, "If not delivered in five days return to Box

so and so." Everything heavy or delicate that might be crushed should be enclosed in a sufficiently strong box after being securely wrapped in cotton and the box covered with paper and tied with cord, not sealed. In this way the postal authorities can, if they think best, unloose the string and see if the laws have been violated. The cord must be strong, to withstand knocking about, and be crossed from side to side and from top to bottom. Then, if there be no writing within, the postage will be light and the package may go safely. Writing makes letter postage.

Where a writer desires to betray ignorance of good usage or vanity, she can attain her object by eccentricities and flourishes of penmanship. The reader of character will need no better assurance of prolonged juvenility than to see writing finished with quips and quirls. Or with an imitation of so-styled English script where huge sheets are covered with elongated letters. As in most other things a golden mean is best. That is, penmanship neither large nor small, but possessing the excellence of legibility.

In mourning, black bordered paper and envelopes are an intimation of affection generally used in all correspondence. The width of bordering and the length of time it is used, depend both upon individual taste and the depth of ostensible grief. The word ostensible is here used understandingly. No convention to which society submits itself is more arbitrary than this of using the outward insignia of mourning. Against the use of these external signs, there is, in the minds of many persons, grave objections.

Some object to showing to the world a depth of sorrow too profound and sacred to be made the subject of remark by strangers. To them it also indicates that hopelessness and lack of faith that ought not to characterize those who believe in a state of future blessedness and reunion. It seems to coincide with paganism rather than Christianity. Often those who are about to enter upon a higher plane of existence earnestly beg their friends to abstain from wearing any of the habiliments of woe. Again, those whose circumstances are cramped ought not to be obliged to dispense with comforts in order to make that change of dress that renders useless all one's wardrobe. And this at a time when heavy drafts are necessary, and when the survivors should not be tortured with details both distressing and enervating. At such times who can endure to measure the width of a hem, or the style of a new bombazine? At a period when all energies should be consecrated to the attainment of a spiritual frame of mind, to the readjustment of life to the absence of one near and dear, is it soothing and consoling to be forced to study ways and means for the purchasing and making of mourning? This is one case where fashion may be a soulless tyrant.

On the other hand many a bereft woman feels as if she could not wear black deep enough to measure her depth of sorrow. Why should not custom be

sufficiently flexible to admit the good form and good feeling of both classes?

Often it is the case that the emblems of mourning are a question of health. Within the observation of the writer, there are cases where delicate women have been hastened to their graves through the poison of the black dyes of garments, especially of that in crape veils. The effects are well known to physicians and health reformers.

Another argument against the use of mourning habiliments ought to have influence over the kindhearted. That is the lugubrious effect of black upon those in contiguity to the wearers. In any assemblage, the entrance of a number clad in this woeful garb seems to shut out cheerfulness and light. The symbol of decay and hopelessness will depress in spite of one's nerve and faith. How much duty do we owe to those around us, especially when the wearing of a certain hue can have no effect upon those who live, move and have their being in another sphere as certain as we have ours in this?

It is usual to wear full mourning for one year for parents, brothers and sisters, and two for husband and children. The exception is in the long crepe veil, which is dispensed with, at present, at the end of six months. Thrown over the bonnet and falling half way down the skirt at the back, it is so inconvenient and heavy that Mrs. Grundy has agreed that it shall at that time be replaced by a shorter veil of nun's veiling, worn in the same style. For a year in full mourning, a short tulle veil covers the face, reaching to the chin. Outside of family relationship, crepe is never used. Within that, it is, to some, so repugnant or so unhealthy that the wearing is shortened to a period of six months. Young girls still in the schoolroom never wear it at all.

The white border within the bonnet termed the widow's cap is retained by the wearer just as long as she desires to use plain black. Often, in this case, the veil is abbreviated until it only falls to the shoulders, but it is always attached to the front of the bonnet, covering it entirely.

Unsuitable to mourning is any fabric that shows the least gloss. In the forbidden category are jet trimmings or jewelry of any species. After the mourning has somewhat lightened, lustreless jet may be used. But diamonds never. Where a mourner insists upon hanging these brilliant stones in her ears, she would better lay aside her mourning garb altogether. The two never go together. Even the gloves should be undressed kid or black suede, and the handkerchief must show a border to match.

According to her feelings an elderly person continues her dolorous garb, some never laying it aside. A youthful woman can sooner don shades of lavender and gray. After a few months these tints can be still farther lightened by trimmings of steel or pearl or white. The widow is supposed to succumb to grief longer than any one else, and society requires that her garb must be quiet in tone for a long period.

According to all the laws of fitness, one in deep mourning should absent herself from places of amusement and social functions. How incongruous to see weeds worn to a theater or gay reception! If one desires to attend such places it is more respectful to those gone before to lay aside black altogether.

Children should never be shrouded in garbs of woe. White ribbons instead of black should be used about their little frocks.

On the anniversary of the departure of loved ones it is better taste and feeling to decorate their pictures than the places where decay their mortal frames. To visit places of sepulture is to tacitly acknowledge that they are in the ground, where the real person. cannot be.

But it is a lovely ceremony to have a painting or photograph placed in the midst of friends before which are fragrant flowers as beautiful and fragrant as their memories. Thus shall they be associated with beauty and sweetness.

A man's mourning garb is plain black, with a silk hat surrounded by a narrow weed, not high, as of yore. Custom has given him the privilege of discarding black when he goes to his business.

The arrangements for burial are simpler and the ceremony briefer than they were ten years ago. The health of the living and good taste have so decreed. The services are more private and therefore more sacred. Friends remain in a room apart from others who attend. Consequently they are less exposed to the prying and vulgar curiosity of those perverted persons who gloat over shows of emotion. Those still remain who ghoulishly feast over every detail of funeral scenes, but their opportunities are lessened.

Good form and a sense of fitness decides that everything connected with obsequies shall be exceedingly plain, though it may be rich.

Flowers at funerals have been greatly overdone. They are a pleasant tribute, yet too often merely conventional. Many families append to printed notices, "No flowers," as they feel the hollowness of the expression and the extravagance behind it.

Yet nothing can be in better taste than a few simple white and fragrant blossoms, tied with untinted ribbon. Append to it your card, and never mind if Croesus has forwarded a pompous floral edifice marked "Gates Ajar." It has helped the florist and shown the wealth and love of display of the giver.

DID YOU EVER?

Did you ever know a lodging-house landlady who would own to bugs?

Did you ever know a dancing-master's daughter who was not to excel Taglioni?

Did you ever know a man who did not think he could poke the fire better than you could?

Did you ever know a housemaid who, on your discovering a fracture in a valuable China jar, did not tell you it was "done a long time ago," or that it was "cracked before?"-Burton's Cyclopedia of Wit and Humor.