Searchlights on Health-The Science of Eugenics Part 16

3. NECK AND FACE.--Do not bathe the neck and face just before or after being out of doors. It tends to wrinkle the skin.

4. SCOWLS.--Never allow yourself to scowl, even if the sun be in your eyes. That scowl will soon leave its trace and no beauty will outlive it.

5. WRINKLED FOREHEAD.--If you wrinkle your forehead when you talk or read, visit an oculist and have your eyes tested, and then wear gla.s.ses to fit them.

6. OLD LOOKS.--Sometimes your face looks old because it is tired. Then apply the following wash and it will make you look younger: Put three drops of ammonia, a little borax, a tablespoonful of bay rum, and a few drops of camphor into warm water and apply to your face. Avoid getting it into your eyes.

7. THE BEST COSMETIC.--Squeeze the juice of a lemon into a pint of sweet milk. Wash the face with it every night and in the morning wash off with warm rain water. This will produce a very beautiful effect upon the skin.

8. SPOTS ON THE FACE.--Moles and many other discolorations may be removed from the face by a preparation composed of one part chemically pure carbolic acid and two parts pure glycerine. Touch the spots with a camel's-hair pencil, being careful that the preparation does not come in contact with the adjacent skin. Five minutes after touching, bathe with soft water and apply a little vaseline. It may be necessary to repeat the operation, but if persisted in, the blemishes will be entirely removed.

9. WRINKLES.--This prescription is said to cure wrinkles: Take one ounce of white wax and melt it to a gentle heat. Add two ounces of the juice of lily bulbs, two ounces of honey, two drams of rose water, and a drop or two of ottar of roses. Apply twice a day, rubbing the wrinkles the wrong way. Always use tepid water for washing the face.

10. THE HAIR.--The hair must be kept free from dust or it will fall out. One of the best things for cleaning it, is a raw egg rubbed into the roots and then washed out in several waters. The egg furnishes material for the hair to grow on, while keeping the scalp perfectly clean. Apply once a month.

11. LOSS OF HAIR.--When through sickness or headache the hair falls out, the following tonic may be applied with good effect: Use one ounce of glycerine, one ounce of bay rum, one pint of strong sage tea, and apply every other night rubbing well into the scalp.

HOW TO KEEP THE BLOOM AND GRACE OF YOUTH.

THE SECRET OF ITS PRESERVATION.

[Ill.u.s.tration: MRS. WM. McKINLEY.]

1. The question most often asked by women is regarding the art of retaining, with advancing years, the bloom and grace of youth. This secret is not learned through the a.n.a.lysis of chemical compounds, but by a thorough study of nature's laws peculiar to their s.e.x. It is useless for women with wrinkled faces, dimmed eyes and blemished skins to seek for external applications of beautifying balms and lotions to bring the glow of life and health into the face, and yet there are truths, simple yet wonderful, whereby the bloom of early life can be restored and retained, as should be the heritage of all G.o.d's children, sending the light of beauty into every woman's face. The secret:

2. Do not bathe in hard water; soften it with a few drops of ammonia, or a little borax.

3. Do not bathe the face while it is very warm, and never use very cold water.

4. Do not attempt to remove dust with cold water; give your face a hot bath, using plenty of good soap, then give it a thorough rinsing with warm water.

5. Do not rub your face with a coa.r.s.e towel.

6. Do not believe you can remove wrinkles by filling in the crevices with powder. Give your face a Russian bath every night; that is, bathe it with water so hot that you wonder how you can bear it, and then, a minute after, with moderately cold water, that will make your face glow with warmth; dry it with a soft towel.

[Ill.u.s.tration: MALE. FEMALE. Showing the Difference in Form and Proportion.]

FORM AND DEFORMITY.

1. PHYSICAL DEFORMITIES.--Masquerading is a modern accomplishment.

Girls wear tight shoes, burdensome skirts, corsets, etc., all of which prove so fatal to their health. At the age of seventeen or eighteen, our "young ladies" are sorry specimens of feminality; and palpitators, cosmetics and all the modern paraphernalia are required to make them appear fresh and blooming. Man is equally at fault. A devotee to all the absurd devices of fashion, he practically a.s.serts that "dress makes the man." But physical deformities are of far less importance than moral imperfections.

2. DEVELOPMENT OF THE INDIVIDUAL.--It is not possible for human beings to attain their full stature of humanity, except by loving long and perfectly. Behold that venerable man! he is mature in judgment, perfect in every action and expression, and saintly in goodness. You almost worship as you behold. What rendered him thus perfect? What rounded off his natural asperities, and moulded up his virtues? Love mainly. It permeated every pore, and seasoned every fibre of his being, as could nothing else. Mark that matronly woman. In the bosom of her family she is more than a queen and G.o.ddess combined. All her looks and actions express the outflowing of some or all of the human virtues. To know her is to love her. She became thus perfect, not in a day or year, but by a long series of appropriate means. Then by what?

Chiefly in and by love, which is specially adapted thus to develop this maturity.

3. PHYSICAL STATURE.--Men and women generally increase in stature until the twenty-fifth year, and it is safe to a.s.sume, that perfection of function is not established until maturity of bodily development is completed. The physical contour of these representations plainly exhibits the difference in structure, and also implies difference of function. Solidity and strength are represented by the organization of the male, grace and beauty by that of the female. His broad shoulders represent physical power and the right of dominion, while her bosom is the symbol of love and nutrition.

HOW TO DETERMINE A PERFECT HUMAN FIGURE.

The proportions of the perfect human figure are strictly mathematical.

The whole figure is six times the length of the foot. Whether the form be slender or plump, this rule holds good. Any deviation from it is a departure from the highest beauty of proportion. The Greeks made all their statues according to this rule. The face, from the highest point of the forehead, where the hair begins, to the end of the chin, is one-tenth of the whole stature. The hand, from the wrist to the end of the middle finger, is the same. The chest is a fourth, and from the nipples to the top of the head is the same. From the top of the chest to the highest point of the forehead is a seventh. If the length of the face, from the roots of the hair to the chin, be divided into three equal parts, the first division determines the point where the eyebrows meet, and the second the place of the nostrils. The navel is the central point of the human body, and if a man should lie on his back with his arms and legs extended, the periphery of the circle which might be described around him, with the navel for its center, would touch the extremities of his hands and feet. The height from the feet to the top of the head is the same as the distance from the extremity of one hand to the extremity of the other when the arms are extended.

[Ill.u.s.tration: Lady's Dress in the days of Greece.]

The Venus de Medici is considered the most perfect model of the female forms, and has been the admiration of the world for ages. Alexander Walker, after minutely describing this celebrated statue, says: "All these admirable characteristics of the female form, the mere existence of which in woman must, one is tempted to imagine, be even to herself, a source of ineffable pleasure, these const.i.tute a being worthy, as the personification of beauty, of occupying the temples of Greece; present an object finer, alas, than Nature even seems capable of producing; and offer to all nations and ages a theme of admiration and delight." Well might Thomson say:

So stands the statue that enchants the world, So, bending, tries to vail the matchless boast-- The mingled beauties of exulting Greece.

We beg our readers to observe the form of the waist (evidently innocent of corsets and tight dresses) of this model woman, and also that of the Greek Slave in the accompanying outlines. These forms are such as unperverted nature and the highest art alike require.

To compress the waist, and thereby change its form, pushing the ribs inward, displacing the vital organs, and preventing the due expansion of the lungs, is as destructive to beauty as it is to health.

THE HISTORY, MYSTERY, BENEFITS AND INJURIES OF THE CORSET.

[Ill.u.s.tration: The Corset in the 18th Century.]

1. The origin of the corset is lost in remote antiquity. The figures of the early Egyptian women show clearly an artificial shape of the waist produced by some style of corset. A similar style of dress must also have prevailed among the ancient Jewish maidens; for Isaiah, in calling upon the women to put away their personal adornments, says: "Instead of a girdle there shall be a rent, and instead of a stomacher (corset) a girdle of sackcloth."

2. Homer also tells us of the cestus or girdle of Venus, which was borrowed by the haughty Juno with a view to increasing her personal attractions, that Jupiter might be a more tractable and orderly husband.

3. Coming down to the later times, we find the corset was used in France and England as early as the 12th century.

4. The most extensive and extreme use of the corset occurred in the 16th century, during the reign of Catherine de Medici of France and Queen Elizabeth of England. With Catherine de Medici a thirteen-inch waist measurement was considered the standard of fashion, while a thick waist was an abomination. No lady could consider her figure of proper shape unless she could span her waist with her two hands. To produce this result a strong rigid corset was worn night and day until the waist was laced down to the required size. Then over this corset was placed the steel apparatus shown in the ill.u.s.tration on next page.

This corset-cover reached from the hip to the throat, and produced a rigid figure over which the dress would fit with perfect smoothness.

[Ill.u.s.tration: Steel Corset worn in Catherine's time.]

5. During the 18th century corsets were largely made from a species of leather known as "Bend," which was not unlike that used for shoe soles, and measured nearly a quarter of an inch in thickness. One of the most popular corsets of the time was the corset and stomacher shown in the accompanying ill.u.s.tration.

6. About the time of the French Revolution a reaction set in against tight lacing, and for a time there was a return to the early cla.s.sical Greek costume. This style of dress prevailed, with various modifications, until about 1810 when corsets and tight lacing again returned with threefold fury. Buchan, a prominent writer of this period, says that it was by no means uncommon to see "a mother lay her daughter down upon the carpet, and, placing her foot upon her back, break half a dozen laces in tightening her stays."

7. It is reserved to our own time to demonstrate that corsets and tight lacing do not necessarily go hand in hand. Distortion and feebleness are not beauty. A proper proportion should exist between the size of the waist and the breadth of the shoulders and hips, and if the waist is diminished below this proportion, it suggests disproportion and invalidism rather than grace and beauty.