eighteen volumes which have been distributed to manufacturing cities in Great Britain, he observes :

"The 700 specimens (and we again point out that they are all what is called working samples) show what the people of India affect, and deem suitable, in the way of textile fabrics; and if the supply of these is to come from Great Britain, they must be imitated there.

'It was thought, however, that something more than mere specimens was needed to enable the manufacturer to do this intelligibly. It was necessary he should know how the garment was worn, by which sex, and for what purpose; how, in short, the people were clothed, as well as the qualities of the fabrics they used. It was further necessary that he should know why certain arrangements of ornamentation were adopted, as well as the styles of ornamentation, and the materials employed.

This work may, therefore, be regarded as an analysis of the contents of the eighteen volumes, and a classification of them according to function, quality, material, and decoration. Many important facts stand saliently out as the result of this analysis: such, for instance, as that by far the larger proportion of the clothing of the people of India is made of cotton; that there are certain colours or tones of colour which are favourites; that gold is largely used in the ornamentation of all sorts of fabrics, cotton as well as silk; and that in the decoration of every garment regard is always had to the special purpose that garment is intended to fulfil.

'It must not be thought that the taste of India takes delight in what is gaudy or glaring. No one will study the contents of these volumes and come to that conclusion. On the contrary, there will be found good evidence that Indian taste in decoration is in the highest degree refined. Such combinations of form and colour as many of these specimens exhibit, everyone will call beautiful; and that beauty has one constant feature-a quietness and harmony which never fail to fascinate. This also can be said of it-there is no waste of ornamentation, which is present where it should be, and absent where it should not be. The portions which are concealed when the garment is on the wearer, are rarely decorated; nor is there any of that lavish expenditure of ornament which so often purchases show at the expense of comfort. It is in obedience to this principle that the decoration of these loom-made garments is nearly always confined to one or both ends, or to one or both borders, according to circumstances.' (Pp. 3, 5.)

We need not enlarge upon these strictly practical observations, since they embody the essence, as it were, of what should be the object and aim of the English manufacturer in his imitations of native Indian fabrics. We question whether he could in every case, under the application of machinery, imitate the gold thread or other ornamentation of the woven garments, which are often very costly and elaborate; but in regard to those with coloured cotton ends and borders, which

are the very lowest class, and to those with silk ends and borders, there can be no difficulty which might not be overcome. Many of the borders of loongees, dhotees, and sarees are like plain silk ribbons; in some instances corded or ribbed, in others flat. Again we find crimson borders with narrow stripes of blue, orange, or green, as edges to the central part; and while such ornamentation is plain in many instances, it is of diversified pattern in others. Ribbon borders of diaper pattern or bird's-eye, are very common. So also are zigzags, dentated, and other forms, which can be practically ascertained by reference to the number in Dr. Watson's lists and the corresponding number of the working sample, where its length, breadth, number of threads in warp and woof, and quality of thread, are all detailed. In the costlier garments woven in India, we find the borders and ends entirely of gold thread and silk, the former predominating. Many of the sarees, or women's cloths, made at Benares, Pyetun, and Boorhanpoor; in Guzerat; at Narrainpett, and Dhanwarum, in the territory of his Highness the Nizam; at Yeola in Khandésh, and in other localities, have gold thread in broad and narrow stripes alternating with silk or muslin. Gold flowers, checks, or zigzag patterns are used, the colours of the grounds being green, black, violet, crimson, purple, and grey; and in silk, black shot with crimson or yellow, crimson, with green, blue, or white, yellow with deep crimson and blue, all producing rich, harmonious, and even gorgeous effects; but without the least appearance of or approach to glaring colour, or offence to the most critical taste. They are colours and effects which suit the dark or fair complexions of the people of the country; for an Indian lady who can afford to be choice in the selection of her wardrobe, is as particular as to what will suit her especial colour-dark or comparatively fair-as a lady of England or France.

Another exquisitely beautiful article of Indian male and female costume is the dooputta, or scarf, worn more frequently by Mahommedan women than Hindu, and by the latter only when they have adopted the Mahommedan laenga, or petticoat; but invariably by men in dress costume. By women this is generally passed once round the waist over the petticoat or trousers, thence across the bosom and over the left shoulder and head; by men across the chest only; and it is curious perhaps, that no representation of this very common garment is given among his specimens in Dr. Watson's illustrations of female costume. In men's dress it occurs in several figures. Dooputtas, especially those of Benares, are perhaps the most exquisitely beautiful of all the ornamental fabrics of India; and it is

quite impossible to describe the effects of gold and silver thread, of the most delicate and ductile description imaginable, woven in broad, rich borders, and profusion of gold and silver flowers, or the elegance and intricacy of most of the arabesque patterns of the ribbon borders or broad stripes. How such articles are woven at all, and how they are woven with their exquisite finish and strength, fine as their quality is, in the rude handlooms of the country, it is hard to understand. All these fabrics are of the most delicate and delightful colours; the creamy white, and shades of pink, yellow, green, mauve, violet, and blue, are clear yet subdued, and always accord with the metal thread used, and the style of ornamentation, whether in gold or in silver, or both combined. Many are of more decided colours-black, scarlet, and crimson, chocolate, dark green, and madder; but whatever the colour may be, the ornamentation is chaste and suitable. For the most part, the fabrics of Benares are not intended for ordinary washing; but the dyers and scourers of India have a process by which the former colour can be discharged from the fabric, and it can then be re-dyed. The gold or silver work is also carefully pressed and ironed, and the piece is restored, if not to its original beauty, at least to a very wearable condition. The dooputtas of Pyetun, and indeed most others except Benares, are of a stronger fabric. Many of them are woven in fast colours, and the gold thread- silver is rarely used in them--is more substantial than that of Benares. On this account they are preferred in Central India and the Deccan; not only because they are ordinarily more durable, but because they bear washing or cleaning better. In point of delicate beauty, however, if not of richness, they are not comparable with the fabrics of Benares.

In all these classes of rich figured muslins, the Indian weavers will always be preeminent; and any attempt at imitation, with the material available to the English manufacturer, would be attended with disappointment. He has not the beautiful and pure gold and silver thread, nor perhaps could he make it; and without that, imitation-even suppose the patterns could be followed-would be abortive. There are, however, classes of dooputtas,' or scarfs, as well as of sarees, dhotees, and loongees, which appear to us quite within the scope of the British imitator. Those we allude to are, in scarfs plain muslins, or muslins with figured fields and borders, without colour; plain fields of muslin with narrow edging of coloured silk or cotton (avoiding gold thread), and narrow ends. Such articles, called sehlas' in India, are in every-day use among millions of Hindus and Mahommedans, male and female.

They are always open-textured muslins; and the quality ranges from very ordinary yarn to that of the finest Dacca fibres. One great necessity however is, that they should wash, and wash well; that the thread should remain clear, and should not assume a rough or downy appearance. A very little attention to the native requirements in these simple articles of attire would, we should think, ensure their perfect reproduction, and an enormous sale, since no doubt they could be woven more cheaply in England than in India.

6

We know that dhotees, sarees, and loongees have already been imitated to some extent, but not by any means in a manner satisfactory to the purchaser. The texture is not that required by the people; it is not that they are accustomed to. It is in general too close, too much like calico in fact, which of course makes the garment hot, heavy in wear, and difficult to wash. Again, the surface becomes rough, and, as it is generally called fuzzy,' in use, which the native fabric does not. Again, if the borders and ends are of coloured thread, they do not stand perpetual, that is daily, washing upon stones, and drying in the sun, which is unavoidable. The colours, whether in silk or cotton, fly; and the garment, which, if a native one, would preserve its colour and texture to the last rag unimpaired, becomes dingy and shabby before it is nearly worn out. Whether coloured sarees could be produced in England as sound in dye and as clear in tint as in India, we are much inclined to doubt from the result of the simpler fabrics the dhotees. But why not? the dye-stuffs used in India-madder, indigo, sanders wood, cochineal, and safflower, are in equal use here. If there is any speciality in the Indian methods of dyeing, surely it might be discovered. White sarees are now made for the Indian markets; but the consumption of these must be always very limited. Comparatively few native women of any class or degree wear white; if they do wear it, the dress has broad coloured borders and ends. But what all classes wear are coloured clothes; black, red, blue, occasionally orange and green, violet, and grey. All through Western, Central, and Southern India, sarees are striped and checked in an infinite variety of patterns which it would be impossible to describe in detail. Dr. Watson's

work enumerates and gives particulars of many (pp. 44, 46); but they are for the most part fabrics of the smallest value, and therefore of the coarsest description to suit the lowest classes; and though valuable for imitation, to a certain extent as to colour and pattern, do not show the beautiful texture and arrangement of coloured stripes and checks which are

produced not only in the localities named, but in other weaving localities of the south, west, and centre of India. Such, however, could be easily procured from Narrainpett, Dhanwar, and Muktul, in his Highness the Nizam's territories; from Gudduk and Bettigerry in Dharwar; from Kolapoor, Nassik, Yeola, and many other manufacturing towns in the Deccan; Arnee in the south, and elsewhere. Such garments form the daily wearing apparel of literally millions of the middle and upper classes; and here again if the native requirements of proper texture, attention to pattern, and above all, fast colour, be attended to, we see no reason why all such fabrics, into which gold thread seldom enters, should not be successfully imitated. It is as yet an untried and entirely unexplored field; but it is one in which, under the conditions stated, the largest amount of success might fairly be anticipated.

Cloth for bodices is made like sarees with coloured borders. In the cutting out of the bodice, it is contrived that each sleeve ends with the border, and that it runs round the bottom of the garment, if not entirely, at least to some extent. Bodices are also made of English white muslin, jaconot, or fine calico, and of chintz, provided the colour is fast; many are of silk and cotton mixed, others of silk only, or cotton only. We do not observe that Dr. Watson gives separate patterns of these; yet they form a very interesting and beautiful class of fabrics, of an infinite variety of colour and pattern, in many instances richer and more beautiful than sarees, which their texture most resembles.

In regard to silk sarees and 'pitambars,' or men's silk waistcloths, worn by Hindus at entertainments and festivals, as also in religious worship, we should think imitation almost impossible. It is not that our silk-weaving is not neater and more finished than the Indian; in those respects, and in beauty of colour when new, our manufactures far exceed theirs; but they are not so soft and pliable, nor so full and rich in texture, and the colour would speedily fail if exposed to the rough washing of India. Silk is a costly material in which to make experiments; but could these fabrics be successfully imitated as to texture and colour, an immense increase to our silk manufactures would forthwith ensue. Nor would it be necessary to use gold thread, though that usually accompanies silk in India; handsome ribbon borders, ends with native patterns, and plain, striped, checked diaper, or delicately figured centres, would be sure of success.

We have dwelt thus long upon garments which are woven in entire pieces, because they are those to which the attention of