3. Lower point K on the tie, now half formed O (third time). 4. Then, without leaving point K, bend it inside and draw it between the point Z, which you repass to the left Y; in the tie now formed, Y O, thus accomplishing the formation of the knot. 5. "And last." Having accomplished the knot, flattened it with thumb and fore-finger, or with the iron (a small iron is recommended, with a handle, made expressly for the purpose, and moderately warm), you lower the points K Z, cross them, place a pin at the point of junction H, at once solving the problem which defied the greatest of the world's conquerors. "_The slightest error in the first fold of this tie will render all succeeding efforts, with the same handkerchief, entirely useless--we have said it._"[19] Although, as previously intimated, it is not proposed to wander through the labyrinth of the whole of the two-and-thirty lessons, two others may with advantage be referred to. Our author, though somewhat facetious, is distinctly entertaining. [Illustration: DIAGRAMS ILLUSTRATING THE TYING OF THE "NŒUD GORDIEN." A. The Cravat folded. B. The Cravat à la Byron. S. The Cravat Sentimentale.] "The Cravat Sentimentale." This, as its name implies, should only be adopted by those whose physiognomy inspires the tender passion. It may be worn from the age of "seventeen to twenty-seven; after that age it cannot, with propriety, be patronised even by the most agreeable." "You, then, whom Nature has not gifted with eyes of fire--with complexions rivalling the rose and lily; you, to whom she has denied pearly teeth and coral lips--a gift which, in our opinion, would be somewhat inconvenient; you, in fact, whose faces do not possess that sympathetic charm which, in a moment--at a glance--spreads confusion o'er the senses," &c., pause before adopting the cravat sentimentale--avoid it, in fact; leave it to more highly favoured mortals. "The Cravat à la Byron." This must be worn by none but those who would mount the topmost slopes of Parnassus, and drink deeply of the Castalian spring.[20] Our author does not, indeed, say so, but the fact is sufficiently evident. It is universally allowed that the least constraint on the body has a corresponding effect on the mind; a tight cravat, therefore, will "cramp the imagination and, as it were, suffocate the thoughts." This is the reason why Lord Byron submitted to the inconveniences of a cravat, only "when accommodating himself to the _bienséances_ of society," and explains the fact that "whenever he is painted in the ardour of composition his neck is always free from the trammels of the neckcloth."