It is the very key-stone to polite society; it is the _open sesame_ to the highest honours both in church and state. Look at any individual making his _entrée_ into a drawing-room, where there is a circle in the slightest degree distinguished for taste and elegance. Is it his coat, his waistcoat, his shirt, his inexpressibles, his silk stocking, or his shoe, to which the glass of the critic, or the soft eye of beauty, is principally directed? No! it is none of these. It is the cravat that instantaneously stamps the character of its wearer. If it be put on with a _recherché_ air--if its folds be correct, and its set _comme il faut_--then he may defy fate. Even though his coat should not be of the last _cut_, and his waistcoat buttoned a whole button too high, still he will carry everything before him. The man of fashion will own him for an equal--beauty will smile upon him as a friend--and humbler aspirants will gaze with fond and respectful admiration on the individual who has so successfully studied the art of tying the cravat. But behold the reverse of the picture! Suppose that the unhappy wretch is but an ignorant pretender to a knowledge of the proper mode of covering that part of the person which separates the shoulders from the chin--a being who disgraces his laundress by the most barbarous use of her well-ironed and folded neckcloths, starched with that degree of nicety, that a single grain more or less would have made the elasticity too great or the suppleness too little;--suppose this Yahoo, with a white cravat tied round his neck like a rope, somewhat after the fashion most in vogue among the poorer class of divinity students, were to enter a drawingroom! What man on earth would not turn away from him in disgust? The very poodle would snap at his heels, and the large tortoise-shell cat upon the hearth-rug would elevate her back into the form of an arch, bristle up her tail like a brush, and spit at him with sentiments of manifest indignation. Ladies would shrink from the contamination of his approach, and the dearest friend he had in the world would cut him dead upon the spot. He might, perhaps, be a man of genius; but what is the value of genius to a person ignorant of the “Art of Tying the Cravat?” Let us inquire for a moment into the history of the cravat, and the influence it has always held over society in general. “_L’art de mettre sa cravate_,” says a French philosopher (Montesquieu, we think), “_est à l’homme du monde ce que l’art de donner à diner est à l’homme d’etat_.” It is believed that the Germans have the merit of inventing the cravat, which was first used in the year 1636, by a regiment of Croats then in their service. Croat, being pronounced Cro-at, was easily corrupted into cravat. The Greeks and Romans usually wore their neck free and uncovered, although in winter they sometimes wrapped a comforter round their throats, which they called a _focalium_, from _fauces_. Augustus