,,chats ,,on ,,costume ,,uniform ,,with ,,this ,,volume ,fully ,illustrated1 and with ,coloured ,frontispieces4 #es4 net ,,chats ,,on ,,old ,,china ,by ,,arthur ,,hayden ,,second ,,edition4 ,revised1 with many ,new ,illustrations4 ,a handsome handbook that the amateur in doubt will find useful1 and the china-lover will enjoy for its illustrations1 and for the author's obvious love and understanding of his subject4--,st4 ,james's ,gazette4 ,all lovers of china will find much entertainment in this volume4--,daily ,news4 ,it gives in a few pithy chapters just what the beginner wants to know about the principal varieties of ,english ware4 ,we can warmly commend the book to the china collector4--,pall ,mall ,gazette4 ,,chats ,,on ,,old ,,furniture ,by ,,arthur ,,hayden ,the hints to collectors are the best and clearest we have seen2 so that altogether this is a model book of its kind4--,athenum4 ,a useful and instructive volume4--,spectator4 ,an abundance of illustrations completes a well-written and well-constructed history4--,daily ,news4 ,mr4 ,hayden's taste is sound and his knowledge thorough4--,scotsman4 ,should be as indispensable to collectors and lovers of antique furniture as the author's ',chats on ,old ,china' is to connoisseurs of old china4--,lady's ,pictorial4 ,,chats ,,on ,,old ,,prints ,by ,,arthur ,,hayden 7,in ,preparation7 ,,london3 ,t4 ,,fisher ,,unwin ,illustration3 ,,miss ,,ellen ,,terry as ,,lady ,,macbeth1 ,,by ,j4 ,s4 ,,sargent1 ,r4,a4 7,reproduced by kind permission of the ,artist47 ,,chats ,,on ,,costume ,,by ,g4 ,,woolliscroft ,,rhead1 ,r4,e4 ,,author ,,of ,,the ,,treatment ,,of ,,drapery ,,in ,,art1 ,,the ,,principles ,,of ,,design1 ,a ,,handbook ,,of ,,etching1 ,,studies ,,in ,,plant ,,form1 ,,etc41 ,,etc4 ,,with #aag ,,illustrations1 ,,including #ce ,,line ,,drawings ,,by ,,the ,,author ,illustration ,,london ,t4 ,,fisher ,,unwin ,,adelphi ,,terrace #aijf 7,all rights reserved47 ,,preface ,needless to say the present work is far from exhausting the subject of costume1 which extends1 indeed1 over the whole field of history4 ,for reasons of space1 neither ecclesiastical nor military costume is touched upon4 ,the book makes no pretensions to being anything more than what its title suggests--a series of chats upon a subject which fills a considerable place in the minds of1 at any rate1 the larger half of the community4 ,while many works germane to the subject of costume have1 of necessity1 been here largely drawn upon in the way of quotation1 there will1 at the same time1 be found a certain proportion of what may be described as fresh material1 the result of the author's acquaintance with the subject in his individual practice as an artist4 ,indeed1 the subject of dress is1 or should be1 an artistic matter2 it was so in the past1 and it will again1 in the very near future1 come to be recognised as one of the ,decorative ,arts1 requiring artistic knowledge1 and some perception of the fundamental laws of ,design4 ,the author's thanks are particularly due to ,mr4 ,j4 ,s4 ,sargent1 ,r4,a41 for his kind permission to reproduce his portrait of ,miss ,ellen ,terry4 ,illustration3 ,,william1 ,,duke ,,of ,,juliers ,,and ,,cleves4 ,by ,aldegrever4 ,,contents ,,page ,,preface #e ,,list ,,of ,,illustrations #i ,,bibliography #ae ,,chat ,i4 ,a ,,general ,,survey #ag ,,ii4 ,,the ,,tunic #ei ,,iii4 ,,the ,,mantle #ha ,,iv4 ,,the ,,doublet ,,and ,,hose #aji ,v4 ,,the ,,kirtle ,,or ,,petticoat #acc ,,vi4 ,,the ,,rise ,,and ,,fall ,,of ,,the ,,crinoline #aeg ,,vii4 ,,collars ,,and ,,cuffs #agi ,,viii4 ,,hats1 ,,caps1 ,,and ,,bonnets #bjc ,,ix4 ,,the ,,dressing ,,of ,,the ,,hair1 ,,moustachios1 ,,and ,,beard #bce ,x4 ,,boots1 ,,shoes1 ,,and ,,other ,,coverings ,,for ,,the ,,feet #bgi ,,index #cjb ,,list ,,of ,,illustrations ,,portrait ,,of ,,miss ,,ellen ,,terry ,,as ,,lady ,,macbeth1 ,frontispiece by ,j4 ,s4 ,,sargent1 ,r4,a4 ,,horned ,,head-,,dress3 ,,beatrice1 ,,countess ,,of ,,arundel1 #adci ,title-page ,,page ,,duke ,,of ,,juliers ,,and ,,cleves 7,,aldegrever7 #f ,,chat ,i4--,a ,,general ,,survey4 ,heading #ai ,the ,comte d',artois and ,mademoiselle ,clothilde #ba ,charles ,howard1 ,earl of ,nottingham #bc ,ludovicus ,rex1 by ,thackeray #bg ,travelling in a ,horse-litter 7from a ,fourteenth ,century ,,ms47 #ca ,william ,,iii4 #ce ,queen ,mary #ci ,caricature3 ,pig ,walking upon ,stilts 7,harleian ,,ms47 #dc ,caricature3 ,winged ,devil 7,cotton ,,ms47 #dc ,duchess of ,ancaster 7after ,hudson7 #dg ,damask in ,silk and ,gold 7,saracenic7 #ej ,venetian ,fabric 7,thirteenth ,century7 #ea ,london ,promenade ,dress1 #ahcf #ee ,,chat ,,ii4--,,the ,,tunic4 ,tunic1 ,petticoat1 and ,girdle 7,jutland7 #fb ,hunefer and his ,wife 7,book of the ,dead1 c4 ,b4,c4 #acgj7 #fc ,a ,priest ,burning ,incense 7,book of the ,dead7 #fe ,plan of the ,tunic #ff ,the ,tunic 7,hope's ,costume of the ,ancients7 #fg ,greek ,figure 7,ibid47 #gj ,greek ,figure 7,ibid47 #ga ,treuthe's ,pilgryme atte ,plow 7,trinity ,college1 ,cambridge7 #ge ,anglo-,saxon ,dress 7,eighth ,century7 #gf ,,chat ,,iii4--,,the ,,mantle4 ,heading3 ,the ,imperial ,coronation ,mantle at ,vienna #hc ,plan of the ,toga #hf ,the ,toga 7,hope's ,costume of the ,ancients7 #hg ,statue of ,queen ,matilda at ,rochester #ia ,lord ,burleigh 7,national ,portrait ,gallery7 #ic ,lodowick1 ,duke of ,richmond and ,lennox #ig ,portion of the ,picture of the ,miracle of ,st4 ,bernard1 ,perugia #ii ,prince ,henry1 eldest son of ,james ,i4 #ajc ,earl of ,rochester 7,national ,portrait ,gallery7 #aje ,duke of ,buckingham #ajg ,,chat ,,iv4--,,the ,,doublet ,,and ,,hose4 ,heading3 ,italian ,cassone 7,fifteenth ,century7 #aaa ,figure by ,fiorenzo di ,lorenzo1 ,perugia #aac ,paris on ,mount ,ida 7,hope's ,costume of the ,ancients7 #aae ,anglo-,saxon ,retainer 7,g4 ,w4 ,rhead7 #aaf ,knightly ,pastimes3 ,hawking1 #aege #aai ,sir ,thomas ,gresham 7,national ,portrait ,gallery7 #aba ,philip ,,ii4 of ,spain 7,national ,portrait ,gallery7 #abc ,henry1 ,prince of ,wales #abe ,an ,exquisite 7from ,jacquemin7 #abi ,philippe de ,vendme #aca ,,chat ,v4--,,the ,,kirtle ,,or ,,petticoat4 ,the ,close-fitting ,jacket1 temp4 ,edward ,,iii4 7from ,viollet le ,duc7 #acg ,a ,lady of ,basle 7,holbein7 #aci ,the ,children of ,charles ,i4 #adc ,miss ,lewis #ade ,the ,gamut of ,love 7,watteau7 #adg ,madame de ,mouchy #aea ,walking ,dress1 #ahaj #aeb ,promenade ,costume1 #ahcc #aed ,paris ,evening ,dress1 #ahcc #aee ,,chat ,,vi4--,,the ,,rise ,,and ,,fall ,,of ,,the ,,crinoline4 ,heading3 ,figure from ,jacquemin #aei ,queen ,charlotte 7after ,gainsborough7 #afa ,queen ,elizabeth #afc ,james ,i4 and his ,queen1 ,anne of ,denmark #afe ,festal ,dress1 ,otaheite #afg ,mary ,queen of ,scots and ,darnley #afi ,don't be afraid1 my dear6 #aga ,king and ,mrs4 ,baddeley #agc ,the ,crinoletta ,disfigurans 7,punch7 #agg ,,chat ,,vii4--,,collars ,,and ,,cuffs4 ,henrietta1 ,marquise d',entragues #ahb ,henry ,,iv4 of ,france #ahe ,the ,infanta ,isabella ,clara ,eugenia #ahg ,son of the ,painter ,dirck de ,vries #aia ,charles ,i4 in three views #aic ,cravats #aii ,,chat ,,viii4--,,hats1 ,,caps1 ,,and ,,bonnets4 ,heading3 ,fools in a ,morris ,dance #bje ,mrs4 ,anne ,warren 7after ,romney7 #bjg ,hunting ,hat1 ,orcagna1 ,campo ,santo1 ,pisa #baj ,hunting ,hat 7,ibid47 #baj ,figure with ,long ,net-caul 7,g4 ,w4 ,rhead7 #bab ,hat1 ,fra ,angelico1 ,florence #bac ,hat 7,ibid47 #bac ,heart-shaped ,head-dress #baf ,horned ,head-dress #baf ,francis ,bacon #bai ,thomas ,killigrew #bba ,the ,development of the ,pot ,hat #bbc ,robert ,devereux1 second ,earl of ,essex #bbe ,letitia ,bonaparte1 mother of ,napoleon #bbh ,anne ,day #bbi ,two of the ,wigginses 7,gillray7 #bcj ,parisian ,head-dresses for #ahab #bca ,fool's ,cap of ,leather1 ,german 7,s4,k4,m47 #bcc ,,chat ,,ix4--,,the ,,dressing ,,of ,,the ,,hair1 ,,moustachios1 ,,and ,,beard4 ,heading3 ,comb 7,italian1 ,fourteenth ,century7 #bcg ,assyrian ,bas-relief #bch ,bearded ,bacchus 7,hope's ,costume of the ,ancients7 #bci ,greek ,head-dresses 7,ibid47 #bda ,roman ,head-dresses 7,ibid47 #bdc ,head-dress from ,viollet le ,duc 7,fifteenth ,century7 #bdh ,a ,painted ,face 7,roxburghe ,ballads7 #bea ,wig1 ,egyptian1 ,b4,c4 #aejj 7,british ,museum7 #bed ,beau ,fielding #beg ,hyacinthe ,rigaud #bei ,ridiculous ,taste2 or1 ,the ,lady's ,absurdity #bfa ,the ,french ,lady in ,london #bfc ,head-dress 7from ,jacquemin7 #bfd ,louis ,,xvi41 ,marie ,antoinette1 and the ,dauphin #bfi ,a ,reigning ,monarch #bgb ,philip ,,iv4 of ,spain #bgc ,,chat ,x4--,,boots1 ,,shoes1 ,,and ,,other ,,coverings ,,for ,,the ,,feet4 ,heading3 ,shoes 7,seventeenth and ,eighteenth ,centuries7 #bha ,clog or ,patten #bhb ,roman ,sandals 7,hope's ,costume of the ,ancients7 #bhe ,sandals of ,italian ,peasantry #bhf ,lords ,john and ,bernard ,stuart #bhg ,shoes1 ,french 7,fifteenth and ,seventeenth ,centuries7 #bij ,shoes1 ,german 7,sixteenth ,century7 #bia ,shoes 7,sixteenth and ,seventeenth ,centuries1 ,muse de ,cluny7 #bic ,carved ,wooden ,shoe1 ,french 7,seventeenth ,century7 #bid ,shoe1 ,dutch ,officer of ,guards1 #affb #bif ,shoe of a ,musketeer1 #afig #bif ,top ,boot1 ,louis ,,xiii41 #afaa #big ,top ,boot1 ,comte de ,soissons1 #afbh #bih ,bravoes 7,martin ,schongauer7 #bii ,,bibliography ,anglo-,saxon ,chronicle4 ,barclay3 ,ship of ,fools of the ,world1 #aejh4 ,bell's ,fashionable ,magazine1 #ahab4 ,bulwer3 ,pedigree of the ,english ,gallant4 ,carlyle1 ,t43 ,sartor ,resartus2 ,french ,revolution4 ,caxton3 ,the ,four ,sons of ,aymon4 ,chaucer4 ,english ,costume from ,pocket-books1 #agii4 ,eginhart3 ,life of ,charlemagne1 #afai4 ,fairholt3 ,costume in ,england1 #ahif4 ,froissart's ,chronicles1 ,h4 ,n4 ,humphreys1 #ahee4 ,gregory of ,tours3 ,history of the ,franks4 ,gosson1 ,stephen3 ,schoole of ,abuse1 #aegi4 ,harding's ,chronicle1 #aedc4 ,holme1 ,randal3 ,notes on ,dress1 c4 #affj4 ,hope1 ,t43 ,costume of the ,ancients4 ,jonson1 ,ben3 ,plays4 ,john de ,meun ,romance of the ,rose4 ,william de ,lorris ,knight of ,la ,tour ,landry1 #acga1 ,caxton4 ,lydgate1 ,monk of ,bury3 ,poems4 ,le ,blanc1 ,h41 ,esq43 ,the ,art of ,tying the ,cravat1 #ahbh4 ,paris1 ,matthew4 ,piers ,plowman3 ,pierce ,ploughman's ,vision4 ,planch3 ,british ,costume1 #ahgd2 ,cyclopdia of ,costume1 #ahgg4 ,racinet3 ,costume4 ,roxburghe ,ballads1 c4 #afhf4 ,statutes3 ,henry ,,iii41 ,henry ,,viii4 ,stothard1 ,c43 ,monumental ,effigies1 #ahgg4 ,strutt3 ,dress and ,habits of the ,english ,people1 #ahdb4 ,stubbes3 ,anatomy of ,abuses4 ,stow1 ,john3 ,chronicle1 #afae4 ,stewart1 ,j43 ,plocacosmos1 or the ,whole ,art of ,hairdressing1 #aghb4 ,viollet le ,duc3 ,dictionnaire raisonn du mobilier ,franais1 #aheh-ge4 ,wright1 ,t43 ,caricature and ,history of the ,georges1 #ahfh4 ,william of ,malmesbury4 ,i ,a ,,general ,,survey ,you see two individuals1 one dressed in fine ,red1 the other in coarse threadbare ,blue3 ,red says to ,blue3 ',be hanged and anatomised2' ,blue hears with a shudder1 and 7,o wonder of wonders67 marches sorrowfully to the gallows2 is there noosed-up1 vibrates his hour1 and the surgeons dissect him1 and fit his bones into a skeleton for medical purposes4 ,how is this2 or what make ye of your ,nothing can act but where it is8 ,red has no physical hold of ,blue1 no clutch of him1 is nowise in contact with him3 neither are those ministering ,sheriffs and ,lord-,lieutenants and ,hangmen and ,tipstaves so related to commanding ,red1 that he can tug them hither and thither2 but each stands distinct within his own skin4 ,nevertheless as it is spoken so it is done2 the articulated ,word sets all hands in action2 and ,rope and ,improved-drop perform their work4 ,thinking reader1 the reason seems to me twofold3 ,first1 that man is a ,spirit1 and bound by invisible bonds to ,all ,men2 secondly1 that he wears ,clothes1 which are the visible emblems of that fact4 ,has not your ,red hanging-individual a horsehair wig1 squirrel-skins and a plush-gown2 whereby all mortals know that he is a ,judge8--,society1 which the more ,i think of it astonishes me the more1 is founded upon ,cloth4 ,,carlyle1 ,sartor ,resartus4 ,illustration ,,chats ,,on ,,costume ,i ,a ,,general ,,survey ,that singular clothes-philosopher1 ,diogenes ,teufelsdrckh1 whose revolutionary theories upon the subject of the vestural tissue first burst upon an astonished world some seventy odd years ago1 has1 with characteristic emphasis1 drawn attention1 amongst other things1 to the fact that man is the only animal who is not provided with some ,nature-made protection against the elements--a protection either of fur1 feather1 hide1 or what not4 ,bounteous ,nature1 however1 always kind1 who never withholds a good without affording ample compensation1 has endowed man with that fertile brain and cunning hand whereby he may convert hide into leather1 wool of sheep into cloth1 web of worm into silk1 flax and cotton into linen of various kinds1 and so restore that balance of endowment without which man would be at the mercy of every wind that blew4 ,the uses of clothes1 or costume--the words may be here taken as synonymous--may be said to be threefold3 first1 for decency1 which was their first and apparently only use1 as we may assume that in ,eden the sun always shone2 secondly1 for comfort and protection2 thirdly1 for beauty and adornment4 ,first1 then1 for decency4 ,that is sufficiently clearly established if we may accept the ,mosaic account of the world's juvenescence3 ,and the eyes of both of them were opened1 and they knew that they were naked2 and they sewed fig leaves together1 and made themselves aprons2 ,unto ,adam also and to his wife did the ,lord ,god make coats of skins and clothed them4#a ,this habit of observance of the decencies of life appears to be common to all nations4 ,no people or tribe1 however primitive the civilisation1 but makes some sort of provision in this respect4 ,the ,veddas of ,ceylon make girdles of leaves1 which gives them a strangely fantastic appearance4 ,we learn from the accounts of travellers in ,central ,africa that clothing1 though extremely simple1 consisting of a little grass-cloth1 ornaments of feathers1 fur1 shells1 glass and metal beads1 are worn1 and the skin is decorated by stripes of paint or an extensive series of cicatrices4 ,among the aborigines of the ,malay ,peninsula 7,sakais7 the men wear a strip of bark-cloth twisted round the waist and drawn between the legs4 ,the women sometimes wear small cotton-cloth petticoats 7sarongs7 purchased from the ,malays1 and the men occasionally adopt ,chinese trousers2 but in their native forests1 however1 none of these luxuries are indulged in4 ,illustration3 ,,the ,,comte ,d',,artois ,,and ,,mademoiselle ,,clothilde4 ,secondly1 for comfort and protection4 ,the climatic influence on dress is1 and must necessarily be1 considerable4 ,this is well illustrated by the well-known fable of ,the ,wind and the ,sun4 ,the more boisterously the wind blows1 the more closely the man enwraps himself with his cloak2 the more fiercely the sun shines1 the more the man divests himself of raiment2#b but between the skins of the ,laplander1 fashioned by the help of a thorn or a fishbone for a needle1 and the sinews of the animal for thread1 and the light gossamer clothing of the countries of the ,east there is a vast range1 the extent of which1 indeed1 is almost boundless4 ,climate not only determines the amount or degree of warmth or otherwise1 but also1 as in architecture1 influences its character both as to form and colour4 ,moreover1 clothes are an index to the character or temper of an individual or nation4 ,what meaning lies in ,colour6 ,if the ,cut betoken intellect and talent1 so does the ,colour betoken temper and heart4#c ,illustration3 ,,charles ,,howard1 ,,earl ,,of ,,nottingham4 ,engraved by ,thomas ,cockson4 ,thirdly1 for beauty and adornment--and it is with this latter aspect that this work is mainly concerned4 ,that clothes should be beautiful is an axiom which1 one would think1 might readily be accepted2 that clothes have been beautiful is a fact which cannot be denied4 7,it is only during the present utilitarian age that the sthetic principle has been lost sight of47 ,that clothes might again be beautiful1 without suffering any loss on the score of utility1 is also unquestionable4 ,to attempt to follow the whims and vagaries of that jade1 ,fashion1 through all her endless diversities and constant changes1 would indeed be a ,herculean task1 and might well appal the boldest he 7or she1 for that matter7 who would wield pen or pencil4 ,the will-o'-the-wisp of ,fashion is1 however1 a less capricious person than would appear at first sight4 ,there is some method in her madness4 ,similar types1 similar decorative motifs1 appear and reappear through the centuries with the regularity of the changing seasons4 ,the veracious chronicler may therefore take some comfort from this fact2 it lightens his burden1 and makes his task less difficult than it would otherwise be4 ,moreover1 dress1 as in architectural form1 to the careful student of decorative development1 presents really less inherent variety than one would suppose2 historical accuracy is the favourite bugbear of pedants1 and1 while appreciating to the full the great distinctiveness of such periods as the ,elizabethan1 the ,stuart1 and the ,georgian1 there are certain primitive forms1 certain leading characteristics1 which are common to most periods1 and which1 like the poor1 are always with us4 ,one might hazard the contention that a painter would be perfectly safe in introducing a pot-hat and a pair of trousers at practically any period of the world's history--not in conjunction1 mind2 no1 that glorious consummation was reserved for this happy age of ours4 ,the ,greeks1 however1 as is well known1 wore trousers4 ,some form of the trouser was worn by the lower classes at most periods of ,english history4 ,ben ,jonson makes ,peniboy junior walk in his gowne1 waistcoate1 and trouses1 expecting his tailor4 ,nay1 do we not read in the ,old ,testament--in some ,old ,testaments1 at any rate--that even ,adam and ,eve made themselves--ahem6--breeches8 ,as for the pot-hat1 its origin is lost in the maze of antiquity4 ,it crops up in its various developments at all sorts of odd times and periods4 ,a fearsome variety of it is to be seen upon the head of ,jan ,arnolfini in ,van ,eyck's picture in the ,national ,gallery4 ,it appears in ,durer's engravings and woodcuts1 woolly1 hairy structures1 occasionally of abnormal height4 ,it is perhaps not generally known that it occurs in the ,raphael cartoons 7,paul preaching at ,athens74 ,one would have imagined such a singular appearance as a pot-hat1 in such surroundings1 to have been evident at first sight4 ,the reason it was not so was on account of its colour 7vermilion74 ,had it been black1 one would have spotted it at once2 and this fact1 when one comes to consider it1 is a little singular1 since1 if one were to march down ,piccadilly some fine afternoon crowned in a vermilion pot-hat1 methinks one would not altogether escape notice4 ,there is1 however1 still another aspect of clothes which remains to be considered1 i4e41 their symbolism4 ,it has been written1 ,manners maketh man4 ,it might also be written with even a still greater degree of truth1 ,clothes maketh man1 since clothes contribute so much to man's dignity4 ,carlyle finds it difficult to imagine a naked ,duke of ,windlestraw addressing a naked ,house of ,lords1 and asks1 very pertinently1 ,who ever saw any ,lord my-lorded in tattered blanket fastened with a wooden skewer8 ,his ,king ,toom-tabard 7empty gown7 reigning over ,scotland long after the man ,john ,baliol had gone6 ,his quaint conceit of a suit of cast clothes1 meekly bearing its honours1 without haughty looks or scornful gesture1 has been imitated by ,thackeray in his amusing illustration of ,ludovicus ,rex--the silent dignity of ,rex as represented by the suit of clothes1 the forlorn appearance of ,ludovicus1 the magnificence of ,ludovicus ,rex1 all testify to the great importance and value of costume1 as contrasted with the relatively trivial character of the wearer4 ,who1 then1 shall dare to belittle the importance of costume8 or to affirm that character can rise superior to its environment8 ,our subject is one of the most significant which can be presented to the reader's consideration4 ,it provides one of the most curious and fascinating studies in the world4 ,illustration3 ,,ludovicus ,,rex4 ,from ,paris ,sketches4 ,the materials upon which we base our knowledge of the dress of the earlier periods of the world's history are necessarily scanty4 ,for the ,egyptian and ,assyrian period we are dependent upon monumental inscriptions and carving1 and the few papyri which have survived the ravages of time4 ,for the ,greek and ,roman period1 upon sculpture1 pottery1 and the written description of the more considerable authors4 ,for the ,byzantine1 ,frankish1 and ,gothic periods1 upon mosaic1 monumental effigies1 and illuminated ,,mss4 ,it is not until what may be called the age of the painter that we may be said to emerge into the broad light of day1 and the pencils of ,holbein1 ,rubens1 and ,vandyke make things clearer for us4 ,the sumptuary laws1 however1 enacted at various periods1 against excess in apparel and extravagance in dress1 let in a flood of light on the manners and customs of the times1 and in them will be found many curious and interesting details4 ,the principal ,acts are the following3 #b ,edw4 ,,ii4 c4 #d2 #cg ,edw4 ,,iii4 cc4 #h1 #ad2 #c ,edw4 ,,iv4 c4 #a2 #bb ,edw4 ,,iv4 c4 #a2 #a ,hen4 ,,viii4 c4 #ad2 #f ,hen4 ,,viii4 c4 #a2 #g ,hen4 ,,viii4 c4 #f2 #bd ,hen4 ,,viii4 c4 #ac2 #a and #b ,phil4 and ,mary1 c4 #b2 #h ,eliz4 c4 #aa4 ,all these laws were repealed by an ,act of #a ,jac4 ,i4 ,this grandmotherly legislation1 which was never effective1 always evaded and even defied1 had a double object in view1 first to induce habits of thrift amongst all classes of the people1 and secondly on sthetic grounds4 ,in the thirty-seventh year of the reign of ,edward ,,iii4 7,a4,d4 #acfc71 the ,commons exhibited a complaint in ,parliament against the general usage of expensive apparel not suited either to the degree or income of the people2 and an ,act was passed by which the following regulations were insisted upon3 ,furs of ermine and lettice1 and embellishments of pearls1 excepting for a head-dress1 were strictly forbidden to any but the ,royal ,family1 and nobles possessing upwards of #a1jjj per annum4 ,cloths of gold and silver1 and habits embroidered with jewellery1 lined with pure miniver1 and other expensive furs1 were permitted only to knights and ladies1 whose incomes exceeded #djj marks yearly4 ,knights whose income exceeded #bjj marks1 or squires possessing #bjj in lands or tenements1 were permitted to wear cloth of silver with ribands1 girdles1 c41 reasonably embellished with silver1 and woollen cloth1 of the value of six marks the whole piece2 but all persons under the rank of knighthood1 or of less property than the last mentioned1 were confined to the use of cloth not exceeding four marks the piece1 and were prohibited wearing silks and embroidered garments of any sort1 or embellishing their apparel with any ornaments of gold1 silver1 or jewellery4 ,rings1 buckles1 ouches1 girdles1 and ribands were forbidden them1 and the penalty annexed to the infringement of this statute was the forfeiture of the dress or ornament so made or worn4 ,in the reign of ,henry ,,iv4 these laws were so little regarded that it was found necessary to revive them with considerable additions4 ,it was enacted that--,no man not being a banneret1 or person of high estate1 was permitted to wear cloth of gold1 of crimson1 or cloth of velvet1 or motley velvet1 or large hanging sleeves open or closed1 or gowns so long as to touch the ground1 or to use the furs of ermine1 lettice1 or marten1 excepting only gens d'armes quant ils sont armez4 ,decorations of gold and silver were forbidden to all who possessed less than #bjj in goods and chattels1 or #bj per annum1 unless they were heirs to estates of #ej marks per annum1 or to #ejj worth of goods and chattels4 ,four years afterwards it was ordained that no man1 let his condition be what it might1 should be permitted to wear a gown or garment cut or slashed into pieces in the form of letters1 rose leaves1 and posies of various kinds1 or any such-like devices1 under the penalty of forfeiting the same1 and the offending tailor was to be imprisoned during the ,king's pleasure4 ,in the third year of the reign of ,edward ,,iv4 an ,act was promulgated by which cloth of gold1 cloth of silk of a purple colour1 and fur of sables were prohibited to all knights under the estate of lords4 ,bachelor knights were forbidden to wear cloth of velvet upon velvet1 unless they were ,knights of the ,garter2 and simple esquires1 or gentlemen1 were restricted from the use of velvet1 damask1 or figured satin1 or any counterfeit resembling such stuffs1 except they possessed a yearly income to the value of #ajj1 or were attached to the ,king's ,court or household4 ,it was also forbidden to any persons who were not in the enjoyment of #dj yearly income to wear any of the richer furs2 also girdles of gold1 silver1 or silver-gilt were forbidden4 ,illustration3 ,,travelling ,,in ,a ,,horse ,,litter4 ,from the ,,ms4 #aah ,franais in the ,bibliothque ,nationale 7late ,fourteenth ,century74 ,no one under the estate of a lord was permitted to wear indecently short jackets1 gowns1 c41 mentioned by ,monstrelet1 or pikes or poleines to his shoes and boots exceeding two inches in length4 ,no yeoman1 or person under the degree of a yeoman1 was allowed bolsters or stuffing of wool1 cotton1 or cadis in his purpoint or doublet under a penalty of six shillings and eightpence fine1 and forfeiture awarded2 the unfortunate tailor making such short or stuffed dresses1 or shoemaker manufacturing such long-toed shoes for unprivileged persons1 being under the pain of cursing by the clergy for the latter offence1 as well as the forfeit of twenty shillings--one noble to the ,king1 another to the cordwainers of ,london1 and the third to the ,chamber of ,london4 ,it will readily be seen that these laws were necessarily the cause of great hindrance to trade1 which was1 indeed1 not the least of the evils occasioned by these absurd laws4 ,richard ,onslow1 ,recorder of ,london1 #aefe 7given in ,ellis's ,original ,letters1 vol4 ii471 describes an interview which he had with the civic tailors1 who were puzzled to know whether they might line a slop-hose not cut in panes1 with a lining of cotton stitched to the slop1 over and besydes the linen lining straight to the leg4 ,the statutory laws1 however1 were not the only hindrance to trade1 since it would appear that during the ,plantagenet period dishonesty in trade was as rife as it is at the present time1 and foreign competition as keen2 the conditions1 however1 were slightly different1 the foreign merchants obtaining high prices for their goods1 instead of dumping cheap goods into the country at low prices4 ,the remedy was directed to the enforcement of greater honesty in trade dealings1 rather than to fortify themselves behind tariff walls4 ,it was enacted in the third year of the reign of ,edward ,,iv4 c4 #a3--;,firste1 whereas many yeres paste nowe at this daye1 the workemanshyp of clothes things requisite to the same1 is hath bene of such fraude disceite falsite1 that the sayde clothes in other landes countreis1 is had in small reputacyon1 to the greate shame of this lande4 ,and by reason thereof a great quantite of clothes of other strange landes be brought into this realme1 here solde at an highe excessyve pryce1 evydently shewynge thossens defaulte falsyte of the maykynge of wollen clothes of this lande4 ,our soveraigne lorde the ,kynge1 for the remedy of the premisses1 to the preferment of such labours occupacions1 which hath been used by the makynge of the sayde clothes1 by thaduyse assent request auctoritie aforsayd1 hath ordeyned establysshed1 that every hole wollen clothe called brodclothe1 which shal be made set to sale after the feaste of ,saynt ,peter called ad vincula1 which shal be in the yere of our ,lorde ,m4,,cccc4,,lxv4 after the ful waterynge rackyng straynyng or tenturyng of the same redy to sale1 shall holde conteyne in length xxiiii yardes1 to every yarde an ynche1 conteynynge the bredthe of a mannes ynche1 to be measured by the creste of the same clothe4 ,and i brede ii yardes1 or vii quarters at the leaste wythyn the lystes4 if the clothe be longer in measure than xxiiii yardes the ynches than the byer therof shall paye to the seller for for as moche as doth excede such measure of xxiiii yardes1 after the rate of the measure above ordeyned4 ,also it is ordeined establisshed by auctoritie of the sayd lordes1 that all maner clothes called streytes1 to be made put to sale after the same feaste1 after the full watering rackyng1 streynynge or tenturynge therof redye to sale1 shall holde conteyne in lengthe xii yardes the ynches1 after the measure aforsaid1 in brede one yarde within the lystes4 ,also it is ordeyned establysshed by thauctoritie aforsaid1 that every clothe called kersey1 to be made put to sale after the sayde feaste1 after the full waterynge rackynge straynynge or tenturynge of the same redy to sale1 shall holde conteyne in lengthe xviii yardes the ynches1 as is aforsayd1 in brede one yarde a nayle1 or at the leaste one yarde within the lystes4 also it is ordeyned establysshed1 that every halfe clothe of every of the sayde hole clothes1 streytes1 kerseys1 shall kepe his measure in length brede after the rate fourme nature of his hole clothe aforsayde4 that no persone1 whiche shall make or cause to be made any maner wollen clothe to sel after the said feaste shall medle or put in or upon the same cloth1 nor the wolle1 whereof the sayd clothe shall be made1 any lambes wolle1 flockes or corke in any maner1 upon payne to forfayt xxs4 for every clothe or halfe clothe1 wherein wherupon any such lambes wolle1 flockes or corke shall be put or medled4 ,the one halfe thereof to be to the ,kyng1 the other halfe to hym that shall leyse the same clothe1 duely prove the same to be made contrarie to this ordinance1 excepte that he shall chose to make of lambes wolle by itselfe without mynglyng with any other wolle4 ,excepte also that corke may be used in dyenge upon woded wolle1 also in dyenge of all suche clothe1 that is onely made of woded wolle1 so that the same wolle clothe be perfytly boyled madered1 except also that corke may be put upon clothe1 whiche is perfectly boyled madered--but enough of this4 ,the sumptuary laws continued to be enacted against this1 that1 or the other abuse1 or fancied abuse4 ,if a new fashion sprung up1 a brand new law would be immediately fashioned for the purpose of keeping it within bounds4 ,it was to no purpose1 however2 the sumptuary laws continued to be disregarded as heretofore4 ,how often hath her majestie with the grave advice of her honorable ,councell1 sette downe the limits of apparell to every degree1 how soon again hath the pride of our harts overflowen the chanell6#d ,illustration3 ,,guiljelmus ,,iii4 ,d4 ,g4 ,,angli1 ,,scoti1 ,,franci et ,,hiberni ,,rex4 ,,william ,,iii4 ,it was the same with the satirists1 whether of horned head-dresses or other extravagances2 ,monk ,lydgate might rave1 might shout himself hoarse1 but the women would have their horns4 ,it was indeed inevitable that the vagaries of fashion and the love of fine feathers should become the favourite butt of the satirists1 purists1 and other persons who assumed the character of mentor4 ,among the most insistent of these were the priesthood4 ,st4 ,bernard thus admonishes his sister1 perhaps with greater candour than politeness1 on her visiting him1 well arraied with riche clothing1 with perles and precious stones3-- ,suster1 yet ye love youre bodi1 by reson ye shuld beter love youre soule3 wene ye not that ye displese ,god and his aungels to see in you suche pompe and pride to adorn suche a carion as is youre body4444 ,whi thenke ye not that the pore peple that deyen for hungir and colde1 that for the sixte part of youre gay arraye xl persones might be clothed1 refresshed1 and kepte from the colde8444 ,and thanne the ladi wepte1 and solde awey her clothes1 and levid after an holy lyff1 and had love of ,god1 aungeles1 and holy seintes1 the whiche is beter thanne of the worldely pepille 7,knight of ,la ,tour ,landry1 #acga74 ,the sister of ,st4 ,bernard1 however1 evidently lacked the power of repartee of ,st4 ,edith1 daughter of ,king ,edgar1 who1 though brought up in a convent at ,wilton1 and destined to the life of the cloister1 nevertheless had a weakness for clothes which seemed too fine and gay for a nun4 ,st4 ,ethelwold1 who1 it is clear1 must have shared the opinions of ,st4 ,bernard upon the subject of finery1 and ventured to upbraid her1 received this crushing reply3 ,god's doom1 that may not fail1 is pleased only with conscience4 ,therefore ,i trow that as clean a soul may be under those clothes that are arrayed with gold as under thy slight fur-skins4 ,he was reminded also that ,st4 ,augustine had said that pride could lurk even in rags4 ,this latter sally calls to mind the story of ,diogenes spitting upon the floor of ,plato's house and exclaiming1 ,thus ,i trample on the pride of ,plato4 ,with greater pride1 ,o ,diogenes1 was the quiet rejoinder4 ,dowglas1 the monk of ,glastonbury1 writing against the extravagances which were rife during the latter half of the reign of ,edward ,,iii41 says3 ,the ,english haunted so much unto the foly of strangers1 that every year they changed them in diverse shapes and disguisings of clothing1 now long1 now large1 now wide1 now strait1 and every day clothingges1 new and destitute1 and devest from all honesty of old arraye or good usage2 and another time in short clothes1 and so strait waisted1 with full sleeves and tapetes of surcoats and hodes1 over long and large1 all so ragged and knib on every side1 and all so shattered1 and also buttoned1 that ,i with truth shall say1 they seem more like to tormentors or devils in their clothing1 and also in their shoying and other arraye than they seemed to be like men4 ,the authors of the ,roman de la ,rose1 ,william de ,lorris1 who died in #abfj1 and ,john de ,meun1 who continued and finished the poem about #acjd1 are amongst the most severe of these satirists4 ,in alluding to the unnecessary length of their trains1 the author advises the ladies1 if their legs be not handsome1 nor their feet small and delicate1 to wear long robes trailing on the pavement to hide them2 those having pretty feet are counselled to elevate their robes1 as if for air and convenience1 that all who are passing may see and admire4 ,this has been imitated by ,ben ,jonson1 who in his ,silent ,woman makes ,truewit say3-- ,i love a good dressing before any beauty o' the world4 ,oh1 a woman is then like a delicate garden2 nor is there one kind of it2 she may vary every hour2 take often counsel of her glass1 and choose the best4 ,if she have good ears1 show them2 good hair1 lay it out2 good legs1 wear short clothes2 a good hand1 discover it often2 practise any art to mend breath1 cleanse teeth1 repair eyebrows1 paint1 and profess it4 ,illustration3 ,,maria ,d4 ,g4 ,,angli1 ,,scoti1 ,,franci ,,et ,,hiberni ,,regina4 ,,queen ,,mary4 ,the author of the ,roxburghe ,ballads 7,a ,woman's ,birth and ,education7 informs us that when ,cupid first beheld a woman-- ,he prankt it up in ,fardingals and ,muffs1 ,in ,masks1 ,rebatos1 ,shapperowns1 and ,wyers1 ,in ,paintings1 ,powd'rings1 ,perriwigs1 and ,cuffes1 ,in ,dutch1 ,italian1 ,spanish1 ,french attires2 ,thus was it born1 brought forth1 and made ,love's baby1 ,and this is that which now we call a ,lady4 ,nor was it the fair sex only who were thus lampooned4 ,the men also came in for their share1 and were as much the objects of the satirist's wrath as were the women3-- ,your ruffs and your bands1 ,and your cuffs at your hands1 ,your pipes and your smokes1 ,and your short curtall clokes1 ,scarfes1 feathers and swerdes1 ,and their bodkin beards2 ,your wastes a span long1 ,your knees with points hung ,like morrice-dance bels ,and many toyes els4 ,,skelton1 ,elinor ,rummin1 #afbe4 ,the ,knight of ,la ,tour ,landry1 writing towards the close of the fourteenth century1 in order to deter his daughters from extravagance and superfluity of dress1 recounts a story of a knight who1 having lost his wife1 applied to an heremyte hys uncle to know whether she was saved or not and how it stode with her4 ,the hermit1 after many prayers1 dreamed that he saw ,seint ,michelle the develle that had her in a balaunce1 alle her good dedes in the same balaunce1 a develle alle her evelle dedes in that other balaunce4 the most that grevid her was her good gay clothing1 furres of gray menivere letuse2 the develle cried sayde1 ,seint ,michel1 this woman had tenne diverse gownes as mani cotes2 thou wost welle lesse myghte have suffised her after the lawe of ,god2 444 he toke all her juellys and rynges1 444 also the false langage that she had saide 444 caste hem in the balaunce with her evelle dedes4 ,the evelle dedes passed the good1 weyed downe overcame her good dedes4 there the develle toke her1 bare her away1 putte her clothes aray brennyng in the flawme on her with the fire of helle1 kist her doune into the pitte of helle2 444 the pore soul cried1 made moche sorughe pite 444 but it boted not4 ,lydgate1 the famous monk of ,bury1 and one of the foremost poets of his time1 was unwearying in his condemnation of the extravagances of dress1 his pet aversion being the horned head-dresses which obtained during the ,york and ,lancastrian period4 ,in a ,ditty of ,women's ,horns1 he unbosoms himself as follows3-- ,clerkys recorde1 by gret auctoryt1 ,hornes wer yove to bestys for dyffence2 ,a thing contrarye to femynt1 ,to be maad sturdy of resystence4 ,but arche wives1 egre in ther vyolence1 ,fers as tygres for to make affray ,they have despit1 and ageyn concyence ,lyst nat of pryde1 then hornes cast away4 ,but the most insistent of all the satirists was ,philip ,stubbes1 who wrote his ,anatomy of ,abuses in the reign of ,elizabeth4 ,in lampooning the feminine habit of aping masculine dress1 he says3 ,the women have doublets and jerkins as the men have1 buttoned up to the breast1 and made with wings1 welts1 and pinions on the shoulder-points1 as man's apparel in all respects2 and although this be a kind of attire proper only to a man1 yet they blush not to wear it4 ,artists also1 as well as writers1 joined in the general chorus of condemnation of the extravagances of fashion4 ,strutt gives a cut from the ,,ms4 copy of ,froissart in the ,harleian ,library1 of a pig walking upon stilts playing the harp1 and crowned with the high steeple head-dress which prevailed during the reign of ,edward ,,iv4 ,in the ,cotton ,,ms4 7,nero1 ,c#d7 there is an illustration of a winged devil arrayed in a costume with elongated sleeves tied in knots1 the prevailing fashion of the period4 ,it must be confessed that the satirists were occasionally a little too severe in their strictures1 for while doubtless extravagance prevailed at most periods--indeed1 must always prevail--the dress of such a period as that of the ,plantagenets1 as well as that of ,elizabeth1 was sumptuous to a degree4 ,in fact1 it is difficult for us moderns1 so surrounded as we are by commonness1 cheapness1 and vulgarity1 to realise the extreme splendour of the ,middle ,ages1 either as regards their dress or their surroundings4 ,plenty of extravagance there is at the present time1 but no real magnificence1 either as to invention or material4 ,illustration ,with respect to material1 by far the most sumptuous fabric employed for purposes of adornment in past times is undoubtedly cloth of gold4 ,this truly regal fabric has been in use from the earliest periods4 ,and they shall make the ephod of gold1 of blue1 and of purple1 of scarlet1 and fine twined linen1 with cunning work4 ,and the curious girdle of the ephod1 which is upon it1 shall be of the same1 according to the work thereof2 even of gold1 of blue1 and purple1 and scarlet1 and fine twined linen4#e ,it is recorded of the wife of the ,emperor ,honorius1 who died about the year #djj1 upon the re-opening of her grave in #aedd1 the golden tissues which formed the shroud were melted1 and amounted in weight to #cf lbs4 ,about the body of the ,frankish ,king ,childeric1 when his grave was discovered in #afec1 were found numerous strips of pure gold1 pointing to the fact that the body must have been wrapped in a mantle of golden stuff for burial4 ,the sumptuary laws which were enacted at various periods of ,english history1 regulating and restricting the wearing of this precious fabric to persons of estate1 have already been referred to1 and serve to show in what high estimation this fabric was held4 ,it will readily be imagined that cloth of gold was necessarily costly4 ,the ,princess ,mary 7afterwards ,queen71 thirteen years before she came to the throne1 ,payed to ,peycocke1 of ,london1 for xix yerds iii qrt of clothe of golde at xxxviijs4 the yerde4 xxxvijli4 xs4 vjd4 and for a yerde dr qrt of clothe of silver xls4 ,in later times the use of the pure gold thread was discontinued except for very costly garments1 and tissues were made of silver-gilt or copper-gilt thread4 ,the thin paper which we now know by the name of tissue paper was originally made for the purpose of being placed between the pieces of stuff to prevent tarnishing when laid by4 ,silk1 like the sun1 and so many other good things comes to us from the sacred ,east4 ,the earliest mention of it is in ,aristotle1 who refers to the importation into the ,western world of raw silk4 ,silken garments were brought to ,rome from a very early period1 but on account of their costliness were worn only by a very few4 ,heliogabalus was the first ,emperor who wore silk for clothing4 ,by the revised code of laws issued for the ,roman ,empire in #ecc ,a4,d41 a monopoly of silk weaving was given to the ,court1 looms being set up in the imperial palace and worked by women4 ,the raw material1 however1 had still to be brought from abroad4 ,the story of the introduction of the silkworm into ,constantinople will serve to show how jealously the secret of the rearing of the worm was kept by the peoples of the ,east4 ,the eggs of the silkworm were brought1 hidden in their walking staves1 by two ,greek monks1 who had lived many years amongst the ,chinese and learnt the process of rearing the worm1 and who carried them to ,constantinople and presented them to the ,emperor4 ,very soon afterwards the ,western world reared its own silk4 ,silk was known under different names at various periods1 according to its colour1 texture1 or design4 ,samite1 ,samit1 ,examitum1 is a six-threaded tissue1 and consequently costly4 ,the hand which grasped the sword ,excalibur when it was thrown into the lake was clothed in white samite-- ,launcelot and the ,queen were cledde ,in robes of a rich wede1 ,of samyte white1 with silver shredde4 ,ciclatoun was a substance of light texture1 and was used both for ecclesiastical purposes and for the more stately dresses of a secular character4 ,chaucer1 in his ,rime of ,sire ,thopas1 says3-- ,of ,brugges were his hosen broun ,his robe was of ciclatoun4 ,cendal was a less costly fabric1 and was also used largely in ecclesiastical vestments4 ,taffeta was a thin transparent textile1 and was used1 as well as cendal1 during the ,middle ,ages for linings4 ,sarcenet also is a light webbed silk1 and by degrees supplanted cendal4 ,satin was also used in the ,middle ,ages1 and is mentioned by ,chaucer in his ,man of ,lawe's ,tale1 but was not brought into general use until later4 ,the beauties of the ,court of ,charles ,,ii41 as pictured by ,sir ,peter ,lely1 are usually clad in satin4 ,velvet1 that most sumptuous material1 has always been held in high estimation on account of the richness of its texture and fold4 ,it has always been used1 since its introduction into the ,west1 for robes of state and for the more sumptuous kind of dress4 ,the place of its origin is not known1 but it probably comes from ,china4 ,illustration3 ,,duchess ,,of ,,ancaster 7,,after ,,hudson74 ,in a letter preserved in the ,record ,office 7circa #aeje7 to ,edmund de la ,pole1 ,earl of ,suffolk1 from his steward ,killingworth 7,de la ,pole had been indicted of homicide and murder1 for slaying of a mean person in his rage and fury1 and had fled to ,flanders71 conveying excuses from some person un-named1 mentioned only as your friend1 for not having communicated with ,de la ,pole earlier1 as he had hoped1 to send him news from ,england1 the writer continues3-- ,for your gown he axked me howe many elles velvet wold serve you4 ,i told hym xiiij ,englishe yerdis1 and then he saied1 ',what lynyng thereunto8' ,i answerde ',sarcenet' by cause of the lest coste to helpe it forward4 ,and he saide to me1 ',wel1 ,i shal see what ,i can doo therin4' ,soo1 sir1 if it please you to write to him in ,duche1 and thank him1 and geve but oon worde therin towching your gown1 ,i doubte not ye shal have hyt4 ,the patternings of woven brocades1 damasks and other textiles afford an interest quite apart from mere utility1 or the purpose for which they were intended to serve as an ornamental adjunct to dress1 since by their means we are able to trace the great ornamental traditions to their original source in the ,east4 ,the history of the art of weaving in ,china is lost in obscurity1 but we may reasonably infer from our knowledge of the character of its people that neither their methods nor the character of the ornamentation have materially changed during a period of as much as two thousand years4 ,dionysius ,periegetes informs us that the ,seres make precious figured garments resembling in colour the flowers of the field1 and rivalling in fineness the work of spiders4 ,it is certain that the ,egyptians practised the art of weaving from very early times1 although the earliest ornamental fabrics found in ,egypt are of the sixth century ,a4,d4 ,in later times1 however1 their woven fabrics were exceedingly sumptuous4 ,shakespeare's description of the barge of ,cleopatra will be familiar to all-- ,the barge she sat in1 like a burnished throne ,burned on the water3 ,purple the sails1 and so perfumed that ,the winds were love-sick with them2 she did lie ,in her pavilion--cloth of gold1 of tissue1 c4 ,the ,sicilian brocades of the twelfth and thirteenth centuries were the finest in the world4 ,the character of their ornamentation betrays their ,eastern origin1 and we may trace in them the various influences which were brought to bear upon them by their successive conquerors1 and which left a lasting mark upon their art4 ,the earliest ornamental influence was that of ,byzantium1 which followed upon the conquest of the island by ,belisarius in #ece4 ,the patternings are made up of grotesque animals1 birds1 griffins1 chimeras1 c41 intertwined with conventional foliage or ornament of a purely abstract character4 ,after the ,saracen conquest1 resultant upon the preaching of ,muhammad1 we find ,arabic inscriptions freely introduced as part of the general decorative motive4 ,gold thread is lavishly used1 and1 together with an admixture of colour1 usually forms the pattern1 upon a coloured ground1 dark or light1 as the case may be4 ,illustration3 ,,damask ,,in ,,silk ,,and ,,gold 7,,saracenic1 ,,eleventh ,,to ,,thirteenth ,,century74 ,the tradition spread to the mainland of ,italy1 and looms were set up in ,lucca1 ,florence1 ,venice1 ,genoa1 and elsewhere2 the character of the ornamentation gradually changing1 however1 as the ,renascence influence began to make itself felt4 ,even the most cursory study of ,italian painting will serve to give an idea of the splendour of the dresses of the ,italian ,gothic and ,renascence periods4 ,illustration3 ,,venetian ,,fabric ,,in ,,silk ,,and ,,gold 7,,thirteenth ,,century74 ,it was ,louis ,,xi4 who introduced the art of silk weaving into ,france1 and looms were established at ,tours in #adhj4 ,in #aebj looms were set up in ,lyons by ,francis ,i4 ,in ,england also the art of weaving flourished1 and was employed for ecclesiastical vestments1 hangings1 furniture1 and other purposes1 as well as for civil dress4 ,in the wardrobe accounts of ,edward ,,ii4 occurs the item3 ,to a mercer in ,london for a green hanging of wool with figures of ,kings and ,earls upon it1 for the ,king's service in this hall on solemn feasts at ,london1 c4 ,for the mantell of the ,garter of ,henry ,,vii4 a pound and a half of gold of ,venys was employed aboute the making of a lace and boton4 ,instances of the splendour of the costume at the different periods of the past might be multiplied indefinitely4 ,the monk of ,malmesbury describes the banner under which ,harold fought at ,hastings as having been embroidered in gold with the figure of a man in the act of fighting1 studded with precious stones1 woven sumptuously4 ,chaucer describes the ,king's daughter in the ,squire of ,low ,degree as having-- ,mantell of ryche degre ,purple palle and armyne fre4 ,in the ,romaunt of the ,rose the dress of ,mirth is described as follows3-- ,full yong he was1 and merry of thought1 ,and in samette1 with birdes wrought1 ,and with gold beten full fetously ,his bodie was clad full richely4 4 4 4 4 4 ,a coronell on hur hedd sett1 ,hur clothys wyth bestes and byrdes wer bete1 ,all abowte for pryde4 ,and now contrast all this with the extreme poverty of the dress of the present day1 and turn our thoughts for a moment to those terrible cylindrical enormities the pot-hat and trousers4 ,dress8 we don't dress--we simply cover our nakedness--as in architecture we are content if we keep out wind and wet4 ,we have forgotten how to dress as we have forgotten how to build1 and beauty has forsaken dress as it has forsaken the rest of the decorative arts4 ,dress is1 or should be1 one of the decorative arts2 the adornment of a human1 assuming that ,nature's marvel must be covered1 is1 to say the very least1 as important as the adornment of a brick wall4 ,what is the explanation of the wave of ,philistinism which swept not only ,england but the rest of the world at the beginning of the nineteenth century8 ,can it be the rise of science1 which1 bringing in its wake the mechanical fiend1 has reduced everything to rule and compass1 and thus brought about the death of the sthetic sense8 ,no other period of the world's history but some country forged ahead and kept alight the sacred lamp of beauty4 99 99 99 99 99 ,trousers are apparently eternal2 they date from the beginning1 and will endure1 one fears1 to the end of sublunary time4 ,of late there has been a tendency1 especially amongst middle-aged and elderly men1 to affect the knickerbocker1 although whether the sthetic principle is the mainspring of this tendency1 coupled with a natural and pardonable desire to exhibit a well-developed calf1 or whether1 peradventure1 the too old at twenty cry is at the bottom of it1 is a question which provides food for reflection4 ,what1 then1 in view of this eternity of the trouser1 can be done to bring it abreast of modern taste and thought8 because we do move in matters of taste1 although almost imperceptibly4 ,speaking as a designer1 it seems only possible to develop the trouser in one of two different directions--that of the peg-top or the bell-bottom4 ,bell-bottoms may at once be ruled out of the running1 since they have become so identified with the coster fraternity that no man of fashion would dream of adopting them4 ,these1 then1 are the two extremes or opposite poles4 ,there is1 however1 as the late ,mr4 ,gladstone would have said1 a third and middle course--their columnar character might be retained1 and even emphasised4 ,the shafts might be fluted1 as in the ,corinthian ,order1 or festooned1 as in the ,prentice pillar4 ,illustration3 ,,london ,,promenade ,,dress1 #ahcf4 ,in all seriousness1 however1 the trouser is an absurdity even from the point of view of mere comfort4 ,a man cannot sit down without first hitching himself up at the knee4 ,the knee is the natural place for the garment to be drawn in1 as a certain degree of looseness is necessary at that point in order to allow of the free movement of the limb4 ,nature herself rebels against the trouser1 and does her level best to produce variety of fold1 which makes for beauty4 ,philistine man1 however1 decides otherwise1 and that singular invention the trouser-stretcher--true emblem of the modern spirit of incongruity--is called into play1 to undo during the night ,nature's doings of the previous day4 ,the late ,lord ,salisbury1 in his speech at the ,royal ,academy ,banquet on ,april #cj1 #ahhg1 is reported as saying3 ,then consider the costume of the period4 ,dresses seem to have been selected by the existing ,english generation with a special desire to flout and gibe at and repudiate all possibility of compliance with any sense of beauty4 ,i am taxing my memory1 but ,i cannot remember any sculptor who has been bold enough to give a life statue of any ,english notability in the evening dress of the period4 ,i am quite sure that if that man exists he must be strongly tempted to commit suicide the moment his work appears4 ,the ,tailor and ,cutter--delightfully fascinating print6--has thrown out many dark hints lately of impending startling changes in men's attire4 ,by the way1 who are the ,rhadamanthine spirits who sit mysteriously in judgment upon these high matters1 issuing their fateful decrees1 regulating the delicate and subtle curves of the brim of a pot-hat or the turn of a coat collar8 ,perhaps the ,tailor and ,cutter knows1 but1 upon the principle that knowledge is power1 declines to say2 anyway1 whatever changes the immediate future may have in store for us1 we may take comfort from the fact that they must necessarily be in the direction of betterment1 since1 having recently emerged from that bottomless pit of all that is sthetically terrible--the ,victorian era3 the era of the crinoline1 the antimacassar1 and of wax flowers under glass--we could not possibly strike a lower depth4 ,,footnotes3 #a ,gen4 iii4 #g1 #ba4 #b ,this fable is so quaintly told in ,lyly's ,euphues 7#aehj71 that it may be worth while to repeat it4 ,a gentleman walking abroard1 the ,winde thought to blowe of7f7 his cloake1 which with great blastes and blustering striving to vnloose it1 made it to stick faster to his backe1 for the more the winde encreased the closer his cloake clapt to his body1 then the ,sunne1 shining with his hoat beames began to warme this gentleman1 who waxing som7e7what faint in this faire weather1 did not on7e7ly put of7f7 his cloake but his coate1 which the ,wynde perceiuing1 yeelded the conquest to the ,sunne4 #c ,carlyle1 ,sartor ,resartus4 #d ,stephen ,gosson1 ,the ,school of ,abuse4 #e ,exodus xxviii4 #f-h4 ,,ii ,,the ,,tunic ,where were the variegated robes1 works of ,sidonian women1 which god-like ,paris himself brought from ,sidon1 sailing over the wide sea1 along the course by which he conveyed high-born ,helen8--,iliad1 vi4 #bhi4 ,,ii ,,the ,,tunic ,the earliest made-up garment1 that in which the art of the tailor was called into play1 was doubtless a simple bag1 more or less closely fitting to the body and of varying length1 with holes for the arms and an opening for the neck4 ,such a primitive garment has been worn in varying forms at all periods of the world's history1 and is in use at the present time in the form of the ordinary singlet4 ,the modern singlet is1 in fact1 the simple1 primeval type of the tunic4 ,the coat of many colours which ,israel made for his son ,joseph was unquestionably an embroidered tunic1 although probably made loose and ample4 ,the little coat which the mother of ,samuel made for her child when he was dedicated to the priesthood1 and brought to him from year to year1 was doubtless of the same character4 ,sir ,henry ,layard1 describing the dresses of the ,assyrians1 says many are represented naked1 but the greater number are dressed in short chequered tunics with a long fringe attached to the girdle4 ,illustration3 ,,tunic1 ,,petticoat ,,and ,,girdle1 ,,bronze ,,age4 ,from ,industrial ,arts of ,old ,denmark 7,worsaae74 ,some remarkable discoveries have been made during the last thirty years in different portions of ,scandinavia1 which serve to give us a very clear idea of the dress of both men and women of the remote period of the ,bronze ,age4 ,the dresses were found in coffins made of an oak-tree split in two and hollowed out1 the bodies having been buried completely dressed4 ,an illustration is given of a simple woollen tunic with short sleeves and a petticoat with girdle4 ,this was found at ,borum1 in the neighbourhood of ,aarhus1 ,jutland4 ,illustration3 ,,hunefer ,,and ,,his ,,wife ,,in ,,attitude ,,of ,,adoration4 ,from the ,papyrus of ,hunefer1 or ,book of the ,dead1 c4 ,b4,c4 #acgj4 ,the tunic was worn by the ,egyptians4 ,it is seen in their sculptures1 paintings1 and papyri1 and may be said to have formed their principal garment1 after the mere loin cloth4 ,the illustrations given are taken from the papyrus of ,hunefer1 or ,book of the ,dead1 in the ,british ,museum4 ,the first cut discovers ,hunefer1 overseer of the palace of the lord of two lands1 ,men-mat-,r 7,seti ,i41 ,king of ,egypt about ,b4,c4 #acgj71 and overseer of the cattle of the lord of the two lands1 the royal scribe1 and his wife ,nasha1 a lady of the college of the god ,amen-,r at ,thebes1 in the attitude of adoration4 ,hunefer wears a long tunic with sleeves1 ornamented at the throat and neck1 with a broad sash around the waist4 ,his wife also wears a long tunic with sleeves1 probably tied in with a band underneath the breasts2 it is not clear in the drawing4 ,the material is of a light tissue1 semi-transparent4 ,the second illustration shows a priest wearing nothing but a loin cloth and a leopard skin4 ,in the ,victoria and ,albert ,museum is a child's tunic1 discovered in a tomb at ,alkmm 7,panopolis71 ,upper ,egypt4 ,it is of unbleached linen1 dyed blue1 with a pattern produced by means of what is called a reserve1 the design being first stamped on the fabric by means of a waxy substance which protected those portions of the dress from the dye into which it was afterwards dipped4 ,the reserve was then removed by a second bath1 leaving the pattern in the original colour of the fabric4 ,illustration3 ,from the ,papyrus of ,hunefer1 or ,book of the ,dead1 c4 ,b4,c4 #acgj4 ,with the ,greeks the tunic was the principal article of attire4 ,it was worn next to the skin1 and was of a light tissue4 ,in the earlier time it was composed of wool1 in later periods of flax1 and in the latest periods it was either of flax mixed with silk or of pure silk4 ,the illustration given will serve to show its construction4 ,it was a simple square bag1 open at the two ends1 made sufficiently wide to admit of the folds being ample1 and sufficiently long to allow of its being gathered up about the waist and breasts4 ,it was kept in its place by various means1 either by a simple girdle round the waist or by cords drawn crosswise between the breasts1 over the shoulders1 looped at the back1 and again drawn round the waist1 or by an arrangement of cords or ribbons drawn over each shoulder and attached to the girdle4 ,over the tunic was a second garment1 intended to afford additional protection to the upper part of the body4 ,this was a kind of bib or super-tunic1 and was composed of a square or rather oblong piece of stuff1 suspended round the chest and back and secured at the shoulders by means of fibul or buttons4 ,in some cases the bib was made deeper under the arms1 so as to allow the garment to fall in regular zigzag folds1 ending in a point1 which was weighted with little pellets of lead in order to ensure a better falling of the folds4 ,illustration3 ,,the ,,tunic4 ,the tunic1 as well as the super-tunic1 was often ornamented with rich borders and diapered with sprigs1 spots1 stars1 c4 ,the tunic of the ,roman women reached to the feet1 with the exception of that worn by the ,lacedemonian girls1 which was short1 and also divided at the sides so as to show their thighs2 and this indecency1 says ,strutt1 was countenanced by the laws of ,lycurgus4 ,illustration3 ,,the ,,tunic4 ,from ,hope's ,costume of the ,ancients4 ,horace1 in his twenty-fifth ,ode1 addressing an old woman affecting youth--flaunting wife of the indigent ,ibycus--exclaims-- ,what becomes thee best is a warm woollen dress2 ,get thee fleeces from famous ,luceria4 ,broadly speaking1 classic dress consisted of but two elements--the tunic and mantle1 both being worn of a thicker material during cold weather4 ,ulysses exclaims1 in the ,odyssey-- ,i have no cloak2 the fates have cheated me1 ,and left alone my tunic4 ,dion ,cassius has given us an account of the dress of ,boadicea1 ,queen of the ,iceni4 ,he says she wore a tunic woven chequerwise in purple1 red and blue1 and over it a shorter garment open on the bosom4 ,her yellow hair floated in the wind1 and upon her shoulders was a mantle fastened by a fibula4 ,it was1 in fact1 a variation of the ,roman dress of tunic and mantle or toga4 ,this was the dress which was common to all nations1 both ,gaul1 ,goth1 ,visigoth1 and ,vandal1 from the ,roman period to the time of ,charlemagne1 varied1 however1 according to climatic conditions1 and ornamented in the manner peculiar to the particular country4 ,mr4 ,planch 7,cyclopdia of ,costume7 says3 ,that in this chequered cloth we see the original breacan feile1 the garb of old ,gaul1 still the national dress of the ,scotch ,highlanders1 there can be no doubt2 and that it was at this time the common habit of every ,keltic tribe1 though now abandoned by all their descendants except the hardy and unsophisticated ,gaelic mountaineers1 is admitted1 ,i believe1 by every antiquary who has made public his opinion on the subject4 ,eginhart1 a writer of the ninth century1 has left us a detailed description of the dress of ,charlemagne4 ,it consisted of the following parts3 ,the shirt1 the drawers1 the tunic1 the stockings1 the leg bandages1 the shoes1 the sword-belt1 and sword4 ,in the winter he added the mantle and the thorax1 which was1 as its name implies1 a covering for the chest and throat4 ,it was made of otter's skin1 and was probably worn underneath the tunic1 as no pictured or other representation of this garment is available4 ,his tunic was ornamented with a border of silk4 ,the material of the tunic itself is not mentioned1 but ,strutt thinks that1 according to the custom of the time1 it was made of linen4 ,it was the short tunic1 as the historian positively asserts that he wore the longer tunic but twice in his life4#f ,another ,french writer quoted by ,strutt mentions stockings and trowsers1 the latter of linen1 but ornamented with precious workmanship1 i4e41 embroidery as forming part of the dress of the ,franks4 ,illustration3 ,,greek ,,figure4 ,from ,hope's ,costume of the ,ancients4 ,fortunately1 we are able to form a very complete idea of ,frankish dress from the sculptured effigies of ,clovis and his ,queen ,clothilde on the faade of the ,cathedral of ,chartres1 and other records which have come down to us4 ,the pencil1 or the sculptor's chisel1 must necessarily be more eloquent and convincing than any written description can possibly be4 ,the general appearance of the ,queen may1 however1 be described as follows3 ,she wears a long loose tunic of soft material1 reaching to the ground1 confined by a falling girdle with an oval clasp in front1 in which emeralds1 amethysts and rubies vie with each other in their brilliance4 ,the sleeves are long and ample1 the edges serrated in the form of leaves4 ,the long flowing embroidered mantle is fastened by a gold fibula at the throat4 ,her flaxen hair falls in two long double plaits in front of her person1 reaching almost to the ground2 the plaits being first bound singly by a dark ribbon1 and each pair bound together by a lighter ribbon4 ,a thin gauze veil covers the head1 which is surmounted by a crown of exquisite workmanship4 ,illustration3 ,,greek ,,figure4 ,from ,hope's ,costume of the ,ancients4 ,the dress of the ,byzantine women1 at the time of the dismemberment of the ,roman ,empire in #cie1 was still the loose or semi-loose tunic1 with sleeves added1 elaborately ornamented in the rich diapered patterns peculiar to that period and nation1 and confined at the waist by a girdle4 ,this costume1 with variations1 obtained until the ,norman ,conquest1 when costume began to be more complex4 ,the long loose gown is variously described in documents of the period by the names of the tunic1 the gunna or gown1 and the kirtle4 ,there was a short tunic1 with sleeves reaching only to the elbows1 and there was a long tunic1 with tight sleeves1 worn underneath4 ,the kirtle1 such as we are familiarised with in the dress of a later period1 had not come into being4 ,as a matter of fact1 the term kirtle is indiscriminately used in the description of various garments4 ,tyrwhitt describes it as a tunic or waistcoat4 ,in the ,romaunt of the ,rose the damoselles right young are arrayed-- ,in kirtles and noon other wede1 evidently here intended for a long gown or tunic4 ,the dress of the twenty young squires chosen by ,guy of ,warwick is thus described3-- ,kyrtyls they had oon of sylke ,also whyte1 as any mylke4 ,of gode sylke and of purpull palle ,mantels above they caste all4 ,hosys they had uppon1 but no schone2 ,barefote they were everychone4 ,both ,strutt and some other writers on the subject of costume appear to be puzzled by the colouring of the earlier illuminators1 principally1 however1 with respect to the colour of the hair and beard1 but also in regard to the various details of costume4 ,they remark the curious circumstance of the hair and beard being painted blue4 ,in representations of old men this might be considered only to indicate grey hair2 but even the flowing locks of ,eve are painted blue in one ,,ms41 and the heads of youth and age exhibit the same cerulean tint4 ,strutt argues from this that some art of tinting or dyeing was practised4 ,a writer who quotes ,strutt says3 ,the hair being painted sometimes green and orange is in favour of this argument1 but such instances are very rare1 and may have arisen from the idleness of the illuminator1 who daubed it1 perhaps1 with the nearest colour at hand4 ,this1 however1 was not in the least so4 ,the explanation is1 as any educated artist knows 7artists are not all educated71 that with the old illuminator the decoration of the page was his first consideration--rightly so2 and the colour of the hair and beard1 together with the precise tint of the gown1 would incline to either blue1 red1 or yellow1 accordingly as the exigencies of the general colour scheme demanded4 ,this fact should always be kept in mind in considering the colour of any illuminated ,,ms4 ,this colouring is amusingly parodied by ,mr4 ,punch in his book of ,british costumes 7#ahfj74 ,he gives a fragment of a love song1 commonly believed to have been written by ,king ,vortigern1 who was inveigled into marriage with the daughter of old ,hengist3-- ,rowena is my ladye-love1 ,her robe itte is a gunna2 ,shee wears blewe haire her ears above1 ,o is shee notte a stunna6 ,he adds3 ,critics disagree as to the meaning of the word 'stunna1' but we incline1 ourselves1 to think it was a bit of ,saxon slang1 and from the context we imagine it was used by way of compliment4 ,illustration3 ,,treuthe',s ,,pilgryme ,,atte ,,plow4 ,from the ,,ms4 ,r4 #c1 #ad in the ,library of ,trinity ,college1 ,cambridge4 ,a development of the super-tunic was the surcoat1 which was worn by either sex during the thirteenth and fourteenth centuries4 ,it assumed a variety of forms1 and was either a long loose outer garment1 variously shaped and sleeveless1 or1 as during the reign of ,richard ,,ii41 was a shorter1 closely-fitting jacket or coat with sleeves1 and usually trimmed with miniver or other fur4 ,the surcoat1 or super-tunic1 during the ,anglo-,saxon period1 was worn by the nobility only1 and was therefore made of the most costly material1 of silk or of finest linen1 and often richly embroidered4 ,as a matter of fact1 embroidery always forms a conspicuous element in ,anglo-,saxon dress1 the ,anglo-,saxon women being famous for their skill with the needle4 ,we learn from ,eginhart that the four ,princesses1 daughters of ,edward the ,elder1 and sisters to thelstan1 were celebrated for their skill in spinning1 weaving1 and embroidering1 and ,editha1 the wife of ,edward the ,confessor1 was a perfect mistress of the needle4 ,illustration3 ,,anglo-,,saxon ,,dress 7,,eighth ,,century74 ,a somewhat remarkable feature of ,anglo-,saxon dress of the eighth century was the long super-tunic with long sleeves1 worn in travelling or during cold weather4 ,the sleeves not only cover the hands1 but reach considerably below the tips of the fingers4 ,the sleeves worn by the ,chinese mandarins at the present time are identical with the long sleeves of the ,anglo-,saxon period4 ,the tunic1 so far as women's dress is concerned1 may be said to have finally disappeared by the time of the ,tudors1 when a woman's dress consisted of kirtle or petticoat1 and bodice or stomacher4 ,indeed1 the tunic proper may be said to have disappeared with the general change which came about in costume immediately after the ,norman ,conquest1 the ,saxon word gunna and the ,norman surcoat better describing the dresses of that period4 ,the term tunic is also applied to the military surcoat of the present time1 this article of military costume1 however1 bearing no sort of affinity to the original tunic4 ,an important adjunct of the tunic was the girdle1 by which the garment was looped up and confined within reasonable limits4 ,in the case of the men1 as ,strutt observes1 it served a double purpose1 that of confining the tunic1 and supporting the sword4 ,girdles were of various kinds--a sash of silk or other materials2 or formed of leather1 either a simple thong or ornamented in various ways2 or of different cloths1 richly embroidered and studded with jewels2 or of metal4 ,the girdle of ,charlemagne was composed of gold and silver4 ,a girdel ful riche for the nanes ,of perry and of precious stanes4 ,ywaine and ,gawin4 ,the ,imperial girdle of the ,holy ,roman ,empire was woven in silk and gold1 having a woven inscription upon the narrow border1 and clasped by means of a heavy gilt buckle4 ,it is recorded that upon the return of ,henry ,,vi4 to ,england after his coronation in ,france in #adcb the ,lord ,mayor of ,london rode to meet him at ,eltham1 being arrayed in crimson velvet1 a great velvet hat furred1 a girdle of gold about his middle1 and a baldrick of gold about his neck trailing down behind him4 ,numerous fine examples of the girdle occur among the early brasses4 ,it was used also by both sexes for the purpose of suspending or sustaining the pouch or purse which was invariably worn during the ,middle ,ages1 as it was the only form of pocket-- ,and by his gurdil hyng a purs of lethir1 ,tassid with silk1 and perled with latoun4 ,miller's ,tale4 ,the name cut-purse applied to thieves is derived from the circumstance of the leather thongs which attached the pouch to the girdle being slit with a knife4 99 99 99 99 99 ,some few years ago a movement1 having its origin1 singularly enough1 in the ,united ,states1 above all places1 was instituted for the purpose of inducing the modern ,greeks to adopt the ancient costume of their forefathers1 several prominent ,americans masquerading in the streets of ,athens in tunic and peplum4 ,the only result of the movement was to create a diversion amongst the inhabitants1 who probably regarded their would-be instructors as harmless lunatics4 ,the result was1 indeed1 inevitable2 such sentimental movements are predestined to failure4 ,a national costume is of slow growth2 it is the natural outcome of the general habits1 mode of thought1 and temper of a people4 ,it is as impossible to bring about a sudden change in dress as it is to create a new style of architecture4 99 99 99 99 99 ,at the annual congress of ,prussian female elementary school teachers held recently at ,altona1 some interesting papers were read which are germane to this subject of costume1 and which serve to show that some of the continental peoples are more alive to the importance of this subject than we are4 ,we give a short rsum which appeared in the pages of the ,daily ,chronicle a short while ago4 ,the italics are ours4 ,school-,inspector ,muller urged the necessity of reform of children's clothes1 stating that the human body is a most magnificent work of art which is frequently maltreated with corsets and other tightly fitting garments4 ,fraulein ,lischnevska1 of ,spandau1 said a return must be made to the pure art of the ancient ,greeks4 ,during gymnastic exercises children must be naked1 and only immoral persons would regard this as immoral4 ,this remark was greeted with a storm of applause4 ,fraulein ,bertha ,jordan1 of ,mulhausen1 deplored the fact of people becoming so greatly estranged from art1 a circumstance which she ascribed to the degradation of work and the severance from nature1 both resulting from industrialism4 ,the remedy1 she considers1 lies with schools and school education1 and she argued that much can be done by a careful selection of pictures on the class-room walls1 by awakening faculties of observation in children and arousing their interest in nature which surrounds them4 ,,footnotes3 #f ,with the object of making more complete a work on ancient textile fabrics which the ,prussian ,government is issuing1 the sarcophagus at ,aix-la-,chapelle ,cathedral in which the remains of ,charlemagne rest has been opened1 and certain pieces of valuable silk have been extracted in order that they may be examined and photographed4 ,the great ,frankish ,emperor's bones were wrapped in these costly cloths4 ,one of them is ancient ,constantinople work1 the production of the celebrated ,imperial ,byzantine workshops1 and represents a brilliantly coloured surface with elephants embroidered in circles4 ,the other piece is believed to be of ,sicilian origin1 with a design of birds and hares4 ,charlemagne's bones are still intact1 with the exception of the skull and one arm1 which are in another part of the ,cathedral4 ,medical men who have examined these bones say that the ,emperor was a man of huge proportions4 ,the ,kaiser is greatly interested in the preparation of this work on ancient tissues1 and it was his ,majesty who induced the ,archbishop of ,cologne to consent to the opening of the sarcophagus4--,daily ,paper4 ,,iii ,,the ,,mantle ,the gret ,emetreus the ,kyng of ,ynde ,uppon a steede bay trapped in steel ,covered with cloth and of gold dyapred wel ,cam rydyng lyk the god of armes mars ,his coote armour was a cloth of ,tars ,cowched of perlys whyte round and grete ,his sadil was of brend gold newe bete ,a mantelet upon his schuldre hangyng ,bret-ful of ,rubies reed and fir sparclyng ,his crispe her lik rynges was i-ronne ,and that was yalwe and gliteryng as the sonne4 ,,chaucer1 ,the ,knight's ,tale4 ,illustration3 ,,the ,,coronation ,,mantle4 ,preserved in the ,imperial ,treasury in ,vienna4 ,,iii ,,the ,,mantle ,of the famous mantles recorded in history1 one of the first which will occur to the mind is that of ,elijah1 in which he hid his face when he stood in the cave at ,horeb1 and heard the still1 small voice1 which came after the fire1 which came after the earthquake1 which came after the great strong wind which rent the mountains1 and brake in pieces the rocks before the ,lord4 ,and afterwards1 when he found ,elisha the son of ,shaphat who was plowing with twelve yoke of oxen before him1 and he with the twelfth1 ,elijah passed by him and cast his mantle upon him4 ,and again1 on the shores of ,jordan1 ,elijah took his mantle1 and wrapped it together1 and smote the waters1 and they were divided hither and thither1 so that they two went over on dry ground4 4 4 4 4 4 ,and it came to pass as they still went on1 and talked1 that1 behold1 there appeared a chariot of fire1 and horses of fire1 and parted them both asunder2 and ,elijah went up by a whirlwind into heaven4 ,and ,elisha saw it1 and he cried1 ,my father1 my father1 the chariot of ,israel1 and the horsemen thereof4 ,and he saw him no more2 and he took hold of his own clothes1 and rent them in two pieces4 ,he took up also the mantle of ,elijah that fell from him1 and went back1 and stood by the bank of ,jordan4 4 4 4 4 4 ,and when the sons of the prophets which were to view at ,jericho saw him1 they said1 ,the spirit of ,elijah doth rest on ,elisha4 ,and they came to meet him1 and bowed themselves to the ground before him4 ,st4 ,martin1 ,bishop of ,tours1 soldier of ,god1 dividing his mantle with the beggar at the gates of ,amiens1 is one of many similar stories in the earlier history of the ,christian ,church4 ,it is a variation of the story of ,st4 ,christopher1 and is intended as a lesson in charity4 ,the legend recounts that ,christ appeared to him the following night covered with the half of his mantle4 ,what schoolboy but does not remember the story of ,raleigh's mantle1 which he cast into the mire in order that ,queen ,elizabeth's feet might not be soiled8 ,the night had been rainy1 and just where the young gentleman stood1 a small quantity of mud interrupted the ,queen's passage4 ,as she hesitated to pass on1 the gallant1 throwing his cloak from his shoulders1 laid it on the miry spot1 so as to ensure her stepping over it dryshod4 ,elizabeth looked at the young man1 who accompanied this act of devoted courtesy with a profound reverence1 and a blush that overspread his whole countenance4 ,the ,queen was confused1 and blushed in her turn1 nodded her head1 hastily passed on1 and embarked in her barge without saying a word4#g ,the mantle is the cloak or outermost covering to the body1 and was originally worn either when the weather was unpropitious1 or1 as occasion demanded4 ,the peplum of the ,greeks was1 in fact1 a mantle1 worn by both sexes1 and was occasionally very long1 passing twice round the body1 first underneath the arms and then over the shoulder4 ,in rainy or cold weather it was pulled over the head1 and also in times of mourning4 ,the peplum had no clasps or fastenings of any sort1 but was kept in its place by its own involutions1 of which the combinations were almost endless4 ,it will readily be understood that the natural foldings of drapery1 possessing in themselves so much variety and interest1 when thrown over a form so beautifully proportioned as is the human figure1 gave the utmost grace of line and form1 and this fact makes it all the more surprising that the natural foldings of drapery are not taken greater advantage of in modern dress4 ,the peplum was often diapered with sprigs1 spots1 stars1 or other patternings1 and was occasionally richly bordered4 ,the ,greeks also occasionally wore a shorter and simpler cloak1 called chlamys1 in lieu of the more ample peplum2 such a short mantle is the one which we see upon the shoulders of the ,apollo ,belvidere4 ,illustration3 ,,plan ,,of ,,the ,,toga4 ,the ,roman toga corresponded to the ,greek peplum1 but differed from it in shape1 and was more ample1 for while the peplum was square1 or rather oblong1 the toga assumed the form of two semicircles--a larger and a smaller one1 or1 more correctly speaking1 a semicircle and the smaller segment of a circle1 which was doubled over the semicircle before adjustment4 ,one end of the toga was then placed upon the left shoulder in such a position that the end or point just touched the ground1 the rest of the garment drawn round the back of the figure1 underneath the right arm1 and flung again over the left shoulder2 a sort of loop or bag was then drawn out at the waist in front and served as a pocket4 ,the toga measured #ah feet from tip to tip1 or three times the height of a man4 ,it was worn always over the tunic--at any rate during the later ,roman time4 ,horace1 in his fourth ,epode1 thus satirises an upstart3-- ,mark1 as along the ,sacred ,way thou flauntest1 ,puffing thy toga1 twice three cubits wide4 ,illustration3 ,,the ,,toga4 ,from ,hope's ,costume of the ,ancients4 ,the material of the toga was wool1 in the earlier time and for the common people2 afterwards silk and other materials were used1 coloured or bordered according to the rank or station of the wearer4 ,the mantle--that is1 the simple square or oblong cloak which was derived from the ,greek peplum--was worn in different ways from the ,roman period onwards1 either thrown loosely over the shoulders as was the peplum1 or fastened at the shoulder or breast by means of fibul1 rings1 or cords4 ,in a bas-relief found at ,autun and engraved in ,montfaucon1 an archdruid is represented with a long mantle reaching to the ground1 the ends drawn through a ring upon the left shoulder4 ,the large coronation mantle of the ,holy ,roman ,empire1 preserved in the ,imperial ,treasury at ,vienna1 is semicircular in shape1 of red silk1 richly embroidered in gold thread1 the outlines emphasised by rows of seed pearls4 ,the design1 which is divided in the middle by a representation of a palm tree1 figures on either side a lion springing upon a camel1 and is treated with that noble convention characteristic of early ,sicilian design4 ,on the border of the curved edge is worked an ,arabic inscription 7common in earlier ,sicilian fabrics71 stating that the robe was worked in the ,royal factory at ,palermo in #aacd4 ,one of the gifts which the five maidens present to ,beryn from ,duke ,isope is a purple mantle-- ,the thirde had a mantell of lusty fressh coloure ,the uttir part of purpell i-furred with peloure4 ,the ,tale of ,beryn4 ,the mantle was a distinguishing feature of the costume of the ,franks1 which was a variation of ,roman or classic dress1 i4e41 the loose tunic and mantle1 with the addition of hose or leg covering with cross gartering2 both tunic and mantle were often elaborately bordered in a style of ornament which strongly betrayed1 in fact1 was a development of1 ,byzantine influences4 ,king ,john of ,gascogny having been counselled by his barons to yield up to ,charlemagne the four sons of ,aymon1 after much sorrow1 summons his secretary--,come forth1 syre ,peter1 and write a letter from me to the ,kinge ,charlemagne1 as ,i shall telle you3 ,it is that ,i sende hym salutacyon wyth goode love1 and yf he wyll leve me my londe in peas1 ,i promyse hym that afore ten dayes ben paste1 ,i shall delyver unto hym the foure sones of ,aymon1 and he shall fynde theym in the playne of ,valcolours clothed with scarlette furred wyth ermynes1 and ridynge upon mewles1 berynge in theyr handes flowres and roses for a token1 bycause that men shall better knowe them4 ,charlemagne calls then his chamberlain--,make a lettre to ,kyng ,yon of ,gascoyne in my behalve4 ,wryte that ,i sende hym salutacyon and goode love1 and that yf he dooth for me as he sayth1 ,i shall encrease his royame wyth fourtene goode castelles1 and therof ,i gyve hym for surete our lorde and saynte ,denys of ,fraunce1 and that ,i sende hym four mauntelles of scarlette furred wyth ermynes1 for to clothe wythall the traytoures1 when they shall goo to the playne of ,valcoloures1 and there they shall be hanged1 yf ,god wyll4#h ,the ,venetian mantle which ,charlemagne wore was1 according to an early ,french writer quoted by ,strutt1 of a grey or blue colour4 ,it was quadrangular in its form1 and so doubled that when placed upon the shoulders it hung down as low as the feet before and behind1 but on the sides it scarcely reached to the knees4 ,in the ,anglo-,saxon dress of the earlier period1 the mantle is a simple square with a border on the outer side1 the two upper corners being gathered together at the shoulders and fastened with brooches connected by a chain4 ,it is an instance of a very decorative effect being produced by simple means4 ,the coronation mantle of ,edward the ,confessor was richly embroidered by his ,queen1 ,editha4 ,william of ,malmesbury mentions a mantle presented to ,henry ,i4 by ,robert ,bloet1 ,bishop of ,lincoln1 which was lined with black sables with white spots1 and cost #ajj1 a large sum in those days4 ,the mantle1 during the ,norman period1 underwent little change4 ,it was fastened1 either upon one of the shoulders1 generally the right1 or in front1 by means of fibul or pins of an ornamental character4 ,in the earliest sculptured effigies of ,english ,sovereigns which we possess1 those of ,henry ,i4 and his ,queen ,matilda at the west door of ,rochester ,cathedral1 the ,king is represented in a long dalmatic1 with a loose mantle thrown over his left arm4 ,the ,queen has a more formal mantle1 resting upon either shoulder1 the system of fastening of which is hidden by the two long plaits of hair which fall down on either side1 but which was probably some kind of ornamental strap4 ,the ordinary mantles of this period were often provided with a capa or cowl1 which was drawn over the head and frequently used in lieu of a hat4 ,illustration3 ,,statue ,,of ,,queen ,,matilda ,,at ,,rochester4 ,in the effigies of the ,plantagenet ,kings1 the mantles are generally of the long flowing character above described1 varied by rich borderings or embroiderings4 ,henry ,,ii41 however1 introduced a shorter mantle 7cloak of ,anjou71 from which circumstance he obtained the sobriquet of ,curt manteau4 ,the effigy of ,eleanor of ,castile1 his ,queen1 in the ,abbey of ,fontevraud in ,normandy1 shows a mantle embroidered with a powdering of gold crescents4 ,that of ,cur de ,lion1 in the same ,abbey1 has a square-bordered mantle fastened at the breast by a fibula at the upper corners4 ,the two lower corners are plainly shown in the statue folded over each other4 ,during the reign of ,henry ,,iii4 costume generally increased in splendour4 ,the effigy of this monarch1 however1 exhibits a loose plain mantle1 fastened by a fibula on the right shoulder1 the folds of the mantle hanging in a series of regular festoons over the front of the figure4 ,in the ,harleian ,,mss4 is a satirical ,latin ,song upon the ,tailors of this reign 7,henry ,,iii471 an ,english version of which is included in ,mr4 ,wright's ,political ,songs1 published by the ,camden ,society4 ,addressing the tailors1 it commences3-- ,i have said ye are gods2 why should ,i omit the service which should be said on festival days8 ,gods certainly ye are1 who can transform an old garment into the shape of a new one4 ,the cloth1 while fresh and new1 is made either a cape or mantle2 but1 in order of time1 first it is a cape1 after a little space this is transformed into the other3 ,thus ye change bodies4 ,when it becomes old1 the collar is cut off2 when deprived of the collar it is made a mantle3 ,thus in the manner of ,proteus are garments changed4 ,when at length winter returns1 many engraft immediately upon the cape a capuce2 then it is squared2 after being squared it is rounded1 and so it becomes an amice4 ,if there remain any morsels of the cloth or skin which is cut1 they do not want a use3 of these are made gloves4 ,this is the general manner1 they all make one robe out of another1 ,english1 ,germans1 ,french1 and ,normans1 with scarcely an exception4 ,thus cape is declined1 but mantel otherwise3 in the first year while it is fresh1 the skin and the cloth being both new1 it is laid up in a box2 when1 however1 the fur begins to be worn off1 and the thread of the seams broken1 the fur is clipped and placed on a new mantle1 until at last1 in order that nothing may be lost1 it is given to the servant for his wages4 ,illustration3 ,,lord ,,burleigh1 #aebj-aeih4 ,national ,portrait ,gallery4 ,photo by ,emery ,walker4 ,the vestments of the most noble ,order of the ,garter1 founded1 as every student of history knows1 in the reign of ,edward ,,iii41#i consisted originally of a mantle1 a tunic1 and capuchon1 of blue woollen cloth1 cut to the fashion of the period1 the knights differing only from the monarchs in respect of the tunic being lined with miniver instead of ermine4 ,all three garments were closely diapered or powdered with garters of gold1 the mantle having one larger than the rest on the left shoulder1 enclosing a shield1 ,argent1 with the cross of ,st4 ,george1 ,gules4 ,the vestments of this ,order have been constantly altered during different periods4 ,in the seventh year of ,richard ,,ii4 the surcoat or tunic was of violet in grain1 in the eleventh year white1 and in the twelfth and nineteenth of long blue cloth4 ,they were changed again to white in the first year of ,henry ,v41 another change to scarlet in the reign of ,henry ,,vi41 and afterwards back again to white4 ,the number of embroidered garters on the coat and chaperon were in this reign limited to #abj for a duke1 #aaj for a marquis1 #ij for an earl1 decreasing in the same ratio to #fj in the case of a knight bachelor4 ,the ,king's was unlimited2 on the surcoat and hood of ,henry ,,vi4 there were #agc4 ,the material of the mantle was changed to velvet during this reign1 lined with white damask or satin4 ,in the reign of ,henry ,,vii4 an important addition was made to the insignia of this ,order1 that of the collar4 ,the whole habit sent to the ,king of ,castile in the twenty-seventh year of this reign consisted of mantle1 kirtle1 hood and collar1 and was of purple velvet lined with silk or sarcenet1 the embroidered garters entirely disappearing4 ,the ,statutes of the ,order were reformed by ,henry ,,viii41 who also altered the dress to the fashion of the period4 ,the flat velvet hat or cap1 so familiar in ,holbein's portraits1 superseded the chaperon or hood1 which was1 however1 still worn hung or depending upon the shoulder1 and called the humerale4 ,both hat and surcoat were of crimson velvet4 ,the lesser ,george1 or jewel of the ,order1 was introduced during this reign1 suspended upon the breast by either a gold chain or riband1 which latter was black4 ,in the reign of ,elizabeth1 the flat hat gives place to one with a higher crown1 being more in keeping with the fashion of the time1 but no other alteration of the habit was made4 ,during the reign of ,charles ,,ii4 ostrich or heron plumes appear in the cap1 and the broad blue riband was worn over the left shoulder and under the right arm4 ,as at present worn1 the mantle is of purple velvet lined with taffetas1 bearing on the left shoulder the badge of the ,order1 viz41 a silver escutcheon charged with the red cross of ,st4 ,george and enriched with the garter and motto4 ,in chapters it is worn over the uniform or ,court dress4 ,the surcoat1 or short gown without sleeves1 is made of crimson velvet1 lined1 like the mantle1 with white taffetas silk4 ,the hood1 worn on the right shoulder of the mantle1 is made of the same velvet as the surcoat1 and lined with the same material4 ,matthew ,paris1 describing the solemnisation of the marriage of ,alexander ,,iii4 of ,scotland with the ,princess ,margaret1 sister of ,henry ,,iii41 says3-- ,there were great abundance of people of all ranks1 multitudes of the nobility of ,england1 ,france1 and ,scotland1 with crowds of ,knights and military ,officers1 the whole of them pompously adorned with garments of silk1 and so transformed with excess of ,ornaments that it would be impossible to describe their dresses without being tiresome to the reader1 though it would excite his astonishment4 ,upwards of one thousand ,knights on the part of the ,king of ,england attended the nuptials in vestments of silk1 curiously wrought in embroidery2 and these vestments on the morrow were laid aside2 and the same ,knights appeared in new robes of still more magnificent decoration4 ,the nobles of ,scotland and of ,france did not fall a whit below those of ,england in their show and parade4 ,the ,barons and the ,knights were habited in robes of divers colours2 sometimes they appeared in green1 sometimes in blue1 then again in grey1 and afterwards in scarlet1 varying the colours according to their fancies1 or the wills of the ladies to whom they had dedicated their amorous vows4 ,their breasts were adorned with fibul1 or brooches of gold2 and their shoulders with precious stones of great magnitude1 such as emeralds1 sapphires1 jacinths1 pearls1 rubies1 and other rich ornaments4 ,the ladies who attended had rings of gold1 set with topaz stones and diamonds1 upon their fingers2 their heads were adorned with elegant crests or garlands2 and their wimples were composed of the richest stuffs1 embroidered with pure gold1 and embellished with the rarest jewellery4 ,illustration3 ,,lodowick1 ,,duke ,,of ,,richmond ,,and ,,lennox4 ,engraved by ,j4 ,barr4 ,in an inventory of the wardrobe and jewels of ,henry ,v41 taken in #adbc at his decease1 mention is made of heukes of scarlet cloth and camlet1 and pilches of grey fur4 ,the word pilche is a corruption of the ,latin pelliceus1 or the ,saxon pylce1 and represented a coat of fur worn during cold weather4 ,the modern word pelisse used to describe a child's coat is derived from the same source4#aj ,after grete hete comith colde1 ,no man cast his pilche away4 ,,chaucer4 ,a farewell letter of ,bishop ,ridley 7,foxe's ,book of ,martyrs71 describing the sufferings of ,christ's true soldiers1 says3-- ,they were stoned1 hewn asunder1 tempted1 fell1 and were slain upon the edge of the sword2 some wandered to and fro in sheep's pilches1 in goats' pilches1 forsaken1 oppressed1 afflicted4 ,illustration3 ,,portion ,,of ,,the ,,picture ,,of ,,the ,,miracle ,,of ,,st4 ,,bernard4 ,by ,fiorenzo di ,lorenzo1 ,pinacoteca1 ,perugia4 ,in the inventory above referred to are mentioned1 gounes de noier damask1 furrez de sides de foynes et marterons4 ,the cost of these furs is also given--iii pares de foyns1 chascun cont' c4 bestes1 pris le pec' xd4 xiili4 xs41 the marteron being more costly4 ,the foyne appears to have been the same as the polecat or fitchet4 ,the pylce was in common use during the ,anglo-,saxon period1 and worn by all classes4 ,in ,michel's ,chroniques ,anglo-,normandes1 c4 #aahe1 is described a meeting on a little bridge near ,westminster between ,tosti1 ,earl of ,huntingdon1 and ,siward1 ,earl of ,northumberland4 ,the said ,earl approached so near to ,siward on the bridge that he dirtied his pelisse 7pelles7 with his miry feet2 for it was then customary for noblemen to use skins without cloth4 ,this evidently referring to a long mantle or cloak4 ,the ,anglo-,saxon ,chronicle mentions the great gifts and many treasures of skins decked with purple1 pelisses of marten skin1 weasel skin1 and ermine skin1 which ,king ,malcolm of ,scotland and his sister ,margaret gave to the ,conqueror in #ajgd4 ,during the general change which came about in costume in the reign of ,richard ,,ii4 a shorter mantle or cloak began to be worn1 which continued at intervals and under various forms until the universal adoption of coats at the close of the reign of ,charles ,,ii4 ,in the tempera painting of the miracle of ,st4 ,bernard by ,fiorenzo di ,lorenzo in the ,pinacoteca at ,perugia1 a young man is wearing a short cloak or mantle1 hanging in very formal folds from the shoulder and reaching a little below the middle4 ,the mantle is buttoned upon the right shoulder1 thus repeating the principle of the ,roman toga1 which leaves the right arm free4 ,a similar short cloak is figured in a copy of ,froissart's ,chronicles in the ,harleian ,,mss4 in the ,british ,museum4 ,there was a reason for the mantle being fastened upon the right shoulder2 it was that the right arm is the sword-arm4 ,this1 however1 does not apply to the toga1 which is the last garment that a man would fight in4 ,two other figures in the picture above mentioned are habited in long cloaks reaching to the feet1 with full sleeves2 the cloak of the dark figure lined and bordered with miniver1 and the other of a different fur4 ,these long robes with ample sleeves constantly occur in ,benozzo ,gozzoli's frescoes in the ,campo ,santo at ,pisa1 either flowing loosely or confined by a girdle1 and generally lined and bordered with miniver1 which appears to be a favourite enrichment with ,benozzo4 ,these garments are worn usually by more elderly persons4 ,in a small but extremely elaborate and beautiful picture by ,fra ,angelico1 in the ,convent of ,san ,marco at ,florence1 a figure appears habited in one of these long robes1 having openings for the sleeves of the under garment1 which are of a different material1 to pass through4 ,the dress is confined by a rich girdle4 ,during the reign of ,elizabeth the short cloak1 or cape cloak1 continued to be worn4 ,it reached scarcely below the waistbelt1 was provided with a collar1 which was often deep1 and was lined with silk or satin of a different colour to the outside1 often extremely rich4 ,here is a cloke cost fifty pound1 wife1 ,which ,i can sell for thirty when ,i have seen ,all ,london in't1 and ,london has seen me4 ,,ben ,,jonson1 ,the ,devil is an ,ass4 ,the ,spanish cloak was thrown loosely over the shoulders somewhat after the manner of the toga4 ,it was customary to wrap it around the left arm to serve as a shield in duels4 ,in the portrait of ,prince ,henry1 eldest son of ,james ,i4 7p4 #ajc71 the ,prince is figured as wearing a long mantle reaching to the knees4 ,it has a collar1 a richly jewelled border1 and is lined with silk damask4 ,the ,puritan cloak did not differ materially in shape from that worn by the ,cavaliers1 but1 like the rest of ,puritan dress1 was entirely bare of ornament3-- ,he was tall and fair1 and had plain but very good cloaths on his back 7,bunyan1 ,life of ,mr4 ,badman74 ,there are a number of references to dress in ,pepys's ,diary1 which covers a period of ten years1 #afei-fi4 ,under date ,july #a1 #affj1 he writes3 ,this morning came home my fine camlett cloak1 with gold buttons1 and a silk suit1 which cost me much money1 and ,i pray ,god to make me able to pay for it4 ,about this time a shorter cloak1 reaching to a little below the waist1 came into fashion4 ,on ,october #gth 7,lord's ,day7 of the same year1 #affj1 occurs the entry3 ,to ,whitehall on foot1 calling at my father's to change my long black cloake for a short one1 7long cloakes being now quite out71 but he being gone to church1 ,i could not get one4 ,illustration3 ,,prince ,,henry1 ,,eldest ,,son ,,of ,,james ,i4 ,under date ,october #bb1 #affc1 occurs an entry which refers to the material of the cloak4 ,the ,queen was ill of the spotted fever1 and1 upon hearing that she had grown worse1 he sends to his tailor to stop the making of his velvet cloak 7presumably coloured7 till ,i see whether she lives or dies4 ,the velvet1 however1 referred to the lining of the cloak1 which was often richer than the outside4 ,on the #bith of the following month 7the ,queen had recovered and was about again7 he dons his best black cloth suit1 trimmed with scarlet ribbon1 very neat1 and his cloak lined with velvet1 and a new beaver1 which altogether is very noble4 ,in the reign of ,william ,,iii4 the long skirted coats of the men1 with waistcoats reaching to the knees1 rendered any outer clothing unnecessary1 except for the coldest weather1 when long cloaks were worn1 together with muffs1 by the beaux4 ,muffs were at this period worn as commonly by men as by women1 and this fashion continued for nearly a century4 ,the beau with his muff is thus satirised in the comic opera ,lionel and ,clarissa1 by ,isaac ,bickerstaff1 c4 #agfh3-- ,a coxcomb1 a fop1 a dainty milk-sop2 ,who1 essenc'd and dizen'd from bottom to top1 ,looks just like a doll for a milliner's shop4 ,a thing full of prate1 and pride and conceit2 ,all fashion1 no weight2 ,who shrugs and takes snuff2 and carries a muff2 ,a minnikin1 finicking1 ,french powder-puff6 ,illustration3 ,,earl ,,of ,,rochester1 #afda-agaa4 ,kneller1 ,national ,portrait ,gallery4 ,photo by ,walker ,cockerell4 ,the mantle does not appear to have particularly excited the wrath of the satirists4 ,it is1 indeed1 so entirely reasonable a garment both for men and women1 that it is difficult to see how it could possibly provide material for satire4 ,broadly speaking1 there are three conditions necessary to beautiful dress1 namely1 beauty of material1 excellence of workmanship1 and variety of fold4 ,if ornament be introduced1 it should be of a good character1 and employed rather in accordance with those well understood laws of contrast than an indiscriminate covering of the whole field2 in fact1 this defeats its own purpose1 as richness of effect depends upon concentration1 as a painter focusses light1 colour1 or other interest in a particular part of his work and allows nothing to detract from it4 ,as a general rule1 plain spaces are best adapted for ornamentation1 although in the rich brocades of the fine periods the foldings of the material give an added richness and variety to the patterning4 ,the mantle1 therefore1 is usually bare of ornament or simply bordered1 except for occasions of high ceremony2 certainly plain if worn loosely1 and many foldings ensue2 and any richness of ornament is confined to the more closely fitting portions of the dress4 ,in a word1 the decorative conditions of dress are as well defined1 as absolute1 as in any other of the ornamental arts4 ,illustration3 ,,duke ,,of ,,buckingham4 ,,footnotes3 #g ,scott's ,kenilworth4 #h ,the ,four ,sons of ,aymon1 ,caxton's version4 #i ,this chivalrous monarch not only founded the ,order of the ,garter1 but even contemplated the revival of the ,round ,table4 #aj ,pilch or pilcher1 a scabbard1 a covering for the sword4 ,,iv ,,the ,,doublet ,,and ,,hose ,monsieur1 the ,king's elder brother1 has set up for a kind of wit2 and leans towards the ,philosophe side4 ,monseigneur d',artois pulls the mask from a fair impertinent2 fights a duel in consequence1--almost drawing blood4 ,he has breeches of a kind new in this world2--a fabulous kind1 'four tall lackeys1' says ,mercier1 as if he had seen it1 'hold him in the air1 that he may fall into the garment without vestige of wrinkle2 from which rigorous encasement the same four1 in the same way1 and with more effort1 have to deliver him at night4'--,,carlyle1 ,french ,revolution1 ,book ,,ii41 ,chap4 ,i4 ,illustration3 ,,italian ,,cassone 7,,fifteenth ,,century74 ,south ,kensington ,museum4 ,,iv ,,the ,,doublet ,,and ,,hose ,the absence of wrinkle or fold1 alluded to in the above quotation1 is commonly suggestive of the modern spirit in dress4 ,the first thing an artist does in painting a figure in hose is to indicate the little wrinkles or folds at the knee and ankle4 ,this1 as serving two purposes1 first as a decorative enrichment to the limb1 and secondly as indicating1 together with the colour of the material1 the fact that the limb is clothed4 ,there are1 however1 such things as fleshings1 which are made of some material possessing elasticity1 and so reducing the wrinkles and folds to a minimum2 but if there is one thing more than another which is characteristic of clothing or drapery1 it is its folds--their constant and endless change varying with every movement4 ,the ideal of modern tailoring appears to be something which shall have as near as possible the appearance of a deal board1 to eliminate as far as possible the foldings of drapery with their infinite variety and almost endless play of light and shade4 ,with the doublet and hose we deal with a comparatively recent period1 when dress generally assumed a more formal character1 and the loose tunic gave place to the more closely fitting doublet4 ,long before this1 however1 the sleeves had developed in various ways1 in strange and fantastic shapes4 ,in the reign of ,richard ,,ii4-- ,cut worke was great both in ,court and townes1 ,bothe in men's hoodes and also in their gownes1 ,broudur#aa and furre and goldsmith's worke all newe ,in many a wyse each day they did renewe4 ,,harding',s ,chronicle4 ,the tight sleeves of the reigns of the three ,edwards had given place to a sleeve of more ample proportions4 ,the monk of ,evesham speaks of pokys shaped like a bagpipe3 ,the devil's receptacles1 for whatever was stolen could be popped into them4 ,the cut work above alluded to was extremely fantastic1 the jagged edgings of the sleeves1 and1 indeed1 the rest of the costume1 taking the shape of the serrations of leaves1 as well as other ornamental devices4 ,in the reign of ,edward ,,iv4 the short jackets1 doublets1 or pourpoints1 were provided with closely fitting sleeves1 which were divided at the elbow and shoulder1 allowing the shirt or under-garment to appear as puffing1 tied with ribbons at these points1 and laced underneath up the whole length of the arm4 ,illustration3 ,,figure ,,from ,,the ,,miracle ,,of ,,st4 ,,bernard4 ,by ,fiorenzo di ,lorenzo1 ,pinacoteca1 ,perugia4 ,another development of the sleeve1 which lasted for a long period1 was the addition of an outer sleeve with a slit in the middle to allow of the arm with its tight sleeve being passed through1 the rest of the sleeve hanging down4 ,this was ornamented in a variety of ways1 either by edgings of fur or by embroidery4 ,hose1 that is1 the more or less tightly fitting nether garments1 be they breche1 hosen1 or what not1 have been worn from a very early period4 ,an illustration is given1 from ,hope's ,costume of the ,ancients1 of ,paris on ,mount ,ida1 in which he is figured as wearing a closely fitting garment which covers the whole body and limbs1 being buttoned all the way up the legs and arms2 a short tunic1 also buttoned up the front1 being worn over this dress4 ,a similar tightly fitting dress was1 in fact1 worn by the ,amazonian women4 ,the cross-gartering1 worn by the ,goths1 ,franks1 ,anglo-,saxons1 and other nations1 is referred to under the shoe1 of which it usually formed a part4 ,some kind of hose1 stockings1 or bandages was invariably worn underneath the gartering1 which often extended the whole length of the leg4 ,this cross-gartering probably originated with the practice among the peasants of enswathing the legs with hay-bands4 ,the short trouser of the ,normans1 or tunic and trouser in one1 with short sleeves attached1 of which so many examples occur in the ,bayeux tapestry1 is a garment which has puzzled many writers1 on account of the apparent difficulty of putting it on4 ,it appears to have been put on from below upwards1 by being drawn on the thighs1 and afterwards putting the arms in the sleeves4 ,in the illustration given of a similar dress 7p4 #aaf71 the metal plates or pieces of leather which serve as armour are added to the front of the dress only4 ,the cross-gartering in this instance would probably not reach above the knees4 ,illustration3 ,,paris ,,on ,,mount ,,ida4 ,from ,hope's ,costume of the ,ancients4 ,from the ,norman period onwards1 tight hose continued to be worn1 and presented little variation except in the matter of colour and material4 ,the parti-coloured hose of the ,plantagenet period and later called forth many strictures from the satirists and moralists1 chiefly clerical1 of the time4 ,the red side of a gentleman1 they declared1 gave them the idea of his having been half roasted1 or that he and his dress were afflicted by ,st4 ,anthony's fire6#ab ,illustration3 ,,anglo-,,saxon ,,retainer4 ,this parti-colouring presented many variations4 ,the legs were either plain1 dark and light alternately1 of various colours1 black and red1 black and yellow2 or a variation of one colour1 red1 yellow1 or grey1 as the case may be2 or one leg was striped in various ways2 or the parti-colouring would assume various forms1 as a zig-zag on the thigh1 or calf1 or both2 in fact1 the leg was regarded as a field for the dress designer to exercise his ingenuity in the matter of contrast1 upon the principle of what is known in ornament as counterchange4 ,in ,field's play of ,a ,woman is a ,weathercock1 #afab1 one of the characters exclaims1 ,indeed1 there's reason there should be some difference in my legs1 for one cost me twenty pounds more than the other4 ,at the beginning of the sixteenth century a new development appears1 which began as an upper garment reaching only to the knees1 also at this period called hose1 upper stocks1 and trawses1 which were puffed1 slashed1 and embroidered in various ways2 this was the precursor of the breeches1 or trunk-hose1 which by the end of the century had developed to such enormous proportions4 ,numerous examples of the slashed period will be found in the drawings by ,holbein and ,durer1 and the engravings by ,hans ,burgkmair4 ,the slashings1 which may be regarded as ornament in relief1 presented as many variations as did the flat ornament of the earlier period on the plain surface of the leg4 ,the garment was either slashed downwards1 horizontally1 or diagonally1 and occasionally slashed to such an extent that it appeared merely as a system of ribbons4 ,variety of colour was arrived at either by the under-garment1 stocking1 or hose being of a different hue to the upper2 or by a system of puffing1 in which another or third colour was introduced4 ,the puffing was also of a different material1 either of silk or other light material1 while the upper or slashing was of cloth or velvet4 ,it was an exceedingly rich1 ornate1 and fantastic period2 the jerkin1 or body garment1 together with the sleeves1 were also cut and slashed on the same principle as the lower garment1 or vice vers1 the slashings on the body usually appearing diagonally on either side4 ,in two female portraits1 however1 by ,holbein at ,basle1 the slashings appear perpendicularly underneath the breast1 the sleeve being slashed on the same principle4 ,the greatest richness of slashing always appears in the sleeve1 a common form being to slash the sleeve in ribbons1 which hang loose from the shoulder to the elbow4 ,in the instances of several of the foot soldiers in ,hans ,burgkmair's ,triumphs of ,maximilian1 the outer sleeve is simply cut to ribbons1 which stream loosely from the shoulder2 and it seems1 indeed1 a little curious that at present1 when all sorts of devices are employed for the purpose of producing variety1 that some fashion of this sort has not been adopted for women4 ,it represents1 however1 the most extreme development of the slash2 it would be impossible to carry the principle farther4 ,we now arrive at the period of the enormous trunk-hose1 temp4 ,elizabeth and ,james ,i41 of which an example of their highest development appears in the illustration of ,knightly ,pastimes--,hawking1 #aege1 and in which the middle of the body appears inflated like a balloon1 the bombasting of the breeches being carried to its utmost limit4 ,their gipcieres are well in evidence in each instance4 ,this article of costume was1 no doubt1 originally a game bag1 but was afterwards generally used as a pocket or pouch-- ,an anlas and a gipser al of silke ,heng at his gerdul white as morne mylke4 ,,chaucer4 ,illustration3 ,,knightly ,,pastimes3 ,,hawking1 #aege4 ,the trunk-hose are1 according to ,stubbes 7,anatomy of ,abuse71 of three kinds--the ,french1 the ,gallic1 and the ,venetian hosen4 ,the ,french hose are of two divers making2 the common sort contain length1 breadth1 and sideness sufficient1 and they are made very round2 the other sort contain neither length1 breadth1 nor sideness proportionable1 being not past a quarter of a yard on the side1 whereof some be paned or striped1 cut and drawn out with costly ornaments1 with canions adjoined1 reaching down beneath the knees4 ,the ,gallic hosen are made very large and wide1 reaching down to the knees only1 with three or four gardes apiece laid down along the thigh of either hose4 ,the ,venetian hosen reach beneath the knee to the gartering-place of the leg1 where they are tied finely with silken points1 and laid on also with rows or gardes1 as the other before4 ,and yet notwithstanding1 all this is not sufficient1 except they be made of silk1 velvet1 satin1 damask1 and other precious stuffs besides2 so that it is a small matter to bestow twenty nobles1 ten pounds1 twenty pounds1 forty pounds1 yea1 an hundred pounds1 upon one pair of breeches2 and yet this is thought no abuse neither4 ,it has been stated by various writers that silk hose1 i4e41 stockings of silk1 were unknown in ,england prior to the middle of the sixteenth century4 ,however this may be1 silk stockings were1 in the reign of ,edward ,,vi41 considered as a gift worthy of a king's acceptance2 it is recorded that ,sir ,thomas ,gresham 7whose portrait appears on p4 #aba7 presented this monarch with a pair of long ,spanish silk hose4 ,illustration3 ,,sir ,,thomas ,,gresham1 #aeai-aegi4 ,sir ,antonio ,more1 ,national ,portrait ,gallery4 ,photo by ,emery ,walker4 ,in the inventory of the wardrobe of ,henry ,,viii41 taken after his decease1 appears3 ,one pair of short hose1 of black silk and gold woven together2 one pair of hose1 of purple silk and ,venice gold1 woven like unto a cawl1 and lined with blue silver sarsenet1 edged with a passemain of purple silk and of gold1 wrought at ,milan2 one pair of hose of white silk and gold knit1 bought of ,christopher ,millener2 six pair of black silk hose knit4 ,we learn from ,stow that ,mistress ,montague1 the ,queen's silk-woman1 presented ,elizabeth with a pair of black knit silk stockings1 which pleased her so well1 that she would never wear any cloth hose afterwards4 ,the bombasting of the trunk-hose 7the word is usually applied to the doublet1 but may be applied equally well to the trunk-hose7 was effected by means of a stuffing of rags1 wool1 tow1 hair1 and even bran4 ,holinshed relates a story of a man who is said to have exhibited the whole of his bed and table furniture1 taken from these extensive receptacles4 ,the name trunk-hose would seem a peculiarly appropriate one6 ,the story is probably apocryphal 7although quite plausible7 of the young man who1 engaged in animated1 and apparently rather excited conversation with several ladies1 caught his trunk-hose in a nail1 and let out the bran1 the hose collapsing suddenly1 to the consternation of their wearer and the corresponding amusement of the ladies4 ,illustration3 ,,philip ,,ii4 ,,of ,,spain1 #aebg-aeih4 ,national ,portrait ,gallery4 ,photo by ,emery ,walker4 ,ben ,jonson1 ,every ,man out of his ,humour1 thus recounts a misfortune which happened to ,fastidio in a duel3 ,i had on a gold cable hatband1 then new come up1 of massie goldsmith's work1 which ,i wore about a murrey ,french hat1 the brims of which were thick embroidered with gold twist and spangles2 ,i had an ,italian cut-work band1 ornamented with pearls1 which cost three pounds at the ,exchange4444 ,he1 making a reverse blow1 falls upon my embossed girdle--,i had thrown off the hangers a little before2 strikes off a skirt of a thick satin doublet ,i had1 lined with four taffataes2 cuts off two panes of embroidered pearls2 rends through the drawings out of tissue2 enters the lining1 and skips the flesh2 and not having leisure to put off my silver spurs1 one of the rowels catched hold of the ruffle of my boot1 it being ,spanish leather1 and subject to tear2 overthrows me1 and rends me two pairs of stockings1 that ,i had put on being a raw morning--a peach-colour and another4 ,in the same play1 ,fungoso1 reckoning up the price of ,fastidio's dress1 says3 ,let me see2 the doublet--say fifty shillings the doublet--and between three and four pounds the hose1--then the boots1 hat1 and band2--some ten or eleven pounds will do it all4 ,by the year #aehc the trunks are rifled of their contents in order to provide stuffing for the doublet4 ,it will be noticed in the cut of knightly pastimes that the girdle meets at a point in front4 ,this shape was emphasised1 the doublet protruded in front1 and hung down for some distance1 and the peas-cod bellied doublet was developed4 ,we must again turn to our old anatomist ,stubbes3 ,certain ,i am there was never any kind of apparel invented that could more disproportion the body of a man than their doublets with great bellies do1 hanging down beneath the groin1 as ,i have said1 and stuffed with four or five1 or six pounde of bombast at the least4 ,i say nothing of what their doublets be made2 some of satin1 taffata1 silk1 grograine1 chamlet1 gold1 silver1 and what not2 slashed1 jagged1 cut1 carved1 pinched1 and laced with all kinds of costly lace of divers and sundry colours1 of all which1 if ,i could stand upon particularly1 rather time than matter would be wanting4 ,the peas-cod bellied doublet is still perpetuated in the person of our esteemed contemporary1 ,mr4 ,punch4 ,illustration3 ,,illustrissimi ,,generosissimique ,,pri4 ,,henrici ,,magn ,,britanni ,,et ,,hyberni ,,principis1 ,vera ,effigies4 ,,henry1 ,,prince ,,of ,,wales4 ,engraved by ,simon ,passe1 #afab4 ,an excellent example of the trunk-hose of the latter part of the reign of ,james ,i4 appears in the engraved portrait of ,henry1 ,prince of ,wales4 ,the hose consists of a series of richly embroidered straps discovering the silk or velvet trunk in the narrow intervals between4 ,with the reign of the martyr ,king ,charles1 both peas-cod bellied doublets and trunk-hose disappear1 and the costume of this period is strikingly picturesque4 ,charles was a man of cultivated taste1 and handsome to boot2 he undoubtedly influenced the costume of his time4 ,the earliest engraved portraits1 by ,francis ,delaram and ,william ,hole1 exhibit him in long1 loose breeches reaching to the knees1 with the doublet still pointed at the waist4 ,the more familiar costume of this monarch is1 however1 that which is seen in the various portraits by ,vandyke4 ,the costume of the ,cavaliers is well described in a little book on ,british costume published in the ,library of ,entertaining ,knowledge in #ahcd3 ,it consisted of a doublet of silk1 satin1 or velvet1 with large loose sleeves1 slashed up the front2 the collar1 covered by a falling band of the richest point lace1 with that peculiar edging now called ,vandyke2 a short cloak was worn carelessly on one shoulder4 ,the long breeches1 fringed or pointed1 as we have already mentioned1 met the tops of the wide boots1 which were also ruffled with lace or lawn4 ,a broad-leafed ,flemish beaver hat1 with a rich hatband and plume of feathers1 was set on one side of the head1 and a ,spanish rapier1 hung from a magnificent baldrick or sword-belt1 worn sashwise over the right shoulder4 ,we now arrive at the period of the dandiacal ,pepys1 who describes with great unction the various changes and details of his costume4 ,on ,september #ac1 #affj1 the ,duke of ,gloucester died of the small-pox by the great negligence of the doctors4 ,he was buried on the #bast at ,westminster1 and on the #bbnd our chronicler purchased a pair of short black stockings to wear over a pair of silk ones for mourning4 ,on ,april #bc1 #affa1 the occasion of the ,king's going from the ,tower to ,whitehall1 he rose with the lark1 made himself as fine as he could1 and put on his velvet coat1 the first day that he put it on1 though made half a year ago4 ,september #bith1 #affa4--,this day ,i put on my half cloth black stockings1 and my new coate of the fashion1 which pleases me well1 and with my beaver ,i was 7after office was done7 ready to go to my ,lord ,mayor's feast1 as we were all invited4 ,the long laced coats1 familiar during the latter part of the reign of the ,merry ,monarch and the succeeding reign1 had already come into vogue4 ,on ,may #aa1 #affb1 ,pepys repaired in the afternoon to ,whitehall1 and walked in the parke1 where he saw the ,king1 now out of mourning in a suit laced with gold and silver1 which it was said was out of fashion4 ,the costume of the masses during the ,commonwealth and ,restoration1 was the well-known knee breeches and stockings1 with doublet or jerkin4 ,in a poem called ,wit ,restored1 c4 #afeh1 is described the holiday dress of a countryman when courting3-- ,and first chill put on my ,zunday parell ,that's lac't about the ,quarters2 ,with a pair of buckram slopps1 ,and a vlanting pair of garters4 ,with a sword tide vast to my side1 ,and my grandfather's dugen and dagger1 ,and a peacock's veather in my capp1 ,then1 oh1 how ,i shall swagger6 ,about the year #afeh petticoat breeches crossed the silver streak from ,versailles1 and became the vogue at the ,court of ,charles ,,ii4 ,randal ,holme1 writing in #afei1 describes the dress as follows3--,a short-waisted doublet and petticoat breeches1 the lining being lower than the breeches and tied above the knees2 the breeches are ornamented with ribands up to the pocket1 and half their breadth upon the thigh2 the waistband is set about with ribands1 and the shirt hanging out over them4 ,the petticoat breeches were not ridiculous in themselves--the modern ,scotch kilt1 which is an extremely picturesque and even reasonable costume1 is made upon precisely the same principle2 it was the absurd lace ruffles1 which hung drooping below the knee1 which were worn with the petticoats during the earlier period1 and in which ,charles ,,ii4 is figured in ,heath's ,chronicle1 #affb1 which made the costume a banality4 ,the figure of the exquisite of #afgj from ,jacquemin wears the petticoat breeches1 but without the ruffles or frills at the knees4 ,it must be confessed1 however1 that the gentleman possesses a sufficiency of frill6 ,illustration3 ,,an ,,exquisite4 ,from ,jacquemin4 ,petticoat breeches had disappeared by the end of the reign of ,charles ,,ii41 and we have now to deal with another distinct change in the national costume4 ,in an inventory of apparel of ,charles ,,ii4 in #afgi appears a suit of clothes of one material1 and consisting of coat1 waistcoat1 and breeches4 ,william ,,iii4 is figured in #afid in a long laced coat with enormous sleeve cuffs1 the waistcoat almost as long as the coat1 with large flaps and pockets also richly laced1 the nether garments being knee breeches and stockings with buckled shoes1 the hat cocked according to the fancy of the wearer4 ,this coat1 indeed1 has1 with variations1 existed up to the present time4 ,the gold lacings1 the rows of buttons down the front1 the huge cuffs1 indeed1 have vanished2 but the modern coat is1 fundamentally1 the same as its earliest prototype4 ,the two buttons at the back1 which now serve no purpose other than an ornamental one1 once buttoned up the flaps1 and constitute the last remains of the coat's former glories4 ,towards the middle of the eighteenth century the coat fits tightly to the body1 the skirts being long and ample1 and made to stand out stiffly by being lined with buckram2 the large ,kevenhuller hat has given place to one of much more moderate proportions4 ,illustration3 ,,philippe ,,de ,,vend,,me1 ,,grand ,,prieur ,,de ,,france4 ,from an old print in the ,british ,museum4 ,the fop of the day is thus ridiculed by ,diana in the play of ,lionel and ,clarissa1 by ,isaac ,bickerstaff1 #agfh3-- ,ladies1 pray admire a figure1 ,fait selon le dernier gout4 ,first1 his hat1 in size no bigger ,than a ,chinese woman's shoe2 ,six yards of ribbon bind ,his hair en baton behind2 ,while his foretop's so high1 ,that in the crown he may vie ,with the tufted cockatoo4 ,then his waist so long and taper ',tis an absolute thread-paper3 ,maids1 resist him1 you that can4 ,odd's life1 if this is all th' affair1 ,i'll clap a hat on1 club my hair1 ,and call myself a man4 ,the short hair and large bishop's sleeves of the clergy are satirised in the same play3-- ,lauk6 ,madam1 do you think1 when ,mr4 ,lionel's a clergyman1 he'll be obliged to cut off his hair8 ,i'm sure it will be a thousand pities1 for it is the sweetest colour6 and your great pudding-sleeves1 ,lord6 they'll quite spoil his shape1 and the fall of his shoulders4 ,well1 ,madam1 if ,i was a lady of large fortune1 ,i'll be hanged if ,mr4 ,lionel should be a parson1 if ,i could help it4 ,,footnotes3 #aa ,embroidery4 #ab ,fairholt1 ,costume in ,england4 ,v ,,the ,,kirtle ,,or ,,petticoat ,falstaff4 ,what trade art thou1 ,feeble8 ,feeble4 ,a woman's tailor1 sir4 ,shallow4 ,shall ,i prick him1 sir8 ,falstaff4 ,you may2 but if he had been a man's tailor he would have pricked you--,wilt thou make as many holes in an enemy's battle1 as thou hast done in a woman's petticoat8 ,feeble4 ,i will do my good will1 sir2 you can have no more4 ,falstaff4 ,well said1 good woman's tailor6 well said1 courageous ,feeble6 ,thou wilt be as valiant as the wrathful dove1 or most magnanimous mouse--,prick the woman's tailor well1 ,master ,shallow2 deep1 ,master ,shallow4 ,v ,,the ,,kirtle ,,or ,,petticoat ,the kirtle or petticoat is in reality a development of the tunic4 ,it is the tunic which has become a closely fitting bodice1 with long draperies1 more or less formal1 attached4 ,the names of the different portions of dress have at different periods varied almost indefinitely4 ,the first item of the habit of the ,order of the ,garter is successively described as tunic1 coat1 surcoat1 and kirtle4 ,the kirtle1 therefore1 takes up the story of costume from the time when the loose tunic gave place to a more formal attire--broadly speaking1 from the ,norman ,conquest4 ,during the eleventh century1 however1 woman's dress was still the loose tunic1 the principal change being in the remarkable development of the sleeves1 which1 although close fitting along the whole length of the arm1 either had an extraordinary attachment at the wrist in the form of a bag or pouch1 or were abnormally extended and widened at the wrist and tied in knots to avoid treading on them4 ,this fashion is satirised in the figure of the devil from the ,cotton ,,mss41 given in the introductory chat of this work4 ,in the ,romaunt of the ,rose1 written at the close of the thirteenth century1 ,john de ,meun relates the story of ,pygmalion1 representing him as adorning the statue he had created with a succession of the garments of the fashion of the period of the poem1 with the purpose of discovering which became her best3--,he clothed her in many guises2 in robes1 made with great skill1 of the finest silk and woollen cloths2 green1 azure1 and brunette1 ornamented with the richest skins of ermines1 minivers1 and greys3 these being taken off1 other robes were tried upon her1 of silk1 cendal1 mallequins1 mallebruns1 satins1 diaper1 and camelot1 and all of divers colours4 ,thus decorated1 she resembled a little angel2 her countenance was so modest4 ,then1 again1 he put a wimple upon her head1 and over that a coverchief1 which concealed the wimple1 but hid not her face4 ,all these garments were then laid aside for gowns1 yellow1 red1 green1 and blue2 and her hair was handsomely disposed in small braids1 with threads of silk and gold adorned with little pearls1 upon which was placed1 with great precision1 a crestine2 and over the crestine1 a crown or circle of gold1 enriched with precious stones of various sizes4 ,her little ears were decorated with two beautiful pendants of gold1 and her necklace was confined to her neck by two clasps of gold4 ,her girdle was exceedingly rich1 and to it was attached an aulmoniere1 or small purse1 of great value4 ,in the reign of ,edward ,,iii4 the close-fitting bodice appears1 with the girdle over the hips1 the sleeves either tight or provided with an upper sleeve with long tippets or streamers from the elbow4 ,later a kind of spencer#ac jacket1 or waistcoat1 was worn1 faced and bordered with miniver or other fur4 ,these spencer-like jackets lasted for a considerable period4 ,an example appears in the effigy of ,joan of ,navarre1 ,queen of ,henry ,,iv4 ,a similar jacket again appears in the reign of ,henry ,,vi4 ,illustration3 ,,the ,,close ,,fitting ,,jacket4 ,,temp4 ,,edward ,,iii4 ,the ,italian cassone1 or marriage chests1 of the fourteenth and fifteenth centuries1 furnish us with many examples of graceful dresses of a character peculiar to that period and nation1 but which fashion obtained to some extent elsewhere2 a good deal of the grace of these things is due1 however1 to the fine convention adopted in the work of this period4 ,a feature of this dress is the long wide sleeves streaming from the shoulders1 part sleeve and part cloak4 ,the illustration which forms the heading of ,chat ,,iv4 will serve to give some idea of this dress4 ,at the commencement of the ,tudor period the costume of the ladies is still that of the period of high head-dresses of the middle of the century4 ,the waist is still high and narrow1 the gown long1 ample and flowing1 often edged with fur1 and with fur collar and cuffs4 ,by the end of the reign of ,henry ,,viii41 however1 costume had undergone a marked change4 ,the waist suddenly drops1 the stomacher appears1 together with the bell-shaped open gown1 with richly embroidered petticoat1 which lasted for a considerable time--to the time of ,charles ,i41 in fact4 ,both cut gown and inner petticoat were ornamented1 either by woven patterns or embroidery1 the richest ornaments being reserved for the petticoat2 the turnovers or collars of the skirts being plain1 in contrast to the rich ornaments of the upper surface4 ,an interesting portrait of ,queen ,mary 7,red ,mary7 by ,lucas de ,heere1 in the possession of ,sir ,william ,quilter1 was recently shown at the exhibition at the ,guildhall of the works of ,flemish painters4 ,she wears a black dress with stiffened collar behind1 ornamented with gold embroidery1 open at the neck1 disclosing a pink bodice also richly embroidered1 the sleeves furred at the elbows4 ,the era of petticoat inflation began about this time2 it was such a remarkable development that the consideration of it is reserved for a separate chat4 ,in ,holinshed's ,chronicle1 #aegg1 appears an amusing cut of ,makbeth and ,banquho met by the iij weird ,sisters or ,feiries4 ,makbeth is figured as wearing an astonishing ,life ,guard helmet and plume4 ,the iij weird ,feiries are fascinating creatures1 gaily dressed in ornamented kirtles1 with panniers1 puffed sleeves and shoulders1 and1 in one instance1 with a remarkable peaked turban with streamer on her head4 ,illustration3 ,a ,,lady ,,of ,,basle4 ,holbein4 ,the dress of the ,tudor period was magnificent beyond description4 ,in a wardrobe account of ,henry ,,viii41 seven yards of purple cloth-of-gold damask is apportioned for a kirtle for ,catherine of ,arragon4 ,as in the case of the men1 the sleeves were invariably the richest portion of women's dress4 ,amongst the inventories of this reign we find3 three pair of purple satin sleeves for women2 one pair of linen sleeves1 paned with gold over the arm1 quilted with black silk1 and wrought with flowers between the panes and at the hands2 one pair of sleeves of purple gold tissue damask wire1 each sleeve tied with aglets of gold2 one pair of crimson satin sleeves1 four buttons of gold being set on each sleeve1 and in every button nine pearls4 ,this extravagance was more than continued during the reign of ,elizabeth4 ,it is thus satirised by ,beaumont and ,fletcher in ,four ,plays in ,one4 ,i went then to ,vanity1 whom ,i found ,attended by an endless troop of taylors1 ,mercers1 embroiderers1 feather-makers1 fumers2 ,all occupations opening like a mart1 ,that serve to rig the body out with bravery2 ,and through the room new fashions flew like flies1 ,in thousand gaudy shapes2 ,pride waiting on her1 ,and busily surveying all the breaches ,time and decaying nature had wrought in her1 ,which still with art she piec'd again1 and strengthened4 ,i told your wants2 she shew'd me gowns and headtires1 ,embroider'd waste coats1 smocks seamed through with cut-work1 ,scarfs1 mantles1 petticoats1 muffs1 powders1 paintings1 ,dogs1 monkies1 parrots2 all of which seem'd to show me ,the way her money went4 ,the beauties of the ,court of the ,merry ,monarch are made familiar to us by the pencil of ,sir ,peter ,lely4#ad ,the age was distinguished in the case of the women not so much for the magnificence of its costume as for the scantiness of it4 ,it was to a certain extent a return to the simplicity of ,nature6 ,if1 says ,addison1 writing in the ,spectator1 we survey the pictures of our great-grandmothers in ,queen ,elizabeth's time1 we see them clothed down to the very wrists1 and up to the very chin4 ,the hands and face were the only samples they gave of their beautiful persons4 ,the following age of females made larger discoveries of their complexion4 ,they first of all tucked up their garments to the elbow1 and1 notwithstanding the tenderness of the sex1 were content for the information of mankind to expose their arms to the coldness of the air1 and injuries of the weather4 ,they affected a mean between dress and nakedness1 which occasioned the publication of a book entitled ,a ,just and ,seasonable ,reprehension of ,naked ,breasts and ,shoulders1 with a preface by ,richard ,baxter1 temp4 ,charles ,,ii4 ,herrick's lines may be said to foreshadow the period3-- ,a sweet disorder in the dress ,kindles in clothes a wantonness2 ,a lawn about the shoulders thrown ,into a fine distraction2 ,an erring lace1 which here and there ,enthrals the crimson stomacher2 ,a cuff neglected1 and thereby ,ribbons to flow confusedly2 ,a winning wave1 deserving note ,in the tempestuous petticoat4 ,a careless shoe-string1 in whose tie ,i see a wild civility2-- ,do more bewitch me1 than when art ,is too precise in every part4 ,the remarks of our diarist ,pepys on the subject of dress are always entertaining1 although he displays perhaps less interest in his wife's dresses than in his own4 ,april #aeth1 #affb4--,with my wife1 by coach1 to the new ,exchange1 to buy her some things2 where we saw some new-fashion petticoats of sarcanett with a black broad lace printed round the bottom and before1 very handsome1 and my wife had a mind to one of them4 ,illustration3 ,,the ,,children ,,of ,,charles ,i4 ,after ,vandyck4 ,engraved by ,sir ,robert ,strange4 ,his wife's dressmaker's bill is apparently a much less serious item than his own dress expenses1 which is perhaps the reverse of the present order of things4 ,october #cjth1 #affc4--,to my great sorrow find myself #dc worse than ,i was the last month4444 ,but it hath chiefly arisen from my layings-out in clothes for myself and wife2 viz41 for her about #ab1 and for myself #ee--or thereabouts1767 having made myself a velvet cloak1 two new cloth skirts1 a new shag gown1 trimmed with gold buttons and twist1 with a new hat1 and silk tops for my legs1 and many other things1 being resolved1 henceforward1 to go like myself76674 ,march #bnd1 #affi4--,my wife this day put on her first ,french gown1 called a ,sac1 which becomes her very well4 ,may ,day of the same year3 ,my wife extraordinary fine with her flowered tabby gown that she made two years ago1 now laced exceeding pretty2 and indeed was fine all over4 ,and mighty earnest to go1 though the day was very lowering2 and she would have me put on my fine suit--which ,i did7674 ,a certain affectation by the ladies of male costume made its appearance towards the close of the century4 ,laced and buttoned coats and waistcoats were worn1 together with a smartly cocked hat surmounted with a feather4 ,it also appeared earlier1 during the reign of ,elizabeth1 and was satirised by ,stubbes1 and later1 in the ,spectator1 by ,addison4 ,we picture ,die ,vernon in a habit of this kind1 which was chiefly worn for riding1 but also for walking4 ,fielding describes the appearance of ,sophia ,western at the inn at ,upton in a similar habit4 ,illustration3 ,,miss ,,lewis4 ,engraved by ,james ,macardell4 ,the rigidity of the bodice at the commencement of the ,hanoverian period was an echo of an earlier time1 when ,good ,queen ,bess strutted it in wheeled farthingale4 ,it was strongly fortified with whalebone strips1 and formed a ,v in front4 ,one of the chief characteristics of the dresses of this period was the naturalistic floral patternings1 which were seen everywhere1 and even invaded the dress of the men1 whose waistcoats were gay with embroidered flowers4 ,this floral patterning was the outward and visible sign of the general interest which was then taken in natural form4 ,linnus1 at ,upsala1 was propounding his botanical system2 gardening was generally popular4 ,mrs4 ,delany thus describes a dress which she saw at ,court in ,february1 #agda1 and which is sufficiently indicative of the generally prevailing taste3 ,the ,duchess of ,queensberry's clothes pleased me best2 they were white satin embroidered--the bottom of the petticoat brown hills covered with all sorts of weeds1 and every breadth had an old stump of a tree that ran up almost to the top of the petticoat1 broken and ragged and worked with brown chenille1 round which twined nastersians1 ivy1 honeysuckles1 periwinkles1 convolvuluses1 and all sorts of twining flowers1 which spread and covered the petticoat2 vines with the leaves variegated as you have seen them by the sun1 all rather smaller than nature1 which makes them look very light2 the robings and facings were little green banks with all sorts of weeds2 and the sleeves and the rest of the gown loose1 twining branches of the same sort as those on the petticoat4 ,many of the leaves were finished with gold1 and part of the stumps of the trees looked like the gilding of the sun4 ,illustration3 ,,the ,,gamut ,,of ,,love4 ,from an engraving after ,watteau4 ,the quilted petticoat with figured panniers which is associated with the name of ,dolly ,varden is a charming dress of the rustic or idyllic sort4 ,like the rigid bodice1 it was a development of the dress of an earlier period2 it was1 in fact1 the stiff outer kirtle of the ,elizabethan and ,stuart periods looped up in folds4 ,the fashionable luxuries of the latter half of the eighteenth century are thus commented upon in the ,london ,magazine of ,february1 #aggc3-- ,the modes of dress1 as well as those of house-keeping1 are articles of incredible expense4 ,here the ladies are beyond description extravagant4 ,they have spring and summer1 autumn and winter silks2 brocades1 gold and silver stuffs2 some of which are bought at the enormous price of thirty guineas a yard4 ,the birthday suit is never worn a second time4 ,their heads are adorned with ,dresden and ,mechlin lace1 enriched with jewels of immense value3 large estates hang upon their ears4 ,how brilliant are their diamond necklaces and stomachers1 their watches1 and other trinkets6--their very buckles are set with pearls and precious stones4 ,a character in ,bon ,ton2 or1 ,high ,life ,above ,stairs1 by ,david ,garrick1 #agge1 exclaims3-- ,this fellow would turn rake and maccaroni if he was to stay here a week longer--bless me1 what dangers are in this town at every step6 ,o1 that ,i were once settled safe again at ,trotley-place6--nothing to save my country would bring me back again3 my niece1 ,lucretia1 is so be-fashioned and be-devilled1 that nothing1 ,i fear1 can save her2 however1 to ease my conscience1 ,i must try2 but what can be expected from the young women of these times1 but sallow looks1 wild schemes1 saucy words1 and loose morals6--they lie a-bed all day1 sit up all night2 if they are silent they are gaming2 and if they talk1 'tis either scandal or infidelity2 and that they may look what they are1 their heads are all feather1 and round their necks are twisted rattlesnake tippets--,o tempora1 ,o mores6 ,in the ,lady's ,magazine for ,april1 #aghb1 the following announcement of fashionable dress at ,paris is given3-- ,the ,queen of ,france has appeared at ,versailles in a morning dress that has totally eclipsed the leve robe1 and is said to be the universal rage4 ,the robe is made of plain sattin1 chiefly white1 worn without a hoop1 round1 and a long train4 ,it is drawn up in the front1 on one side1 and fastened with tassels of silver1 gold1 or silk1 according to the taste of the wearer2 and this discloses a puckered petticoat of gauze or sarsenet1 of a different colour4 ,the sleeves are wide and short1 drawn up near the shoulder with small tassels1 or knots of diamonds2 under sleeves of the finest cambrick1 full plaited1 and trimmed at the elbow with ,brussels or point1 give infinite charms to the whole4 ,the fastening of the waist is not straight down the stays1 but gently swerved1 and trimmed with narrow fur1 as is the bottom of the robe4 ,a round pasteboard hat1 covered with the same sattin1 and without any other ornaments than a diamond buckle1 or an embroidered one1 finishes the dress1 which1 it is said1 will be worn through the summer1 made of lighter materials4 ,the ,french ,revolution was productive of many things--not the least of which was the change it brought in the matter of dress4 ,the revival of classicism in costume during the ,empire1 which was to a great extent due to the influence of the painter ,david1 was an echo of the earlier classic revival in architecture1 mainly represented in this country by the work of the brothers ,adam1 who designed1 as well as architecture1 carriages1 furniture1 plate1 and even a sedan chair for ,queen ,charlotte4 ,with the advent of the ,revolution the fashion suddenly changes4 ,the oft-quoted couplet-- ,shepherds1 ,i have lost my waist2 ,have ye seen my body8 a parody on a popular song1 ,the ,banks of ,banna--expresses the disappearance of that portion of the body1 which had previously been absurdly long4 ,the ample flowered skirts of the middle of the century gave place to light gauze clinging coverings which exhibited as much of ,nature's form as was--desirable4 ,the merveilleuses appeared in gossamer gowns1 slit from the hips and buttoned at the knees after the fashion of the ,macedonian girls alluded to in a previous chat1 the legs encased in fleshings4 ,behold her1 that beautiful citoyenne1 in costume of the ancient ,greeks1 such ,greek as painter ,david could teach2 her sweeping tresses snooded by glittering antique fillet2 bright-dyed tunic of the ,greek woman2 her little feet naked as in antique statues1 with mere sandals and winding strings of riband--defying the frost4#ae ,illustration3 ,,madame ,,de ,,mouchy1 ,,in ,,ball ,,dress4 ,engraved by ,pierre-,louis ,surugue4 ,english ,costume from ,pocket-books1 #agii1 tells of a ,russian officer1 who1 having been accustomed at home to estimate the rank of a lady by the warmth of her clothing1 offered a woman of fashion a penny1 in ,bond ,street1 under the impression that from her nakedness she must be a pauper6 ,illustration3 ,,walking ,,dress1 #ahaj4 ,the ,empire gown is figured in the illustration of a walking dress1 #ahaj4 ,it lasted practically until the advent of the crinoline in the forties1 when it finally disappeared4 ,there has been recent talk of its revival1 but dancing men are found to be opposed to it1 if for no other reason than the difficulty of knowing where to place their arms2 and dancing men are apparently a necessity4 ,the really fashionable people are those who are not in the fashion4 ,this may at first sight seem a paradox1 but a moment's consideration will be sufficiently convincing4 ,the ,empress of ,germany gives an order to her dressmaker for four dresses1 on the strict understanding that no others are to be made like them 7vide daily paper74 ,this is the genuine woman of fashion4 ,the people who are in the fashion are the sheep4 ,bell-wether takes the leap and they all jump over4 ,in other words1 there can be no really beautiful dress unless the spirit of individualism is fostered4 ,dress should express the wearer and provide an index as to character4 ,indeed1 it does1 as the spectacle of a woman or a man following blindly the dictates of fashion is sufficient evidence that he or she possesses no character at all4 ,there is also a manner of dressing and of wearing1 a certain elegance that distinguishes people of taste from the vulgar1 which gives each portion of the dress its due importance1 and imparts a harmony to the whole1 as in the composition of a picture1 which weaves every detail into one design and impresses the beholder as a masterpiece4 ,illustration3 ,,promenade ,,costume1 #ahcc4 ,moreover1 there is a charm and piquancy of manner quite apart from the dress itself1 or even the personal beauty of the wearer1 which distinguishes the fascinating woman4 ,a character in ,the ,belle's ,stratagem exclaims--with what degree of truth the reader himself must determine3 ,pho6 thou hast no taste6 ,english beauty6 'tis insipidity3 it wants the zest1 it wants poignancy1 ,frank6 ,why1 ,i have known a ,frenchwoman1 indebted to ,nature for no one thing but a pair of decent eyes1 reckon in her suit as many counts1 marquisses1 and petits matres1 as would satisfy three dozen of our first-rate toasts4 ,i have known an ,italian marquizina make ten conquests in stepping from her carriage1 and carry her slaves from one city to another1 whose real intrinsic beauty would have yielded to half the little grisettes that pace your ,mall on a ,sunday4 ,illustration3 ,,paris ,,evening ,,dress1 #ahcc4 ,,footnotes3 #ac ,the term spencer is a modern one1 and is said to originate from an accident to ,lord ,spencer1 in which he lost his coat-tails during a hunt1 temp4 ,george ,,iii4 #ad ,this day ,i did first see the ,duke of ,york's room of pictures of some ,maids of ,honour1 done by ,lilly2 good1 but not like4--,pepys's ,diary4 #ae ,carlyle4 ,,vi ,,the ,,rise ,,and ,,fall ,,of ,,the ,,crinoline ,for ,i will goe frocked and in a ,french hood1 ,i will have my fine cassockes and my round verdingale4 ,booke of ,robin ,conscience4 ,illustration3 ,,the ,,crinoline4 ,from ,jacquemin4 ,,vi ,,the ,,rise ,,and ,,fall ,,of ,,the ,,crinoline ,fielding1 in his description of the beauty and many graces of ,sophia ,western1 feeling his subject to be more than ordinarily sublime1 introduces his heroine with the utmost solemnity1 with an elevation of style1 and all the other circumstances proper to raise the veneration of the reader3 ,hushed be every ruder breath4 ,may the heathen ruler of the winds confine in iron chains the boisterous limbs of noisy ,boreas1 and the sharp-pointed nose of bitter-biting ,eurus4 ,do thou1 sweet ,zephyrus1 rising from thy fragrant bed1 mount the western sky and lead on those delicious gales1 the charms of which call forth the lovely ,flora from her chamber1 perfumed with pearly dews1 when on the first of ,june1 her birthday1 the blooming maid1 in loose attire1 gently trips it over the verdant mead1 where every flower rises to do her homage1 until the whole field becomes enamelled1 and colours contend with sweets which shall ravish her most4 ,so charming may she now appear2 and you1 the feathered choristers of nature1 whose sweetest notes not even ,handel can excel1 tune your melodious throats to celebrate her appearance4 ,from love proceeds your music1 and to love it returns4 ,awake1 therefore1 c4 ,if one were fortunate enough to possess the power of description and imagination of a ,fielding1 methinks the crinoline would provide a sufficiently inspiring theme4 ,it has been said that ,milton was a man from his birth4 ,the crinoline1 like ,milton1 is an exception to every law of development4 ,it had1 like ,milton1 neither infancy nor adolescence1 but sprang full armed1 like ,athene from the brain of ,zeus1 or perhaps1 like ,topsy in ,uncle ,tom's ,cabin1 it never was born1 but just growed--and it grew--like a mushroom 7which indeed in form it somewhat resembles71 in a night4 ,or1 to adopt yet another comparison1 like the sun1 which bursts in the morning suddenly in its full refulgence1 is obscured for a time by clouds1 to blaze again in unabated splendour1 and in its turn is again obscured1 but only to reappear in glorious sunset4 ,the crinoletta1 which followed1 may be described as the twilight or sweet afterglow--beautiful1 tender as the blush on a maiden's cheek1 and almost as evanescent1 but with none of the glory of the preceding day4 ,illustration3 ,,queen ,,charlotte4 ,after ,gainsborough4 ,in the charming passage from ,fielding above quoted1 ,love1 it will be seen1 figures as the presiding spirit4 ,this is peculiarly appropriate to the present subject1 for1 be it known1 ,dan ,cupid begat the crinoline4 ,it is said to have been originally invented for the purpose of concealing the illicit amours of a ,princess of ,spain2 but singularly enough1 and in a sort of contradictory spirit1 is first identified with the august person of the ,maiden ,queen4 ,the earlier portraits of ,elizabeth exhibit her in a dress similar to that of her sister and predecessor1 and in an interesting portrait of ,catherine ,parr at ,glendon ,hall1 ,northamptonshire1 this ,queen appears in a richly embroidered petticoat widened at the base4 ,a similar petticoat or kirtle1 widened a little at the hips1 is shown in the portrait of ,mary1 ,queen of ,scots1 with ,darnley 7p4 #afi74 ,the hooped petticoat or vardingale1 however1 appears only in the later portraits of ,elizabeth4 ,in the famous print by ,william ,rogers1 of which a reproduction is given1 she is figured in the great ruff with which she is most identified1 the interminable stomacher1 and the enormous wheel farthingale1 with1 as ,walpole observes1 a bushel of pearls bestrewed over the entire figure2 she also wears a long light mantle edged with lace1 a portentous collar1 also edged with lace1 expanding like wings on either side of the head4 ,she carries the ball and sceptre in her hands4 ,illustration3 ,,queen ,,elizabeth4 ,from an engraving by ,william ,rogers4 ,the legend at the foot of the plate runs as follows3-- ,the admired ,empresse through the worlde applauded ,for supreme virtues rarest imitation1 ,whose ,scepters rule fame's loud-voyc'd trumpet lawdeth ,into the eares of every forraigne nation4 ,cannopey'd under powerfull angells winges ,to her ,immortall praise sweete ,science singes4 ,the great wheel farthingale was worn by the nobility during the latter half of the reign of ,elizabeth1 and during the whole of the succeeding reign4 ,the engraving by ,renold ,elstracke of ,james ,i4 and his ,queen1 ,anne of ,denmark1 shows the latter in a farthingale1 which in size and general structure is identical with that worn by ,elizabeth4 ,it is1 however1 box pleated round the top of the drum1 the farthingale being divided in front and discovering the kirtle underneath4 ,the following story is told by ,bulwer in his ,pedigree of the ,english ,gallant3 ,when ,sir ,peter ,wych was sent ambassador to the ,grand ,seignor from ,james ,i41 his lady accompanied him to ,constantinople1 and the ,sultaness having heard much of her1 desired to see her2 whereupon ,lady ,wych1 attended by her waiting women1 all of them dressed in their great vardingales1 which was the ,court-dress of the ,english ladies at that time1 waited upon her highness4 ,the ,sultaness received her visitor with great respect1 but1 struck with the extraordinary extension of the hips of the whole party1 seriously inquired if that shape was peculiar to the natural formation of ,english women1 and ,lady ,wych was obliged to explain the whole mystery of the dress1 in order to convince her that she and her companions were not really so deformed as they appeared to be4 ,illustration3 ,,james ,i4 ,,and ,,his ,,queen1 ,,anne ,,of ,,denmark4 ,from an engraving by ,r4 ,elstracke4 ,in the reign of ,charles ,i4 the farthingale1 although still worn by the lower gentry and citizens' wives1 is discarded by the upper classes1 and disappears entirely2 and it is not until the latter part of the reign of ,queen ,anne that it rises again1 like the ,phnix from its own ashes1 but in another form1 however1 that of the enormous hoop1 which grew to such portentous proportions during the reigns of ,george ,i4 and ,,ii41 the outstanding steel or whalebone foundation being mainly at the bottom of the skirt instead of at the hips4 ,sir ,roger de ,coverley thus expresses the difference between the earlier hooped petticoats and those of the era of the ,spectator3 ,you see1 sir1 my great-great-grandmother has on the new-fashioned petticoat1 except that the modern is gathered at the waist2 my grandmother appears as if she stood in a large drum1 whereas the ladies now walk as if they were in a go-cart4 ,illustration3 ,,festal ,,dress1 ,,otaheite4 ,it is surprising to find in dress1 as in ornamental design1 the same ideas1 the same ornamental motifs1 occurring to the people of countries widely separate4 ,there is a curious dress appropriated to the young women of ,otaheite who are appointed to make presents from persons of rank to each other2 one of these was deputed to present cloths to ,captain ,cook on his last voyage4 ,a representation of the dress is given in the engraving1 which is from ,cook's ,geography1 #ahja4 ,the proportions of the drum exceed even that of ,queen ,elizabeth2 in general shape1 however1 it is similar4 ,it is decorated round the uppermost edge with ornamental festoons of feathers1 c41 and constitutes the complete dress of the lady1 with the exception of a sort of chemise which appears underneath the breasts1 and1 presumably1 covers the loins and a portion of the lower limbs4 ,the hoop petticoat now approaches its highest meridian2 its re-appearance was duly announced by ,addison1 who1 in ,no4 #abi of the ,spectator1 relates an adventure which happened in a little country church in ,cornwall3 ,as we were in the midst of service1 a lady1 who is the chief woman of the place1 and had passed the winter at ,london with her husband1 entered the congregation in a little head-dress and a hooped petticoat4 ,the people1 who were wonderfully startled at such a sight1 all of them rose up4 ,some stared at the prodigious bottom1 and some at the little top1 of this strange dress4 ,in the meantime the lady of the manor filled the area of the church and walked up to the pew with an unspeakable satisfaction1 amid the whispers1 conjectures1 and astonishments of the whole congregation4 ,between #agdj and #agde the hoops spread out at the sides extensively in oblong fashion1 resembling a donkey carrying its panniers4 ,indeed1 the simile of the donkey was a favourite one with the caricaturists4 ,in #ahfj ,punch adopts the idea1 and issues a warning to ladies who would ride in crinolines on donkeys1 and gives a cut of a lady in an enormous crinoline riding on a donkey1 with nothing but the donkey's hind legs seen below4 ,illustration3 ,,portraits ,,of ,,mary1 ,,queen ,,of ,,scots1 ,,and ,,darnley4 ,from an engraving by ,r4 ,elstracke4 ,a poetic description of ladies' dresses in #aggc directs3 ,make your petticoats short1 that a hoop eight yards wide ,may decently show how your garters are tied4 ,indeed1 the hoop of this period had attained to such enormous proportions that1 as ,fairholt observes1 the figure of a lady was considerable2 for they were now not only the better1 but the larger1 half of creation1 and half a dozen men might be accommodated in the space occupied by a single lady4#af ,in a print entitled ,the ,review1 of the latter part of the reign of ,george ,,ii41 the inconveniences of the hoop petticoat are exhibited in a variety of ways1 and various methods for their remedy are suggested4 ,one of the most ingenious is that of a coach with a moveable roof and a frame with pulleys to drop the ladies in from the top1 in order to avoid the disarranging of their hoops which would necessarily attend their entrance by the door4 ,hoop petticoats disappeared early in the reign of ,george ,,iii41 and the genius of extravagance then turned its attention to the head-dress4 ,illustration3 ,,don',t ,,be ,,afraid1 ,,my ,,dear4 ,engraved by ,isidore-,stanilas ,helman4 ,in the expiring years of the fifties of the last century the crinoline proper appeared4 ,there had been hints of it earlier1 not to say threats1 in the bell-shaped skirts which obtained in about #ahce1 of which the charming creature in the ,london promenade dress 7p4 #ee7 provides an example4 ,the chief satirist of the crinoline is ,punch1 although1 amongst others1 an amusing skit on the difficulties and dangers of the crinoline appeared about #ahgj1 with a number of coloured illustrations by ,quiz1 now very rare4 ,punch appears to have been particularly impressed by the roomy character of the crinoline1 as1 in an amusing if somewhat laboured skit in the early days of #ahfj1 he unbosoms himself as follows3 ,among the million objections to the use of the wide petticoats not the least well-founded is the fact that they are used for purposes of shoplifting4 ,this has many times been proved at the bar of the police courts1 and we wonder that more notice has not been attracted to it4 ,for ourselves1 the fact is so impressed upon our mind1 that when we ever come in contact with a ,crinoline which seems more than usually wide1 we immediately put down the wearer as a pick-pocket1 and prepare ourselves at once to see her taken up4 ,viewing ,crinoline1 indeed1 as an incentive to bad conduct1 we forbid our wives and daughters to wear it when out shopping1 for fear that it may tempt them to commit some act of theft4 ,a wide petticoat is so convenient a hiding-place for stowing away almost any amount of stolen goods1 that we cannot be surprised at finding it so used1 and for the mere sake of keeping them from roguery1 the fewer women have it at their fingers' ends the better4 ,some ladies have a monomania for thievery1 and when they go on a day's shopping can hardly keep their hands off what does not belong to them4 ,having a commodious receptacle in reach1 wherein they may deposit whatever they may sack1 they are naturally tempted to indulge in their propensity1 by the chances being lessened that they will be found out4 ,illustration3 ,,king ,,and ,,mrs4 ,,baddeley4 ,as an instance of how largely the large petticoats are used in acts of petty larceny1 we may mention a small fact which has come within our knowledge1 and which it may be to the interest of shopkeepers to know4 ,concealed beneath the skirts of a fashionably dressed female were1 the other day1 discovered by a vigilant detective the following choice proofs of her propensity to plunder3 viz41 twenty-three shawls1 eleven dozen handkerchiefs1 sixteen pairs of boots 7fifteen of them made up with the military heel71 a case of eau-de-,cologne1 a ditto of black hair-dye1 thirty pairs of stays1 twenty-six chemises1 five dozen cambric handkerchiefs1 and eleven ditto silk1 nineteen muslin collars1 and four-and-forty crochet ones1 a dressing case1 five hair brushes 7three of them made with tortoiseshell and two with ivory gilt backs71 a pair of curling irons1 eight bonnets without trimmings and nine-and-twenty with them1 a hundred rolls of ribbon1 half a hundredweight of worsted1 ten dozen white kid gloves and twenty dozen coloured ones1 forty balls of cotton1 nine-and-ninety skeins of silk1 a gridiron1 two coal-scuttles1 three packets of ham sandwiches1 twenty-five mince pies1 half a leg of mutton1 six boxes of ,french plums1 ten ditto of bonbons1 nine pts de foie gras1 a dozen cakes of chocolate and nine of portable hare soup1 a warming pan1 five bracelets1 a brace of large brass birdcages1 sixteen bowls of goldfish1 half a score of lapdogs1 fourteen dozen lever watches1 and an eight-day kitchen clock4 ,after this discovery1 who will venture to deny that ,crinoline with shoplifters is comparable to charity1 inasmuch as it may cover a multitude of sins8 ,a curious advertisement in the ,illustrated ,london ,news of ,october #aj1 #ahfc1 announces that--,ondina1 or waved ,jupons1 do away with the unsightly results of the ordinary hoops1 and so perfect are the wave-like bands that a lady may ascend a steep stair1 lean against a table1 throw herself into an armchair1 pass to a stall in the opera1 or occupy a fourth seat in a carriage without inconvenience to herself or to others1 or provoking rude remarks of the observers1 thus modifying in an important degree all those peculiarities tending to destroy the modesty of ,english women1 and lastly1 it allows the dress to fall into graceful folds4 ,price #bas4 ,illustrations free4 ,with all these advantages1 who would not wear a crinoline8 ,in the new year of #ahfj ,punch gives a cut 7,some good account at last7 of a skater in pot-hat and pegtops1 encircled by the framework of an enormous crinoline1 cutting graceful figures upon the ice and exclaiming1 ,entirely my own idea1 ,harry--ease1 elegance1 and safety combined--,i call it the skater's friend4 ,some good account at last8 ,unkind ,mr4 ,punch6 ,must we1 then1 measure the value of everything in this world by its bare utility8 ,the crinoline will endure as a sweet solace to senses tired by the ennui of this dull earth4 ,the memory of it will outlive the ages4 ,in the early seventies we find our old friend ,punch again upon the warpath1 and the ,venus of ,milo dons the crinoletta6 ,this1 however1 is only a repetition of his satire on the crinoline in his ,essence of ,parliament1 ,may1 #ahfj3-- ,lord ,aberdeen's son1 ,lord ,haddock1 or some such name1 made a supremely ridiculous speech upon the impropriety of allowing money to any school of ,art in which the undraped she-model was studied from4 ,his father1 who was called ,athenian ,aberdeen1 and has so earnest a love for ,greek ,art that he actually favoured ,russia because she has a ,greek ,church1 ought to have cured his ,haddock of such nonsense4 ,poor old ,mr4 ,spooner1 naturally1 took the same really indelicate view of the case4 ,sir ,george ,lewis expressed his lofty contempt for the ,haddock1 and ,lord ,palmerston kippered him in a speech full of good fun4 ,it is impossible that the same country which contains ,macdowell's ,eve1 and ,bailey's ,eve at the ,fountain1 can hold ,haddock and ,spooner4 ,mr4 ,punch must avow that he prefers keeping the diviner images1 and somehow getting rid of the coarser ones4 ,pam wanted to know whether the latter would like to stick crinoline on the models1 or would be content with ,african garb4 ,the other ,wiscount observed1 with more truth than politeness1 ',nude1 indeed6 ,i knewed ,addock was a ,nass4' ,illustration3 ,,the ,,crinoletta ,,disfigurans4 ,,an ,,old ,,parasite ,,in ,a ,,new ,,form4 ,by ,linley ,sambourne 7,punch74 ,an illustration is appended to the article of a figure resembling a fish in the act of adjusting a crinoline on the ,venus de ,medici4 ,the crinoline rests upon the shoulders of the statue like a huge extinguisher4 ,as previously hinted1 the crinoletta was only a faint echo of the glories of its earlier prototype4 ,it was a cylindrical contrivance1 made up of steels or whalebones1 either covered with a series of flounces1 or worn underneath the dress like a big bustle4 ,in fact1 it began as a bustle1 and gradually extended its proportions1 wagging and swaying from side to side like the tail of a dragon1 as the wearer moved4 ,one well remembers--shall we1 indeed1 ever forget8--these singular contraptions displayed unblushingly in drapers' shops1 and even hanging in bundles at the doors4 ,hang out our banners on the outward walls2 ,the cry is still1 ',they come4' ,,footnotes3 #af ,fairholt1 ,costume in ,england4 ,,vii ,,collars ,,and ,,cuffs ,theodorus4 ,have they not also houses to set their ruffes in1 to trim them and to trick them1 as well as to starch them in8 ,amphilogus4 ,yea1 marry have they1 for either the same starching houses do serve the turn1 or else they have their other chambers and secret closets to the same use1 wherein they tricke up these cartwheeles of the divels charet of pride1 leading the direct way to the dungeon of hell4 ,,stubbes1 ,anatomy of ,abuses4 ,,vii ,,collars ,,and ,,cuffs ,it is to be understood that the terms collar and cuff are here only intended to refer to those of linen1 lace1 or similar material1 which are more or less separate from the rest of the costume4 ,a collar is simply a neck-band1 and may be of any material2 in the case of ,gurth1 born thrall of ,cedric the ,saxon1 it was of iron1 and was the symbol of his servitude4 ,the term collar is also applied to certain articles of jewellery-- ,the collar of some order1 which our ,king ,hath newly founded1 all for thee1 my soul4 ,,tennyson1 ,last ,tournament4 ,collars are of a comparatively modern origin1 although some form of covering for the neck has been employed from a very early period4 ,the ,romans made use of chin-cloths for the protection of the neck and throat1 which were termed focalia4 ,these were worn by public orators1 who from professional considerations were fearful of taking cold1 and who1 doubtless1 contributed in no small degree to render the fashion of chin-cloths general4 ,some1 says a writer on ,roman antiquities 7the ,rev4 ,father ,adam71 made use of a handkerchief 7sudarium7 for this purpose4 ,this is probably the origin of the cravat1 which is in many countries called neck-handkerchief4 ,illustration3 ,,henrietta1 ,,marquise ,d',,entragues4 ,engraved by ,wierix4 ,the thorax1 of otter's skin1 worn by ,charlemagne during the colder months1 has already been referred to in a previous chat4 ,the wimple1 also1 which was a development of the ,roman chin-cloth1 and which was worn for such an extended period from the ,norman ,conquest onwards1 is noticed under head-coverings4 ,during the greater part of the period of ,york and ,lancaster necks were worn bare1 the camise appearing at the ,v-shaped junction of the bodice1 the neck being ornamented with jewellery4 ,shirt-bands were originally connected with neck-ruffs1 and the ornament adjoined to the wristband of the shirt was known by the denomination of ruffle1 and was originally called the hand-ruff4 ,in the inventory of apparel belonging to ,henry ,,viii4 occurs the item1 #d shirts with bands of silver and ruffles to the same1 whereof one is perled with gold4 ,the ruff is said to have been first invented in the reign of ,henry ,,vi4 by a ,spanish lady of quality1 to hide a wen which grew upon her neck4 ,its first appearance in ,england was about the time of the marriage of ,queen ,mary with ,philip of ,spain1 these personages being represented upon the ,great ,seal of ,england in #aeed with small ruffs on the necks and wrists4 ,the ruff appears in none of the portraits by ,holbein1 with the exception of one at ,antwerp1 which is dated #aedc1 the year before the painter's death1 and is1 moreover1 a doubtful work4 ,in many portraits by this master1 however1 the lawn or cambric shirt appears at the neck with the edges ruffled1 and often delicately embroidered4 ,in the well-known portrait of the ,duchess of ,milan belonging to the ,duke of ,norfolk1 and at present in the ,national ,gallery1 such a ruffle appears at the neck and also at the wrists1 the edges emphasised by a narrow embroidered border in black silk4 ,this black embroidering was very generally employed during the reign of ,henry ,,viii4 ,it appears in a number of ,holbein's portraits1 both at the wrists and at the neck1 and is quite probably due to ,holbein's influence4 ,there can be no reasonable doubt that this great painter influenced the dress of his time4 ,the influence of his artistic personality would be considerable1 and it is known that he designed dresses for the ladies of the court1 several drawings for which are in the ,basle ,museum4 ,in the inventory of the apparel of ,henry ,,viii4 appears3 ,one payer of sleves1 passed over the arms with gold and silver1 quilted with black silk1 and ruffled at the hand with strawberry leaves and flowers of gold1 embroidered with black silk4 ,starching at this period had not reached ,england2 ruffs1 therefore1 must have been an expensive luxury1 as the starched linen1 imported from ,flanders1 could not be worn after being washed4 ,in #aefd1 one ,madame ,dinghen1 who1 as her name suggests1 hailed from ,flanders1 set up as a clear starcher in ,london1 and appears to have made the trade of clear starching an extremely lucrative one4 ,her terms were four or five pounds for teaching the most curious wives#ag to starch1 and one pound for the art of seething starch4 ,the curious wives subsequently made themselves ruffs of lawn2 whereupon arose the general scoffing by-word that they would shortly make their ruffs of spider's web4 ,illustration3 ,,henry ,,iv4 ,,of ,,france4 ,from an engraving by ,goltzius4 ,a certain ,richard ,young1 described as a justice1 for a long time held the monopoly of the manufacture of starch in this country4 ,from the ,elizabethan ,state ,papers we learn that in #aehi there was a prosecution against an infringer of the patent1 to wit1 ,charles ,glead1 a gentleman of ,kent1 who declared to the ,queen's messengers that he would make starch in the face of any patent or warrant yet granted1 unless set down by ,act of ,parliament4 ,setting-sticks1 strutts1 and poking-sticks were the tools used in the process of starching2 the first made of wood or bone1 and the latter of iron1 which was heated in the fire4 ,it was this heated tool which produced that beautiful regularity characteristic of this article of attire4 ,they be made of yron or steele1 and some of brass kept as bright as silver1 yea1 and some of silver itselfe2 and it is well if in processe of time they grow not to be gold4 ,the fashion whereafter they be made1 ,i cannot resemble to anything so well as to a squirt1 or a squibbe1 which little children used1 to squirt out water withall2 and when they come to starching and setting of their ruffes1 then must this instrument be heated in the fire1 the better to stiffen the ruffe 444 and if you woulde know the name of this goodly toole1 forsooth1 the devill hath given it to name a putter1 or else a putting sticke1 as ,i heare say 7,stubbes1 ,anatomy of ,abuses74 ,upon the introduction of these tools1 together with starch1 ruffs rapidly increased in their proportions4 ,illustration3 ,,the ,,infanta ,,isabella ,,clara ,,eugenia4 ,engraved by ,jan ,muller4 ,they became1 says ,stow1 intolerably large1 and were known in ,london as the ,french fashion1 in ,paris as the ,english monster4 ,the greatest gallant was he who possessed the longest rapier and the deepest ruff4 ,it became necessary to apply one of the usual remedies against these and other extravagances of dress--a proclamation1 or an ,act of ,parliament2 in this instance a proclamation4 ,citizens were compelled to reduce their rapiers to a yard in length and their ruffs to a nail of a yard in depth4 ,the unfinished engraving of the ,infanta ,isabella ,clara ,eugenia1 ,archduchess of ,austria1#ah will serve to give a very good idea of the dimensions and general appearance of these articles of attire4 ,thus friend ,philip ,stubbes3--,they have now newly found out a more monstrous kind of ruff1 of twelve1 yea1 sixteen lengths apiece1 set three or four times double1 and it is of some1 fitly called1 'three steps and an half to the gallows4' ,the divells cartwheele attained its greatest circumference in #aehb1 when that love of change1 inherent in the feminine breast1 or possibly the grave and reverend appearance of the ruff1 occasioned a revolt amongst the younger women1 who were disinclined to hide the beauties of their swan-like necks and throats4 ,the ruff was therefore opened in front and elevated behind4 ,this was the gorget or whisk1 which was used both plain and laced4 ,a curious advertisement appears in the ,mercurius ,publicus1 of ,may #h1 #affb3-- ,a cambric whisk1 with ,flanders lace1 about a quarter of a yard broad1 and a lace turning up about an inch broad1 with a stock in the neck and strap hangers down before1 was lost between ,new ,palace and ,whitehall4 ,reward1 twenty shillings4 ,these whisks appear to have had a special proclivity for getting lost4 ,planch 7,cyclopedia of ,costume7 gives a similar advertisement3-- ',lost1 a tiffany whisk1 with a great lace down and a little one up1 large flowers1 with a rail for the head and peak' 7,the ,newes1 ,june #bj1 #affd74 ,on account of the weight of the whisk--it was formed of a wire framework covered with point lace--the piccadilly or stiffened collar was devised4 ,hone in his ,everyday ,book writes-- ,the picadil was the round hem1 or the piece set about the edge or skirt of a garment1 whether at top or bottom2 also a kind of stiff collar1 made in fashion of a band1 that went about the neck and round about the shoulders3 hence the term 'wooden picadilloes' 7meaning the pillory7 in ,hudibras4 ,at the time that ruffs and picadils were much in fashion1 there was a celebrated ordinary near ,st4 ,james's1 called ,piccadilly1 because1 as some say1 it was the outmost or skirt house1 situate at the end of the town2 but it more probably took its name from one ,higgins1 a tailor1 who made a fortune by picadils1 and built this with a few adjoining houses4 ,the name has by a few been derived from a much frequented house for the sale of these articles2 but this probably took its rise from the circumstance of ,higgins having built houses there1 which1 however1 were not for selling ruffs4 ,picardil is the diminutive of picca1 a pike or spear head1 and was given to this article of attire from the resemblance of its stiffened edges to the points of spears4 ,philips 7,world of ,words1 #afic7 defines pickardil as the hem about the skirt of a garment--the extremity or utmost end of everything4 ,whether the collar gave the name to the district or the district to the collar is a matter of some uncertainty2 probably1 however1 the former4 ,the thoroughfare which we now know as ,piccadilly certainly did not exist at the time the picadil was first worn1 and the district was then the utmost end of everything--that is1 beyond the confines of the town4 ,piccadilly as a place1 or thoroughfare1 is mentioned in ,the ,rehearsal1 by ,george ,villiers1 second ,duke of ,buckingham1 produced in the winter of #afga3-- ,his servants he into the country sent1 ,and he himself to ,piccadill went4 ,a pickadil is mentioned in the old comedy of ,northward ,ho as part of a woman's dress4 ,on the visit of ,james ,i4 to ,cambridge in #afae1 the ,vice-,chancellor of the ,university thought fit to issue an order prohibiting the fearful enormity and excess of apparel seen in all degrees1 as1 namely1 strange piccadilloes1 vast bands1 huge cuffs1 shoe-roses1 tufts1 locks and tops of hair1 unbeseeming that modesty and carriage of students in so renowned a university4 ,the ,church was still more fierce in its denunciation of these articles of attire4 ,hall1 ,bishop of ,exeter1 in a sermon1 after having severely censured ruffs1 farthingales1 feathers1 and paint1 concludes with these words1 which more than equal anything in ,stubbes3 ,hear this1 ye popinjays of our time3 hear this1 ye plaster-faced ,jezabels3 ,god will one day wash them with fire and with brimstone4 ,illustration3 ,,son ,,of ,,the ,,painter ,,dirck ,,de ,,vries4 ,engraved by ,goltzius4 ,there appears to be considerable contradiction of terms1 as applied to the different collars1 both with the writers of the time and with subsequent writers4 ,barnabe ,rich1 in his ,honesty of the ,age1 says3 ,the body is still pampered up in the very dropsy of excess4444 ,he that some forty years sithence should have asked after a pickadilly1 ,i wonder who should have understood him or could have told what a pickadilly had been1 either fish or flesh4 ,there was1 however1 the small ruff1 such as is seen in the portraits of ,sir ,thomas ,gresham and ,philip ,,ii4 of ,spain 7pp4 #aba-abc74 ,there was the large formal ruff which appears in the portrait of ,lord ,burleigh 7p4 #ic71 and the still larger ruff of the ,infanta ,isabella ,clara ,eugenia 7p4 #ahg74 ,there was the less formal ruff which fell upon the shoulders1 which is seen in many portraits by ,franz ,hals4 ,there was the high standing pointed collar1 such as appears in ,william ,rogers's print of ,queen ,elizabeth4 ,there was a plain high-standing collar without lace1 which went round the back of the head4 ,there was the plain collar of the ,cromwellians1 which covered the shoulders1 and there was also the rich lace collar of the latter part of the reign of ,charles ,i4 ,the plaits of the ruff were occasionally pinned1 the rows being sometimes two and three deep4 ,in the ,antiquary1 a comedy by ,shakerley ,marmion1 #afda1 quoted by ,strutt1 a lover says to his mistress3 ,do you not remember what taskes you were wont to put upon me when ,i bestowed you gowns and petticoats3 and you in return gave me bracelets and shoe-ties8 ,how you fool'd me1 and set me sometimes to pin pleats in your ruff two hours together8 ,illustration3 ,,charles ,i4 7,,in ,,three ,,views74 ,after ,vandyck4 ,engraved by ,w4 ,sharp4 ,in an old play called ,lingua2 or1 the ,combat of the ,tongue and the ,five ,senses for ,superiority1 #afjg1 one of the characters remarks3-- ,it is five hours ago since ,i set a dozen maids to attire a boy like a nice gentlewoman2 but there is such doing with their looking-glasses2 pinning1 unpinning1 setting1 unsetting1 formings and conformings2 painting of blue veins1 and rosy cheeks2 such a stir with combs1 cascanets1 purls1 falls1 squares1 busks1 bodices1 scarfs1 necklaces1 carkonels1 rabatoes1 borders1 tires1 fans1 palisadoes1 puffs1 ruffs1 cuffs1 muffs1 pustles1 fusles1 partlets1 frislets1 bandlets1 fillets1 corslets1 pendulets1 amulets1 annulets1 bracelets1 and so many lets that the poor lady of the toilet is scarce dressed to the girdle4 ,and now there is such calling for fardingales1 kirtles1 busk-points1 shoe-ties and the like1 that seven pedlars' shops1 nay1 all ,stourbridge fair1 will scarcely furnish4 ,a ship is sooner rigged by far than a nice gentlewoman made ready4 ,towards the latter part of the reign of ,charles ,i4 both ruff and whisk give place to the falling band1 which was worn both plain and laced4 ,it had1 indeed1 appeared earlier1 even in the latter years of ,elizabeth1 but was not in general use until the time of ,charles4 ,the trouble occasioned by the ruff and whisk appears to have been a factor of their downfall4 ,a character in the ,malecontent1 #afjd1 exclaims3 ,there is such a deal of pinning these ruffles when a fine cleane fall is worth all4 ,the cravat1 or neckcloth1 which succeeded the ruff and band1 did not come into general use until the latter part of the reign of the ,merry ,monarch2 indeed1 some similar form of neck covering became a necessity1 on account of the monstrous size of the periwigs4 ,it formed a large bow at the chin1 with the ends richly laced4 ,there was a variety of the neckcloth which was twisted like a corkscrew1 the ends being drawn through a ring4 ,this was called a ,steinkirk1 from the circumstance of the ,french officers at the battle of that name in #afib1 who could not find time to arrange their cravats1 and adopted the readier means of twisting them in a knot4 ,the laced ends of the cravat afterwards increased in size1 and were drawn through the button-hole of the waistcoat4 ,one of the knots of his tye hanging down his left shoulder1 and his fringed cravat nicely twisted down his breast1 and thrust through his gold button-hole1 which looked exactly like my little ,barbet's head in his gold collar 7,david ,garrick1 ,bon ,ton2 or1 ,high ,life ,below ,stairs1 #agge74 ,from a singular little pocket-manual upon the art of tying the cravat1 by ,h4 ,le ,blanc1 ,esq41 published in #ahbh1 it would appear that there are no less than two-and-thirty different styles of tying the cravat4 ,these are demonstrated in sixteen lessons1 with illustrations1 together with portrait of the author1 figured1 as a matter of course1 in an irreproachable cravat4 ,when a man of rank makes his entre into a circle distinguished for taste and elegance1 and the usual compliments have passed on both sides1 he will discover that his coat will attract only a slight degree of attention1 but that the most critical and scrutinising examination will be made on the set of his ,cravat4 ,should this unfortunately not be correctly and elegantly put on--no further notice will be taken of him2 whether his coat be of the reigning fashion or not will be unnoticed by the assembly--all eyes will be occupied in examining the folds of the fatal ,cravat4 ,his reception will in the future be cold1 and no one will move on his entrance2 but if his ,cravat is savamment and elegantly formed--although his coat may not be of the last cut--every one will rise to receive him with the most distinguished marks of respect1 will cheerfully resign their seats to him1 and the delighted eyes of all will be fixed on that part of his person which separates the shoulders from the chin--let him speak down-right nonsense he will be applauded to the skies2 it will be said--',this man has critically and deeply studied the thirty-two lessons on the ,art of ,tying the ,cravat4' ,but again reverse the picture--it will be found that the unfortunate individual who is not aware of the existence of this justly celebrated work--however well informed he may be on other subjects--will be considered as an ignorant pretender1 and will be compelled to suffer the impertinence of the fop1 who will treat him with disdain1 merely because his ,cravat is not correctly disposed--he will moreover be obliged to hear in silence1 and to approve 7under pain of being considered unacquainted with the common rules of politeness7 all the remarks which he will thus subject himself to--occasionally relieved by hearing a whisper of1 ',he cannot even put on a ,cravat properly4' ,the reader will not expect1 possibly will experience little desire1 to be taken through the whole of the two-and-thirty lessons in the art of tying the cravat2 a single illustration will probably suffice4 ,it shall be1 however1 the sovereign of cravat ties1 the ',nud ,gordien1' the origin of which is lost in the obscurity of antiquity4 ,the discovery of the name of the brilliant genius to whom the honour of this invention is due has1 apparently1 defied the most laborious researches on the part of the author4 ,he can only tell us 7what he believes is generally known7 that ,alexander the ,great1 although he could conquer a whole world1 and1 like a youthful character in the works of the immortal ,dickens1 sigh for more 7soup1 however1 in the case of the juvenile71 was still unable to comprehend the theory of its construction1 and adopted the shorter and easier method of cutting it with his sword4 ,attention6 ,cravats when sent from the laundress should undergo a careful examination as to the washing1 ironing1 and folding1 as the set of the cravat and neatness of the tie entirely depends upon this4 ,whether it be plain or coloured is apparently of little moment1 and does not in the least affect its formation1 but a stout one is recommended as offering more facilities to the daring fingers of the tyro who would accomplish this chef-d'uvre4 ,it now becomes necessary to meditate deeply and seriously upon the five following directions3-- #a4 ,having carefully chosen the cravat1 it must be placed on the neck1 the ends left hanging 7first time74 #b4 ,take point ,k1 pass it on the inside of point ,z1 and raise it 7second time74 #c4 ,lower point ,k on the tie1 now half formed ,o 7third time74 #d4 ,then1 without leaving point ,k1 bend it inside and draw it between the point ,z1 which you repass to the left ,y2 in the tie now formed1 ,y ,o1 thus accomplishing the formation of the knot4 #e4 ,and last4 ,having accomplished the knot1 flattened it with thumb and fore-finger1 or with the iron 7a small iron is recommended1 with a handle1 made expressly for the purpose1 and moderately warm71 you lower the points ,k ,z1 cross them1 place a pin at the point of junction ,h1 at once solving the problem which defied the greatest of the world's conquerors4 ,the slightest error in the first fold of this tie will render all succeeding efforts1 with the same handkerchief1 entirely useless--we have said it4#ai ,although1 as previously intimated1 it is not proposed to wander through the labyrinth of the whole of the two-and-thirty lessons1 two others may with advantage be referred to4 ,our author1 though somewhat facetious1 is distinctly entertaining4 ,illustration3 ,,diagrams ,,illustrating ,,the ,,tying ,,of ,,the ,n,,ud ,,gordien4 ,a4 ,the ,cravat folded4 ,b4 ,the ,cravat la ,byron4 ,s4 ,the ,cravat ,sentimentale4 ,the ,cravat ,sentimentale4 ,this1 as its name implies1 should only be adopted by those whose physiognomy inspires the tender passion4 ,it may be worn from the age of seventeen to twenty-seven2 after that age it cannot1 with propriety1 be patronised even by the most agreeable4 ,you1 then1 whom ,nature has not gifted with eyes of fire--with complexions rivalling the rose and lily2 you1 to whom she has denied pearly teeth and coral lips--a gift which1 in our opinion1 would be somewhat inconvenient2 you1 in fact1 whose faces do not possess that sympathetic charm which1 in a moment--at a glance--spreads confusion o'er the senses1 c41 pause before adopting the cravat sentimentale--avoid it1 in fact2 leave it to more highly favoured mortals4 ,the ,cravat la ,byron4 ,this must be worn by none but those who would mount the topmost slopes of ,parnassus1 and drink deeply of the ,castalian spring4#bj ,our author does not1 indeed1 say so1 but the fact is sufficiently evident4 ,it is universally allowed that the least constraint on the body has a corresponding effect on the mind2 a tight cravat1 therefore1 will cramp the imagination and1 as it were1 suffocate the thoughts4 ,this is the reason why ,lord ,byron submitted to the inconveniences of a cravat1 only when accommodating himself to the biensances of society1 and explains the fact that whenever he is painted in the ardour of composition his neck is always free from the trammels of the neckcloth4 ,black silk cravats1 at the time of our author's writing 7#ahbh71 were generally worn1 and coloured silk handkerchiefs occasionally patronised4 ,it appears that ,napoleon invariably wore a black silk cravat1 but at ,waterloo it was observed that1 contrary to his usual custom1 he wore a white neckerchief with a flowing bow1 although the day previous he appeared in his black cravat4 ,the superstitiously inclined will note this fact2 it is1 however1 extremely unlikely that the change influenced in the slightest degree the result of the battle4 ,in the late thirties and early forties ,dame ,fashion turned her attention in the direction of embroidered muslin4 ,delicate floral patterns1 often displaying considerable taste in design and a high degree of technical skill1 were wrought upon collarettes1 cuffs1 chemisettes1 c42 it was chiefly produced in the north of ,ireland1 and an extensive trade arose1 finding employment for large numbers of women and girls in the counties of ,donegal1 ,tyrone1 and ,down4 ,the delicacy of the material and the absence of colour1 lent itself insensibly to a naturalistic treatment4 ,as is usual with the caprices of fashion1 the art only lasted for a comparatively brief period4 ,it still survives1 however1 in the form of embroidered handkerchiefs1 for which there is even now a demand4 ,,footnotes3 #ag ,stow4 #ah ,this lady1 in #afja1 registered a vow not to change her linen until the town of ,ostend was taken4 ,the siege lasted three years and three months1 by which time her under-clothing had attained a colour which is perhaps easier to imagine than to describe4 ,it provided a name for a stuff1 ,couleur ,isabella1 which was fashionable in ,france for over a century4 #ai ,what ,i have said1 ,i have said 7the ,right ,hon4 ,joseph ,chamberlain74 #bj ,the ,castalian spring is at the foot of the mountain1 but it should have been at the top1 where the tired and thirsty traveller would be most likely to need it4 ,besides1 it is not to be expected that we could reverse the order of the paragraph--we have said it4 ,,viii ,,hats1 ,,caps1 ,,and ,,bonnets ',in that direction1' the ,cat said1 waving his right paw round1 'lives a ,hatter2 and in that direction1' waving the other paw1 'lives a ,march ,hare4 ,visit either you like2 they're both mad4' ,alice's ,adventures in ,wonderland4 ,illustration3 ,,fools ,,in ,a ,,morris ,,dance4 ,bodleian ,,ms4 7free rendering74 ,,viii ,,hats1 ,,caps1 ,,and ,,bonnets ,mad as a hatter8 ,how comes an honest craft to be thus maligned8 ,hatters were never mad--that is1 not more so than the rest of us--until they adopted the pot of the chimney as a model4#ba ,nature has provided in the hair a natural covering for the head4 ,hats are not really a necessity4 ,dr4 ,jaeger 7,health ,culture7 discusses the probable reasons for the greater prevalence of baldness among men than among women4 ,while rejecting the theory that the competition of the beard is precarious to the hair of the head1 abstracting from the latter its due nourishment1 and pointing out that the long beards and luxuriant heads of hair of our ancestors refute this theory that the more strenuous head-work which falls to the share of the male sex is responsible for the loss of hair2 that the unnatural custom of cutting men's hair1 first adopted when nature was abandoned in favour of the fashions of civilisation1 is to blame for it2 that drink1 dissolute habits1 or heredity is the cause--he finds that a far more probable cause is the difference between the male and female head-covering1 which latter is1 as a rule1 lighter1 more airy1 and more porous than the usually almost waterproof and exceedingly absurd male head-coverings1 such as the stiff felt hats1 and high hats1 with the strip of leather which encircles the forehead and effectually retains the perspiration4 ,the best head-covering would certainly be--none at all4 ,but usage1 and in many cases weather conditions1 render this impracticable4444 ,not only are the hard hats1 now in such general use1 injurious on account of the pores of the material being closed1 impeding the passage of the exhalation from the head2 but the shellac used in stiffening them has an injurious effect1 from which the cherry gum used in the case of the soft hats is comparatively free4 ,he adds3 ,of course1 soft hats cannot be worn in all cases--on ceremonial occasions the hard hat may be chosen2 but ordinarily the hygienically superior soft hat should be worn4 ,why1 however1 on occasions of ceremony8 ,was ceremonial non-existent before the advent of the nineteenth century8 ,it would rather appear that if the nineteenth century is conspicuous for anything it is for its absence of ceremonial4 ,there is absolutely no reason why a hat of a particular density1 or even of a particular shape1 should be necessary to occasions of high ceremonial4 ,moreover1 in this connection it may be very pertinently asked1 ,is artistic invention so utterly dead that it cannot devise a head-gear which shall fit in with its surroundings on such occasions as call for more dignity and impressiveness in the matter of costume8 ,it is1 however1 an incontrovertible fact1 as a well-known present-day writer has pointed out1 that revolutions are practicable in everything--in manners1 morals1 government1 even religion--sooner than in clothes2 and that sumptuary laws are the only laws that have always failed of being obeyed4 ,it is universally admitted that modern dress is intolerably ugly2 that it fails1 not only upon its artistic side1 but also upon the score of utility2 yet every suggestion for its improvement is always met by a flat non possumus4 ,illustration3 ,,mrs4 ,,anne ,,warren4 ,after ,romney4 ,some form of hood was1 doubtless1 the earliest covering for the head1 either as a separately made-up article1 or1 as in the case of the ,greeks and ,romans1 formed by the drawing of the pallium or toga over the head to serve as protection during inclement weather4 ,the ,romans had a hooded cloak 7cucullus7 which was worn by the commoner people1 and which1 in some form or another1 has been in use during all subsequent periods4 ,it is1 in fact1 generally worn at the present day in most parts of the ,continent of ,europe1 and forms an extremely reasonable and convenient article of attire4 ,the hood formed the principal covering for the head of both sexes during the twelfth1 thirteenth1 and part of the fourteenth centuries4 ,the hood 7chaperon7 was a separate article of dress as distinct from the cowl 7capuchon71 which was attached to and formed part of the cloak or other article of dress1 although the two terms are indiscriminately used by the earlier writers4 ,the hood assumed1 in the first instance1 more or less the form of the ,phrygian cap4 ,the tippet1 or tail1 was afterwards developed to a considerable length1 in the thirteenth century reaching almost to the ground4 ,dante is usually represented in such a hood1 with long tippet1 and in the portrait of ,cimabue by ,simon ,memmi1 c4 #acjj1 the painter appears wearing a hood with a tippet reaching a little below the middle4 ,the cap or hood worn by fools was simply the hood of the fashion of the particular period1 with the addition of the cock's comb1 the pair of ass's ears and the bells1 occasionally worn all together1 and often parti-coloured4 ,in the wardrobe accounts of ,henry ,,viii4 occurs--,item1 for making a doublet of worsted1 lined with canvass and cotton1 for ,william ,som'ar1 our fool2 item1 for making of a coat and cap of green cloth fringed with red crule and lined with frize for our said fool4 ,the men's turbaned head-dress of the reign of ,richard ,,ii4 and later is sufficiently remarkable to warrant a description4 ,it was a long cloth1 wound round and round the head--the edges cut1 clipped and jagged in various ways--one end of which either stood up on the top of the head or was allowed to fall over the side of the turban1 the other end hanging down in front of the body1 longer or shorter according to the fancy or caprice of the wearer1 the whole presenting a very fantastic appearance1 occasionally1 however1 not ungraceful4 ,illustration3 ,,hunting ,,hat4 ,orcagna1 ,campo ,santa1 ,pisa4 ,the beginning of this head-dress was simply a different way of wearing the hood1 as ,mr4 ,planch has shown by means of two diagrams in his ,encylopedia of ,costume4 ,it occurred to some ingenious soul to insert his head in the oval opening in the hood made for the face1 to gather up in the form of a fan the portion which covered the shoulders1 and to bind it in position by winding the long tippet round the head and tucking in the end of it4 ,later1 no doubt1 the head-dress was formally made up by the hatter or tailor1 as the case may be1 and assumed a more complex character4 ,illustration3 ,,hunting ,,hat4 ,orcagna1 ,campo ,santa1 ,pisa4 ,the ,greeks1 when travelling1 protected their heads from the heat or the wet by means of a flat broad-brimmed hat1 tied underneath the chin1 and allowed to hang on the back when not required on the head4 ,this fashion or device was continued during the ,middle ,ages1 and the hat was often worn over the hood 7although this would seem a superfluity71 the strings were secured at the breast by means of a moveable ring1 which1 by being moved up underneath the chin1 kept the hat in its place on the head4 ,such a hat was figured on the wall of the old ,palace at ,westminster1 and has been published in the ,vetusta ,monumenta of the ,society of ,antiquaries4 ,during the greater part of the ,norman and ,plantagenet period the wimple or neck-cloth was common4 ,it was a development of the ,anglo-,saxon veil or head-cloth 7couvre-chef71 and an echo of the mailed coif of the period4 ,it is thus referred to by ,john de ,meun3 ,par ,dieu6 ,i have often thought in my heart1 when ,i have seen a lady so closely tied up1 that her neck-cloth was nailed to her chin1 or that she had the pins hooked into her flesh4 ,such a wimple is figured from ,orcagna 7,campo ,santo1 ,pisa7 on the opposite page4 ,the golden net-caul 7crestine1 creton1 crespine1 crespinette7 appeared during the reigns of ,henry ,,iii4 and ,edward ,i41 worn either with or without the wimple and veil1 and lasted1 in its varying forms1 well into the sixteenth century4 ,it either enclosed the hair as within a bag or pouch1 or assumed the form of a netted cap1 as in the so-called ,beatrice d',este1 attributed to ,leonardo da ,vinci in the ,brera at ,milan2 or the net-bag above alluded to was elongated so as to form a long pigtail1 tied at intervals1 often extending almost to the feet1 as in the marriage scene in the fresco by ,pinturicchio in the ,piccolomini ,library at ,siena4 ,it was often richly ornamented with jewels-- ,their heads were dight well withal1 ,everich had on a jolyf coronal ,with sixty gems and mo4 ,illustration3 ,,figure ,,with ,,long ,,net-,,caul4 ,this1 however1 refers to the chaplet or garland commonly worn by the ladies of the fourteenth century4 ,thenne was ,i war of a wommon wonderliche clothed1 ,purfylet with pelure the ricchest uppon eorthe1 ,i-crouned with a coroune1 the ,king hath no bettre2 ,alle hir fyve fyngres weore frettet with rynges1 ,of the preciousest perre1 that prince wered evere2 ,in ,red ,scarlet her ,rod i-rybaunt with gold2 ,ther nis no ,qweene qweyntore1 that quik is alyve4 ,,piers ,,plowman1 ,description of ,meed 7,bribery74 ,illustration3 ,from ,fra ,angelico1 ,florence4 ,the hair was now wound up on either side of the head1 the coils either worn without any covering or enclosed within a caul2 the veil or curtain being extended at the sides4 ,this marked the commencement of those horned head-dresses which were speedily developed to such an extravagant degree1 and so excited the wrath of the satirists of the time4 ,john de ,meun1 who completed ,the ,romaunt of the ,rose1 observes that these horns appear to be designed to wound the men1 and adds3 ,i know not whether they call gibbets or corbels that which sustains their horns1 which they consider so fine1 but ,i venture to say that ,st4 ,elizabeth is not in ,paradise for having carried such baubles4 ,illustration3 ,from ,fra ,angelico1 ,florence4 ,in a volume entitled ,jougleurs et ,trouvres1 by ,m4 ,jubinal1 is a satire on horned head-dresses1 under the title of ,des ,cornetes1 from a ,,ms4 in the ,bibliothque ,royale at ,paris1 of the beginning of the fourteenth century4 ,in this poem it appears that the ,bishop of ,paris had preached a sermon directed against extravagance in women's dress1 their horns and the bareness of their necks4 ,if we do not get out of the way of the women we shall be killed2 for they carry horns with which to kill men4 ,this same sermon is quaintly referred to by the ,knight of la ,tour-,landry in his advice to his daughters3 ,he said that the women that were so horned were lyche to be horned snails and hertis and unicornes4 ,i doute that the develle sitte not betwene her hornes1 and that he make hem bowe doun the hede for ferde of the holy water4 ,also the good knight told how there was onis a gentille woman that come to a fest so straungely atyred and queintly arraied to haue the lokes of the pepille1 that all that sawe her come ranne towardes her to wonder lik as on a wilde beaste1 for she was atyred with highe longe pynnes lyke a jebet1 and so she was scorned of alle the company1 and saide she bare a galous on her hede4#bb ,the preaching in the ,middle ,ages appears to have been remarkably effective4 ,monstrelet1 in his ,chronicles1 relates a story of one ,thomas ,conecte1 a preaching friar1 who attacked the steeple head-dresses with great zeal and resolution4 ,his eloquence was such that the women flung down their head-dresses in the middle of his sermon and made a bonfire of them within sight of the pulpit4 ,he frequently had an audience of #bj1jjj people1 the men ranging themselves on one side of the pulpit and the women on the other1 the latter appearing like a forest of cedars with their heads reaching to the clouds4 ,the impression he created was1 however1 not a lasting one2 as soon as his back was turned the horns again began to grow3 ,the women that1 like snails in a fright1 had drawn in their horns1 shot them out again as soon as the danger was over4 ,the horn-shaped head-dress appears in no pictorial documents or monuments older than the reign of ,henry ,,iv4 ,the heart-shaped head-dress began with a flat pad on the top of the head1 with the sides slightly turned up1 enclosed in a silken net1 which was often jewelled1 the hair being worn in coils above the ears1 at the back1 or hanging down1 as the case may be4 ,the sides were then turned up sharply in the shape of a ,v1 and the head-dress heightened4 ,this was developed in a variety of ways4 ,the steeple head-dress varied in its height--from a matter of #ah inches or less1 to #c feet--in its ornamentation and colour2 it was either plain1 or decorated with simple bands or ribbons wound crosswise2 it varied1 however1 chiefly in the veiling4 ,there was a veil thrown over the whole1 and falling over the sides of the face1 or1 the veil was attached to the summit of the steeple and allowed either to hang loose1 or was looped at some point at the back4 ,there was also a veil which was attached to the lower border of the steeple at its point of contact with the head1 and which completely shrouded the head1 front and back2 there was also the remarkable arrangement of the veil1 which was built up on a system of wires1 and which was called the hennin4 ,illustration3 ,,heart-,,shaped ,,head-,,dress4 ,a variation of the hennin was the butterfly1 in which the steeple which formed the base of the head-dress was reduced to a comparatively short caul1 and the veil extended itself on either side like the wings of an insect2 this1 in a slightly different form1 continued to the ,tudor period4 ,illustration3 ,,horned ,,head-,,dress4 ,there was also the balloon or turban4 ,this1 like the heart-shaped head-dress1 commenced with a flat pad1 like a cake1 which in its earlier stage was invariably richly ornamented1 offering no particular variety in its form2 when it became round1 it developed a second roll around the forehead1 with bands at intervals1 which formed its constructive elements4 ,notwithstanding the strictures passed upon these head-dresses by contemporary moralists or purists and by subsequent writers1 who simply echo their sentiments without bringing any independent judgment to bear upon the matter1 and who often possess no artistic knowledge or even perception1 these head-dresses are often extremely piquant and quaint2 extravagance there was1 doubtless1 and even ugliness2 but even the high steeple was not out of proportion1 as it must be remembered that the gowns and trains were correspondingly long1 thus balancing the high tapering steeple4 ,as a matter of fact1 the whole dress was in keeping1 the high tapering head-dress1 the long tapering toes1 the close-fitting sleeves 7which1 however1 were occasionally provided with an outer hanging sleeve1 also long71 forming an ensemble which would compare favourably with the dress of any period4 ,the ,tudor period brought about a complete change in the head-dresses of both men and women2 as a matter of fact1 dress generally of this period assumed a graver character4 ,horns1 hearts1 steeples1 and butterflies suddenly disappeared1 and the head-dress of the ladies of the ,court assumed that diamond-shaped form with which we are familiar in the portraits by ,holbein1 who doubtless materially influenced the costume of this period4 ,it consisted of a cap and coverchief1 and sometimes a hood1 the coverchief being generally allowed to fall down on the right side4 ,the cap was invariably richly jewelled and embroidered4 ,good examples may be seen in the drawing of the ,lady ,vaux at ,windsor and the portrait of ,jane ,seymour at ,vienna4 ,it was a dignified1 restrained1 and exceedingly beautiful head-dress2 if any confirmation of this statement were needed1 it is to be found in the remarks of the various lay writers on costume1 who invariably describe it as harsh and ugly4 ,an excellent example of the beautiful flat cap or bonnet worn generally during the ,tudor period is to be seen in the portrait of ,william1 ,duke of ,juliers and ,cleves1 by ,aldegrever 7p4 #f74 ,the cap1 in this instance1 is tilted to one side of the head1 instead of being worn flat on the top2 it is jewelled at intervals along the brim1 and plumed4 ,the material is most certainly velvet1 which is that most generally used by the nobility1 but1 in #aega1 with the view of encouraging ,english manufactures1 it was by ,parliament enacted that all persons above the age of six years1 except only the nobility and persons of degree1 should on ,sabbaths and holydays wear caps of wool1 of ,english manufacture4 ,twenty-six years afterwards this law was repealed4 ,illustration3 ,,francis ,,bacon4 ,engraved by ,w4 ,marshall4 ,this flat cap appears in a number of portraits by ,holbein1 worn both tilted on one side and flat on the top of the head4 ,a cap of this kind might very well be worn by men at the present day1 minus1 of course1 the plume and jewels1 without appearing startlingly obtrusive4 ,it could be made in any cloth1 and would be a great improvement on the caps which are at present in use4 ,the extreme refinement1 however1 of the ,tudor cap is due to the material1 to the quality of the workmanship1 and1 in the instance of the portrait above-mentioned1 to the rich jewels which adorn it4 ,similar shaped headgear has1 as a matter of fact1 been recently adopted by girls1 but they are for the most part vulgar productions1 indifferently made1 and sold cheaply1 and afford abundant evidence of the fact that the milliner possessed no artistic knowledge1 or even taste1 and had not taken the trouble1 possibly had not considered it advisable1 to refer to fine examples4 ,the simple flat cap above mentioned was developed in various ways during the ,tudor period1 both for men and for women2 the brim was either divided in two or more parts1 or it was doubled1 slashed1 and puffed in various ways1 the puffing being of a different material and colour to the rest of the hat4 ,for women and for the military1 large plumes of ostrich feathers were added4 ,many examples of the latter may be seen in ,hans ,burgkmair's ,triumphs of ,maximilian4 ,in the equestrian portrait of ,charles ,howard1 ,earl of ,nottingham 7p4 #bc71 we get the pot-hat proper 7,elizabethan version71 differing very little as to shape from that at present in use1 but plumed1 with three ostrich feathers and three other pointed ones4 ,the horse is similarly plumed4 ,the hat can scarcely be said to be a thing of beauty1 even with the addition of its ostrich plume1 and adds nothing to the decorative beauty of the plate1 but rather detracts from it4 ,illustration3 ,,thomas ,,killegrew4 ,engraved by ,william ,faithorne4 ,the centenary of the modern pot-hat was celebrated in ,paris only last year1 and1 amid much jubilation1 a number of caustic remarks were made by ,madame ,sarah ,bernhardt and others on the subject of man's cylindrical attire4 ,on looking at the various developments during the century1 as illustrated in a well-known weekly magazine1 the contour of the pot-hat has changed perhaps less than one might suppose4 ,it has not been a continuous development1 but1 rather1 an oscillation backwards and forwards4 ,in point of fact1 a continuous development was impossible without taking leave of the pot-hat altogether2 one must either retrace one's steps or start upon a new track1 as will be seen by a reference to the accompanying diagrams1 which must be considered1 be it understood1 merely as diagrams1 and not in any sense as representing the limits of the artist's power of realism4 ,the scale of decorative development is1 like the scale of tones in music1 absolute4 ,it is the principle upon which ,nature herself works1 and this principle may be as well illustrated by means of the pot-hat as by anything else1 as the principle holds good1 and may be applied to any demned thing1 as ,mr4 ,mantalini would say4 ,illustration3 ,,the ,,development ,,of ,,the ,,chimney-,,pot ,,hat4 ,we have1 then1 the two primal1 elemental forms to work with1 the straight line and the curved4 ,fig4 #a represents the pot-hat in what may be called its primordial state1 in which state it stands in the same relation to headgear generally as did ,millbank ,prison to architecture2 it would not be possible to produce less variety except by reducing its height and making its shape an exact parallelogram4 ,in the next figure1 by substituting the curved line for the straight lines of the sides and brim1 we get a hint of those delicate and subtle curves for which the pot-hat is famous4 ,in ,fig4 #d--not to weary the gentle reader with a long dissertation1 he will at once perceive the principle--the degree of curvature is carried as far as is consonant with dignity or propriety2 to carry it further would be to border upon buffoonery2 such vagaries could not by any possibility be entertained in a work of such gravity and seriousness as the present4 ,the same may be said of development in the direction of height4 ,it only remains to develop the hat by means of reducing the width of its crown at the top1 since the dimension ,,aa is absolute1 as the article must conform itself to the human cranium1 which for present purposes is a fixed quantity4 ,it is at this point that we take an affectionate and regretful leave of the pot-hat proper4 ,fig4 #e represents the high-crowned hat of the reign of ,james ,i41 and which1 in fact1 was worn during the greater part of the ,stuart period4 ,i send you1 writes the ,king 7,james ,i47 to his son1 in #afbc1 for youre wearing1 the three bretheren that ye knowe full well1 but newlie sette1 and the mirroure of ,fraunce1 the fellow of the ,portugall dyamont1 quiche ,i wolde wishe you to weare alone in your hatte1 with a little blakke feather2 and to ,buckingham he says1 ,as to thee1 my sweete gossippe1 ,i send thee a faire table dyamont1 quiche ,i wolde once have givin thee before if thou wolde have taken it1 and ,i have hung a faire pearle to it for wearing on thy hatte or quhaire thou plaisis1 and if my ,babie will spaire thee the two long dyamonts in forme of an anker1 with the pendant dyamont1 it were fit for an admiral to weare4444 ,if my ,babie will not spaire the anker from his mistresse1 he may well lend thee his rounde broocke to weare1 and yett he shall have jewells to weare in his hatte for three great dayes4 ,it was customary to wear jewels either in front of the hat or upon the brim when turned up4 ,often a single pearl was depended over the edge of the brim4 ,such a pearl may be seen in ,william ,rogers's portrait of ,robert ,devereux1 second ,earl of ,essex 7,elizabeth's ,essex71 the hat1 in this instance1 having a broad brim4 ,illustration3 ,,robert ,,devereux1 ,,second ,,earl ,,of ,,essex4 ,engraved by ,william ,rogers4 ,to return to our diagrams4 ,no4 #f1 a further narrowing of the top of the crown1 represents the quaint extinguisher hats which have been worn at various periods1 and which are still worn by the ,welsh peasantry4 ,there came up a ,lass from a country town1 intending to live in the ,city1 ,in a steeple-crown ,hat and a ,paragon ,gown1 who thought herself wondrous pretty2 ,her ,petticoat serge1 her ,stockings were green1 her ,smock cut out of a sheet1 ,sir2 ,and under it all1 was seldom yet seen so fair a young maid for the street1 ,sir6 ,roxburghe ,ballads1 #afhe4 ,by lowering the crown and widening the brim we arrive at the sombrero1 ,no4 #g4 ,the slouch hat turned up on one side1 of the ,stuart period1 was the precursor1 historically and decoratively1 of the three-cornered hat of the period of the ,house of ,orange4 ,it was afterwards turned up on two sides1 and in this stage decorated with feathers1 and finally turned up at the back1 thus forming the three-cornered hat1 which lasted for a century1 the feathers disappearing1 and the edges trimmed with lace4 ,such turning up of the brim was called cocking the hat4 ,the different modes of cocking the hat were almost innumerable--in fact1 according to the fancy of the wearer2 there was the ,monmouth cock1 after the unfortunate ,duke of that name2 the ,ramillie cock1 which came in at the ,battle of ,ramillies in #agjf2 the military cock and the mercantile cock2 and upon the accession of ,george ,,iii4 7#agfj7 a hat worn upon an average six inches and three-fifths broad in the brim1 and cocked between ,quaker and ,kevenhuller4 ,when ,anna ruled1 and ,kevenhuller fought1 ,the hat its title from the ,hero caught4 ,art of ,dressing the ,hair1 #aggj4 ,from a chapter on hats in the ,london ,chronicle for #agfb we learn that--,some wear their hats with the corner that should come over their foreheads high in the air2 these are the ,gawkies4 ,others do not above half cover their heads1 which is1 indeed1 owing to the shallowness of their crowns2 but1 between beaver and eyebrows1 expose a blank forehead1 which looks like a sandy road in a surveyor's plan4444 ,a gold button and loop to a plain hat distinguishes a person to be a little lunatic2 a gold band round it shows the owner to be very dangerously infected2 and if a tassel is added1 the patient is incurable4 ,a man with a hat larger than common represents the fable of the mountain in labour1 and the hats edged round with a gold binding belong to brothers of the turf4 ,illustration3 ,,letitia ,,bonaparte1 ,,mother ,,of ,,napoleon4 ,with the advent of the ,french ,revolution in #aghi the three-cornered cocked hat disappears1 and in #ahjc we find a noticeable change in costume4 ,the ,french anticipated this invasion by sending over the most unsightly fashions that have ever appeared4 ,the most distinguishing features were the coverings of the head1 which consisted1 in the one sex of an enormous military cap1 and in the other of a bonnet1 probably of straw1 of a very ungraceful form4 ,they are represented in the accompanying cut1 taken from a caricature entitled ',two of the ,wigginses--,tops and ,bottoms of #ahjc1' published on the #bnd of ,july in that year 7,thomas ,wright1 ,works of ,gillray74 ,illustration3 ,,anne ,,day4 ,engraved by ,james ,macardell4 ,in #agfe a large hood appeared called calash1 made of a framework of whalebone hoops1 resembling the hood of a carriage 7calche71 and pulled over the head by means of a string4 ,it is said to have been introduced into ,england by the ,duchess of ,bedford4 ,illustration3 ,,two ,,of ,,the ,,wigginses--,,tops ,,and ,,bottoms ,,of #ahjc4 ,gillray4 ,what shall we say to the page of ,parisian head-dresses from ,bell's ,fashionable ,magazine for ,april1 #ahab1 three years before the ,battle of ,waterloo8 ,goldsmith1 in a short essay on the ladies' passion for levelling all distinction of dress1 says3 ,foreigners observe that there are no ladies in the world more beautiful or more ill-dressed than those of ,england4 ,our countrywomen have been compared to those pictures where the face is the work of a ,raphael1 but the draperies thrown out by some empty pretender1 destitute of taste1 and entirely unacquainted with design4 ,illustration3 ,,parisian ,,head-,,dresses ,,for ,,april1 #ahab4 ,bell's ,fashionable ,magazine4 ,he adds1 by way of compensation to the ladies1 ,if ,i were a poet ,i might observe1 on this occasion1 that so much beauty1 set off with all the advantages of dress1 would be too powerful an antagonist for the opposite sex2 and therefore it was wisely ordered that our ladies should want taste1 lest their admirers should entirely want reason4 ,it has always been1 however1 and is still1 a stock saying with foreigners that ,english women are ill-dressed1 but the saying has little point in it1 since the majority of ,english fashions still come from abroad4 ,on the comparatively rare occasions when ,english women rely upon their own invention1 taste1 and judgment1 they appear better dressed than the women of any ,european country4 ,english women under these circumstances1 therefore1 if the above statement as to their personality be true1 must necessarily be the most charming creatures in the world4 ,amongst modern head-dresses the ,spanish mantilla undoubtedly stands out in pleasant relief from the general rule of the commonplace which obtains at present4 ,it is an entirely becoming head-dress1 and reasonable1 as is also the habit of ,spanish women of carrying fans1 which are usually attached to the waist1 and serve also the purpose of sunshades1 being held up to the head on the sunny side of the street4 ,the action is a most graceful one1 and the convenience is obvious4 ,the panama hat is certainly the most satisfactory male headgear1 both as regards appearance1 health1 durability1 and comfort4 ,the bowler can scarcely be said to be a thing of beauty4 ,it has1 however1 been rendered historic by the ,right ,honourable ,john ,burns1 who has established a precedent by appearing at ,buckingham ,palace in this form of head-covering for the purpose of receiving his seals of office4 ,to return once again1 and finally1 to the chimney-pot4 ,milan has just recently inaugurated her third ,international ,exposition of ,industries1 ,commerce1 and ,art3-- ,an amusing sidelight of the ,exhibition is the unprecedented stimulus to the sale of stovepipe hats occasioned by a rigid regulation excluding every other kind from the inaugural function4 ,such a rigid enforcement is quite unknown in ,rome itself1 where there are said to be ,cabinet ,ministers1 ,senators1 and ,deputies who are innocent of ever having donned one4 ,the story is told that several provincial ,deputies who were invited to ,milan were so fearful of mishap that they bought tall hats for their wives as well as themselves 7,vide daily paper74 ,illustration3 ,,fool',s ,,cap ,,of ,,leather1 ,,german4 ,worn by the court fool of an ,elector of ,mayence 7seventeenth century74 ,south ,kensington ,museum4 ,,footnotes3 #ba ,it would appear to be a corruption of mad as an atter 7adder74 ,the word adder is atter in ,saxon1 natter in ,german4 ,its origin1 however1 is apparently somewhat obscure4 #bb ,the above story was told to the knight by a lady of his acquaintance who was an eye-witness of the event4 ,we give here ,caxton's version3--,for her clothyng and araye was different and no thyng lyke to theyr1 and therefore she had wel her part beholdyng and lokyng4 ,thenne said the good ladyes to her1 ',my frende1 telle ye us1 yf it please yow1 how ye name that aray that ye have on your heed8' ,she answerde and saide1 ',the galhows aray4' ',god bless us1' said the good lady1 'the name of hit is not faire4'444 ',as ferre as ,i me remembre of it1' continued the knight's informant1 'hit was highe culewed with longe pynnes of sylver uppon her hede1 after the makynge and maner of a gybet or galhows1 right straunge and merveylous to se4' ,,ix ,,the ,,dressing ,,of ,,the ,,hair1 ,,moustachios1 ,,and ,,beard ,truewit4 ,a wise lady will keep guard always upon the place1 that she may do things securely4 ,i once followed a rude fellow into a chamber1 where the poor madam1 for haste1 and troubled1 snatched at her peruke to cover her baldness1 and put it on the wrong way4 ,clerimont4 ,o prodigy6 ,truewit4 ,and the unconscionable knave held her in compliment an hour with that reversed face1 when ,i still looked when she should talk from the other side4 ,clerimont4 ,why1 thou shouldst have relieved her4 ,truewit4 ,no1 faith1 ,i let her alone1 as we'll let this argument1 if you please1 and pass to another4 ,,ben ,,jonson1 ,the ,silent ,woman1 ,act ,i4 sc4 #a4 ,illustration3 ,,comb 7,,italian1 ,,fourteenth ,,century74 ,,ix ,,the ,,dressing ,,of ,,the ,,hair1 ,,moustachios1 ,,and ,,beard ,there was nothing new1 even in the days of ,solomon2 wigs1 curling irons1 hair powder1 and turned-up moustachios being no exception to the rule4 ,we have abundant evidence1 both from the concurring testimony of authors and from the actual works which have come down to us1 that heated irons were employed from a very early period for the purpose of curling the hair and beard4 ,both with the ,assyrians1 and the ,greeks of the earlier period1 the hair and beard were plaited in a series of symmetrical curls and ringlets1 displaying the utmost degree of formality in their arrangement4 ,illustration3 ,,assyrian ,,bas-,,relief4 ,layard's ,nineveh4 ,the hair and beard of ,belshazzar when he made a great feast to a thousand of his lords1 and received an intimation of an unpleasant character1 conveyed to him in an unusual manner1 were certainly curled in such wise1 and probably dyed and powdered1 as was the custom1 the powder1 however1 being gold instead of flour1 as in more recent days4 ,as a matter of fact1 gold was employed in various ways as an enrichment to the hair4 ,the ,kings of ,egypt had their beards interwoven with gold thread4 ,herodotus assures us that the skulls of the ,egyptians were much harder than those of the ,persians1 owing to the national custom of shaving the heads of their children at a very early age4 ,he adds1 ,in other countries the priests of the gods wear long hair2 in ,egypt they have it shaved4 ,with other men it is customary in mourning for the nearest relations to have their heads shorn2 the ,egyptians1 on occasions of death1 let the hair grow both on the head and face1 though till then they used to shave4 ,the ceremonies and customs relating to the beard are innumerable4 ,the management of the beard formed a considerable part of the religion of the ,tartars1 who waged a long and bloody war with the ,persians1 declaring them infidels1 though in other respects of the same faith as themselves1 because they refused to cast their whiskers after the mode or rite of the ,tartars4 ,illustration3 ,,bearded ,,bacchus4 ,hope's ,costume of the ,ancients4 ,it has been recorded that the ,greeks wore their beards until the time of ,alexander1 who1 fearful lest the length of their beards should prove a handle to their enemies1 commanded the ,macedonians to be shaven1 and the first who shaved at ,athens ever after bore the addition of 7shaven7 on medals4 ,notwithstanding this statement1 however1 ,philip1 the father of ,alexander1 as well as ,amyras and ,archelous1 his predecessors1 are represented without beards4 ,according to ,pliny1 the ,romans did not begin to shave until the year of ,rome #ded1 when ,p4 ,titinius brought over a stock of barbers from ,sicily4 ,pliny adds that ,scipio ,africanus was the first to introduce the fashion of shaving daily4 ,it became the custom to have visits of ceremony at the cutting of the beard for the first time4 ,the first fourteen ,roman ,emperors shaved until the time of the ,emperor ,adrian1 who discontinued the practice and wore a beard1 for the purpose1 however1 of hiding the scars on his face4 ,from ,gregory of ,tours we learn that in the ,royal family of ,france it was for a long time the peculiar privilege of ,kings and ,princes of the blood to wear long hair1 artfully dressed and curled2 everybody else was polled1 as a sign of inferiority and obedience4 ,to cut off the hair of a son of ,france under the first race of ,kings was to exclude him from the right of succession to the crown1 and to reduce him to the condition of a subject4 ,french historians1 however1 tell us that ,charlemagne wore his hair short1 his son much shorter1 and ,charles the ,bald1 as his surname indicates1 none at all4 ,good ,luitprand furiously declaimed against the ,emperor ,phocyas for wearing long hair1 after the manner of all the other ,emperors of the ,east1 with the exception of ,theophilus1 who1 being bald1 enjoined all his subjects to shave their heads1 like the fox of sop1 who1 having survived the experience of a trap by the sacrifice of his tail1 harangued the other foxes on the inconvenience of tails in general1 and endeavoured to persuade them to cut off theirs also4 ,illustration3 ,,greek ,,head-,,dresses4 ,hope's ,costume of the ,ancients4 ,in the ,church1 too1 in spite of the beard of ,aaron1 that went down to the skirts of his garments1 the ,nazarite law1 and the reputed long hair of the founder of ,christianity1 the priesthood habitually condemned long hair as being inconsistent with the sacred character of the priest's office4 ,pope ,anictus is supposed to have been the first to forbid the clergy to wear long hair4 ,the ,holy ,prelate1 ,wulstan1 reproved the wicked of all ranks with great boldness but he rebuked those with the greatest severity who were proud of their long hair4#bc ,the ,nazarite vow is an act of sacrifice in accordance with the terms of the law laid down in ,num4 vi4 #a-ba3 ,all the days of the vow of his separation shall no razor come upon his head2 ,he shall be holy1 and shall let the locks of his hair grow4 ,the ,nazarite has been regarded as a conqueror who subdued his temptations1 and who wore his long hair as a crown1 the hair being worn rough as a protest against foppery4 ,another view1 however1 is that it was kept elaborately dressed1 a proof of the existence of the custom being seen in the seven locks of ,samson3-- ,and she made him sleep upon her knees2 and she called for a man1 and she caused him to shave off the seven locks of his head2 and she began to afflict him1 and his strength went from him 7,judg4 xvi4 #ai74 ,let us listen to the story in the quaint1 silvery music of ,chaucer3-- ,this ,sampson neyther siser dronk ne wyn ,ne on his heed com rasour noon ne schere ,by precept of the messager divyn ,for alle his strengthes in his heres were4 4 4 4 4 4 ,unto his lemman ,dalida he tolde ,that in his heres al his strengthe lay ,and falsly to his foomen sche him solde ,and slepying in hir barm upon a day ,sche made to clippe or schere his heres away ,and made his foomen al his craft espien ,and whan thay fond him in this array ,thay bound him fast and put out bothe his yen4 ,but er his heer clipped was or i-schave ,ther was no bond with which men might him bynde ,but now is he in prisoun in a cave ,ther as thay made him at the querne grynde ,o noble ,sampson strengest of al man kynde ,o whilom jugge in glory and in richesse ,now maystow wepe with thine eyyen blynde ,sith thou fro wele art falle to wrecchednesse4 ,monk's ,tale4 ,illustration3 ,,roman ,,head-,,dresses4 ,hope's ,costume of the ,ancients4 ,while the hair was the pride1 the glory1 and the strength of ,samson1 it was the bane of ,absalom1 for by the abundance of his hair he met his death4 ,in all ,israel there was none to be so much praised as ,absalom for his beauty3 from the sole of his foot even to the crown of his head there was no blemish in him4 ,and when he polled his head 7for it was at every year's end that he polled it3 because the hair was heavy1 therefore he polled it71 he weighed the hair of his head at two hundred shekels after the king's weight4#bd ,had he polled it at more frequent intervals he might have made good his succession to the crown1 and ,solomon never have been king1 for ,absalom had stolen the hearts of the people of ,israel4 ,as in a mighty river we may trace back its course to the little rill or rivulet which trickles from the mountain side1 so we may often trace the origin of great events to very small beginnings4 ,how might the face of both ,french and ,english history have been changed but for ,peter ,lombard's dislike of a beard6 ,louis ,,vii4 imagined it a matter of conscience to give an example of submission to the command of the bishops on the subject of long hair1 and to atone for his many cruelties by being shaved in public4 ,he reckoned1 however1 without his--wife1 ,eleanor of ,aquitaine1 a jocose madcap1 who rallied him upon his short hair and shaven chin4 ,i thought ,i had married a prince1 but find ,i have wedded nothing but a monk4 ,the breach occasioned by a bare face was widened1 and the marriage dissolved4 ,six weeks afterwards ,eleanor was again a wife--,henry1 ,duke of ,normandy1 who afterwards reigned as ,henry ,,ii4 of ,england1 being the husband1 who obtained with her fair ,aquitaine with its three provinces4 ,hence arose those wars which ravaged ,france for near three centuries1 in which upwards of three millions of ,frenchmen perished on the fields of ,cressy1 ,agincourt1 and ,poitiers1 and on many a lesser field4 ,henry ,i4 issued an edict for the suppression of long hair1 and as a natural consequence long hair immediately became the rage4 ,this edict1 however1 was the result of a visit to ,normandy1 and the preaching of a prelate named ,serlo1 whose eloquence was such that the monarch and his courtiers were moved to tears4 ,the astute priest1 perceiving the impression he had created1 immediately whipped a pair of scissors from his sleeve and cropped the whole congregation6 ,the patriarchal beard and long hair of ,edward ,,iii41 as exhibited in his effigy at ,westminster1 is in strict conformity with the general character of this serious minded monarch1 strongly contrasting with the character of his successor1 ,richard of ,bordeaux1 who was the greatest fop of the day4 ,during the century which followed the reign of ,edward ,,iii4 beards were worn of every imaginable cut4 ,there was the fantail beard1 with its wadded nightcap for protection during sleep1 of the stiffening which was applied4 ,there was1 as later1 the cathedral beard1 the spade beard1 the stiletto beard1 and there was an extraordinary curled tuft which resembled a corkscrew4 ,there was apparently as much variety of colour as of form-- ,i will discharge it in either your straw-colour beard1 your orange tawny beard1 your purple-in-grain beard1 or your ,french-crown-colour beard1 your perfect yellow 7,a ,midsummer ,night's ,dream1 ,act ,i4 sc4 #b74 ,our ,royal ,bluebeard registered a solemn vow before the ,french ,ambassador that he would never touch razor till he had visited his good brother upon the ,field of the ,cloth of ,gold1 the good brother making a similar vow4 ,with characteristic ,english perfidy ,henry broke his vow1 while the ,frenchman remained true2 it was therefore found necessary for ,sir ,thomas ,boleyn to apologise for his master's bad faith by saying that the ,queen of ,england felt an insuperable antipathy to a bushy chin4 ,henry1 indeed1 not only shaved his own chin and wore his hair short1 but commanded all his subjects to do the same4 ,he granted the barbers a new charter1 incorporated them with the surgeons1 and became a member of their company4 ,it was found that the science and connyng of ,physyke and ,surgerie was practised by unskilful persons1 common artificers1 as ,smythes1 wevers1 and women1#be who boldely and custumably take upon theim grete curis1 and thyngys of great difficultie1 in which they partely use socery and whichcrafte to the grievous hurt of the ,kyng's liege people4 ,it was therefore enacted that none should practise as a physician and surgeon in ,london except by examination1 duly approved by the ,bishop of ,london or ,dean of ,st4 ,paul's7674 ,as it seemed needful to provide skilful surgeons for the helth of mans body whan infirmities and seckness shal happen1 and as there are many surgeons in ,london who give instructions to students1 who exercise of the said science to the greate relief1 comforte1 and soccour of muche people1 and to the sure savegard of their bodily helth1 their lymmes and lyves1 and as two companies of surgeons exist in ,london1 one the ,barbours of ,london1 and thother company the ,surgeons of ,london1 which company of barbours were first incorporated undre the greate ,seale of the late ,king of famous memory1 ,edwarde the iiijth1 dated at ,westminster the xxiiijth day of ,february in the first yere of his reigne1 these two companies ought therefore to be united into one body1 with a common seal1 power to hold lands1 and all the rights of both the old companies4 ,illustration3 ,,head-,,dress4 ,from ,viollet le ,duc 7,fifteenth ,century74 ,it was further found that surgeons were in the habit of taking diseased persons into their houses1 where they doo use and exercise barbery1 as wasshing and shaving1 and other feates therunto belonging1 very perilous to the ,king's people4 ,now1 after the feast of the ,nativitie of our ,lorde ,god next coming1 no barber in ,london shall practise surgery1 letting of bludde1 or any other thing belonging to surgery1 drawing of teth onelye except4 ,and no surgeon shall occupye or exercise the feate or crafte of barbarye or shaving1 either by himself or by any other for him1 to his or their use4 ,it was also provided that any person may keep a barber or a surgeon as his servant1 who may practise in his master's house4 ,it would appear that the observance of the ,lord's day was more strictly enforced in the seventeenth century than it is at present-- ,att the ,councell ,chamber on ,ouze bridge at ,york ye xxth of ,june1 ,a4,d4 #afgf1 it was declared and enacted that whereas barber surgeons have been shaving and cutting hair on the ,lord's day1 ,we order1 that if any brother of the said company tonse1 barbe1 or trim any person on the ,lord's day1 in any ,inn1 or other place1 public or private1 of which the ,lord ,mayor shall judge1 he shall be fined ten shillings1 and the searchers of the said company for the time being are to make diligent search in all public and private houses as aforesaid1 for discovery of such offenders4 #agde was the fatal year of the separation of the barbers from their more dignified colleagues4 ,their wings were clipped1 their privileges curtailed1 the barber's pole and basin1 however1 still remaining1 in silent1 eloquent testimony of their former glory and greatness4#bf ,in the reign of ,good ,queen ,bess the campaign against long hair is continued4 ,philip ,stubbes extols barbers to the skies3 ,there are no finer fellowes under the ,sunne1 nor experter in their noble science of barbing than they be4 ,barbers are necessary4 ,i cannot but marvell at the beastlinesse of some ruffians 7for they are no sober ,christians7 that will have their hair grow over their faces like monsters1 and savage people2 rather like mad men than otherwise1 hanging downe over their shoulders1 as womens haire doth2 which indeed is an ornament to them1 being given them as a sign of subjection4 ,in man it is a shame and reproch1 as the ,apostle proveth4 ,during the reign of the ,stuarts long hair was the vogue--with love-locks and heart breakers4 ,a long love-lock on his left shoulder plight1 ,like to a woman's hair1 well showed a woman's sprite4 ,his beard was ruddy hue1 and from his head ,a wanton lock itself did down dispread ,upon his back2 to which1 while he did live1 ,th' ambiguous name of ,elf-lock he did give4 ,the ,great ,oyer4 ,the absurd fashion of painting and patching the face1 much ridiculed by the satirists1 began in the reign of ,elizabeth4 ,whers the ,devill8 ,he's got a boxe of women's paint-- ,where pride is1 thers the ,divell too4 ,quips upon ,questions1 #afjj4 ,this is an ,embleame for those painted faces1 ,where devine beautie rests her for awhile1 ,filling their browes with stormes and great disgraces1 ,that on the pained soule yeelds not a smile1 ,but puts true love into perpetuall exile2 ,hard-hearted ,soule1 such fortune light on thee ,that thou maist be transform'd as well as he4 ,,chester',s ,love's ,martyr1 #afja4 ,illustration3 ,a ,,painted ,,face4 ,roxburghe ,ballads4 ,by the reign of ,james ,i4 this ridiculous fashion had become common4 ,all sorts of curious devices were made use of--spots1 stars1 crescents1 and in one woodcut a coach and coachman with two horses and postilions appear upon the lady's forehead4 ,the fashion continued for a long period2 in fact1 during the greater part of the ,georgian era1 when it had degenerated into mere spots or small patches4 ,at the close of the eighteenth century it had entirely disappeared4#bg ,wherfor1 faire doughtres1 takithe ensaumple1 and holde it in your herte that ye put no thinge to poppe1 painte1 and fayre youre visages1 the which is made after ,goddes ymage1 otherwise thanne your ,creatoure and nature hath ordeined2 and that ye plucke no browes1 nother temples1 nor forhed2 and also that ye wasshe not the here of youre hede in none other thing but in lye and water 7,advice of the ,knight of ,la ,tour ,landry to his iij doughtres74 ,,the ,,invincible ,,pride ,,of ,,women4 ,i have a ,wife1 the more's my care1 who like a gaudy peacock goes1 ,in top-knots1 patches1 powder'd hair1 besides she is the worst of shrows2 ,this fills my heart with grief and care to think ,i must this burden bear4 ,it is her forecast to contrive to rise about the hour of ,noon1 ,and if she's trimm'd and rigg'd by five1 why this ,i count is very soon2 ,then goes she to a ball or play1 to pass the pleasant night away4 ,and when she home returns again1 conducted by a bully spark1 ,if that ,i in the least complain1 she does my words and actions mark1 ,and does likewise my gullet tear1 then roars like thunder in the air4 ,i never had a groat with her1 most solemnly ,i here declare2 ,yet she's as proud as ,lucifer1 and cannot study what to wear3 ,in sumptuous robes she still appears1 while ,i am forc'd to hide my ears4 ,the lofty ,top-knots on her crown1 with which she sails abroad withal1 ,makes me with care1 alas6 look down1 as having now no hope at all1 ,that ever ,i shall happy be in such a flaunting ,wife as she4 ,in debt with every shop she runs1 for to appear in gaudy pride1 ,and when the milliner she duns1 ,i then am forc'd my head to hide3 ,dear friends1 this proud imperious wife she makes me weary of my life4 ,roxburghe ,ballads1 circa #afhf4 ,wigs of various kinds have been in use from very early periods1 as the grace and ornament which the hair imparts to the human frame have always been generally recognised4 ,the want of it has ever been deemed a subject of reproach1 held in ridicule1 in all climes2 hence the constant recourse to false hair4 ,strutt affirms that the beards of the ,egyptians1 as well as the coverings for the head1 appear to have been made of false hair1 and removed when the face was shaved4 ,there is no doubt that the ,egyptians wore wigs1 as examples are to be seen in the ,british and other museums4 ,the wig given in the illustration is probably a woman's1 and was found near the small temple of ,isis at ,thebes4 ,it belongs to the seventeenth dynasty1 about ,b4,c4 #aejj2 it is formed of natural curlings of the hair in the upper portion1 and the lower portion1 which was originally much longer1 consists of long1 thin plaits1 a number of which have been broken off and decayed1 the thin plaitings contrasting very happily with the natural curls4 ,illustration3 ,,wig1 ,,egyptian1 ,b4,c4 #aejj4 ,british ,museum4 ,lamprideses describes the wig of the ,emperor ,commodus as powdered with scrapings of gold1 and oiled with glutinous perfumes for the powder to hang by4 ,wigs first appear in ,england during the reign of ,stephen1 but are seldom mentioned until the ,tudor period4 ,the ,maiden ,queen is popularly supposed to have had her head shaved1 and to have worn a wig4 ,mary ,queen of ,scots had a most complete collection of wigs1 and it is recorded that she wore one at her execution4 ,the periwig first appears in history as the headgear of a fool4 ,in the privy purse expenses of ,henry ,,viii4 for ,december1 #aebb1 occurs the entry3 ,for a peryke for ,sexton the ,king's fool xx shillings4 ,by the middle of the same century their use had become general1 and it was dangerous for children to wander alone1 as they were liable to be deprived of their hair for the manufacture of these articles4 ,the periwig blossomed out during the reign of ,charles ,,ii41 and attained enormous proportions2 it was often gaily decked with ribbons and allowed to hang over the front and back for some distance4 ,the gossiping ,pepys1 complaining in his diary of ,october #cj1 #affc1 of his extravagant purchases in wigs1 clothes1 c41 mentions1 amongst other things1 two periwigs1 one whereof cost me #c and the other #djs4 ,i have worn neither yet1 but will begin next week1 ,god willing4 ,a ,londoner into the country went1 ,to visit his tennants1 and gather in rent2 ,he on a brave gelding did gallantly ride1 ,with boots and with spurs1 and a sword by his side4 ,because that the ,innkeepers they will not score ,he lined his pockets with silver good store2 ,and he wore a wigg cost three guineas and more2 ,his hat was cockt up1 ,sir1 behind and before4 ,roxburghe ,ballads1 #afhh4 ,wigs when first worn were extremely expensive1 costing as much as a hundred guineas1 and their value often led to their being stolen from the head4 ,the different shapes which the wig assumed were innumerable1 and the different classes of society were identified with particular shaped wigs4 ,there were the clerical and the physical2 the huge tie peruke for the man of law1 the brigadier and the tremendous fox-ear or cluster of temple curls with a pigtail behind1 for the ,army and ,navy4 7,the ,army pigtail was shortened to seven inches in #ahjd1 and in #ahjh was cut off altogether47 ,the merchant1 the man of business and of law affected the grave full-bottom2 the tradesman was distinguished by the snug bob or natty scratch2 the country gent by the natural fly and hunting peruke2 the coachman wore his1 as do some to this day1 in imitation of the curled hair of a water-dog4 ,there were also1 as a writer in the ,london ,magazine of #agec informs us1 the pigeon's wing1 the comet1 the cauliflower1 the royal bird1 the staircase1 the ladder1 the brush1 the wild boar's back1 the temple1 the rhinoceros1 the corded wolf's paw1 ,count ,saxe's mode1 the she-dragon1 the rose1 the crutch1 the negligent1 the chancellor1 the cut bob1 the long bob1 the half natural1 the chain-buckle1 the corded buckle1 the snail back1 and many others4 ,illustration3 ,,beau ,,fielding4 ,after ,wissing4 ,the ,judge1 says ,fortescue1 while he sitteth in the ,king's ,courts1 weareth a white quoife of silke1 which is the principal and chiefe insignement of habite wherewith ,sergeants-at-lawe are dekked1 and neither the ,justice nor the ,sergeant shall ever put off the quoife1 no1 not in the ,king's presence1 though he bee in talke with his majestie's highnesse4 ,the coif-cap is still worn on occasions when the ,judge passes sentence of death1 but with the colour changed to black1 the cap being worn over the wig4 ,samuel ,rogers in his ,table ,talk tells a good story of ,lord ,ellenborough's wig4 ,on one occasion when the distinguished ,judge was about to go on circuit1 his ,lady intimated that she would like to accompany him4 ,he replied that he had no objection1 provided she did not encumber the carriage with band-boxes1 which were his utter abhorrence4 ,during the first day's journey1 happening to stretch his legs1 he struck his foot against something below the seat1 and discovered that it was one of the detested band-boxes4 ,up went the window1 and out went the band-box4 ,the coachman stopped1 and the footman1 thinking that the band-box had tumbled out of the window by some extraordinary chance1 was about to pick it up4 ,drive on6 thundered his lordship4 ,the band-box was accordingly left by the ditch4 ,upon his arrival at the court at which he was to officiate1 and arraying himself for his appearance at the court-house1 ,now1 said he1 where's my wig8--where is my wig8 ,my lord1 replied the attendant1 it was thrown out of the carriage window6 ,illustration3 ,,portrait ,,of ,,the ,,painter ,,hyacinthe ,,rigaud4 ,from #aggj onwards was the period of the highest blossoming of feminine head-gear4 ,the bodies of these enormous creations were formed of tow1 over which the hair was drawn in great curls1 rolls1 bobs1 c41 with false hair added1 the whole freely plastered over with powder1 pomatum1 c41 decorated with huge bows1 ribbons1 feathers1 and flowers4 ,in the ,macaroni ,dialogue--a colloquy between ,sir ,harry ,dimple and ,lady ,betty ,frisky--in the ,lady's ,magazine1 iv4 #aggc1 which is illustrated by a picture of a lady and gentleman discussing with great animation the merits of the male and female costumes of this period1 in which they are clad1 the gentleman is presenting to the lady a nosegay1 and she invites his interest in the excessively lofty coiffure which she is wearing4 ,permit me to present your ladyship with this boquet--it has been to ,warren's1 doubly perfumed and scented2 so that positively1 my lady1 it has not the least of the vulgar odour of the flowers4 ,i vow1 ,sir ,harry1 you are a man of such nice sensations that you would do honour to nobility4 ,i am surprised you have hitherto been overlooked in the creation of ,lords4 ,to be sure1 my lady1 my taste has never yet been called into question4 ,it was ,i who first dethroned those abominable monsters the ,bucks1 and established the reign of the ,macaronies--who first improved upon the ,poudre la marchale by throwing in a dash of the violet4 ,this hat your ladyship sees is of my own cocking--those barbarians the hatters have no more idea of 'de retrousser un chapeau' for a man of genuine taste1 than they know how to wear it1 and send it home with the smell of the dye1 almost sufficient to make one faint4 ,i always order my valet to give it a thorough perfume before it comes into my presence4 ,o6 exquisite refinement--what do you think of my cap8 ,amazing1 my lady1 beyond description--yet1 had it been but an inch higher1 it would have been at the very summit of the mode--you would then have been unable to come into a room without stooping1 or riding in a coach without the top being heightened4 ,you see1 ,sir ,harry1 ,i have anticipated you3 that upon the table is two inches higher2 ,i shall wear it to-morrow night at the ,pantheon4 ,i hope ,i shall have the felicity of your ladyship's hand to walk a minuet4 ,we shall have all eyes upon us1 no doubt6 ,i beg1 ,sir ,harry1 that your club may be increased in proportion to my head1 else we shall not be fit partners4 ,my lady1 ,i shall have it as large again--my toupee shall be heightened three inches4 ,you will then1 ,sir ,harry1 be the emperor of the ,macaronies4 ,and you1 my lady1 their empress4 ,illustration3 ,,ridiculous ,,taste1 ,,or ,,the ,,lady',s ,,absurdity4 ,in a print of the period of the ,french lady in ,london1 by ,j4 ,h4 ,grimm1 published by ,carrington ,bowles1 who appears to have been somewhat of a wag amongst publishers1 devoting himself to the curious and extraordinary1 the lady is seen bowing as she enters the room1 the head-dress reaching to the top of the ceiling4 ,the good man of the house is so astonished and overcome that he falls to the ground1 bringing the table with him4 ,a large picture upon the wall represents the ,peak of ,teneriffe4 ,illustration3 ,,the ,,french ,,lady ,,in ,,london4 ,another print1 issued by the same publisher1 representing the fashionable head-dresses for the year #aggf1 shows two ladies out walking1 attended by their black servant1 with head-dresses two yards high4 ,in the illustration given of ,ridiculous ,taste1 or the ,lady's ,absurdity1 ,monsieur le ,friseur is mounted on a high pair of steps1 and is operating upon the summit of the lady's coiffure2 a gentleman is taking stock1 and giving orders from below4 ,in the example given from ,jacquemin1 the head-dress represents a ship in full sail4 ,illustration3 ,,head-,,dress4 ,from ,jacquemin4 ,in #aggf an etching appeared entitled ,bunker's ,hill1 or ,america's ,head-dress4 ,the enormous headgear of the lady represents the battle1 with tents1 fortifications1 cannon1 and battalions4 ,from the crests of the three hills of the head-dress1 which are duly fortified and defended with soldiery and cannon1 three banners are flying1 on which are figured1 respectively1 a goose1 a monkey1 and two ladies holding arrows4 ,the lower portion of the head-dress represents a sea fight4 ,in the same year appeared ,the ,new ,fashioned ,phaeton1 a mezzotint representing a conveyance provided with springs1 which lifts the lady and her headgear up to the first-floor window1 and does away with the need for walking up and down stairs4 ,another print issued by the same publisher is a hint to the ladies to take care of their heads4 ,the ladies' head-dress having caught alight from a chandelier hanging from the ceiling of a high room1 and people are putting out the fire by means of large squirts4 ,a charming design for a fancy head-dress is entitled ,betty the ,cook maids ,head drest4 ,it is in the form of a heart1 the centre of which is occupied by a ,cheshire cheese with mice1 surrounded with a border of greengrocery1 c4 ,on the summit is a stove1 with fire alight and meat cooking4 ,a monkey sits upon the stove1 wearing a fool's cap and bells1 and admiring himself in a mirror4 ,on either side of the head-dress are two trophies composed respectively of a mop and fire-irons and a besom and cooking utensils4 ,the legend runs-- ,the taste at present all may see1 ,but none can tell what is to be4 ,who knows1 when fashion's whims are spread1 ,but each may wear this kitchen head8 ,the noddle that so vastly swells1 ,may wear a fool's cap hung with bells4 ,high plumes of feathers re-appeared in #agif4 ,gillray produced a caricature of a fashionable belle journeying to the ,assembly ,rooms at ,bath in a sedan chair4 ,the top of the conveyance is opened to accommodate the lady's head-dress1 a monstrous feather projecting yards above the sedan--a parasol is fastened to a long pole strapped on the back of the hindermost portion and protecting the top4 ,during the feather period1 a favourite idea was to represent attacks by ostriches1 peacocks1 and other interested birds4 ,this occurs in a number of prints of the period4 ,the print by ,john ,collet1 #aggi1 of ,the ,feathered ,fair is a ,fright2 or1 ,restore the ,borrowed ,plumes1 represents two girls attacked by ostriches3-- ,two lassies who would like their mistresses shine1 ,on their heads clap'd some feathers to make them look fine2 ,when two ostriches suddenly came within sight1 ,and put the poor girls in a terrible fright4 ,but how the ,birds got to ,england's no matter1 ,tho' they certainly made a most terrible clatter2 ,fanny screamed as she ran1 and scampering ,polly1 ,with her ,fan fought the birds in defence of her folly4 ,if the reader be curious in regard to the modus operandi of these astonishing creations1 he 7or more probably it will be she7 is referred to ,plocacosmos2 or1 ,the ,whole ,art of ,hairdressing1 by ,james ,stewart1 #aghb1 wherein the mysteries of the art are set forth with great minuteness and elaboration1 far too long to be explained here4 ,the directions for the lady's nightcap may1 however1 be given3-- ,all that is required at night is to take the cap or toke off1 as any other ornament1 and as you put them on1 you can easily know how to take them off3 with regard to the hair1 nothing need be touched but the curls2 you may take the pins out of them1 and1 with a little soft pomatum in your hands1 stroke the hairs that may have started2 do them with nice long rollers1 wind them up to the roots1 and turn the end of each roller firmly in to keep them tight1 remembering at the same time the hair should never be combed at night1 having always so bad an effect as to give a violent headache next day4 ,after the curls are rolled up1 touch them with your pomatumy hands1 and stroke the hair behind2 after that take a very large net fillet1 which must be big enough to cover the head and hair1 and put it on1 and drawing the strings to a proper tightness behind1 till it closes all round the face and neck like a purse1 bring the strings round the front and back again to the neck1 where they must be tied2 this1 with the finest lawn handkerchief1 is night covering sufficient for the head4 ,heads usually lasted a matter of three weeks1 when--'twould be dangerous1 madam1 to delay longer the opening of your head4 ,we get a glimpse of the possible state of a lady's head at the expiration of that time from the many recipes and advertisements for the destruction of insects in the magazines of the period1 which reminds us of ,julian1 who likened his beard to a forest grown populous with troublesome little animals4 ,still to be neat1 still to be drest1 ,as you were going to a feast2 ,still to be powdered1 still perfumed3 ,lady1 it is to be presumed1 ,though art's hid causes are not found1 ,all is not sweet1 all is not sound4 ,give me a look1 give me a face1 ,that makes simplicity a grace2 ,robes loosely flowing1 hair as free3 ,such sweet neglect more taketh me1 ,than all the adulteries of art2 ,they strike mine eyes1 but not mine heart4 ,,ben ,,jonson1 ,the ,silent ,woman4 ,the apeing by the tradespeople of the manners of the great is amusingly told in the ,lady's ,magazine for ,august1 #aghb1 in the form of a letter to the editor1 purporting to be from a respectable greengrocer1 who signs himself ,artichoke ,pulse4 ,he says3 ,i wish to ,god you would write something smart against fashion4 ,my family is almost ruined by the article of dress4 ,it appeared that his son ,tom had worked himself into a gentleman's family as footman1 and from this circumstance his troubles began4 ,you can scarcely conceive1 my dear ,sir1 what an alteration this acquaintance with the great family has made4 ,sally1 my eldest daughter1 talks of taste and the mode1 aye faith1 and the dresses too4 ,i will give you a description of her going to see the new comedy of the ',east ,indian' the other night1 in company with her brothers and sisters1 and a lord's footman1 who presented them with orders for the two-shilling gallery4 ,illustration3 ,,louis ,,xvi41 ,,marie ,,antoinette1 ,,and ,,the ,,dauphin4 ,engraved by ,augustin de ,st4 ,aubin4 ,dick ,dusty1 the hairdresser's apprentice1 who lives in a court near us1 was sent for at two o'clock1 and two pound of ,sangwine's eightpenny-halfpenny powder being procured1 with a proper quantity of grease1 the operation of the head was begun among the cabbages1 lettuces1 turnips1 carrots1 peas1 and beans that surrounded us4 ,dick1 who was but a novice at his business1 cut and slashed away until he had left just as much hair as he could conveniently dress1 and then1 having worked the grease and the flour into a kind of paste1 he plaistered over the head1 using his hand as a trowel1 until it was fairly encrusted so as to hide the colour of the hair1 or to deceive the eye into a belief that the head was a pudding bag turned inside out6 ,as it was summer1 my daughters chose to go without caps1 and an artificial bouquet was stuck in the front of those puddings4 ,the gowns were silk2 but being purchased at a pawnbroker's they were not properly cut for the fashionable hoop4 ,hoops1 however1 were to be wore1 and even my wife resolved for once1 to figure away in one of those oval pieces of nonsense4 4 4 4 4 4 ,perhaps in nature1 there was never such a figure6 ,only fashion to yourself a greengrocer's wife issuing from her cellar in ,drury ,lane1 with a monstrous hoop1 exposing a pair of legs1 the ankles as thick as the calf1 and the calf as thick as the modern waist2 her hair bepuddened1 her cheeks bedaubed with red1 her neck of a crimson hue1 her arms bursting through a pair of white gloves1 the contrast between the two skins being almost the very opposite to each other2 a thick-flowered silk exposing the whole front of a quilted petticoat that once was white1 and then you have the appearance of my wife6 ,her daughters made as ridiculous a figure1 and ,will1 ,i do assure you1 was not the least remarkable in the group4 ,this sally1 recounting the woes of the hapless ,artichoke1 provoked an indignant reply from a champion of the women1 which duly appeared in the next number3-- ,i think it high time1 then1 for every female to exert the little knowledge she may be possessed of in the scribbling line1 when the wits1 under the characters of ,green ,grocers1 dare to insult us1 and speak of our hoops1 and other parts of our dress1 as freely as they exercise their authority over the ostlers at a country inn4 ,the favour1 dear ,madam1 we wish of you1 is to remonstrate with these smart gentlemen1 and1 with us1 tell them they are incapable of correcting the foibles in the ladies' dresses1 till they have established a criterion for their own4 ,did they adopt no other fashions than useful and becoming ones1 they might have some solid reasons for reprehending us2 but how is this to be done8 ,can they point out of what use are the high-crowned hats1 their shoes tied with strings1 the number of buttons lately added to their coats3 of what real service that ponderosity of their watches and canes8 ,we will even attend to the ,green ,grocer1 if he can defend them1 and no longer despise the opinions of those scrutators of our dress2 but till then we must insist that the hoop 7the battery at which most of their present artillery is played off against71 when of a moderate size1 is an addition to the appearance of a fine woman2 it is a finishing grace to their persons1 and gives them that dignity of appearance that every woman in a genteel line of life has a right to assume4 ,although ,kings have often vainly endeavoured to impose their will upon the people in the matter of apparel it has often happened that monarchs have set the prevailing fashion of the period4 ,this is especially noticeable in the ,cavaliers of ,charles ,i41 numbers of whom adopted the short1 pointed beard and moustachios and long hair of their master1 in striking contrast to the close cropped and shaven round heads of the ,cromwellians4 ,it was so with the ,bonapartists of the ,third ,empire1 when the imperial became the vogue4 ,illustration3 ,a ,,reigning ,,monarch4 ,at a still more recent period1 the illustrious personage who is figured here1 and who1 be it known1 appears here strictly incognito 7we would fain escape the dire consequences of lse-majest71 has imposed his imperious will1 not only upon his own countrymen1 but upon the world at large1 in the matter of the turned up moustachio4 ,when you come to be trimed1 they will aske you whether you will be cut to looke terrible to your enimie1 or amiable to your freend1 grime and sterne in countenance1 or pleasant and demure1--how their mowchatowes must be preserved and laid out1 from one cheke to another1 yea1 almost from one eare to another1 and turned up like two hornes towards the forehead 7,stubbes1 ,anatomy of ,abuses1 #aehc74 ,illustration3 ,,philip ,,iv4 ,,of ,,spain4 ,the angle at which it is pointed provides an index as to character1 and of the degree of pugnacity of the wearer4 ,at an angle of1 say1 #de degrees forward we may expect to see its owner enter a crowded omnibus with the point of his umbrella held at the same angle1 or as a soldier makes ready to present arms4 ,in the dressing of the hair1 as in costume generally1 the lowest depth of the commonplace has been reached during the nineteenth century4 ,it is1 however1 extremely dangerous to indulge in any kind of sweeping generalities with respect to our own epoch2 we are either1 from long habit and custom1 prejudiced in favour of a particular rgime1 or we are afflicted with that contempt which is born of a too great familiarity4 ,the chignon1 in its many developments1 is within the memory of most of us2 the odious ,piccadilly fringe still endures with those persons who are either slaves to habit or who find that the curling and frizzing of the hair of the forehead destroys its capacity for growth4 ,dundreary and mutton-chop whiskers are even now to be found in out-of-the-way country places4 ,goldsmith1 in one of his delightful essays1 tells a story of a traveller who1 on his way to ,italy1 found himself in a country where the inhabitants had each a large excrescence depending from the chin--a deformity which1 as it was endemic and the people little used to strangers1 it had been the custom1 time immemorial1 to look upon as the greatest beauty4 ,ladies grew toasts from the size of their chins1 and no men were beaux whose faces were not broadest at the bottom4 ,it was ,sunday2 a country church was at hand1 and our traveller was willing to perform the duties of the day4 ,upon his first appearance at the church door the eyes of all were fixed upon the stranger2 but what was their amazement when they found that he actually wanted that emblem of beauty1 a pursed chin6 ,stifled bursts of laughter1 winks1 and whispers circulated from visage to visage2 the prismatic figure of the stranger's face was a fund of infinite gaiety4 ,our traveller could no longer patiently continue an object of deformity to point at4 ,good folks1 said he1 ,i perceive that ,i am a very ridiculous figure here1 but ,i assure you ,i am reckoned no way deformed at home4 ,lord ,dundreary would have been impossible in any other epoch than the ,victorian1 although the ,dundreary whisker is but a glorified development of earlier forms-- ,a marchaunt was ther with a forked berd1 ,in motteleye high on horse he sat4 ,canterbury ,tales4 ,dundreary1 with his striped peg-tops1 his eyeglass1 and his drawl1 exactly fitted his environment4 ,his whiskers represent the very antithesis of the ,piccadilly fringe1 also happily gone1 or relegated to the coster fraternity1 together with the bell-bottomed trouser with which it is in singular affinity4 ,the ,piccadilly fringe was persistently condemned by artists1 notably ,mr4 ,g4 ,f4 ,watts1 who pointed out that it obscured and destroyed the beautiful way in which the hair springs from the forehead4 ,mr4 ,watts1 however1 was not the first to warn the ladies against the sin of cropping short and pulling out the hair of the forehead4 ,if there should1 peradventure1 be any fair readers who are enamoured of the beauties of either the ,piccadilly or other fringe1 or who should be smitten with the insane desire to pop1 paint1 or powder the face1 let them listen to the sound advice and good counsel which the ,knight of ,la ,tour ,landry gave to his daughters1 and to the terrible ensaumples which he held up to them for their consideration and avoidance3 ,alas6 he exclaims1 whi take women non hede of the gret love that ,god hathe yeve hem to make hem after hys figure8 and whi popithe they1 and paintithe1 and pluckithe her visage otherwise than ,god hath ordeined hem8 ,why indeed6 ,there was once a lady who died and suffered great tortures in hell1 the devil holding her bi the tresses of the here of her hede1 like as a lyon holdithe his praie4444 and the same develle putte and thruste in her browes1 temples1 and forehede hote brenninge alles and nedeles2 and why was she subjected to all this torment8 ,because she had plucked her browes1 front and forehed1 to have awey the here1 to make her selff the fayrer to the plesinge of the worlde4 ,it is a very far cry from the good ,knight of ,la ,tour ,landry to the wicked ,mr4 ,punch of ,fleet ,street1 who satirises the variations in the form of the short side whisker still beloved of butlers and ostlers1 and which1 in the early days of the ,volunteer movement of the beginning of the sixties1 became identified with particular regiments or companies3-- ,,hairdresser3 ,south ,middlesex or ,keveens1 sir8 7,customer looks bewildered47 ,why1 sir1 many corpses1 sir1 'as a rekignised style of 'air1 sir1 accordin' to the ,reg---- 7,customer storms47 ,not a wolunteer1 sir8--,jus' so1 sir4 ,thought not1 sir2 leastways ,i was a-wonderin' to myself d'rectly ,i see you1 what corpse you could a belonged to1 sir4 ,,footnotes3 #bc ,william of ,malmesbury4 #bd #b ,sam4 xiv4 #be1 #bf4 #be ,phisicke is good1 and yet ,i would wish that every ignorant doult1 and especially women1 that have as much knowledge in phisick or surgery as hath jackeanapes1 being but smatterers in the same noble sciences1 should be restrained from the publike use therof unless they do it gratis 7,stubbes1 ,anatomy of ,abuses1 #aehc74 #bf ,the fillet which encircles the barber's pole indicates the ribbon used for bandaging the arm in bleeding1 and the basin the vessel to receive the blood4 #bg ,he speaks like a lady for all the world1 and never swears1 as ,mr4 ,flash does1 but wears nice white gloves1 and tells me what ribands become my complexion1 where to stick my patches1 who is the best milliner1 where they sell the best tea1 and which is the best wash for the face and the best paste for the hands2 he is always playing with my fan1 and showing his teeth2 and when ever ,i speak1 he pats me--so--and cries1 ',the devil take me1 ,miss ,biddy1 but you'll be my perdition--ha1 ha1 ha6' 7,david ,garrick1 ,miss in ,her ,teens1 #agdg74 ,x ,,boots1 ,,shoes1 ,,and ,,other ,,coverings ,,for ,,the ,,feet ',who is there in the house8' said ,sam1 in whose mind the inmates were always represented by that particular article of their costume which came under his immediate superintendence4 ',there's a wooden leg in number six2 there's a pair of ,hessians in thirteen2 there's two pair of halves in the commercial2 there's these here painted tops in the snuggery inside the bar2 and five more tops in the coffee-room4' ',nothing more8' said the little man4 ',stop a bit1' replied ,sam1 suddenly recollecting himself4 ',yes2 there's a pair of ,wellingtons a good deal worn1 and a pair o' lady's shoes in number five4' ',what sort of shoes8' hastily inquired ,wardle1 who1 together with ,mr4 ,pickwick1 had been lost in bewilderment at the singular catalogue of visitors4 ',country make1' replied ,sam4 ',any maker's name8' ',brown4' ',where of8' ',muggleton4' ',it is them6' exclaimed ,wardle4 ',by ,heaven1 we've found them4' ,posthumous ,papers of the ,pickwick ,club4 ,illustration3 ,,flemish 7,,eighteenth ,,century74 ,illustration3 ,,french 7,,seventeenth ,,century74 ,x ,,boots1 ,,shoes1 ,,and ,,other ,,coverings ,,for ,,the ,,feet ,the good ,st4 ,crispin1 of blessed memory1 cobbling shoes for the poor by the light of his candle and filling up the interval with preaching1 is a figure which all shoemakers regard with reverence4 ,how did ,crispin become the tutelary saint of shoemakers8 ,well1 it was in this wise4 ,crispin1 travelling with his brother ,crispinian1 in company with ,st4 ,denis1 to ,soissons in ,france to propagate the ,christian faith1 towards the close of the third century1 in order that he might not be a burden to others for his maintenance1 exercised at night the trade of shoemaker1 preaching the ,gospel by day4 ,the shoes were sold at a low price to the poor1 an angel 7so the legend recounts7 miraculously furnishing the leather4 ,according to another version of the legend1 the saint stole the leather1 so as to enable him to benefit the poor4 ,crispin's efforts1 like those of so many other benefactors of their kind1 were poorly rewarded4 ,he was ordered to be beheaded1 and suffered martyrdom in #bhg ,a4,d41 not1 however1 for his shoemaking1 or for his thefts1 but on account of his religious tenets4 ,some accounts state that he and his brother were flung into a cauldron of molten lead4 ,illustration3 ,,clog1 ,,or ,,patten4 ,,fifteenth ,,century4 ,the brotherhood of the shoemakers has always included men of remarkable character and parts4 ,hans ,sachs1 born at ,nuremburg in #adid1 the most eminent ,german poet of his time2 ,george ,fox1 first of ,quakers1 true follower of ,crispin1 dividing his time and energies between shoemaking and preaching2 ,william ,gifford1 less remembered perhaps as a shoemaker than for his editorship of the famous ,quarterly--these are a few only of the men who have imparted a glory to the 'gentle craft1' as shoemaking has been called since the days of the illustrious ,crispin1 and invested it with distinction4#bh ,the universal observance by ,eastern nations of the custom of removing the shoes as a mark of reverence is in obedience to the command given to ,moses from the burning bush at ,horeb3 ,put off thy shoes from off thy feet1 for the place whereon thou standest is holy ground4 ,the ,western practice of uncovering the reverse end of the human anatomy presents a curious and somewhat startling contrast4 ,footgear began as a protection to the soles of the feet1 since it is the soles which necessarily demand some sort of protection until that time when the rough places shall be made plain1 although ,nature provides her own protection to the soles of feet which are habitually bare1 by thickening the skin4 ,the skin of the habitually barefooted ,irish lassie varies1 we are told1 from a quarter to half an inch in thickness1 and even more4 ,the sandal1 then1 may be considered as the precursor of the shoe4 ,most of the early nations wore sandals4 ,the ,egyptians1 however1 were usually barefooted1 with the exception of the priests1 who wore shoes of byblus1 and were not permitted to wear any other4 ,the ,greek sandal consisted of a strip of thick hide1 tanned or untanned1 for the sole1 with a thinner piece1 assuming some ornamental form1 upon the instep1 the whole connected or drawn together with straps drawn crosswise over the instep and round the ankle1 or a cord or thong passing between the great toe and the first of the smaller toes4 ,sandals were worn either with bare feet or with stockings or hose1 in which case a division of the stocking would be necessary between the great and little toes4 ,some modern hygienic reformers have1 indeed1 recommended toed stockings for present use1 i4e41 stockings provided with a separate receptacle for each toe1 like the fingers of a glove1 to be worn even with the modern shoe or boot1 on the ground of healthiness1 and this would seem to be reasonable1 since the objectionable condition of the skin between the toes1 which no amount of cleanliness and care can wholly avert1 is due to the inability of the perspiration to escape when the surfaces are in contact4 ,the interposition in the five-toed socks of a layer of woollen or other material between each toe absorbs the perspiration and rapidly effects a remarkable change4 ,the skin between the toes becomes dry and wholesome1 and the squeezed1 crippled appearance of the toes greatly alters for the better4#bi ,both the ,greeks and ,romans wore buskins1 which reached to about the middle of the calf4 ,these were variously ornamented and laced1 and were usually lined with the skins of the smaller animals1 the heads and claws being allowed to fall over the top by way of ornament4 ,buskins have1 as a matter of fact1 been worn at all periods2 several examples are given1 notably in the portraits by ,vandyke1 of ,lords ,john and ,bernard ,stuart 7p4 #bhg74 ,illustration3 ,,roman ,,sandals4 ,hope's ,costume of the ,ancients4 ,the footgear of the ,italian peasant of the present day may be considered as the most primitive form of sandal4 ,it consists of a simple oblong piece of thick leather1 perforated at the sides and ends to allow of straps being drawn through1 crosswise over the instep and round the ankle1 and half way up the leg1 to the knee1 either in circular bands or crosswise1 the foot and leg being encased in a more or less loose stocking or hose1 in many instances the whole of the leg being cross gartered4 ,illustration3 ,,sandals ,,of ,,the ,,italian ,,peasantry4 ,the early ,britons wore a shoe which was almost as simple in construction as the last mentioned4 ,it consisted of a piece of raw cowhide1 with a leather thong fastened at the heel1 threaded along the upper edge1 drawing the shoe like a purse over the foot4 ,this form of shoe1 however1 was not confined to the early ,britons1 but was adopted by most primitive peoples at different periods2 in fact1 it is the first and readiest method of covering the feet which would occur to the primitive mind4 ,illustration3 ,,lords ,,john ,,and ,,bernard ,,stuart4 ,engraved by ,james ,macardell4 ,the ,anglo-,saxon shoe was provided with long thongs of leather or other material attached to the shoe at the ankles and wound crosswise round the leg to the knee1 or round the whole of the leg to the middle1 always1 however1 with some form of hose4 ,this fashion obtained1 more or less1 during the whole of the ,anglo-,saxon period1 and was common to most of the ,northern nations4 ,during the reign of ,william the ,conqueror1 short boots reaching above the ankle1 with a plain band round the tops1 prevailed4 ,robert1 ,duke of ,normandy1 eldest son of the ,conqueror1 who died in #aacd1 was called ,curta ,ocrea1 or ,short ,boots1 either from his setting the fashion or from retaining it when abandoned by the beaux of the day4 ,the usual footgear of the period1 however1 is the close shoe1 made of cloth1 velvet1 leather1 or other material1 and terminating in a point4 ,from this period for more than a century onward1 shoes varied very little1 except in the character of their ornamentation4 ,during the reigns of ,henry ,,ii4 and ,richard ,i41 a kind of loose top-boot appeared4 ,these boots resembled loose socks or galoches1 drawn over the hose1 sometimes reaching as high as the knee1 and occasionally to the middle of the thigh1 but more often half way up the leg only4 ,they were worn in various forms by all classes1 and by the common people during a long period4 ,they had no fastenings or lacings1 but were allowed to fall at will1 according to the stiffness or otherwise of the material of which they were made4 ,in the miniatures of the ,facta et ,dicta ,memorabilia of ,valerius ,maximus1 begun by ,simon de ,hesdin for ,charles ,v4 of ,france in #acge1 and completed by ,nicholas de ,gonesse for ,jean1 ,duc de ,berry1 in #adje1 a number of figures have boots1 made apparently of soft leather and coloured either red or white1 reaching to the knee2 in some instances the tops turned down1 with long1 pointed toes4 ,this series of miniatures is extremely interesting as giving an insight into the domestic life of the fourteenth century1 some of the interiors being especially so4 ,during the reign of the ,plantagenets1 footgear1 like the rest of the costume of that period1 was exceedingly sumptuous4 ,the shoes were usually close-fitting1 with pointed toes1 and ornamented with the richest variety of patterning4 ,the tops were of various materials1 soft leather1 silk1 cloth1 cloth-of-gold1 c4 ,the soles were usually of thicker leather1 but occasionally of wood1 and even of cork4 ,upon the opening of the tomb of ,henry ,,vi4 of ,sicily1 the dead monarch was discovered wearing shoes of which the uppers were of cloth-of-gold embroidered with pearls1 and the soles of cork1 covered with cloth-of-gold4 ,the reign of ,richard ,,ii4 was the period of abnormally long pointed toes1 which occasionally reached the length of six inches and more1 and assumed various shapes1 the toes being stuffed with tow or other substance to keep them in shape4 ,this fashion of long pointed toes lasted during the three succeeding reigns4 ,even boys wore doublets of silk1 satin1 and velvet2 and almost all1 especially in the ,courts of ,princes1 had points at the toes of their shoes a quarter of an ell long and upwards1 which they now called poulaines4 ,paradin describes the men as wearing shoes with a point before1 half a foot long3 the richer and more eminent personages more than a foot1 and ,princes two feet long1 which was the most ridiculous thing that ever was seen2 and when men became tired of these pointed shoes1 they adopted others in their stead denominated duck-bills1 having a bill or beak before1 of four or five fingers in length4 ,the sumptuary laws regulating these matters have been referred to in the introduction to this work4 ,the ,act of #c ,edward ,,iv4 restricted the length of toe to two inches4 ,illustration3 ,,french4 ,,fifteenth ,,century4 ,,french4 ,,seventeenth ,,century4 ,clogs and pattens were worn from the time of ,richard ,,ii4 onwards as a protection to the soles of the shoes1 and were variously shaped4 ,randal ,holme calls pattanes irons to be tied under the shoes to keep them out of the dirt4 ,in an anonymous work called the ,eulogium1 cited by ,camden1 it states3 ,their shoes and pattens are snouted and piked1 more than a finger long1 crooking upwards1 which they call crackowes1 resembling devils' claws1 and fastened to the knees with chains of gold and silver4 ,illustration3 ,,child',s ,,shoes1 ,,front ,,and ,,side ,,view1 ,,german 7,,sixteenth ,,century74 ,,man',s ,,shoe1 ,,german 7,,sixteenth ,,century74 ,this fashion of appending chains to the peaks of the shoes lasted intermittently for a considerable time4 ,in a work on ,ancient ,costume1 by ,major ,hamilton ,smith1 a portrait of ,james ,i4 of ,scotland is mentioned1 in which the peaks of the monarch's shoes are fastened by chains of gold to his girdle4 ,there is a manuscript in the ,royal collection in which the ,duke of ,gloucester1 afterwards ,richard ,,iii41 is depicted as wearing a clog4 ,this has been adopted by ,abbey in his famous picture of ,gloucester and the ,lady ,anne4 ,clogs were of wood1 thickened at the heel and ball of the foot for the purpose of raising it from the ground4 ,afterwards it was further raised by means of two pieces set at right angles to the foot1 on precisely the same principle as the ,japanese shoes of to-day4 ,an illustration is given from the ,cluny ,museum 7p4 #bhb74 ,another means of raising the foot was the chopine1 which was a kind of stilt2 it was1 in fact1 the sole1 elongated to an extravagant degree4 ,hamlet thus addresses the lady players3 ,what6 my young lady and mistress6 ,by'r-lady1 your ladyship is nearer heaven than when ,i saw you last1 by the altitude of a chopine6 ,towards the close of the fifteenth century it became the fashion to bend the long toe over the shoe backwards4 ,the two examples figured at the head of this chat are from the ,cluny ,museum1 and are characteristic4 ,both have high heels1 and resemble the shoes with which the ,chinese ladies until quite recently tortured and mutilated their feet1 for the purpose1 it is said1 of pleasing the distorted fancy of the men and to be qualified for marriage4#cj ,illustration3 ,,shoes ,,of ,,the ,,sixteenth ,,and ,,seventeenth ,,centuries4 ,muse de ,cluny4 ,a number of examples of shoes of the fifteenth1 sixteenth1 and seventeenth centuries are given from the interesting collection in the ,muse de ,cluny1 and will serve1 far better than any written description1 to give an idea of the character of the footgear of these periods4 ,the two child's shoes given on p4 #bia are of leather1 and are typical of the shoe worn during the greater part of the fifteenth century4 ,the side view shows the point turned upwards4 ,the man's shoe is short-toed1 richly worked in stamped leather4 ,the ladies' shoes of the sixteenth and seventeenth centuries given on p4 #bic are of various materials1 and for the most part richly embroidered2 two of the three lower ones show the clog of leather which was fixed from the heel to the toe1 the centre one of the three having a sharp pointed heel and a rounded sole1 surely a most uncomfortable thing to wear4 ,sir ,thomas ,parkins 7,treatise on ,wrestling1 #agad7 says3 ,for shame1 let us leave off aiming at the outdoing our ,maker in our true symmetry and proportion2 let us likewise1 for our own ease1 secure treading and upright walking1 as ,he designed we should1 and shorten our heels4 ,illustration3 ,,carved ,,wooden ,,shoe1 ,,french 7,,seventeenth ,,century74 ,during the reign of the ,tudors the character of the shoe suddenly changed from the long pointed toe to the broad-toed shoe1 made either of various cloths1 kid1 or velvet1 slashed and puffed with silk1 an example of which will be seen in ,holbein's picture of the ,two ,ambassadors4 ,the shoes of this period afford a minimum of protection to the feet1 the whole of the instep being uncovered4 ,it was again found necessary for legislation to step in--this time1 however1 to restrict their breadth1 instead of the length of the toes1 as heretofore4 ,bulwer's ,pedigree of the ,english ,gallant says3 ,in the reign of ,queen ,mary1 the people in general had laid aside the long points they formerly wore at the end of their shoes1 and caused them to be made square at the toes1 with so much addition to the breadth1 that their feet exhibited a much more preposterous appearance than they had done in the former instance2 therefore1 says the author1 a proclamation was made1 that no man should wear his shoes above six inches square at the toes4 ,he then tells us that picked shoes soon after came again in vogue1 but they did not1 ,i presume1 continue any great time in use4 ,in the figure of the exquisite of #afgj1 after ,mitelli 7p4 #abi71 the squareness of the toes is emphasised1 the two corners even projecting from the flat edge4 ,there are small bunches of ribbons at the toes1 an abnormally large stiffened bow at the instep1 and1 by way of piling ,pelion upon ,ossa1 the bend of the stiffened bows is supplemented by smaller bows1 representing the very acme of whimsical extravagance4 ,usually these bows or ribbons were allowed to fall loose1 in which case1 however1 they never reached such extravagant proportions as in the before-mentioned instance4 ,a square-toed shoe of a ,dutch officer of the ,guards1 #affb1 is given1 having a loose bow1 also a shoe of a musketeer with a small buckle on the instep and a large tongue or flap in front4 ,illustration3 ,,dutch ,,officer ,,of ,,guards1 #affb4 ,buckles have been worn from quite an early period1 an example of a circular buckle occurring on a brass of #acgf4 ,they formed the usual fastening of the shoe during the ,commonwealth1 and were worn until the close of the eighteenth century1 when they fell into disuse4 ,the buckle-makers of #ahjj1 alarmed at their declining trade1 petitioned the ,prince of ,wales to discard his new strings and adopt the buckle1 but1 although the ,prince complied with the wishes of the petition1 it was of no avail4 ,buckles were often richly jewelled1 and consequently very costly4 ,those worn by the ,hon4 ,john ,spencer on the occasion of his marriage were said to be worth #cj1jjj4 ,illustration3 ,,mousquetaire1 #afig4 ,in the anonymous portrait of ,prince ,henry1 eldest son of ,james ,i4 7p4 #ajc71 the shoes are of leather1 slashed1 showing the coloured stocking underneath1 and otherwise ornamented1 with the strap drawn over the instep1 covered by a jewelled rosette1 or shoe-rose4 ,these shoe-roses had a great vogue during the time of ,elizabeth2 they were usually of bunches of ribbons made to form a rose1 and were occasionally ornamented with costly jewels4 ,with two ,provencal roses on my razed shoes4 ,hamlet1 ,act ,,iii1 sc4 #b4 ,in ,hc-,vir1 or the ,womanish ,man1 #afba1 is described a fashionable man1 who takes a full survey of himself1 from the highest sprig in his feather to the lowest spangle that shines in his shoe-string4 ,we now come to the period of high-topped boots1 which continued with variations to the time of ,george ,,ii4 ,in the portrait of ,charles ,i4 by ,daniel ,mytens in the ,national ,portrait ,gallery will be seen an example of the earlier form of top-boot4 ,the tops fit close1 and are turned down at the knee1 and the edges again turned up half-way down the calf of the leg4 ,a large flap with double edges protects the instep4 ,illustration3 ,,louis ,,xiii41 #afaa4 ,the form of top-boots was developed in various ways1 until it reached an extravagant pitch in ,france in the reign of ,louis ,,xiv4 ,the variations were mainly in the shape or adjustment of the tops1 rather than in that portion of the boot which covered the foot4 ,they were worn by the dandies with a profusion of costly lace4 ,several examples are given4 ,this was the period of the highest1 or rather widest1 development of the tops of the boots2 so wide1 indeed1 did they become1 that the gait of a man might be described as straddling rather than walking4 ,an example is given of a boot worn by the ,comte de ,soissons1 #afbh1 which has a stiff rounded top like a basin1 with a short hose worn over the hose proper1 turned down below the knee and edged with rich lace4 ,a variation of the top-boot worn from the time of ,elizabeth onwards is a kind of soft leather hose or buskin drawn up to the middle of the thigh1 the edge folded over and slashed2 these were worn during the slashed period1 when everything was slashed--hat1 sleeves1 doublet1 and tunic 7p4 #big74 ,illustration3 ,,comte ,,de ,,soissons1 #afbh4 ,the ,wellington boot of the present day is practically identical with that worn by the illustrious soldier from whom it takes its name1 and is a very slight variation of the form of riding boot which was in use at the beginning of the eighteenth century1 except that it is of softer leather1 allowing the boot to fall into folds at the ankle4 ,the boot in the portrait of ,napoleon by ,isabey1 in the ,muse de ,versailles1 may be described as a sort of half ,wellington1 but the top-boot which is usually associated with ,napoleon is cut away at its upper edge at the back1 the front forming a kind of mask to the knee1 a form of boot which1 in fact1 had been worn from the time of ,william ,,iii4 ,illustration3 ,,bravoes4 ,martin ,schongauer4 ,cloth and woollen boots and shoes1 as were worn in the ,middle ,ages1 have been recommended for modern wear as being more healthy1 and as allowing the natural perspiration of the foot to exhale1 their sponsors affirming that cloth and wool are perfectly suitable and safe for wet weather1 as the wetting of the wool does not chill the feet1 the heat of which promptly evaporates the moisture from the covering1 which soon dries4 ,it must1 however1 be admitted that with a cloth covering1 the dirt and mud of a ,london winter would be a trial1 and here1 doubtless1 we have a reason for the cobblestones of medival towns4 ,cobble-stones are clean1 but must at once be ruled out of the question for ,london4 ,cobble-stones would indeed add a fresh horror to ,london life4 ,but is it too much to expect the richest city in the world1 with its thousands of unemployed1 to keep its streets clean8 ,is there any reason why large cities should not be kept clean as well as small cities8 ,boots and shoes should be roomy1 to prevent the toes from being squeezed together1 and should be so made that the great toe is not pressed against its neighbours1 but is encouraged to lie in a straight line drawn from the heel to the root of the great toe4 ,the heel of the boot should be low and broad4#ca ,the ,greek ideal of the foot is the true one4 ,the ,greeks rightly regarded the foot as an undeveloped hand1 and they endeavoured in their sculpture to impart that hand-like character to their feet4 ,one has only to notice the flexible toes of new-born and young babies1 in order to perceive the reasonableness of this position4 ,the ,greeks in their sculpture made a distinct division between the great toe and the rest of the toes1 as between the thumb and the fingers of the hand--the three toes well forward in a bunch2 the first the longest1 the next a little shorter1 and the third shorter still2 the little toe by itself1 raised up4 ,now compare with this any natural foot habituated to shoes or boots4 ,the bunch of three toes is pressed back1 and also sideways against the great toe1 thus losing the division between them and the great toe1 and destroying the true contour of the foot4 ,the pads of all the toes are pressed sideways instead of being immediately under the nails1 and the foot has entirely lost its original character1 and has become grotesquely malformed by corns1 bunions1 and similar growths4 ,the most beautiful natural foot1 the only beautiful foot which we ever remember having seen1 was a cast in ,sir ,edgar ,boehm's studio of the foot of a black woman who had never worn shoes4 ,of late there has been a disposition to return to the sandal as a covering or rather protection for children's feet 7one fears that it will be long before grown-ups adopt the sandal1 except perhaps at the seaside or in the country74 ,the change is a healthy one from every point of view4 ,upon sthetic grounds it is especially welcome4 ,one walks along the street during the summer months1 the mind perhaps preoccupied1 and the eye suddenly lights upon the rosy feet of one of these little ones as they trip along the street4 ,one involuntarily exclaims1 ,what a charming design6 ,what a beautiful piece of ornament6 ,of a truth1 in place of the uninteresting product of the shoemaker1 which we had become so inured and accustomed to1 one is suddenly introduced to that masterpiece of the ,great ,designer1 the human foot1 and the foot1 too1 in its natural state1 before it has become crippled and distorted by long confinement in a leather prison4 ,,footnotes3 #bh ,thomas ,deloney's booke called the ,gentle ,crafte1 intreating of ,showmakers1 tells how ,crispin and ,crispianus1 sons of ,king ,logrid of ,britain and of ,queen ,estreda1 were sheltered at ,faversham1 ,kent4 ,crispin wooed and married ,princess ,ursula1 whose son was born in the shoemaker's house4 ,hence the saying1 ,a shoemaker's son is born a ,prince4 ,from their high lineage1 shoemaking is named ,the ,gentle ,craft4 ,i am of ,crispin's trade1 a brave ,shooemaker1 ,he loved a ,princess dear1 and ne'r forsak't her4444 ,this craft was never held in scorn1 ,sir ,thomas ,eyer did it adorn1 ,a ,shoemaker's son a ,prince is born4 ,roxburghe ,ballads4 #bi ,health ,culture1 ,g4 ,jaeger1 ,m4,d4 #cj ,a movement1 headed by the ,empress1 has been instituted recently for the abolition of the practice of mutilating the feet of ,chinese women1 which was universal throughout all classes of society4 ,in the cities1 ladies were carried through the streets pick-a-back1 and moved about their houses on their knees4 ,in the fields the women worked on their knees1 being unable to stand4 #ca ,health ,culture1 ,g4 ,jaeger1 ,m4,d4 ,,index ,addison1 scantiness of dress1 #ada ,angelico1 ,fra1 painting by1 at ,florence1 #aja ,anglo-,saxon super-tunic1 #gf2 embroidery1 #gf2 ,chronicle1 treasures of ,king ,malcolm of ,scotland1 #ajj ,barbers1 introduction of in ,rome1 #bci2 charter granted by ,henry ,,viii41 #bdg ,barber-,surgeons1 #bdg-bdi ,beard1 formality of ,assyrian and ,greek1 #bcg2 dyeing and powdering1 #bch2 ceremonies and customs relating to1 #bch2 ,peter ,lombard's dislike of1 #bde2 edict by ,henry ,i4 for suppression of1 #bde2 various shapes of1 #bdf2 vow of ,henry ,,viii4 relating to1 #bdf ,beaumont and ,fletcher1 quotation from1 #adj ,bloet1 ,robert1 ,bishop of ,lincoln1 mantle presented by to ,henry ,i41 #ij ,boadicea1 tunic of1 #fh ,bodice1 rigidity of1 #add ,boots1 shoes1 and other foot coverings1 #bha-cja ---- short1 #bhh2 top1 #bhh1 #big1 #bih2 ,wellington1 #bih ,buckles1 #bif ,buskins1 #bhd-bhf ,byzantine women1 dress of1 #gb ,calash1 introduction of1 #bcj ,cap1 flat1 of ,tudor period1 #bah-bbj2 fool's1 #bji ,carlyle1 ,t41 #ah1 #bf1 #aaj ,charlemagne1 dress of1 #fh2 letter to ,king ,john of ,gascogny1 #hi2 mantle of1 #ij ,charles ,i41 costume of1 #abf ,chaucer1 quotations from1 #eb1 #df1 #gh1 #hb1 #ih1 #aah1 #bdb1 #bge ,chopine1 #bib ,chlamys1 #he ,cloak1 ,spanish1 #ajb2 ,puritan1 #ajb ,clothes1 index as to character1 #bb2 climatic influence on1 #bb2 uses of1 #bj2 their symbolism1 #bf ,coif-caps1 #beh ,collar1 ,gurth's1 #aha ,collars and cuffs1 #aha-bja ,cotton ,,ms4 caricature of winged devil1 #db ,couleur ,isabella1 #ahh ,coverley1 ,sir ,roger de1 remarks on hooped petticoat1 #afd ,cravat1 origin of1 #ahb2 general use of1 #aie2 art of tying the1 #aie-bja ,crestine or net-caul1 #baa ,crinoletta1 #afj2 disfigurans1 #agg2 echo of earlier prototype1 #agh ,crinoline1 rise and fall of1 #aei-agh2 invention of1 #afb ,crispin1 ,st41 #bha ,cross gartering1 #aad1 #bhf ,cut-purse1 #gh ,dickens1 quotation from ,pickwick1 #bhj ,doublet and hose1 #aaa-acb ,dowglas1 monk of ,glastonbury1 extravagances of dress of reign of ,edward ,,iii41 #cg ,dress3 should be one of the decorative arts1 #ec2 conditions of beautiful1 #ajf2 floral patternings of1 #adf2 modes of1 #aggc1 #adh2 fashionable1 #aghb1 #adi ,elizabeth1 ,queen1 short cloak1 #aja ,embroidery1 a conspicuous element in ,anglo-,saxon dress1 #gf ,empire gown1 #aeb ,fabrics3 cloth of gold1 #dc2 silk1 #dd2 ciclatoun1 cendal1 taffetas1 sarcenet1 #df2 patternings of1 #dh2 satin1 #df2 velvet1 #df2 ,sicilian brocades1 #di-ea ,farthingale1 #afb2 great wheel1 #afd ,fashion1 genuine woman of1 #aec ,french ,revolution1 influence on dress1 #aej2 disappearance of three-cornered hat1 #bbg ,froissart1 ,harleian ,library1 caricature of pig walking upon stilts1 #db ,garter1 mantle of1 #eb1 #id2 vestments of1 #id2 jewel of1 #ie2 embroiderings of1 #id2 as at present worn1 #if ,general survey1 #ai-eg ,girdle1 various kinds of1 #gg2 of ,charlemagne1 #gg2 imperial girdle of ,holy ,roman ,empire1 #gg2 of ,henry ,,vi41 #gg2 in brasses1 #gh ,gosson1 ,stephen1 ,schoole of ,abuse1 #cf ,gozzoli1 ,benozzo1 frescoes at ,pisa1 #aja ,greeks1 costumes of modern1 #gh ,gresham1 ,sir ,thomas1 gift of silk stockings to ,edward ,,vi41 #abj ,hair1 moustachios1 and beard1 #bcg-bgg ---- length of1 privilege of ,kings and ,princes of the ,franks1 #bdj2 condemnation of by the priesthood1 #bdj ,harold1 ,king1 banner under which he fought at ,hastings1 #eb ,hat1 chimney-pot1 #be1 #eg1 #bje1 #bbj1 #bbb-bbd2 development of1 #bbb-bbd2 centenary of modern1 #bbb2 ,greek broad-brimmed1 #baj2 cocked1 #acj2 ,kevenhuller1 #acb1 #bbg2 slouch1 ,stuart period1 #bbf2 panama1 #bcb2 bowler1 #bcb ,hats1 caps1 and bonnets1 #bje-bcc ,headcoverings not a necessity1 #bje ,head-dresses1 extravagances of1 #bfj-bga2 horned1 #cf1 #da1 #bac-bae2 heart-shaped1 #bae2 steeple1 #bae ,hennin1 #baf ,hood1 ,roman hooded cloak1 #bjh2 variations of1 #bji ,hooped petticoat1 #aei-age2 inconveniences of1 #agj2 disappearance of1 #agj ,hose1 tight-fitting1 #aad2 parti-coloured1 #aae2 ,gallic1 #abj2 silk1 #abj2 ,venetian1 #abj ,illuminated ,,mss41 colouring of1 #gc ,jerkin1 #aag ,jewels1 worn in hats1 #bbd ,jonson1 ,ben1 quotations from ,silent ,woman1 #ch1 #bcf1 #bfh2 ,every ,man out of his ,humour1 #abb ,kirtle or petticoat1 the1 #ace-aef ,kirtle ,romaunt of the ,rose1 #gc-acf2 a development tunic1 #ace ,la ,tour ,landry1 ,knight of1 ,st4 ,bernard's admonition of his sister1 #cf2 extravagance in dress1 #da2 horned head-dresses1 #bad2 painted faces1 #bgf ,lorenzo1 ,fiorenzo di1 paintings by1 #ii1 #ajj1 #aac ,love locks1 #bej ,lydgate1 monk of ,bury1 satires1 #da ,lyly's ,euphues1 #aehj1 fable of wind and sun1 #bb ,macaronies1 #bfj ,malay ,peninsula1 clothing of aborigines1 #bj ,mantle1 the1 #hc-ajf2 of ,elijah1 #hc2 ,st4 ,martin1 #hd2 ,raleigh1 #hd2 ,archdruid's1 #hh2 coronation mantle of ,holy ,roman ,empire1 #hh2 ,frankish1 #hi2 colour of ,charlemagne's1 #ij2 ,edward the ,confessor's1 #ij2 ,norman period1 #ij2 ,queen ,matilda's1 #ia2 of the ,order of the ,garter1 #id ,mary1 ,queen1 description of portrait of1 #ach ,merry ,monarch1 beauties of the ,court of1 #ada ,merveilleuses1 #aej ,moustachios1 ,charles ,i41 third ,empire1 a reigning monarch1 #bgb ,muffs1 #ajd ,nazarite law1 #bdj-bdd ,ondina or waved ,jupons1 advertisement in ,illustrated ,london ,news1 #ahfc1 #age ,otaheite1 festal dress1 #aff ,painted faces1 #bej-beb ,paris1 ,matthew1 description of marriage of ,alexander ,,iii4 of ,scotland1 #if ,pattens1 #bij-bib ,pegtops1 #ed2 ,dundreary's1 #bge ,peplum of the ,greeks1 #he1 #hh ,pepys1 references to dress1 #ajb-ajd1 #adb-add1 #bee ,periwig1 first appearance of in history1 #bee2 proportions of1 during the reign of ,charles ,,ii41 #bee ,petticoat breeches1 #abh-acj ---- inflation1 era of1 #ach ,picadil1 #ahi-aib ,piccadilly1 #aij2 fringe1 #bge ,piers ,plowman1 description of ,meed 7,bribery71 #bab ,pilche1 #ih-ajj ,pole1 ,edmund de la1 letter to1 #df ,pot-hat1 examples of in past art1 #be ,puffing1 #aag ,punch1 ,mr41 fragments of a love-song1 #gd2 satire of crinoline1 #agb-agf2 crinoletta1 #agf2 short side-whiskers1 #bgf2 warning to ladies riding in crinolines1 #agj ,roman de la ,rose1 satire on dress1 #ch2 dress of ,mirth1 #ec2 horned head-dresses1 #bac ,roxburghe ballads1 #dj1 #beb1 #bee1 #bhc ,ruff1 invention of1 #ahc2 extravagances of1 #ahg2 various kinds of1 #aib2 disappearance of1 #aid ,ruffle1 #ahc-ahd ,st4 ,bernard1 admonition of his sister1 #cf ,salisbury1 ,lord1 remarks on modern costume1 #ef ,sandal1 ,greek1 #bhc2 of ,italian peasantry1 #bhf2 modern1 #cja ,shoe roses1 #bif ,shoes1 early ,british1 #bhf2 ,anglo-,saxon1 #bhh2 pointed toed1 #bhi-bia2 broad toed1 #bid-bif ,slashings1 #aag-aah ,sleeves1 serrated1 #gb2 development of1 #aab-aac2 tight1 #aab2 cut work of1 #aab2 pokys1 #aab ,spencer jacket1 #acg ,starching1 #ahd ,stow1 reference to ruffs1 #ahg ,strutt1 #gc ,stubbes1 ,anatomy of ,abuses1 feminine habit of aping masculine dress1 #db2 peascod bellied doublets1 #abd2 ruffs1 #ahj1 #ahf1 #ahh2 praise of barbers1 #bej2 moustachios1 #bgb ,sumptuary laws1 principal ,acts1 #bh-cf1 #bij ,surcoat1 ,anglo-,saxon period1 #gf2 thirteenth and fourteenth centuries1 #gd ,tailor and ,cutter1 hints of impending changes in men's attire1 #ef ,tailors1 ,latin song upon the1 #ib ,tale of ,beryn1 the1 quotation from1 #hi ,toga1 plan of1 #hf2 dimensions of1 #hh ,trouser stretcher1 #ef ,trousers1 their antiquity1 #be2 the apparent eternity of1 #ed2 development of1 #ed2 inconveniences of1 #ef2 ,frankish1 #fi2 ,norman1 #aad ,trunk hose1 bombasting of1 #aah1 #abb2 of period of ,james ,i41 #abf ,tudor period1 magnificence of dress of1 #adj ,tunic1 the1 #fa-hj2 primitive form of1 #fa2 ,egyptian1 #fc2 ,greek1 #fd2 child's tunic1 ,egyptian1 #fd2 plan of1 #ff2 super-tunic1 #ff2 ,lacedemonian girls'1 #fg2 ,charlemagne's1 #fi2 military1 #gg ,turban1 #bji ,uses of clothing1 the1 #bj-bd ,veddas of ,ceylon1 #bj ,weaving1 silk1 in ,france and ,england1 #eb ,whisk1 #ahh-ahi ,whiskers1 ,dundreary and mutton chop1 #bgd2 short side1 #bgf ,wigs1 ,egyptian1 #bed2 first appearance in ,england1 #bee2 cost of when first worn1 #bef2 different shapes of1 #bef2 ,lord ,ellenborough's1 #beh ,william ,,iii41 long-skirted coats1 #ajd ,wimple1 #ahc1 #baa 99 99 99 99 99 ,,unwin ,,brothers1 ,,limited1 ,,woking ,,and ,,london