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+<h1>The Project Gutenberg eBook, English Costume, by Dion Clayton Calthrop</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: English Costume</p>
+<p>Author: Dion Clayton Calthrop</p>
+<p>Release Date: June 29, 2010  [eBook #33020]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK ENGLISH COSTUME***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Jason Isbell, Sam W.,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+
+<h1 class="padtop">ENGLISH COSTUME</h1>
+
+
+<p class="center padtop padbase xlrgfont">
+<span class="ls25">ENGLISH COSTUME</span><br />
+<span class="ls09">PAINTED &amp; DESCRIBED</span><br />
+<span class="ls24">BY &nbsp;DION CLAYTON</span><br />
+<span class="ls07">CALTHROP &middot; PUBLISHED</span><br />
+<span class="ls11">BY ADAM &amp; CHARLES</span><br />
+BLACK &middot; LONDON &middot; MCMVII<br />
+<br />
+<img src="images/ecill001.png" class="padleft" width="44" height="70" alt="Scissors" /></p>
+
+
+
+
+<p class="center padtop"><i>Published in four volumes during 1906.</i></p>
+
+<p class="center padbase"><i>Published in one volume, April, 1907.</i></p>
+
+
+
+
+<p class="center padtop">AGENTS</p>
+
+<table class="smlfont" border="0" cellpadding="2" cellspacing="0" summary="List of agents">
+  <tr>
+    <td class="tdl">AMERICA</td>
+    <td class="tdl">THE MACMILLAN COMPANY</td>
+  </tr>
+  <tr>
+    <td class="tdl">&nbsp;</td>
+    <td class="tdlp">64 &amp; 66 FIFTH AVENUE, NEW YORK</td>
+  </tr>
+  <tr>
+    <td class="tdl">CANADA</td>
+    <td class="tdl">THE MACMILLAN COMPANY OF CANADA, LTD.</td>
+  </tr>
+  <tr>
+    <td class="tdl">&nbsp;</td>
+    <td class="tdlp">70 BOND STREET, TORONTO</td>
+  </tr>
+  <tr>
+    <td class="tdl">INDIA</td>
+    <td class="tdl">MACMILLAN &amp; COMPANY, LTD.</td>
+  </tr>
+  <tr>
+    <td class="tdl">&nbsp;</td>
+    <td class="tdlp">MACMILLAN BUILDING, BOMBAY</td>
+  </tr>
+  <tr>
+    <td class="tdl">&nbsp;</td>
+    <td class="tdlp">309 BOW BAZAAR STREET, CALCUTTA</td>
+  </tr>
+</table>
+
+
+
+<hr style="width: 65%;" />
+
+<div class="figcenter ipadtop" style="width: 423px;">
+<a name="pl01" id="pl01"></a>
+<img src="images/ecpl01.jpg" width="423" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF GEORGE IV. (1820-1830)</p>
+
+<p class="subcapt ipadbase">Here you see the coat which we now wear, slightly
+altered, in our evening dress. It came into fashion,
+with this form of top-boots, in 1799, and was called
+a Jean-de-Bry. Notice the commencement of the
+whisker fashion.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[<span class="hidden">Pg </span>v]</a></span></p>
+
+<h2>INTRODUCTION</h2>
+
+
+<p>The world, if we choose to see it so, is a complicated
+picture of people dressing and undressing.
+The history of the world is composed of the chat
+of a little band of tailors seated cross-legged on
+their boards; they gossip across the centuries,
+feeling, as they should, very busy and important.
+Someone made the coat of many colours for Joseph,
+another cut into material for Elijah&rsquo;s mantle.</p>
+
+<p>Baldwin, from his stall on the site of the great
+battle, has only to stretch his neck round to nod
+to the tailor who made the toga for Julius C&aelig;sar;
+has only to lean forward to smile to Pasquino, the
+wittiest of tailors.</p>
+
+<p>John Pepys, the tailor, gossips with his neighbour
+who cut that jackanapes coat with silver
+buttons so proudly worn by Samuel Pepys, his
+son. Mr. Schweitzer, who cut Beau Brummell&rsquo;s
+coat, talks to Mr. Meyer, who shaped his pantaloons.
+<span class="pagenum"><a name="Page_vi" id="Page_vi">[<span class="hidden">Pg </span>vi]</a></span>
+Our world is full of the sound of scissors,
+the clipping of which, with the gossiping tongues,
+drown the grander voices of history.</p>
+
+<p>As you will see, I have devoted myself entirely
+to civil costume&mdash;that is, the clothes a man or a
+woman would wear from choice, and not by reason
+of an appointment to some ecclesiastical post, or
+to a military calling, or to the Bar, or the Bench.
+Such clothes are but symbols of their trades and
+professions, and have been dealt with by persons
+who specialize in those professions.</p>
+
+<p>I have taken the date of the Conquest as my
+starting-point, and from that date&mdash;a very simple
+period of clothes&mdash;I have followed the changes of
+the garments reign by reign, fold by fold, button
+by button, until we arrive quite smoothly at Beau
+Brummell, the inventor of modern clothes, the
+prophet of cleanliness.</p>
+
+<p>I have taken considerable pains to trace the
+influence of one garment upon its successor, to
+reduce the wardrobe for each reign down to its
+simplest cuts and folds, so that the reader may
+follow quite easily the passage of the coat from its
+birth to its ripe age, and by this means may not
+<span class="pagenum"><a name="Page_vii" id="Page_vii">[<span class="hidden">Pg </span>vii]</a></span>
+only know the clothes of one time, but the reasons
+for those garments. To the best of my knowledge,
+such a thing has never been done before; most
+works on dress try to include the world from
+Adam to Charles Dickens, lump a century into a
+page, and dismiss the ancient Egyptians in a couple
+of colour plates.</p>
+
+<p>So many young gentlemen have blown away
+their patrimony on feathers and tobacco that it is
+necessary for us to confine ourselves to certain
+gentlemen and ladies in our own country. A
+knowledge of history is essential to the study of
+mankind, and a knowledge of history is never
+perfect without a knowledge of the clothes with
+which to dress it.</p>
+
+<p>A man, in a sense, belongs to his clothes; they
+are so much a part of him that, to take him
+seriously, one must know how he walked about, in
+what habit, with what air.</p>
+
+<p>I am compelled to speak strongly of my own
+work because I believe in it, and I feel that the
+series of paintings in these volumes are really a
+valuable addition to English history. To be modest
+is often to be excessively vain, and, having made
+<span class="pagenum"><a name="Page_viii" id="Page_viii">[<span class="hidden">Pg </span>viii]</a></span>
+an exhaustive study of my subject from my own
+point of view, I do not feel called upon to hide my
+knowledge under a bushel. Of course, I do not
+suggest that the ordinary cultured man should
+acquire the same amount of knowledge as a painter,
+or a writer of historical subjects, or an actor, but he
+should understand the clothes of his own people,
+and be able to visualize any date in which he may
+be interested.</p>
+
+<p>One half of the people who talk glibly of Beau
+Brummell have but half an idea when he lived,
+and no idea that, for example, he wore whiskers.
+Hamlet they can conjure up, but would have some
+difficulty in recognising Shakespeare, because most
+portraits of him are but head and shoulders.
+Napoleon has stamped himself on men&rsquo;s minds
+very largely through the medium of a certain form
+of hat, a lock of hair, and a gray coat. In future
+years an orchid will be remembered as an emblem.</p>
+
+<p>I have arranged, as far as it is possible, that each
+plate shall show the emblem or distinguishing
+mark of the reign it illustrates, so that the continuity
+of costume shall be remembered by the
+arresting notes.</p>
+
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[<span class="hidden">Pg </span>ix]</a></span>
+As the fig-leaf identifies Adam, so may the chaperon
+twisted into a cockscomb mark Richard II.
+As the curled and scented hair of Alcibiades occurs
+to our mind, so shall Beau Nash manage his clouded
+cane. Elizabeth shall be helped to the memory
+by her Piccadilly ruff; square Henry VIII. by his
+broad-toed shoes and his little flat cap; Anne
+Boleyn by her black satin nightdress; James be
+called up as padded trucks; Maximilian as puffs
+and slashes; D&rsquo;Orsay by the curve of his hat;
+Tennyson as a dingy brigand; Gladstone as a
+collar; and even more recent examples, as the
+Whistlerian lock and the Burns blue suit.</p>
+
+<p>And what romantic incidents may we not hang
+upon our clothes-line! The cloak of Samuel Pepys
+(&lsquo;Dapper Dick,&rsquo; as he signed himself to a certain
+lady) sheltering four ladies from the rain; Sir Walter
+Raleigh spreading his cloak over the mud to protect
+the shoes of that great humorist Elizabeth (I never
+think of her apart from the saying, &lsquo;Ginger for
+pluck&rsquo;); Mary, Queen of Scots, ordering false
+attires of hair during her captivity&mdash;all these
+scenes clinched into reality by the knowledge of
+the dress proper to them.</p>
+
+<p><span class="pagenum"><a name="Page_x" id="Page_x">[<span class="hidden">Pg </span>x]</a></span>
+And what are we doing to help modern history&mdash;the
+picture of our own times&mdash;that it may look
+beautiful in the ages to come? I cannot answer
+you that.</p>
+
+<p>Some chapters of this work have appeared in the
+<i>Connoisseur</i>, and I have to thank the editor for his
+courtesy in allowing me to reproduce them.</p>
+
+<p>I must also thank Mr. Pownall for his help in
+the early stages of my labours.</p>
+
+<p>One thing more I must add: I do not wish this
+book to go forth and be received with that frigid
+politeness which usually welcomes a history to the
+shelves of the bookcase, there to remain unread.
+The book is intended to be read, and is not wrapped
+up in grandiose phrases and a great wind about
+nothing; I would wish to be thought more friendly
+than the antiquarian and more truthful than the
+historian, and so have endeavoured to show, in
+addition to the body of the clothes, some little of
+their soul.</p>
+
+<p class="sig">DION CLAYTON CALTHROP.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[<span class="hidden">Pg </span>xi]</a></span></p>
+
+<h2>Contents</h2>
+
+
+<table border="0" cellpadding="2" cellspacing="0" summary="Table of contents">
+  <tr>
+    <td class="tdlsc">&nbsp;</td>
+    <td class="tdrt"><small>PAGE</small></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">William the First</td>
+    <td class="tdrb"><a href="#Page_1">1</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">William the Second</td>
+    <td class="tdrb"><a href="#Page_10">10</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Henry the First</td>
+    <td class="tdrb"><a href="#Page_21">21</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Stephen</td>
+    <td class="tdrb"><a href="#Page_29">29</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Henry the Second</td>
+    <td class="tdrb"><a href="#Page_46">46</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Richard the First</td>
+    <td class="tdrb"><a href="#Page_55">55</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">John</td>
+    <td class="tdrb"><a href="#Page_62">62</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Henry the Third</td>
+    <td class="tdrb"><a href="#Page_67">67</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Edward the First</td>
+    <td class="tdrb"><a href="#Page_81">81</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Edward the Second</td>
+    <td class="tdrb"><a href="#Page_92">92</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Edward the Third</td>
+    <td class="tdrb"><a href="#Page_102">102</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Richard the Second</td>
+    <td class="tdrb"><a href="#Page_122">122</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">The End of the Fourteenth Century</td>
+    <td class="tdrb"><a href="#Page_141">141</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Henry the Fourth</td>
+    <td class="tdrb"><a href="#Page_152">152</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Henry the Fifth</td>
+    <td class="tdrb"><a href="#Page_161">161</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Henry the Sixth</td>
+    <td class="tdrb"><a href="#Page_176">176</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Edward the Fourth</td>
+    <td class="tdrb"><a href="#Page_198">198</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Edward the Fifth</td>
+    <td class="tdrb"><a href="#Page_213">213</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Richard the Third</td>
+    <td class="tdrb"><a href="#Page_213">213</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Henry the Seventh</td>
+    <td class="tdrb"><a href="#Page_223">223</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><span class="pagenum"><a name="Page_xii" id="Page_xii">[<span class="hidden">Pg </span>xii]</a></span>Henry the Eighth</td>
+    <td class="tdrb"><a href="#Page_247">247</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Edward the Sixth</td>
+    <td class="tdrb"><a href="#Page_274">274</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Mary</td>
+    <td class="tdrb"><a href="#Page_283">283</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Elizabeth</td>
+    <td class="tdrb"><a href="#Page_291">291</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">James the First</td>
+    <td class="tdrb"><a href="#Page_325">325</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Charles the First</td>
+    <td class="tdrb"><a href="#Page_341">341</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">The Cromwells</td>
+    <td class="tdrb"><a href="#Page_359">359</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Charles the Second</td>
+    <td class="tdrb"><a href="#Page_365">365</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">James the Second</td>
+    <td class="tdrb"><a href="#Page_378">378</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">William and Mary</td>
+    <td class="tdrb"><a href="#Page_383">383</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">Queen Anne</td>
+    <td class="tdrb"><a href="#Page_395">395</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">George the First</td>
+    <td class="tdrb"><a href="#Page_406">406</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">George the Second</td>
+    <td class="tdrb"><a href="#Page_414">414</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">George the Third</td>
+    <td class="tdrb"><a href="#Page_432">432</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc">George the Fourth</td>
+    <td class="tdrb"><a href="#Page_440">440</a></td>
+  </tr>
+</table>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[<span class="hidden">Pg </span>xiii]</a></span></p>
+
+<h2>Illustrations in Colour</h2>
+
+
+<table border="0" cellpadding="2" cellspacing="0" summary="List of illustrations in colour">
+  <tr>
+    <td class="tdrt">1.</td>
+    <td class="tdl">A Man of the Time of George IV.</td>
+    <td class="tdc">1820-1830</td>
+    <td class="tdrb"><a href="#pl01"><i>Frontispiece</i></a></td>
+  </tr>
+  <tr>
+    <td class="tdrt" colspan="4"><small>FACING PAGE</small></td>
+  </tr>
+  <tr>
+    <td class="tdrt">2.</td>
+    <td class="tdl">A Man of the Time of William I.</td>
+    <td class="tdc">1066-1087</td>
+    <td class="tdrb"><a href="#pl02">2</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">3.</td>
+    <td class="tdl">A Woman of the Time of William I.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl03">8</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">4.</td>
+    <td class="tdl">A Man of the Time of William II.</td>
+    <td class="tdc">1087-1100</td>
+    <td class="tdrb"><a href="#pl04">10</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">5.</td>
+    <td class="tdl">A Woman of the Time of William II.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl05">16</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">6.</td>
+    <td class="tdl">A Man of the Time of Henry I.</td>
+    <td class="tdc">1100-1135</td>
+    <td class="tdrb"><a href="#pl06">22</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">7.</td>
+    <td class="tdl">A Child of the Time of Henry I.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl07">24</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">8.</td>
+    <td class="tdl">A Woman of the Time of Henry I.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl08">26</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">9.</td>
+    <td class="tdl">A Man of the Time of Stephen</td>
+    <td class="tdc">1135-1154</td>
+    <td class="tdrb"><a href="#pl09">30</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">10.</td>
+    <td class="tdl">A Woman of the Time of Stephen</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl10">38</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">11.</td>
+    <td class="tdl">A Man of the Time of Henry II.</td>
+    <td class="tdc">1154-1189</td>
+    <td class="tdrb"><a href="#pl11">46</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">12.</td>
+    <td class="tdl">A Woman of the Time of Henry II.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl12">52</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">13.</td>
+    <td class="tdl">A Man of the Time of Richard I.</td>
+    <td class="tdc">1189-1199</td>
+    <td class="tdrb"><a href="#pl13">56</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">14.</td>
+    <td class="tdl">A Woman of the Time of Richard I.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl14">60</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">15.</td>
+    <td class="tdl">A Man of the Time of John</td>
+    <td class="tdc">1199-1216</td>
+    <td class="tdrb"><a href="#pl15">62</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">16.</td>
+    <td class="tdl">A Woman of the Time of John</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl16">66</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">17.</td>
+    <td class="tdl">A Man of the Time of Henry III.</td>
+    <td class="tdc">1216-1272</td>
+    <td class="tdrb"><a href="#pl17">68</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">18.</td>
+    <td class="tdl">A Woman of the Time of Henry III.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl18">74</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt"><span class="pagenum"><a name="Page_xiv" id="Page_xiv">[<span class="hidden">Pg </span>xiv]</a></span>19.</td>
+    <td class="tdl">A Peasant of Early England</td>
+    <td class="tdc">&nbsp;</td>
+    <td class="tdrb"><a href="#pl19">78</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">20.</td>
+    <td class="tdl">A Man and Woman of the Time of Edward I.</td>
+    <td class="tdc">1272-1307</td>
+    <td class="tdrb"><a href="#pl20">88</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">21.</td>
+    <td class="tdl">A Man and Woman of the Time of Edward II.</td>
+    <td class="tdc">1307-1327</td>
+    <td class="tdrb"><a href="#pl21">96</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">22.</td>
+    <td class="tdl">A Man of the Time of Edward III.</td>
+    <td class="tdc">1327-1377</td>
+    <td class="tdrb"><a href="#pl22">112</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">23.</td>
+    <td class="tdl">A Woman of the Time of Edward III.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl23">120</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">24.</td>
+    <td class="tdl">A Man of the Time of Richard II.</td>
+    <td class="tdc">1377-1399</td>
+    <td class="tdrb"><a href="#pl24">128</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">25.</td>
+    <td class="tdl">A Woman of the Time of Richard II.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl25">136</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">26.</td>
+    <td class="tdl">A Man and Woman of the Time of Henry IV.</td>
+    <td class="tdc">1399-1413</td>
+    <td class="tdrb"><a href="#pl26">152</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">27.</td>
+    <td class="tdl">A Man of the Time of Henry V.</td>
+    <td class="tdc">1413-1422</td>
+    <td class="tdrb"><a href="#pl27">164</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">28.</td>
+    <td class="tdl">A Woman of the Time of Henry V.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl28">172</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">29.</td>
+    <td class="tdl">A Man of the Time of Henry VI.</td>
+    <td class="tdc">1422-1461</td>
+    <td class="tdrb"><a href="#pl29">180</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">30.</td>
+    <td class="tdl">A Woman of the Time of Henry VI.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl30">192</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">31.</td>
+    <td class="tdl">A Man of the Time of Edward IV.</td>
+    <td class="tdc">1461-1483</td>
+    <td class="tdrb"><a href="#pl31">200</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">32.</td>
+    <td class="tdl">A Woman of the Time of Edward IV.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl32">208</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">33.</td>
+    <td class="tdl">A Man of the Time of Richard III.</td>
+    <td class="tdc">1483-1485</td>
+    <td class="tdrb"><a href="#pl33">216</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">34.</td>
+    <td class="tdl">A Woman of the Time of Richard III.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl34">220</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">35.</td>
+    <td class="tdl">A Man of the Time of Henry VII.</td>
+    <td class="tdc">1485-1509</td>
+    <td class="tdrb"><a href="#pl35">226</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">36.</td>
+    <td class="tdl">A Woman of the Time of Henry VII.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl36">242</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">37.</td>
+    <td class="tdl">A Man of the Time of Henry VIII.</td>
+    <td class="tdc">1509-1547</td>
+    <td class="tdrb"><a href="#pl37">250</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">38.</td>
+    <td class="tdl">A Man of the Time of Henry VIII.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl38">256</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">39.</td>
+    <td class="tdl">A Woman of the Time of Henry VIII.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl39">258</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">40.</td>
+    <td class="tdl">A Woman of the Time of Henry VIII.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl40">266</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">41.</td>
+    <td class="tdl">A Man and Woman of the Time of Edward VI.</td>
+    <td class="tdc">1547-1553</td>
+    <td class="tdrb"><a href="#pl41">278</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt"><span class="pagenum"><a name="Page_xv" id="Page_xv">[<span class="hidden">Pg </span>xv]</a></span>42.</td>
+    <td class="tdl">A Man of the Time of Mary</td>
+    <td class="tdc">1553-1558</td>
+    <td class="tdrb"><a href="#pl42">286</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">43.</td>
+    <td class="tdl">A Woman of the Time of Mary</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl43">290</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">44.</td>
+    <td class="tdl">A Man of the Time of Elizabeth</td>
+    <td class="tdc">1558-1603</td>
+    <td class="tdrb"><a href="#pl44">298</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">45.</td>
+    <td class="tdl">A Woman of the Time of Elizabeth</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl45">306</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">46.</td>
+    <td class="tdl">A Woman of the Time of Elizabeth</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl46">314</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">47.</td>
+    <td class="tdl">A Man of the Time of James I.</td>
+    <td class="tdc">1603-1625</td>
+    <td class="tdrb"><a href="#pl47">330</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">48.</td>
+    <td class="tdl">A Woman of the Time of James I.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl48">338</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">49.</td>
+    <td class="tdl">A Man of the Time of Charles I.</td>
+    <td class="tdc">1625-1649</td>
+    <td class="tdrb"><a href="#pl49">346</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">50.</td>
+    <td class="tdl">A Woman of the Time of Charles I.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl50">354</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">51.</td>
+    <td class="tdl">A Cromwellian Man</td>
+    <td class="tdc">1649-1660</td>
+    <td class="tdrb"><a href="#pl51">360</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">52.</td>
+    <td class="tdl">A Woman of the Time of the Cromwells</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl52">362</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">53.</td>
+    <td class="tdl">A Woman of the Time of the Cromwells</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl53">364</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">54.</td>
+    <td class="tdl">A Man of the Time of Charles II.</td>
+    <td class="tdc">1660-1685</td>
+    <td class="tdrb"><a href="#pl54">366</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">55.</td>
+    <td class="tdl">A Man of the Time of Charles II.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl55">368</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">56.</td>
+    <td class="tdl">A Woman of the Time of Charles II.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl56">372</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">57.</td>
+    <td class="tdl">A Man of the Time of James II.</td>
+    <td class="tdc">1685-1689</td>
+    <td class="tdrb"><a href="#pl57">378</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">58.</td>
+    <td class="tdl">A Woman of the Time of James II.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl58">380</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">59.</td>
+    <td class="tdl">A Man of the Time of William and Mary</td>
+    <td class="tdc">1689-1702</td>
+    <td class="tdrb"><a href="#pl59">384</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">60.</td>
+    <td class="tdl">A Woman of the Time of William and Mary</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl60">392</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">61.</td>
+    <td class="tdl">A Man of the Time of Queen Anne</td>
+    <td class="tdc">1702-1714</td>
+    <td class="tdrb"><a href="#pl61">396</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">62.</td>
+    <td class="tdl">A Woman of the Time of Queen Anne</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl62">400</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">63.</td>
+    <td class="tdl">A Man of the Time of George I.</td>
+    <td class="tdc">1714-1727</td>
+    <td class="tdrb"><a href="#pl63">408</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt"><span class="pagenum"><a name="Page_xvi" id="Page_xvi">[<span class="hidden">Pg </span>xvi]</a></span>64.</td>
+    <td class="tdl">A Woman of the Time of George I.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl64">412</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">65.</td>
+    <td class="tdl">A Man of the Time of George II.</td>
+    <td class="tdc">1727-1760</td>
+    <td class="tdrb"><a href="#pl65">416</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">66.</td>
+    <td class="tdl">A Woman of the Time of George II.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl66">424</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">67.</td>
+    <td class="tdl">A Man of the Time of George III.</td>
+    <td class="tdc">1760-1820</td>
+    <td class="tdrb"><a href="#pl67">432</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">68.</td>
+    <td class="tdl">A Woman of the Time of George III.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl68">434</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">69.</td>
+    <td class="tdl">A Man of the Time of George III.</td>
+    <td class="tdc">1760-1820</td>
+    <td class="tdrb"><a href="#pl69">436</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">70.</td>
+    <td class="tdl">A Woman of the Time of George III.</td>
+    <td class="tdc">&rdquo;</td>
+    <td class="tdrb"><a href="#pl70">438</a></td>
+  </tr>
+</table>
+
+
+
+<h2>Illustrations in Black and White</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="List of illustrations in black and white">
+  <tr>
+    <td class="tdrt" colspan="2"><small>FACING PAGE</small></td>
+  </tr>
+  <tr>
+    <td class="tdl">A Series of Thirty-two Half-tone Reproductions of Engravings by Hollar</td>
+    <td class="tdrb"><a href="#Page_357">358</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">A Series of Sixty Half-tone Reproductions of Wash Drawings by the Dightons&mdash;Father and Son&mdash;and by the Author</td>
+    <td class="tdrb"><a href="#drawings">440</a></td>
+  </tr>
+  <tr>
+    <td class="tdl" colspan="2">Numerous Line Drawings by the Author throughout the Text.</td>
+  </tr>
+</table>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[<span class="hidden">Pg </span>1]</a></span></p>
+
+<h2>WILLIAM THE FIRST</h2>
+
+<p class="smlfont center">Reigned twenty-one years: 1066-1087.</p>
+
+<p class="smlfont center">Born 1027. Married, 1053, Matilda of Flanders.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 184px;">
+<img src="images/ecill002.png" width="184" height="250"
+alt="A man of the time of William I.; a shoe" />
+</div>
+
+<p>Why France should
+always give the lead
+in the matter of dress
+is a nice point in sartorial
+morality&mdash;a
+morality which holds
+that it takes nine tailors to
+make a man and but one
+milliner to break him, a code,
+in fact, with which this book
+will often have to deal.</p>
+
+<p>Sartorially, then, we commence
+with the 14th of October, 1066, upon
+which day, fatal to the fashions of the country,
+the flag of King Harold, sumptuously woven and
+<span class="pagenum"><a name="Page_2" id="Page_2">[<span class="hidden">Pg </span>2]</a></span>
+embroidered in gold, bearing the figure of a
+man fighting, studded with precious stones, was
+captured.</p>
+
+<p>William, of Norse blood and pirate traditions,
+landed in England, and brought with him bloodshed,
+devastation, new laws, new customs, and new
+fashions.</p>
+
+<p>Principal among these last was the method of
+shaving the hair at the back of the head, which
+fashion speedily died out by reason of the parlous
+times and the haste of war, besides the utter
+absurdity of the idea. Fashion, however, has no
+sense of the ridiculous, and soon replaced the one
+folly by some other extravagance.</p>
+
+<p>William I. found the Saxons very plainly dressed,
+and he did little to alter the masculine mode.</p>
+
+<p>He found the Saxon ladies to be as excellent
+at embroidery as were their Norman sisters, and
+in such times the spindle side was content to sit
+patiently at home weaving while the men were
+abroad ravaging the country.</p>
+
+<p>William was not of the stuff of dandies. No
+man could draw his bow; he helped with his own
+hands to clear the snowdrift on the march to
+Chester. Stark and fierce he was, loving the
+<span class="pagenum"><a name="Page_3" id="Page_3">[<span class="hidden">Pg </span>3]</a></span>
+solitudes of the woods and the sight of hart and
+hind.</p>
+
+<div class="figcenter ipadtop" style="width: 473px;">
+<a name="pl02" id="pl02"></a>
+<img src="images/ecpl02.jpg" width="473" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF WILLIAM I. (1066-1087)</p>
+
+<p class="subcapt ipadbase">Cloak buckled at the shoulder. Leather thongs
+crossed on his legs. Shoes of leather. Tunic fitting
+to his body like a jersey.</p>
+
+<p>When some kind of order was restored in England,
+many of the Saxons who had fled the country and
+gone to Constantinople came back, bringing with
+them the Oriental idea of dress. The Jews came
+with Eastern merchandise into England, and brought
+rich-coloured stuffs, and as these spread through
+the country by slow degrees, there came a gradual
+change in colour and material, and finer stuffs
+replaced the old homespun garments.</p>
+
+<p>The Jews were at this time very eminent as silk
+manufacturers and makers of purple cloth. The
+Britons had been very famous for their dyed woollen
+stuffs. Boadicea is said to have worn a tunic of
+chequered stuff, which was in all probability
+rather of the nature of Scotch plaids.</p>
+
+<p>The tunics worn by the men of this time were,
+roughly speaking, of two kinds: those that fitted
+close to the body, and those that hung loose, being
+gathered into the waist by a band. The close-fitting
+tunic was in the form of a knitted jersey,
+with skirts reaching to the knee; it was open on
+either side to the hips, and fell from the hips in
+loose folds. The neck was slit open four or five
+<span class="pagenum"><a name="Page_4" id="Page_4">[<span class="hidden">Pg </span>4]</a></span>
+inches, and had an edging of embroidery, and the
+sleeves were wide, and reached just below the
+elbows. These also had an
+edging of embroidery, or a
+band different in colour to
+the rest of the tunic.</p>
+
+<div class="figleft" style="width: 140px;">
+<img src="images/ecill003.png" width="140" height="250"
+alt="A man of the time of William I." />
+</div>
+
+<p>The other form of tunic
+was made exactly in shape
+like the modern shirt, except
+that the neck opening was
+smaller. It was loose and
+easy, with wide sleeves to the
+elbow, and was gathered in
+at the waist by a band of stuff
+or leather.</p>
+
+<p>The skirts of the tunics were cut square or
+V-shaped in front and behind. There were also
+tunics similar in shape to either of those mentioned,
+except that the skirts were very short, and were
+tucked into wide, short breeches which reached to
+the knee, or into the trousers which men wore.</p>
+
+<p>Under this tunic was a plain shirt, loosely fitting,
+the sleeves tight and wrinkled over the wrist, the
+neck showing above the opening of the tunic.
+This shirt was generally white, and the opening
+<span class="pagenum"><a name="Page_5" id="Page_5">[<span class="hidden">Pg </span>5]</a></span>
+at the neck was sometimes stitched with coloured
+or black wool.</p>
+
+<p>Upon the legs they wore neat-fitting drawers of
+wool or cloth, dyed or of natural colour, or loose
+trousers of the same materials, sometimes worn
+loose, but more generally bound
+round just above the knee and at
+the ankle.</p>
+
+<div class="figright" style="width: 98px;">
+<img src="images/ecill004.png" width="98" height="250"
+alt="A man of the time of William I." />
+</div>
+
+<p>They wore woollen socks, and for
+footgear they wore shoes of skin
+and leather, and boots of soft
+leather shaped naturally to the
+foot and strapped or buckled across
+the instep. The tops of the boots
+were sometimes ornamented with
+coloured bands.</p>
+
+<p>The cloak worn was semicircular
+in shape, with or without a small semicircle cut
+out at the neck. It was fastened over the right
+shoulder or in the centre by means of a large
+round or square brooch, or it was held in place
+by means of a metal ring or a stuff loop through
+which the cloak was pushed; or it was tied by
+two cords sewn on to the right side of the cloak,
+which cords took a bunch of the stuff into a knot
+<span class="pagenum"><a name="Page_6" id="Page_6">[<span class="hidden">Pg </span>6]</a></span>
+and so held it, the ends of the cords having tags
+of metal or plain ornaments.</p>
+
+<p>One may see the very same make and fashion of
+tunic as the Normans wore under their armour
+being worn to-day by the Dervishes in Lower Egypt&mdash;a
+coarse wool tunic, well padded, made in the
+form of tunic and short drawers
+in one piece, the wide sleeves
+reaching just below the elbow.</p>
+
+<div class="figcenter" style="width: 128px;">
+<img src="images/ecill005.png" width="128" height="250"
+alt="A man of the time of William I." />
+</div>
+
+<p>The hats and caps of these
+men were of the most simple
+form&mdash;plain round-topped skull-caps,
+flat caps close to the head
+without a brim, and a hat with
+a peak like the helmet.</p>
+
+<p>Hoods, of course, were worn
+during the winter, made very
+close to the head, and they were
+also worn under the helmets.</p>
+
+<p>Thus in such a guise may we picture the Norman
+lord at home, eating his meat with his fingers, his
+feet in loose skin shoes tied with thongs, his legs in
+loose trousers bound with crossed garters, his tunic
+open at the neck showing the white edge of his shirt,
+his face clean-shaven, and his hair neatly cropped.</p>
+
+
+<p><span class="pagenum"><a name="Page_7" id="Page_7">[<span class="hidden">Pg </span>7]</a></span></p>
+
+<h3>THE WOMEN</h3>
+
+<div class="figleft" style="width: 130px;">
+<img src="images/ecill006.png" width="130" height="250"
+alt="A woman of the time of William I." />
+</div>
+
+<p>Nothing could be plainer or
+more homely than the dress of
+a Norman lady. Her loose
+gown was made with ample
+skirts reaching well on to the
+ground, and it was gathered in
+at the waist by a belt of wool,
+cloth, silk, or cloth of gold web.</p>
+
+<p>The gown fitted easily across
+the shoulders, but fell from
+there in loose folds. The neck
+opening was cut as the man&rsquo;s, about five inches
+down the front, and the border ornamented with
+some fine needlework, as also were the borders
+of the wide sleeves, which came just below the
+elbows.</p>
+
+<p>Often the gown was made short, so that when
+it was girded up the border of it fell only to the
+knees, and showed the long chemise below.</p>
+
+<p>The girdle was, perhaps, the richest portion of
+their attire, and was sometimes of silk diapered with
+gold thread, but such a girdle would be very costly.
+More often it would be plain wool, and be tied
+<span class="pagenum"><a name="Page_8" id="Page_8">[<span class="hidden">Pg </span>8]</a></span>
+simply round the waist with short ends, which did
+not show.</p>
+
+<p>The chemise was a plain white garment, with
+tight sleeves which wrinkled at the wrists; that is
+to say, they were really too long for the arm, and
+so were caught in small folds at the wrist.</p>
+
+<p>The gown, opening at the neck in the same way
+as did the men&rsquo;s tunics, showed the white of the
+chemise, the opening being
+held together sometimes by a
+brooch.</p>
+
+<div class="figcenter" style="width: 152px;">
+<img src="images/ecill007.png" width="152" height="250"
+alt="A woman of the time of William I.; a type of neckline" />
+</div>
+
+<p>Towards the end of the
+reign the upper part of the
+gown&mdash;that is, from the neck
+to the waist&mdash;was worn close
+and fitted more closely to the
+figure, but not over-tightly&mdash;much
+as a tight jersey would fit.</p>
+
+<p>Over all was a cloak of the
+semicircular shape, very voluminous&mdash;about three
+feet in diameter&mdash;which was brooched in the centre
+or on the shoulder.</p>
+
+<div class="figcenter ipadtop" style="width: 400px;">
+<a name="pl03" id="pl03"></a>
+<img src="images/ecpl03.jpg" width="400" height="600" alt="" title="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF WILLIAM I. (1066-1087)</p>
+
+<p class="subcapt ipadbase">A twist of wool holds the gown at the waist. Under
+the gown the chemise shows. The neck of the gown
+is embroidered.</p>
+
+<p>On the head, where the hair was closely coiled
+with a few curls at the forehead, a wimple was
+worn, which was wound about the head and thrown
+<span class="pagenum"><a name="Page_9" id="Page_9">[<span class="hidden">Pg </span>9]</a></span>
+over the shoulder, not allowing the hair to show.
+These wimples were sometimes very broad, and
+were almost like a mantle, so that they fell over
+the shoulders below the breast.</p>
+
+<p>Tied round the wimple they sometimes had a
+snood, or band of silk.</p>
+
+<p>The shoes were like those worn by the men.</p>
+
+<p>These ladies were all housewives, cooking, preparing
+simples, doing embroidery and weaving.
+They were their own milliners and dressmakers,
+and generally made their husbands&rsquo; clothes, although
+some garments might be made by the town tailors;
+but, as a rule, they weaved, cut, sewed, and fitted
+for their families, and then, after the garments were
+finished to satisfaction, they would begin upon
+strips of embroidery to decorate them.</p>
+
+<p>In such occupation we may picture them, and
+imagine them sitting by the windows with their
+ladies, busily sewing, looking up from their work
+to see hedged fields in lambing-time, while shepherds
+in rough sheepskin clothes drove the sheep into a
+neat enclosure, and saw to it that they lay on warm
+straw against the cold February night.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_10" id="Page_10">[<span class="hidden">Pg </span>10]</a></span></p>
+
+<h2>WILLIAM THE SECOND</h2>
+
+<p class="smlfont center">Reigned thirteen years: 1087-1100.</p>
+
+<p class="smlfont center">Born <i>c.</i> 1060.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figcenter" style="width: 196px;">
+<img src="images/ecill008.png" width="196" height="250"
+alt="A man of the time of William II." />
+</div>
+
+<p>About this time there
+came to England a
+Norman, who settled
+near by the Abbey of
+Battle&mdash;Baldwin the
+Tailor by name, whom
+one might call the father of
+English tailoring.</p>
+
+<p>Baldwin the Tailor sat
+contentedly cross-legged on
+his bench and plied his
+needle and thread, and snipped,
+and cut, and sewed, watching the birds
+pick worms and insects from the turf of the battleground.</p>
+
+<div class="figcenter ipadtop" style="width: 490px;">
+<a name="pl04" id="pl04"></a>
+<img src="images/ecpl04.jpg" width="490" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF WILLIAM II. (1087-1100)</p>
+
+<p class="subcapt ipadbase">Shows the wide drawers with an embroidered hem.
+Under them can be seen the long woollen drawers
+bound with leather thongs.</p>
+
+<p><span class="pagenum"><a name="Page_11" id="Page_11">[<span class="hidden">Pg </span>11]</a></span>
+England is getting a little more settled.</p>
+
+<p>The reign opens picturesquely enough with
+William Rufus hastening to England with his
+father&rsquo;s ring, and ends with the tragedy of the
+New Forest and a blood-stained tunic.</p>
+
+<p>Clothes begin to play an important part. Rich
+fur-lined cloaks and gowns trail on the ground,
+and sweep the daisies so lately pressed by mailed
+feet and sopped with
+blood where the Saxons
+fell.</p>
+
+<div class="figright" style="width: 176px;">
+<img src="images/ecill009.png" width="176" height="250" alt="" />
+<span class="caption">The Cloak pushed through a Ring.</span>
+</div>
+
+<p>Times have changed
+since Baldwin was at
+the coronation at Westminster
+on Christmas
+Day twenty years ago.
+Flemish weavers and
+farmers arrive from
+overseas, and are established
+by William II.
+in the North to teach
+the people pacific arts,
+causing in time a stream of Flemish merchandise
+to flow into the country, chiefly of rich fabrics and
+fine cloths.</p>
+
+<p><span class="pagenum"><a name="Page_12" id="Page_12">[<span class="hidden">Pg </span>12]</a></span>
+The men adopt longer tunics, made after the
+same pattern as before&mdash;split up either side and
+loose in the sleeve&mdash;but in many cases the skirts
+reach to the ground in heavy folds, and the sleeves
+hang over the hands by quite a yard.</p>
+
+<p>The necks of these tunics are ornamented as
+before, with coloured bands or stiff embroidery.</p>
+
+<p>The cuffs have the embroidery both inside and
+out, so that when the long sleeve is turned back
+over the hand the embroidery will show.</p>
+
+<p>The fashion in cloaks is still the same&mdash;of a
+semicircular pattern.</p>
+
+<p>The shoes are the same as in the previous reign&mdash;that
+is, of the shape of the foot, except in rare
+cases of dandyism, when the shoes were made with
+long, narrow toes, and these, being stuffed with
+moss or wool, were so stiffened and curled up at
+the ends that they presented what was supposed
+to be a delightfully extravagant appearance.</p>
+
+<p>They wore a sort of ankle garter of soft leather
+or cloth, which came over the top of the boot and
+just above the ankle.</p>
+
+<p>The hair, beard, and moustaches were worn long
+and carefully combed&mdash;in fact, the length of the
+beard caused the priests to rail at them under such
+<span class="pagenum"><a name="Page_13" id="Page_13">[<span class="hidden">Pg </span>13]</a></span>
+terms as &lsquo;filthy goats.&rsquo; But they had hardly the
+right to censorship, since they themselves had to
+be severely reprimanded by their Bishops for their
+extravagance in dress.</p>
+
+<p>Many gentlemen, and especially the Welsh, wore
+long loose trousers as far as the ankle, leaving these
+garments free from
+any cross gartering.
+These were secured
+about the waist by a
+girdle of stuff or
+leather.</p>
+
+<div class="figleft" style="width: 197px;">
+<img src="images/ecill010.png" width="197" height="250"
+alt="Two men of the time of William II." />
+</div>
+
+<p>The ultra-fashionable
+dress was an
+elongation of every
+part of the simple
+dress of the previous
+reign. Given these
+few details, it is easy
+for anyone who wishes to go further to do so,
+in which case he must keep to the main outline
+very carefully; but as to the actual length
+of sleeve or shoe, or the very measurements of
+a cloak, they varied with the individual folly of
+the owner. So a man might have long sleeves
+<span class="pagenum"><a name="Page_14" id="Page_14">[<span class="hidden">Pg </span>14]</a></span>
+and a short tunic, or a tunic which trailed upon
+the ground, the sleeves of which reached only to
+the elbow.</p>
+
+<p>I have noticed that it is the general custom of
+writers upon the dress of this early time to dwell
+lovingly upon the colours of the various parts of
+the dress as they were painted in the illuminated
+manuscripts. This is a foolish waste of time, insomuch
+as the colours were made the means of
+displays of pure design on the part of the very
+early illuminators; and if one were to go upon such
+evidence as this, by the exactness of such drawings
+alone, then every Norman had a face the colour of
+which nearly resembled wet biscuit, and hair picked
+out in brown lines round each wave and curl.</p>
+
+<p>These woollen clothes&mdash;cap, tunic, semicircular
+cloak, and leg coverings&mdash;have all been actually
+found in the tomb of a Briton of the Bronze Age.
+So little did the clothes alter in shape, that the
+early Briton and the late Norman were dressed
+nearly exactly alike.</p>
+
+<p>When the tomb of William II. was opened in
+1868, it was found, as had been suspected, that the
+grave had been opened and looted of what valuables
+it might have contained; but there were found
+<span class="pagenum"><a name="Page_15" id="Page_15">[<span class="hidden">Pg </span>15]</a></span>
+among the dust which filled the bottom of the
+tomb fragments of red cloth, of gold cloth, a
+turquoise, a serpent&rsquo;s head in ivory, and a wooden
+spear shaft, perhaps the very spear that William
+carried on that fatal day in the New Forest.</p>
+
+<p>Also with the dust and bones of the dead King
+some nutshells were discovered, and examination
+showed that mice had been able to get into the
+tomb. So, if you please, you may hit upon a pretty
+moral.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<div class="figleft" style="width: 84px;">
+<img src="images/ecill011.png" width="84" height="250"
+alt="A woman of the time of William II." />
+</div>
+
+<p>And so the lady began to lace....</p>
+
+<p>A moralist, a denouncer of the fair
+sex, a satirist, would have his fling at
+this. What thundering epithets and
+avalanche of words should burst out
+at such a momentous point in English
+history!</p>
+
+<p>However, the lady pleased herself.</p>
+
+<p>Not that the lacing was very tight,
+but it commenced the habit, and the
+habit begat the harm, and the thing
+grew until it arrived finally at that
+buckram, square-built, cardboard-and-tissue figure
+which titters and totters through the Elizabethan era.</p>
+
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[<span class="hidden">Pg </span>16]</a></span>
+Our male eyes, trained from infancy upwards to
+avoid gazing into certain shop windows, nevertheless
+retain a vivid impression of an awesome affair
+therein, which we understood by hints and signs
+confined our mothers&rsquo; figures in its deadly grip.</p>
+
+<p>That the lady did not lace herself overtight is
+proved by the many informations we have of her
+household duties; that she laced tight enough for
+unkind comment is shown by the fact that some
+old monk pictured the devil in a neat-laced gown.</p>
+
+<p>It was, at any rate, a distinct departure from the
+loosely-clothed lady of 1066 towards the neater
+figure of 1135.</p>
+
+<p>The lacing was more to draw the wrinkles of the
+close-woven bodice of the gown smooth than to
+form a false waist and accentuated hips, the beauty
+of which malformation I must leave to the writers
+in ladies&rsquo; journals and the condemnation to health
+faddists.</p>
+
+<p>However, the lacing was not the only matter of
+note. A change was coming over all feminine
+apparel&mdash;a change towards richness, which made
+itself felt in this reign more in the fabric than in the
+actual make of the garment.</p>
+
+<div class="figcenter ipadtop" style="width: 480px;">
+<a name="pl05" id="pl05"></a>
+<img src="images/ecpl05.jpg" width="480" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF WILLIAM II. (1087-1100)</p>
+
+<p class="subcapt ipadbase">This shows the gown, which is laced behind, fitting
+more closely to the figure. The sleeves are wider
+above the wrist.</p>
+
+<p>The gown was open at the neck in the usual
+<span class="pagenum"><a name="Page_17" id="Page_17">[<span class="hidden">Pg </span>17]</a></span>
+manner, was full in the skirt and longer than
+heretofore, was laced at the back, and was loose
+in the sleeve.</p>
+
+<p>The sleeve as worn by the men&mdash;that is, the over-long
+sleeve hanging down over the hand&mdash;was also
+worn by the women, and hung down
+or was turned back, according to the
+freak of the wearer. Not only this,
+but a new idea began, which was to
+cut a hole in the long sleeve where
+the hand came, and, pushing the
+hand through, to let the rest of the
+sleeve droop down. This developed,
+as we shall see later.</p>
+
+<div class="figright" style="width: 100px;">
+<img src="images/ecill012.png" width="100" height="250"
+alt="A woman of the time of William II." />
+</div>
+
+<p>Then the cloak, which had before
+been fastened by a brooch on the
+shoulder or in the centre of the
+breast, was now held more tightly over the shoulders
+by a set of laces or bands which ran round the back
+from underneath the brooch where they were
+fastened, thus giving more definition to the
+shoulders.</p>
+
+<p>You must remember that such fashions as the
+hole in the sleeve and the laced cloak were not any
+more universal than is any modern fashion, and that
+<span class="pagenum"><a name="Page_18" id="Page_18">[<span class="hidden">Pg </span>18]</a></span>
+the good dame in the country was about a century
+behind the times with her loose gown and heavy
+cloak.</p>
+
+<p>There were still the short gowns, which, being
+tucked in at the waist by the girdle, showed the
+thick wool chemise below and the
+unlaced gown, fitting like a jersey.</p>
+
+<p>The large wimple was still worn
+wrapped about the head, and the hair
+was still carefully hidden.</p>
+
+<div class="figleft" style="width: 78px;">
+<img src="images/ecill013.png" width="78" height="250"
+alt="A woman of the time of William II." />
+</div>
+
+<p>Shall we imagine that it is night, and
+that the lady is going to bed? She is
+in her long white chemise, standing at
+the window looking down upon the
+market square of a small town.</p>
+
+<p>The moon picks out every detail of
+carving on the church, and throws the
+porch into a dense gloom. Not a soul is about,
+not a light is to be seen, not a sound is to be
+heard.</p>
+
+<p>The lady is about to leave the window, when she
+hears a sound in the street below. She peers down,
+and sees a man running towards the church; he
+goes in and out of the shadows. From her open
+window she can hear his heavy breathing. Now he
+<span class="pagenum"><a name="Page_19" id="Page_19">[<span class="hidden">Pg </span>19]</a></span>
+darts into the shadow of the porch, and then out
+of the gloom comes a furious knocking, and a voice
+crying, &lsquo;Sanctuary!&rsquo;</p>
+
+<p>The lady at her window knows that cry well.
+Soon the monks in the belfry will awake and ring
+the Galilee-bell.</p>
+
+<p>The Galilee-bell tolls, and the knocking ceases.</p>
+
+<p>A few curious citizens look out. A dog barks.
+Then a door opens and closes with a bang.</p>
+
+<p>There is silence in the square again, but the
+lady still stands at her window, and she follows
+the man in her thoughts.</p>
+
+<p>Now he is admitted by the monks, and goes at
+once to the altar of the patron-saint of the church,
+where he kneels and asks for a coroner.</p>
+
+<p>The coroner, an aged monk, comes to him and
+confesses him. He tells his crime, and renounces
+his rights in the kingdom; and then, in that dark
+church, he strips to his shirt and offers his clothes
+to the sacrist for his fee. Ragged, mud-stained
+clothes, torn cloak, all fall from him in a heap upon
+the floor of the church.</p>
+
+<p>Now the sacrist gives him a large cloak with a
+cross upon the shoulder, and, having fed him, gives
+him into the charge of the under-sheriff, who will
+<span class="pagenum"><a name="Page_20" id="Page_20">[<span class="hidden">Pg </span>20]</a></span>
+next day pass him from constable to constable
+towards the coast, where he will be seen on board
+a ship, and so pass away, an exile for ever.</p>
+
+<p>The night is cold. The lady pulls a curtain
+across the window, and then, stripping herself of
+her chemise, she gets into bed.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_21" id="Page_21">[<span class="hidden">Pg </span>21]</a></span></p>
+
+<h2>HENRY THE FIRST</h2>
+
+<p class="smlfont center">Reigned thirty-five years: 1100-1135.</p>
+
+<p class="smlfont center">Born 1068. Married to Matilda of Scotland, 1100; to
+Adela of Louvain, 1121.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 124px;">
+<img src="images/ecill014.png" width="124" height="250"
+alt="A man of the time of Henry I.; two types of shoe" />
+</div>
+
+<p>The Father of Popular Literature,
+Gerald of Wales, says:
+&lsquo;It is better to be dumb than
+not to be understood. New
+times require new fashions, and
+so I have thrown utterly aside
+the old and dry methods of
+some authors, and aimed at
+adopting the fashion of speech
+which is actually in vogue
+to-day.&rsquo;</p>
+
+<p>Vainly, perhaps, I have endeavoured
+to follow this precept
+laid down by Father Gerald, trying by slight
+pictures of the times to make the dry bones live,
+<span class="pagenum"><a name="Page_22" id="Page_22">[<span class="hidden">Pg </span>22]</a></span>
+to make the clothes stir up and puff themselves
+into the shapes of men.</p>
+
+<p>It is almost a necessity that one who would
+describe, paint, stage, or understand the costume
+of this reign should know the state of England at
+the time.</p>
+
+<p>For there is in this reign a distinction without
+a difference in clothes; the shapes are almost
+identical to the shapes and patterns of the previous
+reigns, but everybody is a little better dressed.</p>
+
+<p>The mantles worn by the few in the time of
+William the Red are worn now by most of the
+nobility, fur-lined and very full.</p>
+
+<p>One may see on the sides of the west door of
+Rochester Cathedral Henry and his first wife, and
+notice that the mantle he wears is very full; one
+may see that he wears a supertunic, which is gathered
+round his waist. This tunic is the usual Norman
+tunic reaching to the knee, but now it is worn over
+an under-tunic which reaches to the ground in heavy
+folds.</p>
+
+<p>One may notice that the King&rsquo;s hair is long and
+elegantly twisted into pipes or ringlets, and that it
+hangs over his shoulders.</p>
+
+<div class="figcenter ipadtop" style="width: 488px;">
+<a name="pl06" id="pl06"></a>
+<img src="images/ecpl06.jpg" width="488" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF HENRY I. (1100-1135)</p>
+
+<p class="subcapt ipadbase">His hair is curled in ringlets; he wears a long cloak.
+The shirt shows at the neck of the tunic. The small
+design in the corner is from a sanctuary door-knocker.</p>
+
+<p>No longer is the priestly abuse of &lsquo;filthy goat&rsquo;
+<span class="pagenum"><a name="Page_23" id="Page_23">[<span class="hidden">Pg </span>23]</a></span>
+applicable, for Henry&rsquo;s beard is neatly trimmed
+and cut round his face.</p>
+
+<p>These two things are the only practical difference
+between the two dates&mdash;the end of the eleventh
+century and the beginning of the twelfth.</p>
+
+<p>The under-tunic was made as a perfectly plain
+gown with tight sleeves ending at the wrist; it
+hung loose and full upon the figure. Over this
+was worn the short tunic with wide sleeves ending
+at the elbow. Both tunics would have broad borders
+of embroidered work or bands of coloured material.
+The supertunic would be brooched by one of those
+circular Norman brooches which was an ornamental
+circle of open gold-work in which stones and jewels
+were set. The brooch was fastened by a central
+pin.</p>
+
+<p>The extravagances of the previous reign were in
+some measure done away with; even the very long
+hair was not fashionable in the latter half of this
+reign, and the ultra-long sleeve was not so usual.</p>
+
+<p>So we may give as a list of clothes for men in
+this reign:</p>
+
+<p>A white linen shirt.</p>
+
+<p>A long tunic, open at the neck, falling to the
+ground, with tight sleeves to the wrist.</p>
+
+<p><span class="pagenum"><a name="Page_24" id="Page_24">[<span class="hidden">Pg </span>24]</a></span>
+A short tunic reaching only to the knees, more
+open at the neck than the long tunic, generally
+fastened by a brooch.</p>
+
+<p>Tight, well-fitting drawers or loose trousers.</p>
+
+<p>Bandages or garters crossed from the ankle to
+the knee to confine the loose trousers or ornament
+the tights.</p>
+
+<p>Boots of soft leather which had an ornamental
+band at the top.</p>
+
+<p>Socks with an embroidered top.</p>
+
+<p>Shoes of cloth and leather with an embroidered
+band down the centre and round the top.</p>
+
+<p>Shoes of skin tied with leather thongs.</p>
+
+<p>Caps of skin or cloth of a very plain shape and
+without a brim.</p>
+
+<p>Belts of leather or cloth or silk.</p>
+
+<p>Semicircular cloaks fastened as previously described,
+and often lined with fur.</p>
+
+<p>The clothes of every colour, but with little or
+no pattern; the patterns principally confined to
+irregular groups of dots.</p>
+
+<p>And to think that in the year in which Henry
+died Nizami visited the grave of Omar Al Khayy&aacute;m
+in the Hira Cemetery at Nishapur!</p>
+
+<div class="figcenter ipadtop" style="width: 345px;">
+<a name="pl07" id="pl07"></a>
+<img src="images/ecpl07.jpg" width="345" height="600" alt="" />
+</div>
+
+<p class="caption">A CHILD OF THE TIME OF HENRY I.</p>
+
+<p class="subcapt">It is only in quite recent years that there have been
+quite distinct dresses for children, fashions indeed
+which began with the ideas for the improvement in
+hygiene. For many centuries children were dressed,
+with slight modifications, after the manner of their
+parents, looking like little men and women, until in
+the end they arrived at the grotesque infants of
+Hogarth&rsquo;s day, powdered and patched, with little
+stiff skirted suits and stiff brocade gowns, with little
+swords and little fans and, no doubt, many pretty
+airs and graces.</p>
+
+<p class="subcapt ipadbase">One thing I have never seen until the early sixteenth
+century, and that is girls wearing any of
+the massive head-gear of their parents; in all other
+particulars they were the same.</p>
+
+
+<p><span class="pagenum"><a name="Page_25" id="Page_25">[<span class="hidden">Pg </span>25]</a></span></p>
+
+<h3>THE WOMEN</h3>
+
+<div class="figleft" style="width: 125px;">
+<img src="images/ecill015.png" width="125" height="250"
+alt="A woman of the time of Henry I." />
+</div>
+
+<p>The greatest change in the
+appearance of the women was
+in the arrangement of the hair.</p>
+
+<p>After a hundred years or
+more of headcloths and hidden
+hair suddenly appears a head
+of hair. Until now a lady
+might have been bald for all
+the notice she took of her
+hair; now she must needs
+borrow hair to add to her
+own, so that her plaits shall
+be thick and long.</p>
+
+<p>It is easy to see how this came about. The hair,
+for convenience, had always been plaited in two
+plaits and coiled round the head, where it lay concealed
+by the wimple. One day some fine lady
+decides to discard her close and uncomfortable
+head-covering. She lets her plaits hang over her
+shoulders, and so appears in public. Contempt of
+other ladies who have fine heads of hair for the
+thinness of her plaits; competition in thick and
+long hair; anger of ladies whose hair is not thick
+<span class="pagenum"><a name="Page_26" id="Page_26">[<span class="hidden">Pg </span>26]</a></span>
+and long; enormous demand for artificial hair;
+failure of the supply to meet the ever-increasing
+demand; invention of silken cases filled with a
+substitute for hair, these cases attached to the end
+of the plaits to elongate them&mdash;in this manner do
+many fashions arrive and flourish, until such time
+as the common people find means of copying them,
+and then my lady wonders how she could ever have
+worn such a common affair.</p>
+
+<p>The gowns of these ladies remained much the
+same, except that the loose gown, without any
+show of the figure, was in great favour; this gown
+was confined by a long girdle.</p>
+
+<p>The girdle was a long rope of silk or wool, which
+was placed simply round the waist and loosely
+knotted; or it was wound round above the waist
+once, crossed behind, and then knotted in front, and
+the ends allowed to hang down. The ends of the
+girdle had tassels and knots depending from them.</p>
+
+<p>The silk cases into which the hair was placed
+were often made of silk of variegated colours, and
+these cases had metal ends or tassels.</p>
+
+<p>The girdles sometimes were broad bands of silk
+diapered with gold thread, of which manufacture
+specimens remain to us.</p>
+
+<div class="figcenter ipadtop" style="width: 362px;">
+<a name="pl08" id="pl08"></a>
+<img src="images/ecpl08.jpg" width="362" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF HENRY I. (1100-1135)</p>
+
+<p class="subcapt ipadbase">This shows the pendant sleeve with an embroidered
+hem. The long plaits of hair ended with metal, or
+silk, tags. At the neck and wrists the white chemise
+shows.</p>
+
+<p><span class="pagenum"><a name="Page_27" id="Page_27">[<span class="hidden">Pg </span>27]</a></span>
+The sleeves of the gowns had now altered in
+shape, and had acquired a sort of pendulent cuff,
+which hung down about two hands&rsquo; breadth from
+the wrist. The border was, as usual, richly ornamented.</p>
+
+<div class="figright" style="width: 169px;">
+<img src="images/ecill016.png" width="169" height="250"
+alt="A woman of the time of Henry I." />
+</div>
+
+<p>Then we have a new invention, the pelisse. It is
+a loose silk coat, which is brooched at the waist, or
+buttoned into a silk loop.
+The sleeves are long&mdash;that
+is, they gradually increase
+in size from the underarm
+to the wrist, and sometimes
+are knotted at the ends,
+and so are unlike the other
+gown sleeves, which grow
+suddenly long near to the
+wrist.</p>
+
+<p>This pelisse reaches to
+the knees, and is well open in front. The idea was
+evidently brought back from the East after the
+knights arrived back from the First Crusade, as it
+is in shape exactly like the coats worn by Persian
+ladies.</p>
+
+<p>We may conceive a nice picture of Countess
+Constance, the wife of Hugh Lufus, Earl of
+<span class="pagenum"><a name="Page_28" id="Page_28">[<span class="hidden">Pg </span>28]</a></span>
+Chester, as she appeared in her dairy fresh from
+milking the cows, which were her pride. No doubt
+she did help to milk them; and in her long under-gown,
+with her plaits once more confined in the
+folds of her wimple, she made cheeses&mdash;such good
+cheeses that Anselm, Archbishop of Canterbury,
+rejoiced in a present of some of them.</p>
+
+<p>What a change it must have been to Matilda,
+free of the veil that she hated, from the Black
+Nuns of Romsey, and the taunts and blows of her
+aunt Christina, to become the wife of King Henry,
+and to disport herself in fine garments and long
+plaited hair&mdash;Matilda the very royal, the daughter
+of a King, the sister to three Kings, the wife of a
+King, the mother of an Empress!</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_29" id="Page_29">[<span class="hidden">Pg </span>29]</a></span></p>
+
+<h2>STEPHEN</h2>
+
+<p class="smlfont center">Reigned nineteen years: 1135-1154.</p>
+
+<p class="smlfont center">Born 1094. Married, 1124, to Matilda of Boulogne.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 136px;">
+<img src="images/ecill017.png" width="136" height="250"
+alt="A man of the time of Stephen" />
+</div>
+
+<p>When one regards the
+mass of material in existence
+showing costume of
+the tenth and eleventh centuries,
+it appears curious
+that so little fabric remains
+of this particular period.</p>
+
+<p>The few pieces of fabric
+in existence are so worn
+and bare that they tell little,
+whereas pieces of earlier
+date of English or Norman
+material are perfect,
+although thin and delicate.</p>
+
+<p>There are few illuminated manuscripts of the
+twelfth century, or of the first half of it, and to the
+<span class="pagenum"><a name="Page_30" id="Page_30">[<span class="hidden">Pg </span>30]</a></span>
+few there are all previous historians of costume
+have gone, so that one is left without choice but to
+go also to these same books. The possibilities,
+however, of the manuscripts referred to have not
+been exhausted, and too much attention has been
+paid to the queer drawing of the illuminators; so
+that where they utilized to the full the artistic
+license, others have sought to pin it down as
+accurate delineation of the costume of the time.
+In this I have left out all the supereccentric
+costumes, fearing that such existed merely in the
+imagination of the artist, and I have applied myself
+to the more ordinary and understandable.
+As there are such excellent works on armour, I
+have not touched at all upon the subject, so that we
+are left but the few simple garments that men wore
+when they put off their armour, or that the peasant
+and the merchant habitually wore.</p>
+
+<p>Ladies occupied their leisure in embroidery and
+other fine sewing, in consequence of which the
+borders of tunics, of cloaks, the edgings of sleeves,
+and bands upon the shoes, were elegantly patterned.
+The more important the man, the finer his shoes.</p>
+
+<div class="figcenter ipadtop" style="width: 478px;">
+<a name="pl09" id="pl09"></a>
+<img src="images/ecpl09.jpg" width="478" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF STEPHEN (1135-1154)</p>
+
+<p class="subcapt ipadbase">He is wearing a cloak with hood attached; it is of
+skin, the smooth leather inside. He has an ankle
+gaiter covering the top of his shoes. On the arm
+over which the cloak hangs can be seen the white
+sleeve of the shirt.</p>
+
+<p>As will be seen from the drawings, the man
+wore his hair long, smoothly parted in the centre,
+<span class="pagenum"><a name="Page_31" id="Page_31">[<span class="hidden">Pg </span>31]</a></span>
+with a lock drawn down the parting from the back
+of his head. As a rule, the hair curled back naturally,
+and hung on the shoulders, but sometimes the
+older fashion of the past reign remained, and the
+hair was carefully curled
+in locks and tied with
+coloured ribbon.</p>
+
+<p>Besides the hood as
+covering for the head,
+men wore one or other
+of the simple caps
+shown, made of cloth or
+of fur, or of cloth fur-lined.</p>
+
+<div class="figright" style="width: 165px;">
+<img src="images/ecill018.png" width="165" height="250"
+alt="A man of the time of Stephen; two types of shoe; a boot" />
+</div>
+
+<div class="figleft" style="width: 455px;">
+<img src="images/ecill019.png" width="455" height="300"
+alt="Two types of tunic; two types of cloak; four types of sleeve showing cuff variations" />
+</div>
+
+<p>Next to his skin the
+man of every class wore
+a shirt of the pattern
+shown&mdash;the selfsame
+shirt that we wear to day, excepting that the
+sleeves were made very long and tight-fitting, and
+were pushed back over the wrist, giving those
+wrinkles which we notice on all the Bayeux
+tapestry sleeves, and which we see for many
+centuries in drawings of the undergarment. The
+shape has always remained the same; the modes
+<span class="pagenum"><a name="Page_32" id="Page_32">[<span class="hidden">Pg </span>32]</a></span>
+of fastening the shirt differ very slightly&mdash;so
+little, in fact, that a shirt of the fourth century
+which still remains in existence shows the same
+button and loop that we notice of the shirts of
+the twelfth century. The richer man had his
+shirt embroidered round the neck and sometimes
+at the cuffs. Over this garment the man wore
+his tunic&mdash;of wool, or cloth, or (rarely) of silk;
+the drawing explains the exact making of it. The
+tunic, as will be seen, was embroidered at the
+neck, the cuffs, and round the border. One drawing
+shows the most usual of these tunics, while the
+other drawings will explain the variations from it&mdash;either
+a tight sleeve made long and rolled back, a
+sleeve made very wide at the cuff and allowed to
+<span class="pagenum"><a name="Page_33" id="Page_33">[<span class="hidden">Pg </span>33]</a></span>
+hang, or a sleeve made so that it fell some way
+over the hand. It was embroidered inside and out
+at the cuff, and was turned back to allow free use
+of the hand.</p>
+
+<p>Over the tunic was worn the cloak, a very simple
+garment, being a piece of cloth cut in the shape
+of a semicircle, embroidered on the border or
+not, according to the purse and position of the
+owner. Sometimes a piece was cut out to fit
+the neck.</p>
+
+<p>Another form of cloak was worn with a hood.
+This was generally used for travelling, or worn by
+such people as shepherds. It was made for the
+richer folk of fine cloth, fur-lined, or entirely of fur,
+and for the poorer people of skin or wool.</p>
+
+<p>The cloak was fastened by a brooch, and was
+pinned in the centre or on either shoulder, most
+generally on the right; or it was pushed through a
+ring sewn on to the right side of the neck of the
+cloak.</p>
+
+<p>The brooches were practically the same as those
+worn in the earlier reigns, or were occasionally of a
+pure Roman design.</p>
+
+<p>As will be seen in the small diagrams of men
+wearing the clothes of the day, the tunic, the shirt,
+<span class="pagenum"><a name="Page_34" id="Page_34">[<span class="hidden">Pg </span>34]</a></span>
+and the cloak were worn according to the season,
+and many drawings in the MSS. of the date show
+men wearing the shirt alone.</p>
+
+<p>On their legs men wore trousers of leather for
+riding, bound round with leather thongs, and
+trousers of wool also,
+bound with coloured
+straps of wool or cloth.</p>
+
+<div class="figleft" style="width: 157px;">
+<img src="images/ecill020.png" width="157" height="250"
+alt="A man of the time of Stephen; an alternative hat for a man" />
+</div>
+
+<p>Stockings of wool were
+worn, and cloth stockings
+also, and socks. There
+was a sock without a
+foot, jewelled or embroidered
+round the top,
+which was worn over
+the stocking and over
+the top of the boot in
+the manner of ankle
+gaiters.</p>
+
+<p>The country man wore twists of straw round his
+calf and ankle.</p>
+
+<p>For the feet there were several varieties of boots
+and shoes made of leather and stout cloth, now and
+again with wooden soles. As has been said before,
+the important people rejoiced in elegant footgear
+<span class="pagenum"><a name="Page_35" id="Page_35">[<span class="hidden">Pg </span>35]</a></span>
+of all colours. All the shoes buttoned with one
+button above the outside ankle. The boots were
+sometimes tall, reaching to the bottom of the calf
+of the leg, and were rolled over, showing a coloured
+lining. Sometimes they were loose and wrinkled
+over the ankle. They were both, boot and shoe,
+made to fit the foot; for in this reign nearly all the
+extravagances of the previous reign had died out,
+and it is rare to find drawings or mention of long
+shoes stuffed with tow or wool.</p>
+
+<p>During the reign of Stephen the nation was
+too occupied in wars and battles to indulge in
+excessive finery, and few arts flourished, although
+useful improvements occurred in the crafts.</p>
+
+<p>There is in the British Museum a fine enamelled
+plate of this date which is a representation of
+Henry of Blois, Stephen&rsquo;s brother, who was the
+Bishop of Winchester. Part of the inscription,
+translated by Mr. Franks, says that &lsquo;Art is above
+gold and gems,&rsquo; and that &lsquo;Henry, while living,
+gives gifts of brass to God.&rsquo;</p>
+
+<p>Champlev&eacute; enamel was very finely made in the
+twelfth century, and many beautiful examples remain,
+notably a plaque which was placed on the
+column at the foot of which Geoffrey Plantagenet
+<span class="pagenum"><a name="Page_36" id="Page_36">[<span class="hidden">Pg </span>36]</a></span>
+was buried. It is a portrait of him, and shows
+the Byzantine influence still over the French
+style.</p>
+
+<p>This may appear to be rather apart from costume,
+but it leads one to suppose that the ornaments of
+the time may have been frequently executed in
+enamel or in brass&mdash;such ornaments as rings and
+brooches.</p>
+
+<p>It is hard to say anything definite about the
+colours of the dresses at this time. All that we
+can say is that the poorer classes were clothed principally
+in self-coloured garments, and that the dyes
+used for the clothes of the nobles were of very
+brilliant hues. But a street scene would be more
+occupied by the colour of armour. One would
+have seen a knight and men-at-arms&mdash;the knight
+in his plain armour and the men in leather and
+steel; a few merchants in coloured cloaks, and
+the common crowd in brownish-yellow clothes
+with occasional bands of colour encircling their
+waists.</p>
+
+<p>The more simply the people are represented, the
+more truthful will be the picture or presentation.
+Few pictures of this exact time are painted, and
+few stories are written about it, but this will give
+<span class="pagenum"><a name="Page_37" id="Page_37">[<span class="hidden">Pg </span>37]</a></span>
+all the information necessary to produce any picture
+or stage-play, or to illustrate any story.</p>
+
+<p>The garments are perfectly easy to cut out and
+make. In order to prove this I have had them
+made from the bare outlines given here, without
+any trouble.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<div class="figleft" style="width: 126px;">
+<img src="images/ecill021.png" width="126" height="250"
+alt="A woman of the time of Stephen" />
+</div>
+
+<p>Though many parts of England
+were at this time being
+harassed by wars, still the
+domestic element grew and
+flourished.</p>
+
+<p>The homes of the English
+from being bare and rude began
+to know the delights of embroidery
+and weaving. The
+workroom of the ladies was
+the most civilized part of the
+castle, and the effect of the
+Norman invasion of foreign fashions was beginning
+to be felt.</p>
+
+<p>As the knights were away to their fighting, so
+were the knights&rsquo; ladies engaged in sewing sleeve
+embroideries, placing of pearls upon shoes, making
+<span class="pagenum"><a name="Page_38" id="Page_38">[<span class="hidden">Pg </span>38]</a></span>
+silk cases for their hair, and otherwise stitching,
+cutting, and contriving against the return of their
+lords.</p>
+
+<div class="figcenter" style="width: 127px;">
+<img src="images/ecill022.png" width="127" height="250"
+alt="A woman of the time of Stephen" />
+</div>
+
+<p>It is recorded that Matilda escaped from Oxford
+by a postern in a white dress, and no doubt her
+women sympathizers made much
+of white for dresses.</p>
+
+<p>The ladies wore a simple
+undergarment of thin material
+called a sherte or camise; this
+was bordered with some slight
+embroidery, and had tightish
+long sleeves pushed back over
+the wrist. The garment fell
+well on to the ground. This
+camise was worn by all classes.</p>
+
+<p>The upper garment was one
+of three kinds: made from the neck to below the
+breast, including the sleeves of soft material; from
+the breast to the hips it was made of some elastic
+material, as knitted wool or thin cloth, stiffened by
+criss-cross bands of cloth, and was fitted to the
+figure and laced up the back; the lower part was
+made of the same material as the sleeves and bust.</p>
+
+<div class="figcenter ipadtop" style="width: 443px;">
+<a name="pl10" id="pl10"></a>
+<img src="images/ecpl10.jpg" width="443" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF STEPHEN (1135-1154)</p>
+
+<p class="subcapt ipadbase">Her dress fits to her figure by lacing at the back.
+Her long sleeves are tied up to keep them from
+trailing upon the ground. Her hair is fastened at
+the end into silken cases. She has a wimple in her
+hands which she may wind about her head.</p>
+
+<p>The second was made tight-fitting in the body
+<span class="pagenum"><a name="Page_39" id="Page_39">[<span class="hidden">Pg </span>39]</a></span>
+and bust, all of one elastic material, and the skirt
+of loose thin stuff.</p>
+
+<p>The third was a loose tunic reaching half-way
+between the knees and feet, showing the camise,
+and tied about the waist and hips by a long girdle.</p>
+
+<p>The sleeves of these garments showed as many
+variations as those of the men, but with the poor
+folk they were short and useful, and with the rich
+they went to extreme length, and were often knotted
+to prevent them from trailing on the ground.</p>
+
+<p>The collar and the borders of the sleeves were
+enriched with embroidery in simple designs.</p>
+
+<p>In the case of the loose upper garment the border
+was also embroidered.</p>
+
+<p>In winter a cloak of the same shape as was worn
+by the men was used&mdash;<i>i.e.</i>, cut exactly semicircular,
+with embroidered edges.</p>
+
+<p>The shoes of the ladies were fitted to the foot in
+no extravagant shape, and were sewn with bands
+of pearls or embroidery. The poorer folk went
+about barefoot.</p>
+
+<p>The hair was a matter of great moment and most
+carefully treated; it was parted in the centre and
+then plaited, sometimes intertwined with coloured
+ribbands or twists of thin coloured material; it was
+<span class="pagenum"><a name="Page_40" id="Page_40">[<span class="hidden">Pg </span>40]</a></span>
+added to in length by artificial hair, and was tied
+up in a number of ways. Either it was placed in
+a tight silk case, like an umbrella case, which came
+about half-way up the plait from the bottom, and
+had little tassels depending from it, or the hair was
+added to till it reached nearly to the feet, and was
+bound round with ribbands, the ends having little
+gold or silver pendants. The hair hung, as a rule,
+down the front on either side of the face, or occasionally
+behind down the back, as was the case
+when the wimple was worn.</p>
+
+<p>When the ladies went travelling or out riding
+they rode astride like men, and wore the ordinary
+common-hooded cloak.</p>
+
+<p>Brooches for the tunic and rings for the fingers
+were common among the wealthy.</p>
+
+<p>The plait was introduced into the architecture of
+the time, as is shown by a Norman moulding at
+Durham.</p>
+
+<p>Compared with the Saxon ladies, these ladies of
+Stephen&rsquo;s time were elegantly attired; compared
+with the Plantagenet ladies, they were dressed in
+the simplest of costumes. No doubt there were,
+as in all ages, women who gave all their body and
+soul to clothes, who wore sleeves twice the length
+<span class="pagenum"><a name="Page_41" id="Page_41">[<span class="hidden">Pg </span>41]</a></span>
+of anyone else, who had more elaborate plaits and
+more highly ornamented shoes; but, taking the
+period as a whole, the clothes of both sexes were
+plainer than in any other period of English
+history.</p>
+
+<p>One must remember that when the Normans
+came into the country the gentlemen among the
+Saxons had already borrowed
+the fashions prevalent in
+France, but that the ladies
+still kept in the main to simple
+clothes; indeed, it was the
+man who strutted to woo clad
+in all the fopperies of his time&mdash;to
+win the simple woman
+who toiled and span to deck
+her lord in extravagant embroideries.</p>
+
+<div class="figright" style="width: 143px;">
+<img src="images/ecill023.png" width="143" height="250"
+alt="A woman of the time of Stephen" />
+</div>
+
+<p>The learning of the country
+was shared by the ladies and
+the clergy, and the influence of Osburgha, the
+mother of Alfred, and Editha, the wife of Edward
+the Confessor, was paramount among the noble
+ladies of the country.</p>
+
+<p>The energy of the clergy in this reign was more
+<span class="pagenum"><a name="Page_42" id="Page_42">[<span class="hidden">Pg </span>42]</a></span>
+directed to building and the branches of architecture
+than to the more studious and sedentary works of
+illumination and writing, so that the sources from
+which we gather information with regard to the
+costume in England are few, and also peculiar, as
+the drawing of this date was, although careful,
+extremely archaic.</p>
+
+<p>Picture the market-town on a market day when
+the serfs were waiting to buy at the stalls until the
+buyers from the abbey and the castle had had their
+pick of the fish and the meat. The lady&rsquo;s steward
+and the Father-Procurator bought carefully for their
+establishments, talking meanwhile of the annual
+catch of eels for the abbey.</p>
+
+<p>Picture Robese, the mother of Thomas, the son
+of Gilbert Becket, weighing the boy Thomas each
+year on his birthday, and giving his weight in
+money, clothes, and provisions to the poor. She
+was a type of the devout housewife of her day, and
+the wife of a wealthy trader.</p>
+
+<p>The barons were fortifying their castles, and the
+duties of their ladies were homely and domestic.
+They provided the food for men-at-arms, the
+followers, and for their husbands; saw that simples
+were ready with bandages against wounds and
+<span class="pagenum"><a name="Page_43" id="Page_43">[<span class="hidden">Pg </span>43]</a></span>
+sickness; looked, no doubt, to provisions in case of
+siege; sewed with their maidens in a vestiary or
+workroom, and dressed as best they could for their
+position. What they must have heard and seen
+was enough to turn them from the altar of fashion
+to works of compassion. Their houses contained
+dreadful prisons and dungeons, where men were
+put upon rachentegs, and fastened to these beams
+so that they were unable to sit, lie, or sleep, but
+must starve. From their windows in the towers
+the ladies could see men dragged, prisoners, up to
+the castle walls, through the hall, up the staircase,
+and cast, perhaps past their very eyes, from the
+tower to the moat below. Such times and sights
+were not likely to foster proud millinery or dainty
+ways, despite of which innate vanity ran to ribbands
+in the hair, monstrous sleeves, jewelled shoes, and
+tight waists. The tiring women were not overworked
+until a later period, when the hair would
+take hours to dress, and the dresses months to
+embroider.</p>
+
+<p>In the town about the castle the merchants&rsquo;
+wives wore simple homespun clothes of the same
+form as their ladies. The serfs wore plain smocks
+loose over the camise and tied about the waist, and
+<span class="pagenum"><a name="Page_44" id="Page_44">[<span class="hidden">Pg </span>44]</a></span>
+in the bitter cold weather skins of sheep and wolves
+unlined and but roughly dressed.</p>
+
+<div class="figleft" style="width: 118px;">
+<img src="images/ecill024.png" width="118" height="200" alt="" />
+<span class="caption">Cases for the Hair.</span>
+</div>
+
+<p>In 1154 the Treaty of Wallingford brought
+many of the evils to an end, and Stephen was
+officially recognised as King, making Henry his
+heir. Before the year was out Stephen died.</p>
+
+<p>I have not touched on ecclesiastical costume
+because there are so many excellent and complete
+works upon such dress, but I may
+say that it was above all civil dress
+most rich and magnificent.</p>
+
+<p>I have given this slight picture
+of the time in order to show a reason
+for the simplicity of the dress, and
+to show how, enclosed in their walls,
+the clergy were increasing in riches
+and in learning; how, despite the
+disorders of war, the internal peace of the towns
+and hamlets was growing, with craft gilds and
+merchant gilds. The lords and barons fighting
+their battles knew little of the bond of strength
+that was growing up in these primitive labour
+unions; but the lady in her bower, in closer touch
+with the people, receiving visits from foreign
+merchants and pedlars with rare goods to sell
+<span class="pagenum"><a name="Page_45" id="Page_45">[<span class="hidden">Pg </span>45]</a></span>
+or barter, saw how, underlying the miseries of
+bloodshed and disaster, the land began to bloom
+and prosper, to grow out of the rough place it
+had been into the fair place of market-town and
+garden it was to be.</p>
+
+<p>Meanwhile London&rsquo;s thirteen conventual establishments
+were added to by another, the Priory
+of St. Bartholomew, raised by Rahere, the King&rsquo;s
+minstrel.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_46" id="Page_46">[<span class="hidden">Pg </span>46]</a></span></p>
+
+<h2>HENRY THE SECOND</h2>
+
+<p class="smlfont center">Reigned thirty-five years: 1154-1189.</p>
+
+<p class="smlfont center">Born 1133. Married, 1152, to Eleanor of Guienne.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figcenter" style="width: 147px;">
+<img src="images/ecill025.png" width="147" height="250"
+alt="A man of the time of Henry II." />
+</div>
+
+<p>The King himself is described
+as being careless of dress,
+chatty, outspoken. His hair
+was close-cropped, his neck
+was thick, and his eyes were
+prominent; his cheek-bones
+were high, and his lips coarse.</p>
+
+<p>The costume of this reign
+was very plain in design, but
+rich in stuffs. Gilt spurs were
+attached to the boots by red
+leather straps, gloves were
+worn with jewels in the backs of them, and the
+mantles seem to have been ornamented with
+designs.</p>
+
+<div class="figcenter ipadtop" style="width: 413px;">
+<a name="pl11" id="pl11"></a>
+<img src="images/ecpl11.jpg" width="413" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF HENRY II. (1154-1189)</p>
+
+<p class="subcapt ipadbase">He wears the short cloak, and his long tunic is held
+by a brooch at the neck and is girdled by a long-tongued
+belt. There are gloves on his hands.</p>
+
+<p><span class="pagenum"><a name="Page_47" id="Page_47">[<span class="hidden">Pg </span>47]</a></span>
+The time of patterns upon clothes began. The
+patterns were simple, as crescents, lozenges, stars.</p>
+
+<p>William de Magna Villa had come back from
+the Holy Land with a new fabric, a precious silk
+called &lsquo;imperial,&rsquo; which was made in a workshop
+patronized by the Byzantine Emperors.</p>
+
+<p>The long tunic and the short supertunic were
+still worn, but these were not so frequently split
+up at the side.</p>
+
+<p>High boots reaching to the calf of the leg were
+in common use.</p>
+
+<p>That part of the hood which fell upon the
+shoulders was now cut in a neat pattern round the
+edge.</p>
+
+<p>Silks, into which gold thread was sewn or woven,
+made fine clothes, and cloth cloaks lined with expensive
+furs, even to the cost of a thousand pounds
+of our money, were worn.</p>
+
+<p>The loose trouser was going out altogether, and
+in its stead the hose were made to fit more closely
+to the leg, and were all of gay colours; they were
+gartered with gold bands crossed, the ends of which
+had tassels, which hung down when the garter was
+crossed and tied about the knee.</p>
+
+<p>Henry, despite his own careless appearance, was
+<span class="pagenum"><a name="Page_48" id="Page_48">[<span class="hidden">Pg </span>48]</a></span>
+nicknamed Court Manteau, or Short Mantle, on
+account of a short cloak or mantle he is supposed
+to have brought into fashion.</p>
+
+<p>The shirts of the men, which showed at the
+opening of the tunic, were buttoned with small
+gold buttons or studs of gold sewn into the linen.</p>
+
+<p>The initial difference in this reign was the more
+usual occurrence of patterns in diaper upon the
+clothes.</p>
+
+<p>The length of a yard was fixed by the length of
+the King&rsquo;s arm.</p>
+
+<p>With the few exceptions mentioned, the costume
+is the same as in the time of Stephen.</p>
+
+<p>It is curious to note what scraps of pleasant
+gossip come to us from these early times: St.
+Thomas &agrave; Becket dining off a pheasant the day
+before his martyrdom; the angry King calling to
+his knights, &lsquo;How a fellow that hath eaten my
+bread, a beggar that first came to my Court on a
+lame horse, dares to insult his King and the Royal
+Family, and tread upon my whole kingdom, and
+not one of the cowards I nourish at my table, not
+one will deliver me of this turbulent priest!&rsquo;&mdash;the
+veins no doubt swelling on his bull-like neck, the
+prominent eyes bloodshot with temper, the result
+<span class="pagenum"><a name="Page_49" id="Page_49">[<span class="hidden">Pg </span>49]</a></span>
+of that angry speech, to end in the King&rsquo;s public
+penance before the martyr&rsquo;s tomb.</p>
+
+<p>Picture the scene at Canterbury on August 23,
+1179, when Louis VII., King of France, dressed in
+the manner and habit of a pilgrim, came to the
+shrine and offered there his cup of gold and a royal
+precious stone, and vowed a gift of a hundred hogsheads
+of wine as a yearly rental to the convent.</p>
+
+<p>A common sight in London streets at this time
+was a tin medal of St. Thomas hung about the
+necks of the pilgrims.</p>
+
+<p>And here I cannot help but give another picture.
+Henry II., passing through Wales on his way to
+Ireland in 1172, hears the exploits of King Arthur
+which are sung to him by the Welsh bards. In
+this song the bards mention the place of King
+Arthur&rsquo;s burial, at Glastonbury Abbey in the
+churchyard. When Henry comes back from
+Ireland he visits the Abbot of Glastonbury, and
+repeats to him the story of King Arthur&rsquo;s tomb.</p>
+
+<p>One can picture the search: the King talking
+eagerly to the Abbot; the monks or lay-brothers
+digging in the place indicated by the words of the
+song; the knights in armour, their mantles wrapped
+about them, standing by.</p>
+
+<p><span class="pagenum"><a name="Page_50" id="Page_50">[<span class="hidden">Pg </span>50]</a></span>
+Then, as the monks search 7 feet below the
+surface, a spade rings upon stone. Picture the
+interest, the excitement of these antiquarians. It is
+a broad stone which is uncovered, and upon it is a
+thin leaden plate in the form of a corpse, bearing
+the inscription:</p>
+
+<p class="center">&lsquo;HIC JACET SEPULTUS INCLYTUS REX ARTURIUS IN INSULA
+AVALONIA.&rsquo;</p>
+
+<p>They draw up this great stone, and with greedy
+eyes read the inscription. The monks continue to
+dig. Presently, at the depth of 16 feet, they find
+the trunk of a tree, and in its hollowed shape lie
+Arthur and his Queen&mdash;Arthur and Guinevere,
+two names which to us now are part of England,
+part of ourselves, as much as our patron St.
+George.</p>
+
+<p>Here they lie upon the turf, and all the party
+gaze on their remains. The skull of Arthur is
+covered with wounds; his bones are enormous.
+The Queen&rsquo;s body is in a good state of preservation,
+and her hair is neatly plaited, and is of the
+colour of gold. Suddenly she falls to dust.</p>
+
+<p>They bury them again with great care. So lay
+our national hero since he died at the Battle of
+<span class="pagenum"><a name="Page_51" id="Page_51">[<span class="hidden">Pg </span>51]</a></span>
+Camlan in Cornwall in the year 542, and after
+death was conveyed by sea to Glastonbury, and all
+traces of his burial-place lost except in the songs of
+the people until such day as Henry found him and
+his Queen.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<div class="figleft" style="width: 148px;">
+<img src="images/ecill026.png" width="148" height="250"
+alt="A woman of the time of Henry II.; a circular pin" />
+</div>
+
+<p>About this time came the
+fashion of the chin-band, and
+again the glory of the hair
+was hidden under the wimple.</p>
+
+<p>To dress a lady&rsquo;s hair for
+this time the hair must be
+brushed out, and then divided
+into two parts: these are to
+be plaited, and then brought
+round the crown of the head
+and fastened in front above
+the forehead. The front pieces
+of hair are to be neatly pushed back from the
+forehead, to show a high brow. Now a cloth of
+linen is taken, folded under the chin, and brought
+over the top of the head, and there pinned. Then
+another thin band of linen is placed round the
+head and fastened neatly at the back; and over
+<span class="pagenum"><a name="Page_52" id="Page_52">[<span class="hidden">Pg </span>52]</a></span>
+all a piece of fine linen is draped, and so arranged
+that it shall just cover the forehead-band and fall
+on to the shoulders. This last piece of linen is
+fastened to the chin-band and the forehead-strap
+by pins.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/ecill027.png" width="150" height="200"
+alt="Four steps to dress a woman's hair" />
+</div>
+
+<p>This fashion gave rise in later times to a linen
+cap; the forehead-strap was increased in height and
+stiffened so that it rose slightly
+above the crown of the head,
+and the wimple, instead of hanging
+over it, was sewn down inside
+it, and fell over the top of the
+cap. Later the cap was sewn
+in pleats.</p>
+
+<p>The gown of this time was
+quite loose, with a deep band
+round the neck and round the hem of the skirts,
+which were very full. So far as one can tell, it
+was put on over the head, having no other opening
+but at the neck, and was held at the waist
+by an ornamental girdle.</p>
+
+<p>The chemise showed above the neck of the gown,
+which was fastened by the usual round brooch.</p>
+
+<div class="figcenter ipadtop" style="width: 376px;">
+<a name="pl12" id="pl12"></a>
+<img src="images/ecpl12.jpg" width="376" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF HENRY II. (1154-1189)</p>
+
+<p class="subcapt ipadbase">There is a chin-band to be seen passing under the
+wimple; this band is pinned to hold it round the
+head.</p>
+
+<p>The sleeves were well fitting, rather loose at the
+elbow, and fell shaped over the wrist, where there
+<span class="pagenum"><a name="Page_53" id="Page_53">[<span class="hidden">Pg </span>53]</a></span>
+was a deep border of embroidery. It is quite possible
+that the cuffs and hem may have been made of fur.</p>
+
+<p>The shoes were, as usual to the last two reigns,
+rather blunt at the toe, and generally fitting without
+buckle, button, or strap round the ankle, where
+they were rolled back.</p>
+
+<p>Above the waist the tied girdle was still worn,
+but this was being supplanted by a broad belt of
+silk or ornamented leather, which fastened by
+means of a buckle. The tongue of the belt was
+made very long, and when buckled hung down
+below the knee.</p>
+
+<p>The cloaks, from the light way in which they are
+held, appear to have been made of silk or some such
+fine material as fine cloth. They are held on to the
+shoulders by a running band of stuff or a silk cord,
+the ends of which pass through two fasteners sewn
+on to the cloak, and these are knotted or have some
+projecting ornament which prevents the cord from
+slipping out of the fastener.</p>
+
+<p>In this way one sees the cloak hanging from
+the shoulders behind, and the cord stretched tight
+across the breast, or the cord knotted in a second
+place, and so bringing the cloak more over the
+shoulders.</p>
+
+<p><span class="pagenum"><a name="Page_54" id="Page_54">[<span class="hidden">Pg </span>54]</a></span>
+The effigy of the Queen at Fontevraud shows
+her dress covered with diagonal bars of gold, in the
+triangles of which there are gold crescents placed
+from point to point, and no doubt other ladies of
+her time had their emblems or badges embroidered
+into their gowns.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_55" id="Page_55">[<span class="hidden">Pg </span>55]</a></span></p>
+
+<h2>RICHARD THE FIRST</h2>
+
+<p class="smlfont center">Reigned ten years: 1189-1199.</p>
+
+<p class="smlfont center">Born 1157. Married, 1191, to Berengaria of Navarre.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 145px;">
+<img src="images/ecill028.png" width="145" height="250"
+alt="A man of the time of Richard I.; a hood; a shoe" />
+</div>
+
+<p>The King had but little
+influence over dress in his
+time, seeing that he left
+England as soon as he was
+made King, and only came
+back for two months in
+1194 to raise money and to
+be crowned again.</p>
+
+<p>The general costume was
+then as plain as it had ever
+been, with long tunics and
+broad belts fastened by a
+big buckle.</p>
+
+<p>The difference in costume between this short
+reign and that of Henry II. is almost imperceptible;
+<span class="pagenum"><a name="Page_56" id="Page_56">[<span class="hidden">Pg </span>56]</a></span>
+if any difference may be noted, it is in the
+tinge of Orientalism in the garments.</p>
+
+<p>There is more of the long and flowing robe, more
+of the capacious mantle, the wider sleeve.</p>
+
+<p>No doubt the many who came from the Crusades
+made a good deal of difference to English homes,
+and actual dresses and tunics from the East, of
+gorgeous colours and Eastern designs, were, one
+must suppose, to be seen in England.</p>
+
+<p>Cloth of gold and cloth of gold and silks&mdash;that
+is, warf of silk and weft of gold&mdash;were much prized,
+and were called by various names from the Persian,
+as &lsquo;ciclatoun,&rsquo; &lsquo;siglaton.&rsquo;</p>
+
+<p>Such stuff, when of great thickness and value&mdash;so
+thick that six threads of silk or hemp were in
+the warf&mdash;was called &lsquo;samite.&rsquo;</p>
+
+<p>Later, when the cloth of gold was more in use,
+and the name had changed from &lsquo;ciclatoun&rsquo; to
+&lsquo;bundekin,&rsquo; and from that to &lsquo;tissue,&rsquo; to keep such
+fine cloth from fraying or tarnishing, they put very
+thin sheets of paper away between the folds of the
+garments; so to this day we call such paper tissue-paper.</p>
+
+<p>Leaf-gold was used sometimes over silk to give
+pattern and richness to it.</p>
+
+<div class="figcenter ipadtop" style="width: 475px;">
+<a name="pl13" id="pl13"></a>
+<img src="images/ecpl13.jpg" width="475" height="600" alt="" />
+</div>
+
+<p class="caption ipadbase">A MAN OF THE TIME OF RICHARD I. (1189-1199)</p>
+
+<p><span class="pagenum"><a name="Page_57" id="Page_57">[<span class="hidden">Pg </span>57]</a></span>
+A curious survival of this time, which has a connection
+with costume, was the case of Abraham
+Thornton in 1818. Abraham Thornton was accused
+of having drowned Mary Ashford, but he was
+acquitted by the jury. This acquittal did not
+satisfy popular feeling, and the brother of Mary
+Ashford appealed. Now Thornton was well advised
+as to his next proceeding, and, following the still
+existent law of this early time of which I write,
+he went to Westminster Hall, where he threw
+down, as a gage of battle, an antique gauntlet
+without fingers or thumb, of white tanned skin
+ornamented with silk fringes and sewn work,
+crossed by a narrow band of leather, the fastenings
+of leather tags and thongs.</p>
+
+<p>This done, he declared himself ready to defend
+himself in a fight, and so to uphold his innocence,
+saying that he was within his rights, and that no
+judge could compel him to come before a jury.</p>
+
+<p>This was held to be good and within the law, so
+Abraham Thornton won his case, as the brother
+refused to pick up the gauntlet. The scandal of
+this procedure caused the abolishment of the trial
+by battle, which had remained in the country&rsquo;s
+laws from the time of Henry II. until 1819.</p>
+
+<p><span class="pagenum"><a name="Page_58" id="Page_58">[<span class="hidden">Pg </span>58]</a></span>
+It was a time of foreign war and improvement
+in military armour and arms. Richard I. favoured
+the cross-bow, and brought it into general use in
+England to be used in conjunction with the old
+4-foot bow and the great bow 6 feet long with the
+cloth-yard arrow&mdash;a bow which could send a shaft
+through a 4-inch door.</p>
+
+<p>For some time this military movement, together
+with the influence of the East, kept England from
+any advance or great change in costume; indeed,
+the Orientalism reached a pitch in the age of
+Henry III. which, so far as costume is concerned,
+may be called the Age of Draperies.</p>
+
+<p>To recall such a time in pictures, one must then
+see visions of loose-tuniced men, with heavy cloaks;
+of men in short tunics with sleeves tight or loose at
+the wrists; of hoods with capes to them, the cape-edge
+sometimes cut in a round design; of soft
+leather boots and shoes, the boots reaching to the
+calf of the leg. To see in the streets bright
+Oriental colours and cloaks edged with broad
+bands of pattern; to see hooded heads and bared
+heads on which the hair was long; to see many
+long-bearded men; to see old men leaning on tan-handled
+sticks; the sailor in a cap or coif tied
+<span class="pagenum"><a name="Page_59" id="Page_59">[<span class="hidden">Pg </span>59]</a></span>
+under his chin; the builder, stonemason, and skilled
+workman in the same coif; to see, as a whole, a
+brilliant shifting colour scheme in which armour
+gleamed and leather tunics supplied a dull, fine
+background. Among these one might see, at a
+town, by the shore, a thief of a sailor being carried
+through the streets with his head shaven, tarred
+and feathered.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<div class="figleft" style="width: 147px;">
+<img src="images/ecill029.png" width="147" height="250"
+alt="A woman of the time of Richard I.; a pouch" />
+</div>
+
+<p>It is difficult to describe an
+influence in clothes.</p>
+
+<p>It is difficult nowadays to
+say in millinery where Paris
+begins and London accepts.
+The hint of Paris in a gown
+suggests taste; the whole of
+Paris in a gown savours of
+servile imitation.</p>
+
+<p>No well-dressed Englishwoman
+should, or does, look
+French, but she may have
+a subtle cachet of France if she choose.</p>
+
+<p>The perfection of art is to conceal the means to
+<span class="pagenum"><a name="Page_60" id="Page_60">[<span class="hidden">Pg </span>60]</a></span>
+the end; the perfection of dress is to hide the
+milliner in the millinery.</p>
+
+<p>The ladies of Richard I.&rsquo;s time did not wear
+Oriental clothes, but they had a flavour of
+Orientalism pervading their dress&mdash;rather masculine
+Orientalism than feminine.</p>
+
+<p>The long cloak with the cord that held it over
+the shoulders; the long, loose gown of fine colours
+and simple designs; the soft, low, heelless shoes; the
+long, unbound hair, or the hair held up and concealed
+under an untied wimple&mdash;these gave a touch of
+something foreign to the dress.</p>
+
+<p>Away in the country there was little to dress for,
+and what clothes they had were made in the house.
+Stuffs brought home from Cyprus, from Palestine,
+from Asia Minor, were laboriously conveyed to the
+house, and there made up into gowns. Local smiths
+and silver-workers made them buckles and brooches
+and ornamental studs for their long belts, or clasps
+for their purses.</p>
+
+<p>A wreck would break up on the shore near by,
+and the news would arrive, perhaps, that some bales
+of stuff were washed ashore and were to be sold.</p>
+
+<div class="figcenter ipadtop" style="width: 433px;">
+<a name="pl14" id="pl14"></a>
+<img src="images/ecpl14.jpg" width="433" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF RICHARD I. (1189-1199)</p>
+
+<p class="subcapt ipadbase">Her very full cloak is kept in place by the cord which
+passes through loops. A large buckle holds the
+neck of the gown well together. The gown is
+ornamented with a simple diaper pattern; the hem
+and neck are deeply embroidered.</p>
+
+<p>The female anchorites of these days were busy
+gossips, and from their hermitage or shelter by a
+<span class="pagenum"><a name="Page_61" id="Page_61">[<span class="hidden">Pg </span>61]</a></span>
+bridge on the road would see the world go by, and
+pick up friends by means of gifts of bandages or
+purses made by them, despite the fact that this
+traffic was forbidden to them.</p>
+
+<p>So the lady in the country might get news of her
+lord abroad, and hear that certain silks and stuffs
+were on their way home.</p>
+
+<p>The gowns they wore were long, flowing and loose;
+they were girded about the middle with leathern
+or silk belts, which drew the gown loosely together.
+The end of the belt, after being buckled, hung down
+to about the knee. These gowns were close at the
+neck, and there fastened by a brooch; the sleeves
+were wide until they came to the wrist, over which
+they fitted closely.</p>
+
+<p>The cloaks were ample, and were held on by
+brooches or laces across the bosom.</p>
+
+<p>The shoes were the shape of the foot, sewn,
+embroidered, elaborate.</p>
+
+<p>The wimples were pieces of silk or white linen
+held to the hair in front by pins, and allowed to
+flow over the head at the back.</p>
+
+<p>There were still remaining at this date women
+who wore the tight-fitting gown laced at the back,
+and who tied their chins up in gorgets.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_62" id="Page_62">[<span class="hidden">Pg </span>62]</a></span></p>
+
+<h2>JOHN</h2>
+
+<p class="smlfont center">Reigned seventeen years: 1199-1216.</p>
+
+<p class="smlfont center">Born 1167. Married, in 1189, to Hadwisa, of Gloucester,
+whom he divorced; married, in 1200, to Isabella
+of Angoul&ecirc;me.</p>
+
+
+<h3>THE MEN</h3>
+
+<p>There was a garment in this reign
+which was the keynote of costume
+at the time, and this was the surcoat.
+It had been worn over the armour
+for some time, but in this reign it
+began to be an initial part of dress.</p>
+
+<p>Take a piece of stuff about 9 or 10
+yards in length and about 22 inches
+wide; cut a hole in the centre of this
+wide enough to admit of a man&rsquo;s head passing
+through, and you have a surcoat.</p>
+
+<div class="figcenter" style="width: 118px;">
+<img src="images/ecill030.png" width="118" height="250"
+alt="A simple surcoat pattern" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 426px;">
+<a name="pl15" id="pl15"></a>
+<img src="images/ecpl15.jpg" width="426" height="600" alt="" />
+</div>
+
+<p class="caption ipadbase">A MAN OF THE TIME OF JOHN (1199-1216)</p>
+
+<p>Under this garment the men wore a flowing
+gown, the sleeves of which were so wide that they
+<span class="pagenum"><a name="Page_63" id="Page_63">[<span class="hidden">Pg </span>63]</a></span>
+reached at the base from the shoulder to the waist,
+and narrowed off to a tight band at the wrist.</p>
+
+<p>These two garments were held together by a
+leather belt buckled about the middle, with the
+tongue of the belt hanging down.</p>
+
+<p>Broad borders of design edged the gowns at the
+foot and at the neck, and heraldic devices were
+sewn upon the surcoats.</p>
+
+<p>King John himself, the quick, social, humorous
+man, dressed very finely. He loved the company
+of ladies and their love, but in spite of his love for
+them, he starved and tortured them, starved and
+beat children, was insolent, selfish, and wholly
+indifferent to the truth. He laughed aloud during
+the Mass, but for all that was superstitious to the
+degree of hanging relics about his neck; and he was
+buried in a monk&rsquo;s cowl, which was strapped under
+his chin.</p>
+
+<p>Silk was becoming more common in England,
+and the cultivation of the silkworm was in some
+measure gaining hold. In 1213 the Abbot of
+Cirencester, Alexander of Neckham, wrote upon
+the habits of the silkworm.</p>
+
+<p>Irish cloth of red colour was largely in favour,
+presumably for cloaks and hoods.</p>
+
+<p><span class="pagenum"><a name="Page_64" id="Page_64">[<span class="hidden">Pg </span>64]</a></span>
+The general costume of this reign was very much
+the same as that of Henry II. and Richard I.&mdash;the
+long loose gown, the heavy cloak, the long hair cut
+at the neck, the fashion of beards, the shoes, belts,
+hoods, and heavy fur cloaks, all much the same as
+before, the only real difference
+being in the general use of
+the surcoat and the very convenient
+looseness of the sleeves
+under the arms.</p>
+
+<div class="figleft" style="width: 133px;">
+<img src="images/ecill031.png" width="133" height="250"
+alt="A man of the time of John; an alternative cuff" />
+</div>
+
+<p>There is an inclination in
+writing of a costume one can
+visualize mentally to leave out
+much that might be useful to
+the student who knows little or
+nothing of the period of dress
+in which one is writing; so
+perhaps it will be better to now dress a man
+completely.</p>
+
+<p>First, long hair and a neatly-trimmed beard; over
+this a hood and cape or a circular cap, with a slight
+projection on the top of it.</p>
+
+<p>Second, a shirt of white, like a modern soft shirt.</p>
+
+<p>Third, tights of cloth or wool.</p>
+
+<p>Fourth, shoes strapped over the instep or tied
+<span class="pagenum"><a name="Page_65" id="Page_65">[<span class="hidden">Pg </span>65]</a></span>
+with thongs, or fitting at the ankle
+like a slipper, or boots of soft leather
+turned over a little at the top, at
+the base of the calf of the leg.</p>
+
+<div class="figcenter" style="width: 103px;">
+<img src="images/ecill032.png" width="103" height="250"
+alt="A man of the time of John" />
+</div>
+
+<p>Fifth, a gown, loosely fitting,
+buckled at the neck, with sleeves
+wide at the top and tight at the
+wrist, or quite loose and coming to
+just below the elbow, or a tunic
+reaching only to the knees, both
+gown and tunic fastened with a belt.</p>
+
+<p>Sixth, a surcoat sometimes, at others a cloak held
+together by a brooch, or made for travelling with a
+hood.</p>
+
+<p>This completes an ordinary wardrobe of the time.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<p>As may be seen from the plate, no change in
+costume took place.</p>
+
+<p>The hair plaited and bound round the head or
+allowed to flow loose upon the shoulders.</p>
+
+<p>Over the hair a gorget binding up the neck and
+chin. Over all a wimple pinned to the gorget.</p>
+
+<p>A long loose gown with brooch at the neck.
+<span class="pagenum"><a name="Page_66" id="Page_66">[<span class="hidden">Pg </span>66]</a></span>
+Sleeves tight at the wrist. The whole gown held
+in at the waist by a belt, with one long end hanging
+down.</p>
+
+<p>Shoes made to fit the shape of the foot, and very
+elaborately embroidered and sewn.</p>
+
+<p>A long cloak with buckle or lace fastening.</p>
+
+<p>In this reign there were thirty English towns
+which had carried on a trade in dyed cloths for
+fifty years.</p>
+
+<div class="figcenter ipadtop" style="width: 467px;">
+<a name="pl16" id="pl16"></a>
+<img src="images/ecpl16.jpg" width="467" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF JOHN (1199-1216)</p>
+
+<p class="subcapt ipadbase">One may just see the purse beneath the cloak, where
+it hangs from the belt. The cloak itself is of fine
+diaper-patterned material.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_67" id="Page_67">[<span class="hidden">Pg </span>67]</a></span></p>
+
+<h2>HENRY THE THIRD</h2>
+
+<p class="smlfont center">Reigned fifty-six years: 1216-1272.</p>
+
+<p class="smlfont center">Born 1207. Married, 1236, to Eleanor of Provence.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 83px;">
+<img src="images/ecill033.png" width="83" height="250"
+alt="A man of the time of Henry III." />
+</div>
+
+<p>Despite the fact that historians allude
+to the extravagance of this reign, there
+is little in the actual form of the costume
+to bear out the idea. Extravagant
+it was in a large way, and costly
+for one who would appear well dressed;
+but the fopperies lay more in the stuffs
+than in the cut of the garments worn.</p>
+
+<p>It was an age of draperies.</p>
+
+<p>This age must call up pictures of
+bewrapped people swathed in heavy
+cloaks of cloth of Flanders dyed with
+the famous Flemish madder dye; of people in silk
+cloaks and gowns from Italy; of people in loose
+tunics made of English cloth.</p>
+
+<p><span class="pagenum"><a name="Page_68" id="Page_68">[<span class="hidden">Pg </span>68]</a></span>
+This long reign of over fifty years is a transitional
+period in the history of clothes, as in its course the
+draped man developed very slowly towards the
+coated man, and the loose-hung clothes very
+gradually began to shape themselves to the body.</p>
+
+<p>The transition from tunic and cloak and Oriental
+draperies is so slow and so little marked by definite
+change that to the ordinary observer the Edwardian
+cotehardie seems to have sprung from nowhere:
+man seems to have, on a sudden, dropped his stately
+wraps and mantles and discarded his chrysalis form
+to appear in tight lines following the figure&mdash;a form
+infinitely more gay and alluring to the eye than the
+ponderous figure that walks through the end of the
+thirteenth century.</p>
+
+<p>Up to and through the time from the Conquest
+until the end of Henry III.&rsquo;s reign the clothes of
+England appear&mdash;that is, they appear to me&mdash;to
+be lordly, rich, fine, but never courtier-like and
+elegant.</p>
+
+<div class="figcenter ipadtop" style="width: 375px;">
+<a name="pl17" id="pl17"></a>
+<img src="images/ecpl17.jpg" width="375" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF HENRY III. (1216-1272)</p>
+
+<p class="subcapt ipadbase">Heavy cloak and fulness of dress characteristic of
+this time.</p>
+
+<p>If one may take fashion as a person, one may
+say: Fashion arrived in 1066 in swaddling-clothes,
+and so remained enveloped in rich cloaks and flowing
+draperies until 1240, when the boy began to
+show a more active interest in life; this interest
+<span class="pagenum"><a name="Page_69" id="Page_69">[<span class="hidden">Pg </span>69]</a></span>
+grew until, in 1270, it developed into a distaste for
+heavy clothes; but the boy knew of no way as yet
+in which to rid himself of the trailings of his mother
+cloak. Then, in about 1272, he invented a cloak
+more like a strange, long tunic, through which he
+might thrust his arms for freedom; on this cloak
+he caused his hood to be fastened, and so made
+himself three garments in one, and gave himself
+greater ease.</p>
+
+<p>Then dawned the fourteenth century&mdash;the youth
+of clothes&mdash;and our fashion boy shot up, dropped
+his mantles and heaviness, and came out from
+thence slim and youthful in a cotehardie.</p>
+
+<p>Of such a time as this it is not easy to say the
+right and helpful thing, because, given a flowing
+gown and a capacious mantle, imagination does the
+rest. Cut does not enter into the arena.</p>
+
+<p>Imagine a stage picture of this time: a mass of
+wonderful, brilliant colours&mdash;a crowd of men in
+long, loose gowns or surcoats; a crowd of ladies
+in long, loose gowns; both men and women hung
+with cloaks or mantles of good stuffs and gay
+colours. A background of humbler persons in
+homespun tunics with cloth or frieze hoods over
+their heads. Here and there a fop&mdash;out of his
+<span class="pagenum"><a name="Page_70" id="Page_70">[<span class="hidden">Pg </span>70]</a></span>
+date, a quarter-century before his time&mdash;in a loose
+coat with pocket-holes in front and a buttoned neck
+to his coat, his shoes very pointed and laced at the
+sides, his hair long, curled, and bound by a fillet or
+encompassed with a cap with an upturned brim.</p>
+
+<div class="figleft" style="width: 115px;">
+<img src="images/ecill034.png" width="115" height="250"
+alt="Two men of the time of Henry III." />
+</div>
+
+<p>The beginning of the coat was this: the surcoat,
+which up till now was split at both sides from the
+shoulder to the hem, was now
+sewn up, leaving only a wide
+armhole from the base of the
+ribs to the shoulder. This surcoat
+was loose and easy, and
+was held in at the waist by a
+belt. In due time a surcoat appeared
+which was slightly shaped
+to the figure, was split up in front
+instead of at the sides, and in
+which the armholes were smaller
+and the neck tighter, and fastened
+by two or three buttons. In front
+of this surcoat two pocket-holes showed. This
+surcoat was also fastened by a belt at the waist.</p>
+
+<p>In common with the general feeling towards
+more elaborate clothes, the shoes grew beyond
+their normal shape, and now, no longer conforming
+<span class="pagenum"><a name="Page_71" id="Page_71">[<span class="hidden">Pg </span>71]</a></span>
+to the shape of the foot, they became elongated at
+the toes, and stuck out in a sharp point; this point
+was loose and soft, waiting for a future day when
+men should make it still longer and stuff it with
+tow and moss.</p>
+
+<p>Of all the shapes of nature, no shape has been so
+marvellously maltreated as the human foot. It has
+suffered as no other portion of the body has
+suffered: it has endured exceeding length and
+exceeding narrowness; it has been swelled into
+broad, club-like shapes; it has been artificially
+raised from the ground, ended off square, pressed
+into tight points, curved under, and finally, as to-day,
+placed in hard, shining, tight leather boxes.
+All this has been done to one of the most beautiful
+parts of the human anatomy by the votaries of
+fashion, who have in turn been delighted to expose
+the curves of their bodies, the round swelling of
+their hips, the beauties of their nether limbs, the
+whiteness of their bosoms, the turn of their elbows
+and arms, and the rotundity of their shoulders, but
+who have, for some mysterious reasons, been for
+hundreds of years ashamed of the nakedness of
+their feet.</p>
+
+<p>Let me give a wardrobe for a man of this time.</p>
+
+<p><span class="pagenum"><a name="Page_72" id="Page_72">[<span class="hidden">Pg </span>72]</a></span>
+A hood with a cape to it; the peak of the hood
+made full, but about half a hand&rsquo;s breadth longer
+than necessary to the hood; the cape cut sometimes
+at the edge into a number of short slits.</p>
+
+<p>A cap of soft stuff to fit the head, with or without
+an upturned brim. A fillet of silk or metal for
+the hair.</p>
+
+<p>A gown made very loose and open at the neck,
+wide in the body, the sleeves loose or tight to the
+wrist. The gown long or short, on the ground or
+to the knee, and almost invariably belted at the
+waist by a long belt of leather with ornamental
+studs.</p>
+
+<p>A surcoat split from shoulder to hem, or sewn
+up except for a wide armhole.</p>
+
+<p>A coat shaped very slightly to the figure, having
+pocket-holes in front, small armholes, and a buttoned
+neck.</p>
+
+<p>A great oblong-shaped piece of stuff for a cloak,
+or a heavy, round cloak with an attached hood.</p>
+
+<p>Tights of cloth or sewn silk&mdash;that is, pieces of
+silk cut and sewn to the shape of the leg.</p>
+
+<p>Shoes with long points&mdash;about 2 inches beyond
+the toes&mdash;fastened by a strap in front, or laced at
+the sides, or made to pull on and fit at the ankle,
+<span class="pagenum"><a name="Page_73" id="Page_73">[<span class="hidden">Pg </span>73]</a></span>
+the last sometimes with a V-shaped piece cut away
+on either side.</p>
+
+<p>There was a tendency to beads, and a universal
+custom of long hair.</p>
+
+<p>In all such clothes as are mentioned above every
+rich stuff of cloth, silk, wool, and frieze may be
+used, and fur linings and fur hats are constant, as
+also are furred edges to garments.</p>
+
+<p>There was a slight increase of heraldic ornament,
+and a certain amount of foreign diaper patterning
+on the clothes.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<p>Now the lady must needs begin to repair the
+ravages of time and touch the cheek that no longer
+knows the bloom of youth with&mdash;rouge.</p>
+
+<p>This in itself shows the change in the age. Since
+the Britons&mdash;poor, simple souls&mdash;had sought to
+embellish Nature by staining themselves blue with
+woad and yellow with ochre, no paint had touched
+the faces of the fashionable until this reign. Perhaps
+discreet historians had left that fact veiled, holding
+the secrets of the lady&rsquo;s toilet too sacred for the
+black of print; but now the murder came out.
+The fact in itself is part of the psychology of
+<span class="pagenum"><a name="Page_74" id="Page_74">[<span class="hidden">Pg </span>74]</a></span>
+clothes. Paint the face, and you have a hint
+towards the condition of fashion.</p>
+
+<p>Again, as in the case of the men, no determined
+cut shows which will point to this age as one of
+such and such a garment or such an innovation,
+but&mdash;and this I would leave to your imagination&mdash;there
+was a distinction that was not great enough
+to be a difference.</p>
+
+<p>The gowns were loose and flowing, and were
+gathered in at the waist by a girdle, or, rather, a
+belt, the tongue of which hung down in front; but
+as the end of the reign approached, the gowns were
+shaped a little more to the figure.</p>
+
+<p>A lady might possess such clothes as these: the
+gowns I have mentioned above, the sleeves of
+which were tight all the way from the shoulder to
+the wrist, or were loose and cut short just below
+the elbow, showing the tight sleeves of the under-gown.</p>
+
+<p>Shoes very elaborately embroidered and pointed
+at the toes.</p>
+
+<p>A rich cloak made oblong in shape and very
+ample in cut.</p>
+
+<p>A shaped mantle with strings to hold it together
+over the shoulders.</p>
+
+<div class="figcenter ipadtop" style="width: 426px;">
+<a name="pl18" id="pl18"></a>
+<img src="images/ecpl18.jpg" width="426" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF HENRY III. (1216-1272)</p>
+
+<p class="subcapt ipadbase">This will show how very slight were the changes in
+woman&rsquo;s dress; a plain cloak, a plain gown, and a
+wimple over the head.</p>
+
+<p><span class="pagenum"><a name="Page_75" id="Page_75">[<span class="hidden">Pg </span>75]</a></span>
+For the head a wimple made of white linen or
+perhaps of silk; this she would put above her head,
+leaving the neck bare.</p>
+
+<p>A long belt for her waist, and, if she were a
+great lady, a pair of gloves to wear or stick into
+her belt.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_76" id="Page_76">[<span class="hidden">Pg </span>76]</a></span></p>
+
+<h2>THE COUNTRY FOLK</h2>
+
+<p class="smlfont center">From the Conquest to the reign of Edward I.</p>
+
+
+<div class="figleft" style="width: 120px;">
+<img src="images/ecill035.png" width="120" height="250"
+alt="A countryman" />
+</div>
+
+<p>Until the present day the
+countryman has dressed in a
+manner most fitted to his surroundings;
+now the billycock hat,
+a devil-derived offspring from a
+Greek source, the Sunday suit of
+shiny black with purple trousers,
+the satin tie of Cambridge blue,
+and the stiff shirt, have almost
+robbed the peasant of his poetical
+appearance.</p>
+
+<p>Civilization seems to have
+arrived at our villages with a pocketful of petty
+religious differences, a bagful of public-houses, a
+bundle of penny and halfpenny papers full of stories
+to show the fascination of crime and&mdash;these Sunday
+clothes.</p>
+
+<p><span class="pagenum"><a name="Page_77" id="Page_77">[<span class="hidden">Pg </span>77]</a></span>
+The week&rsquo;s workdays still show a sense of the
+picturesque in corduroys and jerseys or blue shirts,
+but the landscape is blotted with men wearing out
+old Sunday clothes, so that the painter of rural
+scenes with rural characters must either lie or
+go abroad.</p>
+
+<p>As for the countrywoman, she, I am thankful to
+say, still retains a sense of duty and beauty, and,
+except on Sunday, remains more or
+less respectably clad. Chivalry prevents
+one from saying more.</p>
+
+<div class="figright" style="width: 94px;">
+<img src="images/ecill036.png" width="94" height="250"
+alt="A countryman" />
+</div>
+
+<p>In the old days&mdash;from the Conquest
+until the end of the thirteenth century&mdash;the
+peasant was dressed in perfect clothes.</p>
+
+<p>The villages were self-providing;
+they grew by then wool and hemp
+for the spindles. From this was made
+yarn for materials to be made up into
+coats and shirts. The homespun frieze that the
+peasant wore upon his back was hung by the nobleman
+upon his walls. The village bootmaker made,
+besides skin sandals to be tied with thongs upon the
+feet, leather trousers and belts.</p>
+
+<p>The mole-catcher provided skin for hats. Hoods
+<span class="pagenum"><a name="Page_78" id="Page_78">[<span class="hidden">Pg </span>78]</a></span>
+of a plain shape were made from the hides of sheep
+or wolves, the wool or hair being left on the hood.
+Cloaks lined with sheepskin served to keep away
+the winter cold.</p>
+
+<p>To protect their legs from thorns the men wore
+bandages of twisted straw wrapped round their
+trousers, or leather thongs cross-gartered to the
+knee.</p>
+
+<p>The fleece of the sheep was woven in the summer
+into clothes of wool for the winter. Gloves were
+made, at the beginning of the thirteenth century,
+of wool and soft leather; these were shaped like the
+modern baby&rsquo;s glove, a pouch for the hand and
+fingers and a place for the thumb.</p>
+
+<p>A coarse shirt was worn, over which a tunic, very
+loosely made, was placed, and belted at the waist.
+The tunic hardly varied in shape from the Conquest
+to the time of Elizabeth, being but a sack-like
+garment with wide sleeves reaching a little below
+the elbow. The hood was ample and the cloak
+wide.</p>
+
+<p>The women wore gowns of a like material to the
+men&mdash;loose gowns which reached to the ankles and
+gave scope for easy movement. They wore their
+hair tied up in a wimple of coarse linen.</p>
+
+<div class="figcenter ipadtop" style="width: 466px;">
+<a name="pl19" id="pl19"></a>
+<img src="images/ecpl19.jpg" width="466" height="600" alt="" />
+</div>
+
+<p class="caption">A PEASANT OF EARLY ENGLAND<br />
+(WILLIAM I.-HENRY III.)</p>
+
+<p class="subcapt ipadbase">His hood is made from sheepskin, the wool outside,
+the hem trimmed into points. His legs are bound
+up with garters of plaited straw. His shoes are of
+the roughest make of coarse leather. He has the
+shepherd&rsquo;s horn slung over his shoulder.</p>
+
+<p><span class="pagenum"><a name="Page_79" id="Page_79">[<span class="hidden">Pg </span>79]</a></span>
+The people of the North were more ruggedly
+clothed than the Southerners, and until the monks
+founded the sheep-farming industry in Yorkshire
+the people of those parts had no doubt to depend
+for their supply of wool upon
+the more cultivated peoples.</p>
+
+<div class="figright" style="width: 164px;">
+<img src="images/ecill037.png" width="164" height="250"
+alt="Two countrymen" />
+</div>
+
+<p>Picture these people, then,
+in very simple natural wool-coloured
+dresses going about
+their ordinary country life,
+attending their bees, their
+pigs, sheep, and cattle, eating
+their kele soup, made of colewort
+and other herbs.</p>
+
+<p>See them ragged and
+hungry, being fed by Remigius, Bishop of Lincoln,
+after all the misery caused by the Conquest; or
+despairing during the Great Frost of 1205, which
+began on St. Hilary&rsquo;s Day, January 11, and lasted
+until March 22, and was so severe that the land
+was like iron, and could not be dug or tilled.</p>
+
+<p>When better days arrived, and farming was taken
+more seriously by the great lords, when Grosseteste,
+the Bishop of Lincoln, wrote his book on farming
+and estate management for Margaret, the Dowager-Countess
+<span class="pagenum"><a name="Page_80" id="Page_80">[<span class="hidden">Pg </span>80]</a></span>
+of Lincoln, then clothes and stuffs manufactured
+in the towns became cheaper and more
+easy to obtain, and the very rough skin clothes and
+undressed hides began to vanish from among the
+clothes of the country, and the rough gartered
+trouser gave way before cloth cut to fit the leg.</p>
+
+<p>On lord and peasant alike the sun of this early
+age sets, and with the sunset comes the warning
+bell&mdash;the <i>couvre-feu</i>&mdash;so, on their beds of straw-covered
+floors, let them sleep....</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_81" id="Page_81">[<span class="hidden">Pg </span>81]</a></span></p>
+
+<h2>EDWARD THE FIRST</h2>
+
+<p class="smlfont center">Reigned thirty-five years: 1272-1307.</p>
+
+<p class="smlfont center">Born 1239. Married, 1254, Eleanor of Castile;
+1299, Margaret of France.</p>
+
+
+<h3>MEN AND WOMEN</h3>
+
+<p>Until the performance of the Sherborne Pageant,
+I had never had the opportunity of seeing a mass
+of people, under proper, open-air conditions, dressed
+in the peasant costume of Early England.</p>
+
+<p>For once traditional stage notions of costume
+were cast aside, and an attempt was made, which
+was perfectly successful, to dress people in the
+colours of their time.</p>
+
+<p>The mass of simple colours&mdash;bright reds, blues,
+and greens&mdash;was a perfect expression of the date,
+giving, as nothing else could give, an appearance of
+an illuminated book come to life.</p>
+
+<p>One might imagine that such a primary-coloured
+crowd would have appeared un-English, and too
+<span class="pagenum"><a name="Page_82" id="Page_82">[<span class="hidden">Pg </span>82]</a></span>
+Oriental or Italian; but with the background of
+trees and stone walls, the English summer sky
+distressed with clouds, the moving cloud shadows
+and the velvet grass, these fierce hard colours
+looked distinctly English, undoubtedly of their
+date, and gave the spirit of the ages, from a clothes
+point of view, as no other colours could have done.
+In doing this they attested to the historical truth
+of the play.</p>
+
+<p>It seemed natural to see an English crowd
+one blazing jewel-work of colour, and, by the
+excellent taste and knowledge of the designer,
+the jewel-like hardness of colour was consistently
+kept.</p>
+
+<p>It was interesting to see the difference made to
+this crowd by the advent of a number of monks
+in uniform black or brown, and to see the setting
+in which these jewel-like peasants shone&mdash;the
+play of brilliant hues amid the more sombre
+browns and blacks, the shifting of the blues
+and reds, the strong notes of emerald green&mdash;all,
+like the symmetrical accidents of the
+kaleidoscope, settling into their places in perfect
+harmony.</p>
+
+<p>The entire scene bore the impress of the spirit
+<span class="pagenum"><a name="Page_83" id="Page_83">[<span class="hidden">Pg </span>83]</a></span>
+of historical truth, and it is by such pageants that
+we can imagine coloured pictures of an England
+of the past.</p>
+
+<p>Again, we could observe the effect of the light-reflecting
+armour, cold, shimmering steel, coming
+in a play of colour against the background of
+peasants, and thereby one could note the exact
+appearance of an ordinary English day of such
+a date as this of which I now write, the end of the
+thirteenth century.</p>
+
+<p>The mournful procession bearing the body of
+Queen Eleanor of Castile, resting at Waltham,
+would show a picture in the same colours as the
+early part of the Sherborne Pageant.</p>
+
+<p>Colour in England changed very little from the
+Conquest to the end of the reign of Edward I.;
+the predominant steel and leather, the gay, simple
+colours of the crowds, the groups of one colour,
+as of monks and men-at-arms, gave an effect of
+constantly changing but ever uniform colours and
+designs of colour, exactly, as I said before, like the
+shifting patterns of the kaleidoscope.</p>
+
+<p>It was not until the reign of Edward II. that
+the effect of colour changed and became pied, and
+later, with the advent of stamped velvets, heavily
+<span class="pagenum"><a name="Page_84" id="Page_84">[<span class="hidden">Pg </span>84]</a></span>
+designed brocades, and the shining of satins, we
+get that general effect best recalled to us by
+memories of Italian pictures; we get, as it were,
+a varnish of golden-brown over the crude beauties
+of the earlier times.</p>
+
+<p>It is intensely important to a knowledge of
+costume to remember the larger changes in the
+aspect of crowds from the colour point of view.
+A knowledge of history&mdash;by which I do not mean
+a parrot-like acquirement of dates and Acts of
+Parliament, but an insight into history as a living
+thing&mdash;is largely transmitted to us by pictures;
+and, as pictures practically begin for us with the
+Tudors, we must judge of coloured England from
+illuminated books. In these you will go from
+white, green, red, and purple, to such colours as
+I have just described: more vivid blues, reds, and
+greens, varied with brown, black, and the colour of
+steel, into the chequered pages of pied people and
+striped dresses, into rich-coloured people, people
+in black; and as you close the book and arrive at
+the wall-picture, back to the rich-coloured people
+again.</p>
+
+<div class="figcenter" style="width: 341px;">
+<img src="images/ecill038.png" width="341" height="250"
+alt="Three men of the time of Edward I." />
+</div>
+
+<p>The men of this time, it must be remembered,
+were more adapted to the arts of war than to those
+<span class="pagenum"><a name="Page_85" id="Page_85">[<span class="hidden">Pg </span>85]</a></span>
+of peace; and the knight who was up betimes and
+into his armour, and to bed early, was not a man
+of so much leisure that he could stroll about in
+gay clothes of an inconvenient make. His principal
+care was to relieve himself of his steel burden and
+get into a loose gown, belted at the waist, over
+which, if the weather was inclement, he would
+wear a loose coat. This coat was made with a
+hood attached to it, very loose and easy about the
+neck and very wide about the body; its length
+was a matter of choice, but it was usual to wear
+it not much below the knees. The sleeves were
+also wide and long, having at a convenient place
+<span class="pagenum"><a name="Page_86" id="Page_86">[<span class="hidden">Pg </span>86]</a></span>
+a hole cut, through which the arms could be
+placed.</p>
+
+<p>The men wore their hair long and brushed out
+about the ears&mdash;long, that is, to the nape of the
+neck. They also were most commonly bearded,
+with or without a moustache.</p>
+
+<p>Upon their heads they wore soft, small hats,
+with a slight projection at the top, the brim of the
+hat turned up, and scooped away in front.</p>
+
+<p>Fillets of metal were worn about the hair with
+some gold-work upon them to represent flowers;
+or they wore, now and again, real chaplets of
+flowers.</p>
+
+<p>There was an increase of heraldic ornament in
+this age, and the surcoats were often covered with
+a large device.</p>
+
+<p>These surcoats, as in the previous reign, were
+split from shoulder to bottom hem, or were sewn
+up below the waist; for these, thin silk, thick silk
+(called samite), and sendal, or thick stuff, was used,
+as also for the gowns.</p>
+
+<p>The shoes were peaked, and had long toes, but
+nothing extravagant, and they were laced on the
+outside of the foot. The boots came in a peak
+up to the knee.</p>
+
+<p><span class="pagenum"><a name="Page_87" id="Page_87">[<span class="hidden">Pg </span>87]</a></span>
+The peasant was still very Norman in appearance,
+hooded, cloaked, with ill-fitting tights and
+clumsy shoes; his dress was often of bright colours
+on festivals, as was the gown and head-handkerchief
+of his wife.</p>
+
+<p>Thus you see that, for ordinary purposes, a man
+dressed in some gown which was long, loose, and
+comfortable, the sleeves of it generally tight for
+freedom, so that they did not hang about his arm,
+and his shoes, hat, cloak, everything, was as soft
+and free as he could get them.</p>
+
+<p>The woman also followed in the lines of comfort:
+her under-gown was full and slack at the waist,
+the sleeves were tight, and were made to unbutton
+from wrist to elbow; they stopped short at the
+wrist with a cuff.</p>
+
+<p>Her upper gown had short, wide sleeves, was
+fastened at the back, and was cut but roughly
+to the figure. The train of this gown was very
+long.</p>
+
+<p>They sought for comfort in every particular
+but one: for though I think the gorget very becoming,
+I think that it must have been most
+distressing to wear. This gorget was a piece of
+white linen wrapped about the throat, and pinned
+<span class="pagenum"><a name="Page_88" id="Page_88">[<span class="hidden">Pg </span>88]</a></span>
+into its place; the ends were brought up to meet
+a wad of hair over the ears and there fastened,
+in this way half framing the face.</p>
+
+<div class="figcenter" style="width: 220px;">
+<img src="images/ecill039.png" width="220" height="250"
+alt="Four types of hairstyle and head-dresses for women" />
+</div>
+
+<p>The hair was parted in the middle, and rolled
+over pads by the ears, so as to make a cushion
+on which to pin the gorget. This was the
+general fashion.</p>
+
+<p>Now, the earlier form
+of head-dress gave rise
+to another fashion. The
+band which had been
+tied round the head to
+keep the wimple in place
+was enlarged and stiffened
+with more material, and so became a round
+linen cap, wider at the top than at the bottom.
+Sometimes this cap was hollow-crowned, so that
+it was possible to bring the wimple under the
+chin, fasten it into place with the cap, and allow
+it to fall over the top of the cap in folds; sometimes
+the cap was solidly crowned, and was
+pleated; sometimes the cap met the gorget, and
+no hair showed between them.</p>
+
+<div class="figcenter ipadtop" style="width: 368px;">
+<a name="pl20" id="pl20"></a>
+<img src="images/ecpl20.jpg" width="368" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN AND WOMAN OF THE TIME OF
+EDWARD I. (1272-1307)</p>
+
+<p class="subcapt ipadbase">The sleeves of the man&rsquo;s overcoat through which he
+has thrust his arms are complete sleeves, and could be
+worn in the ordinary manner but that they are too
+long to be convenient; hence the opening.</p>
+
+<p>What we know as &lsquo;the true lovers&rsquo; knot&rsquo; was
+<span class="pagenum"><a name="Page_89" id="Page_89">[<span class="hidden">Pg </span>89]</a></span>
+sometimes used as an ornament sewn on to dresses
+or gowns.</p>
+
+<p>You may know the effigy of Queen Eleanor
+in Westminster Abbey, and if you do, you will
+see an example of the very plainest dress of the
+time. She has a shaped mantle over her shoulders,
+which she is holding together by a strap; the long
+mantle or robe
+is over a plain,
+loosely-pleated
+gown, which fits
+only at the shoulders;
+her hair is
+unbound, and she
+wears a trefoil
+crown upon her
+head.</p>
+
+<div class="figright" style="width: 246px;">
+<img src="images/ecill040.png" width="246" height="250"
+alt="Two women of the time of Edward I." />
+</div>
+
+<p>The changes in
+England can best be seen by such monuments
+as Edward caused to be erected in memory of his
+beloved wife. The arts of peace were indeed magnificent,
+and though the knight was the man of war,
+he knew how to choose his servant in the great arts.</p>
+
+<p>Picture such a man as Alexander de Abyngdon,
+&lsquo;le Imaginator,&rsquo; who with William de Ireland
+<span class="pagenum"><a name="Page_90" id="Page_90">[<span class="hidden">Pg </span>90]</a></span>
+carved the statues of the Queen for five marks
+each&mdash;such a man, with his gown hitched up into
+his belt, his hood back on his shoulders, watching
+his statue put into place on the cross at
+Charing. He is standing by Roger de Crundale,
+the architect of that cross, and he is directing the
+workmen who are fixing the statue.... A little
+apart you may picture Master William Tousell,
+goldsmith, of London, a very important person,
+who is making a metal statue of the Queen and
+one of her father-in-law, Henry III., for Westminster
+Abbey. At the back men and women in
+hoods and wimples, in short tunics and loose gowns.
+A very brightly-coloured picture, though the dyes
+of the dresses be faded by rain and sun&mdash;they are
+the finer colours for that: Master Tousell, no
+doubt, in a short tunic for riding, with his loose
+coat on him, the heavy hood back, a little cap on
+his head; the workmen with their tunics off, a
+twist of coloured stuff about their waists, their
+heads bare.</p>
+
+<p>It is a beautiful love-story this, of fierce Edward,
+the terror of Scotland, for Eleanor, whom he
+&lsquo;cherished tenderly,&rsquo; and &lsquo;whom dead we do not
+cease to love.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_91" id="Page_91">[<span class="hidden">Pg </span>91]</a></span>
+The same man, who could love so tenderly and
+well, who found a fantastic order of chivalry in
+the Round Table of Kenilworth, could there swear
+on the body of a swan the death of Comyn,
+Regent of Scotland, and could place the Countess
+of Buchan, who set the crown upon the head of
+Bruce, in a cage outside one of the towers of
+Berwick.</p>
+
+<p>Despite the plain cut of the garments of this
+time, and the absence of superficial trimmings, it
+must have been a fine sight to witness one hundred
+lords and ladies, all clothed in silk, seated about the
+Round Table of Kenilworth.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_92" id="Page_92">[<span class="hidden">Pg </span>92]</a></span></p>
+
+<h2>EDWARD THE SECOND</h2>
+
+<p class="smlfont center">Reigned twenty years: 1307-1327.</p>
+
+<p class="smlfont center">Born 1284. Married, 1308, Isabella of France.</p>
+
+
+<h3>MEN AND WOMEN</h3>
+
+<p>Whether the changes in costume that took place
+in this reign were due to enterprising tailors, or to
+an exceptionally hot summer, or to the fancy of
+the King, or to the sprightliness of Piers Gaveston,
+it is not possible to say. Each theory is arguable,
+and, no doubt, in some measure each theory is
+right, for, although men followed the new
+mode, ladies adhered to their earlier fashions.</p>
+
+<p>Take the enterprising tailor&mdash;call him an artist.
+The old loose robe was easy of cut; it afforded no
+outlet for his craft; it cut into a lot of material,
+was easily made at home&mdash;it was, in fact, a baggy
+affair that fitted nowhere. Now, is it not possible
+that some tailor-artist, working upon the vanity of
+a lordling who was proud of his figure, showed how
+<span class="pagenum"><a name="Page_93" id="Page_93">[<span class="hidden">Pg </span>93]</a></span>
+he could present this figure to its best advantage
+in a body-tight garment which should reach only
+to his hips?</p>
+
+<div class="figright" style="width: 148px;">
+<img src="images/ecill041.png" width="148" height="250"
+alt="A man of the time of Edward II." />
+</div>
+
+<p>Take the hot summer. You may or may not
+know that a hot summer some years ago suddenly
+transformed the City of London from a place of
+top-hats and black coats into
+a place of flannel jackets and
+hats of straw, so that it is now
+possible for a man to arrive at
+his City office clad according
+to the thermometer, without
+incurring the severe displeasure
+of the Fathers of the
+City.</p>
+
+<p>It seems that somewhere
+midway between 1307 and
+1327 men suddenly dropped
+their long robes, loosely tied at the waist, and
+appeared in what looked uncommonly like vests,
+and went by the name of &lsquo;cotehardies.&rsquo;</p>
+
+<p>It must have been surprising to men who
+remembered England clothed in long and decorous
+robes to see in their stead these gay, debonair,
+tight vests of pied cloth or parti-coloured silk.</p>
+
+<p><span class="pagenum"><a name="Page_94" id="Page_94">[<span class="hidden">Pg </span>94]</a></span>
+Piers Gaveston, the gay, the graceless but graceful
+favourite, clever at the tournament, warlike and
+vain, may have instituted this complete revolution
+in clothes with the aid of the weak King.</p>
+
+<div class="figleft" style="width: 160px;">
+<img src="images/ecill042.png" width="160" height="250"
+alt="Two types of cotehardie" />
+</div>
+
+<div class="figcenter" style="width: 199px;">
+<img src="images/ecill043.png" width="199" height="300"
+alt="Two types of tunic; two types of collar" />
+</div>
+
+<p>Sufficient, perhaps, to say that, although long
+robes continued to be
+worn, cotehardies were
+all the fashion.</p>
+
+<p>There was a general tendency to exaggeration.
+The hood was attacked by the dandies, and, instead
+of its modest peak, they caused to be added a
+long pipe of the material, which they called a
+&lsquo;liripipe.&rsquo;</p>
+
+<p>Every quaint thought and invention for tying
+up this liripipe was used: they wound it about
+<span class="pagenum"><a name="Page_95" id="Page_95">[<span class="hidden">Pg </span>95]</a></span>
+their heads, and tucked the end into the coil;
+they put it about their necks, and left the end
+dangling; they rolled it on to the top of their
+heads.</p>
+
+<div class="figright" style="width: 84px;">
+<img src="images/ecill044.png" width="84" height="300"
+alt="Four types of shoe; two types of hat" />
+</div>
+
+<p>The countryman, not behindhand in quaint
+ideas, copied the form of a Bishop&rsquo;s hood, and
+appeared with his cloth hood divided
+into two peaks, one on either side of
+his head.</p>
+
+<div class="figleft" style="width: 78px;">
+<img src="images/ecill045.png" width="78" height="300"
+alt="Four types of hood" />
+</div>
+
+<p>This new cotehardie was cut in
+several ways. Strictly speaking, it was
+a cloth or silk vest, tight to the body,
+and close over the hips; the length
+was determined by the fancy of the
+wearer. It also had influence on the
+long robes still worn, which, although
+full below the waist to the feet, now
+more closely fitted the body and
+shoulders.</p>
+
+<p>The fashionable sleeves were tight to
+the elbow, and from there hanging and narrow,
+showing a sleeve belonging to an undergarment.</p>
+
+<p>The cloak also varied in shape. The heavy
+travelling-cloak, with the hood attached, was of
+the old pattern, long, shapeless, with or without
+<span class="pagenum"><a name="Page_96" id="Page_96">[<span class="hidden">Pg </span>96]</a></span>
+hanging sleeves, loose at the neck, or tightly
+buttoned.</p>
+
+<p>Then there was a hooded cloak, with short
+sleeves, or with the sleeves cut right away, a sort
+of hooded surcoat. Then there were two distinct
+forms of cape: one a plain, circular
+cape, not very deep, which had a plain,
+round, narrow collar of fur or cloth,
+and two or three buttons at the neck;
+and there was the round cape, without
+a collar, but with turned back lapels of
+fur. This form of cape is often to be
+seen.</p>
+
+<p>The boots and shoes were longer at
+the toes, and were sometimes buttoned
+at the sides.</p>
+
+<p>The same form of hats remain, but
+these were now treated with fur brims.</p>
+
+<p>Round the waist there was always
+a belt, generally of plain black leather; from it
+depended a triangular pouch, through which a
+dagger was sometimes stuck.</p>
+
+<div class="figcenter ipadtop" style="width: 366px;">
+<a name="pl21" id="pl21"></a>
+<img src="images/ecpl21.jpg" width="366" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN AND WOMAN OF THE TIME OF
+EDWARD II. (1307-1327)</p>
+
+<p class="subcapt">Notice the great length of liripipe on the man&rsquo;s
+hood, also his short tunic of rayed cloth, his hanging
+sleeve and his under-sleeve.</p>
+
+<p class="subcapt ipadbase">The woman has her hair dressed in two side-plaits,
+to which the gorget or neckcloth is pinned.</p>
+
+<p>The time of parti-coloured clothes was just
+beginning, and the cotehardie was often made
+from two coloured materials, dividing the body in
+<span class="pagenum"><a name="Page_97" id="Page_97">[<span class="hidden">Pg </span>97]</a></span>
+two parts by the colour difference; it
+was the commencement of the age
+which ran its course during the next
+reign, when men were striped diagonally,
+vertically, and in angular bars;
+when one leg was blue and the other
+red.</p>
+
+<div class="figright" style="width: 87px;">
+<img src="images/ecill046.png" width="87" height="300"
+alt="A woman of the time of Edward II.; a cap" />
+</div>
+
+<div class="figleft" style="width: 111px;">
+<img src="images/ecill047.png" width="111" height="250"
+alt="A woman of the time of Edward II." />
+</div>
+
+<p>You will note that all work was
+improving in this reign when you hear
+that the King paid the wife of John
+de Bureford 100 marks for an embroidered
+cope, and that a great green
+hanging was procured for King&rsquo;s Hall,
+London, for solemn feasts&mdash;a hanging
+of wool, worked with figures of kings
+and beasts. The ladies made little
+practical change in their dress, except
+to wear an excess of clothes against the
+lack of draperies indulged in by the
+men.</p>
+
+<p>It is possible to see three garments,
+or portions of them, in many dresses.
+First, there was a stuff gown, with tight
+sleeves buttoned to the elbow from the wrist;
+this sometimes showed one or two buttons under
+<span class="pagenum"><a name="Page_98" id="Page_98">[<span class="hidden">Pg </span>98]</a></span>
+the gorget in front, and was fitted, but not tightly,
+to the figure. It fell in pleated folds to the feet,
+and had a long train; this was worn alone, we
+may suppose, in summer. Second, there was a
+gown to go over this other, which had short, wide
+sleeves, and was full in the skirts. One or other
+of these gowns
+had a train, but if
+the upper gown
+had a train the
+under one had
+not, and <i>vice
+vers&acirc;</i>. Third,
+there was a surcoat like to a man&rsquo;s, not over-long
+or full, with the sleeve-holes cut out wide; this
+went over both or either of the other gowns.</p>
+
+<div class="figcenter" style="width: 319px;">
+<img src="images/ecill048.png" width="319" height="250"
+alt="Two women of the time of Edward II.; a wimple with fillet and gorget" />
+</div>
+
+<p>Upon the head they wore the wimple, the fillet,
+and about the throat the gorget.</p>
+
+<p>The arrangement of the wimple and fillet were
+new, for the hair was now plaited in two tails, and
+<span class="pagenum"><a name="Page_99" id="Page_99">[<span class="hidden">Pg </span>99]</a></span>
+these brought down straight on either side of the
+face; the fillet was bound over the wimple in
+order to show the plait, and the gorget met the
+wimple behind the plait instead of over it.</p>
+
+<p>The older fashion of hair-dressing remained, and
+the gorget was pinned to the wads of hair over the
+ears, without the covering of the wimple.</p>
+
+<p>Sometimes the fillet was very wide, and placed
+low on the head over a wimple tied like a gorget;
+in this way the two side-plaits showed only in
+front and appeared covered at side-face, while the
+wimple and broad fillet hid all the top hair of
+the head.</p>
+
+<p>Very rarely a tall, steeple head-dress was worn
+over the wimple, with a hanging veil; but this was
+not common, and, indeed, it is not a mark of the
+time, but belongs more properly to a later date.
+However, I have seen such a head-dress drawn at
+or about this time, so must include it.</p>
+
+<p>The semicircular mantle was still in use, held
+over the breast by means of a silk cord.</p>
+
+<p>It may seem that I describe these garments in
+too simple a way, and the rigid antiquarian would
+have made comment on courtepys, on gamboised
+garments, on cloth of Gaunt, or cloth of Dunster.</p>
+
+<p><span class="pagenum"><a name="Page_100" id="Page_100">[<span class="hidden">Pg </span>100]</a></span>
+I may tell you that a gambeson was the quilted
+tunic worn under armour, and, for the sake of
+those whose tastes run into the arid fields of such
+research, that you may call it wambasium, gobison,
+wambeys, gambiex, gaubeson, or half a dozen other
+names; but, to my mind, you will get no further
+with such knowledge.</p>
+
+<p>Falding is an Irish frieze; cyclas is a gown;
+courtepy is a short gown; kirtle&mdash;again, if we know
+too much we cannot be accurate&mdash;kirtle may be a
+loose gown, or an apron, or a jacket, or a riding-cloak.</p>
+
+<p>The tabard was an embroidered surcoat&mdash;that
+is, a surcoat on which was displayed the heraldic
+device of the owner.</p>
+
+<p>Let us close this reign with its mournful end,
+when Piers Gaveston feels the teeth of the Black
+Dog of Warwick, and is beheaded on Blacklow
+Hill; when Hugh le Despenser is hanged on a
+gibbet; when the Queen lands at Orwell, conspiring
+against her husband, and the King is a prisoner
+at Kenilworth.</p>
+
+<p>Here at Kenilworth the King hears himself
+deposed.</p>
+
+<p>&lsquo;Edward, once King of England,&rsquo; is hereafter
+<span class="pagenum"><a name="Page_101" id="Page_101">[<span class="hidden">Pg </span>101]</a></span>
+accounted &lsquo;a private person, without any manner
+of royal dignity.&rsquo;</p>
+
+<p>Here Edward, in a plain black gown, sees the
+steward of his household, Sir Thomas Blount,
+break his staff of office, done only when a King
+is dead, and discharge all persons engaged in the
+royal service.</p>
+
+<p>Parliament decided to take this strong measure
+in January; in the following September Edward
+was murdered in cold blood at Berkeley Castle.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_102" id="Page_102">[<span class="hidden">Pg </span>102]</a></span></p>
+
+<h2>EDWARD THE THIRD</h2>
+
+<p class="smlfont center">Reigned fifty years: 1327-1377.</p>
+
+<p class="smlfont center">Born 1312. Married, 1328, Philippa of Hainault.</p>
+
+
+<h3>THE MEN</h3>
+
+<p>Kings were Kings in those days; they managed
+England as a nobleman managed his estates.</p>
+
+<p>Edward I., during the year 1299, changed his
+abode on an average three times a fortnight, visiting
+in one year seventy-five towns and castles.</p>
+
+<p>Edward II. increased his travelling retinue until,
+in the fourth year of the reign of Edward III., the
+crowd who accompanied that King had grown to
+such proportions that he was forced to introduce a
+law forbidding knights and soldiers to bring their
+wives and families with them.</p>
+
+<p>Edward III., with his gay company, would not
+be stopped as he rode out of one of the gates of
+London to pay toll of a penny a cart and a farthing
+a horse, nor would any of his train.</p>
+
+<p><span class="pagenum"><a name="Page_103" id="Page_103">[<span class="hidden">Pg </span>103]</a></span>
+This toll, which included threepence a week on
+gravel and sand carts going in or out of the City,
+was raised to help pay for street repairs, the streets
+and roads of that time being in a continual state of
+slush, mud, and pits of water.</p>
+
+<p>Let us imagine Edward III. and his retinue
+passing over Wakefield Bridge before he reduced
+his enormous company.</p>
+
+<p>The two priests, William Kaye and William
+Bull, stand waiting for the King outside the new
+Saint Mary&rsquo;s Chapel. First come the guard of four-and-twenty
+archers in the King&rsquo;s livery; then a
+Marshal and his servants (the other King&rsquo;s Marshal
+has ridden by some twenty-four hours ago); then
+comes the Chancellor and his clerks, and with
+them a good horse carrying the Rolls (this was
+stopped in the fourth year of Edward&rsquo;s reign);
+then they see the Chamberlain, who will look to
+it that the King&rsquo;s rooms are decent and in order,
+furnished with benches and carpets; next comes
+the Wardrobe Master, who keeps the King&rsquo;s
+accounts; and, riding beside the King, the first
+personal officer of the kingdom, the Seneschal;
+after that a gay company of knights and their
+ladies, merchants, monks dressed as ordinary laymen
+<span class="pagenum"><a name="Page_104" id="Page_104">[<span class="hidden">Pg </span>104]</a></span>
+for travelling, soldiers of fortune, women,
+beggars, minstrels&mdash;a motley gang of brightly-clothed
+people, splashed with the mud and dust of
+the cavalcade.</p>
+
+<div class="figleft" style="width: 250px;">
+<img src="images/ecill049.png" width="250" height="250"
+alt="Two men of the time of Edward III." />
+</div>
+
+<p>Remembering the condition of the day, the
+rough travelling, the estates far apart, the dirty
+inns, one must not
+imagine this company
+spick and
+span.</p>
+
+<p>The ladies are
+riding astride, the
+gentlemen are in
+civil garments or
+half armour.</p>
+
+<p>Let us suppose
+that it is summer,
+and but an hour or so after a heavy shower.
+The heat is oppressive: the men have slung their
+hats at their belts, and have pushed their hoods
+from their heads; their heavy cloaks, which they
+donned hastily against the rain, are off now, and
+hanging across their saddles.</p>
+
+<p>These cloaks vary considerably in shape. Here
+we may see a circular cloak, split down the right
+<span class="pagenum"><a name="Page_105" id="Page_105">[<span class="hidden">Pg </span>105]</a></span>
+side from the neck, it
+buttons on the shoulder.
+Here is another circular
+cloak, jagged at the edge;
+this buttons at the neck.
+One man is riding in a
+cloak, parti-coloured,
+which is more like a
+gown, as it has a hood
+attached to it, and reaches
+down to his feet.</p>
+
+<div class="figright" style="width: 187px;">
+<img src="images/ecill050.png" width="187" height="250"
+alt="A man of the time of Edward III.; two types of hood" />
+</div>
+
+<p>Nearly every man is alike in one
+respect&mdash;clean-shaven, with long hair
+to his neck, curled at the ears and on
+the forehead.</p>
+
+<div class="figcenter" style="width: 85px;">
+<img src="images/ecill051.png" width="85" height="250"
+alt="A man of the time of Edward III." />
+</div>
+
+<p>Most men wear the cotehardie, the
+well-fitting garment buttoned down the
+front, and ending over the hips. There
+is every variety of cotehardie&mdash;the long
+one, coming nearly to the knees; the
+short one, half-way up the thigh. Some
+are buttoned all the way down the front,
+and others only with two or three buttons at the neck.</p>
+
+<p>Round the hips of every man is a leather belt,
+from which hangs a pouch or purse.</p>
+
+<p><span class="pagenum"><a name="Page_106" id="Page_106">[<span class="hidden">Pg </span>106]</a></span>
+Some of these purses are beautiful with stitched
+arabesque designs; some have silver and enamel
+clasps; some are plain black cloth or natural-coloured
+leather; nearly all, however, are black.</p>
+
+<p>The hoods over the men&rsquo;s heads vary in a number
+of ways: some are very full in the cape, which is
+jagged at the hem; some are close about the neck
+and are plain; some have long liripipes falling from
+the peak of the hood, and others have a liripipe of
+medium length.</p>
+
+<p>There are two or three kinds of hat worn, and
+felt and fur caps of the usual shape&mdash;round, with
+a rolled-up brim and a little peak on the top. Some
+of the hats are tall-crowned, round hats with a
+close, thick brim&mdash;these have strings through the
+brim so that the hat may be strung on the belt
+when it is not in use; other hats are of the long,
+peaked shape, and now and again one may see a
+feather stuck into them; a third variety shows the
+brim of a high-crowned hat, castellated.</p>
+
+<p>Among the knights you will notice the general
+tendency to parti-coloured clothes, not only divided
+completely into halves of two colours, but striped
+diagonally, vertically, and horizontally, so giving a
+very diverse appearance to the mass of colour.</p>
+
+<p><span class="pagenum"><a name="Page_107" id="Page_107">[<span class="hidden">Pg </span>107]</a></span>
+Here and there a man is riding in his silk
+surcoat, which is embroidered with his coat of
+arms or powdered with his badge.</p>
+
+<p>Here are cloth, velvet, silk, and woollen stuffs,
+all of fine dyes, and here is some fine silk cotehardie
+with patterns upon it gilt in gold leaf, and
+there is a magnificent piece of stuff, rich in design,
+from the looms of Palermo.</p>
+
+<p>Among the merchants we shall see some more
+sober colours and quieter cut of clothes; the archers
+in front are in leather tunics, and these quiet colours
+in front, and the respectable merchants behind,
+enclose the brilliant blaze of colour round the King.</p>
+
+<p>Behind all come the peasants, minstrels, mummers,
+and wandering troupes of acrobats; here is a bearward
+in worn leather cloak and hood, his legs
+strapped at the ankle, his shoes tied on with
+thongs; here is a woman in a hood, open at the
+neck and short at the back: she wears a smocked
+apron; here is a beggar with a hood of black stuff
+over his head&mdash;a hood with two peaks, one on either
+side of his head; and again, here is a minstrel
+with a patched round cloak, and a mummer with
+a two-peaked hood, the peaks stuffed out stiff,
+with bells jangling on the points of them.</p>
+
+<p><span class="pagenum"><a name="Page_108" id="Page_108">[<span class="hidden">Pg </span>108]</a></span>
+Again, among this last group, we must notice
+the old-fashioned loose tunics, the coif over the
+head, tied under the chin, wooden-soled shoes and
+pouch-gloves.</p>
+
+<div class="figcenter" style="width: 287px;">
+<img src="images/ecill052.png" width="287" height="250"
+alt="Three men of the time of Edward III." />
+</div>
+
+<p>There are some Norfolk merchants and some
+merchants from Flanders among the crowd, and
+they talk as best they can in a sort of French-Latin-English
+jargon among themselves; they speak
+of England as the great wool-producing country,
+the tax on which produced &pound;30,000 in one year;
+they talk of the tax, its uses and abuses, and how
+<span class="pagenum"><a name="Page_109" id="Page_109">[<span class="hidden">Pg </span>109]</a></span>
+Norfolk was proved the richest county in wool by
+the tax of 1341.</p>
+
+<p>The people of England little thought to hear
+artillery used in a field of battle so soon as 1346,
+when on August 26 it was used for the first time,
+nor did they realize the horrors that were to come
+in 1349, when the Great Plague was to
+sweep over England and kill half the
+population.</p>
+
+<div class="figcenter" style="width: 91px;">
+<img src="images/ecill053.png" width="91" height="250"
+alt="A man of the time of Edward III." />
+</div>
+
+<p>There is one man in this crowd who
+has been marked by everybody. He is
+a courtier, dressed in the height of
+fashion. His cotehardie fits him very
+well: the sleeves are tight from elbow
+to wrist, as are the sleeves of most of
+his fellows&mdash;some, however, still wear
+the hanging sleeve and show an under-sleeve&mdash;and
+his sleeve is buttoned from wrist to
+elbow. He wears the newest fashion upon his arm,
+the tippet, a piece of silk which is made like a
+detachable cuff with a long streamer hanging from
+it; his cotehardie is of medium length, jagged
+at the bottom, and it is of the finest Sicilian
+silk, figured with a fine pattern; round his hips
+he wears a jewelled belt. His hood is
+<span class="pagenum"><a name="Page_110" id="Page_110">[<span class="hidden">Pg </span>110]</a></span>
+parti-coloured and jagged at the edge and round his
+face, and his liripipe is very long. His tights
+are parti-coloured, and his shoes, buttoned up the
+front, are long-toed and are made of red-and-white
+chequered leather. By him rides a knight, also
+in the height of fashion, but less noticeable: he
+has his cotehardie skirt split up in front and
+turned back; he has
+not any buttons on
+his sleeves, and his
+belt about his waist
+holds a large square
+pouch; his shoes are
+a little above his
+ankles, and are
+buckled over the instep.
+His hair is
+shorter than is
+usual, and it is not
+curled.</p>
+
+<div class="figleft" style="width: 225px;">
+<img src="images/ecill054.png" width="225" height="275"
+alt="A man of the time of Edward III.; three types of head-gear" />
+</div>
+
+<p>As we observe these knights, a party of
+armed knights come riding down the road towards
+the cavalcade; they have come to greet the
+King.</p>
+
+<p>These men have ridden through the rain, and
+<span class="pagenum"><a name="Page_111" id="Page_111">[<span class="hidden">Pg </span>111]</a></span>
+now, as they come closer, one can see that their
+armour is already red with rust.</p>
+
+<div class="figright" style="width: 60px;">
+<img src="images/ecill055.png" width="60" height="100"
+alt="A hat" />
+</div>
+
+<p>So the picture should remain on your mind,
+as I have imagined it for you: the knights in
+armour and surcoats covered with their heraldic
+device; the archers; the gay crowd of knights
+in parti-coloured clothes; the King, in his
+cotehardie of plain black velvet and his black
+beaver hat, just as he looked after Calais in later
+years; the merchants; the servants in
+parti-coloured liveries of their masters&rsquo;
+colours; the tattered crowd behind;
+and, with the aid of the drawings, you
+should be able to visualize the picture.</p>
+
+<p>Meanwhile Edward will arrive at his destination,
+and to soothe him before sleep, he will read out
+of the book of romances, illustrated by Isabella,
+the nun of Aumbresbury, for which he had paid
+&pound;66 13s. 4d., which sum was heavy for those
+days, when &pound;6 would buy twenty-four swans.
+&pound;66 13s. 4d. is about &pound;800 of our money to-day.</p>
+
+
+<p><span class="pagenum"><a name="Page_112" id="Page_112">[<span class="hidden">Pg </span>112]</a></span></p>
+
+<h3>THE WOMEN</h3>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;I looked on my left half as the lady taught me,<br /></span>
+<span class="i0">And was aware of a woman worthily clothed,<br /></span>
+<span class="i0">Trimmed with fur, the finest on earth,<br /></span>
+<span class="i0">Crowned with a crown, the King had none better.<br /></span>
+<span class="i0">Handsomely her fingers were fretted with gold wire,<br /></span>
+<span class="i0">And thereon red rubies, as red as any hot coal,<br /></span>
+<span class="i0">And diamonds of dearest price, and double manner of sapphires,<br /></span>
+<span class="i0">Orientals and green beryls....<br /></span>
+<span class="i0">Her robe was full rich, of red scarlet fast dyed,<br /></span>
+<span class="i0">With bands of red gold and of rich stones;<br /></span>
+<span class="i0">Her array ravished me, such richness saw I never.&rsquo;<br /></span>
+<span class="credit"><i>Piers the Plowman.</i><br /></span>
+</div>
+</div>
+
+<p>There are two manuscripts in existence the
+illuminations in which give the most wonderfully
+pictorial idea of this time; they are the manuscript
+marked MS. Bodl., Misc. 264, in the Bodleian
+Library at Oxford, and the Loutrell Psalter in the
+British Museum.</p>
+
+<p>The Loutrell Psalter is, indeed, one of the most
+notable books in the world; it is an example of
+illumination at the height of that art; it has for
+illustrator a person, not only of a high order of
+intelligence, but a person possessed of the very
+<span class="pagenum"><a name="Page_113" id="Page_113">[<span class="hidden">Pg </span>113]</a></span>
+spirit of Gothic humour, who saw rural England,
+not only with the eyes of an artist, but with the
+eyes of a gossiping philosopher.</p>
+
+<div class="figcenter ipadtop" style="width: 358px;">
+<a name="pl22" id="pl22"></a>
+<img src="images/ecpl22.jpg" width="358" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF EDWARD III. (1327-1377)</p>
+
+<p class="subcapt ipadbase">Round his arms you will see the curious tippet, the
+jagged ends of which hang down; these are the
+remains of the pendant sleeves. His shoes are
+buttoned in front.</p>
+
+<p>Both this book and the book in the Bodleian
+Library were illustrated by persons who were
+charged to the brim with the spirit of their age;
+they were Chaucerian in their gay good-humour
+and in their quaint observation, and they have that
+moral knowledge and outspoken manner which
+characterize William Langland, whose &lsquo;Piers the
+Plowman&rsquo; I have quoted above.</p>
+
+<p>With Chaucer, Langland, and these illuminators
+we have a complete exhibition of English life of
+these times. The pulse of rural England is felt by
+them in a most remarkable way; the religion, language,
+thought, politics, the whole trend of rural,
+provincial, and Court life may be gathered from
+their books.</p>
+
+<p>The drawings in the Loutrell Psalter were completed
+before the year 1340, and they give us all
+that wonderful charm, that intimate knowledge,
+which we enjoy in the &lsquo;Canterbury Pilgrims&rsquo; and
+the &lsquo;Vision of Piers Plowman.&rsquo;</p>
+
+<p>There seems to be something in road-travelling
+which levels all humanity; there is no road in
+<span class="pagenum"><a name="Page_114" id="Page_114">[<span class="hidden">Pg </span>114]</a></span>
+England which does not throb with history; there
+is no poem or story written about roads in England
+which does not in some way move the Englishness
+in us. Chaucer and Langland make comrades of
+us as they move along the highway, and with them
+we meet, on terms of intimacy, all the characters of
+the fourteenth century. With these illuminators
+of the Loutrell Psalter and the Bodleian MS. we
+see actually the stream of English life along a
+crowded thoroughfare.</p>
+
+<p>In these books we may see drawings of every
+form of agricultural life and manorial existence: we
+see the country sports, the bear-baiting, and the
+cock-fighting; we see the harvesters with straw
+hats, scythes, and reaping-hooks; we see carters,
+carriers, and great carriages, all depicted in a manner
+which we can only compare, in later years, to the
+broad humour of Hogarth; and, as we turn the
+priceless pages over, the whole fourteenth-century
+world passes before our eyes&mdash;japers and jugglers;
+disours and jesters; monk, priest, pilgrim, and
+pardoner; spendthrift and wench; hermits, good
+and evil; lords, ladies, and Kings.</p>
+
+<p>I have written of the men and their dress&mdash;how
+they were often&mdash;very often&mdash;dirty, dusty, and
+<span class="pagenum"><a name="Page_115" id="Page_115">[<span class="hidden">Pg </span>115]</a></span>
+travel-stained&mdash;of the red-rusted armour and the
+striped and chequered clothes, and now I must
+write of the women and the manner of their
+dress.</p>
+
+<p>Of the time, you must remember that it was the
+time of chivalry, when there was a Round Table of
+Knights at Windsor, founded in 1345; when the
+Order of the Garter was founded; when tiltings
+and all manner of tournaments were at their height;
+and you listen to the minstrels of King Edward&rsquo;s
+household playing upon the trumpet, the cytole,
+the pipe, the taberet, the clarion, and the fiddle.</p>
+
+<p>St. George, the Primate of Egypt in the fourth
+century, had now risen to public esteem and
+notice, so that he became in this time not only
+the patron saint of chivalry, but the tutelar saint
+of England.</p>
+
+<p>Boys were taken from the care of the ladies of
+the household at the age of seven, when they became
+pages to knights, and were sworn to devote themselves
+to the graces and favours of some girl. At
+fourteen the boy became a squire, and at twenty-one,
+if he were possessed of a rental of &pound;20 a year
+in land, he made his fast and vigil, and was afterward
+dubbed knight and given his spurs.</p>
+
+<p><span class="pagenum"><a name="Page_116" id="Page_116">[<span class="hidden">Pg </span>116]</a></span></p>
+
+<div class="figcenter" style="width: 347px;">
+<img src="images/ecill056.png" width="347" height="450"
+alt="Twelve hair arrangements for women" />
+</div>
+
+<p>The noteworthy point about a woman of this
+reign was her hair. The Queen herself wore an
+elaborate mode of coiffure for that time; she wore a
+metal fillet round her head, to which was attached
+two cases, circular in shape, of gold fretwork,
+ornamented with precious stones. She wore her
+hair unplaited, and brought in two parts from the
+<span class="pagenum"><a name="Page_117" id="Page_117">[<span class="hidden">Pg </span>117]</a></span>
+back of her head, and as far as one can see, pushed
+into the jewelled cases.</p>
+
+<div class="figright" style="width: 119px;">
+<img src="images/ecill057.png" width="119" height="400"
+alt="Five sleeve types for women" />
+</div>
+
+<p>The most general form of hair-dressing was an
+excess on the mode of the previous reign, a richness
+of jewel-work, an abundance of gold
+wire. It was usual to divide the
+hair into two plaits, and arrange
+these on either side of the face,
+holding them in their place by
+means of a fillet; they might be
+worn folded straight up by the
+face, or at an angle, but they were
+never left hanging; if hair was left
+loose it was not plaited, but
+flowing.</p>
+
+<p>The gorget, or throat cloth, was
+still in general use, and it was attached
+to the hair by very elaborate-headed
+pins. Sometimes the
+hair, dressed with the gorget, was
+divided into four plaits, two on either side of the
+face, and fastened horizontally.</p>
+
+<p>The wimple of silk or linen was very generally
+worn. A caul of gold net came into fashion, but
+not until the end of the reign. The ladies were
+<span class="pagenum"><a name="Page_118" id="Page_118">[<span class="hidden">Pg </span>118]</a></span>
+great upon hunting and hawking, and this must
+have been a convenient fashion to keep the hair in
+order. Some wore a white silk or linen cap, so
+shaped as to include and cover the two side-plaits
+and combine a gorget and wimple in one. Pointed
+frontals of pearls were worn across the forehead,
+and fillets of silk or linen were so tied that long
+ends hung down the back.</p>
+
+<div class="figcenter" style="width: 433px;">
+<img src="images/ecill058.png" width="433" height="250"
+alt="Four women of the time of Edward III." />
+</div>
+
+<p>Yellow hair was much esteemed, and ladies who
+were not favoured by Nature, brought saffron to
+their aid, and by such efforts brought Nature into
+line with Art.</p>
+
+<p>There was the general custom of wearing the
+surcoat in imitation of the men, a garment I have
+<span class="pagenum"><a name="Page_119" id="Page_119">[<span class="hidden">Pg </span>119]</a></span>
+described frequently&mdash;a slightly-fitting garment
+without sleeves&mdash;you will see how this grew later
+into a gorgeous affair. These surcoats
+were sometimes of fine cloth of gold
+covered with an intricate, delicate pattern
+in which beasts, birds, and foliage
+mingled in arabesque. Under this surcoat
+was a plainer, better-fitting
+garment, made sometimes of the barred
+and rayed material so common to the
+men, or of velvet, cloth, or silk, in
+plain colours, green and red being then
+very favourite; ermines and many other furs were
+used to border these gowns. Sometimes you may
+see that this gown had sleeves short at the elbow,
+exposing a different coloured under-sleeve, buttoned
+from elbow to wrist; at other times&mdash;in fact, among
+all fashionable persons&mdash;the curious fashion of the
+tippet, or long streamer, was worn. I have carefully
+described this fashion in the previous chapter.</p>
+
+<div class="figright" style="width: 90px;">
+<img src="images/ecill059.png" width="90" height="250"
+alt="A woman of the time of Edward III." />
+</div>
+
+<p>The plain gown with tight sleeves was most in
+use, and the skirts of this gown were very voluminous,
+and had either pockets or holes in the front of
+them; the holes enabled the wearer to reach the
+purse hanging from a girdle which encircled the
+<span class="pagenum"><a name="Page_120" id="Page_120">[<span class="hidden">Pg </span>120]</a></span>
+waist of the under-dress. These gowns were
+generally buttoned in front, from neck to waist,
+or they were laced.</p>
+
+<p>They also wore a heavier gown which reached
+just below the knee, showing the skirts of the
+under-gown; the heavy gowns were often fur-lined,
+and had loose wide sleeves to the elbow.</p>
+
+<p>There was at this time a curious fur or cloth
+cape in use, longer behind than in front&mdash;in fact,
+it varied with the taste of the owner. It was cut
+in even scallops all round; I say even to show that
+they were sewn-edged, not jagged and rough-edged.
+Any pair of these scallops might be longer than
+any other pair. Ladies wore these capes for
+hunting, and ornamented the ends with bells.</p>
+
+<p>The shoes of the women were not very exaggerated
+in length, but, as a rule, fitted well to
+the foot and came out in a slight point. You may
+use for this reign shoes buckled across the instep,
+laced at the side, or buttoned up the front.</p>
+
+<p>For riding and sport the ladies wore the hood, and
+sometimes a broad round hat over it, or the peaked
+hat. The countrywoman wore an ill-fitting gown
+with tight sleeves, an apron, and an open hood.</p>
+
+<div class="figcenter ipadtop" style="width: 369px;">
+<a name="pl23" id="pl23"></a>
+<img src="images/ecpl23.jpg" width="369" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF EDWARD III. (1327-1377)</p>
+
+<p class="subcapt ipadbase">You will notice that the woman also wears the tippet
+on her arm. The gorget is high about her neck, and
+is held up by pins to her plaited hair.</p>
+
+<p>Imagine London in the year of the third great
+pestilence, 1369. It is October, and the worst of
+<span class="pagenum"><a name="Page_121" id="Page_121">[<span class="hidden">Pg </span>121]</a></span>
+the pestilence is over; John Chichester, the Mayor,
+is riding through the streets about some great
+affairs; many knights and ladies pass by. It is
+raining hard after the long drought of the summer,
+but, despite the rain, many citizens are abroad to
+see the doings in the City, and one may see the
+bright parti-coloured clothes of the lords and ladies,
+and here and there, as a cloak is blown back, a
+glimpse of rich-patterned cloth of gold.</p>
+
+<p>Perhaps Will Langland&mdash;Long Will&mdash;a gaunt
+man of thirty-seven, is brushing past a young man
+of twenty-nine, Chaucer, going to his work.</p>
+
+<p>Silk dresses and frieze gowns, velvet and homespun,
+hurry along as the rain falls more heavily,
+and after a while the street becomes quite deserted.
+Then nothing but the dreary monotony of the
+rain falling from the gables will come to the room
+of the knight&rsquo;s lady as she lies sick of small-pox.
+John de Gaddesden, the King&rsquo;s doctor, has prescribed
+for her that she must lie clothed in scarlet
+red in a room of that colour, with bed-hangings of
+that same colour, and so she must lie, without
+much comfort, while the raindrops, falling down
+the wide chimney, drip on the logs in the fire and
+make them hiss.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_122" id="Page_122">[<span class="hidden">Pg </span>122]</a></span></p>
+
+<h2>RICHARD THE SECOND</h2>
+
+<p class="smlfont center">Reigned twenty-two years: 1377-1399.</p>
+
+<p class="smlfont center">Born 1366. Married, 1381, Anne of Bohemia;
+1395, Isabella of France.</p>
+
+
+<h3>THE MEN</h3>
+
+<p>The King himself was a leader of fashion; he had
+by grace of Nature the form, face, and manner
+which go to make a dandy. The nobles followed
+the King; the merchants followed the nobles after
+their kind; the peasants were still clothed in the
+simplest of garments, having retained the Norman
+tunic with the sleeves pushed back over the wrist,
+kept the loose boots and straw gaiters, and showed
+the improvement in their class by the innovation
+of gloves made as a thumb with a pouch for the
+fingers, and pouches for money of cloth and leather
+hung on a leather belt. This proved the peasant
+to be a man of some substance by need of his
+wallet. Everyone wore the chaperon&mdash;a cap and
+cape combined.</p>
+
+<p><span class="pagenum"><a name="Page_123" id="Page_123">[<span class="hidden">Pg </span>123]</a></span>
+We have now arrived at the reign which made
+such a difference to the labourer and workman&mdash;such
+as the blacksmith and miller&mdash;and in consequence
+altered and improved the character of
+his clothes. The poll-tax of 1380 brought the
+labourer into individual notice for the first time,
+and thus arose the free labourer in England and
+the first labour pamphlets.</p>
+
+<p>We have two word-pictures of the times of the
+greatest value, for they show both sides of the
+coin: the one by the courtly and comfortable
+Chaucer, the other by Long Will&mdash;William Langland,
+or Piers the Plowman. Picture the two
+along the Strand&mdash;Long Will singing his dirges
+for hire, and Chaucer, his hand full of parchments,
+bustling past.</p>
+
+<p>One must remember that, as always, many
+people dressed out of the fashion; that many men
+still wore the cotehardie, a well-fitting garment
+reaching half-way down the thigh, with tight
+sleeves coming over the hand, decorated with
+buttons under the sleeve from the elbow to the
+little finger. This garment had a belt, which was
+placed round the hips; and this was adorned in
+many ways: principally it was composed of square
+<span class="pagenum"><a name="Page_124" id="Page_124">[<span class="hidden">Pg </span>124]</a></span>
+pieces of metal joined together, either of silver, or
+enamel in copper, or of gold set with precious
+stones.</p>
+
+<div class="figright" style="width: 70px;">
+<img src="images/ecill060.png" width="70" height="250"
+alt="A cotehardie; hose" />
+</div>
+
+<div class="figleft" style="width: 250px;">
+<img src="images/ecill061.png" width="250" height="157"
+alt="Three types of footwear; a coat" />
+</div>
+
+<p>The cotehardie was generally made of a pied
+cloth in horizontal or diagonal bars, in silk or other
+rich fabric. With this garment the
+chaperon (to be more fully described)
+was worn as a hood; the legs were in
+tights, and the feet in pointed shoes a
+little longer than the foot. A pouch or
+wallet depended from the belt, and a
+sheath containing two daggers, an anelace,
+and a misericorde. The pouch was a
+very rich affair, often of stamped gilded
+leather or sewn velvet&mdash;ornamented, in
+fact, according to the purse of the wearer. In winter
+such a man as he of the cotehardie would wear an
+overcoat with an attached
+hood. This coat was
+made in various forms:
+one form with wide sleeves
+the same width all the
+way down, under which
+were slits in the coat to enable the wearer to place
+his hands inside, as in the modern Raglan
+<span class="pagenum"><a name="Page_125" id="Page_125">[<span class="hidden">Pg </span>125]</a></span>
+coat-pocket. Another form was made very loose and
+without sleeves, but with the same slits at the
+side; it was buckled round the waist on occasion
+by a broad leather belt, very
+plain. The common heavy
+travelling-coat was made in
+this way, and it was only the
+very fashionable who wore
+the houppelande for riding or
+travelling. Sometimes such a man would wear
+in winter about the town a cloak fastened over
+the right shoulder with three or four buttons,
+leaving the right arm free; such a cloak is seen in
+the brass of Robert Attelathe, Mayor of Lynn.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/ecill062.png" width="250" height="206"
+alt="A draped cloak and simple pattern for it" />
+</div>
+
+<p>In travelling, our gentleman would wear, often
+in addition to his chaperon, a peaked hat of cloth,
+high in the crown, with a brim turned up all round,
+ending in a long peak in front&mdash;the same hat that
+we always associate with Dick Whittington.</p>
+
+<p>His gloves would be of leather, often ornamented
+with designs on the back, or, if he were a knight,
+with his badge.</p>
+
+<p>On this occasion he would wear his sword in a
+baldric, a long belt over his right shoulder and
+under his left arm, from which hung also his
+<span class="pagenum"><a name="Page_126" id="Page_126">[<span class="hidden">Pg </span>126]</a></span>
+daggers. Although I am not dealing even with
+personal arms, one must remember, in representing
+these people, that daggers were almost as necessary
+a part of dress as boots or shoes, and that personal
+comfort often depended upon a skilful use of that
+natty weapon; the misericorde was used to give
+the <i>coup de gr&acirc;ce</i>.</p>
+
+<p>The farmer in harvest-time wore, if he did not
+wear a hood, a peaked hat or a round, large-brimmed
+straw hat.</p>
+
+<div class="figleft" style="width: 210px;">
+<img src="images/ecill063.png" width="210" height="275" alt="" />
+<span class="caption">The Houppelande or Peli&ccedil;on.</span>
+</div>
+
+<p>We may now arrive at the fashionable man,
+whose eccentricities in clothes were the object of
+much comment. How the
+houppelande or peli&ccedil;on
+actually was originated I
+do not know, but it came
+about that men suddenly
+began to clothe themselves
+in this voluminous
+and awkward garment.
+It was a long loose-fitting
+robe, made to fit on
+the shoulders only, having
+very long loose sleeves, varying according to
+the whim of the owner. These sleeves were
+<span class="pagenum"><a name="Page_127" id="Page_127">[<span class="hidden">Pg </span>127]</a></span>
+cut at the edges into the forms of leaves or
+other designs, and were lined, as the houppelande,
+with fur or silk. It will be seen that such a
+garment to suit all weathers and temperatures
+must be made of various materials and lined
+accordingly. These materials were almost invariably
+powdered with badges or some other device,
+sometimes with a flowing pattern embracing an
+heraldic design or motto. The sleeves turned back
+disclosed the sleeve of a cotehardie underneath,
+with the little buttons running from the elbow to
+the first knuckle of the little finger. The houppelande
+had a very high collar, coming well up to the
+middle of the back of the head; it was buttoned up
+to the chin in front, and the collar was often turned
+down half-way, the two top buttons being left
+undone. It was fastened about the middle by a
+thin leather belt, very long; this was buckled, and
+the long end turned under and brought over to
+hang down; the end was ornamented with many
+devices&mdash;figures of saints, heraldic figures, or other
+ornaments. Sometimes the entire belt was sewn
+with small devices in precious metal or enamels.</p>
+
+<p>Now, to be in the height of fashion, one either
+wore the houppelande extremely long in the skirt
+<span class="pagenum"><a name="Page_128" id="Page_128">[<span class="hidden">Pg </span>128]</a></span>
+or extremely short&mdash;so short, in fact, as to leave
+but a frill of it remaining below the waist&mdash;leaving
+the sleeves still their abnormal length. Pretty
+fads, as tying a dagger round the neck, or allowing
+it to hang low between the legs, or placing it in
+the small of the back, were much in vogue.</p>
+
+<div class="figright" style="width: 250px;">
+<img src="images/ecill064.png" width="250" height="94"
+alt="Two types of long shoe" />
+</div>
+
+<p>Every form of beard or moustache was used, and
+the hair was worn long to the nape of the neck.
+By the dandy it was elaborately pressed and curled
+at the ends. Bands of real or artificial flowers
+encircled the heads of the dandies, the artificial
+flowers made in enamels or gold. Rings were
+worn of great size on thumb and finger; long staffs
+with elaborate heads were carried.</p>
+
+<p>Under the houppelande was the skirt and the
+cotehardie of thin material, and on the legs hose,
+pied or powdered,
+made of silk or cloth
+cut to the form and
+sewn.</p>
+
+<div class="figcenter ipadtop" style="width: 369px;">
+<a name="pl24" id="pl24"></a>
+<img src="images/ecpl24.jpg" width="369" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF RICHARD II. (1377-1399)</p>
+
+<p class="subcapt ipadbase">His chaperon, or hood, is twisted and tied about his
+head with the liripipe, the elongated peak of his
+hood, thrown over his shoulders.</p>
+
+<p>The shoes were of great length, with long
+points; rarely we find examples of the absurd
+fashion of wearing the points so long that they
+were tied back to the knees, but often they were
+so long that the points came out 6 inches beyond
+<span class="pagenum"><a name="Page_129" id="Page_129">[<span class="hidden">Pg </span>129]</a></span>
+the toe. They were made of every material, sewn
+with pearls on cloth or velvet, stamped with gold
+on leather, or the leather raised. The toes were
+sometimes stuffed hard, sometimes allowed to hang
+limp.</p>
+
+<p>For walking in the streets high clogs of wood
+were used, made with long pointed ends to support
+the shoes.</p>
+
+<p>I may add that the hose were gartered below the
+knee to hold them taut with rich garters, but if a
+man were a Garter Knight he wore but the garter
+of his Order.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/ecill065.png" width="450" height="258"
+alt="Evolution of the hood to the chaperon" />
+</div>
+
+<p>Much in favour with this court of gallants were
+rich chains about the neck, having for pendant
+their badge or some saint&rsquo;s figure in gold or silver.</p>
+
+<div class="figleft" style="width: 307px;">
+<img src="images/ecill066.png" width="307" height="200"
+alt="Five types of head-wear" />
+</div>
+
+<p>Now we come to the most interesting and
+<span class="pagenum"><a name="Page_130" id="Page_130">[<span class="hidden">Pg </span>130]</a></span>
+universal fashion of wearing the chaperon, which I
+am anxious to show in its various stages. It began
+with a cape and a hood worn separately; these
+were joined for convenience so that a man might
+put on both at once. This fashion held for many
+years, and then the fashionable man in search of
+novelty caused the peak of the hood to be
+lengthened until it grew to reach to his feet. Then
+he cast about for a fresh mode for his head-wear,
+and so he twisted
+the whole affair
+about his head,
+leaving the end of the
+cape, which was jagged
+at the edge, protruding
+like a cockscomb. Time
+went on, and he avoided
+the trouble of tying this himself, so he had the
+hat made up all ready tied, much in the manner
+of a turban. Finally, the chaperon grew into
+disuse, and it remains to-day a curious reminder
+in the cockade worn by coachmen (it is almost a
+replica in miniature, with the round twist and the
+jagged edge sticking up above the hat) and on the
+cloaks of the Knights of the Garter, where it is
+<span class="pagenum"><a name="Page_131" id="Page_131">[<span class="hidden">Pg </span>131]</a></span>
+carefully made, and forms a cape on the right
+shoulder, and in the present head-dress of the
+French lawyer, a relic of the Middle Ages.</p>
+
+<p>The chains worn about the neck remain as
+badges of office in Mayors and Judges and in
+various Orders.</p>
+
+<p>The button worn by the members of the Legion
+of Honour and other foreign Orders is, I believe, an
+idea resulting from the cockade,
+which, of course, was at the beginning
+the chaperon in the colours of
+the servant&rsquo;s lord.</p>
+
+<div class="figright" style="width: 138px;">
+<img src="images/ecill067.png" width="138" height="225"
+alt="A houppelande showing the leg opening" />
+</div>
+
+<p>When one knows a custom so
+well, one is apt to leave out many
+things in describing it. For example,
+the houppelande was open from the
+bottom of the skirt to the knee in front or at the
+side, and this opening was often cut or jagged into
+shapes; also it was open all the way up the side of
+the leg, and from the neck to the breast, and
+buttoned over.</p>
+
+<p>I have not remarked on the jester, a member of
+many households, who wore an exaggeration of the
+prevalent costume, to which bells were attached at
+all points.</p>
+
+<p><span class="pagenum"><a name="Page_132" id="Page_132">[<span class="hidden">Pg </span>132]</a></span>
+So was much good cloth wasted in vanity, and
+much excellent time spent upon superfluities, to
+the harm of the people; perhaps useful enough
+to please the eye, which must have been regaled
+with all these
+men in wonderful
+colours,
+strutting peacockwise.</p>
+
+<div class="figcenter" style="width: 390px;">
+<img src="images/ecill068.png" width="390" height="250"
+alt="Simpler clothing, hat and hood, and bags of peasants" />
+</div>
+
+<p>The poor
+peasant, who
+found cloth
+becoming very dear, cared not one jot or tittle for
+the feast of the eye, feeling a certain unreasonable
+hunger elsewhere.</p>
+
+<p>And so over the wardrobe of Dandy Richard
+stepped Henry, backed by the people.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<p>If ever women were led by the nose by the
+demon of fashion it was at this time. Not only
+were their clothes ill-suited to them, but they
+abused that crowning glory, their hair.</p>
+
+<p>No doubt a charming woman is always charming,
+<span class="pagenum"><a name="Page_133" id="Page_133">[<span class="hidden">Pg </span>133]</a></span>
+be she dressed by woad or worth; but to be
+captivating with your eyebrows plucked out, and
+with the hair that grows so prettily low on the
+back of the neck
+shaved away&mdash;was
+it possible? I expect
+it was.</p>
+
+<div class="figright" style="width: 300px;">
+<img src="images/ecill069.png" width="300" height="120"
+alt="Two types of head-dress for women, showing different views and a detail" />
+</div>
+
+<p>The days of high
+hennins was yet to come; the day of simple hair-dressing
+was nearly dead, and in the interval were
+all the arts of the cunning devoted to the guimpe,
+the gorgi&egrave;res, the mentonni&egrave;res,
+the voluminous escoffions.</p>
+
+<div class="figleft" style="width: 156px;">
+<img src="images/ecill070.png" width="156" height="250"
+alt="Two types of head-dress for women, showing different views and a detail" />
+</div>
+
+<p>At this time the lady wore her
+hair long and hanging freely over
+her shoulders; her brows were
+encircled by a chaplet, or chapel
+of flowers, real or artificial, or by
+a crown or plain circlet of gold;
+or she tucked all her hair away
+under a tight caul, a bag of gold net enriched with
+precious stones. To dress hair in this manner it
+was first necessary to plait it in tight plaits and
+bind them round the head, then to cover this with
+a wimple, which fell over the back of the neck, and
+<span class="pagenum"><a name="Page_134" id="Page_134">[<span class="hidden">Pg </span>134]</a></span>
+over this to place the caul, or, as it was sometimes
+called, the dorelet. Now and again the caul
+was worn without the wimple, and this left the
+back of the neck exposed;
+from this all the
+hair was plucked.</p>
+
+<div class="figright" style="width: 250px;">
+<img src="images/ecill071.png" width="250" height="91"
+alt="Three types of head-dress for women" />
+</div>
+
+<p>For outdoor exercises
+the lady would wear the chaperon (explained in the
+previous chapter), and upon this the peaked hat.</p>
+
+<p>The poorer woman wore always the hood, the
+wimple tied under the chin, or plain plaited hair.</p>
+
+<p>One must remember always
+that the advance of costume
+only affected the upper classes
+in the towns, and that the
+knight&rsquo;s lady in the country
+was often fifty years behind
+the times in her gowns. As an
+instance of this I give the fur
+tippet hung with bells, used
+when hawking.</p>
+
+<div class="figright" style="width: 145px;">
+<img src="images/ecill072.png" width="145" height="250"
+alt="A woman of the time of Richard II." />
+</div>
+
+<p>In the early part of the reign
+the cotehardie was the universal woman&rsquo;s garment.
+It was made in two ways: the one a simple, well-fitting
+garment, skirts and bodice in one, buttoned
+<span class="pagenum"><a name="Page_135" id="Page_135">[<span class="hidden">Pg </span>135]</a></span>
+in front, with neck well open, the skirts ample and
+long, the sleeves over the hands to the first joints
+of the fingers, and ornamented with buttons from
+the elbow to the little finger&mdash;this was the general
+form of the garment for all degrees of rank. The
+lady enriched this with a belt like a man&rsquo;s, narrow
+in width round the waist with hanging end, or
+broad round the hips and richly ornamented. The
+other form of
+cotehardie was
+exactly as the
+man&rsquo;s, ending
+short below the
+hips, under
+which was worn
+the petticoat.</p>
+
+<div class="figleft" style="width: 268px;">
+<img src="images/ecill073.png" width="268" height="225"
+alt="Three types of dress for women" />
+</div>
+
+<p>The winter
+addition to these
+was the surcoat (as usually worn by a knight over
+his armour); this was often lined with fur. The
+surcoat was a long garment without sleeves, and
+with a split down the sides from the shoulder to
+the top of the thigh; through this split was
+seen the cotehardie and the hip-belt. The
+edges were trimmed with fur, and very
+<span class="pagenum"><a name="Page_136" id="Page_136">[<span class="hidden">Pg </span>136]</a></span>
+frequently ornamental buttons were worn down the
+front.</p>
+
+<p>Over the shoulders was the cloak, left open in
+front, and fastened by means of a cord of rich
+substance passing through two loops in the backs
+of large ornamental studs; this cord was, as a rule,
+knotted at the waist, the
+ends hanging down as
+tassels.</p>
+
+<div class="figcenter" style="width: 168px;">
+<img src="images/ecill074.png" width="168" height="225"
+alt="Two types of dress for women" />
+</div>
+
+<p>Later in the reign, when
+the second Queen of
+Richard had brought over
+many rich fashions, the
+ladies adopted the houppelande,
+with its heavy collar
+and wide, hanging sleeves.
+Every lady and most women carried a purse in the
+hand or on the girdle, ornamented according to
+their station.</p>
+
+<p>The merchant&rsquo;s wife wore, in common with her
+maids, a white apron. The child who was spinning
+a peg-top in the street was simply dressed in a
+short-skirted cotehardie.</p>
+
+<div class="figcenter ipadtop" style="width: 372px;">
+<a name="pl25" id="pl25"></a>
+<img src="images/ecpl25.jpg" width="372" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF RICHARD II. (1377-1399)</p>
+
+<p class="subcapt ipadbase">Her loose surcoat is cut away to show her under-dress.
+Her hair is completely hidden by her jewelled
+caul.</p>
+
+<p>For riding and sport the woman was dressed
+almost exactly as a man&mdash;with houppelande or
+<span class="pagenum"><a name="Page_137" id="Page_137">[<span class="hidden">Pg </span>137]</a></span>
+heavy cloak buttoned on the right shoulder,
+hawking-glove on her left hand with a bell or
+metal ball depending from it. She wore boots
+laced up at the side, or long boots of soft leather
+fastened with hook and eye; shoes like a man&rsquo;s,
+but not so pointed and extreme. Sometimes for
+riding a big round hat was worn over a hood.</p>
+
+<p>In many cases the dresses were powdered with
+the monogram of the Blessed Virgin, with badges
+of the family or some small device, or they were
+ornamented with a simple flowing pattern, or were
+plain.</p>
+
+<p>All the fripperies of fashion lay in pins for the
+wimple, the head made as a figure of a patron
+saint; or girdles rich with precious stones; or
+mirror-cases on whose ivory fronts were carved
+the Castle of Love, or hunting scenes, or Calvary.
+The clasps of purses were rich in design, and rings
+of every kind were worn on every finger and
+upon the thumb. Charms against evil were hung
+about the neck or sewn into the clothes. No
+matter who wrote, passed, and practised the many
+sumptuary laws, still, one may know it to have
+been frequent for persons owning less than &pound;20
+a year to wear gold and silver ornaments,
+<span class="pagenum"><a name="Page_138" id="Page_138">[<span class="hidden">Pg </span>138]</a></span>
+although expressly forbidden, and ladies of a lower
+estate than wives of knights-banneret wore cloth
+of gold and velvet, and gowns that reached and
+trailed upon the ground, while their husbands
+braved it in ermine and marten-lined sleeves which
+swept the road.</p>
+
+<p>The custom of wearing crowns was common to
+all people of rank, as heraldic distinction of crowns
+did not commence until the sixteenth century.</p>
+
+<p>What a magnificent time for colour was this
+reign!&mdash;the rich houppelandes, the furs, the long-piked
+shoes with pearls and gold upon them, the
+massive chains about men&rsquo;s necks; ladies whose
+heads shone with rich caps and cauls of pearl-embroidered
+gold, the rich-sheathed baselard stuck
+in the girdle or hanging from it on a silver chain.
+Even the poor begging friar was touched by all
+this finery, and, forgetful of the rules of Saint
+Francis, he made great haste to convert his alms
+into a furred cote &lsquo;cutted to the knee and quaintly
+buttoned, hose in hard weather fastened at the
+ankle, and buckled shoes.&rsquo;</p>
+
+<p>Imagine that amazing woman the Wife of Bath,
+in her great hat and pound-weight kerchief; the
+carpenter&rsquo;s wife in her gored apron, at her girdle
+<span class="pagenum"><a name="Page_139" id="Page_139">[<span class="hidden">Pg </span>139]</a></span>
+a purse of leather hanging, decorated with silk
+tassels and buttons of metal.</p>
+
+<p>It is almost impossible to describe clearly the
+head-dresses&mdash;the great gold net bags which encased
+the hair&mdash;for they were ornamented in such different
+ways, always, or nearly always, following some
+pattern in diaper in contrast to the patterns which
+came later when the design followed such lines as
+are formed by wire-netting, while later still the
+connecting-thread of the patterns was done away
+with and the inside decoration alone remained.</p>
+
+<p>Well, Richard the King no longer can whistle
+to Matthew, his favourite greyhound, and Anne
+the Queen lies stately in the Abbey at Westminster
+without solace of her little lap-dog; but we are
+not all modern in our ways, and ladies hang charms
+about them, from scarabs to queer evil eye coral
+hands, from silver shoes to month-stones. Crowns
+of flowers have been worn and crowns of jewels
+too, just as men and women wore them then, except
+on Fridays and the eves of f&ecirc;tes.</p>
+
+<p>These things we do, and other ancient things
+beside, but let us hope that Fashion has lost her
+cruel mood, and deems it wise to leave our ladies&rsquo;
+eyebrows where they be, nor schemes to inspire
+<span class="pagenum"><a name="Page_140" id="Page_140">[<span class="hidden">Pg </span>140]</a></span>
+her faithful devotees with mad desires to hide their
+hair and shave their napes.</p>
+
+<p>The crinoline is threatened&mdash;let it come; sandals
+are here, with short hair and the simple life, but
+leave me, I pray thee, royal dame, an eyebrow
+on my lady, if only to give occupation to the love-lorn
+sonneteer.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_141" id="Page_141">[<span class="hidden">Pg </span>141]</a></span></p>
+
+<h2>THE END OF THE FOURTEENTH CENTURY</h2>
+
+
+<div class="figleft" style="width: 110px;">
+<img src="images/ecill075.png" width="110" height="250" alt="" />
+<span class="caption">Chaucer.</span>
+</div>
+
+<p>In the last year of the fourteenth
+century there were still living two
+men whose voices have made the
+century live for us. One of them&mdash;Chaucer&mdash;remains
+to-day the
+father of English poetry, the forerunner
+of Shakespeare; the other&mdash;Gower&mdash;less
+known to most of
+us, was the author of three long
+poems&mdash;&lsquo;Speculum Meditantis,&rsquo; in
+French; &lsquo;Vox Clamantis,&rsquo; in Latin;
+&lsquo;Confessio Amantis,&rsquo; in English.
+Boccaccio had written his &lsquo;Decameron,&rsquo;
+and it was this method of writing a series
+of poems or stories by means of connecting-links of
+narrative that should run through the series, that inspired
+the form of the &lsquo;Confessio Amantis&rsquo; and the
+&lsquo;Canterbury Tales&rsquo;; indeed, many stories in both
+of these works are retold out of the &lsquo;Decameron.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_142" id="Page_142">[<span class="hidden">Pg </span>142]</a></span>
+Gower wrote of his age as a man giving advice,
+philosophically; he did not attempt character
+studies, but framed his poems as narratives with
+morals fit for application to his times.</p>
+
+<p>Chaucer drew his characters clearly&mdash;so clearly
+that they have become as living as have Uncle
+Toby or Mrs. Gamp&mdash;symbolic people, embracing
+a type of national character.</p>
+
+<p>A third writer&mdash;Langland&mdash;pictured his age
+from the poor man&rsquo;s point of view, and the three
+writers, together with the artist of the Loutrell
+Psalter, bring the age most vividly to our eyes.</p>
+
+<p>Of course, in these days of hasty work, it seems
+hardly feasible to suggest that artists who would
+illustrate these times should read the works of
+these three men, and go to the British Museum
+to look at the Psalter; but any writer must do
+this, and can do this, considering that the works
+of the poets are cheap to obtain and the British
+Museum is free to all.</p>
+
+<p>Anyone wishing to picture these times will find
+that Chaucer has written very carefully of the
+costume of his Pilgrims. They will find the pith
+of the costume in this book of mine; but since no
+book is complete in every sense, they should see for
+<span class="pagenum"><a name="Page_143" id="Page_143">[<span class="hidden">Pg </span>143]</a></span>
+themselves how men of the day drew the costume
+they saw about them. It will give them a sense
+of the spirit of the age which so many modern
+drawings lack.</p>
+
+<p>I give you Gower&rsquo;s picture of an exquisite; no
+words of mine could show so well the manner
+of the man:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;And therof thenketh he but a lite,<br /></span>
+<span class="i0">For all his lust is to delite<br /></span>
+<span class="i0">In new&eacute; thing&eacute;s, proude and veine,<br /></span>
+<span class="i0">Als ferforth as he may atteine.<br /></span>
+<span class="i0">I trowe, if that he might&eacute; make<br /></span>
+<span class="i0">His body newe, he wold&eacute; take<br /></span>
+<span class="i0">A new&eacute; form and leve his olde.<br /></span>
+<span class="i0">For what thing that he may behold<br /></span>
+<span class="i0">The which to common use is straunge,<br /></span>
+<span class="i0">Anone his old&eacute; guis&eacute; chaunge<br /></span>
+<span class="i0">He woll, and fall&eacute; therupon<br /></span>
+<span class="i0">Lich unto the camelion,<br /></span>
+<span class="i0">Whiche upon every sondry hewe<br /></span>
+<span class="i0">That he beholt he mot&eacute; newe<br /></span>
+<span class="i0">His coloun; and thus unavised<br /></span>
+<span class="i0">Full oft&eacute; time he stand desguised.<br /></span>
+<span class="i0">More jolif than the brid in Maie,<br /></span>
+<span class="i0">He maketh him ever fressh and gaie<br /></span>
+<span class="i0">And doth all his array desguise,<br /></span>
+<span class="i0">So that of him the new&eacute; guise<br /></span>
+<span class="i0">Of lusty folke all other take.&rsquo;<br /></span>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_144" id="Page_144">[<span class="hidden">Pg </span>144]</a></span>
+Now, if I have described the costume of these
+times clearly&mdash;and I think I have done so&mdash;these
+lines should conjure up a gay fellow, with his many
+changes of dress. If the vision fails, then allow
+me to say that you are at fault, and have taken no
+pains with the description. Because the coloured
+drawing to the chapter of Richard II. shows a
+long houppelande and a chaperon tied in a certain
+way, you will very possibly forget that this dandy
+would have also a short houppelande, differently
+jagged sleeves, more ruffle about the twisting of
+his chaperon, more curve to the points of his shoes.</p>
+
+<p>You may see the image of Gower for yourself in
+St. Mary Overies Church, now called St. Saviour&rsquo;s,
+on the Southwark side of London Bridge. He is
+dressed in his sober black, his head resting upon
+his three books.</p>
+
+<p>In 1397 Gower retired from active life, and resigned
+his Rectory of Great Braxted, Essex; he was
+seventy years of age, and at that age he married Agnes
+Groundolf in a chapel of his own under the rooms
+where he lived in the Priory of St. Mary Overies.</p>
+
+<p>In 1400 his friend Chaucer died and Gower went
+blind. He died in 1408.</p>
+
+<p>Chaucer, whose eyes saw England in her greatness
+<span class="pagenum"><a name="Page_145" id="Page_145">[<span class="hidden">Pg </span>145]</a></span>
+after the Battle of Crecy in 1346, and in her
+pitiful state at the downfall of Richard II., saw
+such a pageant of clothes pass before him that,
+in describing those wonderful national types,
+his Canterbury Pilgrims, he marks each one with
+some hint of array that we may know what
+manner of habit was proper to
+them. Here, then, is a list of
+the clothes he pictured them as
+wearing:</p>
+
+<div class="figright" style="width: 118px;">
+<img src="images/ecill076.png" width="118" height="250"
+alt="The knight" />
+</div>
+
+<p class="smcap">The Knight</p>
+
+<p>wears a fustian doublet, all rust-stained
+by his coat of mail. It is
+interesting to note
+how old-fashioned is
+the character of this
+&lsquo;verray parfit gentil knight,&rsquo; for he
+belongs more rightly to the chivalrous
+time of the first half of
+Edward III.&rsquo;s reign rather than to
+the less gentle time of Richard.</p>
+
+<div class="figleft" style="width: 104px;">
+<img src="images/ecill077.png" width="104" height="250"
+alt="The squire" />
+</div>
+
+<p class="smcap">The Squire.</p>
+
+<p>His locks were curled, &lsquo;as they
+were leyed in presse.&rsquo; His short gown with
+<span class="pagenum"><a name="Page_146" id="Page_146">[<span class="hidden">Pg </span>146]</a></span>
+wide sleeves was covered with embroidery of red and
+white flowers.</p>
+
+<p class="smcap">The Yeoman</p>
+
+<p>is in a coat and hood of green. He has a sheaf of
+peacock arrows in his belt; across his shoulder is a
+green baldrick to carry a horn. There is a figure of
+St. Christopher in silver hanging on his breast.</p>
+
+<p class="smcap">The Prioress</p>
+
+<p>is in a handsome cloak; she wears coral beads
+gauded with green, and a brooch of gold&mdash;</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;On which was first write a-crowned A,<br /></span>
+<span class="i0">And after, &ldquo;Amor vincit omnia.&rdquo;&rsquo;<br /></span>
+</div>
+</div>
+
+<p class="smcap">The Monk</p>
+
+<p>wears his gown, but has his sleeves trimmed with
+gray squirrel. To fasten his hood he has a curious
+gold pin, wrought at the greater end with a love-knot.</p>
+
+<p class="smcap">The Friar</p>
+
+<p>has his cape stuck full of knives and pins &lsquo;for to
+yeven faire wyves.&rsquo;</p>
+
+<p class="smcap">The Merchant</p>
+
+<p>is in a motley of colours&mdash;parti-coloured. His
+beard is forked; upon his head is a
+<span class="pagenum"><a name="Page_147" id="Page_147">[<span class="hidden">Pg </span>147]</a></span>
+Flaunderish beaver hat. His boots are elegantly
+clasped.</p>
+
+<p class="smcap">The Clerk</p>
+
+<p>wears a threadbare tunic.</p>
+
+<div class="figright" style="width: 79px;">
+<img src="images/ecill078.png" width="79" height="250"
+alt="The man of law" />
+</div>
+
+<p class="smcap">The Man of Law</p>
+
+<p>is in a coat of parti-colours, his belt of
+silk with small metal bars on it.</p>
+
+<p class="smcap">The Frankeleyn or Country
+Gentleman</p>
+
+<p>has a white silk purse and a two-edged
+dagger, or akelace, at his girdle.</p>
+
+<p>&lsquo;Then come the <span class="smcap">Haberdasher</span>, the <span class="smcap">Carpenter</span>,
+the <span class="smcap">Weaver</span>, the <span class="smcap">Dyer</span>, and the <span class="smcap">Tapestry
+Worker</span>, all in the livery of their companies.
+They all carry pouches, girdles, and knives,
+mounted in silver.&rsquo;</p>
+
+<p class="smcap">The Shipman</p>
+
+<p>is in a gown of falding (a coarse cloth), reaching to
+his knees. A dagger is under his arm, on a lace
+hanging round his neck.</p>
+
+<p><span class="pagenum"><a name="Page_148" id="Page_148">[<span class="hidden">Pg </span>148]</a></span></p>
+
+<p class="smcap">The Doctor</p>
+
+<p>wears a gown of red and blue (pers was a blue
+cloth) lined with taffeta and sendal.</p>
+
+<div class="figleft" style="width: 152px;">
+<img src="images/ecill079.png" width="152" height="250"
+alt="The wife of Bath" />
+</div>
+
+<p class="smcap">The Wife of Bath.</p>
+
+<p>Her wimples of fine linen&mdash;</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;I dorste swere they weyeden ten pound<br /></span>
+<span class="i0">That on a Sonday were upon hir heed.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>Her hose was of fine scarlet red; her shoes were
+moist and new. Her hat
+was as broad as a buckler,
+and she wore a foot-mantle
+about her hips.</p>
+
+<p class="smcap">The Ploughman</p>
+
+<p>wears a tabard, a loose
+smock without sleeves.</p>
+
+<p class="smcap">The Reve or Steward</p>
+
+<p>wears a long surcoat of blue
+cloth (pers).</p>
+
+<p class="smcap">The Somnour</p>
+
+<p>(an officer who summoned persons before the ecclesiastical
+courts) wears on his head a garland&mdash;&lsquo;as
+greet as it were for an ale-stake.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_149" id="Page_149">[<span class="hidden">Pg </span>149]</a></span></p>
+
+<div class="figright" style="width: 75px;">
+<img src="images/ecill080.png" width="75" height="250"
+alt="The pardoner" />
+</div>
+
+<p class="smcap">The Pardoner</p>
+
+<p>has long yellow hair falling about his
+shoulders; his hood is turned back, and
+he wears a tall cap, on which is sewn
+a Vernicle. This is the handkerchief
+of St. Veronica on which there was
+an impression of our Lord&rsquo;s face.</p>
+
+<p>This completes the list of Pilgrims,
+but it will be useful to give a few
+more descriptions of dress as described
+by Chaucer. The Carpenter&rsquo;s wife in
+the Miller&rsquo;s Tale is described:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Fair was this yonge wyf, and ther-with-al<br /></span>
+<span class="i0">As any wesele hir body gent (slim) and small.<br /></span>
+<span class="i0">A ceynt (belt) she werede barred al of silk,<br /></span>
+<span class="i0">A barneclooth (apron) eek as whyt as morne milk<br /></span>
+<span class="i0">Upon hir lendes (loins), ful of many a gore.<br /></span>
+<span class="i0">Whyt was hir smok and brouded al before<br /></span>
+<span class="i0">And eek behinde, on hir coler aboute,<br /></span>
+<span class="i0">Of col-blak silk, within and eek withoute.<br /></span>
+<span class="i0">The tapes of his whyte voluper (a cap)<br /></span>
+<span class="i0">Were of the same suyte&mdash;of hir coler;<br /></span>
+<span class="i0">Hir filet broad of silk, and set ful hye.<br /></span>
+<span class="i2"> * <span class="space">&nbsp;</span> * <span class="space">&nbsp;</span> * <span class="space">&nbsp;</span> * <span class="space">&nbsp;</span> *<br /></span>
+<span class="i0">And by hir girdel heeng a purs of lether<br /></span>
+<span class="i0">Tasseld with silk and perked with latoun (a compound of copper and zinc).<br /></span>
+<span class="i2"> * <span class="space">&nbsp;</span> * <span class="space">&nbsp;</span> * <span class="space">&nbsp;</span> * <span class="space">&nbsp;</span> *<br /></span>
+<span class="pagenum"><a name="Page_150" id="Page_150">[<span class="hidden">Pg </span>150]</a></span>
+<span class="i0">A brooch she bare upon hir lowe coler,<br /></span>
+<span class="i0">As broad as is the bos of a buckler.<br /></span>
+<span class="i0">Her shoes were laced on hir legges hye.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>Here also, from the Parson&rsquo;s Tale, is a sermon
+against the vain clothing of his time, that will
+serve to show how you may best paint this age,
+and to what excess of imagination you may run.
+I have reduced the wording into more modern
+English:</p>
+
+<div class="blockquot">
+<p>&lsquo;As to the first sin, that is in superfluitee of
+clothing, which that maketh it so dere, to the
+harm of the people; not only the cost of embroidering,
+the elaborate endenting or barring, ornamenting
+with waved lines, paling, winding, or
+bending, and semblable waste of cloth in vanity;
+but there is also costly furring in their gowns, so
+muche pounching of chisels to make holes, so
+much dagging of shears; forthwith the superfluity
+in the length of the foresaid gowns, trailing in
+the dung and the mire, on horse and eek on foot,
+as well of man as of woman, that all this trailing
+is verily as in effect wasted, consumed, threadbare,
+and rotten with dung, rather than it is given to the
+poor; to great damage of the aforesaid poor folk.</p>
+
+<p>&lsquo;Upon the other side, to speak of the horrible
+disordinate scantiness of clothing, as be this cutted
+<span class="pagenum"><a name="Page_151" id="Page_151">[<span class="hidden">Pg </span>151]</a></span>
+sloppes or hainselins (short jackets), that through
+their shortness do not cover the shameful members
+of man, to wicked intent.&rsquo;</p></div>
+
+<p>After this, the good Parson, rising to a magnificent
+torrent of wrathful words, makes use of
+such homely expressions that should move the
+hearts of his hearers&mdash;words which, in our day, are
+not seemly to our artificial and refined palates.</p>
+
+<p>Further, Chaucer remarks upon the devices of
+love-knots upon clothes, which he calls &lsquo;amorettes&rsquo;;
+on trimmed clothes, as being &lsquo;apyked&rsquo;; on nearly
+all the fads and fashions of his time.</p>
+
+<p>It is to Chaucer, and such pictures as he
+presents, that our minds turn when we think
+vaguely of the Middle Ages, and it is worth our
+careful study, if we wish to appreciate the times to
+the full, to read, no matter the hard spelling, the
+&lsquo;Vision of Piers the Plowman,&rsquo; by Langland.</p>
+
+<p>I have drawn a few of the Pilgrims, in order to
+show that they may be reconstructed by reading
+the chapters on the fourteenth century.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_152" id="Page_152">[<span class="hidden">Pg </span>152]</a></span></p>
+
+<h2>HENRY THE FOURTH</h2>
+
+<p class="smlfont center">Reigned fourteen years: 1399-1413.</p>
+
+<p class="smlfont center">Born 1366. Married, 1380, Mary de Bohun;
+1403, Joan of Navarre.</p>
+
+
+<h3>THE MEN AND WOMEN</h3>
+
+<p>The reign opens sombrely enough&mdash;Richard in
+prison, and twenty-five suits of cloth of gold left,
+among other of his butterfly raiment, in Haverford
+Castle.</p>
+
+<p>We are still in the age of the houppelande,
+the time of cut edges, jagging, big sleeves and
+trailing gowns. Our fine gentlemen take the air
+in the long loose gown, or the short edition of
+the same with the skirts cut from it. They have
+invented, or the tailor has invented, or necessity
+has contrived, a new sleeve. It is a bag sleeve,
+very full and fine, enormous at the elbow, tight
+at the wrist, where it may fall over the hand in
+a wide cuff with dagged edges, or it may end in
+a plain band.</p>
+
+<div class="figcenter ipadtop" style="width: 371px;">
+<a name="pl26" id="pl26"></a>
+<img src="images/ecpl26.jpg" width="371" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN AND WOMAN OF THE TIME OF
+HENRY IV. (1399-1413)</p>
+
+<p class="subcapt ipadbase">Very little change in dress; the man in the loose
+gown called the houppelande. The woman also in a
+houppelande.</p>
+
+<p><span class="pagenum"><a name="Page_153" id="Page_153">[<span class="hidden">Pg </span>153]</a></span>
+Let us take six gentlemen met together to
+learn the old thirteenth-century part-song, the
+round entitled &lsquo;Sumer is icumen in.&rsquo;</p>
+
+<div class="figcenter" style="width: 353px;">
+<img src="images/ecill081.png" width="353" height="250"
+alt="Two men of the time of Henry IV." />
+</div>
+
+<p>The first, maybe, is in the high-collared houppelande
+with the long skirts; his sleeves are of a
+different colour to his gown, and are fastened to it
+under cut epaulettes at his shoulders; he wears
+a baldrick, hung with bells, over his shoulder;
+his houppelande is split on one side to show his
+parti-coloured hose beyond his knee; his shoes
+are long and very pointed; his hair is cut short,
+and he wears a twisted roll of stuff round his
+head.</p>
+
+<p>The second is in the latest mode; he wears the
+<span class="pagenum"><a name="Page_154" id="Page_154">[<span class="hidden">Pg </span>154]</a></span>
+voluminous sleeves which end
+in a plain band at his wrist, and
+these sleeves are of a different
+colour to his houppelande, the
+skirts of which are cut short at
+the knee, and then are cut into
+neat dags. This garment is not
+so full as that of the first gentleman,
+which is gathered in at the
+waist by a long-tongued belt,
+but is buttoned down the front
+to the waist and is full in the skirt; also it has no
+collar. This man wears his hair long and curled
+at the nape of his neck.</p>
+
+<div class="figleft" style="width: 135px;">
+<img src="images/ecill082.png" width="135" height="250"
+alt="A man of the time of Henry IV." />
+</div>
+
+<p>A third of these gentlemen, a big
+burly man, is in a very short tunic
+with wide sleeves; his tights are of
+two colours, his left leg red, his right
+blue. Over his tunic he wears a
+quilted waistcoat, the collar and
+armholes of which are trimmed with
+fur.</p>
+
+<div class="figright" style="width: 132px;">
+<img src="images/ecill083.png" width="132" height="250"
+alt="A man of the time of Henry IV." />
+</div>
+
+<p>A fourth wears a loose houppelande, one
+half of which is blue and the other half
+black; it is buttoned from throat to foot; the
+<span class="pagenum"><a name="Page_155" id="Page_155"><!-- original location - full page of line drawings --></a></span>
+<span class="pagenum"><a name="Page_156" id="Page_156">[<span class="hidden">Pg </span>156]</a></span>
+sleeves are wide.
+His hair is long, and
+his beard is brushed
+into two points.</p>
+
+<div class="figcenter" style="width: 382px;">
+<img src="images/ecill084.png" width="382" height="600"
+alt="Four men of the time of Henry IV.; five types of hat; a pouch" />
+</div>
+
+<div class="figright" style="width: 234px;">
+<img src="images/ecill085.png" width="234" height="250"
+alt="Two men of the time of Henry IV." />
+</div>
+
+<p>The fifth gentleman
+wears a houppelande
+of middle
+length, with a very
+high collar buttoned
+up the neck, the two
+top buttons being
+undone; the top of the collar rolls over. He
+has the epaulette, but instead of showing the very
+full bag sleeves he shows a little loose
+sleeve to the elbow, and a tight sleeve
+from the elbow to the hand, where it
+forms a cuff. He wears a very new-fashioned
+cap like a stiff sugar-bag,
+with the top lopping over.</p>
+
+<div class="figleft" style="width: 115px;">
+<img src="images/ecill086.png" width="115" height="250"
+alt="A man of the time of Henry IV." />
+</div>
+
+<p>The sixth and last of this group
+is wearing an unbound houppelande&mdash;that
+is, he wears no belt. He
+wears a plain hood which is over his head, and
+a soft, loose, peaked hat.</p>
+
+<p>&lsquo;Sumer is icumen in,&rsquo; the six sing out, and the
+<span class="pagenum"><a name="Page_157" id="Page_157">[<span class="hidden">Pg </span>157]</a></span>
+shepherd, who can hear them from outside, is
+considering whether he can play the air upon his
+pipe. He is dressed in a loose tunic, a hood,
+and a wide-brimmed straw hat; his pipe is stuck
+in his belt.</p>
+
+<p>Let us suppose that the wives of the six gentlemen
+are seated listening to the manly voices of
+their lords.</p>
+
+<p>The first wears a dress of blue, which is laced
+from the opening to the waist, where the laces
+are tied in a neat bow and hang
+down. Her dress is cut fairly low;
+it has tight sleeves which come over
+her hands to the knuckles in tight
+cuffs. There is a wide border, about
+a foot and a half, of ermine on the
+skirt of her dress. She wears a
+mantle over her shoulders. Her hair
+is enclosed in a stiff square caul of
+gold wire over cloth of gold.</p>
+
+<div class="figright" style="width: 118px;">
+<img src="images/ecill087.png" width="118" height="250"
+alt="A woman of the time of Henry IV." />
+</div>
+
+<p>The second lady is wearing a houppelande with
+wide, hanging sleeves all cut at the edge; the cut
+of this gown is loose, except that it fits across her
+shoulders; she also wears a caul, from the back of
+which emerges a linen wimple.</p>
+
+<p><span class="pagenum"><a name="Page_158" id="Page_158">[<span class="hidden">Pg </span>158]</a></span>
+The third lady is in surcoat and cotehardie; the
+surcoat has a pleated skirt, and the borders of it
+are edged thickly with fur; it is cut low enough at
+the sides to show a belt over the hips. The cotehardie,
+of a different colour to the surcoat, has
+tight sleeves with buttons from elbow to little
+finger. This lady has her hair cut short at the
+nape of her neck, and bound about the brows with
+a golden circlet.</p>
+
+<div class="figcenter" style="width: 512px;">
+<img src="images/ecill088.png" width="512" height="250"
+alt="Three women of the time of Henry IV." />
+</div>
+
+<p>A fourth wears a very loose houppelande, encircled
+about the waist with a broad belt, the
+tongue of which hangs down and has an ornamented
+end. This houppelande falls in great folds from the
+neck to the feet, and is gathered into the neck; it
+has loose, but not wide, sleeves, falling just below
+the elbow. The gown is worn over a cotehardie,
+<span class="pagenum"><a name="Page_159" id="Page_159">[<span class="hidden">Pg </span>159]</a></span>
+the sleeves of which show through the other
+sleeves, and the skirt of which shows when the
+gown skirt is gathered up.</p>
+
+<div class="figright" style="width: 186px;">
+<img src="images/ecill089.png" width="186" height="250"
+alt="Two women of the time of Henry IV." />
+</div>
+
+<p>The fifth lady also wears a cotehardie with a
+skirt to it; she wears over it a circular mantle,
+buttoned by three buttons on the right shoulder,
+and split from there to the edge on both sides,
+showing the dress; the front semicircle of the cloak
+is held to the waist by a belt so that the back
+hangs loose. Her hair is in a caul.</p>
+
+<p>The sixth is in a very plain dress, tight-fitting,
+buttoned in front, with full skirts. She wears a
+white linen hood which shows the
+shape of the caul in which her hair
+is imprisoned.</p>
+
+<p>So is this queer old round sung,
+&lsquo;Sumer is icumen in.&rsquo;</p>
+
+<p>Afterwards, perhaps one of these
+ladies, wishing to get some spite
+against one of the gentlemen, will ride away in
+a heavy riding-cloak, the hood over her head
+and a peaked hat on that, and she will call upon
+a witch. The witch will answer the rapping at
+her humble door, and will come out, dressed in
+a country dress&mdash;just an ill-fitting gown and
+<span class="pagenum"><a name="Page_160" id="Page_160">[<span class="hidden">Pg </span>160]</a></span>
+hood, with some attempt at classical ornament
+on the gown, or a cloak sewn with the sacred
+initials thrown over her back. These two will
+bargain awhile for the price of a leaden image to
+be made in the likeness of the ill-fated gentleman,
+or, rather, a rough figure, on which his name will be
+scratched; then the puppet will be cast into the
+fire and melted while certain evil charms are
+spoken, and the malicious accident required to
+befall him will be spoken aloud for the Devil&rsquo;s
+private ear. Possibly some woman sought a witch
+near Evesham in the year 1410, and bought
+certain intentions against a tailor of that place,
+Badby by name; for this much is certain: that
+the tailor was burnt for Lollardy ten years after
+the first victim for Lollard heresy, William
+Sawtre.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_161" id="Page_161">[<span class="hidden">Pg </span>161]</a></span></p>
+
+<h2>HENRY THE FIFTH</h2>
+
+<p class="smlfont center">Reigned nine years: 1413-1422.</p>
+
+<p class="smlfont center">Born 1388. Married, 1420, Katherine of France.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 134px;">
+<img src="images/ecill090.png" width="134" height="250"
+alt="A man of the time of Henry V." />
+</div>
+
+<p>I think I may call this a transitional
+period of clothes, for it
+contains the ragged ends of the
+time of Richard II. and the old
+clothes of the time of Henry IV.,
+and it contains the germs of a
+definite fashion, a marked change
+which came out of the chrysalis
+stage, and showed itself in the
+prosperous butterflies of the
+sixth Henry&rsquo;s time.</p>
+
+<p>We retain the houppelande, its curtailments, its
+exaggerations, its high and low collar, its plain or
+jagged sleeves. We retain the long hair, which
+<span class="pagenum"><a name="Page_162" id="Page_162">[<span class="hidden">Pg </span>162]</a></span>
+&lsquo;busheth pleasauntlie,&rsquo; and the short hair of the
+previous reign. Also we see the new ideas for the
+priest-cropped hair and the roundlet hat.</p>
+
+<p>I speak of the men only.</p>
+
+<p>It was as if, in the press of French affairs, man
+had but time to ransack his grandfather&rsquo;s and his
+father&rsquo;s chests, and from thence to pull out a
+garment or two at a venture. If the garment was
+a little worn in the upper part of the sleeve, he
+had a slash made there, and embroidered it round.
+If the baldrick hung with bells was worn out in
+parts, he cut those pieces away and turned the
+baldrick into a belt. If the skirts of the houppelande
+were sadly frayed at the edge, enter Scissors
+again to cut them off short; perhaps the sleeves
+were good&mdash;well, leave them on; perhaps the
+skirts were good and the sleeves soiled&mdash;well, cut
+out the sleeves and pop in some of his father&rsquo;s bag
+sleeves. Mind you, my honest gentleman had
+trouble brewing: no sooner had he left the wars in
+Normandy and Guienne than the siege of Harfleur
+loomed to his vision, and after that Agincourt&mdash;Agincourt,
+where unarmoured men prevailed over
+mailed knights at the odds of six to one; Agincourt,
+where archers beat the great knights of
+<span class="pagenum"><a name="Page_163" id="Page_163">[<span class="hidden">Pg </span>163]</a></span>
+France on open ground! Hear them hammer on
+the French armour with their steel mallets, while
+the Frenchmen, weighed down with their armour,
+sank knee-deep in the mud&mdash;where we lost 100 men,
+against the French loss of 10,000!</p>
+
+<div class="figright" style="width: 142px;">
+<img src="images/ecill091.png" width="142" height="250" alt="" />
+<span class="caption">A Belt with Bells.</span>
+</div>
+
+<p>See the port of Le Havre, with the English
+army landed there&mdash;Henry in his full-sleeved
+gown, his hair cropped close and
+shaven round his head from his
+neck to an inch above his ears,
+buskins on his feet, for he wore
+buskins in preference to long
+boots or pointed shoes. The
+ships in the harbour are painted
+in gay colours&mdash;red, blue, in
+stripes, in squares; the sails are
+sewn with armorial bearings or
+some device. Some of our
+gentlemen are wearing open
+houppelandes over their armour; some wear the
+stuffed turban on their heads, with a jewelled
+brooch stuck in it; some wear the sugar-bag cap,
+which falls to one side; some are hooded, others
+wear peaked hats. One hears, &lsquo;By halidom!&rsquo; I
+wonder if all the many, many people who have
+<span class="pagenum"><a name="Page_164" id="Page_164">[<span class="hidden">Pg </span>164]</a></span>
+hastily written historical novels of this age, and
+have peppered them with &lsquo;By halidoms,&rsquo; knew
+that &lsquo;By halidom&rsquo; means &lsquo;By the relics of the
+saints,&rsquo; and that an &lsquo;harlote&rsquo; means a man who
+was a buffoon who told ribald stories?</p>
+
+<div class="figcenter" style="width: 155px;">
+<img src="images/ecill092.png" width="155" height="250" alt="" />
+<span class="caption">The Turban.</span>
+</div>
+
+<p>Still, among all these gentlemen, clothed, as it
+were, second-hand, we have the fine fellow, the
+dandy&mdash;he to whom dress is
+a religion, to whom stuffs are
+sonnets, cuts are lyrical, and
+tailors are the poets of their
+age. Such a man will have his
+tunic neatly pleated, rejecting
+the chance folds of the easy-fitting
+houppelande, the folds
+of which were determined by
+the buckling of the belt. His
+folds will be regular and precise,
+his collar will be very
+stiff, with a rolled top; his
+hose will be of two colours, one to each leg, or
+parti-coloured. His shoes will match his hose,
+and be of two colours; his turban hat will be
+cocked at a jaunty angle; his sleeves will be of
+a monstrous length and width. He will hang a
+<span class="pagenum"><a name="Page_165" id="Page_165">[<span class="hidden">Pg </span>165]</a></span>
+chain about his neck, and load his fingers with
+rings. A fellow to him, one of his own kidney,
+will wear the skirt of his tunic a little longer,
+and will cause it to be cut up the middle; his
+sleeves will not be pendant, like drooping wings,
+but will be swollen like full-blown bagpipes.
+An inner sleeve, very finely embroidered, will
+peep under the upper cuff. His collar is done
+away with, but he wears a little hood with cut
+edges about his neck; his hair is cropped in the
+new manner, like a priest&rsquo;s without a tonsure; his
+hat is of the queer sugar-bag shape, and it flops in
+a drowsy elegance over the stuffed brim. As for
+his shoes, they are two fingers long beyond his
+toes.</p>
+
+<div class="figcenter ipadtop" style="width: 371px;">
+<a name="pl27" id="pl27"></a>
+<img src="images/ecpl27.jpg" width="371" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF HENRY V. (1413-1422)</p>
+
+<p class="subcapt ipadbase">Notice the bag cap with a jewel stuck in it.</p>
+
+<p>We shall see the fashions of the two past reigns
+hopelessly garbled, cobbled, and stitched together;
+a sleeve from one, a skirt from another. Men-at-arms
+in short tunics of leather and quilted waistcoats
+to wear under their half-armour; beggars
+in fashions dating from the eleventh century; a
+great mass of people in undistinguishable attire,
+looking mostly like voluminous cloaks on spindle
+legs, or mere bundles of drapery; here and there a
+sober gentleman in a houppelande of the simplest
+<span class="pagenum"><a name="Page_166" id="Page_166">[<span class="hidden">Pg </span>166]</a></span>
+kind, with wide skirts reaching to his feet, and the
+belt with the long tongue about his middle.</p>
+
+<p>The patterns upon the dresses of these people
+are heraldry contortions&mdash;heraldic beasts intertwined
+in screws and twists of conventional foliage,
+griffins and black dogs held by floral chains to
+architectural branches, martlets and salamanders
+struggling in grotesque bushes, or very elaborate
+geometrical patterned stuffs.</p>
+
+<p>There is a picture of the Middle Ages which
+was written by Langland in &lsquo;Piers the Plowman&rsquo;&mdash;a
+picture of an alehouse, where Peronelle of
+Flanders and Clarice of Cockeslane sit with the
+hangman of Tyburn and a dozen others. It is a
+picture of the fourteenth century, but it holds
+good until the time of Henry VIII., when Skelton,
+his tutor, describes just such another tavern on the
+highroad, where some bring wedding-rings to pay
+their scot of ale, and</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Some bryngeth her husband&rsquo;s hood<br /></span>
+<span class="i0">Because the ale is good.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>Both accounts are gems of description, both
+full of that rich, happy, Gothic flavour, that sense
+of impressionist portraiture, of broad humour,
+<span class="pagenum"><a name="Page_167" id="Page_167">[<span class="hidden">Pg </span>167]</a></span>
+which distinguishes the drawings in the Loutrell
+Psalter.</p>
+
+<div class="figright" style="width: 62px;">
+<img src="images/ecill093.png" width="62" height="150" alt="" />
+<span class="caption">The Sugar-bag Cap.</span>
+</div>
+
+<div class="figright" style="width: 120px;">
+<img src="images/ecill094.png" width="120" height="150" alt="" />
+<span class="caption">A Hood.</span>
+</div>
+
+<p>I feel now as if I might be accused of being
+interesting and of overlaying my history with too
+much side comment, and I am well aware that
+convention demands that such books as this shall
+be as dull as possible; then shall the
+vulgar rejoice, because they have been
+trained to believe that dullness and
+knowledge snore in each other&rsquo;s
+arms.</p>
+
+<p>However wholeheartedly you may
+set about writing a list of clothes
+attributable to certain dates, there
+will crop up spirits of the age, who
+blur the edges of the dates, and
+give a lifelike semblance to them
+which carries the facts into the
+sphere of fiction, and fiction was
+ever on the side of truth. No story
+has ever been invented by man but it has been
+beaten out of time by Nature and the police-courts;
+no romance has been penned so intricate
+but fact will supply a more surprising twist to
+life. But, whereas facts are of necessity bald
+<span class="pagenum"><a name="Page_168" id="Page_168">[<span class="hidden">Pg </span>168]</a></span>
+and naked things, fiction, which is the wardrobe
+of fact, will clothe truth in more accustomed
+guise.</p>
+
+<p>I put before you some true facts of the clothes
+of this time, clothed in a little coat of facts put
+fictionally. I write the word &lsquo;cloak&rsquo;; describe
+to you that such people wore circular cloaks split
+at one or both sides, on one side to the neck,
+on the other below the shoulder; of semicircular
+cloaks, of square cloaks, of oblong cloaks, all of
+which were worn (I speak of these, and you may
+cut them out with some thought); but I wish to
+do more than that&mdash;I wish to give you a gleam of
+the spirit in which the cloaks were worn. A cloak
+will partake of the very soul and conscience of its
+owner; become draggle-tailed, flaunting, effeminate,
+masterful, pompous, or dignified. Trousers, I
+think, of all the garments of men, fail most to
+show the state of his soul; they merely proclaim
+the qualities of his purse. Cloaks give most the
+true man, and after that there is much in the cock
+of a hat and the conduct of a cane.</p>
+
+<p>In later days one might tell what manner of
+man had called to find you away if he chanced to
+leave his snuff-box behind. This reasoning is not
+<span class="pagenum"><a name="Page_169" id="Page_169">[<span class="hidden">Pg </span>169]</a></span>
+finicky, but very profound; accept it in the right
+spirit.</p>
+
+<p>Now, one more picture of the age.</p>
+
+<p>The rich man at home, dressed, as I say, in his
+father&rsquo;s finery, with some vague additions of his
+own, has acquired a sense of luxury. He prefers
+to dine alone, in a room with a chimney and a fire
+in it. He can see through a window in the wall
+by his side into the hall, where his more patriarchal
+forebears loved to take their meals. The soiled
+rushes are being swept away, and fresh herbs and
+rushes strewn in their place; on these mattresses
+will in their turn be placed, on which his household
+presently will lay them down to sleep.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<p>Every time I write the heading &lsquo;The Women&rsquo;
+to such chapters as these, I feel that such threadbare
+cloak of chivalry as I may pin about my
+shoulders is in danger of slipping off.</p>
+
+<p>Should I write &lsquo;The Ladies&rsquo;? But although
+all ladies are women, not all women are ladies, and
+as it is far finer to be a sweet woman than a great
+dame, I will adhere to my original heading, &lsquo;The
+Women.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_170" id="Page_170">[<span class="hidden">Pg </span>170]</a></span>
+However, in the remote ages of which I now
+write, the ladies were dressed and the women wore
+clothes, which is a subtle distinction. I dare not
+bring my reasoning up to the present day.</p>
+
+<p>As I said in my last chapter, this was an age of
+medley&mdash;of this and that wardrobe flung open,
+and old fashions renovated or carried on. Fashion,
+that elusive goddess, changes her moods and modes
+with such a quiet swiftness that she leaves us
+breathless and far behind, with a bundle of silks
+and velvets in our arms.</p>
+
+<p>How is a fashion born? Who mothers it?
+Who nurses it to fame, and in whose arms does
+it die? High collar, low collar, short hair, long
+hair, boot, buskin, shoe&mdash;who wore you first?
+Who last condemned you to the World&rsquo;s Great
+Rag Market of Forgotten Fads?</p>
+
+<p>Now this, I have said, was a transitional age,
+but I cannot begin to say who was the first great
+dame to crown her head with horns, and who the
+last to forsake the jewelled caul. It is only on
+rare occasions that the decisive step can be traced
+to any one person or group of persons: Charles II.
+and his frock-coat, Brummell and his starched stock,
+are finger-posts on Fashion&rsquo;s highroad, but they
+<span class="pagenum"><a name="Page_171" id="Page_171">[<span class="hidden">Pg </span>171]</a></span>
+are not quite true guides. Charles was recommended
+to the coat, and I think the mist of soap
+and warm water that enshrines Brummell as the
+Apostle of Cleanliness blurs also the mirror of
+truth. It does not much matter.</p>
+
+<p>No doubt&mdash;and here there will be readers the
+first to correct me and the last to see my point&mdash;there
+are persons living full of curious knowledge
+who, diving yet more deeply into the dusty
+crevices of history, could point a finger at the
+man who first cut his hair in the early fifteenth-century
+manner, and could write you the name
+and the dignities of the lady who first crowned her
+fair head with horns.</p>
+
+<p>For myself, I begin with certainty at Adam and
+the fig-leaf, and after that I plunge into the world&rsquo;s
+wardrobe in hopes.</p>
+
+<p>Certain it is that in this reign the close caul
+grew out of all decent proportions, and swelled
+into every form of excrescence and protuberance,
+until in the reign of Henry VI. it towered above
+the heads of the ladies, and dwarfed the stature
+of the men.</p>
+
+<p>This curious head-gear, the caul, after a modest
+appearance, as a mere close, gold-work cap, in the
+<span class="pagenum"><a name="Page_172" id="Page_172">[<span class="hidden">Pg </span>172]</a></span>
+time of Edward III., grew into a stiffer affair
+in the time of Richard II., but still was little more
+than a stiff sponge-bag of gold wire and stuff and
+a little padding; grew still more in the time of
+Henry IV., and took squarer shapes and stiffer
+padding; and in the reign of Henry V. it became
+like a great orange, with a hole cut in it for the
+face&mdash;an orange which covered the ears, was cut
+straight across the forehead, and bound all round
+with a stiff jewelled band.</p>
+
+<p>Then came the idea of the horn. Whether some
+superstitious lady thought that the wearing of
+horns would keep away the evil eye, or whether
+it was a mere frivol of some vain Duchess, I do not
+know.</p>
+
+<p>As this fashion came most vividly into prominence
+in the following reign, I shall leave a more
+detailed description of it until that time, letting
+myself give but a short notice of its more simple
+forms.</p>
+
+<p>We see the caul grow from its circular shape
+into two box forms on either side of the head;
+the uppermost points of the boxes are arranged in
+horns, whose points are of any length from 4 to
+14 inches. The top of this head-dress is covered
+<span class="pagenum"><a name="Page_173" id="Page_173">[<span class="hidden">Pg </span>173]</a></span>
+with a wimple, which is sometimes stiffened with
+wires.</p>
+
+<div class="figcenter ipadtop" style="width: 342px;">
+<a name="pl28" id="pl28"></a>
+<img src="images/ecpl28.jpg" width="342" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF HENRY V. (1413-1422)</p>
+
+<p class="subcapt ipadbase">Her surcoat is stiffened in front with fur and shaped
+with a band of metal. Her belt is low on the hips
+of the under-dress. The horns on her head carry the
+large linen wimple.</p>
+
+<p>There is also a shape something like a fez or a
+flower-pot, over which a heavy wimple is hung,
+attached to this shape; outside the wimple are two
+horns of silk, linen, or stuff&mdash;that is, silk bags
+stuffed to the likeness of horns.</p>
+
+<p>I should say that a true picture of this time
+would give but few of these very elaborate horn
+head-dresses, and the mass of women would be
+wearing the round caul.</p>
+
+<div class="figright" style="width: 112px;">
+<img src="images/ecill095.png" width="112" height="250"
+alt="A woman of the time of Henry V." />
+</div>
+
+<p>The surcoat over the cotehardie is the general
+wear, but it has more fit about it than formerly;
+the form of the waist and bust are
+accentuated by means of a band of
+heavy gold embroidery, shaped to the
+figure. The edges of the surcoat are
+furred somewhat heavily, and the skirt
+often has a deep border of fur. Sometimes
+a band of metal ornament runs
+across the top of the breast and down
+the centre of the surcoat, coming below the fur
+edging. The belt over the hips of the cotehardie
+holds the purse, and often a ballade or a rondel.</p>
+
+<p>You will see a few of the old houppelandes, with
+<span class="pagenum"><a name="Page_174" id="Page_174">[<span class="hidden">Pg </span>174]</a></span>
+their varieties of sleeve, and in particular that long,
+loose double sleeve, or, rather, the very long under-sleeve,
+falling over the hand. This under-sleeve is
+part of the houppelande.</p>
+
+<p>All the dresses have trains, very full trains,
+which sweep the ground, and those readers who
+wish to make such garments must remember to be
+very generous over the material.</p>
+
+<p>The women commonly wear the semicircular
+mantle, which they fasten across them by cords
+running through ornamental brooches.</p>
+
+<p>They wear very rich metal and enamel belts
+round their hips, the exact ornamentation of which
+cannot be described here; but it was the ornament
+of the age, which can easily be discovered.</p>
+
+<p>In the country, of course, simpler garments
+prevail, and plain surcoats and cotehardies are
+wrapped in cloaks and mantles of homespun
+material. The hood has not fallen out of use
+for women, and the peaked hat surmounts it for
+riding or rough weather. Ladies wear wooden
+clogs or sandals besides their shoes, and they have
+not yet taken to the horns upon their heads; some
+few of them, the great dames of the counties
+whose lords have been to London on King&rsquo;s
+<span class="pagenum"><a name="Page_175" id="Page_175">[<span class="hidden">Pg </span>175]</a></span>
+business, or returned from France with new ideas, have
+donned the elaborate business of head-boxes and
+wires and great wimples.</p>
+
+<p>As one of the ladies rides in the country lanes,
+she may pass that Augustine convent where
+Dame Petronilla is spiritual Mother to so many,
+and may see her in Agincourt year keeping her
+pig-tally with Nicholas Swon, the swineherd.
+They may see some of the labourers she hires
+dressed in the blood-red cloth she has given them,
+for the dyeing of which she paid 7s. 8d. for 27 ells.
+The good dame&rsquo;s nuns are very neat; they have an
+allowance of 6s. 8d. a year for dress.</p>
+
+<p>This is in 1415. No doubt next year my lady,
+riding through the lanes, will meet some sturdy
+beggar, who will whine for alms, pleading that he
+is an old soldier lately from the field of Agincourt.</p>
+
+
+<h3>NOTE</h3>
+
+<p>As there is so little real change, for drawings of women&rsquo;s
+dress see the numerous drawings in previous chapter.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_176" id="Page_176">[<span class="hidden">Pg </span>176]</a></span></p>
+
+<h2>HENRY THE SIXTH</h2>
+
+<p class="smlfont center">Reigned thirty-nine years: 1422-1461.</p>
+
+<p class="smlfont center">Born 1421. Dethroned 1461. Died 1471.
+Married, 1446, Margaret of Anjou.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 150px;">
+<img src="images/ecill096.png" width="150" height="250"
+alt="A man of the time of Henry VI.; two types of sleeve" />
+</div>
+
+<p>What a reign! Was
+history ever better dressed?</p>
+
+<p>I never waver between
+the cardboard figures of the
+great Elizabethan time and
+this reign as a monument to
+lavish display, but if any
+time should beat this for
+quaintness, colour, and
+variety, it is the time of
+Henry VIII.</p>
+
+<p>Look at the scenes and
+characters to be dressed: John, Duke of Bedford,
+the Protector, Joan of Arc, Jack Cade, a hundred
+other people; Crevant, Verneuil, Orleans, London
+<span class="pagenum"><a name="Page_177" id="Page_177">[<span class="hidden">Pg </span>177]</a></span>
+Bridge, Ludlow, St. Albans, and a hundred other
+historical backgrounds.</p>
+
+<p>Yet, in spite of all this, in spite of the fact that
+Joan of Arc is one of the world&rsquo;s personalities, it is
+difficult to pick our people out of the tapestries.</p>
+
+<p>Now, you may have noticed that in trying to
+recreate a period in your mind certain things immediately
+swing into your vision: it is difficult to
+think of the Conquest without the Bayeux tapestry;
+it is difficult to think of the dawn of the sixteenth
+century without the dreamy, romantic landscapes
+which back the figures of Giorgione; and it is not
+easy to think of these people of the Henry VI.
+period without placing them against conventional
+tapestry trees, yellow-white castles with red,
+pepper-pot roofs, grass luxuriant with
+needlework flowers, and all the other
+accessories of the art.</p>
+
+<div class="figright" style="width: 122px;">
+<img src="images/ecill097.png" width="122" height="250"
+alt="A man of the time of Henry VI." />
+</div>
+
+<p>The early times are easily imagined
+in rough surroundings or in open air;
+knights in armour ride quite comfortably
+down modern English lanes.
+Alfred may burn his cakes realistically,
+and Canute rebuke his courtiers on the beach&mdash;these
+one may see in the round. Elizabeth rides
+<span class="pagenum"><a name="Page_178" id="Page_178">[<span class="hidden">Pg </span>178]</a></span>
+to Tilbury, Charles II. casts his horoscope, and
+George rings the bell, each in their proper atmosphere,
+but the Dark Ages are dark, not only in
+modes of thought, but in being ages of grotesque,
+of ornamentation, of anything but realism.</p>
+
+<p>One has, I think, a conventional mind&rsquo;s eye for
+the times from Edward I. to Richard III., from
+1272 to 1485, and it is really more easy for a
+Chinaman to call up a vision of 604 <small>A.D.</small>, when
+Laot-sen, the Chinese philosopher, was born. Laot-sen,
+the child-old man, he who was born with white
+hair, lived till he was eighty-one, and, having had
+five million followers, went up to heaven on a
+black buffalo. In China things have changed very
+little: the costume is much the same, the customs
+are the same, the attitude towards life has not
+changed. But here the semicivilized, superstitious,
+rather dirty, fourteenth and fifteenth century person
+has gone. Scratch a Russian, they say, and you will
+see a Tartar; do the same office by an Englishman,
+and you may find a hint of the Renaissance under
+his skin, but no more. The Middle Ages are dead
+and dust.</p>
+
+<p>We will proceed with that congenial paradox
+which states that the seat of learning lies in the
+<span class="pagenum"><a name="Page_179" id="Page_179">[<span class="hidden">Pg </span>179]</a></span>
+head, and so discuss the most distinctive costumery
+of this time, the roundlet.</p>
+
+<div class="figleft" style="width: 149px;">
+<img src="images/ecill098.png" width="149" height="250"
+alt="A man of the time of Henry VI.; two types of head-gear" />
+</div>
+
+<p>Now, the roundlet is one of those things which
+delight the clothes-hunter or the costume expert.
+It is the natural result of a
+long series of fashions for the
+head, and its pedigree is free
+from any impediment or hindrance;
+it is the great-grandson
+of the hood, which is
+derived from a fold in a cloak,
+which is the beginning of all
+things.</p>
+
+<p>I am about to run the risk
+of displeasure in repeating to
+some extent what I have already written about
+the chaperon, the hood, and the other ancestors
+and descendants of the roundlet.</p>
+
+<p>A fashion is born, not made. Necessity is the
+mother of Art, and Art is the father of Invention.
+A man must cover his head, and if he has a cloak,
+it is an easy thing in rain or sunshine to pull the
+folds of the cloak over his head. An ingenious
+fellow in the East has an idea: he takes his 8 feet&mdash;or
+more&mdash;of material; he folds it in half, and
+<span class="pagenum"><a name="Page_180" id="Page_180">[<span class="hidden">Pg </span>180]</a></span>
+at about a foot and a half, or some such convenient
+length, he puts several neat and strong stitches
+joining one point of the folded material. When
+he wraps this garment about him, leaving the
+sewn point in the centre of his neck at the back,
+he finds that he has directed the folds of his coat
+in such a manner as to form a hood, which he may
+place on or off his head more conveniently than
+the plain unsewn length of stuff. The morning
+sun rises on the sands of Sahara and lights upon the
+first burnoose. By a simple process in tailoring,
+some man, who did not care that the peak of his
+hood should be attached to his cloak, cut his cloth
+so that the cloak had a hood, the peak of which
+was separate and so looser, and yet more easy to
+pull on or off. Now comes a man who was taken
+by the shape of the hood, but did not require to
+wear a cloak, so he cut his cloth in such a way that
+he had a hood and shoulder-cape only. From this
+to the man who closed the front of the hood from
+the neck to the edge of the cape is but a quick
+and quiet step. By now necessity was satisfied
+and had given birth to art. Man, having admired
+his face in the still waters of a pool, seeing how the
+oval framed in the hood vastly became him, sought
+<span class="pagenum"><a name="Page_181" id="Page_181">[<span class="hidden">Pg </span>181]</a></span>
+to tickle his vanity and win the approbation of the
+other sex, so, taking some shears, cut the edge of
+his cape in scallops and leaves. A more dandified
+fellow, distressed at the success of his brother&rsquo;s
+plumage, caused the peak of his hood to be made
+long.</p>
+
+<div class="figcenter ipadtop" style="width: 390px;">
+<a name="pl29" id="pl29"></a>
+<img src="images/ecpl29.jpg" width="390" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF HENRY VI. (1422-1461)</p>
+
+<p class="subcapt ipadbase">His hair is cropped over his ears and has a thick
+fringe on his forehead. Upon the ground is his
+roundlet, a hat derived from the twisted chaperon of
+Richard II.&rsquo;s day. This hat is worn to-day, in
+miniature, on the shoulder of the Garter robes.</p>
+
+<p>Need one say more? The long peak grew and
+grew into the preposterous liripipe which hung
+down the back from the head to the feet. The
+dandy spirit of another age, seeing that the liripipe
+can grow no more, and that the shape of the hood
+is common and not in the true dandiacal spirit,
+whips off his hood, and, placing the top of his head
+where his face was, he twists the liripipe about
+his head, imprisons part of the cape, and, after a
+fixing twist, slips the liripipe through part of its
+twined self and lets the end hang down on one
+side of his face, while the jagged end of the hood
+rises or falls like a cockscomb on the other. Cockscomb!
+there&rsquo;s food for discussion in that&mdash;fops,
+beaux, dandies, coxcombs&mdash;surely.</p>
+
+<p>I shall not go into the matter of the hood with
+two peaks, which was not, I take it, a true child
+of fashion in the direct line, but a mere cousin&mdash;a
+junior branch at that.</p>
+
+<p><span class="pagenum"><a name="Page_182" id="Page_182">[<span class="hidden">Pg </span>182]</a></span>
+As to the dates on this family tree, the vague,
+mysterious beginnings <small>B.C.</small>&mdash;goodness knows when&mdash;in
+a general way the Fall, the Flood, and the
+First Crusade, until the time of the First Edward;
+the end of the thirteenth century,
+when the liripipe budded, the time
+of the Second Edward; the first
+third of the fourteenth century,
+when the liripipe was in full flower,
+the time of the Third Edward; the
+middle of the fourteenth century,
+when the liripipe as a liripipe was
+dying, the time of the Second
+Richard; the end of the century, when the
+chaperon became the twisted cockscomb turban.
+Then, after that, until the twenty-second year of
+the fifteenth century, when the roundlet was born&mdash;those
+are the dates.</p>
+
+<div class="figleft" style="width: 128px;">
+<img src="images/ecill099.png" width="128" height="250"
+alt="A man of the time of Henry VI." />
+</div>
+
+<p>We have arrived by now, quite naturally, at the
+roundlet. I left you interested at the last phase
+of the hood, the chaperon so called, twisted up
+in a fantastical shape on man&rsquo;s head. You must
+see that the mere process of tying and retying,
+twisting, coiling and arranging, was tedious in
+the extreme, especially in stirring times with the
+<span class="pagenum"><a name="Page_183" id="Page_183">[<span class="hidden">Pg </span>183]</a></span>
+trumpets sounding in England and France. Now
+what more likely for the artist of the tied hood
+than to puzzle his brains in order to reach a means
+by which he could get at the effect without so
+much labour! Enter invention&mdash;enter invention
+and exit art. With invention, the made-up
+chaperon sewn so as to look as if it had been
+tied. There was the twist round the head, the
+cockscomb, the hanging piece of liripipe. Again
+this was to be simplified: the twist made into a
+smooth roll, the skull to be covered by an ordinary
+cap attached to the roll, the cockscomb converted
+into a plain piece of cloth or silk, the liripipe to
+become broader. And the end of this, a little
+round hat with a heavily-rolled and stuffed brim,
+pleated drapery hanging over one side and streamer
+of broad stuff over the other; just such a hat did
+these people wear, on their heads or slung over
+their shoulder, being held in the left hand by means
+of the streamer. There the honourable family of
+hood came to a green old age, and was, at the end
+of the fifteenth century, allowed to retire from
+the world of fashion, and was given a pension and
+a home, in which home you may still see it&mdash;on
+the shoulders of the Garter robe. Also it has two
+<span class="pagenum"><a name="Page_184" id="Page_184">[<span class="hidden">Pg </span>184]</a></span>
+more places of honourable distinction&mdash;the roundlet
+is on the Garter robe; the chaperon, with the cut
+edge, rests as a cockade in the hats of liveried
+servants, and the minutest member of the family
+remains in the foreign buttons of honourable
+Orders.</p>
+
+<div class="figright" style="width: 189px;">
+<img src="images/ecill100.png" width="189" height="350"
+alt="Six types of head-gear" />
+</div>
+
+<p>We have the roundlet, then, for principal head-gear
+in this reign, but we must not forget that
+the hood is not dead; it is out
+of the strict realms of fashion,
+but it is now a practical country
+garment, or is used for riding
+in towns. There are also other
+forms of head-wear&mdash;tall, conical
+hats with tall brims of fur, some
+brims cut or scooped out in
+places; again, the hood may
+have a furred edge showing
+round the face opening; then
+we see a cap which fits the
+head, has a long, loose back falling over the
+neck, and over this is worn a roll or hoop
+of twisted stuff. Then there is the sugar-loaf
+hat, like a circus clown&rsquo;s, and there is a
+broad, flat-brimmed hat with a round top, like
+<span class="pagenum"><a name="Page_185" id="Page_185">[<span class="hidden">Pg </span>185]</a></span>
+Noah&rsquo;s hat in the popular representations of the
+Ark.</p>
+
+<div class="figleft" style="width: 198px;">
+<img src="images/ecill101.png" width="198" height="250"
+alt="Two men of the time of Henry VI." />
+</div>
+
+<p>Besides these, we have the jester&rsquo;s three-peaked
+hood and one-peaked hood, the cape of which
+came, divided into points, to
+the knees, and had arms with
+bell sleeves.</p>
+
+<p>Let us see what manner of
+man we have under such hats:
+almost without exception
+among the gentlemen we have
+the priestly hair&mdash;that queer,
+shaved, tonsure-like cut, but
+without the circular piece cut away
+from the crown of the head.</p>
+
+<div class="figcenter" style="width: 102px;">
+<img src="images/ecill102.png" width="102" height="250"
+alt="A man of the time of Henry VI." />
+</div>
+
+<p>The cut of the tunic in the body
+has little variation; it may be longer
+or shorter, an inch above or an inch
+below the knee, but it is on one main
+principle. It is a loose tunic with a
+wide neck open in front about a couple
+or three inches; the skirt is full, and
+may be cut up on one or both sides; it may be
+edged with fur or some stuff different to the
+body of the garment, or it may be jagged, either
+<span class="pagenum"><a name="Page_186" id="Page_186">[<span class="hidden">Pg </span>186]</a></span>
+in regular small scoops or in long fringe-like
+jags. The tunic is always belted very low, giving
+an odd appearance to the men of this time, as it
+made them look very short in the leg.</p>
+
+<p>The great desire for variety is displayed in the
+forms of sleeve for this tunic: you may have the
+ordinary balloon sleeve ending in a stuff roll or
+fur edge for cuff, or you may have a half-sleeve,
+very wide indeed, like shoulder-capes, and terminated
+in the same manner as the bottom of the
+tunics&mdash;that is, fur-edged tunic, fur-edged sleeve,
+and so on, as described; under this shows the tight
+sleeve of an undergarment, the collar of which
+shows above the tunic collar at the neck. The
+length of these shoulder-cape sleeves varies according
+to the owner&rsquo;s taste, from small epaulettes
+to heavy capes below the elbow. There is also a
+sleeve tight from wrist to below the elbow, and at
+that point very big and wide, tapering gradually
+to the shoulder. You will still see one or two
+high collars rolled over, and there is a distinct
+continuance of the fashion for long-pointed shoes.</p>
+
+<p>There is an almost new form of overcoat which
+is really a tunic of the time, unbelted, and with
+the sleeves cut out; also one with short, but very
+<span class="pagenum"><a name="Page_187" id="Page_187">[<span class="hidden">Pg </span>187]</a></span>
+full, sleeves, the body very loose; and besides the
+ordinary forms of square, oblong, and round cloak,
+there is a circular cloak split up the right side to
+the base of the biceps, with a
+round hole in the centre, edged
+with fur, for the passage of the
+head.</p>
+
+<div class="figleft" style="width: 171px;">
+<img src="images/ecill103.png" width="171" height="250"
+alt="Two men of the time of Henry VI." />
+</div>
+
+<p>Velvet was in common use for
+gowns, tunics, and even for bed-clothes,
+in the place of blankets.
+It was made in all kinds of
+beautiful designs, diapered, and raised over a
+ground of gold or silk, or double-piled, one pile
+on another of the same colour making the pattern
+known by the relief.</p>
+
+<p>The massed effect of well-dressed crowds must
+have been fine and rich in colour&mdash;here and there
+a very rich lady or a magnificent gentleman in
+pall (the beautiful gold or crimson web, known
+also as bandekin), the velvets, the silks of marvellous
+colours, and none too fresh or new. I think that
+such a gathering differed most strongly from a
+gathering of to-day by the fact that one is impressed
+to-day with the new, almost tinny newness, of the
+people&rsquo;s clothes, and that these other people were
+<span class="pagenum"><a name="Page_188" id="Page_188">[<span class="hidden">Pg </span>188]</a></span>
+not so extravagant in the number of their dresses
+as in the quality, so that then one would have seen
+many old and beautifully-faded velvets and sun-licked
+silks and rain-improved cloths.</p>
+
+<p>Among all this crowd would pass, in a plain
+tunic and short shoes, Henry, the ascetic King.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<div class="figleft" style="width: 243px;">
+<img src="images/ecill104.png" width="243" height="300"
+alt="Six types of head-dress for women" />
+</div>
+
+<p>One is almost disappointed
+to find nothing upon the
+curious subject of horns in
+&lsquo;Sartor Resartus.&rsquo; Such a
+flaunting, Jovian spirit, and
+poetry of abuse as might
+have been expected from the
+illustrious and iconoclastic
+author would have suited me, at this present date,
+most admirably.</p>
+
+<p>I feel the need of a few thundering German
+words, or a brass band at the end of my pen, or
+purple ink in my inkwell, or some fantastic and
+wholly arresting piece of sensationalism by which
+to convey to you that you have now stepped into
+the same world as the Duchess out of &lsquo;Alice in
+Wonderland.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_189" id="Page_189">[<span class="hidden">Pg </span>189]</a></span></p>
+
+<div class="figright" style="width: 110px;">
+<img src="images/ecill105.png" width="110" height="150"
+alt="A head-dress for a woman" />
+</div>
+
+<p>Look out of your window and see upon the
+flower-enamelled turf a hundred bundles of vanity
+taking the air. The heads of these
+ladies are carried very erect, as are all
+heads bearing weights. The waists
+of these ladies are apparently under
+their bosoms; their feet seem to be
+an ell long. An assembly hour is,
+after the manner of Lydgate&rsquo;s poem, a dream of
+delicious faces surmounted by minarets, towers,
+horns, excrescences of every shape&mdash;enormous,
+fat, heart-shaped erections,
+covered with rich, falling drapery, or
+snow-white linen, or gold tissue; gold-wire
+boxes sewn with pearls and
+blazing with colours; round, flat-topped
+caps, from under which girls&rsquo; hair
+escapes in a river of colour; crown
+shapes, circular shapes, mitre shapes,
+turbans, and shovel-shaped linen erections,
+wired into place.</p>
+
+<p>Oh, my lady, my lady! how did you
+ever hear the soft speeches of gallantry? How
+did the gentle whispers of love ever penetrate
+those bosses of millinery?</p>
+
+<div class="figright" style="width: 86px;">
+<img src="images/ecill106.png" width="86" height="300"
+alt="Two types of head-dress for women" />
+</div>
+
+<p><span class="pagenum"><a name="Page_190" id="Page_190">[<span class="hidden">Pg </span>190]</a></span>
+And the moralists, among whom Heaven forbid
+that I should be found, painted lurid pictures for
+you of hell and purgatory, in which such head-dresses
+turned into instruments of torture; you
+lifted your long-fingered, medieval hand and shook
+the finger with the toad-stone upon it, as if to
+dispel the poison of their words.</p>
+
+<p>I think it is beyond me to describe in understandable
+terms the proper contortions of your
+towered heads, for I have little use for archaic
+words, for crespine, henk, and jacque, for herygouds
+with honginde sleeves, for all the blank cartridges
+of antiquarianism. I cannot convey the triple-curved
+crown, the ear buttress, the magnet-shaped
+roll in adequate language, but I can
+draw them for you.</p>
+
+<div class="figleft" style="width: 136px;">
+<img src="images/ecill107.png" width="136" height="250"
+alt="Two women of the time of Henry VI." />
+</div>
+
+<p>I will attempt the most popular
+of the roll head-dresses and the simpler
+of the stiff-wired box. Take a roll,
+stuffed with hemp or tow, of some
+rich material and twist it into the
+form of a heart in front and a <img src="images/v.png" width="13" height="15" alt="V" /> shape behind,
+where join the ends, or, better, make a circle or
+hoop of your rolled stuff and bend it in this way.
+Then make a cap that will fit the head and come
+<span class="pagenum"><a name="Page_191" id="Page_191">[<span class="hidden">Pg </span>191]</a></span>
+over the ears, and make it so that this cap shall join
+the heart-shaped roll at all points and cause it to
+appear without any open spaces between the head
+and the roll; the point of the heart in front will be
+round, and will come over the centre of the face.
+By joining cap and roll you will have one complete
+affair; over this you may brooch a linen wimple
+or a fine piece of jagged silk. In fact, you may
+twist your circle of stuff in any manner, providing
+you keep a vague <img src="images/u.png" width="12" height="15" alt="U" /> shape in front and completely
+cover the hair behind.</p>
+
+<p>For the box pattern it is necessary to make a
+box, let us say of octagonal shape, flat before and
+behind, or slightly curved; cut away the side under
+the face, or leave but a thin strip of it to go under
+the chin. Now stuff your box on either side of the
+face and cut away the central square, except for
+3 inches at the top, on the forehead; here, in
+this cut-away piece, the face shows. You will
+have made your box of buckram and stuffed the
+wings of it with tow; now you must fit your box
+to a head and sew linen between the sides of the
+head and the tow to hold it firm and make it good
+to wear. You have now finished the rough shape,
+and you must ornament it. Take a piece of thin
+<span class="pagenum"><a name="Page_192" id="Page_192">[<span class="hidden">Pg </span>192]</a></span>
+gold web and cover your box, then get some gold
+braid and make a diaper or criss-cross pattern all
+over the box, leaving fair sized lozenges; in these
+put, at regular intervals as a plain check, small
+squares of crimson silk so that they fit across the
+lozenge and so make a double pattern. Now take
+some gold wire or brass wire and knot it at neat
+intervals, and then stitch it on to the edges of the
+gold braid, after which pearl beads may be arranged
+on the crimson squares and at the cross of the
+braid; then you will have your box-patterned head-dress
+complete.</p>
+
+<p>It remains for you to enlarge upon this, if you
+wish, in the following manner: take a stiff piece
+of wire and curve it into the segment of a circle,
+so that you may bend the horns as much or as
+little as you will, fasten the centre of this to the
+band across the forehead, or on to the side-boxes,
+and over it place a large wimple with the front
+edge cut. Again, for further enhancement of
+this delectable piece of goods, you may fix a
+low gold crown above all&mdash;a crown of an elliptical
+shape&mdash;and there you will have as much
+magnificence as ever graced lady of the fifteenth
+century.</p>
+
+<div class="figcenter ipadtop" style="width: 348px;">
+<a name="pl30" id="pl30"></a>
+<img src="images/ecpl30.jpg" width="348" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF HENRY VI. (1422-1461)</p>
+
+<p class="subcapt ipadbase">Her head-dress is very high, and over it is a coloured
+and jagged silk wimple, a new innovation, being
+a change from the centuries of white linen wimples.
+Her waist is high, after a long period of low waists.</p>
+
+<p><span class="pagenum"><a name="Page_193" id="Page_193">[<span class="hidden">Pg </span>193]</a></span>
+September 28, 1443, Margaret Paston writes to
+her husband in London</p>
+
+<div class="blockquot">
+<p>&lsquo;I would ye were at home, if it were your ease,
+and your sore might be as well looked to here as
+it is where ye be now, liefer than a gown though
+it were of scarlet.&rsquo;</p>
+</div>
+
+<div class="figright" style="width: 136px;">
+<img src="images/ecill108.png" width="136" height="250"
+alt="A woman of the time of Henry VI." />
+</div>
+
+<p>My dear diplomatist, I have forgotten if you
+got both your husband and the gown, or the gown
+only, but it was a sweetly pretty
+letter, and worded in such a way
+as must have caused your good
+knight to smile, despite his sore.
+And what had you in your mind&rsquo;s
+eye when you wrote &lsquo;liefer than a
+gown though it were of scarlet&rsquo;?
+It was one of those new gowns
+with the high waist and the bodice opening very
+low, the collar quite over your shoulders, and the
+thick fur edge on your shoulders and tapering
+into a point at your bosom. You wanted sleeves
+like wings, and a fur edge to the bottom of
+the gown, besides the fur upon the edges of the
+sleeves&mdash;those quaint sleeves, thin to your elbows,
+and then great and wide, like a foresail. I
+<span class="pagenum"><a name="Page_194" id="Page_194">[<span class="hidden">Pg </span>194]</a></span>
+suppose you had an under-gown of some wonderful
+diapered silk which you thought would go well
+with scarlet, because, as you knew, the under-gown
+would show at your neck, and its long
+train would trail behind you, and its skirt would
+fall about your feet and show very bravely when
+you bunched up the short upper gown&mdash;all the
+mode&mdash;and so you hinted at scarlet.</p>
+
+<div class="figleft" style="width: 75px;">
+<img src="images/ecill109.png" width="75" height="250"
+alt="A woman of the time of Henry VI." />
+</div>
+
+<p>Now I come to think of it, the sleeve must have
+been hard to arrive at, the fashions were so many.
+To have had them tight would have
+minimized the use of your undergarment;
+to have had them of the
+same width from elbow to wrist would
+not have given you the newest of the
+new ideas to show in Norfolk; then,
+for some reason, you rejected the bag
+sleeve, which was also in the fashion.</p>
+
+<p>No doubt you had a cotehardie
+with well-fitting sleeves and good
+full skirts, and a surcoat with a wide
+fur edge, or perhaps, in the latest fashion of
+these garments, with an entire fur bodice to it.
+You may have had also one of those rather ugly
+little jackets, very full, with very full sleeves which
+<span class="pagenum"><a name="Page_195" id="Page_195">[<span class="hidden">Pg </span>195]</a></span>
+came tight at the wrist, long-waisted, with a little
+skirt an inch or so below the belt. A mantle, with
+cords to keep it on, I know you had.
+Possibly&mdash;I have just thought of it&mdash;the
+sleeves of your under-gown, the
+tight sleeves, were laced together from
+elbow to wrist, in place of the old-fashioned
+buttons.</p>
+
+<div class="figcenter" style="width: 89px;">
+<img src="images/ecill110.png" width="89" height="250"
+alt="A woman of the time of Henry VI." />
+</div>
+
+<p>I wonder if you ever saw the great
+metal-worker, William Austin, one of
+the first among English artists to leave
+a great name behind him&mdash;I mean the
+Austin who modelled the effigy of
+Earl Richard Beauchamp, at Warwick.</p>
+
+<div class="figleft" style="width: 92px;">
+<img src="images/ecill111.png" width="92" height="250"
+alt="A woman of the time of Henry VI." />
+</div>
+
+<p>You must have heard the leper
+use his rattle to warn you of his
+proximity. You, too, may have
+thought that Joan of Arc was a sorceress
+and Friar Bungay a magician.
+You may have&mdash;I have not your
+wonderful letter here for reference&mdash;heard
+all about Eleanor of Cobham,
+and how she did penance in a shift
+in the London streets for magic against the
+King&rsquo;s person.</p>
+
+<p><span class="pagenum"><a name="Page_196" id="Page_196">[<span class="hidden">Pg </span>196]</a></span>
+Some ladies, I notice, wore the long-tongued
+belt&mdash;buckled it in front, and then pushed it
+round until the buckle came into the
+centre of the back and the tongue
+hung down like a tail; but these ladies
+were not wearing the high-waisted gown,
+but a gown with a normal waist, and with
+no train, but a skirt of even fulness and
+of the same length all the way round.</p>
+
+<div class="figright" style="width: 86px;">
+<img src="images/ecill113.png" width="86" height="250"
+alt="A woman of the time of Henry VI." />
+</div>
+
+<p>There were striped stuffs, piled velvet, rich-patterned
+silks, and homespun cloths and wool to
+choose from. Long-peaked shoes, of
+course, and wooden clogs out of
+doors.</p>
+
+<div class="figcenter" style="width: 121px;">
+<img src="images/ecill112.png" width="121" height="250"
+alt="A woman of the time of Henry VI." />
+</div>
+
+<p>The town and country maids, the
+merchants&rsquo; wives, and the poor generally,
+each and all according to purse and
+pride, dressed in humbler imitation of
+the cut of the clothes of the high-born, in quite
+simple dresses, with purse, girdle, and apron,
+with heads in hoods, or twisted wimples of coarse
+linen.</p>
+
+<p>Well, there you lie, ladies, on the tops of
+cold tombs, stiff and sedate, your hands uplifted
+in prayer, your noses as often as not
+<span class="pagenum"><a name="Page_197" id="Page_197">[<span class="hidden">Pg </span>197]</a></span>
+knocked off by later-day schoolboys, crop-headed
+Puritans, or Henry VIII.&rsquo;s sacrilegious hirelings.
+Lie still in your huge head-dresses and
+your neat-folded gowns&mdash;a moral, in marble or
+bronze, of the pomps and vanities of this wicked
+world.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_198" id="Page_198">[<span class="hidden">Pg </span>198]</a></span></p>
+
+<h2>EDWARD THE FOURTH</h2>
+
+<p class="smlfont center">Reigned twenty-two years: 1461-1483.</p>
+
+<p class="smlfont center">Born 1441. Married, 1464, Elizabeth Woodville.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 114px;">
+<img src="images/ecill114.png" width="114" height="250"
+alt="A man of the time of Edward IV." />
+</div>
+
+<p>I invite you to call up this reign
+by a picture of Caxton&rsquo;s shop:
+you may imagine yourself in the
+almonry at Westminster, where,
+in a small enclosure by the west
+front of the church, there is a
+chapel and some almshouses. You
+will be able to see the rich come
+to look at Mr. Caxton&rsquo;s wares and
+the poor slinking in to receive
+alms.</p>
+
+<div class="blockquot">
+<p>&lsquo;If it please any man, spiritual or temporal, to buy any
+pyes of two or three commemorations of Salisbury use emprynted
+after the form of this present letter, which be well
+and truly correct, let him come to Westminster into the
+Almonry at the red pale, and he shall have them good cheap.&rsquo;</p>
+</div>
+
+<p>This was Caxton&rsquo;s advertisement.</p>
+
+<p><span class="pagenum"><a name="Page_199" id="Page_199">[<span class="hidden">Pg </span>199]</a></span>
+As you watch the people going and coming
+about the small enclosure, you will notice that
+the tonsured hair has gone out of fashion, and that
+whereas the merchants, citizens, and such people
+wear the roundlet hat, the nobles and fine gentlemen
+are in black velvet caps, or tall hats with
+long-peaked brims, or in round high hats with fur
+brim close to the crown of the hat, or in caps with
+little rolled brims with a button at the top, over
+which two laces pass from back to front, and from
+under the brim there falls the last sign, the dying
+gasp of the liripipe, now jagged and now with
+tasselled ends.</p>
+
+<p>We have arrived at the generally accepted vague
+idea of &lsquo;medieval costume,&rsquo; which means really a
+hazy notion of the dress of this date: a steeple
+head-dress for ladies, a short waist, and a train;
+a tall, sugar-loaf hat with a flat top for the men,
+long hair, very short and very long tunics, long-pointed
+shoes, and wide sleeves&mdash;this, I think, is
+the amateur&rsquo;s idea of &lsquo;costume in the Middle Ages.&rsquo;</p>
+
+<p>You will notice that all, or nearly all, the passers-by
+Caxton&rsquo;s have long hair; that the dandies have
+extra-long hair brushed out in a cloud at the back;
+that the older men wear long, very simple gowns,
+<span class="pagenum"><a name="Page_200" id="Page_200">[<span class="hidden">Pg </span>200]</a></span>
+which they belt in at the waist with a stuff or
+leather belt, on which is hung a bag-purse; that
+these plain gowns are laced across the front to the
+waist over a vest of some
+coloured stuff other than
+the gown.</p>
+
+<div class="figcenter" style="width: 184px;">
+<img src="images/ecill115.png" width="184" height="250"
+alt="Two men of the time of Edward IV." />
+</div>
+
+<p>You will see that the
+poor are in very simple
+tunics&mdash;just a loose, stuff
+shirt with sleeves about
+8 inches wide, and with
+the skirts reaching to
+the knees, a belt about
+their middle&mdash;rough,
+shapeless leather shoes, and woollen tights.</p>
+
+<p>You will remember in the early part of the reign,
+before the heraldic shield with the red pale, Caxton&rsquo;s
+sign, caught your eye, that the fashionable
+wore very wide sleeves, great swollen bags fitting
+only at shoulder and wrist, and you may recall the
+fact that a tailor was fined twenty shillings in 1463
+for making such wide sleeves. Poulaines, the very
+long shoes, are now forbidden, except that an
+esquire and anyone over that rank might wear
+them 2 inches beyond the toes; but I think the
+<span class="pagenum"><a name="Page_201" id="Page_201">[<span class="hidden">Pg </span>201]</a></span>
+dandies wore the shoes and paid the fine if it were
+enforced.</p>
+
+<div class="figcenter ipadtop" style="width: 347px;">
+<a name="pl31" id="pl31"></a>
+<img src="images/ecpl31.jpg" width="347" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF EDWARD IV. (1461-1483)</p>
+
+<p class="subcapt ipadbase">Notice the jagged ribbon falling from the brim of
+his hat; this is the last of the liripipe.</p>
+
+<p>See Caxton, in a sober-coloured gown, long, and
+laced in the front, showing a plain vest under the
+lacing, talking to some of his great customers.
+The Duchess of Somerset has just lent him
+&lsquo;Blanchardine and Eglantine&rsquo;; Earl Rivers, the
+Queen&rsquo;s brother, talks over his own translation of
+&lsquo;The Sayings of the Philosophers&rsquo;; and Caxton
+is extolling that worshipful man Geoffrey Chaucer,
+and singing praises in reverence &lsquo;for that noble
+poet and great clerke, Vergyl.&rsquo;</p>
+
+<p>Edward himself has been to the shop and has
+consented to become patron of an edition of
+Tully&mdash;Edward, with his very subtle face, his
+tall, handsome appearance, his cold, elegant
+manners. He is dressed in a velvet gown edged
+with fur; the neck of the gown is low, and the
+silk vest shows above it. Across his chest are
+gold laces tapering to his waist; these are straight
+across the front of his gown-opening. His hair is
+straight, and falls to the nape of his neck; he wears
+a black velvet cap upon his head. The skirts of
+his gown reach to his knees, and are fur-edged; his
+sleeves are full at the elbows and tight over his
+<span class="pagenum"><a name="Page_202" id="Page_202">[<span class="hidden">Pg </span>202]</a></span>
+wrists; he is wearing red Spanish leather tall
+boots, turned over at the top.</p>
+
+<div class="figleft" style="width: 151px;">
+<img src="images/ecill116.png" width="151" height="250"
+alt="A man of the time of Edward IV.; lacing on a cut sleeve" />
+</div>
+
+<p>As he stands talking to Caxton, one or two
+gentlemen, who have also dismounted, stand about
+him. Three of them are in the
+height of the fashion. The first
+wears a velvet tunic, with fur
+edges. The tunic is pleated
+before and behind, and is full
+and slightly pursed in front;
+the sleeves are long, and are
+cut from shoulder to wrist,
+where they are sewn together
+again; cuff and border of the
+cut or opening are both edged with fur. The neck
+is high, but there is no collar. The length of the
+tunic is quite short; it comes well above the knees.
+His under-sleeves are full, and are of rich silk;
+his shoes are certainly over the allowed length; his
+tights are well cut. His peaked hat has gold bands
+round the crown.</p>
+
+<p>The second gentleman is also in a very short
+tunic, with very wide sleeves; this tunic is pleated
+into large even folds, and has a belt of its own
+material. His hair is long, and bushed behind;
+<span class="pagenum"><a name="Page_203" id="Page_203">[<span class="hidden">Pg </span>203]</a></span>
+his tights are in two colours, and he wears an
+eighteen-penny pair of black leather slops or shoes.
+His hat is black, tall, but without a peak; a long
+feather is brooched into one side of it.</p>
+
+<div class="figright" style="width: 174px;">
+<img src="images/ecill117.png" width="174" height="250"
+alt="A man of the time of Edward IV.; three types of boot" />
+</div>
+
+<p>The third man is wearing a low black cap, with
+a little close brim; a jagged piece of stuff, about
+3 feet long, hangs from under the brim of his hat.
+He is wearing long, straight
+hair. This man is wearing
+a little short tunic, which is
+loose at the waist, and comes
+but an inch or two below
+it; the sleeves are very loose
+and wide, and are not fastened
+at the wrist; the tunic
+has a little collar. The
+shortness of his tunic shows
+the whole of his tights, and also the ribbon-fastened
+cod-piece in front. His shoes are split at
+the sides, and come into a peak before and behind.</p>
+
+<p>Now, our gentlemen of this time, having cut
+open their baggy sleeves, and made them to hang
+down and expose all the under-sleeve, must now
+needs lace them up again very loosely. Then, by
+way of change, the tight sleeve was split at the
+<span class="pagenum"><a name="Page_204" id="Page_204">[<span class="hidden">Pg </span>204]</a></span>
+elbow to show a white shirt. Then came the
+broad shoulders, when the sleeves were swelled out
+at the top to give an air of great breadth
+to the shoulders and a more elegant
+taper to the waist. Some men had
+patterns sewn on one leg of their tights.
+The gown, or whatever top garment
+was being worn, was sometimes cut into
+a low, <img src="images/v.png" width="13" height="15" alt="V" /> shape behind at the neck to
+show the undergarment, above which
+showed a piece of white shirt.</p>
+
+<div class="figleft" style="width: 96px;">
+<img src="images/ecill118.png" width="96" height="250"
+alt="A man of the time of Edward IV." />
+</div>
+
+<p>A long gown, in shape like a monk&rsquo;s habit, wide
+sleeves, the same width all the way down, a loose
+neck&mdash;a garment indeed to put
+on over the head, to slip on for
+comfort and warmth&mdash;was quite
+a marked fashion in the streets&mdash;as
+marked as the little tunic.</p>
+
+<div class="figcenter" style="width: 202px;">
+<img src="images/ecill119.png" width="202" height="250"
+alt="Twelve types of head-gear for men" />
+</div>
+
+<p>If you are remembering Caxton&rsquo;s
+shop and a crowd of gentlemen,
+notice one in a big fur hat,
+which comes over his eyes; and see also a man who
+has wound a strip of cloth about his neck and
+over his head, then, letting one end hang down, has
+clapped his round, steeple-crowned hat over it.</p>
+
+<p><span class="pagenum"><a name="Page_205" id="Page_205">[<span class="hidden">Pg </span>205]</a></span>
+You will see high collars, low collars, and
+absence of collar, long gown open to the waist,
+long gown without opening, short-skirted tunic,
+tunic without any skirt, long, short, and medium
+shoes, and, at the end of the reign, one or two
+broad-toed shoes. Many of these men would be
+carrying sticks; most of them would have their
+fingers covered with rings.</p>
+
+<p>Among the group of gentlemen about Edward
+some merchants have pressed closer to see the
+King, and a girl or two has stolen into the front
+row. The King, turning to make a laughing
+remark to one of his courtiers, will see a roguish,
+pretty face behind him&mdash;the face of a merchant&rsquo;s
+wife; he will smile at her in a meaning way.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<div class="figleft" style="width: 201px;">
+<img src="images/ecill120.png" width="201" height="200"
+alt="A head-dress for a woman" />
+</div>
+
+<p>France, at this date, shows
+us a sartorial Savonarola, by
+name Thomas Conecte, a preaching
+friar, who held an Anti-Hennin
+Crusade, which ended in
+a bonfire of these steeple head-dresses.
+The flames of these peculiar hats lit
+up the inspired devotees, and showed their heads
+<span class="pagenum"><a name="Page_206" id="Page_206">[<span class="hidden">Pg </span>206]</a></span>
+wrapped in plain linen wimples or some little
+unaffected caps. But the ashes were hardly cold
+before the gray light of the next day showed the
+figure of the dreaded preacher small upon the
+horizon, and lit upon the sewing-maids as they sat
+making fresh steeples for the adornment of their
+ladies&rsquo; heads.</p>
+
+<p>Joan of Arc is dead, and another very different
+apparition of womankind looms out of the mists
+of history. Whilst Joan of Arc is hymned and
+numbered among the happy company of saints
+triumphant, Jane Shore is roared in drinking-songs
+and ballads of a disreputable order, and is held
+up as an awful example. She has for years been
+represented upon the boards of West End and
+Surrey-side theatres&mdash;in her prime as the mistress
+of Edward IV., in her penance before the church
+door, and in her poverty and starvation, hounded
+from house to house in a Christian country where
+bread was denied to her. I myself have seen her
+through the person of a stout, melancholy, and
+h-less lady, who, dressed in a sort of burlesque
+fish-wife costume, has lain dying on the prompt-side
+of the stage, in a whirl of paper snow, while,
+to the edification of the twopenny gallery, she has
+<span class="pagenum"><a name="Page_207" id="Page_207">[<span class="hidden">Pg </span>207]</a></span>
+bewailed her evil life, and has been allowed, by
+a munificent management, to die in the arms of
+white-clad angels. There is a gleam of truth in
+the representation, and you may see the real Jane
+Shore in a high steeple head-dress, with a thin
+veil thrown over it, with a frontlet or little loop
+of black velvet over her forehead; in a high-waisted
+dress, open in a <img src="images/v.png" width="13" height="15" alt="V" /> shape from shoulder
+to waist, the opening laced over the square-cut
+under-gown, the upper gown having a collar of fur
+or silk, a long train, broad cuffs, perhaps 7 inches
+long from the base of her fingers, with a broad,
+coloured band about her waist, a broader trimming
+of the same colour round the hem of her shirt, and
+in long peaked shoes. In person of mean stature,
+her hair dark yellow, her face round and full, her
+eyes gray, and her countenance as cheerful as herself.
+The second real picture of her shows you a
+haggard woman, with her hair unbound and falling
+about her shoulders, shivering in a shift, which she
+clutches about her with one hand, while the other
+holds a dripping candle; and the third picture
+shows an old woman in dirty wimple and untidy
+rags.</p>
+
+<div class="figleft" style="width: 164px;">
+<img src="images/ecill121.png" width="164" height="250"
+alt="Six types of head-dress for women" />
+</div>
+
+<p>There are many ways of making the steeple
+<span class="pagenum"><a name="Page_208" id="Page_208">[<span class="hidden">Pg </span>208]</a></span>
+head-dress. For the most part they are long,
+black-covered steeples, resting at an angle of forty-five
+degrees to the head, the broad end having a
+deep velvet band round it, with hanging sides,
+which come to the level of the chin; the point end
+has a long veil attached to it, which floats lightly
+down, or is carried on to one shoulder. Sometimes
+this steeple hat is worn over a hood, the cape
+of which is tucked into the dress.
+Some of these hats have a jutting,
+upturned piece in front, and they
+are also covered with all manner
+of coloured stuffs, but not commonly
+so. All persons having an
+income of &pound;10 a year and over
+will have that black velvet loop,
+the frontlet, sewn into their hats.
+There is another new shape for hats, varying in
+height from 8 to 18 inches. It is a cylinder,
+broader at the top than the bottom, the crown
+sometimes flat and sometimes rounded into the hat
+itself; this hat is generally jewelled, and covered
+with rich material. The veils are attached to these
+hats in several ways; either they float down behind
+from the centre of the crown of the hat, or they
+<span class="pagenum"><a name="Page_209" id="Page_209">[<span class="hidden">Pg </span>209]</a></span>
+are sewn on to the base of the hat, and are supported
+on wires, so as to shade the face, making a
+roof over it, pointed in front and behind, or flat
+across the front and bent into a point behind, or
+circular. Take two circles of wire, one the size
+of the base of your hat and the other larger, and
+dress your linen or thin silk upon them; then you
+may pinch the wire into any variations of squares
+and circles you please.</p>
+
+<div class="figcenter ipadtop" style="width: 373px;">
+<a name="pl32" id="pl32"></a>
+<img src="images/ecpl32.jpg" width="373" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF EDWARD IV. (1461-1483)</p>
+
+<p class="subcapt ipadbase">She wears the high hennin from which hangs a wisp
+of linen. On her forehead is the velvet frontlet, and
+across her forehead is a veil stretched on wires.</p>
+
+<p>The veil was sometimes worn all over the steeple
+hat, coming down over the face, but stiff enough
+to stand away from it. Towards the
+end of the reign the hats were not so
+high or so erect.</p>
+
+<p>Remember, also, that the horned
+head-dress of the previous reign is not
+by any means extinct.</p>
+
+<div class="figright" style="width: 80px;">
+<img src="images/ecill122.png" width="80" height="250"
+alt="A woman of the time of Edward IV." />
+</div>
+
+<p>There remain two more forms of
+making the human face hideous: one
+is the head-dress closely resembling an
+enormous sponge bag, which for some
+unknown reason lasted well into the reign
+of Henry VII. as a variety to the fashionable
+head-gear of that time, and the other is very
+simple, being a wimple kept on the head by a
+<span class="pagenum"><a name="Page_210" id="Page_210">[<span class="hidden">Pg </span>210]</a></span>
+circular stuffed hoop of material, which showed,
+plain and severe across the forehead. The simple
+folk wore a hood of linen, with a liripipe and wide
+ear-flaps.</p>
+
+<div class="figleft" style="width: 119px;">
+<img src="images/ecill123.png" width="119" height="250"
+alt="A woman of the time of Edward IV." />
+</div>
+
+<p>The dresses are plain in cut; they are all short-waisted
+if at all fashionable. The most of them
+have a broad waist-belt, and very deep borders to
+their skirts; they have broad, turned-back
+cuffs, often of black. These
+cuffs, on being turned down over the
+hand, show the same colour as the
+dress; they are, in fact, the old long
+cuff over the fingers turned back for
+comfort.</p>
+
+<p>It is by the variety of openings
+at the necks of the gowns that you may get change.
+First, let me take the most ordinary&mdash;that is, an
+opening of a <img src="images/v.png" width="13" height="15" alt="V" /> shape from shoulders to waist, the
+foot of the <img src="images/v.png" width="13" height="15" alt="V" /> at the waist, the points on the top of
+the shoulders at the join of the arm. Across this
+opening is seen, cut square and coming up to the
+base of the bosom, the under-gown. You may
+now proceed to vary this by lacing the <img src="images/v.png" width="13" height="15" alt="V" /> across,
+but not drawing it together, by having the
+<img src="images/v.png" width="13" height="15" alt="V" /> fur-edged, or made to turn over in a collar of
+<span class="pagenum"><a name="Page_211" id="Page_211">[<span class="hidden">Pg </span>211]</a></span>
+black upon light material, or its opposite, by showing
+a vest of stuff other than that of the under-gown,
+which will then make a variety of colour
+when the skirt is held up over the arm. Or you
+may have your dress so cut that it is high in front
+and square cut, and over this you may sew a false
+<img src="images/v.png" width="13" height="15" alt="V" /> collar wither to or above the waist. I have said
+that the whole neck-opening may be
+covered by a gorget of cloth, which
+was pinned up to the steeple hat, or by
+a hood of thin stuff or silk, the cape
+of which was tucked into the dress.</p>
+
+<div class="figright" style="width: 90px;">
+<img src="images/ecill124.png" width="90" height="250"
+alt="A woman of the time of Edward IV." />
+</div>
+
+<p>The lady, I think, is now complete
+down to her long-pointed shoes, her
+necklet of stones or gold chain, with
+cross or heraldic pendant, and it
+remains to show that the countrywoman
+dressed very plainly, in a
+decent-fitting dress, with her waist in its proper
+place, her skirt full, the sleeves of her dress turned
+back like my lady&rsquo;s, her head wrapped in a wimple
+or warmed in a hood, her feet in plain, foot-shaped
+shoes, and wooden clogs strapped on to
+them for outdoor use or kitchen work; in fact,
+she looked much like any old body to-day who has
+<span class="pagenum"><a name="Page_212" id="Page_212">[<span class="hidden">Pg </span>212]</a></span>
+lived in a village, except that the wimple and the
+hood then worn are out of place to-day, more&rsquo;s
+the pity!</p>
+
+<p>No doubt ladies were just human in those days,
+and fussed and frittered over an inch or so of
+hennin, or a yard or two of train. One cut her
+dress too low to please the others, and another
+wore her horned head-dress despite the dictates
+of Fashion, which said, &lsquo;Away with horns, and
+into steeples.&rsquo; No doubt the tall hennins, with
+their floating veils, looked like black masts with
+silken sails, and the ladies like a crowd of shipping,
+with velvet trains for waves about their feet; no
+doubt the steeples swayed and the silks rustled
+when the heads turned to look at the fine men
+in the days when hump-shouldered Richard was a
+dandy.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_213" id="Page_213">[<span class="hidden">Pg </span>213]</a></span></p>
+
+<h2>EDWARD THE FIFTH</h2>
+
+<p class="smlfont center">Reigned two months: April and June, 1487.</p>
+
+<h2>RICHARD THE THIRD</h2>
+
+<p class="smlfont center">Reigned two years: 1483-1485.</p>
+
+<p class="smlfont center">Born 1450. Married, 1473, Anne Neville.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 217px;">
+<img src="images/ecill125.png" width="217" height="250"
+alt="Three men of the time of Edward V. and Richard III." />
+</div>
+
+<p>Fashion&rsquo;s pulse beat very
+weak in the spring of 1483.
+More attune to the pipes of
+Fate were the black cloaks of
+conspirators and a measured
+tread of soft-shoed feet than
+lute and dance of airy millinery.
+The axe of the executioner
+soiled many white shirts, and dreadful
+forebodings fluttered the dovecots of high-hennined
+ladies.</p>
+
+<p><span class="pagenum"><a name="Page_214" id="Page_214">[<span class="hidden">Pg </span>214]</a></span>
+The old order was dying; Medievalism, which
+made a last spluttering flame in the next reign,
+was now burnt low, and was saving for that last
+effort. When Richard married Anne Neville, in the
+same year was Raphael born in Italy; literature was
+beginning, thought was beginning; many of the
+great spirits of the Renaissance were alive and
+working in Italy; the very trend of clothes showed
+something vaguely different, something which
+shows, however, that the foundations of the world
+were being shaken&mdash;so shaken that men and women,
+coming out of the gloom of the fourteenth century
+through the half-light of the fifteenth, saw the first
+signs of a new day, the first show of spring,
+and, with a perversity or an eagerness to meet
+the coming day, they began to change their
+clothes.</p>
+
+<p>It is in this reign of Richard III. that we get,
+for the men, a hint of the peculiar magnificence
+of the first years of the sixteenth century; we get
+the first flush of those wonderful patterns which
+are used by Memline and Holbein, those variations
+of the pine-apple pattern, and of that peculiar convention
+which is traceable in the outline of the
+Tudor rose.</p>
+
+<p><span class="pagenum"><a name="Page_215" id="Page_215">[<span class="hidden">Pg </span>215]</a></span>
+The men, at first sight, do not appear very
+different to the men of Edward IV.&rsquo;s time; they
+have the long hair, the general clean-shaven faces,
+open-breasted tunics, and full-pleated skirts. But,
+as a rule, the man, peculiar to his time, the clothes-post
+of his age, has discarded the tall peaked hat,
+and is almost always dressed in the black velvet,
+stiff-brimmed hat. The pleated skirt to his tunic
+has grown longer, and his purse has grown larger;
+the sleeves are tighter, and the old tunic with the
+split, hanging sleeves has grown fuller, longer, and
+has become an overcoat, being now open all the
+way down. You will see that the neck of the
+tunic is cut very low, and that you may see above
+it, above the black velvet with which it is so often
+bound, the rich colour or fine material of an undergarment,
+a sort of waistcoat, and yet again above
+that the straight top of a finely-pleated white
+shirt. Sometimes the sleeves of the tunic will be
+wide, and when the arm is flung up in gesticulation,
+the baggy white shirt, tight-buttoned at the wrist,
+will show. Instead of the overcoat with the hanging
+sleeves, you will find a very plain-cut overcoat,
+with sleeves comfortably wide, and with little plain
+lapels to the collar. It is cut wide enough in the
+<span class="pagenum"><a name="Page_216" id="Page_216">[<span class="hidden">Pg </span>216]</a></span>
+back to allow for the spread of the tunic. Black
+velvet is becoming a very fashionable trimming,
+and will be seen as a border or as under-vest to
+show between the shirt and the tunic. No clothes
+of the last reign will be incongruous in this;
+the very short tunics which expose the cod-piece,
+the split-sleeve tunic, all the variations, I
+have described. Judges walk about, looking like
+gentlemen of the time of Richard II.: a judge
+wears a long loose gown, with wide sleeves, from
+out of which appear the sleeves of his under-tunic,
+buttoned from elbow to wrist; he wears a cloak
+with a hood, the cloak split up the right side, and
+fastened by three buttons upon the right shoulder.
+A doctor is in very plain, ample gown, with a
+cape over his shoulders and a small round
+cap on his head. His gown is not bound at the
+waist.</p>
+
+<div class="figcenter ipadtop" style="width: 370px;">
+<a name="pl33" id="pl33"></a>
+<img src="images/ecpl33.jpg" width="370" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF RICHARD III. (1483-1485)</p>
+
+<p class="subcapt ipadbase">Here one sees the first of the broad-toed shoes and
+the birth of the Tudor costume&mdash;the full pleated
+skirts and the prominence of white shirt.</p>
+
+<p>The blunt shoes have come into fashion, and
+with this the old long-peaked shoe dies for ever.
+Common-sense will show you that the gentlemen
+who had leisure to hunt in these times did not
+wear their most foppish garments, that the tunics
+were plain, the boots high, the cloaks of strong
+material. They wore a hunting-hat, with a long
+<span class="pagenum"><a name="Page_217" id="Page_217">[<span class="hidden">Pg </span>217]</a></span>
+peak over the eyes and a little peak over the neck
+at the back; a broad band passed under the chin,
+and, buttoning on to either side of the hat, kept it
+in place. The peasant wore a loose tunic, often
+open-breasted and laced across; he had a belt
+about his waist, a hood over his head, and often
+a broad-brimmed Noah&rsquo;s Ark hat over the hood;
+his slops, or loose trousers, were tied below the
+knee and at the ankles. A shepherd
+would stick his pipe in his
+belt, so that he might march before
+his flock, piping them into the
+fold.</p>
+
+<div class="figcenter" style="width: 179px;">
+<img src="images/ecill126.png" width="179" height="200"
+alt="A man of the time of Edward V. and Richard III.; a hat" />
+</div>
+
+<p>To sum up, you must picture a
+man in a dress of Edward IV.&rsquo;s time, modified,
+or, rather, expanded or expanding into the costume
+of Henry VII.&rsquo;s time&mdash;a reign, in fact, which
+hardly has a distinct costume to itself&mdash;that is, for
+the men&mdash;but has a hand stretched out to two
+centuries, the fifteenth and the sixteenth; yet, if
+I have shown the man to you as I myself can see
+him, he is different from his father in 1461, and
+will change a great deal before 1500.</p>
+
+
+<p><span class="pagenum"><a name="Page_218" id="Page_218">[<span class="hidden">Pg </span>218]</a></span></p>
+
+<h3>THE WOMEN</h3>
+
+<div class="figleft" style="width: 104px;">
+<img src="images/ecill127.png" width="104" height="250"
+alt="A woman of the time of Edward V. and Richard III." />
+</div>
+
+<p>Here we are at the end of an epoch,
+at the close of a costume period, at one
+of those curious final dates in a history
+of clothes which says that within a
+year or so the women of one time
+will look hopelessly old-fashioned and
+queer to the modern woman. Except
+for the peculiar sponge-bag turban,
+which had a few years of life in it, the
+woman in Henry VII.&rsquo;s reign would look back at
+this time and smile, and the young woman would
+laugh at the old ideas of beauty. The River of
+Time runs under many bridges, and it would seem
+that the arches were low to the Bridge of Fashion
+in 1483, and the steeple hat was lowered to prevent
+contact with them. The correct angle of forty-five
+degrees changed into a right angle, the steeple
+hat, the hennin, came toppling down, and an embroidered
+bonnet, perched right on the back of the
+head, came into vogue. It is this bonnet which
+gives, from our point of view, distinction to the
+reign. It was a definite fashion, a distinct halt.
+<span class="pagenum"><a name="Page_219" id="Page_219">[<span class="hidden">Pg </span>219]</a></span>
+It had travelled along the years of the fourteenth
+century, from the wimple and the horns, and the
+stiff turbans, and the boxes of stiffened cloth of
+gold; it had languished in the caul and blossomed
+in the huge wimple-covered horns; it had shot
+up in the hennin; and now it gave, as its last
+transformation, this bonnet at the back of
+the head, with the stiff wimple stretched upon
+wires. Soon was to come the diamond-shaped
+head-dress, and after that the birth of hair as a
+beauty.</p>
+
+<p>In this case the hair was drawn as tightly as
+possible away from the forehead, and at the forehead
+the smaller hairs were plucked away; even
+eyebrows were a little out of fashion. Then
+this cylindrical bonnet was placed at the back
+of the head, with its wings of thin linen stiffly
+sewn or propped on wires. These wires were
+generally of a <img src="images/v.png" width="13" height="15" alt="V" /> shape, the
+<img src="images/v.png" width="13" height="15" alt="V" /> point at the forehead.
+On some occasions two straight wires
+came out on either side of the face in addition
+to the <img src="images/v.png" width="13" height="15" alt="V" />, and so made two wings on either
+side of the face and two wings over the back of
+the head. It is more easy to describe through
+means of the drawings, and the reader will
+<span class="pagenum"><a name="Page_220" id="Page_220">[<span class="hidden">Pg </span>220]</a></span>
+soon see what bend to give to the wires in
+order that the wings may be properly held
+out.</p>
+
+<p>Beyond this head-dress there was very little
+alteration in the lady&rsquo;s dress since the previous
+reign. The skirts were full; the waist was high,
+but not absurdly so; the band round the dress
+was broad; the sleeves were tight; and the
+cuffs, often of fur, were folded back to a good
+depth.</p>
+
+<p>The neck opening of the dress varied, as did
+that of the previous reign, but whereas the most
+fashionable opening was then from neck to waist,
+this reign gave more liking to a higher corsage,
+over the top of which a narrow piece of stuff
+showed, often of black velvet. We may safely
+assume that the ladies followed the men in the
+matter of broad shoes. For a time the old fashion
+of the long-tongued belt came in, and we see
+instances of such belts being worn with the tongue
+reaching nearly to the feet, tipped with a metal
+ornament.</p>
+
+<div class="figcenter ipadtop" style="width: 372px;">
+<a name="pl34" id="pl34"></a>
+<img src="images/ecpl34.jpg" width="372" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF RICHARD III. (1483-1485)</p>
+
+<p class="subcapt ipadbase">The great erection on her head is made of thin linen
+stretched upon wires; through this one may see her
+jewelled cap.</p>
+
+<p>Not until night did these ladies discard their
+winged head erections; not until the streets were
+dark, and the brass basins swinging from the
+<span class="pagenum"><a name="Page_221" id="Page_221">[<span class="hidden">Pg </span>221]</a></span>
+barbers&rsquo; poles shone but dimly, and the tailors no
+longer sat, cross-legged, on the benches in their
+shop-fronts&mdash;then might my lady uncover her head
+and talk, in company with my lord, over the
+strange new stories of Prester John and of the
+Wandering Jew; then, at her proper time, she will
+go to her rest and sleep soundly beneath her
+embroidered quilt, under the protection of the
+saints whose pictures she has sewn into the corners
+of it. Matthew, Mark, Luke, and John, bless the
+bed that she lies on.</p>
+
+<p>So we come to an end of a second series of
+dates, from the First Edward to the Third Richard,
+and we leave them to come to the Tudors and
+their follies and fantastics; we leave an age that is
+quaint, rich, and yet fairly simple, to come to an
+age of padded hips and farthingales, monstrous
+ruffs, knee-breeks, rag-stuffed trunks, and high-heeled
+shoes.</p>
+
+<p>With the drawings and text you should be able
+to people a vast world of figures, dating from the
+middle of the thirteenth century, 1272, to nearly
+the end of the fifteenth, 1485, and if you allow
+ordinary horse-sense to have play, you will be able
+to people your world with correctly-dressed figures
+<span class="pagenum"><a name="Page_222" id="Page_222">[<span class="hidden">Pg </span>222]</a></span>
+in the true inspiration of their time. You cannot
+disassociate the man from his tailor; his clothes
+must appeal to you, historically and soulfully, as
+an outward and visible sign to the graces and vices
+of his age and times.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_223" id="Page_223">[<span class="hidden">Pg </span>223]</a></span></p>
+
+<h2>HENRY THE SEVENTH</h2>
+
+<p class="smlfont center">Reigned 24 years: 1485-1509.</p>
+
+<p class="smlfont center">Born, 1456. Married, 1486, Elizabeth of York.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 171px;">
+<img src="images/ecill128.png" width="171" height="250"
+alt="A man of the time of Henry VII.; hose" />
+</div>
+
+<p>Everyone has felt that
+curious faint aroma, that
+sensation of lifting, which
+proclaims the first day of
+Spring and the burial of
+Winter. Although nothing
+tangible has taken place,
+there is in the atmosphere
+a full-charged suggestion of
+promise, of green-sickness;
+there is a quickening of
+the pulse, a thrumming of the heart, and many
+an eager, quick glance around for the first buds
+of the new order of things.</p>
+
+<p><span class="pagenum"><a name="Page_224" id="Page_224">[<span class="hidden">Pg </span>224]</a></span>
+England&rsquo;s winter was buried on Bosworth Field:
+England&rsquo;s spring, as if by magic, commenced with
+Henry&rsquo;s entry into London.</p>
+
+<p>The first picture of the reign shows the mayor,
+the sheriffs, and the aldermen, clothed in violet,
+waiting at Shoreditch for the coming of the victor.
+The same day shows Henry in St. Paul&rsquo;s, hearing
+a <i>Te Deum</i>; in the Cathedral church, packed to
+its limit, three new banners waved, one bearing a
+figure of St. George, another a dragon of red on
+white and green sarcenet, and the third showed a
+dun cow on yellow tarterne.</p>
+
+<p>Spring, of course, does not, except in a poetic
+sense, burst forth in a day, there are long months
+of preparation, hints, signs in the air, new notes
+from the throats of birds.</p>
+
+<p>The springtime of a country takes more than
+the preparation of months. Nine years before
+Henry came to the throne Caxton was learning
+to print in the little room of Collard Mansion&mdash;he
+was to print his &lsquo;Facts of Arms,&rsquo; joyous tales
+and pleasant histories of chivalry, by especial desire
+of Henry himself.</p>
+
+<p>Later still, towards the end of the reign, the
+first book of travel in the West began to go from
+<span class="pagenum"><a name="Page_225" id="Page_225">[<span class="hidden">Pg </span>225]</a></span>
+hand to hand&mdash;it was written by Amerigo Vespucci,
+cousin to La Bella Simonetta.</p>
+
+<p>Great thoughts were abroad, new ideas were
+constantly under discussion, the Arts rose to the
+occasion and put forth flowers of beauty on many
+stems long supposed to be dead or dormant and
+incapable of improvement. It was the great age
+of individual English expression in every form
+but that of literature and painting, both these
+arts being but in their cradles; Chaucer and
+Gower and Langland had written, but they lay
+in their graves long before new great minds arose.</p>
+
+<p>The clouds of the Middle Ages were dispersed,
+and the sun shone.</p>
+
+<p>The costume was at once dignified and magnificent&mdash;not
+that one can call the little coats great
+ideals of dignity, but even they, by their richness
+and by the splendour of the persons they adorned,
+come into the category.</p>
+
+<p>The long gowns of both men and women were
+rich beyond words in colour, texture, and design,
+they were imposing, exact, and gorgeous. Upon
+a fine day the streets must have glittered when a
+gentleman or lady passed by.</p>
+
+<p>The fashions of the time have survived for us
+<span class="pagenum"><a name="Page_226" id="Page_226">[<span class="hidden">Pg </span>226]</a></span>
+in the Court cards: take the jacks, knaves, valets&mdash;call
+them as you will, and you will see the
+costume of this reign but slightly modified into
+a design, the cards of to-day and the cards of that
+day are almost identical. Some years ago the
+modification was less noticeable; I can remember
+playing Pope Joan with cards printed
+with full-length figures, just as the
+illustrations to &lsquo;Alice in Wonderland&rsquo;
+are drawn. In the knave you
+will see the peculiar square hat which
+came in at this time, and the petti-cote,
+the long coat, the big sleeve,
+and the broad-toed shoes. You will
+see the long hair, undressed and
+flowing over the shoulders (the professional
+classes, as the lawyer, cut
+their hair close, so also did the peasant). Over
+this flowing hair a dandy would wear a little cap
+with a narrow, rolled-up brim, and over this, on
+occasions, an enormous hat of felt, ornamented
+with a prodigious quantity of feathers.</p>
+
+<div class="figcenter" style="width: 99px;">
+<img src="images/ecill129.png" width="99" height="250"
+alt="A man of the time of Henry VII." />
+</div>
+
+<p>There was, indeed, quite a choice of hats: the
+berretino&mdash;a square hat pinched in at the corners;
+many round hats, some with a high, tight brim,
+<span class="pagenum"><a name="Page_227" id="Page_227">[<span class="hidden">Pg </span>227]</a></span>
+some with the least brim possible; into these
+brims, or into a band round the hat, one might
+stick feathers or pin a brooch.</p>
+
+<div class="figcenter ipadtop" style="width: 397px;">
+<a name="pl35" id="pl35"></a>
+<img src="images/ecpl35.jpg" width="397" height="600" alt="" />
+</div>
+
+<p class="caption ipadbase">A MAN OF THE TIME OF HENRY VII. (1485-1509)</p>
+
+<p>The chaperon, before described, was still worn
+by Garter Knights at times, and by official, legal,
+civic, and college persons.</p>
+
+<p>What a choice of coats the gentlemen had, and
+still might be in the fashion! Most common
+among these was the long coat like a dressing-gown,
+hanging upon the ground all round, with
+a wide collar, square behind, and turning back in
+the front down to the waist&mdash;this was the general
+shape of the collar, and you may vary it on this
+idea in every way: turn it back and show the
+stuff to the feet, close it up nearly to the neck,
+cut it off completely. Now for the sleeves of such
+a coat. I have shown in the illustrations many
+varieties, the most common was the wide sleeve,
+narrow at the shoulder, and hanging over the hand
+in folds. The slashes, which show the white shirt,
+are usual, and of every order. The shirt itself
+was often ornamented with fine gathers and fancy
+stitching, and was gathered about the neck by a
+ribbon. As the years went on it is easy to see
+that the shirt was worn nearer to the neck, the
+<span class="pagenum"><a name="Page_228" id="Page_228"><!-- original location - coats and hats illustration --></a></span>
+<span class="pagenum"><a name="Page_229" id="Page_229">[<span class="hidden">Pg </span>229]</a></span>
+gathers became higher and higher, became more
+ornamented, and finally rose, in all extravagant
+finery, to behind the ears&mdash;and we have the Elizabethan
+ruff.</p>
+
+<div class="figcenter" style="width: 381px;">
+<img src="images/ecill130.png" width="381" height="600"
+alt="Three types of coat and five types of hat" />
+</div>
+
+<p>Next to the shirt a waistcoat, or stomacher, of
+the most gorgeous patterned stuff, laced across
+the breast sometimes, more often fastened behind.
+This reached to the waist where it met long hose
+of every scheme of colour&mdash;striped, dotted, divided
+in bands&mdash;everything&mdash;displaying the indelicate
+but universal pouch in front, tied with coloured
+ribbons.</p>
+
+<p>On the feet, shoes of all materials, from cloth
+and velvet to leather beautifully worked, and of
+the most absurd length; these also were slashed
+with puffs of white stuff. Many of these shoes
+were but a sole and a toe, and were tied on by
+thongs passing through the sole.</p>
+
+<p>Of course the long coat would not alone satisfy
+the dandy, but he must needs cut it off into a
+short jacket, or petti-cote, and leave it open to
+better display his marvellous vest. Here we have
+the origin of the use of the word &lsquo;petticoat&rsquo;&mdash;now
+wrongly applied; in Scotland, to this day, a
+woman&rsquo;s skirts are called her &lsquo;coats.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_230" id="Page_230">[<span class="hidden">Pg </span>230]</a></span>
+About the waists of these coats was a short
+sash, or a girdle, from which hung a very elaborate
+purse, or a dagger.</p>
+
+<p>Stick in hand, jewel in your hat, dandy&mdash;extravagant,
+exquisite dandy! All ages know
+you, from the day you choose your covering of
+leaves with care, to the hour of your white duck
+motoring-suit: a very bird of a man, rejoicing in
+your plumage, a very human ass, a very narrow
+individual, you stride, strut, simper through the
+story of the universe, a perfect monument of the
+Fall of Man, a gorgeous symbol of the decay of
+manhood. In this our Henry&rsquo;s reign, your hair
+busheth pleasantly, and is kembed prettily over
+the ear, where it glimmers as gold i&rsquo; the sun&mdash;pretty
+fellow&mdash;Lord! how your feathered bonnet
+becomes you, and your satin stomacher is brave
+over a padded chest. Your white hands, freed
+from any nasty brawls and clean of any form of
+work, lie in their embroidered gloves. Your pride
+forbids the carriage of a sword, which is borne
+behind you&mdash;much use may it be!&mdash;by a mincing
+fellow in your dainty livery. And if&mdash;oh, rare
+disguise!&mdash;your coiffure hides a noble brow, or
+your little, neat-rimmed coif a clever head, less
+<span class="pagenum"><a name="Page_231" id="Page_231"><!-- original location - sleeves illustration --></a></span>
+<span class="pagenum"><a name="Page_232" id="Page_232">[<span class="hidden">Pg </span>232]</a></span>
+honour be to you who dress your limbs to imitate
+the peacock, and hide your mind beneath the
+weight of scented clothes.</p>
+
+<div class="figcenter" style="width: 462px;">
+<img src="images/ecill131.png" width="462" height="600"
+alt="Eight types of sleeve" />
+</div>
+
+<p>In the illustrations to this chapter and the next,
+my drawings are collected and redrawn in my
+scheme from works so beautiful and highly finished
+that every student should go to see them for
+himself at the British Museum. My drawings,
+I hope, make it quite clear what was worn in
+the end of the fifteenth century and the first nine
+years of the sixteenth, and anyone with a slight
+knowledge of pictures will be able to supply
+themselves with a large amount of extra matter.
+I would recommend MS. Roy 16, F. 2; MS.
+Roy 19, C. 8; and especially Harleian MS. 4425.</p>
+
+<p>Of the lower classes, also, these books show
+quite a number. There are beggars and peasants,
+whose dress was simply old-fashioned and very
+plain; they wore the broad shoes and leather belts
+and short coats, worsted hose, and cloaks of fair
+cloth. &lsquo;Poverty,&rsquo; the old woman with the spoon
+in her hat, is a good example of the poor of the
+time.</p>
+
+<p>When one knows the wealth of material of the
+time, and has seen the wonder of the stuffs, one
+<span class="pagenum"><a name="Page_233" id="Page_233">[<span class="hidden">Pg </span>233]</a></span>
+knows that within certain lines imagination may
+have full scope. Stuffs of silk, embroidered with
+coupled birds and branches, and flowers following
+out a prescribed line, the embroideries edged and
+sewn with gold thread; velvet on velvet, short-napped
+fustian, damasked stuffs and diapered stuffs&mdash;what
+pictures on canvas, or on the stage, may
+be made; what marvels of colour
+walked about the streets in those
+days! It was to the eye an age of
+elaborate patterns&mdash;mostly large&mdash;and
+all this broken colour and glitter of
+gold thread must have made the
+streets gay indeed.</p>
+
+<div class="figright" style="width: 86px;">
+<img src="images/ecill132.png" width="86" height="250"
+alt="A man of the time of Henry VII." />
+</div>
+
+<p>Imagine, shall we say, Corfe Castle
+on a day when a party of ladies and
+gentlemen assembled to &lsquo;course a
+stagge,&rsquo; when the huntsmen, in green,
+gathered in the outer ward, and the grooms, in
+fine coloured liveries, held the gaily-decked
+horses; then, from the walls lined with archers,
+would come the blast of the horn, and out
+would walk my lord and my lady, with knights,
+and squires, and ladies, and gallants, over the
+bridge across the castle ditch, between the round
+<span class="pagenum"><a name="Page_234" id="Page_234">[<span class="hidden">Pg </span>234]</a></span>
+towers. Behind them the dungeon tower, and
+the great gray mass of the keep&mdash;all a fitting and
+impressive background to their bravery.</p>
+
+<p>The gentlemen, in long coats of all wonderful
+colours and devices, with little hats, jewelled and
+feathered, with boots to the knee of soft leather,
+turned back in colours at the top;
+on their left hands the thick hawking
+glove on which, jessed and
+hooded, sits the hawk&mdash;for some
+who will not go with the hounds
+will fly the hawk on the Isle of
+Purbeck.</p>
+
+<div class="figleft" style="width: 88px;">
+<img src="images/ecill133.png" width="88" height="250"
+alt="A man of the time of Henry VII." />
+</div>
+
+<p>Below, in the town over the moat,
+a crowd is gathered to see them off&mdash;merchants
+in grave colours, and
+coats turned back with fur, their
+ink-horns slung at their waists, with
+pens and dagger and purse; beggars; pilgrims,
+from over seas, landed at Poole Harbour, in long
+gowns, worn with penitence and dusty travels,
+shells in their hats, staffs in their hands; wide-eyed
+children in smocks; butchers in blue; men
+of all guilds and women of all classes.</p>
+
+<p>The drawbridge is down, the portcullis up, and
+<span class="pagenum"><a name="Page_235" id="Page_235">[<span class="hidden">Pg </span>235]</a></span>
+the party, gleaming like a bed of flowers in their
+multi-coloured robes, pass over the bridge, through
+the town, and into the valley.</p>
+
+<p>The sun goes in and leaves the grim castle, gray
+and solemn, standing out against the green of the
+hills....</p>
+
+<p>And of Henry himself, the great Tudor, greater,
+more farseeing than the eighth Henry, a man
+who so dominates the age, and fills it with his
+spirit, that no mental picture is complete without
+him. His fine, humorous face, the quizzical eye,
+the firm mouth, showing his character. The great
+lover of art, of English art, soon to be pulverized
+by pseudo-classic influences; the man who pulled
+down the chapel at the west end of Westminster
+Abbey with the house by it&mdash;Chaucer&rsquo;s house&mdash;to
+make way for that superb triumph of ornate
+building, his chapel, beside which the mathematical
+squares and angles of classic buildings
+show as would boxes of bricks by a gorgeous
+flower.</p>
+
+<p>The stories against him are, in reality, stories
+for him, invented by those whom he kept to their
+work, and whom he despoiled of their ill-gotten
+gains. He borrowed, but he paid back in full;
+<span class="pagenum"><a name="Page_236" id="Page_236">[<span class="hidden">Pg </span>236]</a></span>
+he came into a disordered, distressed kingdom,
+ruled it by fear&mdash;as had to be done in those days&mdash;and
+left it a kingdom ready for the fruits of his
+ordered works&mdash;to the fleshy beast who so nearly
+ruined the country. What remained, indeed, was
+the result of his father&rsquo;s genius.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<p>Take up a pack of cards and look at the queen.
+You may see the extraordinary head-gear as worn
+by ladies at the end of the fifteenth century and
+in the first years of the sixteenth, worn in a
+modified form all through the next reign, after
+which that description of head-dress vanished for
+ever, its place to be taken by caps, hats, and
+bonnets.</p>
+
+<p>The richest of these head-dresses were made of
+a black silk or some such black material, the top
+stiffened to the shape of a sloping house-roof, the
+edges falling by the face on either side&mdash;made
+stiff, so as to stand parallel&mdash;these were sewn
+with gold and pearls on colour or white. The
+end of the hood hung over the shoulders and
+down the back; this was surmounted by a stole
+<span class="pagenum"><a name="Page_237" id="Page_237">[<span class="hidden">Pg </span>237]</a></span>
+of stiffened material, also richly sewn with jewels,
+and the whole pinned on to a close-fitting cap of
+a different colour, the edge of which showed above
+the forehead.</p>
+
+<div class="figcenter" style="width: 415px;">
+<img src="images/ecill134.png" width="415" height="450"
+alt="Seven head-dresses for women; side and front view of a shoe" />
+</div>
+
+<p>The more moderate head-dress was of black
+again, but in shape nearly square, and slit at the
+sides to enable it to hang more easily over the
+<span class="pagenum"><a name="Page_238" id="Page_238">[<span class="hidden">Pg </span>238]</a></span>
+shoulders. It was placed over a coif, often of
+white linen or of black material, was turned over
+from the forehead, folded, and pinned back; often
+it was edged with gold.</p>
+
+<p>On either side of the hood were hanging
+ornamental metal-tipped tags to tie back the hood
+from the shoulders, and this became, in time&mdash;that
+is, at the end of the reign&mdash;the ordinary
+manner of wearing them, till they were finally
+made up so.</p>
+
+<p>The ordinary head-dress was of white linen,
+crimped or embroidered in white, made in a piece
+to hang over the shoulders and down the back,
+folded back and stiffened in front to that peculiar
+triangular shape in fashion; this was worn by the
+older women over a white hood.</p>
+
+<p>The plain coif, or close-fitting linen cap, was
+the most general wear for the poor and middle
+classes.</p>
+
+<p>The hair was worn long and naturally over
+the shoulders by young girls, and plainly parted
+in the centre and dressed close to the head by
+women wearing the large head-dress.</p>
+
+<p>Another form of head-dress, less common, was
+the turban&mdash;a loose bag of silk, gold and pearl
+<span class="pagenum"><a name="Page_239" id="Page_239">[<span class="hidden">Pg </span>239]</a></span>
+embroidered, fitting over the hair and forehead
+tightly, and loose above.</p>
+
+<p>The gowns of the women were very simply
+cut, having either a long train or no train at all,
+these last cut to show the under-skirt of some
+fine material, the bodice of which showed above
+the over gown at the shoulders. The ladies who
+wore the
+long gown
+generally
+had it lined
+with some
+fine fur,
+and to prevent
+this
+dragging in
+the mud, as
+also to show
+the elegance of their furs, they fastened the train
+to a button or brooch placed at the back of the
+waistband. This, in time, developed into the
+looped skirts of Elizabethan times.</p>
+
+<div class="figright" style="width: 302px;">
+<img src="images/ecill135.png" width="302" height="250"
+alt="Three women of the time of Henry VII." />
+</div>
+
+<p>The bodice of the gown was square cut and not
+very low, having an ornamental border of fur,
+embroidery, or other rich coloured material sewn on
+<span class="pagenum"><a name="Page_240" id="Page_240">[<span class="hidden">Pg </span>240]</a></span>
+to it. This border went sometimes round the
+shoulders and down the front of the dress to below
+the knees. Above the bodice was nearly always
+seen the <img src="images/v.png" width="13" height="15" alt="V" />-shaped opening of the under petticoat
+bodice, and across and above that, the white
+embroidered or crimped chemise.</p>
+
+<p>The sleeves were as the men&rsquo;s&mdash;tight all the
+way down from the shoulder to the wrist, the
+cuffs coming well over the first
+joints of the fingers (sometimes
+these cuffs are turned back to show
+elaborate linings), or they were made
+tight at the shoulder and gradually
+looser until they became very full
+over the lower arm, edged or lined
+with fur or soft silk, or loose and
+baggy all the way from shoulder to
+hand.</p>
+
+<div class="figleft" style="width: 105px;">
+<img src="images/ecill136.png" width="105" height="250"
+alt="A woman of the time of Henry VII." />
+</div>
+
+<p>At this time Bruges became
+world-famed for her silken texture; her satins were
+used in England for church garments and other
+clothes. The damask silks were greatly in use,
+and were nearly always covered with the peculiar
+semi-Spanish pattern, the base of which was some
+contortion of the pomegranate. Some of these
+<span class="pagenum"><a name="Page_241" id="Page_241">[<span class="hidden">Pg </span>241]</a></span>
+patterns were small and wonderfully fine, depending
+on their wealth of detail for their magnificent
+appearance, others were huge, so that but few
+repeats of the design appeared on the dress. Block-printed
+linens were also in use, and the samples
+in South Kensington will show how beautiful and
+artistic they were, for all their simple design. As
+Bruges supplied us with silks, satins, and velvets,
+the last also beautifully damasked, Ypr&egrave;s sent
+her linen to us, and the whole of Flanders sent
+us painters and illuminators who worked in England
+at the last of the great illuminated books, but this
+art died as printing and illustrating by wood-blocks
+came in to take its place.</p>
+
+<p>Nearly every lady had her own common linen,
+and often other stuffs, woven in her own house,
+and the long winter evenings were great times
+for the sewing chambers, where the lady and her
+maids sat at the looms. To-day one may see in
+Bruges the women at the cottage doors busy over
+their lace-making, and the English women by the
+sea making nets&mdash;so in those times was every
+woman at her cottage door making coarse linens
+and other stuffs to earn her daily bread, while
+my lady was sitting in her chamber weaving, or
+<span class="pagenum"><a name="Page_242" id="Page_242">[<span class="hidden">Pg </span>242]</a></span>
+embroidering a bearing cloth for her child against
+her time.</p>
+
+<p>However, the years of the Wars of the Roses
+had had their effect on every kind of English
+work, and as the most elegant books were painted
+and written by Flemings, as the finest linen came
+from Ypr&egrave;s, the best silks and velvets from Bruges,
+the great masters of painting from Florence,
+Germany, and Belgium, so also the elaborate and
+wonderful embroidery, for which we had been so
+famous, died away, and English work was but
+coarse at the best, until, in the early sixteen
+hundreds, the new style came into use of raising
+figures some height above the ground-work of
+the design, and the rich embroidery of the Stuart
+times revived this art.</p>
+
+<p>I have shown that this age was the age of fine
+patterns, as some ages are ages of quaint cut, and
+some of jewel-laden dresses, and some of dainty
+needlework.</p>
+
+<p>A few ladies wore their gowns open to the
+waist to show the stomacher, as the men did,
+and open behind to the waist, laced across,
+the waist being embraced by a girdle of the
+shape so long in use, with long ends and metal
+<span class="pagenum"><a name="Page_243" id="Page_243">[<span class="hidden">Pg </span>243]</a></span>
+ornaments; the girdle held the purse of the
+lady.</p>
+
+<div class="figcenter ipadtop" style="width: 393px;">
+<a name="pl36" id="pl36"></a>
+<img src="images/ecpl36.jpg" width="393" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF HENRY VII. (1485-1509)</p>
+
+<p class="subcapt ipadboth">Notice the diamond-shaped head-dress, the wide,
+fur-edged gown with its full sleeves.</p>
+
+<p>The illustrations given with this chapter show
+very completely the costume of this time, and,
+except in cases of royal persons or very gorgeously
+apparelled ladies, they are complete enough to
+need no description.</p>
+
+<p>The shoes, it will be seen, are very broad at
+the toes, with thick soles, sometimes made much
+in the manner of sandals&mdash;that is, with only a
+toecap, the rest flat, to be tied on by strings.</p>
+
+<p>As this work is entirely for use, it may be said,
+that artists who have costumes made for them,
+and costumiers who make for the stage, hardly
+ever allow enough material for the gowns worn
+by men and women in this and other reigns, where
+the heaviness and richness of the folds was the
+great keynote. To make a gown, of such a kind
+as these good ladies wore, one needs, at least,
+twelve yards of material, fifty-two inches wide,
+to give the right appearance. It is possible to
+acquire at many of the best shops nowadays
+actual copies of embroidered stuffs, velvets, and
+damask silks of this time, and of stuffs up to
+Early Victorian patterns, and this makes it easy for
+<span class="pagenum"><a name="Page_244" id="Page_244">[<span class="hidden">Pg </span>244]</a></span>
+painters to procure what, in other days, they were
+forced to invent.</p>
+
+<p>Many artists have their costumes made of
+Bolton sheeting, on to which they stencil the
+patterns they wish to use&mdash;this is not a bad
+thing to do, as sheeting is not dear and it falls
+into beautiful folds.</p>
+
+<p>The older ladies and widows of this time
+nearly all dressed in very simple, almost conventual
+garments, many of them wearing the
+&lsquo;barbe&rsquo; of pleated linen, which covered the lower
+part of the face and the chin&mdash;a sort of linen beard&mdash;it
+reached to the breast, and is still worn by
+some religious orders of women.</p>
+
+<p>Badges were still much in use, and the servants
+always wore some form of badge on their left
+sleeve&mdash;either merely the colours of their masters,
+or a small silver, or other metal, shield. Thus,
+the badge worn by the servants of Henry VII.
+would be either a greyhound, a crowned hawthorn
+bush, a red dragon, a portcullis, or the red and
+white roses joined together. The last two were
+used by all the Tudors, and the red rose and the
+portcullis are still used. From these badges we
+get the signs of many of our inns, either started
+<span class="pagenum"><a name="Page_245" id="Page_245">[<span class="hidden">Pg </span>245]</a></span>
+by servants, who used their master&rsquo;s badge for a
+device, or because the inn lay on a certain property
+the lord of which carried chequers, or a red dragon,
+or a tiger&rsquo;s head.</p>
+
+<p>I mentioned the silks of Bruges and her velvets
+without giving enough prominence to the fine
+velvets of Florence, a sample of which, a cope,
+once used in Westminster Abbey, is preserved at
+Stonyhurst College; it was left by Henry VII.
+to &lsquo;Our Monastery of Westminster,&rsquo; and is of
+beautiful design&mdash;a gold ground, covered with
+boughs and leaves raised in soft velvet pile of
+ruby colour, through which little loops of gold
+thread appear.</p>
+
+<p>I imagine Elizabeth of York, Queen to
+Henry VII., of the subtle countenance&mdash;gentle
+Elizabeth, who died in child-birth&mdash;proceeding
+through London, from the Tower to Westminster,
+to her coronation; the streets cleansed
+and the houses hung with tapestry, arras and
+gold cloth, the fine-coloured dresses of the
+crowd, the armoured soldiers, all the rich estate
+of the company about her, and the fine trappings
+of the horses. Our Queen went to her coronation
+with some Italian masts, paper flowers, and some
+<span class="pagenum"><a name="Page_246" id="Page_246">[<span class="hidden">Pg </span>246]</a></span>
+hundreds of thousands of yards of bunting and
+cheap flags; the people mostly in sombre clothes;
+the soldiers in ugly red, stiff coats, were the only
+colour of note passing down Whitehall, past the
+hideous green stuck with frozen Members of
+Parliament, to the grand, wonderful Abbey, which
+has seen so many Queens crowned.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_247" id="Page_247">[<span class="hidden">Pg </span>247]</a></span></p>
+
+<h2>HENRY THE EIGHTH</h2>
+
+<p class="smlfont center">Reigned thirty-eight years: 1509-1547.</p>
+
+<p class="smlfont center">Born, 1491. Married, 1509, Katherine of Aragon;
+1532, Anne Boleyn; 1536, Jane Seymour; 1540,
+Anne of Cleves; 1540, Katherine Howard; 1548,
+Katherine Parr.</p>
+
+
+<h3>THE MEN</h3>
+
+<p class="center">VERSES BY HENRY THE EIGHTH IN PRAISE OF
+CONSTANCY</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;As the holy grouth grene with ivie all alone<br /></span>
+<span class="i0">Whose flowerys cannot be seen and grene wode levys be gone,<br /></span>
+<span class="i0">Now unto my lady, promyse to her I make<br /></span>
+<span class="i0">From all other only to her I me betake.<br /></span>
+<span class="i0">Adew myne owne ladye, adew my specyall<br /></span>
+<span class="i0">Who hath my hart trewly, be sure, and ever shall.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>So, with songs and music of his own composition,
+comes the richest man in Europe to the throne
+of England. Gay, brave, tall, full of conceit in
+his own strength, Henry, a king, a Tudor, a
+handsome man, abounding in excellence of craft
+and art, the inheritance from his father and
+<span class="pagenum"><a name="Page_248" id="Page_248">[<span class="hidden">Pg </span>248]</a></span>
+mother, figures in our pageant a veritable symbol
+of the Renaissance in England.</p>
+
+<p>He had, in common with the marvellous
+characters of that Springtime of History, the
+quick intelligence and all the personal charm
+that the age brought forth in abundance. In his
+reign the accumulated mass of brain all over the
+world budded and flowered; the time gave to us
+a succession of the most remarkable people in any
+historical period, and it is one of the triumphs of
+false reasoning to prove this, in England, to have
+been the result of the separation from the Catholic
+Church. For centuries the Church had organized
+and prepared the ground in which this tree of the
+world&rsquo;s knowledge was planted, had pruned, cut
+back, nursed the tree, until gradually it flowered,
+its branches spread over Christian Europe, and
+when the flowering branch hanging over England
+gave forth its first-fruits, those men who ate of
+the fruit and benefited by the shade were the first
+to quarrel with the gardeners.</p>
+
+<p>In these days there lived and died Botticelli,
+Leonardo da Vinci, Raphael, D&uuml;rer, Erasmus,
+Holbein, Copernicus, Luther, Rabelais, and
+Michael Angelo, to mention a few men of
+<span class="pagenum"><a name="Page_249" id="Page_249">[<span class="hidden">Pg </span>249]</a></span>
+every shade of thought, and in this goodly time
+came Henry to the English throne, to leave, at
+his death, instead of the firm progress of order
+instituted by his father, a bankrupt country with
+an enormously rich Government.</p>
+
+<p>You may see for the later pictures of his reign
+a great bloated mass of corpulence, with running
+ulcers on his legs and the blood of wives and
+people on his hands, striding in his well-known
+attitude over the festering slums his rule had
+produced in London. Harry, <i>Grace &agrave; Dieu</i>!</p>
+
+<p>The mental picture from our&mdash;costume&mdash;point
+of view is widely different from that of the last
+reign. No longer do we see hoods and cowls, brown,
+gray, white, and black in the streets, no longer the
+throngs of fine craftsmen, of church-carvers, gilders,
+embroiderers, candle-makers, illuminators, missal-makers;
+all these served but to swell the ranks
+of the unemployed, and caused a new problem
+to England, never since solved, of the skilled poor
+out of work. The hospitals were closed&mdash;that
+should bring a picture to your eyes&mdash;where the
+streets had been thronged with the doctors of
+the poor and of the rich in their habits, no monks
+or lay brothers were to be seen. The sick, the
+<span class="pagenum"><a name="Page_250" id="Page_250"><!-- original location - Henry VIII costume illustration --></a></span>
+<span class="pagenum"><a name="Page_251" id="Page_251">[<span class="hidden">Pg </span>251]</a></span>
+blind, the insane had no home but the overhung
+back alleys where the foulest diseases might
+accumulate and hot-beds of vice spring up, while
+in the main streets Harry Tudor was carried to
+his bear-baiting, a quivering mass of jewels shaking
+on his corrupt body, on his thumb that wonderful
+diamond the Regale of France, stolen by him from
+the desecrated shrine of St.
+Thomas &agrave; Becket.</p>
+
+<div class="figcenter" style="width: 351px;">
+<img src="images/ecill137.png" width="351" height="600"
+alt="A man of the time of Henry VIII.; collar; ruff" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 385px;">
+<a name="pl37" id="pl37"></a>
+<img src="images/ecpl37.jpg" width="385" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF HENRY VIII. (1509-1547)</p>
+
+<p class="subcapt ipadbase">He wears the club-toed shoes, the white shirt embroidered
+in black silk, the padded shoulders, and
+the flat cap by which this reign is easily remembered.</p>
+
+<div class="figright" style="width: 178px;">
+<img src="images/ecill138.png" width="178" height="250"
+alt="A man of the time of Henry VIII.; breeches" />
+</div>
+
+<p>There are two distinct
+classes of fashion to be seen,
+the German-Swiss fashion
+and the English fashion, a
+natural evolution of the
+national dress. The German
+fashion is that slashed,
+extravagant-looking creation
+which we know so well
+from the drawings of Albert D&uuml;rer and the more
+German designs of Holbein. The garments which
+were known as &lsquo;blistered&rsquo; clothes are excessive
+growths on to the most extravagant designs of the
+Henry VII. date. The shirt cut low in the neck,
+and sewn with black embroidery; the little waistcoat
+ending at the waist and cut straight across from
+<span class="pagenum"><a name="Page_252" id="Page_252">[<span class="hidden">Pg </span>252]</a></span>
+shoulder to shoulder, tied with thongs of leather or
+coloured laces to the breeches, leaving a gap between
+which showed the shirt; the universal pouch on
+the breeches often highly decorated and jewelled.
+From the line drawings you will see that the
+sleeves and the breeches took every form, were
+of any odd assortment of colours,
+were cut, puffed, and splashed all
+over, so that the shirt might be
+pushed through the holes, looking
+indeed &lsquo;blistered.&rsquo;</p>
+
+<div class="figleft" style="width: 108px;">
+<img src="images/ecill139.png" width="108" height="250"
+alt="A man of the time of Henry VIII." />
+</div>
+
+<p>The shoes were of many shapes,
+as I have shown, agreeing in one
+point only&mdash;that the toes should
+be cut very broad, often, indeed,
+quite square.</p>
+
+<p>Short or hanging hair, both
+were the fashion, and little flat
+caps with the rim cut at intervals,
+or the large flat hats of the previous reign, covered
+with feathers and curiously slashed, were worn
+with these costumes.</p>
+
+<p>Cloaks, as you may see, were worn over the
+dress, and also those overcoats shaped much like
+the modern dressing-gown.</p>
+
+<p><span class="pagenum"><a name="Page_253" id="Page_253">[<span class="hidden">Pg </span>253]</a></span>
+It is from these &lsquo;blistered,&rsquo; padded breeches
+that we derive the trunks of the next reign, the
+slashings grown into long ribbon-like slits, the hose
+puffed at the knee.</p>
+
+<p>Separate pairs of sleeves were worn with the
+waistcoats, or with the petti-cotes, a favourite
+sleeve trimming being broad velvet bands.</p>
+
+<p>The invention sprang, as usual, from necessity,
+by vanity to custom. In 1477 the Swiss beat
+and routed the Duke of Burgundy at Nantes, and
+the soldiers, whose clothes were in rags, cut and
+tore up his silk tents, his banners, all material
+they could find, and made themselves clothes of
+these odd pieces&mdash;clothes still so torn and ragged
+that their shirts puffed out of every hole and rent.
+The arrival of the victorious army caused all the
+non-fighters to copy this curious freak in clothes,
+and the courtiers perpetuated the event by proclaiming
+blistering as the fashion.</p>
+
+<p>The other and more usual fashion springs from
+the habit of clothes in bygone reigns.</p>
+
+<p>Let us first take the shirt A. It will be seen
+how, in this reign, the tendency of the shirt was
+to come close about the neck. The previous reign
+showed us, as a rule, a shirt cut very low in the
+<span class="pagenum"><a name="Page_254" id="Page_254">[<span class="hidden">Pg </span>254]</a></span>
+neck, with the hem drawn together with laces;
+these laces pulled more tightly together, thus
+rucking the material into closer gathers, caused
+the cut of the shirt to be altered and made so
+that the hem frilled out round the neck&mdash;a collar,
+in fact. That this collar took all forms under
+certain limitations will be noticed, also that thick
+necked gentlemen&mdash;Henry himself must have
+invented this&mdash;wore the collar of the shirt turned
+down and tied with strings of linen. The cuffs
+of the shirt, when they showed at the wrist, were
+often, as was the collar, sewn with elaborate
+designs in black thread or silk.</p>
+
+<p>Now we take the waistcoat B. As you may
+see from the drawing showing the German form
+of dress, this waistcoat was really a petti-cote,
+a waistcoat with sleeves. This waistcoat was
+generally of richly ornamented material (Henry
+in purple satin, embroidered with his initials and the
+Tudor rose; Henry in brocade covered with posies
+made in letters of fine gold bullion). The material
+was slashed and puffed or plain, and dependent
+for its effect on the richness of its embroidery or
+design of the fabric. It was worn with or without
+sleeves; in most cases the sleeves were detachable.</p>
+
+<p><span class="pagenum"><a name="Page_255" id="Page_255">[<span class="hidden">Pg </span>255]</a></span></p>
+
+<div class="figcenter" style="width: 331px;">
+<img src="images/ecill140.png" width="331" height="600"
+alt="Two types of sleeve; eight hats for men" />
+</div>
+
+<p><span class="pagenum"><a name="Page_256" id="Page_256">[<span class="hidden">Pg </span>256]</a></span>
+The coat C. This coat was made with bases
+like a frock, a skirted coat, in fact; the material
+used was generally plain, of velvet, fine cloth, silk,
+or satin. The varieties of cut were numerous,
+and are shown in the drawings&mdash;open to the waist,
+open all the way in front, close to the neck&mdash;every
+way; where the coat was open in front it generally
+parted to show the bragetto, or jewelled pouch.
+It was a matter for choice spirits to decide whether
+or no they should wear sleeves to their coats, or
+show the sleeves of their waistcoats. No doubt
+Madame Fashion saw to it that the changes were
+rung sufficiently to make hay while the sun shone
+on extravagant tastes. The coat was held at the
+waist with a sash of silk tied in a bow with short
+ends. Towards the end of the reign, foreshadowing
+the Elizabethan jerkin or jacket, the custom
+grew more universal of the coat with sleeves and
+the high neck, the bases were cut shorter to show
+the full trunks, and the waistcoat was almost
+entirely done away with, the collar grew in proportion,
+and spread, like the tail of an angry turkey,
+in ruffle and folded pleat round the man&rsquo;s neck.</p>
+
+<div class="figcenter ipadtop" style="width: 398px;">
+<a name="pl38" id="pl38"></a>
+<img src="images/ecpl38.jpg" width="398" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF HENRY VIII. (1509-1547)</p>
+
+<p class="subcapt ipadbase">This is the extreme German-English fashion. In
+Germany and Switzerland this was carried to greater
+lengths.</p>
+
+<p>The overcoat D is the gown of the previous
+reign cut, for the dandy, into a shorter affair,
+<span class="pagenum"><a name="Page_257" id="Page_257">[<span class="hidden">Pg </span>257]</a></span>
+reaching not far below the knee; for the grave
+man it remained long, but, for all, the collar had
+changed to a wide affair stretching well over the
+shoulders. It was made, this collar, of such stuff
+as lined the cloak, maybe it was of fur, or of satin,
+of silk, or of cloth of gold. The tremendous folds
+of these overcoats gave
+to the persons in them a
+sense of splendour and
+dignity; the short sleeves
+of the fashionable overcoats,
+puffed and swollen,
+barred with rich <i>appliqu&eacute;</i>
+designs or bars of fur,
+reaching only to the
+elbow, there to end in
+a hem of fur or some
+rich stuff, the collar as
+wide as these padded
+shoulders, all told in effect as garments which
+gave a great air of well-being and richness to their
+owner.</p>
+
+<div class="figright" style="width: 163px;">
+<img src="images/ecill141.png" width="163" height="250"
+alt="A man of the time of Henry VIII." />
+</div>
+
+<p>Of course, I suppose one must explain, the
+sleeves varied in every way: were long, short,
+full, medium full, according to taste. Sometimes
+<span class="pagenum"><a name="Page_258" id="Page_258">[<span class="hidden">Pg </span>258]</a></span>
+the overcoats were sleeveless. Beneath these
+garments the trunks were worn&mdash;loose little
+breeches, which, in the German style, were
+bagged, puffed, rolled, and slashed in infinite
+varieties. Let it be noticed that the cutting of
+slashes was hardly ever a straight slit, but in the
+curve of an elongated <img src="images/s.png" width="12" height="15" alt="S" />
+or a double <img src="images/s.png" width="12" height="15" alt="S" /> curve.
+Other slashes were squared top and bottom.</p>
+
+<div class="figcenter" style="width: 314px;">
+<img src="images/ecill142.png" width="314" height="250"
+alt="Three men of the time of Henry VIII." />
+</div>
+
+<p>All men wore tight hose, in some cases puffed
+at the knee; in fact, the bagging, sagging, and
+slashing of hose suggested the separate breeches
+or trunks of hose.</p>
+
+<div class="figcenter ipadtop" style="width: 243px;">
+<a name="pl39" id="pl39"></a>
+<img src="images/ecpl39.jpg" width="243" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF HENRY VIII. (1509-1547)</p>
+
+<p class="subcapt ipadbase">A plain but rich looking dress. The peculiar head-dress
+has a pad of silk in front to hold it from the
+forehead. The half-sleeves are well shown.</p>
+
+<p>The shoes were very broad, and were sometimes
+stuffed into a mound at the toes, were sewn with
+<span class="pagenum"><a name="Page_259" id="Page_259">[<span class="hidden">Pg </span>259]</a></span>
+precious stones, and, also, were cut and puffed
+with silk.</p>
+
+<div class="figright" style="width: 135px;">
+<img src="images/ecill143.png" width="135" height="250"
+alt="A man of the time of Henry VIII." />
+</div>
+
+<p>The little flat cap will be seen in all its varieties
+in the drawings.</p>
+
+<p>The Irish were forbidden by law to wear a
+shirt, smock, kerchor, bendel, neckerchor, mocket
+(a handkerchor), or linen cap coloured or dyed
+with saffron; or to wear in
+shirts or smocks above seven
+yards of cloth.</p>
+
+<p>To wear black genet you
+must be royal; to wear sable
+you must rank above a viscount;
+to wear marten or velvet trimming
+you must be worth over
+two hundred marks a year.</p>
+
+<p>Short hair came into fashion
+about 1521.</p>
+
+<div class="figcenter" style="width: 316px;">
+<img src="images/ecill144.png" width="316" height="300"
+alt="Three men of the time of Henry VIII. (torso only); three
+types of shoe; two types of boot; a cod-piece" />
+</div>
+
+<p>So well known is the story
+of Sir Philip Calthrop and John Drakes the
+shoemaker of Norwich, who tried to ape the
+fashion, that I must here allude to this ancestor
+of mine who was the first of the dandies of note,
+among persons not of the royal blood. The story
+itself, retold in every history of costume, is to this
+<span class="pagenum"><a name="Page_260" id="Page_260">[<span class="hidden">Pg </span>260]</a></span>
+effect: Drakes, the shoemaker, seeing that the
+county talked of Sir Philip&rsquo;s clothes, ordered a
+gown from the same tailor. This reached the ears
+of Sir Philip, who then ordered his gown to be
+cut as full of slashes as the shears could make it.
+The ruin of cloth so staggered the shoemaker
+that he vowed to keep to his own humble fashion
+in future. No doubt Sir Philip&rsquo;s slashes were
+cunningly embroidered round, and the gown made
+rich and sparkling with the device of seed pearls so
+much in use. This man&rsquo;s son, also Sir Philip, married
+Amy, daughter of Sir William Boleyn, of Blickling,
+Norfolk. She was aunt to Queen Anne Boleyn.</p>
+
+
+<p><span class="pagenum"><a name="Page_261" id="Page_261">[<span class="hidden">Pg </span>261]</a></span></p>
+
+<h3>THE WOMEN</h3>
+
+<p>One cannot call to mind pictures of this time
+without, in the first instance, seeing the form of
+Henry rise up sharply before us followed by his
+company of wives. The fat, uxorious giant comes
+straight to the front of the picture, he dominates
+the age pictorially; and, as a fitting background,
+one sees the six women who were sacrificed on
+the political altar to pander to his vanity.
+Katherine of Aragon&mdash;the fine and noble lady&mdash;a
+tool of political desires, cast off after Henry
+had searched his precious conscience, after eighteen
+years of married life, to find that he had scruples
+as to the spirituality of the marriage. Anne
+Boleyn, tainted with the life of the Court, a
+pitiful figure in spite of all her odious crimes;
+how often must a ghost, in a black satin nightdress
+edged with black velvet, have haunted the
+royal dreams. And the rest of them, clustered
+round the vain king, while in the background
+the great figures of the time loom hugely as they
+play with the crowned puppets.</p>
+
+<div class="figcenter" style="width: 334px;">
+<img src="images/ecill145.png" width="334" height="400"
+alt="Eight stages in the evolution of the hood" />
+</div>
+
+<p>The note of the time, as we look at it with
+our eyes keen on the picture, is the final evolution
+<span class="pagenum"><a name="Page_262" id="Page_262">[<span class="hidden">Pg </span>262]</a></span>
+of the hood. Bit by bit, inch by inch, the plain
+fabric has become enriched, each succeeding step
+in an elaboration of the simple form; the border
+next to the face is turned back, then the hood is
+lined with fine stuff and the turnover shows this
+to advantage; then the sides are split and the
+back is made more full; then a tag is sewn on
+to the sides by which means the cut side may
+<span class="pagenum"><a name="Page_263" id="Page_263">[<span class="hidden">Pg </span>263]</a></span>
+be fastened off the shoulders. The front is now
+stiffened and shaped at an angle, this front is
+sewn with jewels, and, as the angle forms a gap
+between the forehead and the point of the hood,
+a pad is added to fill in the vacant space. At
+last one arrives at the diamond-shaped head-dress
+worn in this reign,
+and, in this reign,
+elaborated in every
+way, elaborated, in
+fact, out of existence.
+In order to make the
+head-dress in its 1509
+state you must make
+the white lining with
+the jewelled turnover
+as a separate cap.
+However, I think
+that the drawings speak for themselves more
+plainly than I can write.</p>
+
+<div class="figright" style="width: 213px;">
+<img src="images/ecill146.png" width="213" height="250"
+alt="Four types of head-dress for women" />
+</div>
+
+<p>Every device for crowding jewels together was
+used, criss-cross, in groups of small numbers, in
+great masses. Pendants were worn, hung upon
+jewelled chains that wound twice round the neck,
+once close to the neck, the second loop loose
+<span class="pagenum"><a name="Page_264" id="Page_264">[<span class="hidden">Pg </span>264]</a></span>
+and passed, as a rule, under the lawn shift. Large
+brooches decorated the bodices, brooches with drop
+ornaments, the body of the brooch of fine gold
+workmanship, many of them wrought in Italy.
+The shift, delicately embroidered with black silk,
+had often a band of jewellery upon it, and this
+shift was square cut, following the shape of the
+bodice.</p>
+
+<p>The bodice of the gown was square cut and
+much stiffened to a box-like shape. The sleeves
+of the gown were narrow at the shoulders, and
+after fitting the arm for about six inches down
+from the shoulders, they widened gradually until,
+just below the elbow, they became square and
+very full; in this way they showed the false under-sleeve.
+This under-sleeve was generally made of
+a fine rich-patterned silk or brocade, the same
+stuff which formed the under-gown; the sleeve
+was a binding for the very full lawn or cambric
+sleeve which showed in a ruffle at the wrist and
+in great puffs under the forearm. The under-sleeve
+was really more like a gauntlet, as it was
+generally held together by buttoned tags; it was
+puffed with other coloured silk, slashed to show
+the shift, or it might be plain.</p>
+
+<p><span class="pagenum"><a name="Page_265" id="Page_265">[<span class="hidden">Pg </span>265]</a></span>
+Now the sleeve of the gown was subject to
+much alteration. It was, as I have described,
+made very square and full at the elbow, and over
+this some ladies wore a false sleeve of gold net&mdash;you
+may imagine the length to which net will
+go, studied with jewels,
+crossed in many ways,
+twisted into patterns,
+sewn on to the sleeve
+in sloping lines&mdash;but,
+besides this, the sleeve
+was turned back to
+form a deep square
+cuff which was often
+made of black or
+coloured velvet, or of
+fur.</p>
+
+<div class="figright" style="width: 169px;">
+<img src="images/ecill147.png" width="169" height="250"
+alt="A woman of the time of Henry VIII.; a head-dress" />
+</div>
+
+<p>In all this I am
+taking no account of
+the German fashions, which I must describe separately.
+Look at the drawings I have made of the
+German fashion. I find that they leave me dumb&mdash;mere
+man has but a limited vocabulary when the
+talk comes to clothes&mdash;and these dresses that look
+like silk pumpkins, blistered and puffed and slashed,
+<span class="pagenum"><a name="Page_266" id="Page_266">[<span class="hidden">Pg </span>266]</a></span>
+sewn in ribs, swollen, and altogether so queer,
+are beyond the furious dashes that my pen makes
+at truth and millinery. The costumes of the
+people of this age have grown up in the minds
+of most artists as being inseparable from the
+drawings of Holbein and D&uuml;rer.</p>
+
+<div class="figcenter" style="width: 195px;">
+<img src="images/ecill148.png" width="195" height="250"
+alt="Two women of the time of Henry VIII." />
+</div>
+
+<p>Surely, I say to myself, most people who will
+read this will know their Holbein and D&uuml;rer,
+between whom there
+lies a vast difference,
+but who between them
+show, the one, the estate
+of England, and the
+other, those most German
+fashions which had
+so powerful an influence
+upon our own. Both
+these men show the profusion
+of richness, the
+extravagant follies of the dress of their time,
+how, to use the words of Pliny: &lsquo;We penetrate
+into the bowels of the earth, digging veins of
+gold and silver, and ores of brass and lead; we
+seek also for gems and certain little pebbles.
+Driving galleries into the depths, we draw out the
+<span class="pagenum"><a name="Page_267" id="Page_267">[<span class="hidden">Pg </span>267]</a></span>
+bowels of the earth, that the gems we seek may
+be worn on the finger. How many hands are
+wasted in order that a single joint may sparkle!
+If any hell there were, it had assuredly ere now
+been disclosed by the borings of avarice and luxury!&rsquo;</p>
+
+<div class="figcenter ipadtop" style="width: 398px;">
+<a name="pl40" id="pl40"></a>
+<img src="images/ecpl40.jpg" width="398" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF HENRY VIII. (1509-1547)</p>
+
+<p class="subcapt ipadbase">Notice the wide cuffs covered with gold network,
+and the rich panel of the under-skirt.</p>
+
+<div class="figright" style="width: 197px;">
+<img src="images/ecill149.png" width="197" height="250"
+alt="A woman of the time of Henry VIII.; three types of sleeve" />
+</div>
+
+<p>Or in the writings of Tertullian, called by Sigismund
+Feyerabendt,
+citizen and
+printer of Frankfort,
+a &lsquo;most strict
+censor who most
+severely blames
+women:&rsquo; &lsquo;Come
+now,&rsquo; says Tertullian,
+&lsquo;if from
+the first both the
+Milesians sheared
+sheep, and the
+Chinese spun from
+the tree, and the
+Tyrians dyed and the Phrygians embroidered,
+and the Babylonians inwove; and if pearls shone
+and rubies flashed, if gold itself, too, came up from
+the earth with the desire for it; and if now, too,
+no lying but the mirror&rsquo;s were allowed, Eve, I
+<span class="pagenum"><a name="Page_268" id="Page_268">[<span class="hidden">Pg </span>268]</a></span>
+suppose, would have desired these things on her
+expulsion from Paradise, and when spiritually
+dead.&rsquo;</p>
+
+<p>One sees by the tortured and twisted German
+fashion that the hair was plaited, and so, in
+curves and twists, dropped into coarse gold-web
+nets, thrust into web nets with velvet pouches to
+them, so that the hair
+stuck out behind in a great
+knob, or at the side in
+two protuberances; over
+all a cap like to the
+man&rsquo;s, but that it was
+infinitely more feathered
+and jewelled. Then,
+again, they wore those
+hideous barbes or beard-like
+linen cloths, over the
+chin, and an infinite variety of caps of linen
+upon their heads&mdash;caps which showed always the
+form of the head beneath.</p>
+
+<div class="figcenter" style="width: 229px;">
+<img src="images/ecill150.png" width="229" height="300"
+alt="A woman of the time of Henry VIII.; three types of hat for women" />
+</div>
+
+<p>In common with the men, their overcoats and
+cloaks were voluminous, and needed to be so if
+those great sleeves had to be stuffed into them;
+fur collars or silk collars, with facings to match,
+<span class="pagenum"><a name="Page_269" id="Page_269">[<span class="hidden">Pg </span>269]</a></span>
+were rolled over to show little or great expanses
+of these materials.</p>
+
+<p>Here, to show what dainty creatures were our
+lady ancestors, to show from what beef and blood
+and bone we come, I give you (keep your eye
+meanwhile upon the wonderful dresses) the daily
+allowance of a Maid of Honour.</p>
+
+<div class="blockquot">
+<p>Every morning at breakfast one chyne of
+beef from the kitchen, one chete loaf and one
+maunchet at the pantry bar, and one gallon of
+ale at the buttery bar.</p>
+
+<p>For dinner a piece of beef, a stroke of roast
+and a reward from the kitchen. A caste of
+chete bread from the pantry bar, and a gallon
+of ale at the buttery bar.</p>
+
+<p>Afternoon&mdash;should they suffer the pangs
+of hunger&mdash;a maunchet of bread from the
+pantry bar, and a gallon of ale at the buttery
+bar.</p>
+
+<p>Supper, a messe of pottage, a piece of
+mutton and a reward from the kitchen. A
+caste of chete bread from the pantry bar, and
+a gallon of ale at the buttery bar.</p>
+
+<p>After supper&mdash;to insure a good night&rsquo;s rest&mdash;a
+chete loaf and a maunchet from the
+pantry bar, and half a gallon of ale from the
+seller bar.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_270" id="Page_270">[<span class="hidden">Pg </span>270]</a></span>
+Four and a half gallons of ale! I wonder did
+they drink it all themselves? All this, and down
+in the mornings in velvets and silks, with faces as
+fresh as primroses.</p>
+
+<p>It is the fate of all articles of clothing or adornment,
+naturally tied or twisted, or folded and
+pinned by the devotees of fashion, to become, after
+some little time, made up, ready made, into the
+shapes which had before some of the owner&rsquo;s mood
+and personality about them. These hoods worn by
+the women, these wide sleeves to the gowns, these
+hanging sleeves to the overcoats, the velvet slip
+of under-dress, all, in their time, became falsified
+into ready-made articles. With the hoods you
+can see for yourselves how they lend themselves
+by their shape to personal taste; they were made
+up, all ready sewn; where pins had been used, the
+folds of velvet at the back were made steadfast,
+the crimp of the white linen was determined, the
+angle of the side-flap ruled by some unwritten law
+of mode. In the end, by a process of evolution,
+the diamond shape disappeared, and the cap was
+placed further back on the head, the contour being
+circular where it had previously been pointed.
+The velvet hanging-piece remained at the back
+<span class="pagenum"><a name="Page_271" id="Page_271">[<span class="hidden">Pg </span>271]</a></span>
+of the head, but was smaller, in one piece, and
+was never pinned up, and the entire shape
+gradually altered towards, and finally into, the
+well-known Mary Queen of Scots head-dress,
+with which every reader must be familiar.</p>
+
+<div class="figright" style="width: 262px;">
+<img src="images/ecill151.png" width="262" height="250"
+alt="Two women of the time of Henry VIII." />
+</div>
+
+<p>It has often occurred to me while writing this
+book that the absolute history of one such head-dress
+would be
+of more help
+than these isolated
+remarks,
+which have to
+be dropped only
+to be taken up
+in another reign,
+but I have felt
+that, after all,
+the arrangement
+is best as it
+stands, because we can follow, if we are willing, the
+complete wardrobe of one reign into the next,
+without mixing the two up. It is difficult to
+keep two interests running together, but I myself
+have felt, when reading other works on the subject,
+that the way in which the various articles
+<span class="pagenum"><a name="Page_272" id="Page_272">[<span class="hidden">Pg </span>272]</a></span>
+of clothing are mixed up is more disturbing than
+useful.</p>
+
+<p>The wide sleeve to the gown, once part and
+parcel of the gown, was at last made separate
+from it&mdash;as a cuff more than a sleeve naturally
+widening&mdash;and in the next reign, among the most
+fashionable, left out altogether. The upper part
+of the dress, once cut low and square to show
+the under-dress, or a vest of other stuff, was now
+made, towards the end of the reign, with a false
+top of other stuff, so replacing the under-dress.</p>
+
+<p>Lacing was carried to extremes, so that the body
+was pinched into the hard roll-like appearance
+always identified with this time; on the other
+hand, many, wiser women I should say, were this
+the place for morals, preferred to lace loose, and
+show, beneath the lacing, the colour of the under-dress.</p>
+
+<p>Many were the varieties of girdle and belt,
+from plain silk sashes with tasselled ends to rich
+jewelled chain girdles ending in heavy ornaments.</p>
+
+<p>For detail one can do no better than go to
+Holbein, the master of detail, and to-day, when
+photographs of pictures are so cheap, and lives
+of painters, copiously illustrated, are so easily
+<span class="pagenum"><a name="Page_273" id="Page_273">[<span class="hidden">Pg </span>273]</a></span>
+attainable at low prices, it is the finest education,
+not only in painting, but in Tudor atmosphere
+and in matters of dress, to go straightway and
+study the master&mdash;that master who touched, without
+intention, on the moral of his age when he
+painted a miniature of the Blessed Thomas More
+on the back of a playing card.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_274" id="Page_274">[<span class="hidden">Pg </span>274]</a></span></p>
+
+<h2>EDWARD THE SIXTH</h2>
+
+<p class="smlfont center">Reigned six years: 1547-1553.</p>
+
+<p class="smlfont center">Born, 1537.</p>
+
+
+<h3>THE MEN AND WOMEN</h3>
+
+<div class="figleft" style="width: 128px;">
+<img src="images/ecill152.png" width="128" height="250"
+alt="A man of the time of Edward VI.; a type of hat" />
+</div>
+
+<p>Here we have a reign which,
+from its very shortness, can
+hardly be expected to yield
+us much in the way of change,
+yet it shows, by very slight
+movements, that form of growth
+which preludes the great changes
+to come.</p>
+
+<p>I think I may call a halt here,
+and proceed to tell you why
+this volume is commenced with
+Henry VII., called the Tudor
+and Stuart volume, and ends with the Cromwells.
+It is because, between these reigns, the tunic
+achieves maturity, becomes a doublet, and dies,
+<span class="pagenum"><a name="Page_275" id="Page_275">[<span class="hidden">Pg </span>275]</a></span>
+practically just in the middle of the reign of
+Charles II. of pungent memory. The peculiar
+garment, or rather, this garment peculiar to a
+certain time, runs through its various degrees of
+cut. It is, at first, a loose body garment with
+skirts; the skirts become arranged in precise folds,
+the folds on the skirt are shortened, the shorter
+they become the tighter becomes the coat; then
+we run through with this coat in its periods of
+puffings, slashings, this, that, and the other sleeve,
+all coats retaining the small piece of skirt or
+basque, and so to the straight, severe Cromwellian
+jerkin with the piece of skirt cut into
+tabs, until the volume ends, and hey presto!
+there marches into history a Persian business&mdash;a
+frock coat, straight, trim, quite a near cousin
+to our own garment of afternoon ceremony.</p>
+
+<p>For a sign of the times it may be mentioned
+that a boy threw his cap at the Host just at the
+time of the Elevation.</p>
+
+<p>To Queen Elizabeth has been given the palm
+for the wearing of the first silk stockings in
+England, but it is known that Sir Thomas Gresham
+gave a pair of silk stockings to Edward VI.</p>
+
+<p>We now see a more general appearance in the
+<span class="pagenum"><a name="Page_276" id="Page_276">[<span class="hidden">Pg </span>276]</a></span>
+streets of the flat cap upon the heads of citizens.
+The hood, that eminently practical head-gear, took
+long to die, and, when at last it went out of fashion,
+except among the labouring classes, there came in
+the cap that now remains to us in the cap of the
+Beefeaters at
+the Tower of
+London.</p>
+
+<div class="figleft" style="width: 220px;">
+<img src="images/ecill153.png" width="220" height="250"
+alt="Two men of the time of Edward VI." />
+</div>
+
+<p>It is the
+time of jerkin
+or jacket,
+doublet or
+coat, and hose&mdash;generally
+worn with
+trunks, which
+were puffed,
+short knickerbockers.</p>
+
+<p>The flat cap, afterwards the statute cap as ordered
+by Elizabeth, became, as I say, the ordinary head-wear,
+though some, no doubt, kept hoods upon
+their heavy travelling cloaks. This cap, which some
+of the Bluecoat Boys still wear, was enforced upon
+the people by Elizabeth for the encouragement
+<span class="pagenum"><a name="Page_277" id="Page_277">[<span class="hidden">Pg </span>277]</a></span>
+of the English trade of cappers. &lsquo;One cap of
+wool, knit, thicked, and dressed in England,&rsquo; was
+to be worn by all over six years of age, except
+such persons as had &lsquo;twenty marks by year in
+lands, and their heirs, and such as have borne office
+of worship.&rsquo;</p>
+
+<p>Edward, according to the portraits, always wore
+a flat cap, the base of the crown ornamented with
+bands of jewels.</p>
+
+<p>The Bluecoat Boys, and long may they have
+the sense to keep to their dress, show us exactly
+the ordinary dress of the citizen, except that the
+modern knickerbocker has taken the place of the
+trunks. Also, the long skirts of these blue coats
+were, in Edward&rsquo;s time, the mark of the grave
+man, others wore these same skirts cut to the
+knee.</p>
+
+<p>That peculiar fashion of the previous reign&mdash;the
+enormously broad-shouldered appearance&mdash;still
+held in this reign to some extent, though the
+collars of the jerkins, or, as one may more easily
+know them, overcoats or jackets, open garments,
+were not so wide, and allowed more of the puffed
+shoulder of the sleeve to show. Indeed, the collar
+became quite small, as in the Windsor Holbein
+<span class="pagenum"><a name="Page_278" id="Page_278">[<span class="hidden">Pg </span>278]</a></span>
+painting of Edward, and the puff in the shoulders
+not so rotund.</p>
+
+<p>The doublet of this reign shows no change, but
+the collar of the shirt begins to show signs of
+the ruff of later years. It is no larger, but is
+generally left untied with the ornamental strings
+hanging.</p>
+
+<p>Antiquarian research has, as it often does,
+muddled us as to the meaning of the word
+&lsquo;partlet.&rsquo; Fairholt, who is very good in many
+ways, puts down in his glossary, &lsquo;Partlet: A
+gorget for women.&rsquo; Then he goes on to say that
+a partlet may be goodness knows what else.
+Minshein says they are &lsquo;part of a man&rsquo;s attire,
+as the loose collar of a doublet, to be set on or
+taken off by itself, without the bodies, as the
+picadillies now a daies, or as mens&rsquo; bands, or
+womens&rsquo; neckerchiefs, which are in some, or at
+least have been within memorie, called partlets.&rsquo;</p>
+
+<p>Sir F. Madden says: &lsquo;The partlet evidently
+appears to have been the corset or habit-shirt
+worn at that period, and which so commonly
+occurs in the portraits of the time, generally made
+of velvet and ornamented with precious stones.&rsquo;</p>
+
+<div class="figcenter ipadtop" style="width: 378px;">
+<a name="pl41" id="pl41"></a>
+<img src="images/ecpl41.jpg" width="378" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN AND WOMAN OF THE TIME OF
+EDWARD VI. (1547-1553)</p>
+
+<p class="subcapt ipadbase">The change from the dress of the previous reign
+should be easily noticed, especially in the case of the
+woman. This dress is, of course, of the plainest in
+this time.</p>
+
+<p>Hall, the author of &lsquo;Satires,&rsquo; 1598, speaks of a
+<span class="pagenum"><a name="Page_279" id="Page_279">[<span class="hidden">Pg </span>279]</a></span>
+man, an effeminate dandy, as wearing a partlet
+strip. It appears to me, who am unwillingly
+forced into judging between so many learned
+persons, that, from all I have been able to gather
+from contemporary records and papers, the partlet
+is indeed, as Minshein says, &lsquo;the loose collar of a
+doublet,&rsquo; in reality the same thing as a shirt band.</p>
+
+<div class="figcenter" style="width: 318px;">
+<img src="images/ecill154.png" width="318" height="300"
+alt="Two men of the time of Edward VI." />
+</div>
+
+<p>Henry VIII. wore a band about his neck, the
+forerunner of the ruff. Some of his bands were
+of silver cloth with ruffs to them, others, as I
+have shown, were wonderfully embroidered.</p>
+
+<p><span class="pagenum"><a name="Page_280" id="Page_280">[<span class="hidden">Pg </span>280]</a></span>
+In this case, then, the partlet is head of the
+family tree to our own collar, &lsquo;to be set on or
+taken off by itself,&rsquo; and so by way of ruff, valued
+at threescore pound price apiece, to plain bands,
+to falling bands, laced neckcloth, stock&mdash;to the
+nine pennyworth of misery we bolt around our
+necks.</p>
+
+<p>Dress, on the whole, is much plainer, sleeves
+are not so full of cuts and slashes, and they fit
+more closely to the arm. The materials are rich,
+but the ornament is not so lavish; the portrait
+of Edward by Gwillim Stretes is a good example
+of ornament, rich but simple. Shoes are not cut
+about at the toe quite with the same splendour,
+but are still broad in the toe.</p>
+
+<p>For the women, it may be said that the change
+towards simplicity is even more marked. The
+very elaborate head-dress, the folded, diamond-shaped
+French hood has disappeared almost entirely,
+and, for the rich, the half hoop, set back from the
+forehead with a piece of velvet or silk to hang
+down the back, will best describe the head-gear.
+From that to the centre-pointed hoop shows the
+trend of the shape. This latest form of woman&rsquo;s
+head apparel was born, I think, out of the folds
+<span class="pagenum"><a name="Page_281" id="Page_281">[<span class="hidden">Pg </span>281]</a></span>
+of the linen cap worn in the house, and this,
+being repeated in the velvet night-caps, became
+the extreme of fashion. The drawing will show
+how the square end of the linen cap, falling in
+the centre of the circular cap-shape, cut the semicircle
+and overlapped it, thus giving the appearance
+later to become exaggerated into a form cut
+especially to that shape. (I try to be as lucid
+as I can manage, but the difficulties of describing
+such evolutions in any but tangled language I
+leave the reader to imagine.)</p>
+
+<div class="figcenter" style="width: 429px;">
+<img src="images/ecill155.png" width="429" height="300"
+alt="Two women of the time of Edward VI.; two types of head-dress" />
+</div>
+
+<p>The women are also wearing cloth hoods, rather
+baggy cap-like hoods, with a hanging-piece behind.</p>
+
+<p><span class="pagenum"><a name="Page_282" id="Page_282">[<span class="hidden">Pg </span>282]</a></span>
+The most notable change is the collar of the
+gown, which suddenly springs into existence. It
+is a high collar and very open in front, showing
+a piece of the under-dress. On this collar is
+sewn&mdash;what I shall call&mdash;the woman&rsquo;s partlet, as
+the embroidery is often detachable and answers the
+same purpose as the man&rsquo;s partlet; this later became
+a separate article, and was under-propped with
+wires to hold it out stiffly.</p>
+
+<p>The same stiff-bodied appearance holds good,
+but in more simple dresses the skirts were not
+quite as voluminous as heretofore.</p>
+
+<p>With overcoats in general the hanging sleeve
+is being worn, the arm of the wearer coming out
+just below the puffed shoulder-piece.</p>
+
+<p>With these remarks we may safely go on to
+the reign of Mary; another reign which does not
+yield us much in the way of clothes.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_283" id="Page_283">[<span class="hidden">Pg </span>283]</a></span></p>
+
+<h2>MARY</h2>
+
+<p class="smlfont center">Reigned five years: 1553-1558.</p>
+
+<p class="smlfont center">Born, 1516. Married, 1554, Philip of Spain.</p>
+
+
+<h3>THE MEN AND WOMEN</h3>
+
+<p>I cannot do better than commence this chapter
+by taking you back to the evening of August 3,
+1553. Mary, with her half-sister Elizabeth, entered
+London on this date. At Aldgate she was met
+by the Mayor of London, who gave her the City
+sword. From the Antiquarian Repertory comes
+this account:</p>
+
+<div class="blockquot">
+<p>&lsquo;First, the citizens&rsquo; children walked before her
+magnificently dressed; after followed gentlemen
+habited in velvets of all sorts, some black, others
+in white, yellow, violet, and carnation; others
+wore satins or taffety, and some damasks of all
+colours, having plenty of gold buttons; afterwards
+followed the Mayor, with the City Companies, and
+the chiefs or masters of the several trades; after
+<span class="pagenum"><a name="Page_284" id="Page_284">[<span class="hidden">Pg </span>284]</a></span>
+them, the Lords, richly habited, and the most
+considerable knights; next came the ladies, married
+and single, in the midst of whom was the Queen
+herself, mounted on a small white ambling nag,
+the housings of which were fringed with gold
+thread; about her were six lacqueys, habited in
+vests of gold.</p>
+
+<p>&lsquo;The Queen herself was dressed in violet velvet,
+and was then about forty years of age, and rather
+fresh coloured.</p>
+
+<p>&lsquo;Before her were six lords bareheaded, each
+carrying in his hand a yellow mace, and some
+others bearing the arms and crown. Behind her
+followed the archers, as well of the first as the
+second guard.</p>
+
+<p>&lsquo;She was followed by her sister, named Madame
+Elizabeth, in truth a beautiful Princess, who was
+also accompanied by ladies both married and
+single.&rsquo;</p>
+</div>
+
+<p>In the crowds about the city waiting to stare
+at the new Queen as she passed by, one could
+recognise the various professions by their colours.
+The trained bands in white doublets with the City
+arms before and behind; lawyers in black; sheriffs
+and aldermen in furred gowns with satin sleeves;
+citizens in brown cloaks and workers in cloth or
+<span class="pagenum"><a name="Page_285" id="Page_285">[<span class="hidden">Pg </span>285]</a></span>
+leather doublets; citizens&rsquo; servants in blue liveries;
+gentlemen&rsquo;s servants in very gorgeous liveries of
+their masters&rsquo; colours. Here is a description of
+a gentleman&rsquo;s page and his clothes:</p>
+
+<div class="blockquot">
+<p>&lsquo;One doublet of yelow million fustian, th&rsquo;one
+halfe buttoned with peche-colour buttons, and
+the other half laced downwards; one payer of
+peche-colour, laced with smale tawnye lace; a
+graye hat with a copper edge rounde about it,
+with a band p&rsquo;cell of the same hatt; a payer of
+watchet (blue) stockings. Likewise he hath twoe
+clokes, th&rsquo;one of vessey colour, garded with twoe
+yards of black clothe and twisted lace of carnacion
+colour, and lyned with crymsone bayes; and
+th&rsquo;other is a red shipp russet colour, striped about
+th&rsquo;cape and down the fore face, twisted with two
+rows of twisted lace, russet and gold buttons afore
+and uppon the shoulder, being of the clothe itself,
+set with the said twisted lace and the buttons of
+russet silk and gold.&rsquo;</p>
+</div>
+
+<p>This will give some notion of the elaborate
+liveries worn, and also it will show how, having
+understood the forms of the garments and the
+material which may be used, the rest, ornament
+and fancy, depend on the sense of the reader.</p>
+
+<div class="figcenter" style="width: 111px;">
+<img src="images/ecill156.png" width="111" height="250"
+alt="A man of the time of Mary" />
+</div>
+
+<p><span class="pagenum"><a name="Page_286" id="Page_286">[<span class="hidden">Pg </span>286]</a></span>
+A change has come over the streets, the town
+is full of Spaniards come over with Philip, and
+these bring with them many innovations in dress.
+The most noticeable is the high-peaked Spanish
+hat, a velvet bag with a narrow brim, worn on
+one side of the head. There is,
+also, a hard-crowned hat, round
+the crown-base of which is a
+gold cord clasped by a jewel;
+a feather is stuck into this hat.
+Yet the mass of citizens wear
+the flat cap, some of them, the
+older men, have a coif tied
+under their chins, and over this
+the flat cap. Again, older men
+wear black velvet skull caps.</p>
+
+<p>With these Spaniards comes,
+also, the first appearance of
+the ruff, very neat and small.</p>
+
+<p>Although the overcoats of Henry&rsquo;s and Edward&rsquo;s
+reigns still form the principal wear, the short
+Spanish cloak has come in, cut in full folds, and
+reaching not far below the waist. They also
+brought in the cloak with a turned up high collar;
+and some had sleeves to their cloaks.</p>
+
+<div class="figcenter ipadtop" style="width: 349px;">
+<a name="pl42" id="pl42"></a>
+<img src="images/ecpl42.jpg" width="349" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF MARY (1553-1558)</p>
+
+<p class="subcapt ipadbase">The half-way between the dress of 1530 and 1560.
+A cloak very much of the period, and a tunic in the
+state of evolution towards the doublet.</p>
+
+<p><span class="pagenum"><a name="Page_287" id="Page_287">[<span class="hidden">Pg </span>287]</a></span>
+One sees more beards and moustaches, short
+clipped beards, and beards with two points.</p>
+
+<p>Shoes are now more to the shape of the foot,
+and high boots strapped up over the knee, also
+half-boots with the tops turned over to be seen.
+Often, where the hose meet the
+trunks, these are turned down.</p>
+
+<div class="figright" style="width: 140px;">
+<img src="images/ecill157.png" width="140" height="250"
+alt="A man of the time of Mary; two types of boot" />
+</div>
+
+<p>The doublets become shaped
+more closely to the body, all
+showing the gradual change
+towards the Elizabethan costume,
+but still retaining the
+characteristics of earlier times,
+as the long skirt to the
+doublet, and the opening
+to show the collar of the shirt,
+or partlet strip.</p>
+
+<p>Ladies now show more hair, parted, as before,
+in the centre, but now puffed out at the sides.</p>
+
+<p>The new shape of head-dress becomes popular,
+and the upstanding collar to the gown is almost
+universal.</p>
+
+<p>The gowns themselves, though retaining the
+same appearance as before, full skirts, no trains,
+big sleeves, and split to show the under-gown,
+<span class="pagenum"><a name="Page_288" id="Page_288">[<span class="hidden">Pg </span>288]</a></span>
+have the top part of the gown covering the bosom
+made of a separate material, as, for instance, a
+gown of fine cloth will have collar and yoke of
+velvet.</p>
+
+<p>Women wear neat linen caps, made very plain
+and close to the head, with small ear-pieces.</p>
+
+<div class="figcenter" style="width: 374px;">
+<img src="images/ecill158.png" width="374" height="250"
+alt="Three men of the time of Mary" />
+</div>
+
+<p>On the shoulders there is a fashion of wearing
+kerchiefs of linen or silk, white as a rule; white,
+in fact, is frequently used for dresses, both for
+men and women.</p>
+
+<p>The custom of carrying small posies of flowers
+comes in, and it is interesting to see the Queen,
+in her portrait by Antonio More, carrying a bunch
+<span class="pagenum"><a name="Page_289" id="Page_289">[<span class="hidden">Pg </span>289]</a></span>
+of violets arranged exactly as the penny bunches
+sold now in our streets.</p>
+
+<p>There was, in most dresses, a great profusion
+of gold buttons, and the wearing of gold chains
+was common&mdash;in fact, a gold chain about the
+neck for a man, and a gold chain girdle for a
+woman, were part of the ordinary everyday dress.</p>
+
+<div class="figcenter" style="width: 289px;">
+<img src="images/ecill159.png" width="289" height="250"
+alt="Two types of head-dress for women; two types of collar" />
+</div>
+
+<p>You will realize that to one born in the reign
+of Henry VIII. the appearance of people now
+was very different, and, to anyone as far away
+as we are now, the intervening reigns of Edward
+and Mary are interesting as showing the wonderful
+<span class="pagenum"><a name="Page_290" id="Page_290">[<span class="hidden">Pg </span>290]</a></span>
+quiet change that could take place in those few
+years, and alter man&rsquo;s exterior from the appearance
+of a playing-card, stiff, square, blob-footed, to the
+doublet and hose person with a cart-wheel of a
+ruff, which recalls to us Elizabethan dress.</p>
+
+<div class="figcenter ipadtop" style="width: 374px;">
+<a name="pl43" id="pl43"></a>
+<img src="images/ecpl43.jpg" width="374" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF QUEEN MARY (1553-1558)</p>
+
+<p class="subcapt ipadbase">The habit of wearing flowers in the opening of the
+dress was frequent at this time, was, in fact, begun
+about this reign. One can easily see in this dress
+the ground-work of the Elizabethan fashion, the
+earliest of which was an exaggeration of this costume.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_291" id="Page_291">[<span class="hidden">Pg </span>291]</a></span></p>
+
+<h2>ELIZABETH</h2>
+
+<p class="smlfont center">Reigned 45 years: 1558-1603.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figright" style="width: 94px;">
+<img src="images/ecill160.png" width="94" height="250"
+alt="A man of the time of Elizabeth" />
+</div>
+
+<p>Here we are in the middle of
+great discoveries with adventurers,
+with Calvin and Michael Angelo,
+living and dying, and Galileo and
+Shakespeare seeing light&mdash;in the very
+centre and heart of these things, and
+we and they discussing the relations
+of the law to linen. How, they and
+we ask, are breeches, and slop-hose
+cut in panes, to be lined? In such
+writings we are bound to concern
+ourselves with the little things that
+matter, and in this reign we meet
+a hundred little things, little fussy things, the
+like of which we leave alone to-day. But this
+is not quite true. To-day a man, whether he cares
+<span class="pagenum"><a name="Page_292" id="Page_292">[<span class="hidden">Pg </span>292]</a></span>
+to admit it or no, is for ever choosing patterns,
+colours, shades, styles to suit his own peculiar personality.
+From the cradle to the grave we are
+decked with useless ornaments&mdash;bibs, sashes, frills,
+little jackets, neat ties, different coloured boots,
+clothes of ceremony, clothes supposed to be in
+harmony with the country, down, at last, to the
+clothes of an old gentleman, keeping a vague
+reminder of twenty, thirty years ago in their style,
+and then&mdash;grave clothes.</p>
+
+<p>How well we know the Elizabethan! He is a
+stock figure in our imagination; he figured in our
+first schoolboy romances, he strutted in the first
+plays we saw. Because it was an heroic time we
+hark back to it to visualize it as best we may so that
+we can come nearer to our heroes&mdash;Drake, Raleigh,
+and the rest. The very names of the garments
+arouse associations&mdash;ruff, trunks, jumper, doublet,
+jerkin, cloak, bone-bobbin lace, and lace of Flanders&mdash;they
+almost take one&rsquo;s breath away.</p>
+
+<p>Here comes a gentleman in a great ruff, yellow-starched,
+an egg-shaped pearl dangles from one ear.
+One hand rests on his padded hip, the other holds
+a case of toothpicks and a napkin; he is going to
+his tavern to dine. His doublet is bellied like a
+<span class="pagenum"><a name="Page_293" id="Page_293">[<span class="hidden">Pg </span>293]</a></span>
+pea&rsquo;s cod, and his breeches are bombasted, his little
+hat is stuck on one side and the feather in it curls
+over the brim. His doublet is covered with a
+herring-bone pattern in silk stitches, and is slashed
+all over. He is exaggerated, monstrous; he is tight-laced;
+his trunks stick out a foot all round him,
+and his walk is, in consequence,
+a little affected; but, for all
+that, he is a gallant figure.</p>
+
+<div class="figright" style="width: 133px;">
+<img src="images/ecill161.png" width="133" height="250"
+alt="A man of the time of Elizabeth" />
+</div>
+
+<p>Behind him comes a gentleman
+in loose knee-breeches
+barred with velvet; at the knee
+he has a frill of lace. His jerkin
+is not stuffed out, and his ruff
+is not starched to stick up round
+his head. His hair is cut in
+three points, one over each ear
+and the third over the centre of
+his forehead, where we see a twisted lock tied with
+ribbon. We seem to know these people well&mdash;very
+well. The first, whose clothes are of white
+silk sewn with red and blue, whose trunk hose have
+clocks of silk sewn on them, reminds us of whom?
+And the second gentleman in green and red, with
+heels of red on his shoes? Suddenly there flashes
+<span class="pagenum"><a name="Page_294" id="Page_294">[<span class="hidden">Pg </span>294]</a></span>
+across our memory the picture of a lighted stage, a
+row of shops, a policeman, and then a well-known
+voice calling, &lsquo;Hello, Joey, here we are again!&rsquo;</p>
+
+<p>Here we are again after all these centuries&mdash;clown
+and pantaloon, the rustic with red health on
+his face, the old man in Venetian slops&mdash;St. Pantaloone&mdash;just
+as Elizabethan, humour included, as
+anything can well be.</p>
+
+<p>Then, enter Harlequin in his clothes of gorgeous
+patches; the quick, almost invisible thief, the
+instigator of all the evil and magic. His patches
+and rags have grown to symmetrical pattern, his
+loose doublet has become this tight-fitting lizard
+skin of flashing gold and colours, but his atmosphere
+recalls the great days.</p>
+
+<p>To these enter 1830&mdash;Columbine&mdash;an early Victorian
+lady, who contrives to look sweetly modest
+in the shortest and frilliest of skirts; she looks like
+a rose, a rose on two pink stalks. She, being so
+different, gives the picture just the air of magic incongruity.
+Once, years ago, she was dressed in
+rags like Harlequin, but I suppose that the age of
+sentiment clothed her in her ballet costume rather
+than see her in her costly tatters.</p>
+
+<p>We are a conservative nation, and we like our own
+<span class="pagenum"><a name="Page_295" id="Page_295">[<span class="hidden">Pg </span>295]</a></span>
+old jokes so much that we have kept through the
+ages this extraordinary pleasing entertainment
+straight down, clothes and all, from the days of
+Queen Elizabeth.</p>
+
+<p>Even as we dream of this, and the harlequinade
+dazzles our eyes, the dream changes&mdash;a new sound
+is heard, a sound from the remote past, too. We
+listen eagerly, clown, pantaloon, harlequin, and
+columbine vanish to the sound of the pan-pipes and
+the voice of Punch.</p>
+
+<p>&lsquo;Root-ti-toot, rootity-toot!&rsquo; There, by the
+corner of the quiet square, is a tall box covered
+with checkered cloth. Above a man&rsquo;s height is an
+opening, and on a tiny stage are two figures, one in
+a doublet stiffened out like a pea pod, with a ruff
+hanging loose about his neck, bands at his wrists,
+a cap on his head&mdash;Punch. The other with a linen
+cap and a ruff round her neck&mdash;Judy. Below, on
+the ground by the gentleman who bangs a drum
+and blows on the pan-pipes stuck in his muffler, is
+a dog with a ruff round his neck&mdash;Toby. And we
+know&mdash;delightful to think of it&mdash;that a box hidden
+by the check covering, contains many curiously
+dressed figures&mdash;all friends of ours. The world is
+certainly curious, and I suppose that an Elizabethan
+<span class="pagenum"><a name="Page_296" id="Page_296">[<span class="hidden">Pg </span>296]</a></span>
+revisiting us to-day would find but one thing the
+same, the humour of the harlequinade and the
+Punch and Judy show.</p>
+
+<p>Now let us get to the dull part. If you wish to
+swim in a sea of allusions there are a number of
+books into which you may dive&mdash;</p>
+
+<div class="blockquot">
+<p>&lsquo;Microcynicon.&rsquo;</p>
+
+<p>&lsquo;Pleasant Quippes for Upstart Newfangled Gentlewomen.&rsquo;</p>
+
+<p>Hall&rsquo;s &lsquo;Satires.&rsquo;</p>
+
+<p>Stubbes&rsquo; &lsquo;Anatomie of Abuses.&rsquo;</p>
+
+<p>&lsquo;The Cobbler&rsquo;s Prophesie.&rsquo;</p>
+
+<p>&lsquo;The Debate between Pride and Lowliness.&rsquo;</p>
+
+<p>&lsquo;The Letting of Humours Blood in the Head Vaine.&rsquo;</p>
+
+<p>&lsquo;The Wits Nurserie.&rsquo;</p>
+
+<p>Euphues&rsquo; &lsquo;Golden Legacie.&rsquo;</p>
+
+<p>&lsquo;Every Man out of his Humour.&rsquo;</p>
+</div>
+
+<p>If you do not come out from these saturated
+with detail then you will never absorb anything.</p>
+
+<p>For the shapes, the doublet was a close-fitting
+garment, cut, if in the Italian fashion, down to
+a long peak in front. They were made without
+sleeves, like a waistcoat, and an epaulette overhung
+the armhole. The sleeves were tied into the
+doublet by means of points (ribbons with metal
+tags). These doublets were for a long time
+<span class="pagenum"><a name="Page_297" id="Page_297">[<span class="hidden">Pg </span>297]</a></span>
+stuffed or bombasted into the form known as
+&lsquo;pea&rsquo;s cod bellied&rsquo; or &lsquo;shotten-bellied.&rsquo;</p>
+
+<p>The jerkin was a jacket with sleeves, and was
+often worn over the doublet. The sleeves of the
+jerkin were often open from shoulder to wrist to
+show the doublet sleeve underneath. These sleeves
+were very wide, and were ornamented with large
+buttons.</p>
+
+<div class="figcenter" style="width: 290px;">
+<img src="images/ecill162.png" width="290" height="300"
+alt="A man of the time of Elizabeth; a travelling cloak; a jerkin" />
+</div>
+
+<p>The jornet was a loose travelling cloak.</p>
+
+<p>The jumper a loose jerkin, worn for comfort or
+extra clothing in winter.</p>
+
+<p><span class="pagenum"><a name="Page_298" id="Page_298">[<span class="hidden">Pg </span>298]</a></span>
+Both doublet and jerkin had a little skirt or base.</p>
+
+<div class="figcenter" style="width: 501px;">
+<img src="images/ecill163.png" width="501" height="300"
+alt="Three types of doublet; two types of epaulette" />
+</div>
+
+<p>The very wide breeches known as trunks were
+worn by nearly everybody in the early part of the
+reign, until they vied with Venetian breeches for
+fashion. They were sometimes made of a series of
+wide bands of different colours placed alternately;
+sometimes they were of bands, showing the stuffed
+trunk hose underneath. They were stuffed with
+anything that came handy&mdash;wool, rags, or bran&mdash;and
+were of such proportions that special seats
+were put in the Houses of Parliament for the
+gentlemen who wore them. The fashion at its
+height appears to have lasted about eight years.</p>
+
+<div class="figcenter ipadtop" style="width: 376px;">
+<a name="pl44" id="pl44"></a>
+<img src="images/ecpl44.jpg" width="376" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF ELIZABETH (1558-1603)</p>
+
+<p class="subcapt ipadbase">He wears a double linen collar, nearly as usual at
+this time as the ruff. His trunk hose will be seen
+through the openings of his trunks. His boots are
+held up by two leather straps. His cloak is an
+Italian fashion.</p>
+
+<p><span class="pagenum"><a name="Page_299" id="Page_299">[<span class="hidden">Pg </span>299]</a></span>
+The Venetian breeches were very full at the top
+and narrowed to the knee; they were slashed and
+puffed, or paned like lattice windows with bars of
+coloured stuffs or gold lace.</p>
+
+<p>The French breeches were tight and ruffled in
+puffs about the thighs.</p>
+
+<p>The stockings were of yarn, or silk, or wool.
+They were gartered about the knee,
+and pulled up over the breeches; but
+the man most proud of his leg wore
+no garters, but depended on the
+shape of his leg and the fit of his
+stocking to keep the position. These
+stockings were sewn with clocks at
+the ankles, and had various patterns
+on them, sometimes of gold or silver
+thread. Openwork stockings were
+known.</p>
+
+<div class="figright" style="width: 88px;">
+<img src="images/ecill164.png" width="88" height="250"
+alt="A man of the time of Elizabeth" />
+</div>
+
+<p>The stockings and breeches were
+called, if the breeches were short and the stockings
+all the way up the leg, trunk hose and trunks; if
+the breeches came to the knee and the stockings
+just came over them, they were known as upper
+stocks and nether stocks.</p>
+
+<p>The shoes were shaped to the foot, and made of
+<span class="pagenum"><a name="Page_300" id="Page_300">[<span class="hidden">Pg </span>300]</a></span>
+various leathers or stuffs; a rose of ribbon sometimes
+decorated the shoes. There were shoes with
+high cork soles called moyles. Of course, there
+were gallants who did things no one else thought
+of doing&mdash;wearing very square-toed shoes, for
+instance, or cock feathers in their hair.</p>
+
+<p>The sturtops
+were boots to
+the ankle.</p>
+
+<div class="figleft" style="width: 247px;">
+<img src="images/ecill165.png" width="247" height="250"
+alt="Three types of hat for men; three type of breeches and stockings" />
+</div>
+
+<p>As for the
+hair, we have
+the love-lock
+tied with ribbons,
+the very
+same that we
+see caricatured
+in the wigs of
+clown and pantaloon.
+We have, also, hair left fairly long and
+brushed straight back from the forehead, and short-cropped
+hair. Beards and moustaches are worn by
+most.</p>
+
+<p>They wore little cloaks covered with embroidery,
+lace, sometimes even with pearls. For winter or for
+hard travelling the jornet or loose cloak was worn.</p>
+
+<p><span class="pagenum"><a name="Page_301" id="Page_301">[<span class="hidden">Pg </span>301]</a></span>
+The older and more sedate wore long stuff
+gowns with hanging sleeves; these gowns, made
+to fit at the waist and over the trunks, gave an
+absurd Noah&rsquo;s ark-like appearance to the wearers.
+Those who cared nothing for the fashions left
+their gowns open and wore them
+loose.</p>
+
+<div class="figright" style="width: 84px;">
+<img src="images/ecill166.png" width="84" height="250"
+alt="A man of the time of Elizabeth" />
+</div>
+
+<p>The common people wore simple
+clothes of the same cut as their lords&mdash;trunks
+or loose trousers, long hose,
+and plain jerkins or doublets. In the
+country the fashions alter, as a rule,
+but little; however, in this reign
+Corydon goes to meet Sylvia in somewhat
+fashionable clothes. Lodge
+says: &lsquo;His holiday suit marvellous
+seemly, in a russet jacket, welted with
+the same, and faced with red worsted,
+having a pair of blue camblet sleeves,
+bound at the wrists with four yellow laces, closed
+before very richly with a dozen pewter buttons.
+His hose of gray kersey, with a large slop barred
+all across the pocket holes with three fair guards,
+stitched on either side with red thread.&rsquo; His
+stockings are also gray kersey, tied with different
+<span class="pagenum"><a name="Page_302" id="Page_302">[<span class="hidden">Pg </span>302]</a></span>
+coloured laces; his bonnet is green, and has a
+copper brooch with the picture of St. Dennis.
+&lsquo;And to want nothing that might make him
+amorous in his old days, he had a fair shirt-band
+of white lockeram, whipt over with Coventry blue
+of no small cost.&rsquo;</p>
+
+<div class="figcenter" style="width: 315px;">
+<img src="images/ecill167.png" width="315" height="400"
+alt="Three men of the time of Elizabeth; a sleeve" />
+</div>
+
+<p><span class="pagenum"><a name="Page_303" id="Page_303">[<span class="hidden">Pg </span>303]</a></span>
+The hats worn vary in shape from steeple-crowned,
+narrow-brimmed hats, to flat, broad-crowned
+hats; others show the coming tendency
+towards the broad-brimmed Jacobean hat. Round
+these hats were hatbands of every sort, gold chains,
+ruffled lace, silk or wool.</p>
+
+<div class="figcenter" style="width: 442px;">
+<img src="images/ecill168.png" width="442" height="300"
+alt="Five types of hat for men" />
+</div>
+
+<p>I think we may let these gallants rest now to
+walk among the shades&mdash;a walking geography of
+clothes they are, with French doublets, German
+hose, Spanish hats and cloaks, Italian ruffs, Flemish
+shoes; and these with chalked faces, fuzzed periwigs
+of false hair, partlet strips, wood busks to
+keep straight slim waists, will make the shades
+<span class="pagenum"><a name="Page_304" id="Page_304">[<span class="hidden">Pg </span>304]</a></span>
+laugh perhaps, or perhaps only sigh, for there are
+many in that dim wardrobe of fashions who are
+still more foolish, still more false, than these
+Elizabethans.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<p>Now this is the reign of the ruff and the monstrous
+hoop and the wired hair. As a companion to her
+lord, who came from the hands of his barber with
+his hair after the Italian manner, short and round
+and curled in front and frizzed, or like a Spaniard,
+long hair at his ears curled at the two ends, or
+with a French love-lock dangling down his
+shoulders, she&mdash;his lady&mdash;sits under the hands of
+her maid, and tries various attires of false <em>hair</em>,
+principally of a yellow colour. Every now and
+again she consults the looking-glass hanging on
+her girdle; sometimes she dresses her hair with
+chains of gold, from which jewels or gold-work
+tassels hang; sometimes she, too, allows a love-lock
+to rest upon her shoulder, or fall negligently
+on her ruff.</p>
+
+<p>Even the country girl eagerly waits for news
+of the town fashions, and follows them as best she
+may.</p>
+
+<p><span class="pagenum"><a name="Page_305" id="Page_305">[<span class="hidden">Pg </span>305]</a></span>
+In the early part of the reign the simple costume
+of the previous reign was still worn, and even the
+court ladies were quietly, though richly, dressed.</p>
+
+<p>In the first two years the ruff remained a fairly
+small size, and was made of holland, which remained
+stiff, and held the folds well; but later,
+there entered several Dutch ladies, headed by Mistress
+Dingham Vander Plasse, of Flanders, in 1564,
+who taught her pupils the art of starching cambric,
+and the art of folding, cutting, and pinching ruffs
+at five pounds a head, and the art of making starch,
+at the price of one pound.</p>
+
+<p>First, the lady put on her underpropper of wire
+and holland, and then she would place with a
+great nicety her ruff of lace, or linen, or cambric.
+One must understand that the ruff may be great or
+small, that only the very fashionable wore such a
+ruff as required an underpropper, and that the
+starched circular ruff would stand by itself without
+the other appliance.</p>
+
+<div class="figcenter" style="width: 401px;">
+<img src="images/ecill169.png" width="401" height="550"
+alt="Twelve types of head-dress and collar or ruff for women" />
+</div>
+
+<p>Before the advent of the heavily-jewelled and
+embroidered stomacher, and the enormous spread
+of skirt, the dress was a modification of that worn
+by the ladies in the time of Henry VIII. First, a
+gown cut square across the bosom and low over
+<span class="pagenum"><a name="Page_306" id="Page_306">[<span class="hidden">Pg </span>306]</a></span>
+the shoulders, full sleeves ending in bands of cambric
+over the hands (these sleeves slit to show puffs
+of cambric from the elbow to the wrist), the skirt full
+and long, but without any train; the whole fitted
+<span class="pagenum"><a name="Page_307" id="Page_307">[<span class="hidden">Pg </span>307]</a></span>
+well to the figure as far as the waist, and very
+stiff in front. Over this a second gown, generally
+of plain material, split above in a <img src="images/v.png" width="13" height="15" alt="V" />-shape, split
+below at the waist, and cut away to show the
+under-gown. The sleeves of this gown were wide,
+and were turned back or cut away just by the
+elbow. Both gowns were laced up the back.
+This second gown had, as a rule, a high, standing
+collar, which was lined with some rich silk or with
+lace.</p>
+
+<div class="figcenter ipadtop" style="width: 277px;">
+<a name="pl45" id="pl45"></a>
+<img src="images/ecpl45.jpg" width="277" height="600" alt="" />
+</div>
+
+<p class="caption ipadbase">A WOMAN OF THE TIME OF ELIZABETH (1558-1603)</p>
+
+<div class="figcenter" style="width: 474px;">
+<img src="images/ecill170.png" width="474" height="250"
+alt="Four women of the time of Elizabeth" />
+</div>
+
+<p>This shape gave way to a more exaggerated
+form, and finally to many varieties of exaggeration.
+The lady might wear a jerkin like in shape to a
+man&rsquo;s, except that often it was cut low and square
+over the bosom, and was not stuffed quite so much
+in front; every variety of rich material was used
+for this jerkin, and the sleeves were as varied as
+<span class="pagenum"><a name="Page_308" id="Page_308">[<span class="hidden">Pg </span>308]</a></span>
+were the man&rsquo;s, split and tied with ribbons.
+False sleeves attached at the shoulders, and left
+to hang loose, puffed, slashed all over, with or
+without bands of cambric or lace at the wrists;
+these bands sometimes were frills, sometimes stiffened
+and turned back. No person except royalty
+might wear crimson except in under-garments, and
+the middle class were not allowed to wear velvet
+except for sleeves.</p>
+
+<p>This jerkin was sometimes worn buttoned up,
+like a man&rsquo;s, to the neck, and when the hoops came
+into fashion and were worn high up near the waist,
+the basque or flounce at the bottom of the jerkin
+was made long, and pleated full to the top of
+the hooped petticoat.</p>
+
+<p>The plainer fashion of this was a gown buttoned
+high&mdash;up to the ruff&mdash;and opened from the waist
+to the feet to show a full petticoat of rich material;
+this was the general wear of the more sober-minded.</p>
+
+<p>Sometimes a cape was worn over the head and
+shoulders, not a shaped cape, but a plain, oblong
+piece of stuff. The ladies sometimes wore the shaped
+cape, with the high collar that the men wore. The
+French hood with a short liripipe was worn by
+<span class="pagenum"><a name="Page_309" id="Page_309">[<span class="hidden">Pg </span>309]</a></span>
+country ladies; this covered the hair, showing
+nothing but a neat parting in front.</p>
+
+<p>The openwork lace bonnet, of the shape so well
+known by the portraits of Queen Mary of Scotland,
+is not possible to exactly describe in writing;
+one variety of it may be seen in the line drawing
+given. It is made of cambric and cut lace sewn on
+to wires bent
+into the shape
+required.</p>
+
+<div class="figright" style="width: 284px;">
+<img src="images/ecill171.png" width="284" height="250"
+alt="Two women of the time of Elizabeth" />
+</div>
+
+<p>In such a
+time of extravagance
+in
+fashion the
+additions one
+may make to
+any form of
+dress in the
+way of ribbons, bows, sewn pearls, cuts, slashes,
+and puffs are without number, and I can only give
+the structure on which such ornamental fripperies
+can be placed. The hair, for example, can be
+dressed with pearls, rings of gold, strings of pearls,
+feathers, or glass ornaments. Men and women
+wore monstrous earrings, but curiously enough
+<span class="pagenum"><a name="Page_310" id="Page_310">[<span class="hidden">Pg </span>310]</a></span>
+this fashion was more common to men than
+women. Hats were interchangeable, more especially
+the trim hat with a feather, in shape like those
+worn by the Yeoman of the Guard, but smaller.</p>
+
+<p>The shoulder pinions of the jerkins were puffed,
+slashed, and beribboned in every way. The wing
+sleeves, open from the shoulder all the way down,
+were so long sometimes as to reach the ground,
+and were left hanging in front, or thrown back
+over the shoulders, the better to display the rich
+under-sleeve.</p>
+
+<p>The ladies&rsquo; shoes were cork-soled, high-heeled,
+and round-toed. The girdles were of every stuff,
+from gold cord, curiously knotted, to twisted silk;
+from these hung looking-glasses, and in them were
+stuck the embroidered and scented gloves.</p>
+
+<p>Ladies went masked about the streets and in the
+theatres, or if they wished to be unconventional,
+they sat in the playing booths unmasked, their
+painted faces exposed to the public gaze.</p>
+
+<p>The shoes with the high cork soles, to which
+I have just alluded, were in common use all over
+Europe, and were of all heights&mdash;from two inches
+to seven or eight&mdash;and they were called <i>chopines</i>.
+They were not such a foolish custom as might
+<span class="pagenum"><a name="Page_311" id="Page_311">[<span class="hidden">Pg </span>311]</a></span>
+appear, for they protected the wearer from the
+appalling filth of the streets. The tall chopines
+that Hamlet mentions were really very high-soled
+slippers, into which the richly-embroidered shoes
+were placed to protect them when the ladies
+walked abroad. The shoes were made of leather
+and velvet stitched with silk, embroidered with
+gold, or stamped with patterns, slashed sometimes,
+and sometimes laced with coloured silk laces.</p>
+
+<p>Some ladies wore bombazines, or a silk and
+cotton stuff made at Norwich, and bone lace made
+at Honiton, both at that time the newest of English
+goods, although before made in Flanders; and they
+imported Italian lace and Venetian shoes, stuffed
+their stomachers with bombast, and wore a frontlet
+on their French hoods, called a <i>bongrace</i>, to keep
+their faces from sunburn.</p>
+
+<p>Cambric they brought from Cambrai in France,
+and calico from Calicut in India&mdash;the world was
+hunted high and low for spoil to deck these
+gorgeous, stiff, buckramed people, so that under all
+this load of universal goods one might hardly hope
+to find more than a clothes prop; in fact, one might
+more easily imagine the overdressed figure to be a
+marvellous marionette than a decent Englishwoman.</p>
+
+<p><span class="pagenum"><a name="Page_312" id="Page_312">[<span class="hidden">Pg </span>312]</a></span></p>
+
+<div class="figcenter" style="width: 476px;">
+<img src="images/ecill172.png" width="476" height="250"
+alt="Four women of the time of Elizabeth" />
+</div>
+
+<div class="figleft" style="width: 227px;">
+<img src="images/ecill173.png" width="227" height="250"
+alt="Two women of the time of Elizabeth" />
+</div>
+
+<p>Falstaff will
+not wear coarse
+dowlas shirts,
+dandies call for
+ostrich feathers,
+ladies must have
+Coventry blue
+gowns and
+Italian flag-shaped
+fans;
+everybody is in
+the fashion from
+milkmaids to ladies of the court, each as best as they
+may manage it. The Jew moves about the streets
+in his long gaberdine and yellow cap, the lady pads
+<span class="pagenum"><a name="Page_313" id="Page_313">[<span class="hidden">Pg </span>313]</a></span>
+about her garden in tall chopines, and the gentleman
+sits down as well as he may in his bombasted
+breeches and smokes Herbe de la Reine in a pipe
+of clay, and the country woman walks along in
+her stamell red petticoat guarded or strapped with
+black, or rides past to market in her over-guard
+skirts.</p>
+
+<p>Let us imagine, by way of a picture of the
+times, the Queen in her bedchamber under the
+hands of her tiring-women: She is sitting before
+a mirror in her embroidered chemise of fine Raynes
+linen, in her under-linen petticoat and her silk
+stockings with the gold thread clocks. Over these
+she wears a rich wrap. Slippers are on her feet.
+In front of her, on a table, are rouge and chalk
+and a pad of cotton-wool&mdash;already she has made
+up her face, and her bright bird-like eyes shine in a
+painted mask, her strong face, her hawk-like nose and
+her expressionless mouth reflect back at her from
+the mirror. Beside the rouge pot is a Nuremberg
+egg watch, quietly ticking in its crystal case.
+One of the women brings forward a number of
+attires of false hair, golden and red, and from
+these the Queen chooses one. It is a close periwig
+of tight red curls, among which pearls and pieces
+<span class="pagenum"><a name="Page_314" id="Page_314">[<span class="hidden">Pg </span>314]</a></span>
+of burnished metal shine. With great care this
+wig is fastened on to the Queen&rsquo;s head, and she
+watches the process with her bright eyes and
+still features in the great mirror.</p>
+
+<p>Then, when this wig is fixed to her mind, she
+rises, and is helped into the privie coat of bones
+and buckram, which is laced tightly by the women
+at her back. Now comes the moment when they
+are about to fasten on her whalebone hips the
+great farthingale&mdash;over which her voluminous
+petticoats and skirts will fall. The wheel of
+bone is tied with ribbons about her waist, and
+there securely fastened. After some delay in
+choosing an under-gown, she then puts on several
+linen petticoats, one over another, to give the
+required fulness to her figure; and then comes
+the stiffly-embroidered under-gown&mdash;in this case
+but a petticoat with a linen bodice which has no
+sleeves.</p>
+
+<div class="figcenter ipadtop" style="width: 469px;">
+<a name="pl46" id="pl46"></a>
+<img src="images/ecpl46.jpg" width="469" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF ELIZABETH (1558-1603)</p>
+
+<p class="subcapt ipadbase">Compare this with the other plate showing the
+opposite fashion.</p>
+
+<p>With great care she seats herself on a broad
+chair, and a perfect army of ruffs is laid before
+her. As the tire-woman is displaying the ruffs
+she talks to the Queen, and tells her that peculiar
+story, then current, of the Lady of Antwerp, who
+was in a great way because she could not get
+<span class="pagenum"><a name="Page_315" id="Page_315">[<span class="hidden">Pg </span>315]</a></span>
+her ruff to set aright, and when in a passion she
+called upon the devil to take it, as if in answer
+to the summons a young and handsome gentleman
+appeared. Together they tried the ruff, and the
+young gentleman suddenly strangled the lady and
+vanished. Now when they came to carry away
+the coffin of the lady some days later, it was
+found that no one could lift it, so, in the end, it
+was opened, and there, to the surprise of everybody,
+sat a great black cat setting a ruff. The
+Queen&rsquo;s eyes twinkle on this story, for she has
+a great fund of dry humour&mdash;and so, to the
+business of the ruffs. First one and then another
+is discarded; and finally the choice falls between
+one of great size, shaped like a catherine-wheel
+and starched blue, and the other of three depths
+but not of such great circumference, starched
+yellow, after the receipt of Mrs. Turner, afterwards
+hung at Tyburn in a ruff of the same colour.</p>
+
+<p>The Queen wavers, and the tire-woman recommends
+the smaller bands: &lsquo;This, madame, is one
+of those ruffs made by Mr. Higgins, the tailor
+near to St. James&rsquo;s, where he has set up an
+establishment for the making of such affairs&mdash;it
+is a picadillie, and would&mdash;&mdash;&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_316" id="Page_316">[<span class="hidden">Pg </span>316]</a></span>
+The Queen stops her and chooses the ruff; it
+is very much purled into folds, and it bristles with
+points.</p>
+
+<p>The women approach with a crimson over-gown
+and slips it over the Queen&rsquo;s head&mdash;it is open in
+front to show the rich petticoat, and it has great
+stuffed wings, epaulettes, or mahoitres on the
+shoulders. The tight-fitting bodice of the gown
+is buttoned up to the throat, and is stuffed out
+in front to meet the fall of the hoops; it has
+falling sleeves, but the real sleeves are now brought
+and tied to the points attached to the shoulders
+of the gown. They are puffed sleeves of the
+same material as the under-gown, and the falling
+sleeves of the upper gown are now tied with one
+or two bows across them so that the effect of
+the sleeves is much the same as the effect of the
+skirts; an embroidered stuff showing in the opening
+of a plain material. These are called virago
+sleeves.</p>
+
+<p>This done, the strings of pearls are placed
+around the Queen&rsquo;s neck, and then the underpropper
+or supportasse of wire and holland is
+fastened on her neck, and the picadillie ruff laid
+over it. The Queen exchanges her slippers for
+<span class="pagenum"><a name="Page_317" id="Page_317">[<span class="hidden">Pg </span>317]</a></span>
+cork-soled shoes, stands while her girdle is knotted,
+sees that the looking-glass, fan, and pomander
+are hung upon it, and then, after a final survey
+of herself in the glass, she calls for her muckinder
+or handkerchief, and&mdash;Queen Elizabeth is dressed.</p>
+
+<p>So in this manner the Queen struts down to
+posterity, a wonderful woman in ridiculous clothes,
+and in her train we may dimly see Mr. Higgins,
+the tailor, who named a street without knowing
+it, a street known in every part of the civilized
+world; but, nowadays, one hardly thinks of connecting
+Piccadilly with a lace ruff....</p>
+
+
+<h3>SHAKESPEARE AND CLOTHES</h3>
+
+<p>There are not so many allusions to Elizabethan
+dress in the plays of Shakespeare as one might
+suppose upon first thought. One has grown so
+accustomed to Shakespeare put on the stage in
+elaborate dresses that one imagines, or one is apt
+to imagine, that there is a warrant for some of the
+dresses in the plays. In some cases he confounds
+the producer and the illustrator by introducing
+garments of his own date into historical plays, as,
+<span class="pagenum"><a name="Page_318" id="Page_318">[<span class="hidden">Pg </span>318]</a></span>
+for example, Coriolanus. Here are the clothes
+allusions in that play:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;When you cast your stinking greasy caps,<br /></span>
+<span class="i0">You have made good work,<br /></span>
+<span class="i0">You and your apron-men.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Go to them with this bonnet in your hand.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Enter Coriolanus in a gown of humility.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Matrons fling gloves, ladies and maids their scarfs and
+handkerchers.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;The kitchen malkin pins her richest lockram<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> &rsquo;bout her
+reechy neck.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Our veiled dames.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Commit the war of white and damask in their nicely
+gawded cheeks to the wanton and spoil of Ph&oelig;bus&rsquo; burning
+kisses.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Doublets that hangmen would bury with these that wore
+them.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>I have not kept the lines in verse, but in a convenient
+way to show their allusions.</p>
+
+<p>In &lsquo;Pericles&rsquo; we have mention of ruffs and bases.
+Pericles says:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;I am provided of a pair of bases.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>Certainly the bases might be made to appear
+Roman, if one accepts the long slips of cloth or
+<span class="pagenum"><a name="Page_319" id="Page_319">[<span class="hidden">Pg </span>319]</a></span>
+leather in Roman military dress as being bases;
+but Shakespeare is really&mdash;as in the case of the
+ruffs&mdash;alluding to the petticoats of the doublet of
+his time worn by grave persons. Bases also apply
+to silk hose.</p>
+
+<p>In &lsquo;Titus Andronicus&rsquo; we have:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;An idiot holds his bauble for his God.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>Julius C&aelig;sar is mentioned as an Elizabethan:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;He plucked ope his doublet.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>The Carpenter in &lsquo;Julius C&aelig;sar&rsquo; is asked:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Where is thy leather apron and thy rule?&rsquo;<br /></span>
+</div>
+</div>
+
+<p>The mob have &lsquo;sweaty night-caps.&rsquo;</p>
+
+<p>Cleopatra, in &lsquo;Antony and Cleopatra,&rsquo; says:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;I&rsquo;ll give thee an armour all of gold.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>The &lsquo;Winter&rsquo;s Tale,&rsquo; the action of which occurs
+in Pagan times, is full of anachronisms. As, for
+instance, Whitsun pastorals, Christian burial, an
+Emperor of Russia, and an Italian fifteenth-century
+painter. Also:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Lawn as white as driven snow;<br /></span>
+<span class="i0">Cyprus<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> black as ere was crow;<br /></span>
+<span class="i0">Gloves as sweet as damask roses;<br /></span>
+<span class="i0">Masks for faces and for noses;<br /></span>
+<span class="pagenum"><a name="Page_320" id="Page_320">[<span class="hidden">Pg </span>320]</a></span>
+<span class="i0">Bugle-bracelet, necklace amber,<br /></span>
+<span class="i0">Perfume for a lady&rsquo;s chamber;<br /></span>
+<span class="i0">Golden quoifs and stomachers,<br /></span>
+<span class="i0">Pins and polking-sticks of steel.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>So, you see, Autolycus, the pedlar of these early
+times, is spoken of as carrying polking-sticks with
+which to stiffen ruffs.</p>
+
+<p>Shylock, in &lsquo;The Merchant of Venice,&rsquo; should
+wear an orange-tawny bonnet lined with black
+taffeta, for in this way were the Jews of Venice
+distinguished in 1581.</p>
+
+<p>In &lsquo;The Tempest&rsquo; one may hear of rye-straw
+hats, of gaberdines, rapiers, and a pied fool&rsquo;s
+costume.</p>
+
+<p>In &lsquo;The Two Gentlemen of Verona&rsquo; we hear:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Why, then, your ladyship must cut your hair.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;No, girl; I&rsquo;ll tie it up in silken strings<br /></span>
+<span class="i0">With twenty odd conceited true-love knot;<br /></span>
+<span class="i0">To be fantastic may become a youth<br /></span>
+<span class="i0">Of greater time than I shall show to be.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>Also:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Since she did neglect her looking-glass,<br /></span>
+<span class="i0">And threw her sun-expelling mask away.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>Many ladies at this time wore velvet masks.
+&lsquo;The Merry Wives of Windsor&rsquo; gives us a
+<span class="pagenum"><a name="Page_321" id="Page_321">[<span class="hidden">Pg </span>321]</a></span>
+thrummed hat, a muffler or linen to hide part of
+the face, gloves, fans. Falstaff says:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;When Mistress Bridget lost the handle of her fan,<br /></span>
+<span class="i0">I took it up my honour thou had&rsquo;st it not.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>Also:</p>
+
+<div class="blockquot">
+<p>&lsquo;The firm fashion of thy foot would give an excellent
+motion to thy fait in a semicircled farthingale.&rsquo;</p>
+</div>
+
+<p>&lsquo;Twelfth Night&rsquo; is celebrated for us by Malvolio&rsquo;s
+cross garters. Sir Toby, who considers his
+clothes good enough to drink in, says:</p>
+
+<div class="blockquot">
+<p>&lsquo;So be these boots too: an they be not, let them hang
+themselves in their own straps.&rsquo;</p>
+</div>
+
+<p>Sir Toby also remarks to Sir Andrew upon the
+excellent constitution of his leg, and Sir Andrew
+replied that:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;It does indifferent well in a flame-coloured stock.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>The Clown says:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;A sentence is but a cheveril<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> glove to a good wit.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>In &lsquo;Much Ado About Nothing&rsquo; we learn of one
+who lies awake ten nights, &lsquo;carving the fashion of
+his doublet.&rsquo; Also of one who is</p>
+
+<div class="blockquot">
+<p>&lsquo;in the shape of two countries at once, as a German from
+the waist downwards all slops, and a Spaniard from the hip
+upward, no doublet.&rsquo;</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_322" id="Page_322">[<span class="hidden">Pg </span>322]</a></span>
+Again of a gown:</p>
+
+<div class="blockquot">
+<p>&lsquo;Cloth of gold, and cuts, and laced with silver set with
+pearls down sides, side sleeves, and skirts, round under borne
+with a bluish tinsel.&rsquo;</p>
+</div>
+
+<p>In &lsquo;As You Like It&rsquo; one may show a careless
+desolation by ungartered hose, unbanded bonnet,
+unbuttoned sleeve, and untied shoe.</p>
+
+<p>&lsquo;The Taming of the Shrew&rsquo; tells of serving-men:</p>
+
+<div class="blockquot">
+<p>&lsquo;In their new fustian and their white jackets.... Let
+their blue coats be brushed, and their garters of an indifferent
+knit.&rsquo;</p>
+</div>
+
+<p>Also we have a cap &lsquo;moulded on a porringer.&rsquo;</p>
+
+<p>&lsquo;Love&rsquo;s Labour&rsquo;s Lost&rsquo; tells of:</p>
+
+<div class="blockquot">
+<p>&lsquo;Your hat penthouse-like o&rsquo;er the shop of your eyes;
+with your arms crossed on your thin belly doublet like a
+rabbit on a spit; or your hands in your pocket like a man
+after the old painting.&rsquo;</p>
+</div>
+
+<p>&lsquo;All&rsquo;s Well that Ends Well&rsquo;:</p>
+
+<div class="blockquot">
+<p>&lsquo;Why dost thou garter up thy arms o&rsquo; this fashion?
+Dost make a hose of thy sleeves?&rsquo;</p>
+
+<p>&lsquo;Yonder&rsquo;s my lord your son with a patch of velvet on&rsquo;s
+face: whether there be a scar under&rsquo;t or no, the velvet
+knows.... There&rsquo;s a dozen of &rsquo;em, with delicate fine hats
+and most courteous feathers, which bow the head and nod at
+every man.&rsquo;</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_323" id="Page_323">[<span class="hidden">Pg </span>323]</a></span>
+In &lsquo;Henry IV.,&rsquo; Part II., there is an allusion
+to the blue dress of Beadles. Also:</p>
+
+<div class="blockquot">
+<p>&lsquo;About the satin for my short cloak and slops.&rsquo;</p>
+
+<p>&lsquo;The smooth-pates do now wear nothing but high shoes,
+and bunches of keys at their girdles.&rsquo;</p>
+
+<p>&lsquo;To take notice how many pair of silk stockings thou
+hast, or to bear the inventory of thy shirts.&rsquo;</p>
+</div>
+
+<p>There are small and unimportant remarks upon
+dress in other plays, as dancing-shoes in &lsquo;Romeo
+and Juliet&rsquo; and in &lsquo;Henry VIII.&rsquo;:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;The remains of fool and feather that they got in France.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i8">&lsquo;Tennis and tall stockings,<br /></span>
+<span class="i0">Short blistered breeches and those types of travel.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>But in &lsquo;Hamlet&rsquo; we find more allusions than in
+the rest. Hamlet is ever before us in his black:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;&rsquo;Tis not alone my inky cloak, good mother,<br /></span>
+<span class="i0">Nor customary suits of solemn black.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Lord Hamlet, with his doublet all unbraced;<br /></span>
+<span class="i0">No hat upon his head; his stockings fouled,<br /></span>
+<span class="i0">Ungartered, and down-goes to his ancle;<br /></span>
+<span class="i0">Pale as his shirt.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="blockquot">
+<p>&lsquo;Your ladyship is nearer to heaven than when I saw you
+last, by the altitude of a chopine.&rsquo;<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a></p>
+
+<p>&lsquo;O, it offends me to the soul to hear a robustious periwig-pated
+fellow tear a passion into tatters.&rsquo;</p>
+</div>
+
+<div class="poem">
+<div class="stanza">
+<span class="pagenum"><a name="Page_324" id="Page_324">[<span class="hidden">Pg </span>324]</a></span>
+<span class="i0">&lsquo;With two provincial roses on my ragged shoes,<br /></span>
+<span class="i0">My sea-gown scarfed about me.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>Having read this, I think it will be seen that
+there is no such great difficulty in costuming any
+play, except perhaps this last. There have been
+many attempts to put &lsquo;Hamlet&rsquo; into the clothes
+of the date of his story, but even when the rest
+of the characters are dressed in skins and cross-gartered
+trousers, when the Viking element is
+strongly insisted upon, still there remains the absolutely
+Elizabethan figure in inky black, with his
+very Elizabethan thoughts, the central figure,
+almost the great symbol of his age.</p>
+
+
+<div class="footnotes">
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote">
+<p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a>
+&lsquo;Lockram&rsquo; is coarse linen.</p>
+</div>
+
+<div class="footnote">
+<p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a>
+Thin stuff for women&rsquo;s veils.</p>
+</div>
+
+<div class="footnote">
+<p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a>
+&lsquo;Cheveril&rsquo; is kid leather.</p>
+</div>
+
+<div class="footnote">
+<p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a>
+Shoes with very high soles.</p>
+</div>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_325" id="Page_325">[<span class="hidden">Pg </span>325]</a></span></p>
+
+<h2>JAMES THE FIRST</h2>
+
+<p class="smlfont center">Reigned twenty-two years: 1603-1625.</p>
+
+<p class="smlfont center">Born 1566. Married 1589, Anne of Denmark.</p>
+
+
+<h3>THE MEN</h3>
+
+<p>This couplet may give a little sketch of the man
+we should now see before us:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;His ruffe is set, his head set in his ruff;<br /></span>
+<span class="i0">His reverend trunks become him well enough.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>We are still in the times of the upstanding ruff;
+we are watching, like sartorial gardeners, for the
+droop of this linen flower. Presently this pride of
+man, and of woman too, will lose its bristling,
+super-starched air, and will hang down about the
+necks of the cavaliers; indeed, if we look very
+carefully, we see towards the end of the reign the
+first fruits of elegance born out of Elizabethan
+precision.</p>
+
+<p>Now in such a matter lies the difficulty of presenting
+an age or a reign in an isolated chapter.
+<span class="pagenum"><a name="Page_326" id="Page_326">[<span class="hidden">Pg </span>326]</a></span>
+In the first place, one must endeavour to show how
+a Carolean gentleman, meeting a man in the street,
+might say immediately, &lsquo;Here comes one who still
+affects Jacobean clothes.&rsquo; Or how an Elizabethan
+lady might come to life, and, meeting the same
+man, might exclaim, &lsquo;Ah! these are evidently
+the new fashions.&rsquo; The Carolean gentleman would
+notice at first a certain air of stiffness, a certain
+padded arrangement, a stiff hat, a crisp ornament
+of feathers. He would see that the doublet varied
+from his own in being more slashed, or slashed in
+many more degrees. He would see that it was
+stiffened into an artificial figure, that the little
+skirt of it was very orderly, that the cut of the
+sleeves was tight. He would notice also that the
+man&rsquo;s hair was only half long, giving an appearance
+not of being grown long for beauty, but
+merely that it had not been cut for some time.
+He would be struck with the preciseness, the correct
+air of the man. He would see, unless the
+stranger happened to be an exquisite fellow, that
+his shoes were plain, that the &lsquo;roses&rsquo; on them were
+small and neat. His trunks, he would observe,
+were wide and full, but stiff. Mind you, he would
+be regarding this man with seventeenth-century
+<span class="pagenum"><a name="Page_327" id="Page_327">[<span class="hidden">Pg </span>327]</a></span>
+eyes&mdash;eyes which told him that he was himself an
+elegant, careless fellow, dressed in the best of taste
+and comfort&mdash;eyes which showed him that the
+Jacobean was a nice enough person in his dress,
+but old-fashioned, grandfatherly.</p>
+
+<p>To us, meeting the pair of them, I am afraid
+that a certain notion we possess nowadays of cleanliness
+and such habits would oppress us in the company
+of both, despite the fact that they changed
+their linen on Sundays, or were supposed to do so.
+And we, in our absurd clothes, with hard hats on
+our heads, and stiff collars tight about our necks,
+creases in our trousers, and some patent invention
+of the devil on our feet, might feel that the Jacobean
+gentleman looked and was untidy, to say the
+least of it, and had better be viewed from a distance.</p>
+
+<p>To the Elizabethan lady the case would be reversed.
+The man would show her that the fashions
+for men had been modified since her day; she
+would see that his hair was not kept in, what she
+would consider, order; she would see that his ruff
+was smaller, and his hat brim was larger. She
+would, I venture to think, disapprove of him,
+thinking that he did not look so &lsquo;smart.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_328" id="Page_328">[<span class="hidden">Pg </span>328]</a></span>
+For ourselves, I think we should distinguish
+him at once as a man who wore very large knickerbockers
+tied at the knee, and, in looking at a
+company of men of this time, we should be struck
+by the padding of these garments to a preposterous
+size.</p>
+
+<div class="figcenter" style="width: 332px;">
+<img src="images/ecill174.png" width="332" height="250"
+alt="Three men of the time of James I.; three types of shoe; one type of boot" />
+</div>
+
+<p>There has come into fashion a form of ruff cut
+square in front and tied under the chin, which can
+be seen in the drawings better than it can be
+described; indeed, the alterations in clothes are
+not easy to describe, except that they follow the
+general movement towards looseness. The trunks
+have become less like pumpkins and more like
+loose, wide bags. The hats, some of them stiff and
+<span class="pagenum"><a name="Page_329" id="Page_329">[<span class="hidden">Pg </span>329]</a></span>
+hard, show in other forms an inclination to slouch.
+Doublets are often made loose, and little sets of
+slashes appear inside the elbow of the sleeves, which
+will presently become one long slash in Cavalier
+costumes.</p>
+
+<p>We have still:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Morisco gowns, Barbarian sleeves,<br /></span>
+<span class="i0">Polonian shoes, with divers far fetcht trifles;<br /></span>
+<span class="i0">Such as the wandering English galant rifles<br /></span>
+<span class="i0">Strange countries for.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>But we have not, for all that, the wild extravaganza
+of fashions that marked the foregoing
+reign. Indeed, says another writer, giving us a
+neat picture of a man:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i8">&lsquo;His doublet is<br /></span>
+<span class="i0">So close and pent as if he feared one prison<br /></span>
+<span class="i0">Would not be strong enough to keep his soul in,<br /></span>
+<span class="i0">But his taylor makes another;<br /></span>
+<span class="i0">And trust me (for I knew it when I loved Cupid)<br /></span>
+<span class="i0">He does endure much pain for poor praise<br /></span>
+<span class="i0">Of a neat fitting suit.&rsquo;<br /></span>
+</div>
+</div>
+
+<p>To wear something abnormally tight seems to
+be the condition of the world in love, from James I.
+to David Copperfield.</p>
+
+<p>Naturally, a man of the time might be riding
+<span class="pagenum"><a name="Page_330" id="Page_330">[<span class="hidden">Pg </span>330]</a></span>
+down the street across a Scotch plaid saddle
+cloth and pass by a beggar dressed in clothes of
+Henry VIII.&rsquo;s time, or pass a friend looking truly
+Elizabethan&mdash;but he would
+find generally that the short,
+swollen trunks were very little
+worn, and also&mdash;another point&mdash;that
+a number of men had
+taken to walking in boots,
+tall boots, instead of shoes.</p>
+
+<div class="figright" style="width: 133px;">
+<img src="images/ecill175.png" width="133" height="250"
+alt="A man of the time of James I.; a variation of breeches" />
+</div>
+
+<p>As he rides along in his
+velvet cloak, his puffed and
+slashed doublet, his silken
+hose, his hands gloved with
+embroidered gloves, or bared
+to show his rings, smelling of
+scents, a chain about his neck, he will hear the
+many street cries about him:</p>
+
+<div class="blockquot">
+<p>&lsquo;Will you buy any sand, mistress?&rsquo;</p>
+
+<p>&lsquo;Brooms, brooms for old shoes! Pouch-rings, boots, or
+buskings! Will ye buy any new brooms?&rsquo;</p>
+
+<p>&lsquo;New oysters, new oysters! New, new cockles!&rsquo;</p>
+
+<p>&lsquo;Fresh herrings, cockels nye!&rsquo;</p>
+
+<p>&lsquo;Will you buy any straw?&rsquo;</p>
+
+<p>&lsquo;Hay yee any kitchen stuff, maids?&rsquo;</p>
+
+<p>&lsquo;Pippins fine! Cherrie ripe, ripe, ripe!&rsquo;</p>
+</div>
+
+<div class="figcenter ipadtop" style="width: 361px;">
+<a name="pl47" id="pl47"></a>
+<img src="images/ecpl47.jpg" width="361" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF JAMES I. (1603-1625)</p>
+
+<p class="subcapt ipadbase">He shows the merging of the Elizabethan fashion
+into the fashion of Charles I. The stiff doublet and
+the loose breeches, the plain collar, and the ribbons
+at the knees. On his hawking glove is a hawk,
+hooded and jessed.</p>
+
+<p><span class="pagenum"><a name="Page_331" id="Page_331">[<span class="hidden">Pg </span>331]</a></span></p>
+
+<div class="figcenter" style="width: 447px;">
+<img src="images/ecill176.png" width="447" height="300"
+alt="Four men of the time of James I.; the bottom of a doublet;
+an alternative collar; shoe and stocking" />
+</div>
+
+<p>And he will pass apprentices, most of them still
+in flat caps, blue doublets, and white cloth breeches
+and stockings, sewn all in one piece, with daggers
+on their backs or at their sides. And then, travelling
+with his man, he will come to his inn. For
+the life of me, though it has little to do with dress,
+I must give this picture of an inn from Fynes
+Moryson, which will do no harm, despite the fact
+that Sir Walter Besant quoted some of it.</p>
+
+<div class="blockquot">
+<p>&lsquo;As soon as a passenger comes to an Inn, the servants run
+to him&rsquo; (these would be in doublet and hose of some plain
+colour, with shirt-collars to the doublets turned down loose;
+the trunks would be wide and to the knee, and there buttoned),
+&lsquo;and one takes his horse and walks him till he be cool, then
+<span class="pagenum"><a name="Page_332" id="Page_332">[<span class="hidden">Pg </span>332]</a></span>
+rubs him and gives him meat, yet I must say that they are
+not much to be trusted in this last point, without the eye of
+the Master or his servant to oversee them. Another servant
+gives the passenger his private chamber, and kindles his fire,
+the third pulls off his boots and makes them clean&rsquo; (these
+two servants would be wearing aprons). &lsquo;Then the Host or
+Hostess visits him, and if he will eat with the Host, or at a
+common table with the others, his meal will cost him sixpence,
+or in some places but fourpence, yet this course is less
+honourable and not used by Gentlemen; but if he will eat
+in his chamber&rsquo; (he will retain his hat within the house), &lsquo;he
+commands what meats he will according to his appetite, and
+as much as he thinks fit for him and his company, yea, the
+kitchen is open to him, to command the meat to be dressed
+as he likes best; and when he sits at table, the Host or
+Hostess will accompany him, if they have many guests, will
+at least visit him, taking it for courtesy to be bid sit down;
+while he eats, if he have company especially, he shall be
+offered music, which he may freely take or refuse, and if he
+be solitary the musicians will give him good day with music
+in the morning.</p>
+
+<p>&lsquo;It is the custom and in no way disgraceful to set up part
+of supper for his breakfast.</p>
+
+<p>&lsquo;Lastly, a Man cannot more freely command at home in
+his own house than he may do in his Inn, and at parting if
+he give some few pence to the Chamberlin and Ostler they
+wish him a happy journey.&rsquo;</p>
+</div>
+
+<p>Beyond this and the drawings I need say no
+more.</p>
+
+<p>The drawings will show how the points of a
+<span class="pagenum"><a name="Page_333" id="Page_333">[<span class="hidden">Pg </span>333]</a></span>
+doublet may be varied, the
+epaulette left or taken away,
+the little skirts cut or left
+plain. They show you how
+a hat may be feathered and
+the correct shape of the hat;
+how breeches may be left
+loose at the knee, or tied, or
+buttoned; of the frills at the
+wrist and the ruffs at the
+neck&mdash;of everything, I hope,
+that is necessary and useful.</p>
+
+<div class="figcenter" style="width: 138px;">
+<img src="images/ecill177.png" width="138" height="250"
+alt="A man of the time of James I." />
+</div>
+
+
+<h3>THE WOMEN</h3>
+
+<div class="blockquot">
+<p>&lsquo;What fashion will make a woman have the best body,
+tailor?&rsquo;</p>
+
+<p>&lsquo;A short Dutch waist, with a round Catherine-wheel
+fardingale, a close sleeve, with a cartoose collar, or a
+pickadell.&rsquo;</p>
+</div>
+
+<p>I think, with a little imagination, we can see the
+lady: add to our picture a feather fan, a man&rsquo;s
+beaver hat with a fine band round it stuck with a
+rose or a feather, shoes with ribbons or roses, and
+jewels in the hair&mdash;and I think the lady walks.
+<span class="pagenum"><a name="Page_334" id="Page_334">[<span class="hidden">Pg </span>334]</a></span>
+Yet so difficult do I find it to lead her tripping out
+of the wardrobe into the world, I would remind
+myself of the laws for servants in this time:</p>
+
+<div class="blockquot">
+<p>&lsquo;And no servant may toy with the maids under pain of
+fourpence.&rsquo;</p>
+</div>
+
+<p>It is a salutary warning, and one that must be
+kept in the mind&rsquo;s eye, and as I pluck the lady
+from the old print, hold her
+by the Dutch waist, and twirl
+her round until the Catherine-wheel
+fardingale is a blurred
+circle, and the pickadell a mist
+of white linen, I feel, for my
+prying, like one who has toyed
+under pain of fourpence.</p>
+
+<div class="figleft" style="width: 205px;">
+<img src="images/ecill178.png" width="205" height="250"
+alt="High collar and head-dress for a woman" />
+</div>
+
+<p>There are many excellent
+people with the true historical mind who would
+pick up my lady and strip her in so passionless
+a way as to leave her but a mass of Latin names&mdash;so
+many bones, tissues, and nerves&mdash;and who
+would then label and classify her wardrobe under
+so many old English and French, Dutch and
+Spanish names, bringing to bear weighty arguments
+several pages long over the derivation of
+<span class="pagenum"><a name="Page_335" id="Page_335">[<span class="hidden">Pg </span>335]</a></span>
+the word &lsquo;cartoose&rsquo; or &lsquo;pickadell,&rsquo; write in notebooks
+of her little secret fineries, bear down on one
+another with thundering eloquence upon the relation
+of St. Catherine and her wheel upon seventeenth-century
+dressmaking, and so confuse and
+bewilder the more simple and less learned folk that
+we should turn away from the Eve of the seventeenth
+century and from the heap of clothes upon
+the floor no whit the wiser for all their pains.</p>
+
+<p>Not that I would laugh, even smile, at the diligence
+of these learned men who in their day
+puzzled the father of Tristram Shandy over the
+question of breeches, but, as it is in my mind impossible
+to disassociate the clothes and the woman,
+I find it difficult to follow their dissertations, however
+enlightening, upon Early English cross-stitch.
+And now, after I have said all this, I find myself
+doing very nearly the same thing.</p>
+
+<p>You will find, if you look into the lady&rsquo;s wardrobe,
+that she has other fashions than the close
+sleeve: she has a close sleeve as an under sleeve,
+with a long hanging sleeve falling from the elbow;
+she has ruffs at her wrist of pointed lace, more
+cuffs than ruffs, indeed. She does not always follow
+the fashion of the short Dutch waist as she has, we
+<span class="pagenum"><a name="Page_336" id="Page_336">[<span class="hidden">Pg </span>336]</a></span>
+can see, a dress with a long waist and a tapering
+front to the bodice. Some dresses of hers are
+divided in the skirts to show a barred petticoat, or
+a petticoat with a broad border of embroidery.
+Sometimes she is covered with little bows, and at
+others with much gold lacing; and now and again
+she wears a narrow sash round her waist tied with
+a bow in front.</p>
+
+<p>She is taking more readily to the man&rsquo;s hat,
+feathered and banded, and in so doing is forced
+to dress her hair more simply and do away with
+jewellery on her forehead; but, as is often the
+case, she dresses her hair with plumes and jewels
+and little linen or lace ruffs, and atop of all wears
+a linen cap with side wings to it and a peak in the
+centre.</p>
+
+<p>Her ruff is now, most generally, in the form of
+an upstanding collar to her dress, open in front,
+finishing on her shoulders with some neat bow or
+other ornament. It is of lace of very fine workmanship,
+edged plain and square, or in all manner
+of fancy scallops, circles, and points.</p>
+
+<p>Sometimes she will wear both ruff and collar,
+the ruff underneath to prop up her collar at the
+back to the required modish angle. Sometimes
+<span class="pagenum"><a name="Page_337" id="Page_337">[<span class="hidden">Pg </span>337]</a></span>
+her bodice will finish off in a double Catherine-wheel.</p>
+
+<p>Her maid is a deal more simple; her hair is
+dressed very plainly, a loop by the ears, a twist
+at the nape of the neck. She has a shawl over her
+shoulders, or a broad falling collar of white linen.
+She has no fardingale, but her skirts are full. Her
+bodice fits, but is
+not stiffened artificially;
+her sleeves
+are tight and neat,
+and her cuffs plain.
+Upon her head is
+a broad-brimmed
+plain hat.</p>
+
+<div class="figright" style="width: 287px;">
+<img src="images/ecill179.png" width="287" height="250"
+alt="Comparison of head-dress between a lady and a maid" />
+</div>
+
+<p>She has a piece
+of gossip for her
+mistress: at Chelsea they are making a satin dress
+for the Princess of Wales from Chinese silkworm&rsquo;s
+silk. On another day comes the news that the Constable
+of Castile when at Whitehall subscribed very
+handsomely to the English fashion, and kissed the
+Queen&rsquo;s hands and the cheeks of twenty ladies of
+honour.</p>
+
+<p>The fashion for dresses of pure white, either in
+<span class="pagenum"><a name="Page_338" id="Page_338">[<span class="hidden">Pg </span>338]</a></span>
+silk, cloth, or velvet has affected both men and
+women; and the countries which gave a name to
+the cuts of the garments are evidenced in the
+literature of the time. How a man&rsquo;s breeches or
+slops are Spanish; his waist, like the lady&rsquo;s, Dutch;
+his doublet French; his and her sleeves and wings
+on the shoulders French; their boots Polonian,
+cloaks German, hose Venetian, hats from everywhere.
+These spruce coxcombs, with looking-glasses
+set in their tobacco boxes, so that they
+may privately confer with them to see&mdash;</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;How his band jumpeth with his piccadilly,<br /></span>
+<span class="i0">Whether his band-strings balence equally,<br /></span>
+<span class="i0">Which way his feather wags,&rsquo;<br /></span>
+</div>
+</div>
+
+<p>strut along on their high-heeled shoes, and ogle
+any lady as she passes.</p>
+
+<p>Another fashion common to those in the high
+mode was to have the bodice below the ruff cut so
+low as to show all the breast bare, and this, together
+with the painting of the face, gave great
+offence to the more sober-minded.</p>
+
+<p>The ruffs and collars of lace were starched in
+many colours&mdash;purple, goose-green, red and blue,
+yellow being completely out of the fashion since
+the murder of Sir Thomas Overbury by Mrs. Anne
+<span class="pagenum"><a name="Page_339" id="Page_339">[<span class="hidden">Pg </span>339]</a></span>
+Turner, the friend of the Countess of Somerset;
+and this because Mrs. Turner elected to appear at
+the gallows in a yellow ruff.</p>
+
+<div class="figcenter ipadtop" style="width: 597px;">
+<a name="pl48" id="pl48"></a>
+<img src="images/ecpl48.jpg" width="597" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF JAMES I. (1603-1625)</p>
+
+<p class="subcapt ipadbase">Here is seen the wide fardingale, or farthingale, the
+elaborate under-skirt, and the long hanging sleeves
+of the gown. Also, the very tall upstanding ruff or
+collar of lace.</p>
+
+<div class="figright" style="width: 207px;">
+<img src="images/ecill180.png" width="207" height="275"
+alt="A woman of the time of James I.; a ruff and hat; an alternative dress" />
+</div>
+
+<p>As for the fardingale, it was having its last fling.
+This absurd garment had its uses once&mdash;so they
+say who write scandal of a Spanish Princess, and
+served to conceal her
+state upon a certain
+time; but when ladies
+forsook the fashion,
+they wore a loose, almost
+shapeless, gown,
+open from the waist
+to the feet, and a plain,
+unstiffened jerkin or
+jacket underneath.</p>
+
+<p>Such a conglomeration
+is needed (if you
+remember we are looking
+over a lady&rsquo;s wardrobe) to make a lady of
+the time: such stuffs as rash, taffeta paropa,
+novats, shagge, filizetta, damask, mochado. Rash
+is silk and stuff, taffeta is thin silk, mochado
+is mock velvet. There, again, one may fall into an
+antiquarian trap; whereas mochado is a manufacture
+<span class="pagenum"><a name="Page_340" id="Page_340">[<span class="hidden">Pg </span>340]</a></span>
+of silk to imitate velvet, mokkadoe is a woollen
+cloth, and so on; there is no end to it. Still, some
+may read and ask themselves what is a rebatoe.
+It is the collar-like ruff worn at this time. In this
+medley of things we shall see purles, falles, squares,
+buskes, tires, fans, palisadoes (this is a wire to hold
+the hair next to the first or duchess knot), puffs,
+ruffs, partlets, frislets, fillets, pendulets, bracelets,
+busk-points, shoe-ties, shoe roses, bongrace bonnets,
+and whalebone wheels&mdash;Eve!</p>
+
+<p>All this, for what purpose? To turn out one
+of those extraordinary creatures with a cart-wheel
+round the middle of their persons.</p>
+
+<p>As the reign died, so did its fashions die also:
+padded breeches lost some of their bombast, ruffs
+much of their starch, and fardingales much of
+their circumference, and the lady became more
+Elizabethan in appearance, wore a roll under her
+hair in front, and a small hood with a jewelled
+frontlet on her forehead. It was the last of the
+Tudor dress, and came, as the last flicker of a
+candle, before the new mode, Fashion&rsquo;s next
+footstep.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_341" id="Page_341">[<span class="hidden">Pg </span>341]</a></span></p>
+
+<h2>CHARLES THE FIRST</h2>
+
+<p class="smlfont center">Reigned twenty-four years: 1625-1649.</p>
+
+<p class="smlfont center">Born 1600. Married 1625, Henrietta of France.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figright" style="width: 124px;">
+<img src="images/ecill181.png" width="124" height="250"
+alt="A man of the time of Charles I." />
+</div>
+
+<p>This surely is the age of
+elegance, if one may trust
+such an elegant and graceful
+mind as had Vandyck. In all
+the wonderful gallery of portraits
+he has left, these silvery
+graceful people pose in garments
+of ease.</p>
+
+<p>The main thing that I must
+do is to show how, gradually,
+the stiff Jacobean dress became
+unfrozen from its clutch
+upon the human form, how
+whalebones in men&rsquo;s jackets melted away, breeches
+no longer swelled themselves with rags and bran,
+<span class="pagenum"><a name="Page_342" id="Page_342">[<span class="hidden">Pg </span>342]</a></span>
+collars fell down, and shirts lounged through great
+open spaces in the sleeves.</p>
+
+<p>It was the time of an immaculate carelessness;
+the hair was free, or seemed free, to droop in
+languid tresses on men&rsquo;s shoulders, curl at pretty
+will on men&rsquo;s foreheads. Shirts were left open at
+the neck, breeches were loosed at the knee. Do
+I revile the time if I say that the men had an
+air, a certain supercilious air, of being dukes disguised
+as art students?</p>
+
+<div class="figcenter" style="width: 397px;">
+<img src="images/ecill182.png" width="397" height="250"
+alt="Six styles of hair and beard" />
+</div>
+
+<p>We know, all of us, the Vandyck beard, the
+Carolean moustache brushed away from the lips;
+we know Lord Pembroke&rsquo;s tousled&mdash;carefully
+tousled&mdash;hair; Kiligrew&rsquo;s elegant locks.</p>
+
+<p>From the head to the neck is but a step&mdash;a
+<span class="pagenum"><a name="Page_343" id="Page_343">[<span class="hidden">Pg </span>343]</a></span>
+sad step in this reign&mdash;and here we find our friend
+the ruff utterly tamed; &lsquo;pickadillies, now out of
+request,&rsquo; writes one, tamed into the falling band,
+the Vandyck collar, which form of neck-dress has
+never left the necks and shoulders of our modern
+youthful prodigies; indeed, at one time, no youthful
+genius dare be without one. The variations of
+this collar are too well known; of such lace as
+edged them and of
+the manner of their
+tying, it would waste
+time to tell, except
+that in some instances
+the strings
+are secured by a ring.</p>
+
+<div class="figright" style="width: 269px;">
+<img src="images/ecill183.png" width="269" height="200"
+alt="A doublet" />
+</div>
+
+<p>Such a change has
+come over the doublet as to make it hardly the same
+garment; the little slashes have become two or three
+wide cuts, the sleeves are wide and loose with, as a
+rule, one big opening on the inside of the arm, with
+this opening embroidered round. The cuffs are like
+little collars, turned back with point-lace edges.
+The actual cut of the doublet has not altered a
+great deal, the ordinary run of doublet has the
+pointed front, it is tied round the waist with a
+<span class="pagenum"><a name="Page_344" id="Page_344">[<span class="hidden">Pg </span>344]</a></span>
+little narrow sash; but there has arrived a new
+jacket, cut round, left open from the middle of
+the breast, sometimes cut so short as to show the
+shirt below bulged out over the breeches. Sometimes
+you will see one of these new short jackets
+with a slit in the back, and under this the man
+will be wearing the round trunks of his father&rsquo;s
+time.</p>
+
+<div class="figcenter" style="width: 392px;">
+<img src="images/ecill184.png" width="392" height="300"
+alt="Two men of the time of Charles I.; a type of jacket; a type of breeches" />
+</div>
+
+<p>The breeches are mostly in two classes&mdash;the
+long breeches the shape of bellows, tied at the
+knee with a number of points or a bunch of
+coloured ribbons; or the breeches cut the same
+<span class="pagenum"><a name="Page_345" id="Page_345">[<span class="hidden">Pg </span>345]</a></span>
+width all the way down, loose at the knee and
+there ornamented with a row of points (ribbons
+tied in bows with tags on them).</p>
+
+<p>A new method of ornamentation was this notion
+of coloured ribbons in bunches, on the breeches,
+in front, at the sides, at the knees&mdash;almost anywhere&mdash;and
+also upon the coats.</p>
+
+<p>For some time the older fashioned short round
+cape or cloak prevailed, but later, large silk cloaks
+used as wraps thrown across the shoulders were
+used as well. The other cloaks had straps, like
+the modern golf cape, by which the cloak might
+be allowed to fall from the shoulders.</p>
+
+<p>A custom arrived of wearing boots more
+frequently, and there was the tall, square-toed,
+high-heeled boot, fitting up the leg to just below
+the knee, without a turnover; the stiff, thick
+leather, blacking boot with broad, stiff tops, also
+not turned back; and there was also the result
+of the extraordinary melting, crumpled dismissal
+of all previous stiffness, whereby the old tall boot
+drooped down until it turned over and fell into
+a wide cup, all creases and wrinkles, nearly over
+the foot, while across the instep was a wide, shaped
+flap of leather. This last falling boot-top was
+<span class="pagenum"><a name="Page_346" id="Page_346"><!-- original location - full page illustration of boots --></a></span>
+<span class="pagenum"><a name="Page_347" id="Page_347">[<span class="hidden">Pg </span>347]</a></span>
+turned in all manner of ways by those who cared
+to give thought to it.</p>
+
+<div class="figcenter" style="width: 407px;">
+<img src="images/ecill185.png" width="407" height="600"
+alt="Sixteen types of boot and shoe" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 354px;">
+<a name="pl49" id="pl49"></a>
+<img src="images/ecpl49.jpg" width="354" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF CHARLES I. (1625-1649)</p>
+
+<p class="subcapt ipadbase">He has wrapped his blue cloak over his arm, a usual
+method of carrying the cloak. He is simply dressed,
+without bunches of ribbons or points.</p>
+
+<p>The insides of the tops of these boots were
+lined with lace or silk, and the dandy turned
+them down to give full show to the lining&mdash;this
+turning of broad tops was such an inconvenience
+that he was forced to use a straddled walk when
+he wore his boots thus.</p>
+
+<p>Canes were carried with gold, silver, or bone
+heads, and were ornamented further by bunches
+of ribbon.</p>
+
+<p>Coming again to the head, we find ribbon also
+in use to tie up locks of hair; delicate shades of
+ribbon belonging to some fair lady were used to
+tie up locks to show delicate shades of love.
+Some men wore two long love-locks on either
+side of the face, others wore two elaborately-curled
+locks on one side only.</p>
+
+<p>The hats, as the drawings will show, are broad
+in the brim and of an average height in the crown,
+but a dandy, here and there, wore a hat with next
+to no brim and a high crown. Most hats were
+feathered.</p>
+
+<p>There is a washing tally in existence of this
+time belonging, I think, to the Duke of Rutland,
+<span class="pagenum"><a name="Page_348" id="Page_348">[<span class="hidden">Pg </span>348]</a></span>
+which is very interesting. It is made of beech-wood
+covered with linen, and is divided into
+fifteen squares. In the centre of each square there
+is a circle cut, and in the circle are numbers. Over
+the number is a plate with a pin for pivot in the
+centre, a handle to turn, and a hole to expose a
+number. Above each circle are the names of the
+articles in this order:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="Order of washing tally">
+  <tr>
+    <td class="tdl">Ruffs.</td>
+    <td class="tdl">Bandes.</td>
+    <td class="tdl">Cuffes.</td>
+    <td class="tdl">Handkercher.</td>
+    <td class="tdl">Cappes.</td>
+  </tr>
+  <tr>
+    <td class="tdl">Shirtes.</td>
+    <td class="tdl">Halfshirts.</td>
+    <td class="tdl">Boote Hose.</td>
+    <td class="tdl">Topps.</td>
+    <td class="tdl">Sockes.</td>
+  </tr>
+  <tr>
+    <td class="tdl">Sheetes.</td>
+    <td class="tdl">Pillowberes.</td>
+    <td class="tdl">Table Clothes.</td>
+    <td class="tdl">Napkins.</td>
+    <td class="tdl">Towells.</td>
+  </tr>
+</table>
+
+<p>Topps are linen boot-frills, and halfshirts are
+stomachers.</p>
+
+<p>There remains little to be said except that black
+was a favourite dress for men, also light blue and
+cream-coloured satin. Bristol paste diamonds were
+in great demand, and turquoise rings were very
+fashionable.</p>
+
+<p>For the rest, Vandyck&rsquo;s pictures are available
+to most people, or good reproductions of them,
+and those, with a knowledge of how such dress
+came into being, are all that can be needed.</p>
+
+
+<p><span class="pagenum"><a name="Page_349" id="Page_349">[<span class="hidden">Pg </span>349]</a></span></p>
+
+<h3>THE WOMEN</h3>
+
+<p>There is one new thing you must be prepared
+to meet in this reign, and that will best be described
+by quoting the title of a book written at
+this time: &lsquo;A Wonder of Wonders, or a Metamorphosis
+of Fair Faces into Foul Visages; an
+invective against black-spotted faces.&rsquo;</p>
+
+<p>By this you may see at once that every humour
+was let loose in the shapes of stars, and moons,
+crowns, slashes, lozenges, and even a coach and
+horses, cut in black silk, ready to be gummed to
+the faces of the fair.</p>
+
+<p>Knowing from other histories of such fads that
+the germ of the matter lies in a royal indisposition,
+we look in vain for the conceited history of the
+Princess and the Pimple, but no doubt some more
+earnest enquirer after truth will hit upon the story&mdash;this
+toy tragedy of the dressing-table.</p>
+
+<p>For the dress we can do no better than look
+at the &lsquo;Ornatus Muliebris Anglicanus,&rsquo; that wonderfully
+careful compilation by Hollar of all the
+dresses in every class of society.</p>
+
+<p>It is interesting to see how the Jacobean
+costume lost, by degrees, its formal stiffness, and
+first fardingale and then ruff vanished.</p>
+
+<p><span class="pagenum"><a name="Page_350" id="Page_350">[<span class="hidden">Pg </span>350]</a></span>
+Early in the reign the high-dressed hair was
+abandoned, and to take its place the hair was
+dressed so that it was gathered up by the ears,
+left parted on the crown, and twisted at the back
+to hold a plume or feather. Time went on, and
+hair-dressing again altered; the hair was now
+taken in four parts: first the hair was drawn well
+back off the forehead, then the two side divisions
+were curled neatly and dressed to fall over the
+ears, the fourth group of hair was neatly twisted
+and so made into a small knot holding the front
+hair in its place. Later on came the fringe of
+small curls, as in the portrait of Queen Henrietta
+at Windsor by Vandyck.</p>
+
+<p>We see at first that while the ruff, or rather
+the rebatoe&mdash;that starched lace high collar&mdash;remained,
+the fardingale having disappeared,
+left, for the upper gown, an enormous quantity
+of waste loose material that had previously
+been stretched over the fardingale and parted in
+front to show the satin petticoat. From this
+there sprung, firstly, a wide, loose gown, open
+all the way down and tied about the middle with
+a narrow sash, the opening showing the boned
+bodice of the under-dress with its pointed protruding
+<span class="pagenum"><a name="Page_351" id="Page_351">[<span class="hidden">Pg </span>351]</a></span>
+stomacher, the woman&rsquo;s fashion having retained
+the form of the man&rsquo;s jerkin. Below this showed
+the satin petticoat with its centre strip or band
+of embroidery, and the wide border of the same.
+In many cases the long hanging sleeves were kept.</p>
+
+<p>Then there came the fall of the rebatoe and
+the decline of the protruding figure, and with
+this the notion of tying back the full upper skirt
+to show more plainly the satin petticoat, which
+was now losing the centre band of ornament and
+the border.</p>
+
+<p>With this revolution in dress the disappearing
+ruff became at first much lower and then finally
+vanished, and a lace collar, falling over the
+shoulders, took its place. This gave rise to two
+distinct fashions in collars, the one as I have
+described, the other a collar from the neck, like
+a large edition of the man&rsquo;s collar of that time.
+This collar came over the shoulders and in two
+points over the breast, sometimes completely hiding
+the upper part of the dress.</p>
+
+<p>The stiff-boned bodice gave place to one more
+easily cut, shorter, with, in place of the long
+point, a series of long strips, each strip ornamented
+round the hem.</p>
+
+<p><span class="pagenum"><a name="Page_352" id="Page_352">[<span class="hidden">Pg </span>352]</a></span>
+At this time the sleeves, different from the
+old-fashioned tight sleeves, were very full indeed,
+and the sleeve of the loose over-gown was made
+wider in proportion, and was tied across the
+under-sleeve above the elbow by a knot of ribbons,
+the whole ending in a deep cuff of lace. Then
+the over-gown disappeared, the bodice became a
+short jacket laced in front, openly, so as to show
+the sleeveless bodice of the same material and
+colour as the petticoat; the sleeves were not made
+so wide, and they were cut to come just below
+the elbow, leaving the wrists and forearm bare.</p>
+
+<p>In winter a lady often wore one of those loose
+Dutch jackets, round and full, with sleeves just
+long enough to cover the under-sleeves, the whole
+lined and edged with fur; or she might wear a
+short circular fur-lined cape with a small turned-over
+collar. In summer the little jacket was often
+discarded, and the dress was cut very simply but
+very low in the bust, and they wore those
+voluminous silk wraps in common with the men.</p>
+
+<p>The little sashes were very much worn, and ornaments
+of knots of ribbon or points (that is, a ribbon
+with a metal tag at either end) were universal.</p>
+
+<p>The change of fashion to short full sleeves gave
+<span class="pagenum"><a name="Page_353" id="Page_353">[<span class="hidden">Pg </span>353]</a></span>
+rise to the turned back cuff of the same material
+as the sleeve, and some costumes show this short
+jacket with its short sleeves with cuffs, while under
+it shows the dress with tight sleeves reaching to
+the wrists where were linen or lace cuffs, a combination
+of two fashions.</p>
+
+<p>Part of the lady&rsquo;s equipment now was a big
+feather fan, and a big fur muff for winter; also the
+fashion of wearing long gloves to reach to the
+elbow came in with the advent of short sleeves.</p>
+
+<p>Naturally enough there was every variety of
+evolution from the old fashion to the new, as
+the tight sleeves did not, of course, become
+immediately wide and loose, but by some common
+movement, so curious in the history of such
+revolutions, the sleeve grew and grew from puffs
+at the elbow to wide cuffs, to wide shoulders,
+until the entire sleeve became swollen out of all
+proportion, and the last little pieces of tightness
+were removed.</p>
+
+<p>The form of dress with cuffs to the jackets,
+lacing, sashes, bunches of ribbon, and looped up
+skirts, lasted for a great number of years. It
+was started by the death of the fardingale, and
+it lived into the age of hoops.</p>
+
+<p><span class="pagenum"><a name="Page_354" id="Page_354">[<span class="hidden">Pg </span>354]</a></span>
+These ladies wore shoe-roses upon their shoes,
+and these bunches of ribbon, very artificially made
+up, cost sometimes as much as from three to
+thirty pounds a pair, these very expensive roses
+being ornamented with jewels. From these we
+derive the saying, &lsquo;Roses worth a family.&rsquo;</p>
+
+<p>In the country the women wore red, gray, and
+black cloth homespun, and for riding they put
+on safeguards or outer petticoats. The wide-brimmed
+beaver hat was in general wear, and a
+lady riding in the country would wear such a
+hat or a hood and a cloak and soft top boots.</p>
+
+<p>Women&rsquo;s petticoats were called plackets as well
+as petticoats.</p>
+
+<p>With the careless air that was then adopted
+by everybody, which was to grow yet more carefully
+careless in the reign of Charles II., the hair
+was a matter which must have undivided attention,
+and centuries of tight dressing had not
+improved many heads, so that when the loose
+love-locks and the dainty tendrils became the
+fashion, many good ladies and gentlemen had
+recourse to the wigmaker. From this time until
+but an hundred years ago, from the periwig
+bought for Sexton, the fool of Henry VIII., down
+<span class="pagenum"><a name="Page_355" id="Page_355">[<span class="hidden">Pg </span>355]</a></span>
+to the scratches and bobs of one&rsquo;s grandfather&rsquo;s
+youth, the wigmaker lived and prospered. To-day,
+more secretly yet more surely, does the maker of
+transformations live and prosper, but in the days
+when to be wigless was to be undressed the
+perruquier was a very great person.</p>
+
+<div class="figcenter ipadtop" style="width: 416px;">
+<a name="pl50" id="pl50"></a>
+<img src="images/ecpl50.jpg" width="416" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF CHARLES I. (1625-1649)</p>
+
+<p class="subcapt ipadbase">Notice the broad collar and deep cuffs. The dress
+is simple but rich. The bodice is laced with the
+same colour as the narrow sash. The hair is arranged
+in a series of elaborate curls over the forehead.</p>
+
+<p>This was the day, then, of satins, loosened hair,
+elbow sleeves, and little forehead curls. The
+stiffness of the older times will pass away, but
+it had left its clutch still on these ladies; how far
+it vanished, how entirely it left costume, will be
+seen in the next royal reign, when Nell Gwynne
+was favourite and Sir Peter Lely painted her.</p>
+
+<p><span class="pagenum"><a name="Page_356" id="Page_356"><!-- blank page --></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_357" id="Page_357">[<span class="hidden">Pg </span>357]</a></span></p>
+
+<h2>ENGRAVINGS BY HOLLAR</h2>
+
+
+<p><span class="pagenum"><a name="Page_358" id="Page_358">[<span class="hidden">Pg </span>358]</a></span>
+These excellent drawings by Hollar need
+no explanation. They are included in this
+book because of their great value as accurate
+contemporary drawings of costume.</p>
+
+<div class="figcenter ipadtop" style="width: 207px;">
+<img src="images/ecen01.jpg" width="207" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 213px;">
+<img src="images/ecen02.jpg" width="213" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 207px;">
+<img src="images/ecen03.jpg" width="207" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 208px;">
+<img src="images/ecen04.jpg" width="208" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 201px;">
+<img src="images/ecen05.jpg" width="201" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 205px;">
+<img src="images/ecen06.jpg" width="205" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 211px;">
+<img src="images/ecen07.jpg" width="211" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 206px;">
+<img src="images/ecen08.jpg" width="206" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 200px;">
+<img src="images/ecen09.jpg" width="200" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 209px;">
+<img src="images/ecen10.jpg" width="209" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 210px;">
+<img src="images/ecen11.jpg" width="210" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 202px;">
+<img src="images/ecen12.jpg" width="202" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 209px;">
+<img src="images/ecen13.jpg" width="209" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 209px;">
+<img src="images/ecen14.jpg" width="209" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 203px;">
+<img src="images/ecen15.jpg" width="203" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 195px;">
+<img src="images/ecen16.jpg" width="195" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 191px;">
+<img src="images/ecen17.jpg" width="191" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 199px;">
+<img src="images/ecen18.jpg" width="199" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 200px;">
+<img src="images/ecen19.jpg" width="200" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 205px;">
+<img src="images/ecen20.jpg" width="205" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 196px;">
+<img src="images/ecen21.jpg" width="196" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 198px;">
+<img src="images/ecen22.jpg" width="198" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 201px;">
+<img src="images/ecen23.jpg" width="201" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 200px;">
+<img src="images/ecen24.jpg" width="200" height="400"
+alt="A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 280px;">
+<img src="images/ecen25.jpg" width="280" height="400"
+alt="Merchant's daughter" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 265px;">
+<img src="images/ecen26.jpg" width="265" height="400"
+alt="Merchant's wife of London" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 277px;">
+<img src="images/ecen27.jpg" width="277" height="400"
+alt="Citizen's wife" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 273px;">
+<img src="images/ecen28.jpg" width="273" height="400"
+alt="Country woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 282px;">
+<img src="images/ecen29.jpg" width="282" height="400"
+alt="English gentlewoman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 254px;">
+<img src="images/ecen30.jpg" width="254" height="400"
+alt="Noble gentlewoman of England" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 277px;">
+<img src="images/ecen31.jpg" width="277" height="400"
+alt="Lady of the Court of England" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 240px;">
+<img src="images/ecen32.jpg" width="240" height="400"
+alt="An English lady of quality" />
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_359" id="Page_359">[<span class="hidden">Pg </span>359]</a></span></p>
+
+<h2>THE CROMWELLS</h2>
+
+<p class="smlfont center">1649-1660.</p>
+
+
+<h3>THE MEN AND WOMEN</h3>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;I left my pure mistress for a space,<br /></span>
+<span class="i0">And to a snip-snap barber straight went I;<br /></span>
+<span class="i0">I cut my hair, and did my corps uncase<br /></span>
+<span class="i0">Of &rsquo;parel&rsquo;s pride that did offend the eye;<br /></span>
+<span class="i0">My high crowned hat, my little beard also,<br /></span>
+<span class="i0">My pecked band, my shoes were sharp at toe.<br /></span>
+</div>
+
+<div class="stanza">
+<span class="i0">&lsquo;Gone was my sword, my belt was laid aside,<br /></span>
+<span class="i0">And I transformed both in looks and speech;<br /></span>
+<span class="i0">My &rsquo;parel plain, my cloak was void of pride,<br /></span>
+<span class="i0">My little skirts, my metamorphosed breech,<br /></span>
+<span class="i0">My stockings black, my garters were tied shorter,<br /></span>
+<span class="i0">My gloves no scent; thus marched I to her porter.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="figcenter" style="width: 144px;">
+<img src="images/ecill186.png" width="144" height="350"
+alt="A man of the time of the Cromwells; a type of jacket" />
+</div>
+
+<p>It is a question, in this time of restraint, of
+formalism, where anything could be made plain,
+cut in a cumbrous fashion, rendered inelegant,
+it was done. The little jackets were denuded of
+all forms of frippery, the breeches were cut straight,
+<span class="pagenum"><a name="Page_360" id="Page_360">[<span class="hidden">Pg </span>360]</a></span>
+and the ornaments, if any, were of the most severe
+order. Hats became broader in the brim, boots
+wider in the tops, in fact, big boots seemed almost
+a sign of heavy religious feeling. The nice hair,
+love-locks, ordered negligence all vanished, and
+plain crops or straight hair, not
+over long, marked these extraordinary
+people. It was a natural
+revolt against extravagance, and
+in some more sensible minds it
+was not carried to excess; points
+and bows were allowable, though
+of sombre colours. Sashes still
+held good, but of larger size,
+ruffs at the wrists were worn,
+but of plain linen. The bands
+or collars varied in size according
+to the religious enthusiasm of the
+wearers, but all were plain without
+lace edgings, and were tied
+with plain strings. Black, dark brown, and dull
+gray were the common colours, relieved sometimes,
+if the man was wearing a sleeveless coat,
+by the yellow and red-barred sleeves of the under-jacket,
+or possibly by coloured sleeves sewn into
+<span class="pagenum"><a name="Page_361" id="Page_361">[<span class="hidden">Pg </span>361]</a></span>
+the coat under the shoulder-wings. Overcoats
+were cut as simply as possible, though they did
+not skimp the material but made them wide and
+loose.</p>
+
+<div class="figcenter ipadtop" style="width: 382px;">
+<a name="pl51" id="pl51"></a>
+<img src="images/ecpl51.jpg" width="382" height="600" alt="" />
+</div>
+
+<p class="caption">A CROMWELLIAN MAN (1649-1660)</p>
+
+<p class="subcapt ipadbase">Notice the careful plainness of his dress, and his very
+wide-topped boots.</p>
+
+<div class="figcenter" style="width: 338px;">
+<img src="images/ecill187.png" width="338" height="250"
+alt="Three men of the time of the Cromwells; a type of sleeve;
+two types of breeches and boot; a type of collar" />
+</div>
+
+<p>The women dressed their hair more plainly,
+the less serious retained the little bunches of side
+curls, but the others smoothed their hair away
+under linen caps or black hoods tied under their
+chins. Another thing the women did was to cut
+from their bodices all the little strips but the one
+in the middle of the back, and this they left, like
+a tail, behind. Some, of course, dressed as before
+<span class="pagenum"><a name="Page_362" id="Page_362">[<span class="hidden">Pg </span>362]</a></span>
+with the difference in colour and in ornament
+that made for severity. It had an effect on the
+country insomuch as the country people ceased
+to be extravagant in the materials for garments
+and in many like ways, and so lay by good fortunes
+for their families&mdash;these families coming later into
+the gay court of
+Charles II. had all
+the more to lavish
+on the follies of his
+fashions.</p>
+
+<div class="figcenter" style="width: 217px;">
+<img src="images/ecill188.png" width="217" height="250"
+alt="A man of the time of the Cromwells; a type of coat" />
+</div>
+
+<p>The Puritan is as
+well-known a figure
+as any in history;
+an intelligent child
+could draw you a
+picture or describe
+you a Puritan as well
+as he could describe the Noah of Noah&rsquo;s Ark. He
+has become part of the stock for an Academy
+humourist, a thousand anecdote pictures have been
+painted of him; very often his nose is red, generally
+he has a book in his hand, laughing maids bring
+him jacks of ale, jeering Cavaliers swagger past
+him: his black cloak, board shoes, wide Geneva
+<span class="pagenum"><a name="Page_363" id="Page_363">[<span class="hidden">Pg </span>363]</a></span>
+bands are as much part of our national picture
+as Punch or Harlequin.</p>
+
+<div class="figcenter ipadtop" style="width: 294px;">
+<a name="pl52" id="pl52"></a>
+<img src="images/ecpl52.jpg" width="294" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF THE
+CROMWELLS (1649-1660)</p>
+
+<p class="subcapt ipadbase">This is not one of the most Puritanical dresses, but
+shows how the richness of the reign of Charles I.
+was toned down. She carries a muff in her hand,
+wears a good wide collar and cuffs, and neat roses on
+her shoes.</p>
+
+<div class="figcenter" style="width: 280px;">
+<img src="images/ecill189.png" width="280" height="250"
+alt="Two women of the time of the Cromwells; a type of jacket;
+two types of head-dress for women" />
+</div>
+
+<p>The Puritaness is also known. She is generally
+represented as a sly bird in sombre clothes; her
+town garments, full skirts, black hood, deep linen
+collar are shown to hide a merry-eyed lady, her
+country clothes, apron, striped petticoat, bunched
+up skirt,
+linen cap,
+her little
+flaunt of
+curls show
+her still mischievous.
+The pair of
+them, in
+reality religious
+fanatics,
+prepared a
+harvest that they little dreamt of&mdash;a harvest of
+extravagant clothes and extravagant manners, when
+the country broke loose from its false bondage of
+texts, scriptural shirts, and religious petticoats, and
+launched into a bondage, equally false, of low cut
+dresses and enormous periwigs.</p>
+
+<p><span class="pagenum"><a name="Page_364" id="Page_364">[<span class="hidden">Pg </span>364]</a></span>
+In the next reign you will see an entirely new
+era of clothes&mdash;the doublet and jerkin, the trunks
+and ruffs have their last eccentric fling, they
+become caricatures of themselves, they do all the
+foolish things garments can do, and then, all
+of a sudden, they vanish&mdash;never to be taken up
+again. Hair, long-neglected, is to have its full
+sway, wigs are the note for two centuries, so
+utterly different did the man become in the short
+space of thirty-five years, that the buck of the
+Restoration and the beau of the Jacobean order
+would stare helplessly at each other, wondering
+each to himself what manner of fool this was
+standing before him.</p>
+
+<div class="figcenter ipadtop" style="width: 467px;">
+<a name="pl53" id="pl53"></a>
+<img src="images/ecpl53.jpg" width="467" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF THE
+CROMWELLS (1649-1660)</p>
+
+<p class="subcapt ipadbase">This shows the modification of the dress of the time
+of Charles I. Not an extreme change, but an
+endeavour towards simplicity.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_365" id="Page_365">[<span class="hidden">Pg </span>365]</a></span></p>
+
+<h2>CHARLES THE SECOND</h2>
+
+<p class="smlfont center">Reigned twenty-five years: 1660-1685.</p>
+
+<p class="smlfont center">Born 1630. Married, 1662, Katherine of Portugal.</p>
+
+
+<h3>THE MEN AND WOMEN</h3>
+
+<div class="figcenter" style="width: 237px;">
+<img src="images/ecill190.png" width="237" height="250"
+alt="Two men of the time of Charles II." />
+</div>
+
+<p>England, apparently
+with a sigh
+of relief, lays aside
+her hair shirt, and
+proves that she has
+been wearing a silk
+vest under it. Ribbon-makers and
+wig-makers, lace-makers,
+tailors, and
+shoemakers, pour
+out thankful offerings at the altar of Fashion.
+One kind of folly has replaced another; it is only
+the same goddess in different clothes. The lamp
+<span class="pagenum"><a name="Page_366" id="Page_366">[<span class="hidden">Pg </span>366]</a></span>
+that winked and flickered before the stern black
+figure in Geneva bands and prim curls is put to
+shame by the flare of a thousand candles shining
+on the painted face, the exposed bosom, the
+flaunting love-locks of this Carolean deity.</p>
+
+<div class="figcenter" style="width: 211px;">
+<img src="images/ecill191.png" width="211" height="250"
+alt="Two men of the time of Charles II." />
+</div>
+
+<p>We have burst out into periwigs, monstrous,
+bushy; we have donned petticoat breeches ruffled
+like a pigeon; we have cut our coats till they
+are mere apologies, serving to show off our fine
+shirts; and we have done the like with our coat-sleeves,
+leaving a little cuff glittering with buttons,
+and above that we have cut
+a great slit, all to show the
+marvel of our linen.</p>
+
+<p>Those of us who still
+wear the long wide breeches
+adorn them with heavy
+frills of deep lace, and sew
+bunches of ribbons along
+the seams. We tie our
+cravats in long, stiff bows or knot them tight,
+and allow the wide lace ends to float gracefully.</p>
+
+<div class="figcenter ipadtop" style="width: 309px;">
+<a name="pl54" id="pl54"></a>
+<img src="images/ecpl54.jpg" width="309" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF CHARLES II. (1660-1685)</p>
+
+<p class="subcapt ipadbase">This shows the dress during the first half of the
+reign. The feature of groups of ribboning is shown,
+with the short sleeve, the full shirt, and the petticoat.</p>
+
+<p>Our hats, broad-brimmed and stiff, are loaded
+with feathers; our little cloaks are barred with
+silk and lace and gold cord; our shoes are square-toed
+<span class="pagenum"><a name="Page_367" id="Page_367">[<span class="hidden">Pg </span>367]</a></span>
+and high-heeled, and are tied with a long-ended
+bow of ribbon.</p>
+
+<div class="figright" style="width: 161px;">
+<img src="images/ecill192.png" width="161" height="250"
+alt="A man of the time of Charles II.; a type of sleeve; the back of a coat" />
+</div>
+
+<p>Ribbon reigns triumphant: it ties our periwigs
+into bunches at the ends; it hangs in loops round
+our waists; it ties our shirt-sleeves up in several
+places; it twists itself round our knees. It is on
+our hats and heads, and
+necks and arms, and legs
+and shoes, and it peers out
+of the tops of our boots.
+Divines rave, moralists
+rush into print, to no purpose.
+The names seem to
+convey a sense of luxury:
+dove-coloured silk brocade,
+Rhingrave breeches,
+white lutestring seamed
+all over with scarlet and
+silver lace, sleeves whipt
+with a point lace, coat trimmed and figured with
+silver twist or satin ribbon; canvas, camblet, galloon
+and shamey, vellam buttons and taffety ribbons.
+The cannons, those bunches of ribbons round our
+knees, and the confidents, those bunches of curls by
+our ladies&rsquo; cheeks, do not shake at the thunderings
+<span class="pagenum"><a name="Page_368" id="Page_368">[<span class="hidden">Pg </span>368]</a></span>
+of Mr. Baxter or other moral gentlemen who
+regard a Maypole as a stinking idol. Mr. Hall
+writes on &lsquo;The Loathsomeness of Long Hair,&rsquo;
+Mr. Prynne on &lsquo;The Unloveliness of Lovelocks,&rsquo;
+and we do not care a pinch of rappe.</p>
+
+<p>Little moustaches and tiny lip beards grow
+under careful treatment, and the ladies wear a
+solar system in patches on their cheeks.</p>
+
+<p>The ladies soon escaped the bondage of the
+broad Puritan collars, and all these had hid was
+exposed. The sleeves left the arms bare to the
+elbow, and, being slit above and joined loosely
+by ribbons, showed the arm nearly to the shoulder.
+The sleeves of these dresses also followed the
+masculine fashion of little cuffs and tied-up linen
+under-sleeves. The bodices came to a peak in
+front and were round behind. The skirts were
+full, satin being favoured, and when held up
+showed a satin petticoat with a long train. The
+ladies, for a time, indulged in a peculiar loop of
+hair on their foreheads, called a &lsquo;fore-top,&rsquo; which
+gave rise to another fashion, less common, called
+a &lsquo;taure,&rsquo; or bull&rsquo;s head, being an arrangement of
+hair on the forehead resembling the close curls
+of a bull. The loose curls on the forehead were
+<span class="pagenum"><a name="Page_369" id="Page_369">[<span class="hidden">Pg </span>369]</a></span>
+called &lsquo;favorites&rsquo;; the long locks arranged to hang
+away from the face over the ears were called &lsquo;heart-breakers&rsquo;;
+and the curls close to
+the cheek were called &lsquo;confidents.&rsquo;
+Ladies wore cloaks with
+baggy hoods for travelling, and
+for the Mall the same hats as
+men, loaded with feathers.</p>
+
+<div class="figcenter ipadtop" style="width: 441px;">
+<a name="pl55" id="pl55"></a>
+<img src="images/ecpl55.jpg" width="441" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF CHARLES II. (1660-1685)</p>
+
+<p class="subcapt ipadbase">This is the change which came over men&rsquo;s dress on
+or about October, 1666. It is the new-fashioned vest
+or body-coat introduced to the notice of Charles
+by John Evelyn.</p>
+
+<div class="figright" style="width: 126px;">
+<img src="images/ecill193.png" width="126" height="250"
+alt="A man of the time of Charles II." />
+</div>
+
+<div class="figleft" style="width: 74px;">
+<img src="images/ecill194.png" width="74" height="250"
+alt="A man of the time of Charles II." />
+</div>
+
+<p>I am going to leave the change
+in dress during this reign to the
+next chapter, in which you will
+read how it struck
+Mr. Pepys. This
+change separates the
+old world of dress
+from the new; it is the advent of
+frocked coats, the ancestor of our frock-coat.
+It finishes completely the series
+of evolutions beginning with the old
+tunic, running through the gown stages
+to the doublet of Elizabethan times,
+lives in the half coat, half doublet of
+Charles I., and ends in the absurd little
+jackets of Charles II., who, sartorially, steps from
+the end of the Middle Ages into the New Ages,
+<span class="pagenum"><a name="Page_370" id="Page_370">[<span class="hidden">Pg </span>370]</a></span>
+closes the door on a wardrobe of brilliant eccentricity,
+and opens a cupboard containing our first
+frock-coat.</p>
+
+
+<h3>PEPYS AND CLOTHES</h3>
+
+<p>It is not really necessary for me to remind the
+reader that one of the best companions in the world,
+Samuel Pepys, was the son of a tailor. Possibly&mdash;I
+say possibly because the argument is really absurd&mdash;he
+may have inherited his great interest in clothes
+from his father. You see where the argument leads
+in the end: that all men to take an interest in
+clothes must be born tailors&rsquo; sons. This is no more
+true of Adam, who certainly did interest himself,
+than it is of myself.</p>
+
+<p>Pepys was educated at St. Paul&rsquo;s School, went
+to Trinity College, Cambridge, got drunk there,
+and took a scholarship. He married when he was
+twenty-two a girl of fifteen, the daughter of a
+Huguenot. He was born in 1633, three years
+after the birth of Charles II., of outrageous
+but delightful memory, and he commenced his
+Diary in 1660, the year in which Charles entered
+London, ending it in 1669, owing to his increasing
+weakness of sight. He was made Secretary to the
+<span class="pagenum"><a name="Page_371" id="Page_371">[<span class="hidden">Pg </span>371]</a></span>
+Admiralty in 1672, in 1673 he became a member
+of Parliament, was sent to the Tower as a Papist
+in 1679, and released in 1680. In 1684 he became
+President of the Royal Society, and he died in
+1703, and is buried in St. Olave&rsquo;s, Crutched Friars.</p>
+
+<p>Pepys mentions, in 1660, his coat with long
+skirts, fur cap, and buckles on his shoes. The
+coat was, doubtless, an old-fashioned Cromwellian
+coat with no waist.</p>
+
+<p>Later he goes to see Mr. Calthrop, and wears
+his white suit with silver lace, having left off his
+great skirt-coat. He leaves Mr. Calthrop to lay
+up his money and change his shoes and stockings.</p>
+
+<p>He mentions his scarlet waistclothes, presumably
+a sash, and regards Mr. John Pickering as an ass
+because of his feathers and his new suit made at
+the Hague. He mentions his linning stockings
+and wide cannons. This mention of wide cannons
+leads me to suppose that at this time any ornament
+at the knee would be called cannons, whether it
+was a part of the breeches or the stockings, or a
+separate frill or bunch of ribbons to put on.</p>
+
+<p>On July 1, still in the same year, comes home
+his fine camlett cloak and gold buttons; also a
+silk suit. Later he buys a jackanapes coat with
+<span class="pagenum"><a name="Page_372" id="Page_372">[<span class="hidden">Pg </span>372]</a></span>
+silver buttons. Then he and Mr. Pin, the tailor,
+agree upon a velvet coat and cap (&lsquo;the first I ever
+had&rsquo;). He buys short black stockings to wear over
+silk ones for mourning.</p>
+
+<div class="figcenter" style="width: 216px;">
+<img src="images/ecill195.png" width="216" height="250"
+alt="Two women of the time of Charles II." />
+</div>
+
+<p>On October 7 he says that, long cloaks being out
+of fashion, he must get a short one. He speaks of
+a suit made in France for My Lord costing &pound;200.
+He mentions ladies&rsquo; masks.</p>
+
+<p>In 1662 his wife has a pair of peruques of hair
+and a new-fashioned petticoat of sancenett with
+black, broad lace.
+Smocks are mentioned,
+and linen
+petticoats.</p>
+
+<p>He has a riding-suit
+with close knees.</p>
+
+<p>His new lace band
+is so neat that he is
+resolved they shall
+be his great expense.
+He wears a scallop.
+In 1663 he has a new
+black cloth suit, with white linings under all&mdash;as
+the fashion is&mdash;to appear under the breeches.</p>
+
+<div class="figcenter ipadtop" style="width: 373px;">
+<a name="pl56" id="pl56"></a>
+<img src="images/ecpl56.jpg" width="373" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF CHARLES II. (1650-1685)</p>
+
+<p class="subcapt ipadbase">You will notice her hair in ringlets tied with a ribbon,
+and dressed over a frame at the sides.</p>
+
+<p>The Queen wears a white-laced waistcoat and a
+<span class="pagenum"><a name="Page_373" id="Page_373">[<span class="hidden">Pg </span>373]</a></span>
+crimson short petticoat. Ladies are wearing hats
+covered with feathers.</p>
+
+<div class="figright" style="width: 99px;">
+<img src="images/ecill196.png" width="99" height="350"
+alt="Three types of wig for men" />
+</div>
+
+<p>God willing, he will begin next week to wear his
+three-pound periwig.</p>
+
+<p>He has spent last month (October) &pound;12 on Miss
+Pepys, and &pound;55 on his clothes. He has silk tops
+for his legs and a new shag gown.
+He has a close-bodied coat, light-coloured
+cloth with a gold edge.
+He sees Lady Castlemaine in yellow
+satin with a pinner on.</p>
+
+<p>In 1664 his wife begins to wear
+light-coloured locks.</p>
+
+<p>In 1665 there is a new fashion
+for ladies of yellow bird&rsquo;s-eye hood.
+There is a fear of the hair of periwigs
+during the Plague. Even in the
+middle of the Plague Pepys ponders
+on the next fashion.</p>
+
+<p>In 1666 women begin to wear
+buttoned-up riding-coats, hats and
+periwigs.</p>
+
+<p>On October 8 the King says he will
+set a thrifty fashion in clothes. At this momentous
+date in history we must break for a minute from
+<span class="pagenum"><a name="Page_374" id="Page_374">[<span class="hidden">Pg </span>374]</a></span>
+our friend Pepys, and hear how this came about.
+Evelyn had given the King his pamphlet entitled
+&lsquo;Tyrannus, or the
+Mode.&rsquo; The King reads
+the pamphlet, and is
+struck with the idea
+of the Persian coat.
+A long pause may be
+made here, in which
+the reader may float
+on a mental cloud back
+into the dim ages in
+the East, and there
+behold a transmogrified
+edition of his own frock-coat
+gracing the back
+of some staid philosopher. Evelyn had also
+published &lsquo;Mundus Muliebris; or, the Ladies&rsquo;
+Dressing-Room Unlocked.&rsquo;</p>
+
+<div class="figleft" style="width: 196px;">
+<img src="images/ecill197.png" width="196" height="300"
+alt="A woman of the time of Charles II." />
+</div>
+
+<p>So, only one month after the Great Fire of
+London, only a short time before the Dutch burnt
+ships in the Medway, only a year after the Plague,
+King Charles decides to reform the fashion. By
+October 13 the new vests are made, and the King
+and the Duke of York try them on. On the
+<span class="pagenum"><a name="Page_375" id="Page_375">[<span class="hidden">Pg </span>375]</a></span>
+fifteenth the King wears his in public, and says he
+will never change to another fashion. &lsquo;It is,&rsquo; says
+Pepys, &lsquo;a long cassocke close to the
+body, of black cloth and pinked with
+white silk under it, and a coat over
+it, and the legs ruffled with black
+ribband like a pigeon&rsquo;s legs.&rsquo;</p>
+
+<div class="figcenter" style="width: 103px;">
+<img src="images/ecill198.png" width="103" height="250"
+alt="A woman of the time of Charles II." />
+</div>
+
+<p>The ladies, to make an alteration,
+are to wear short skirts. Nell
+Gwynne had a neat ankle, so I imagine
+she had a hand in this fashion.</p>
+
+<p>On October 17 the King, seeing
+Lord St. Alban in an all black suit,
+says that the black and white makes them look
+too much like magpies. He bespeaks one of all
+black velvet.</p>
+
+<p>Sir Philip Howard increases in the Eastern
+fashion, and wears a nightgown and a turban like
+a Turk.</p>
+
+<p>On November 2 Pepys buys a vest like the
+King&rsquo;s.</p>
+
+<p>On November 22 the King of France, Louis XIV.,
+who had declared war against England earlier in the
+year, says that he will dress all his footmen in vests
+like the King of England. However, fashion is
+<span class="pagenum"><a name="Page_376" id="Page_376">[<span class="hidden">Pg </span>376]</a></span>
+beyond the power of royal command, and the
+world soon followed in the matter of the Persian
+coat and vest, even to the present
+day.</p>
+
+<div class="figleft" style="width: 106px;">
+<img src="images/ecill199.png" width="106" height="250"
+alt="A woman of the time of Charles II." />
+</div>
+
+<p>Next year, 1667, Pepys notes that
+Lady Newcastle, in her velvet cap
+and her hair about her ears, is the
+talk of the town. She wears a
+number of black patches because of
+the pimples about her mouth, she is
+naked-necked (no great peculiarity),
+and she wears a <i>just au corps</i>, which
+is a close body-coat.</p>
+
+<div class="figright" style="width: 117px;">
+<img src="images/ecill200.png" width="117" height="250"
+alt="A woman of the time of Charles II." />
+</div>
+
+<p>Pepys notices the shepherd at
+Epsom with his wool-knit stockings
+of two colours, mixed. He
+wears a new camlett cloak. The
+shoe-strings have given place to
+buckles, and children wear long
+coats.</p>
+
+<p>In 1668 his wife wears a flower
+tabby suit (&lsquo;everybody in love with
+it&rsquo;). He is forced to lend the Duke of York
+his cloak because it rains. His barber agrees to
+<span class="pagenum"><a name="Page_377" id="Page_377">[<span class="hidden">Pg </span>377]</a></span>
+keep his periwig in order for &pound;1 a year. He buys
+a black bombazin suit.</p>
+
+<p>In 1669 his wife wears the new French gown
+called a sac; he pays 55s. for his new belt. His
+wife still wears her old flower tabby gown. So
+ends the dress note in the Diary.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_378" id="Page_378">[<span class="hidden">Pg </span>378]</a></span></p>
+
+<h2>JAMES THE SECOND</h2>
+
+<p class="smlfont center">Reigned four years: 1685-1689.</p>
+
+<p class="smlfont center">Born 1633. Married, 1661, Anne Hyde; 1673,
+Mary of Modena.</p>
+
+
+<h3>THE MEN AND WOMEN</h3>
+
+<div class="figcenter" style="width: 225px;">
+<img src="images/ecill201.png" width="225" height="250"
+alt="Two men of the time of James II.; a type of sleeve" />
+</div>
+
+<p>In such a short space
+of time as this reign
+occupies it is not
+possible to show any
+great difference in
+the character of the
+dress, but there is a
+tendency, shown over
+the country at large,
+to discard the earlier
+beribboned fashions,
+and to take more seriously to the long coat and
+waistcoat. There is a tendency, even, to become
+more buttoned up&mdash;to present what I can only call
+a frock-coat figure. The coat became closer to the
+<span class="pagenum"><a name="Page_379" id="Page_379">[<span class="hidden">Pg </span>379]</a></span>
+body, and was braided across the front in many
+rows, the ends fringed out and held by buttons.
+The waistcoat, with the pockets an arm&rsquo;s length
+down, was cut the same length as the coat.
+Breeches were more frequently cut tighter, and
+were buttoned up the side of the leg. The cuffs
+of the sleeves were wide, and were turned back
+well over the wrist.</p>
+
+<div class="figcenter ipadtop" style="width: 296px;">
+<a name="pl57" id="pl57"></a>
+<img src="images/ecpl57.jpg" width="296" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF JAMES II. (1685-1689)</p>
+
+<p class="subcapt ipadbase">The body-coat has now become the universal fashion,
+as have also the wide knee-breeches. Buckles are
+used on the shoes instead of strings.</p>
+
+<div class="figright" style="width: 115px;">
+<img src="images/ecill202.png" width="115" height="250"
+alt="A man of the time of James II." />
+</div>
+
+<p>Of course the change was gradual, and more
+men wore the transitional coat than the tight one.
+By the coat in its changing stages
+I mean such a coat as this: the
+short coat of the early Charles II.
+period made long, and, following
+the old lines of cut, correspondingly
+loose. The sleeves remained much
+the same, well over the elbow,
+showing the white shirt full and
+tied with ribbons. The shoe-strings
+had nearly died out, giving
+place to a buckle placed on a strap
+well over the instep.</p>
+
+<p>There is a hint of growth in the periwig, and of
+fewer feathers round the brim of the hat; indeed,
+little low hats with broad brims, merely ornamented
+<span class="pagenum"><a name="Page_380" id="Page_380">[<span class="hidden">Pg </span>380]</a></span>
+with a bunch or so of ribbons, began to become
+fashionable.</p>
+
+<div class="figcenter" style="width: 125px;">
+<img src="images/ecill203.png" width="125" height="250"
+alt="A woman of the time of James II." />
+</div>
+
+<p>Swords were carried in broad baldricks richly
+ornamented.</p>
+
+<p>The waistclothes of Mr. Pepys would, by now,
+have grown into broad sashes, with heavily fringed
+ends, and would be worn round the outside coat;
+for riding, this appears to have been the fashion,
+together with small peaked caps, like jockey caps,
+and high boots.</p>
+
+<p>The ladies of this reign simplified the dress into
+a gown more tight to the bust, the sleeves more
+like the men&rsquo;s, the skirt still very
+full, but not quite so long in the train.</p>
+
+<p>Black hoods with or without
+capes were worn, and wide collars
+coming over the shoulders again
+came into fashion. The pinner,
+noticed by Pepys, was often worn.</p>
+
+<div class="figcenter ipadtop" style="width: 362px;">
+<a name="pl58" id="pl58"></a>
+<img src="images/ecpl58.jpg" width="362" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF JAMES II. (1685-1689)</p>
+
+<p class="subcapt ipadbase">Notice the broad collar again in use, also the
+nosegay. The sleeves are more in the mannish
+fashion.</p>
+
+<p>But the most noticeable
+change occurs in the dress of
+countryfolk and ordinary citizens.
+The men began to drop all forms of doublet, and
+<span class="pagenum"><a name="Page_381" id="Page_381">[<span class="hidden">Pg </span>381]</a></span>
+take to the long coat, a suit of black grogram below
+the knees, a sash, and a walking-stick; for the cold,
+a short black cloak. In the country the change
+would be very noticeable. The country town, the
+countryside, was, until a few years back, distinctly
+Puritanical in garb; there were Elizabethan doublets
+on old men, and wide Cromwellian breeches,
+patched doubtless, walked the market-place. Hair
+was worn short. Now the russet brown clothes
+take a decided character in the direction of the
+Persian coat and knickerbockers closed at the knee.
+The good-wife of the farmer knots a
+loose cloth over her head, and pops a
+broad-brimmed man&rsquo;s hat over it. She
+has the sleeves of her dress made with
+turned-back cuffs, like her husband&rsquo;s,
+ties her shoes with strings, laces her
+dress in front, so as to show a bright-coloured
+under-bodice, and, as like as
+not, wears a green pinner (an apron with
+bib, which was pinned on to the dress),
+and altogether brings herself up to date.</p>
+
+<div class="figcenter" style="width: 85px;">
+<img src="images/ecill204.png" width="85" height="250"
+alt="A woman of the time of James II." />
+</div>
+
+<p>One might see the farmer&rsquo;s wife riding to market
+with her eggs in a basket covered with a corner of
+her red cloak, and many a red cloak would she meet
+<span class="pagenum"><a name="Page_382" id="Page_382">[<span class="hidden">Pg </span>382]</a></span>
+on the way to clep with on the times and the
+fashions. The green apron was a mark of a Quaker
+in America, and the Society of Friends was not by
+any means sad in colour until late in their history.</p>
+
+<p>Most notable was the neckcloth in this unhappy
+reign, which went by the name of Judge Jeffreys&rsquo;
+hempen cravat.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_383" id="Page_383">[<span class="hidden">Pg </span>383]</a></span></p>
+
+<h2>WILLIAM AND MARY</h2>
+
+<p class="smlfont center">Reigned thirteen years: 1689-1702.</p>
+
+<p class="smlfont center">The King born in 1650; the Queen born in 1662;
+married in 1677.</p>
+
+
+<h3>THE MEN</h3>
+
+<div class="figleft" style="width: 147px;">
+<img src="images/ecill205.png" width="147" height="350"
+alt="A man of the time of William and Mary" />
+</div>
+
+<p>First and foremost, the wig.
+Periwig, peruke, campaign wig
+with pole-locks or dildos, all
+the rage, all the thought of
+the first gentlemen. Their
+heads loaded with curl upon
+curl, long ringlets hanging
+over their shoulders and down
+their backs, some brown, some
+covered with meal until their
+coats looked like millers&rsquo; coats;
+scented hair, almost hiding the
+loose-tied cravat, &lsquo;most agreeably
+discoloured with snuff
+from top to bottom.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_384" id="Page_384">[<span class="hidden">Pg </span>384]</a></span></p>
+
+<div class="figcenter" style="width: 158px;">
+<img src="images/ecill206.png" width="158" height="250"
+alt="A man of the time of William and Mary; a type of cuff" />
+</div>
+
+<p>My fine gentleman walking the street with the
+square-cut coat open to show a fine waistcoat, his
+stick hanging by a ribbon on to his wrist and rattling
+on the pavement as it dragged along, his hat carefully
+perched on his wig, the crown made wide and
+high to hold the two wings of curls, which formed
+a negligent central parting. His pockets, low down
+in his coat, show a lace kerchief half dropping from
+one of them. One hand is in a small muff, the
+other holds a fine silver-gilt box filled with Vigo
+snuff. He wears high-heeled shoes, red heeled,
+perhaps, and the tongue of
+his shoe sticks up well above
+the instep. Probably he is on
+his way to the theatre, where
+he will comb his periwig in
+public, and puff away the
+clouds of powder that come
+from it. The fair lady in a
+side box, who hides her face
+behind a mask, is delighted
+if Sir Beau will bow to her.</p>
+
+<div class="figcenter ipadtop" style="width: 337px;">
+<a name="pl59" id="pl59"></a>
+<img src="images/ecpl59.jpg" width="337" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF WILLIAM AND
+MARY (1689-1702)</p>
+
+<p class="subcapt ipadbase">Strings again in use on the shoes. Cuffs much
+broader; wigs more full; skirts wider. Coat left
+open to show the long waistcoat.</p>
+
+<p>We are now among most
+precise people. One must walk here with just
+such an air of artificiality as will account one a
+<span class="pagenum"><a name="Page_385" id="Page_385">[<span class="hidden">Pg </span>385]</a></span>
+fellow of high tone. The more enormous is our
+wig, the more frequently we take a pinch of Violet
+Strasburg or Best Brazil, Orangery, Bergamotte, or
+Jassamena, the more shall we be followed by persons
+anxious to learn the fashion. We may even draw
+a little silver bowl from our pocket, place it on
+a seat by us, and, in meditative mood, spit therein.</p>
+
+<p>We have gone completely into skirted coats and
+big flapped waistcoats; we have adopted the big
+cuff buttoned back; we have given up altogether
+the wide knee-breeches, and wear only breeches not
+tight to the leg, but just full enough for comfort.</p>
+
+<p>The hats have altered considerably now; they are
+cocked up at all angles, turned off the forehead,
+turned up one side, turned up all round; some are
+fringed with gold or silver lace, others are crowned
+with feathers.</p>
+
+<p>We hear of such a number of claret-coloured suits
+that we must imagine that colour to be all the rage,
+and, in contrast to other times not long gone by,
+we must stiffen ourselves in buckram-lined skirts.</p>
+
+<p>These powdered Absaloms could change themselves
+into very fine fighting creatures, and look twice
+as sober again when occasion demanded. They
+rode about the country in periwigs, certainly, but
+<span class="pagenum"><a name="Page_386" id="Page_386">[<span class="hidden">Pg </span>386]</a></span>
+not quite so bushy and curled; many of them
+took to the travelling or campaign wig with
+the dildos or pole-locks. These
+wigs were full over the ears
+and at the sides of the forehead,
+but they were low in the
+crown, and the two front ends
+were twisted into single pipes of
+hair; or the pipes of hair at the
+side were entirely removed, and
+one single pipe hung down the
+back. The custom of thus
+twisting the hair at the back,
+and there holding it with a
+ribbon, gave rise to the later
+pigtail. The periwigs so altered
+were known as short bobs, the bob being the fullness
+of the hair by the cheeks of the wig.</p>
+
+<div class="figleft" style="width: 113px;">
+<img src="images/ecill207.png" width="113" height="250"
+alt="A man of the time of William and Mary" />
+</div>
+
+<p>The cuffs of the coat-sleeve varied to the idea
+and taste of the owner of the coat; sometimes the
+sleeve was widened at the elbow to 18 inches, and
+the cuffs, turned back to meet the sleeves, were
+wider still. Two, three, or even more buttons held
+the cuff back.</p>
+
+<p>The pockets on the coats were cut vertically and
+<span class="pagenum"><a name="Page_387" id="Page_387">[<span class="hidden">Pg </span>387]</a></span>
+horizontally, and these also might be buttoned up.
+Often the coat was held by only two centre buttons,
+and the waistcoat flaps were
+not buttoned at all. The
+men&rsquo;s and women&rsquo;s muffs were
+small, and often tied and slung
+with ribbons.</p>
+
+<div class="figcenter" style="width: 146px;">
+<img src="images/ecill208.png" width="146" height="250"
+alt="A man of the time of William and Mary" />
+</div>
+
+<p>Plain round riding-coats
+were worn, fastened by a clasp
+or a couple of large buttons.</p>
+
+<p>The habit of tying the neckcloth
+in a bow with full
+hanging ends was dying out,
+and a more loosely tied cravat
+was being worn; this was
+finished with fine lace
+ends, and was frequently
+worn quite long.</p>
+
+<div class="figleft" style="width: 229px;">
+<img src="images/ecill209.png" width="229" height="250"
+alt="Three men of the time of William and Mary" />
+</div>
+
+<p>Stockings were pulled
+over the knee, and were
+gartered below and rolled
+above it.</p>
+
+<p>The ordinary citizen
+wore a modified edition
+of these clothes&mdash;plain in cut, full, without half the
+<span class="pagenum"><a name="Page_388" id="Page_388">[<span class="hidden">Pg </span>388]</a></span>
+number of buttons, and without the tremendous
+periwig, wearing merely his own hair long.</p>
+
+<p>For convenience in riding, the skirts of the coats
+were slit up the back to the waist; this slit could
+be buttoned up if need be.</p>
+
+<div class="figright" style="width: 217px;">
+<img src="images/ecill210.png" width="217" height="250"
+alt="A man of the time of William and Mary; a shoe" />
+</div>
+
+<p>Now, let us give the dandy of this time his pipe,
+and let him go in peace. Let us watch him stroll
+down the street, planting
+his high heels carefully,
+to join two companions
+outside the tobacco shop.
+Here, by the great carved
+wood figure of a smoking
+Indian with his kilt of
+tobacco leaves, he meets
+his fellows. From the
+hoop hung by the door
+one chooses a pipe,
+another asks for a quid to chew and a spittoon, the
+third calls for a paper of snuff newly rasped. Then
+they pull aside the curtains and go into the room
+behind the shop, where, seated at a table made of
+planks upon barrels, they will discuss the merits of
+smoking, chewing, and snuffing.</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;We three are engaged in one cause,<br /></span>
+<span class="i0">I snuffs, I smokes, and I chaws.&rsquo;<br /></span>
+</div>
+</div>
+
+
+<p><span class="pagenum"><a name="Page_389" id="Page_389">[<span class="hidden">Pg </span>389]</a></span></p>
+
+<h3>THE WOMEN</h3>
+
+<p>Let me picture for you a lady of this time in the
+language of those learned in dress, and you will see
+how much it may benefit.</p>
+
+<p>&lsquo;We see her coming afar off; against the yew
+hedge her weeds shine for a moment. We see her
+figuretto gown well looped and puffed with the
+monte-la-haut. Her &eacute;chelle is beautiful, and her
+pinner exquisitely worked. We can see her commode,
+her top-not, and her fontage, for she wears
+no rayonn&eacute;. A silver pin holds her meurtriers,
+and the fashion suits better than did the cr&egrave;ve-c&oelig;urs.
+One hand holds her Saxon green muffetee,
+under one arm is her chapeau-bras. She is beautiful,
+she needs no plumpers, and she regards us
+kindly with her watchet eyes.&rsquo;</p>
+
+<p>A lady of this date would read this and enjoy it,
+just as a lady of to-day would understand modern
+dress language, which is equally peculiar to the
+mere man. For example, this one of the Queen
+of Spain&rsquo;s hats from her trousseau (curiously enough
+a trousseau is a little bundle):</p>
+
+<p>&lsquo;The hat is a paille d&rsquo;Italie trimmed with a profusion
+of pink roses, accompanied by a pink chiffon
+<span class="pagenum"><a name="Page_390" id="Page_390">[<span class="hidden">Pg </span>390]</a></span>
+ruffle fashioned into masses bouillonn&eacute;e arranged
+at intervals and circled with wreaths of shaded
+roses.&rsquo;</p>
+
+<div class="figleft" style="width: 184px;">
+<img src="images/ecill211.png" width="184" height="250"
+alt="Two women of the time of William and Mary" />
+</div>
+
+<p>The modern terms so vaguely used are shocking,
+and the descriptive names given to colours by
+dress-artists are horrible
+beyond belief&mdash;such as
+Watteau pink and elephant
+grey, not to speak
+of S&egrave;vres-blue cherries.</p>
+
+<p>However, the female
+mind delights in such
+jargon and hotch-potch.</p>
+
+<p>Let me be kind enough
+to translate our William
+and Mary fashion language.
+&lsquo;Weeds&rsquo; is a term still in use in &lsquo;widow&rsquo;s weeds,&rsquo;
+meaning the entire dress appearance of a woman.
+A &lsquo;figuretto gown looped and puffed with the monte-la-haut&rsquo;
+is a gown of figured material gathered into
+loops over the petticoat and stiffened out with wires
+&lsquo;monte-la-haut.&rsquo; The &lsquo;&eacute;chelle&rsquo; is a stomacher
+laced with ribbons in rungs like a ladder. Her
+&lsquo;pinner&rsquo; is her apron. The &lsquo;commode&rsquo; is the wire
+frame over which the curls are arranged, piled up in
+<span class="pagenum"><a name="Page_391" id="Page_391">[<span class="hidden">Pg </span>391]</a></span>
+high masses over the forehead. The &lsquo;top-not&rsquo; is a
+large bow worn at the top of the commode; and the
+&lsquo;fontage&rsquo; or &lsquo;tower&rsquo; is a French arrangement of
+alternate layers of lace and ribbon raised one above
+another about half a yard high. It was invented
+in the time of Louis XIV.,
+about 1680, by Mademoiselle
+Fontage. The &lsquo;rayonn&eacute;&rsquo; is a
+cloth hood pinned in a circle.
+The &lsquo;meurtriers,&rsquo; or murderers,
+are those twists in the hair
+which tie or unloose the
+arrangements of curls; and
+the &lsquo;cr&egrave;ve-c&oelig;urs&rsquo; are the row
+of little forehead curls of the
+previous reign. A &lsquo;muffetee&rsquo;
+is a little muff, and a &lsquo;chapeau-bras&rsquo; is a hat never
+worn, but made to be carried under the arm by
+men or women; for the men hated to disarrange
+their wigs.</p>
+
+<div class="figright" style="width: 154px;">
+<img src="images/ecill212.png" width="154" height="250"
+alt="A woman of the time of William and Mary" />
+</div>
+
+<p>&lsquo;Plumpers&rsquo; were artificial arrangements for filling
+out the cheeks, and &lsquo;watchet&rsquo; eyes are blue
+eyes.</p>
+
+<p>The ladies have changed a good deal by the
+middle of this reign: they have looped up the gown
+<span class="pagenum"><a name="Page_392" id="Page_392">[<span class="hidden">Pg </span>392]</a></span>
+till it makes side-panniers and a bag-like droop at
+the back; the under-gown has a long train, and the
+bodice is long-waisted. The
+front of the bodice is laced
+open, and shows either an
+arrangement of ribbon and
+lace or a piece of the material
+of the under-gown.</p>
+
+<div class="figleft" style="width: 125px;">
+<img src="images/ecill213.png" width="125" height="300"
+alt="Two hair arrangements and necklines for women" />
+</div>
+
+<p>Black pinners in silk with a
+deep frill are worn as well as
+the white lace and linen ones.</p>
+
+<div class="figcenter" style="width: 101px;">
+<img src="images/ecill214.png" width="101" height="250"
+alt="A woman of the time of William and Mary" />
+</div>
+
+<p>The ladies wear short black
+capes of this stuff with a
+deep frill.</p>
+
+<p>Sometimes, instead of the
+fontage, a lady
+wears a lace shawl over her head
+and shoulders, or a sort of lace cap
+bedizened with coloured ribbons.</p>
+
+<p>Her sleeves are like a man&rsquo;s,
+except that they come to the elbow
+only, showing a white under-sleeve of lace gathered
+into a deep frill of lace just below the elbow.</p>
+
+<div class="figcenter ipadtop" style="width: 350px;">
+<a name="pl60" id="pl60"></a>
+<img src="images/ecpl60.jpg" width="350" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF WILLIAM
+AND MARY (1689-1702)</p>
+
+<p class="subcapt ipadbase">Here you see the cap called the &lsquo;fontage,&rsquo; the black
+silk apron, the looped skirt, and the hair on the high
+frame called a &lsquo;commode.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_393" id="Page_393">[<span class="hidden">Pg </span>393]</a></span></p>
+
+<div class="figright" style="width: 131px;">
+<img src="images/ecill215.png" width="131" height="250"
+alt="A woman of the time of William and Mary" />
+</div>
+
+<div class="figleft" style="width: 201px;">
+<img src="images/ecill216.png" width="201" height="250" alt="" />
+<span class="caption">Country Folk.</span>
+</div>
+
+<p>She is very stiff and tight-laced, and very long in
+the waist; and at the waist where the gown opens
+and at the loopings of it the
+richer wear jewelled brooches.</p>
+
+<p>Later in the reign there began
+a fashion for copying men&rsquo;s
+clothes, and ladies wore wide
+skirted coats with deep-flapped
+pockets, the sleeves of the coats
+down below the elbow and with
+deep-turned overcuffs. They
+wore, like the men, very much
+puffed
+and ruffled
+linen and lace at the
+wrists. Also they wore
+men&rsquo;s waistcoat fashions,
+carried sticks and little arm-hats&mdash;chapeau-bras. To
+complete the dress the hair
+was done in a bob-wig style,
+and the cravat was tied
+round their necks and
+pinned. For the winter one of those loose Dutch
+jackets lined and edged with fur, having wide sleeves.</p>
+
+<p><span class="pagenum"><a name="Page_394" id="Page_394">[<span class="hidden">Pg </span>394]</a></span>
+The general tendency was to look Dutch, stiff,
+prim, but very prosperous; even the country maid
+in her best is close upon the heel of fashion with
+her laced bodice, sleeves with cuffs, apron, and high-heeled
+shoes.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_395" id="Page_395">[<span class="hidden">Pg </span>395]</a></span></p>
+
+<h2>QUEEN ANNE</h2>
+
+<p class="smlfont center">Reigned twelve years: 1702-1714.</p>
+
+<p class="smlfont center">Born 1665. Married, 1683, Prince George of
+Denmark.</p>
+
+
+<h3>THE MEN AND WOMEN</h3>
+
+<p>When I turn to the opening of the eighteenth
+century, and leave Dutch William and his Hollands
+and his pipe and his bulb-gardens behind, it seems
+to me that there is a great noise, a tumultuous
+chattering. We seem to burst upon a date of
+talkers, of coffee-houses, of snuff and scandal. All
+this was going on before, I say to myself&mdash;people
+were wearing powdered wigs, and were taking snuff,
+and were talking scandal, but it did not appeal so
+forcibly.</p>
+
+<p>We arrive at Sedan-chairs and hoops too big for
+them; we arrive at red-heeled shoes. Though both
+chairs and red heels belong to the previous reign,
+still, we arrive at them now&mdash;they are very much
+<span class="pagenum"><a name="Page_396" id="Page_396">[<span class="hidden">Pg </span>396]</a></span>
+in the picture. We seem to see a profusion, a confused
+mass of bobbins and bone lace, mourning hatbands,
+silk garters, amber canes correctly conducted,
+country men in red coats, coxcombs, brass and
+looking-glass snuff-boxes.</p>
+
+<div class="figcenter" style="width: 104px;">
+<img src="images/ecill217.png" width="104" height="250"
+alt="A man of the time of Anne" />
+</div>
+
+<p>Gentlemen walk past our mental vision with
+seals curiously fancied and exquisitely well cut.
+Ladies are sighing at the toss of
+a wig or the tap on a snuff-box,
+falling sick for a pair of striped
+garters or a pair of fringed gloves.
+Gentlemen are sitting baldheaded
+in elegant dressing-gowns, while
+their wigs are being taken out of
+roulettes. The peruquier removes
+the neat, warm clay tube, gives
+a last pat to the fine pipes of the
+hair, and then gently places the
+wig on the waiting gentlemen.
+If you can look through the
+walls of London houses you will
+next see regiments of gentlemen,
+their faces pressed into glass cones, while
+the peruquier tosses powder over their newly-put-on
+periwigs. The bow at the end of the
+<span class="pagenum"><a name="Page_397" id="Page_397">[<span class="hidden">Pg </span>397]</a></span>
+long pigtail on the Ramillies wig is tied&mdash;that
+is over.</p>
+
+<div class="figcenter ipadtop" style="width: 461px;">
+<a name="pl61" id="pl61"></a>
+<img src="images/ecpl61.jpg" width="461" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF QUEEN ANNE (1702-1714)</p>
+
+<p class="subcapt ipadbase">The coat has become still more full at the sides.
+The hat has a more generous brim. Red heels in
+fashion.</p>
+
+<p>Running footmen, looking rather like Indians
+from the outsides of tobacco shops, speed past. They
+are dressed in close tunics with a fringed edge,
+which flicks them just above the knee. Their legs
+are tied up in leather guards, their feet are strongly
+shod, their wigs are in small bobs. On their heads
+are little round caps, with a
+feather stuck in them. In
+one hand they carry a long
+stick about 5 feet high, in
+the top knob of which they
+carry some food or a message.
+A message to whom?</p>
+
+<div class="figright" style="width: 149px;">
+<img src="images/ecill218.png" width="149" height="250" alt="" />
+<span class="caption">A Running Footman.</span>
+</div>
+
+<p>The running footman knocks
+on a certain door, and delivers
+to the pretty maid a note for
+her ladyship from a handsome,
+well-shaped youth who
+frequents the coffee-houses about Charing Cross.
+There is no answer to the note: her ladyship is too
+disturbed with household affairs. Her Welsh maid
+has left her under suspicious circumstances, and has
+carried off some articles. The lady is even now
+<span class="pagenum"><a name="Page_398" id="Page_398">[<span class="hidden">Pg </span>398]</a></span>
+writing to Mr. Bickerstaff of the <i>Tatler</i> to implore
+his aid.</p>
+
+<p>This is the list of the things she has missed&mdash;at
+least, as much of the list as my mind remembers as
+it travels back over the years:</p>
+
+<div class="figleft" style="width: 122px;">
+<img src="images/ecill219.png" width="122" height="250"
+alt="A woman of the time of Anne" />
+</div>
+
+<div class="blockquot">
+<p>A thick wadded Calico Wrapper.</p>
+
+<p>A Musk-coloured Velvet Mantle lined with
+Squirrels&rsquo; Skins.</p>
+
+<p>Eight night shifts, four pairs of
+stockings curiously darned.</p>
+
+<p>Six pairs of laced Shoes, new
+and old, with the heels of
+half 2 inches higher than their
+fellows.</p>
+
+<p>A quilted Petticoat of the
+largest size, and one of Canvas,
+with whalebone hoops.</p>
+
+<p>Three pairs of Stays boulstered
+below the left shoulder. Two
+pairs of Hips of the newest
+fashion.</p>
+
+<p>Six Roundabout Aprons, with
+Pockets, and four strip&rsquo;d Muslin night
+rails very little frayed.</p>
+
+<p>A silver Cheese toaster with three tongues.</p>
+
+<p>A silver Posnet to butter eggs.</p>
+
+<p>A Bible bound in Shagreen, with guilt Leaves
+and Clasps, never opened but once.</p>
+
+<p>Two Leather Forehead Cloathes, three pair of
+oiled Dogskin Gloves.</p>
+
+<p><span class="pagenum"><a name="Page_399" id="Page_399">[<span class="hidden">Pg </span>399]</a></span>
+Two brand new Plumpers, three pair of fashionable
+Eyebrows.</p>
+
+<p>Adam and Eve in Bugle work, without Fig-leaves,
+upon Canvas, curiously wrought
+with her Ladyship&rsquo;s own hand.</p>
+
+<p>Bracelets of braided Hair, Pomander, and Seed
+Pearl.</p>
+
+<p>A large old Purple Velvet Purse, embroidered,
+and shutting with a spring, containing two
+Pictures in Miniature, the Features visible.</p>
+
+<p>A Silver gilt box for Cashu and Carraway Comfits
+to be taken at long sermons.</p>
+
+<p>A new Gold Repeating Watch made by a
+Frenchman.</p>
+
+<p>Together with a Collection of Receipts to make
+Pastes for the Hands, Pomatums, Lip
+Salves, White Pots, and Water of Talk.</p>
+</div>
+
+<p>Of these things one strikes the eye most curiously&mdash;the
+canvas petticoat with whalebone hoops. It
+dates the last, making me know that the good
+woman lost her things in or about the year 1710.
+We are just at the beginning of the era of the
+tremendous hoop skirt.</p>
+
+<p>This gentleman from the country will tell me all
+about it. I stop him and remark his clothes; by
+them I guess he has ridden from the country. He
+is wearing a wide-skirted coat of red with deep
+flap pockets; his coat has buttons from neck to hem,
+<span class="pagenum"><a name="Page_400" id="Page_400">[<span class="hidden">Pg </span>400]</a></span>
+but only two or three&mdash;at the waist&mdash;are buttoned.
+One hand, with the deep cuff pushed back from the
+wrist to show his neat frilled shirt, is thrust into his
+unbuttoned breeches pocket, the two pockets being
+across the top of his breeches. Round his neck is a
+black Steenkirk cravat (a black silk tie knotted and
+twisted or allowed to hang over loose). His hat is of
+black, and the wide brim is turned back from his forehead.
+His wig is a short black periwig in bobs&mdash;that
+is, it is gathered into bunches just on
+the shoulders, and is twisted in a little
+bob at the back of the neck. I have
+forgotten whether he wore red or blue
+stockings rolled above the knee, but
+either is likely. His shoes are strong,
+high-heeled, and have a big tongue
+showing above the buckle.</p>
+
+<div class="figcenter" style="width: 107px;">
+<img src="images/ecill220.png" width="107" height="250"
+alt="A man of the time of Anne" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 459px;">
+<a name="pl62" id="pl62"></a>
+<img src="images/ecpl62.jpg" width="459" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF QUEEN
+ANNE (1702-1714)</p>
+
+<p class="subcapt ipadbase">Notice that the fontage has become much lower,
+and the hoop of the skirt has become enormous.
+The hair is more naturally dressed.</p>
+
+<p>He tells me that in Norfolk, where
+he has come from, the hoop has
+not come into fashion; that ladies
+there dress much as they did before Queen Anne
+came to the throne. The fontage is lower,
+perhaps, the waist may be longer, but skirts are
+full and have long trains, and are gathered in
+loops to show the petticoat of silk with its deep
+<span class="pagenum"><a name="Page_401" id="Page_401">[<span class="hidden">Pg </span>401]</a></span>
+double row of flounces. Aprons are worn long,
+and have good pockets. Cuffs are deep, but are
+lowered to below the elbow. The bodice of the
+gown is cut high in the back and low in front,
+and is decked with a deep frill of lace or linen,
+which allows less bare neck to show than formerly.
+A very observant gentleman! &lsquo;But you have
+seen the new hoop?&rsquo; I ask him.
+Yes, he has seen it. As he rode into
+town he noticed that the old fashions
+gave way to new, that every mile
+brought the fontage lower and the
+hair more hidden, until short curls
+and a little cap of linen or lace
+entirely replaced the old high head-dress
+and the profusion of curls on
+the shoulders. The hoop, he noticed,
+became larger and larger as he
+neared the town, and the train grew shorter, and
+the patterns on the under-skirt grew larger with
+the hoop.</p>
+
+<div class="figright" style="width: 116px;">
+<img src="images/ecill221.png" width="116" height="250"
+alt="A woman of the time of Anne" />
+</div>
+
+<p>I leave my gentleman from the country and
+I stroll about the streets to regard the fashions.
+Here, I see, is a gentleman in one of the new
+Ramillies wigs&mdash;a wig of white hair drawn back
+<span class="pagenum"><a name="Page_402" id="Page_402">[<span class="hidden">Pg </span>402]</a></span>
+from the forehead and puffed out full over the
+ears. At the back the wig is gathered into a
+long queue, the plaited or twisted tail of a wig,
+and is ornamented
+at the top and bottom
+of the queue with a
+black bow.</p>
+
+<div class="figleft" style="width: 186px;">
+<img src="images/ecill222.png" width="186" height="250"
+alt="Ramillies Wig; Black Steenkirk; a hat for men" />
+</div>
+
+<p>I notice that this
+gentleman is dressed
+in more easy fashion
+than some. His coat
+is not buttoned, the
+flaps of his waistcoat
+are not over
+big, his breeches are
+easy, his tie is loose.
+I know where this
+gentleman has stepped from; he has come straight
+out of a sampler of mine, by means of which
+piece of needlework I can get his story without
+book. I know that he has a tremendous
+periwig at home covered with scented powder; I
+know that he has an elegant suit with fullness
+of the skirts, at his sides gathered up to a button
+of silver gilt; there is plenty of lace on this coat,
+<span class="pagenum"><a name="Page_403" id="Page_403">[<span class="hidden">Pg </span>403]</a></span>
+and deep bands of it on the cuffs. He has also,
+I am certain, a cane with an amber head very
+curiously clouded, and this cane he hangs on to
+his fifth button by a blue silk ribbon. This cane
+is never used except to lift it up at a coachman,
+hold it over the head of a drawer, or point out
+the circumstances of a story. Also, he has a single
+eyeglass, or perspective, which he will advance to
+his eye to gaze at a toast or an orange wench.</p>
+
+<p>There is another figure on the sampler&mdash;a lady
+in one of those wide hoops; she has a fan in her
+hand. I know her as well as
+the gentleman, and know that
+she can use her fan as becomes
+a prude or a coquette. I know
+she takes her chocolate in bed
+at nine in the morning, at
+eleven she drinks a dish of
+bohea, tries a new head at
+her twelve o&rsquo;clock toilette,
+and at two cheapens fans at
+the Change.</p>
+
+<div class="figright" style="width: 161px;">
+<img src="images/ecill223.png" width="161" height="250"
+alt="A woman of the time of Anne" />
+</div>
+
+<div class="figleft" style="width: 129px;">
+<img src="images/ecill224.png" width="129" height="250"
+alt="A woman of the time of Anne" />
+</div>
+
+<p>I have seen her at her mantua-makers; I have
+watched her embroider a corner of her flower
+handkerchief, and give it up to sit before her
+<span class="pagenum"><a name="Page_404" id="Page_404">[<span class="hidden">Pg </span>404]</a></span>
+glass to determine a patch. She is a good coachwoman,
+and puts her dainty laced shoe against
+the opposite seat to balance herself against the
+many jolts; meanwhile she takes her mask off
+for a look at the passing world. If only I could
+ride in the coach with her! If only I could I
+should see the fruit wenches in sprigged petticoats
+and flat, broad-brimmed hats; the
+ballad-sellers in tattered long-skirted
+coats; the country women
+in black hoods and cloaks, and
+the men in frieze coats. The ladies
+would pass by in pearl necklaces,
+flowered stomachers, artificial
+nosegays, and shaded furbelows:
+one is noted by her muff, one by
+her tippet, one by her fan. Here
+a gentleman bows to our coach,
+and my lady&rsquo;s heart beats to see his open waistcoat,
+his red heels, his suit of flowered satin. I should
+not fail to notice the monstrous petticoats worn by
+ladies in chairs or in coaches, these hoops stuffed
+out with cordage and stiffened with whalebone, and,
+according to Mr. Bickerstaff, making the women
+look like extinguishers&mdash;&lsquo;with a little knob at the
+<span class="pagenum"><a name="Page_405" id="Page_405">[<span class="hidden">Pg </span>405]</a></span>
+upper end, and widening downward till it ends in a
+basis of a most enormous circumference.&rsquo;</p>
+
+<p>To finish. I quite agree with Mr. Bickerstaff,
+when he mentions the great shoe-shop at the
+St. James&rsquo;s end of Pall Mall, that the shoes there
+displayed, notably the slippers with green lace and
+blue heels, do create irregular thoughts in the
+youth of this nation.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_406" id="Page_406">[<span class="hidden">Pg </span>406]</a></span></p>
+
+<h2>GEORGE THE FIRST</h2>
+
+<p class="smlfont center">Reigned thirteen years: 1714-1727.</p>
+
+<p class="smlfont center">Born 1660. Married, 1682, Sophia of Brunswick.</p>
+
+
+<h3>THE MEN AND WOMEN</h3>
+
+<div class="figleft" style="width: 218px;">
+<img src="images/ecill225.png" width="218" height="250"
+alt="1720: A woman of the time of George I.; a shoe" />
+</div>
+
+<p>We cannot do better
+than open Thackeray,
+and put a finger on this
+passage:</p>
+
+<div class="blockquot">
+<p>&lsquo;There is the Lion&rsquo;s
+Head, down whose jaws
+the Spectator&rsquo;s own letters
+were passed; and
+over a great banker&rsquo;s in
+Fleet Street the effigy of
+the wallet, which the founder of the firm bore when
+he came into London a country boy. People this
+street, so ornamented with crowds of swinging
+chairmen, with servants bawling to clear the way,
+with Mr. Dean in his cassock, his lacquey marching
+<span class="pagenum"><a name="Page_407" id="Page_407">[<span class="hidden">Pg </span>407]</a></span>
+before him; or Mrs. Dinah in her sack, tripping to
+chapel, her footboy carrying her ladyship&rsquo;s great
+prayer-book; with itinerant tradesmen, singing
+their hundred cries (I remember forty years ago, as
+a boy in London city, a score of cheery, familiar
+cries that are silent now).</p>
+
+<p>&lsquo;Fancy the beaux thronging to the chocolate-houses,
+tapping their snuff-boxes as they issue
+thence, their periwig appearing over the red
+curtains. Fancy Saccharissa beckoning and smiling
+from the upper windows, and a crowd of soldiers
+bawling and bustling at the door&mdash;gentlemen of
+the Life Guards, clad in scarlet with blue facings,
+and laced with gold at the seams; gentlemen of
+the Horse Grenadiers, in their caps of sky-blue
+cloth, with the garter embroidered on the front in
+gold and silver; men of the Halberdiers, in their
+long red coats, as bluff Harry left them, with their
+ruffs and velvet flat-caps. Perhaps the King&rsquo;s
+Majesty himself is going to St. James&rsquo;s as we pass.&rsquo;</p>
+
+<p class="sig"><i>The Four Georges.</i></p>
+</div>
+
+<div class="figleft" style="width: 134px;">
+<img src="images/ecill226.png" width="134" height="250"
+alt="A man of the time of George I." />
+</div>
+
+<div class="figright" style="width: 125px;">
+<img src="images/ecill227.png" width="125" height="250"
+alt="A woman of the time of George I." />
+</div>
+
+<p>We find ourselves, very willingly, discussing the
+shoes of the King of France with a crowd of
+powdered beaux; those shoes the dandyism of
+<span class="pagenum"><a name="Page_408" id="Page_408">[<span class="hidden">Pg </span>408]</a></span>
+which has never been surpassed, the heels, if you
+please, painted by Vandermeulen with scenes from
+Rhenish victories! Or we go to
+the toy-shops in Fleet Street,
+where we may make assignations
+or buy us a mask, where loaded
+dice are slyly handed over the
+counter. Everywhere&mdash;the beau.
+He rides the world like a cock-horse,
+or like Og the giant rode
+the Ark of Noah, steering it with
+his feet, getting his washing for
+nothing, and his meals passed up
+to him out by the chimney. Here
+is the old soldier begging in his
+tattered coat of red; here is a
+suspicious-looking character with a
+black patch over his eye; here the
+whalebone hoop of a petticoat takes
+up the way, and above the monstrous
+hoop is the tight bodice,
+and out of that comes the shoulders
+supporting the radiant Molly&mdash;patches,
+powder, paint, and smiles. Here a woman
+passes in a Nithsdale hood, covering her from head
+<span class="pagenum"><a name="Page_409" id="Page_409">[<span class="hidden">Pg </span>409]</a></span>
+to foot&mdash;this great cloak with a piquant history of
+prison-breaking; here, with a clatter of high red
+heels, the beau, the everlasting beau, in gold lace,
+wide cuffs, full skirts, swinging cane. A scene of
+flashing colours. The coats embroidered with
+flowers and butterflies, the cuffs a mass of fine
+sewing, the three-cornered hats cocked at a jaunty
+angle, the stockings rolled above the
+knee. Wigs in three divisions of loops
+at the back pass by, wigs in long
+queues, wigs in back and side bobs.
+Lacquer-hilted swords, paste buckles,
+gold and silver snuff-boxes flashing in
+the sun, which struggles through the
+mass of swinging signs.</p>
+
+<div class="figcenter ipadtop" style="width: 343px;">
+<a name="pl63" id="pl63"></a>
+<img src="images/ecpl63.jpg" width="343" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF GEORGE I. (1714-1727)</p>
+
+<p class="subcapt ipadbase">The buckles on the shoes are now much larger; the
+stockings are loosely rolled above the knee. The
+great periwig is going out, and the looped and curled
+wig, very white with powder, is in fashion.</p>
+
+<div class="figright" style="width: 84px;">
+<img src="images/ecill228.png" width="84" height="300"
+alt="A hat; coat tails; a wig" />
+</div>
+
+<p>There is a curious sameness about
+the clean-shaven faces surmounted by
+white wigs; there is&mdash;if we believe the
+pictures&mdash;a tendency to fat due to the
+tight waist of the breeches or the
+buckling of the belts. The ladies wear
+little lace and linen caps, their hair
+escaping in a ringlet or so at the side, and flowing
+down behind, or gathered close up to a small knob
+on the head. The gentlemen&rsquo;s coats fall in full
+<span class="pagenum"><a name="Page_410" id="Page_410">[<span class="hidden">Pg </span>410]</a></span>
+folds on either side; the back, at present, has
+not begun to stick out so heavily with buckram.
+Aprons for ladies are still worn. Silks and satins,
+brocades and fine cloths, white wigs powdering
+velvet shoulders, crowds of cut-throats, elegant
+gentlemen, patched Aspasias, tavern swindlers,
+foreign adventurers, thieves, a highwayman, a footpad,
+a poor poet&mdash;and narrow streets and mud.</p>
+
+<div class="figleft" style="width: 111px;">
+<img src="images/ecill229.png" width="111" height="250"
+alt="A man of the time of George I." />
+</div>
+
+<p>Everywhere we see the skirted coat, the big
+flapped waistcoat; even beggar boys, little pot-high
+urchins, are wearing some old laced waistcoat tied
+with string about their middles&mdash;a
+pair of heel-trodden, buckleless shoes
+on their feet, more likely bare-footed.
+Here is a man snatched from the
+tripe-shop in Hanging Sword Alley
+by the King&rsquo;s men&mdash;a pickpocket, a
+highwayman, a cut-throat in hiding.
+He will repent his jokes on Jack
+Ketch&rsquo;s kitchen when he feels the lash
+of the whip on his naked shoulders
+as he screams behind the cart-tail;
+ladies in flowered hoops will stop to look at him,
+beaux will lift their quizzing glasses, a young girl
+will whisper behind a fan, painted with the loves of
+<span class="pagenum"><a name="Page_411" id="Page_411">[<span class="hidden">Pg </span>411]</a></span>
+Jove, to a gorgeous young fop in a light-buttoned
+coat of sky-blue.</p>
+
+<div class="figcenter" style="width: 66px;">
+<img src="images/ecill230.png" width="66" height="250"
+alt="A man of the time of George I." />
+</div>
+
+<p>There is a sadder sight to come, a cart on the
+way to Tyburn, a poor fellow standing by his coffin
+with a nosegay in his breast; he is full
+of Dutch courage, for, as becomes a
+notorious highwayman, he must show
+game before the crowd, so he is full
+of stum and Yorkshire stingo. Maybe
+we stop to see a pirate hanging in
+chains by the river, and we are jostled
+by horse officers and
+watermen, revenue men
+and jerkers, and, as
+usual, the curious beau,
+his glass to his eye.
+Never was such a time
+for curiosity: a man is preaching
+mystic religion; there is a new
+flavour to the Rainbow Tavern
+furmity; there is a fellow who
+can sew with his toes; a man
+is in the pillory for publishing Jacobite ballads&mdash;and
+always there is the beau looking on.</p>
+
+<div class="figleft" style="width: 127px;">
+<img src="images/ecill231.png" width="127" height="250"
+alt="A woman of the time of George I." />
+</div>
+
+<p>Country ladies, still in small hoops, even in full
+<span class="pagenum"><a name="Page_412" id="Page_412">[<span class="hidden">Pg </span>412]</a></span>
+dresses innocent of whalebone, are bewildered by
+the noise; country gentlemen, in plain-coloured
+coats and stout shoes, have come to
+London on South Sea Bubble business.
+They will go to the Fair to see the Harlequin
+and Scaramouch dance, they will buy
+a new perfume at The Civet Cat, and they
+will go home&mdash;the lady&rsquo;s head full of the
+new hoop fashion, and she will cut away
+the sleeve of her old dress and put in
+fresh lace; the gentleman full of curses on
+tavern bills and the outrageous
+price of South Sea shares.</p>
+
+<div class="figright" style="width: 79px;">
+<img src="images/ecill232.png" width="79" height="250"
+alt="A man of the time of George I." />
+</div>
+
+<p>&lsquo;And what,&rsquo; says country dame to
+country dame lately from town&mdash;&lsquo;what
+is the mode in gentlemen&rsquo;s hair?&rsquo; Her
+own goodman has an old periwig,
+very full, and a small bob for ordinary
+wear.</p>
+
+<div class="figcenter" style="width: 74px;">
+<img src="images/ecill233.png" width="74" height="250"
+alt="A man of the time of George I." />
+</div>
+
+<p>&lsquo;The very full periwig is going out,&rsquo;
+our lady assures her; &lsquo;a tied wig is
+quite the mode, a wig in three queues
+tied in round bobs, or in hair loops, and
+the long single queue wig is coming in rapidly,
+and will soon be all the wear.&rsquo; So, with talk of
+<span class="pagenum"><a name="Page_413" id="Page_413">[<span class="hidden">Pg </span>413]</a></span>
+flowered tabbies and fine lutestring, are the fashions
+passed on.</p>
+
+<div class="figcenter ipadtop" style="width: 459px;">
+<a name="pl64" id="pl64"></a>
+<img src="images/ecpl64.jpg" width="459" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF GEORGE I. (1714-1727)</p>
+
+<p class="subcapt ipadbase">You will see that the fontage has given way to a
+small lace cap. The hair is drawn off the forehead.
+The hoop of the skirt is still large.</p>
+
+<div class="figright" style="width: 176px;">
+<img src="images/ecill234.png" width="176" height="250"
+alt="A woman of the time of George I." />
+</div>
+
+<p>Just as Sir Roger de Coverley nearly called a
+young lady in riding-dress &lsquo;sir,&rsquo; because of the
+upper half of her body, so the ladies of this day
+might well be taken for &lsquo;sirs,&rsquo;
+with their double-breasted
+riding-coats like the men, and
+their hair in a queue surmounted
+by a cocked hat.</p>
+
+<p>Colours and combinations
+of colours are very striking:
+petticoats of black satin
+covered with large bunches
+of worked flowers, morning
+gown of yellow flowered satin faced with cherry-coloured
+bands, waistcoats of one colour with a
+fringe of another, bird&rsquo;s-eye hoods, bodices covered
+with gold lace and embroidered flowers&mdash;all these
+gave a gay, artificial appearance to the age; but we
+are to become still more quaintly devised, still more
+powdered and patched, in the next reign.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_414" id="Page_414">[<span class="hidden">Pg </span>414]</a></span></p>
+
+<h2>GEORGE THE SECOND</h2>
+
+<p class="smlfont center">Reigned thirty-three years: 1727-1760.</p>
+
+<p class="smlfont center">Born 1683. Married, 1705, Caroline of Anspach.</p>
+
+
+<h3>THE MEN</h3>
+
+<p>Just a few names of wigs, and you will see how
+the periwig has gone into the background, how
+the bob-wig has superseded the campaign wig; you
+will find a veritable confusion of barbers&rsquo; enthusiasms,
+half-forgotten designs, names dependent
+on a twist, a lock, a careful disarrangement&mdash;pigeon&rsquo;s-wing
+wigs with wings of hair at the sides,
+comets with long, full tails, cauliflowers with a
+profusion of curls, royal bind-wigs, staircase wigs,
+ladders, brushes, Count Saxe wigs, cut bobs, long
+bobs, negligents, chain-buckles, drop-wigs, bags.
+Go and look at Hogarth; there&rsquo;s a world of dress
+for you by the grim humorist who painted Sarah
+Malcolm, the murderess, in her cell; who painted
+&lsquo;Taste in High Life.&rsquo; Wigs! inexhaustible subject&mdash;wigs
+passing from father to son until they arrived
+<span class="pagenum"><a name="Page_415" id="Page_415">[<span class="hidden">Pg </span>415]</a></span>
+at the second-hand dealers in Monmouth Street, and
+there, after a rough overhauling, began a new life.
+There was a wig lottery at sixpence a ticket in
+Rosemary Lane, and with even ordinary wigs&mdash;Grizzle
+Majors
+at twenty-five
+shillings, Great
+Tyes at a
+guinea, and
+Brown Bagwigs
+at fifteen
+shillings&mdash;quite
+a considerable
+saving
+might be
+made by the
+lucky lottery
+winner.</p>
+
+<div class="figright" style="width: 253px;">
+<img src="images/ecill235.png" width="253" height="300"
+alt="Back view of a man's coat; seven types of hat for men" />
+</div>
+
+<p>On wigs,
+hats cocked to suit the passing fashion, broad-brimmed,
+narrow-brimmed, round, three-cornered,
+high-brimmed, low-brimmed, turned high off the
+forehead, turned low in front and high at the back&mdash;an
+endless crowd. Such a day for clothes, for
+patches, and politics, Tory side and Whig to your
+<span class="pagenum"><a name="Page_416" id="Page_416">[<span class="hidden">Pg </span>416]</a></span>
+face, Tory or Whig cock to your hat; pockets high,
+pockets low, stiff cuffs, crushable cuffs, a regular
+jumble of go-as-you-please.
+Let
+me try to sort the
+jumble.</p>
+
+<div class="figleft" style="width: 248px;">
+<img src="images/ecill236.png" width="248" height="250"
+alt="1739: Two views of a coat for men" />
+</div>
+
+<div class="figcenter" style="width: 262px;">
+<img src="images/ecill237.png" width="262" height="300"
+alt="A man of the time of George II.; a sleeve; a waistcoat" />
+</div>
+
+<p>Foremost, the
+coat. The coat is
+growing more full,
+more spread; it becomes,
+on the beau,
+a great spreading,
+flaunting, skirted
+affair just buttoned by
+a button or two at the
+waist. It is laced or
+embroidered all over;
+it is flowered or plain.
+The cuffs are huge;
+they will, of course,
+suit the fancy of the
+owner, or the tailor.
+About 1745 they will
+get small&mdash;some will
+get small; then the fashions begin to run riot; by
+<span class="pagenum"><a name="Page_417" id="Page_417">[<span class="hidden">Pg </span>417]</a></span>
+the cut of coat you may not know the date of it,
+then, when you pass it in the street. From 1745
+there begins the same jumble as to-day, a hopeless
+thing to unravel; in the next reign, certainly, you
+may tell yourself here is one of the new Macaronis,
+but that will be all you will mark out of the
+crowd of fashions&mdash;one more remarkable, newer
+than the rest, but perhaps you have been in the
+country for a week, and a new
+mode has come in and is dying out.</p>
+
+<div class="figcenter ipadtop" style="width: 443px;">
+<a name="pl65" id="pl65"></a>
+<img src="images/ecpl65.jpg" width="443" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF GEORGE II. (1727-1760)</p>
+
+<p class="subcapt ipadbase">Notice the heavy cuffs, and the very full skirts
+of the coat. He carries a <i>chapeau bras</i> under his
+arm&mdash;a hat for carrying only, since he will not
+ruffle his wig. He wears a black satin tie to his wig,
+the ends of which tie come round his neck, are made
+into a bow, and brooched with a solitaire.</p>
+
+<div class="figright" style="width: 117px;">
+<img src="images/ecill238.png" width="117" height="250"
+alt="A man of the time of George II." />
+</div>
+
+<p>From coat let us look at waistcoat.
+Full flaps and long almost to
+the knees; but again, about 1756,
+they will be shorter. They are
+fringed, flowered, laced, open to
+show the lace cravat fall so daintily,
+to show the black velvet bow-tie
+that comes over from the black
+velvet, or silk, or satin tie of the
+queue. Ruffles of lace, of all qualities, at the
+wrists, the beau&rsquo;s hand emerging with his snuff-box
+from a filmy froth of white lace.</p>
+
+<div class="figleft" style="width: 235px;">
+<img src="images/ecill239.png" width="235" height="300"
+alt="A man of the time of George II.; a wig; breeches and stockings" />
+</div>
+
+<p>In this era of costume&mdash;from George I. to
+George IV.&mdash;the great thing to remember is that
+the coat changes more than anything else; from
+<span class="pagenum"><a name="Page_418" id="Page_418">[<span class="hidden">Pg </span>418]</a></span>
+the stiff William and Mary coat with its deep, stiff
+cuffs, you see the change towards the George I.
+coat, a looser cut of the same design, still simple in
+embroideries; then the coat skirts are gathered to
+a button at each side of the coat just behind the
+pockets. Then, in George II.&rsquo;s reign, the skirt hangs
+in parallel folds free from the button, and shapes to
+the back more closely, the opening of the coat, from
+the neck to the
+waist, being so cut
+as to hang over
+the buttons and
+show the cravat
+and the waistcoat.
+Then, later in the
+same reign, we see
+the coat with the
+skirts free of buckram
+and very full
+all round, and the
+cuffs also free of
+stiffening and folding
+with the crease of the elbow. Then, about 1745,
+we get the coat left more open, and, for the beau,
+cut much shorter&mdash;this often worn over a
+<span class="pagenum"><a name="Page_419" id="Page_419"><!-- original location - full page illustration of coats --></a></span>
+<span class="pagenum"><a name="Page_420" id="Page_420">[<span class="hidden">Pg </span>420]</a></span>
+double-breasted waistcoat. Then, arriving at George III.,
+we get a long series of coat changes, with a collar on
+it, turned over and standing high in the neck, with
+the skirts buttoned back, then cut away; then the
+front of the coat cut away like the modern dress-coat.</p>
+
+<div class="figcenter" style="width: 375px;">
+<img src="images/ecill240.png" width="375" height="600"
+alt="Four men of the time of George II." />
+</div>
+
+<p>In following out these really complicated changes,
+I have done my best to make my meaning clear by
+placing dates against those drawings where dates
+are valuable, hoping by this means to show the rise
+and fall of certain fashions more clearly than any
+description would do.</p>
+
+<p>It will be noticed that, for ceremony, the periwig
+gave place to the tie-wig, or, in some few cases, to
+natural hair curled and powdered. The older men
+kept to the periwig no doubt from fondness of the
+old and, as they thought, more grave fashion; but,
+as I showed at the beginning of the chapter, the
+beau and the young man, even the quite middle-class
+man, wore, or had the choice of wearing,
+endless varieties of false attires of hair.</p>
+
+<p>The sporting man had his own idea of dress,
+even as to-day he has a piquant idea in clothes, and
+who shall say he has not the right? A black wig,
+a jockey cap with a bow at the back of it, a very
+<span class="pagenum"><a name="Page_421" id="Page_421">[<span class="hidden">Pg </span>421]</a></span>
+resplendent morning gown richly laced, a morning
+cap, and very comfortable embroidered slippers,
+such mixtures of clothes in his wardrobe&mdash;his coat,
+no doubt, a little over-full, but of good cloth, his
+fine clothes rather over-embroidered, his tie-wig
+often pushed too far back on his forehead, and so
+showing his cropped hair underneath.</p>
+
+<p>Muffs must be remembered, as every dandy carried
+a muff in winter, some big, others grotesquely small.
+Bath must be remembered, and the great Beau
+Nash in the famous Pump-Room&mdash;as Thackeray
+says, so say I: &lsquo;I should like to have seen the Folly,&rsquo;
+he says, meaning Nash. &lsquo;It was a splendid embroidered,
+beruffled, snuff-boxed, red-heeled, impertinent
+Folly, and knew how to make itself respected.
+I should like to have seen that noble old madcap
+Peterborough in his boots (he actually had the
+audacity to walk about Bath in boots!), with his
+blue ribbon and stars, and a cabbage under each
+arm, and a chicken in his hand, which he had been
+cheapening for his dinner.&rsquo;</p>
+
+<p>It was the fashion to wear new clothes on the
+Queen&rsquo;s birthday, March 1, and then the streets
+noted the loyal people who indulged their extravagance
+or pushed a new fashion on that day.</p>
+
+<p><span class="pagenum"><a name="Page_422" id="Page_422">[<span class="hidden">Pg </span>422]</a></span>
+Do not forget that no hard-and-fast rules can be
+laid down; a man&rsquo;s a man for all his tailor tells him
+he is a walking fashion plate. Those who liked
+short cuffs wore them, those who did not care for
+solitaires did without; the height of a heel, the
+breadth of a
+buckle, the sweep
+of a skirt, all lay
+at the taste of the
+owner&mdash;merely
+would I have you
+remember the
+essentials.</p>
+
+<div class="figleft" style="width: 269px;">
+<img src="images/ecill241.png" width="269" height="275"
+alt="A man of the time of George II.; four styles of hair for men" />
+</div>
+
+<p>There was a
+deal of dressing
+up&mdash;the King,
+bless you, in a
+Turkish array at a masque&mdash;the day of the Corydon
+and Sylvia: mock shepherd, dainty shepherdess was
+here; my lord in silk loose coat with paste buttons,
+fringed waistcoat, little three-cornered hat under his
+arm, and a pastoral staff between his fingers, a crook
+covered with cherry and blue ribbons; and my lady
+in such a hoop of sprigged silk or some such stuff,
+the tiniest of straw hat on her head, high heels
+<span class="pagenum"><a name="Page_423" id="Page_423"><!-- original location - full page illustration of men from 1745 and 1758 --></a></span>
+<span class="pagenum"><a name="Page_424" id="Page_424">[<span class="hidden">Pg </span>424]</a></span>
+tapping the ground, all a-shepherding&mdash;what?
+Cupids, I suppose, little Dresden loves, little
+comfit-box jokes, little spiteful remarks about the
+Germans.</p>
+
+<div class="figcenter" style="width: 408px;">
+<img src="images/ecill242.png" width="408" height="600"
+alt="1745: Two men of the time of George II.; 1758: Three men of the time of George II." />
+</div>
+
+<p>Come, let me doff my Kevenhuller hat with the
+gold fringe, bring my red heels together with a
+smart tap, bow, with my hand on the third button
+of my coat from which my stick dangles, and let
+me introduce the ladies.</p>
+
+
+<h3>THE WOMEN</h3>
+
+<p>I will introduce the fair, painted, powdered,
+patched, perfumed sex (though this would do for
+man or woman of the great world then) by some
+lines from the <i>Bath Guide</i>:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&lsquo;Bring, O bring thy essence-pot,<br /></span>
+<span class="i0">Amber, musk, and bergamot;<br /></span>
+<span class="i0">Eau de chipre, eau de luce,<br /></span>
+<span class="i0">Sanspareil, and citron juice.<br /></span>
+<span class="i1"> * <span class="space">&nbsp;</span> * <span class="space">&nbsp;</span> * <span class="space">&nbsp;</span> * <span class="space">&nbsp;</span> *<br /></span>
+<span class="i0">In a band-box is contained<br /></span>
+<span class="i0">Painted lawns, and chequered shades,<br /></span>
+<span class="i0">Crape that&rsquo;s worn by love-lorn maids,<br /></span>
+<span class="i0">Watered tabbies, flowered brocades;<br /></span>
+<span class="i0">Straw-built hats, and bonnets green,<br /></span>
+<span class="i0">Catgut, gauzes, tippets, ruffs;<br /></span>
+<span class="i0">Fans and hoods, and feathered muffs,<br /></span>
+<span class="pagenum"><a name="Page_425" id="Page_425">[<span class="hidden">Pg </span>425]</a></span>
+<span class="i0">Stomachers, and Paris nets,<br /></span>
+<span class="i0">Earrings, necklaces, aigrets,<br /></span>
+<span class="i0">Fringes, blouses, and mignionets;<br /></span>
+<span class="i0">Fine vermillion for the cheek,<br /></span>
+<span class="i0">Velvet patches &agrave; la grecque.<br /></span>
+<span class="i0">Come, but don&rsquo;t forget the gloves,<br /></span>
+<span class="i0">Which, with all the smiling loves,<br /></span>
+<span class="i0">Venus caught young Cupid picking<br /></span>
+<span class="i0">From the tender breast of chicken.&rsquo;<br /></span>
+</div>
+</div>
+
+<div class="figcenter ipadtop" style="width: 437px;">
+<a name="pl66" id="pl66"></a>
+<img src="images/ecpl66.jpg" width="437" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF GEORGE II. (1727-1760)</p>
+
+<p class="subcapt ipadbase">She is wearing a large pinner over her dress. Notice
+the large panniers, the sleeves without cuffs, the tied
+cap, and the shortness of the skirts.</p>
+
+<div class="figcenter" style="width: 412px;">
+<img src="images/ecill243.png" width="412" height="250"
+alt="Three women of the time of George II." />
+</div>
+
+<p>Now I think it will be best to describe a lady
+of quality. In the first years of the reign she
+still wears the large hoop skirt, a circular whalebone
+arrangement started at the waist, and, at
+intervals,
+the hoops
+were placed
+so that the
+petticoat
+stood out
+all round
+like a bell;
+over this the
+skirt hung stiff and solemn. The bodice was tight-laced,
+cut square in front where the neckerchief
+of linen or lace made the edge soft. The sleeves
+still retained the cuff covering the elbow, and the
+<span class="pagenum"><a name="Page_426" id="Page_426"><!-- original location - full page illustration of four women --></a></span>
+<span class="pagenum"><a name="Page_427" id="Page_427">[<span class="hidden">Pg </span>427]</a></span>
+under-sleeve of linen with lace frills came half-way
+down the forearm, leaving bare arm and
+wrist to show.</p>
+
+<div class="figcenter" style="width: 374px;">
+<img src="images/ecill244.png" width="374" height="600"
+alt="Four women of the time of George II." />
+</div>
+
+<p>Over the skirt she would wear, as her taste
+held her, a long, plain apron, or a long, tucked
+apron, or an apron to her knees. The bodice
+generally formed the top of a gown, which gown
+was very full-skirted, and was divided so as to
+hang back behind the dress, showing, often, very
+little in front. This will be seen clearly in the
+illustrations.</p>
+
+<p>The hair is very tightly gathered up behind,
+twisted into a small knob on the top of the head,
+and either drawn straight back from the forehead
+or parted in the middle, allowing a small fringe
+to hang on the temples. Nearly every woman
+wore a small cap or a small round straw hat with
+a ribbon round it.</p>
+
+<p>The lady&rsquo;s shoes would be high-heeled and
+pointed-toed, with a little buckle and strap.</p>
+
+<p>About the middle of the reign the sacque
+became the general town fashion, the sacque being
+so named on account of the back, which fell from
+the shoulders into wide, loose folds over the hooped
+petticoat. The sacque was gathered at the back
+<span class="pagenum"><a name="Page_428" id="Page_428">[<span class="hidden">Pg </span>428]</a></span>
+in close pleats, which fell open over the skirt part
+of this dress. The front of the sacque was sometimes
+open, sometimes
+made tight in the
+bodice.</p>
+
+<div class="figleft" style="width: 212px;">
+<img src="images/ecill245.png" width="212" height="250"
+alt="A woman of the time of George II.; four types of shoe" />
+</div>
+
+<p>Now the lady would
+puff her hair at the
+sides and powder it;
+if she had no hair she
+wore false, and a little
+later a full wig. She
+would now often discard
+her neat cap
+and wear a veil behind
+her back, over her hair, and falling over her
+shoulders.</p>
+
+<p>In 1748, so they say, and so I believe to be true,
+the King, walking in the Mall, saw the Duchess
+of Bedford riding in a blue riding-habit with white
+silk facings&mdash;this would be a man&rsquo;s skirted coat,
+double-breasted, a cravat, a three-corned hat, and
+a full blue skirt. He admired her dress so much
+and thought it so neat that he straightway ordered
+that the officers of the navy, who, until now, had
+worn scarlet, should take this coat for the model
+<span class="pagenum"><a name="Page_429" id="Page_429">[<span class="hidden">Pg </span>429]</a></span>
+of their new uniform. So did the navy go into
+blue and white.</p>
+
+<p>The poorer classes were not, of course, dressed
+in hooped skirts, but the bodice and gown over
+the petticoat, the apron, and the turned back cuff
+to the short sleeve were worn by all. The orange
+wench laced her gown
+neatly, and wore a
+white cloth tied over
+her head; about her
+shoulders she wore a
+kerchief of white, and
+often a plain frill of
+linen at her elbows.
+There were blue canvas,
+striped dimity,
+flannel, and ticken for
+the humble; for the
+rich, lustrings, satins, Padesois, velvets, damasks,
+fans and Leghorn hats, bands of Valenciennes
+and Point de Dunquerque&mdash;these might be bought
+of Mrs. Holt, whose card Hogarth engraved, at
+the Two Olive Posts in the Broad part of the
+Strand.</p>
+
+<div class="figright" style="width: 221px;">
+<img src="images/ecill246.png" width="221" height="250"
+alt="Two women of the time of George II." />
+</div>
+
+<p>Seventeen hundred and fifty-five saw the
+<span class="pagenum"><a name="Page_430" id="Page_430">[<span class="hidden">Pg </span>430]</a></span>
+one-horse chairs introduced from France, called
+cabriolets, the first of our own extraordinary
+wild-looking conveyances contrived for the minimum
+of comfort and the maximum of danger.
+This invention captivated the hearts of both men
+and women. The men painted cabriolets on
+their waistcoats, they embroidered them on their
+stockings, they cut them out in black silk and
+patched their cheeks with them, horse and all;
+the women began to take up, a little later, the
+cabriolet caps with round sides like linen wheels,
+and later still, at the very end of the reign, there
+began a craze for such head-dresses&mdash;post-chaises,
+chairs and chairmen, even waggons, and this craze
+grew and grew, and hair grew&mdash;in wigs&mdash;to meet
+the cry for hair and straw men-of-war, for loads
+of hay, for birds of paradise, for goodness knows
+what forms of utter absurdity, all of which I put
+down to the introduction of the cab.</p>
+
+<p>I think that I can best describe the lady of
+this day as a swollen, skirted figure with a pinched
+waist, little head of hair, or tiny cap, developing
+into a loose sacque-backed figure still whaleboned
+out, with hair puffed at the sides and powdered,
+getting ready to develop again into a queer figure
+<span class="pagenum"><a name="Page_431" id="Page_431">[<span class="hidden">Pg </span>431]</a></span>
+under a tower of hair, but that waits for the
+next reign.</p>
+
+<p>One cannot do better than go to Hogarth&rsquo;s prints
+and pictures&mdash;wonderful
+records of this time&mdash;one
+picture especially, &lsquo;Taste
+in High Life,&rsquo; being a fine
+record of the clothes of
+1742; here you will see
+the panier and the sacque,
+the monstrous muff, the
+huge hoop, the long-tailed
+wig, the black boy and the
+monkey. In the &lsquo;Noon&rsquo; of
+the &lsquo;Four Parts of the Day&rsquo; there are clothes again
+satirized.</p>
+
+<div class="figcenter" style="width: 193px;">
+<img src="images/ecill247.png" width="193" height="250"
+alt="A woman of the time of George II.; a shawl" />
+</div>
+
+<p>I am trusting that the drawings will supply what
+my words have failed to picture, and I again&mdash;for the
+twenty-first time&mdash;repeat that, given the cut and the
+idea of the time, the student has always to realize
+that there can be no hard-and-fast rule about the
+fashions; with the shape he can take liberties up
+to the points shown, with colour he can do anything&mdash;patterns
+of the materials are obtainable, and
+Hogarth will give anything required in detail.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_432" id="Page_432">[<span class="hidden">Pg </span>432]</a></span></p>
+
+<h2>GEORGE THE THIRD</h2>
+
+<p class="smlfont center">Reigned sixty years: 1760-1820.</p>
+
+<p class="smlfont center">Born 1738. Married, 1761, Charlotte Sophia
+of Mecklenburg-Strelitz.</p>
+
+
+<h3>THE MEN AND WOMEN</h3>
+
+<p>Throughout this long reign the changes of costume
+are so frequent, so varied, and so jumbled
+together, that any precise account of them would
+be impossible. I have endeavoured to give a
+leading example of most kind of styles in the
+budget of drawings which goes with this chapter.</p>
+
+<p>Details concerning this reign are so numerous:
+Fashion books, fashion articles in the <i>London
+Magazine</i>, the <i>St. James&rsquo;s Chronicle</i>, works innumerable
+on hair-dressing, tailors&rsquo; patterns&mdash;these
+are easily within the reach of those who hunt the
+second-hand shops, or are within reasonable distance
+of a library.</p>
+
+<div class="figcenter ipadtop" style="width: 267px;">
+<a name="pl67" id="pl67"></a>
+<img src="images/ecpl67.jpg" width="267" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF GEORGE III. (1760-1820)</p>
+
+<p class="subcapt ipadbase">The full-skirted coat, though still worn, has given
+way, in general, to the tail-coat. The waistcoat is
+much shorter. Black silk knee-breeches and stockings
+are very general.</p>
+
+<p>Following my drawings, you will see in the
+<span class="pagenum"><a name="Page_433" id="Page_433"><!-- original location - full page illustration of head-gear and shoes --></a></span>
+<span class="pagenum"><a name="Page_434" id="Page_434">[<span class="hidden">Pg </span>434]</a></span>
+first the ordinary wig, skirted coat, knee-breeches,
+chapeau-bras, cravat or waistcoat, of the man about
+town. I do not mean of the exquisite about town,
+but, if you will take it kindly, just such clothes as
+you or I might have worn.</p>
+
+<div class="figcenter" style="width: 367px;">
+<img src="images/ecill248.png" width="367" height="600"
+alt="Eleven types of head-dress for women; three types of shoe" />
+</div>
+
+<p>In the second drawing we see a fashionable man,
+who might have strutted past the first fellow in
+the Park. His hair is dressed in a twisted roll;
+he wears a tight-brimmed little hat, a frogged coat,
+a fringed waistcoat, striped breeches, and buckled
+shoes.</p>
+
+<p>In the third we see the dress of a Macaroni.
+On his absurd wig he wears a little Nevernoise
+hat; his cravat is tied in a bow; his breeches are
+loose, and beribboned at the knee. Many of these
+Macaronis wore coloured strings at the knee of
+their breeches, but the fashion died away when Jack
+Rann, &lsquo;Sixteen String Jack,&rsquo; as he was called after
+this fashion, had been hung in this make of breeches.</p>
+
+<p>In number four we see the development of the
+tail-coat and the high-buttoned waistcoat. The
+tail-coat is, of course, son to the frock-coat, the
+skirts of which, being inconvenient for riding, had
+first been buttoned back and then cut back to
+give more play.</p>
+
+<div class="figcenter ipadtop" style="width: 384px;">
+<a name="pl68" id="pl68"></a>
+<img src="images/ecpl68.jpg" width="384" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF GEORGE III. (1760-1820)</p>
+
+<p class="subcapt ipadbase">In the earlier half of the reign. Notice her sack
+dress over a satin dress, and the white, elaborately
+made skirt. Also the big cap and the curls of white
+wig.</p>
+
+<p><span class="pagenum"><a name="Page_435" id="Page_435">[<span class="hidden">Pg </span>435]</a></span>
+In the fifth drawing we see the double-breasted
+cut-away coat.</p>
+
+<p>Number six is but a further tail-coat design.</p>
+
+<p>Number seven shows how different were the
+styles at one time. Indeed, except for the
+Macaroni and other extreme fashions, the entire
+budget of men as shown might have formed a
+crowd in the Park on one day about twenty years
+before the end of the reign. There would not be
+much powdered hair after 1795, but a few examples
+would remain.</p>
+
+<p>A distinct change is shown in the eighth drawing
+of the long-tailed, full coat, the broad hat, the
+hair powdered, but not tied.</p>
+
+<p>Number nine is another example of the same
+style.</p>
+
+<p>The tenth drawing shows the kind of hat we
+associate with Napoleon, and, in fact, very Napoleonic
+garments.</p>
+
+<p>In eleven we have a distinct change in the
+appearance of English dress. The gentleman is
+a Zebra, and is so-called from his striped clothes.
+He is, of course, in the extreme of fashion, which
+did not last for long; but it shows a tendency
+towards later Georgian appearance&mdash;the top-hat,
+<span class="pagenum"><a name="Page_436" id="Page_436"><!-- original location - full page illustration of hair and hats --></a></span>
+<span class="pagenum"><a name="Page_437" id="Page_437">[<span class="hidden">Pg </span>437]</a></span>
+the shorter hair, the larger neckcloth, the pantaloons&mdash;forerunners
+of Brummell&rsquo;s invention&mdash;the
+open sleeve.</p>
+
+<div class="figcenter" style="width: 374px;">
+<img src="images/ecill249.png" width="374" height="600"
+alt="Fourteen styles of hair and hats for men" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 430px;">
+<a name="pl69" id="pl69"></a>
+<img src="images/ecpl69.jpg" width="430" height="600" alt="" />
+</div>
+
+<p class="caption">A MAN OF THE TIME OF GEORGE III. (1760-1820)</p>
+
+<p class="subcapt ipadbase">The cuffs have gone, and now the sleeve is left
+unbuttoned at the wrist. The coat is long and full-skirted,
+but not stiffened. The cravat is loosely tied,
+and the frilled ends stick out. These frills were, in
+the end, made on the shirt, and were called chitterlings.</p>
+
+<p>Number twelve shows us an ordinary gentleman
+in a coat and waistcoat, with square flaps, called
+dog&rsquo;s ears.</p>
+
+<p>As the drawings continue you can see that the
+dress became more and more simple, more like
+modern evening dress as to the coats, more like
+modern stiff fashion about the neck.</p>
+
+<p>The drawings of the women&rsquo;s dresses should
+also speak for themselves. You may watch the
+growth of the wig and the decline of the hoop&mdash;I
+trust with ease. You may see those towers of
+hair of which there are so many stories. Those
+masses of meal and stuffing, powder and pomatum,
+the dressing of which took many hours. Those
+piles of decorated, perfumed, reeking mess, by
+which a lady could show her fancy for the navy
+by balancing a straw ship on her head, for sport
+by showing a coach, for gardening by a regular
+bed of flowers. Heads which were only dressed,
+perhaps, once in three weeks, and were then rescented
+because it was necessary. Monstrous
+germ-gatherers of horse-hair, hemp-wool, and
+<span class="pagenum"><a name="Page_438" id="Page_438">[<span class="hidden">Pg </span>438]</a></span>
+powder, laid on in a paste, the cleaning of which
+is too awful to give in full detail. &lsquo;Three
+weeks,&rsquo; says my lady&rsquo;s hairdresser, &lsquo;is as long as
+a head can go well in the summer without being
+opened.&rsquo;</p>
+
+<div class="figcenter" style="width: 347px;">
+<img src="images/ecill250.png" width="347" height="350"
+alt="1772: A woman of the time of George III.; two types of hat;
+1775: A woman of the time of George III.;
+1794: A woman of the time of George III." />
+</div>
+
+<div class="figcenter ipadtop" style="width: 479px;">
+<a name="pl70" id="pl70"></a>
+<img src="images/ecpl70.jpg" width="479" height="600" alt="" />
+</div>
+
+<p class="caption">A WOMAN OF THE TIME OF GEORGE III. (1760-1820)</p>
+
+<p class="subcapt ipadbase">This shows the last of the pannier dresses, which
+gave way in 1794 or 1795 to Empire dresses. A
+change came over all dress after the Revolution.</p>
+
+<p>Then we go on to the absurd idea which came
+over womankind that it was most becoming to
+<span class="pagenum"><a name="Page_439" id="Page_439">[<span class="hidden">Pg </span>439]</a></span>
+look like a pouter pigeon. She took to a buffon,
+a gauze or fine linen kerchief, which stuck out
+pigeon-like in front, giving an exaggerated bosom
+to those who wore it. With this fashion of 1786
+came the broad-brimmed hat.</p>
+
+<p>Travel a little further and you have the mob
+cap.</p>
+
+<p>All of a sudden out go hoops, full skirts, high
+hair, powder, buffons, broad-brimmed hats, patches,
+high-heeled shoes, and in come willowy figures
+and thin, nearly transparent dresses, turbans, low
+shoes, straight fringes.</p>
+
+<p>I am going to give a chapter from a fashion
+book, to show you how impossible it is to deal
+with the vagaries of fashion in the next reign, and
+if I chose to occupy the space, I could give a similar
+chapter to make the confusion of this reign more
+confounded.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<h2><span class="xsmlfont"><a name="drawings" id="drawings"></a>DRAWINGS TO ILLUSTRATE THE COSTUME OF THE
+REIGN OF</span><br />
+<br />
+GEORGE THE THIRD</h2>
+
+<p class="center smlfont">THE FIRST FORTY-EIGHT DRAWINGS BY THE AUTHOR, AND<br />
+THE REMAINING TWELVE BY THE DIGHTONS,<br />
+FATHER AND SON</p>
+
+<div class="figcenter ipadtop" style="width: 225px;">
+<img src="images/ecen33.jpg" width="225" height="400"
+alt="1768: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 220px;">
+<img src="images/ecen34.jpg" width="220" height="400"
+alt="1772: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 218px;">
+<img src="images/ecen35.jpg" width="218" height="400"
+alt="1773: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 213px;">
+<img src="images/ecen36.jpg" width="213" height="400"
+alt="1773: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 214px;">
+<img src="images/ecen37.jpg" width="214" height="400"
+alt="1773: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 222px;">
+<img src="images/ecen38.jpg" width="222" height="400"
+alt="1782: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 214px;">
+<img src="images/ecen39.jpg" width="214" height="400"
+alt="1783: Two men" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 215px;">
+<img src="images/ecen40.jpg" width="215" height="400"
+alt="1786: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 208px;">
+<img src="images/ecen41.jpg" width="208" height="400"
+alt="1787: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 213px;">
+<img src="images/ecen42.jpg" width="213" height="400"
+alt="1789: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 205px;">
+<img src="images/ecen43.jpg" width="205" height="400"
+alt="1791: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 202px;">
+<img src="images/ecen44.jpg" width="202" height="400"
+alt="1791: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 204px;">
+<img src="images/ecen45.jpg" width="204" height="400"
+alt="1793: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 203px;">
+<img src="images/ecen46.jpg" width="203" height="400"
+alt="1793: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 212px;">
+<img src="images/ecen47.jpg" width="212" height="400"
+alt="1793: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 216px;">
+<img src="images/ecen48.jpg" width="216" height="400"
+alt="1793: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 218px;">
+<img src="images/ecen49.jpg" width="218" height="400"
+alt="1795: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 209px;">
+<img src="images/ecen50.jpg" width="209" height="400"
+alt="1795: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 216px;">
+<img src="images/ecen51.jpg" width="216" height="400"
+alt="1797: A man and a boy" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 212px;">
+<img src="images/ecen52.jpg" width="212" height="400"
+alt="1797: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 212px;">
+<img src="images/ecen53.jpg" width="212" height="400"
+alt="1803: A man" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 221px;">
+<img src="images/ecen54.jpg" width="221" height="400"
+alt="1770: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 217px;">
+<img src="images/ecen55.jpg" width="217" height="400"
+alt="1772: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 221px;">
+<img src="images/ecen56.jpg" width="221" height="400"
+alt="1775: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 213px;">
+<img src="images/ecen57.jpg" width="213" height="400"
+alt="1775: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 211px;">
+<img src="images/ecen58.jpg" width="211" height="400"
+alt="1775: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 214px;">
+<img src="images/ecen59.jpg" width="214" height="400"
+alt="1775: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 208px;">
+<img src="images/ecen60.jpg" width="208" height="400"
+alt="1776: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 215px;">
+<img src="images/ecen61.jpg" width="215" height="400"
+alt="1777: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 215px;">
+<img src="images/ecen62.jpg" width="215" height="400"
+alt="1783: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 210px;">
+<img src="images/ecen63.jpg" width="210" height="400"
+alt="1783: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 211px;">
+<img src="images/ecen64.jpg" width="211" height="400"
+alt="1783: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 213px;">
+<img src="images/ecen65.jpg" width="213" height="400"
+alt="1786: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 208px;">
+<img src="images/ecen66.jpg" width="208" height="400"
+alt="1787: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 209px;">
+<img src="images/ecen67.jpg" width="209" height="400"
+alt="1789: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 211px;">
+<img src="images/ecen68.jpg" width="211" height="400"
+alt="1793: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 221px;">
+<img src="images/ecen69.jpg" width="221" height="400"
+alt="1794: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 222px;">
+<img src="images/ecen70.jpg" width="222" height="400"
+alt="1794: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 214px;">
+<img src="images/ecen71.jpg" width="214" height="400"
+alt="1794: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 220px;">
+<img src="images/ecen72.jpg" width="220" height="400"
+alt="1794: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 220px;">
+<img src="images/ecen73.jpg" width="220" height="400"
+alt="1794: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 210px;">
+<img src="images/ecen74.jpg" width="210" height="400"
+alt="1795: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 214px;">
+<img src="images/ecen75.jpg" width="214" height="400"
+alt="1799: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 210px;">
+<img src="images/ecen76.jpg" width="210" height="400"
+alt="1800: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 216px;">
+<img src="images/ecen77.jpg" width="216" height="400"
+alt="1803: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 218px;">
+<img src="images/ecen78.jpg" width="218" height="400"
+alt="1810: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 215px;">
+<img src="images/ecen79.jpg" width="215" height="400"
+alt="1820: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 214px;">
+<img src="images/ecen80.jpg" width="214" height="400"
+alt="1830: A woman" />
+</div>
+
+<div class="figcenter ipadtop" style="width: 321px;">
+<img src="images/ecen81.jpg" width="321" height="400" alt="" />
+<span class="caption">The King.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 277px;">
+<img src="images/ecen82.jpg" width="277" height="400" alt="" />
+<span class="caption">The Navy.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 282px;">
+<img src="images/ecen83.jpg" width="282" height="400" alt="" />
+<span class="caption">The Army.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 317px;">
+<img src="images/ecen84.jpg" width="317" height="400" alt="" />
+<span class="caption">Pensioners.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 285px;">
+<img src="images/ecen85.jpg" width="285" height="400" alt="" />
+<span class="caption">The Church.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 290px;">
+<img src="images/ecen86.jpg" width="290" height="400" alt="" />
+<span class="caption">The Law.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 280px;">
+<img src="images/ecen87.jpg" width="280" height="400" alt="" />
+<span class="caption">The Stage.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 287px;">
+<img src="images/ecen88.jpg" width="287" height="400" alt="" />
+<span class="caption">The Universities.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 241px;">
+<img src="images/ecen89.jpg" width="241" height="400" alt="" />
+<span class="caption">The Country.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 221px;">
+<img src="images/ecen90.jpg" width="221" height="400" alt="" />
+<span class="caption">The Duke of Norfolk.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 272px;">
+<img src="images/ecen91.jpg" width="272" height="400" alt="" />
+<span class="caption">The City.</span>
+</div>
+
+<div class="figcenter ipadtop" style="width: 274px;">
+<img src="images/ecen92.jpg" width="274" height="400" alt="" />
+<span class="caption">The Duke of Queensberry.</span>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_440" id="Page_440">[<span class="hidden">Pg </span>440]</a></span></p>
+
+<h2>GEORGE THE FOURTH</h2>
+
+<p class="smlfont center">Reigned ten years: 1820-1830.</p>
+
+<p class="smlfont center">Born 1762. Married, 1795, Caroline of Brunswick.</p>
+
+
+<p>Out of the many fashion books of this time I have
+chosen, from a little brown book in front of me, a
+description of the fashions for ladies during one
+part of 1827. It will serve to show how mere
+man, blundering on the many complexities of the
+feminine passion for dress&mdash;I was going to say
+clothes&mdash;may find himself left amid a froth of frills,
+high and dry, except for a whiff of spray, standing
+in his unromantic garments on the shore of the
+great world of gauze and gussets, while the most
+noodle-headed girl sails gracefully away upon the
+high seas to pirate some new device of the Devil or
+Paris.</p>
+
+<p>Our wives&mdash;bless them!&mdash;occasionally treat us
+to a few bewildering terms, hoping by their gossamer
+knowledge to present to our gaze a mental picture
+<span class="pagenum"><a name="Page_441" id="Page_441">[<span class="hidden">Pg </span>441]</a></span>
+of a new, adorable, ardently desired&mdash;hat. Perhaps
+those nine proverbial tailors who go to make the
+one proverbial man, least of his sex, might, by a
+strenuous effort, confine the history of clothes
+during this reign into a compact literature of forty
+volumes. It would be indecent, as undecorous as
+the advertisements in ladies&rsquo; papers, to attempt to
+fathom the language of the man who endeavoured
+to read the monumental effigy to the vanity of
+human desire for adornment. But is it adornment?</p>
+
+<p>Nowadays to be dressed well is not always the
+same thing as to be well dressed. Often it is far
+from it. The question of modern clothes is one of
+great perplexity. It seems that what is beauty
+one year may be the abomination of desolation the
+next, because the trick of that beauty has become
+common property. You puff your hair at the sides,
+you are in the true sanctum of the mode; you
+puff your hair at the sides, you are for ever utterly
+cast out as one having no understanding. I shall
+not attempt to explain it: it passes beyond the
+realms of explanation into the pure air of Truth.
+The Truth is simple. Aristocracy being no longer
+real, but only a cult, one is afraid of one&rsquo;s servants.
+<span class="pagenum"><a name="Page_442" id="Page_442">[<span class="hidden">Pg </span>442]</a></span>
+Your servant puffs her hair at the sides, and, hang
+it! she becomes exactly like an aristocrat. Our
+servant having dropped her <i>g&rsquo;s</i> for many years as
+well as her <i>h&rsquo;s</i>, it behoved us to pronounce our <i>g&rsquo;s</i>
+and our <i>h&rsquo;s</i>. Our servants having learned our
+English, it became necessary for us to drop our <i>g&rsquo;s</i>;
+we seem at present unwilling in the matter of the <i>h</i>,
+but that will come.</p>
+
+<p>To cut the cackle and come to the clothes-horse,
+let me say that the bunglement of clothes which
+passes all comprehension in King George IV.&rsquo;s
+reign is best explained by my cuttings from the
+book of one who apparently knew. Let the older
+writer have his, or her, fling in his, or her, words.</p>
+
+<div class="blockquot">
+<p class="center">&lsquo;CUROSY REMARKS ON THE LAST NEW
+FASHIONS.</p>
+
+<p>&lsquo;The City of London is now, indeed, most
+splendid in its buildings and extent; London is
+carried into the country; but never was it more
+deserted.</p>
+
+<p>&lsquo;A very, very few years ago, and during the
+summer, the dresses of the wives and daughters of
+our opulent tradesmen would furnish subjects for
+the investigators of fashion.</p>
+
+<p><span class="pagenum"><a name="Page_443" id="Page_443">[<span class="hidden">Pg </span>443]</a></span>
+&lsquo;Now, if those who chance to remain in London
+take a day&rsquo;s excursion of about eight or ten miles
+distance from the Metropolis, they hear the innkeepers
+deprecating the steamboats, by which they
+declare they are almost ruined: on Sundays, which
+would sometimes bring them the clear profits of
+ten or twenty pounds, they now scarce produce ten
+shillings.</p>
+
+<p>&lsquo;No; those of the middle class belonging to
+<i>Cockney Island</i> must leave town, though the days
+are short, and even getting cold and comfortless; the
+steamboats carrying them off by shoals to Margate
+and its vicinity.</p>
+
+<p>&lsquo;The pursuit after elegant and superior modes of
+dress must carry us farther; it is now from the
+rural retirement of the country seats belonging to
+the noble and wealthy that we must collect them.</p>
+
+<p>&lsquo;Young ladies wear their hair well arranged, but
+not quite with the simplicity that prevailed last
+month; during the warmth of the summer months,
+the braids across the forehead were certainly the
+best; but now, when neither in fear of heat or
+damp, the curls again appear in numerous clusters
+round the face; and some young ladies, who seem
+to place their chief pride in a fine head of hair,
+have such a multitude of small ringlets that give to
+what is a natural charm all the <em>poodle-like</em> appearance
+of a wig.</p>
+
+<p><span class="pagenum"><a name="Page_444" id="Page_444">[<span class="hidden">Pg </span>444]</a></span>
+&lsquo;The bows of hair are elevated on the summit of
+the head, and confined by a comb of tortoise-shell.</p>
+
+<p>&lsquo;Caps of the cornette kind are much in fashion,
+made of blond, and ornamented with flowers, or
+puffs of coloured gauze; most of the cornettes are
+small, and tie under the chin, with a bow on one
+side, of white satin ribbon; those which have
+ribbons or gauze lappets floating loose have them
+much shorter than formerly.</p>
+
+<p>&lsquo;A few dress hats have been seen at dinner-parties
+and musical amateur meetings in the country,
+of transparent white crape, ornamented with a small
+elegant bouquet of marabones.</p>
+
+<p>&lsquo;When these dress hats are of coloured crape,
+they are generally ornamented with flowers of the
+same tint as the hat, in preference to feathers.</p>
+
+<p>&lsquo;Printed muslins and chintzes are still very
+much worn in the morning walks, with handsome
+sashes, having three ends depending down each
+side, not much beyond the hips. With one of
+these dresses we saw a young lady wear a rich black
+satin pelerine, handsomely trimmed with a very
+beautiful black blond; it had a very neat effect, as
+the dress was light.</p>
+
+<p>&lsquo;White muslin dresses, though they are always
+worn partially in the country till the winter actually
+commences, are now seldom seen except on the
+young: the embroidery on these dresses is exquisite.
+<span class="pagenum"><a name="Page_445" id="Page_445">[<span class="hidden">Pg </span>445]</a></span>
+Dresses of Indian red, either in taffety or chintz,
+have already made their appearance, and are expected
+to be much in favour the ensuing winter;
+the chintzes have much black in their patterns; but
+this light material will, in course, be soon laid aside
+for silks, and these, like the taffeties which have
+partially appeared, will no doubt be plain: with
+these dresses was worn a Canezon spencer, with
+long sleeves of white muslin, trimmed with narrow
+lace.</p>
+
+<p>&lsquo;Gros de Naples dresses are very general, especially
+for receiving dinner-parties, and for friendly
+evening society.</p>
+
+<p>&lsquo;At private dances, the only kind of ball that has
+at present taken place, are worn dresses of the
+white-figured gauze over white satin or gros de
+Naples; at the theatricals sometimes performed by
+noble amateurs, the younger part of the audience,
+who do not take a part, are generally attired in
+very clear muslin, over white satin, with drapery
+scarves of lace, bar&ecirc;ge, or thick embroidered tulle.</p>
+
+<p>&lsquo;Cachemire shawls, with a white ground, and a
+pattern of coloured flowers or green foliage, are
+now much worn in outdoor costumes, especially
+for the morning walk; the mornings being rather
+chilly, these warm envelopes are almost indispensable.
+We are sorry, however, to find our modern
+<span class="pagenum"><a name="Page_446" id="Page_446">[<span class="hidden">Pg </span>446]</a></span>
+belles so tardy in adopting those coverings, which
+ought now to succeed to the light appendages of
+summer costume.</p>
+
+<p>&lsquo;The muslin Canezon spencer, the silk fichu,
+and even the lighter bar&ecirc;ge, are frequently the
+sole additions to a high dress, or even to one but
+partially so.</p>
+
+<p>&lsquo;We have lately seen finished to the order of a
+lady of rank in the county of Suffolk, a very
+beautiful pelisse of jonquil-coloured gros de Naples.
+It fastens close down from the throat to the feet,
+in front, with large covered buttons; at a suitable
+distance on each side of this fastening are three
+bias folds, rather narrow, brought close together
+under the belt, and enlarging as they descend to
+the border of the skirt. A large pelerine cape is
+made to take on and off; and the bust from the
+back of each shoulder is ornamented with the same
+bias folds, forming a stomacher in front of the
+waist. The sleeves, <i>&agrave; la Marie</i>, are puckered a few
+inches above the wrist, and confined by three straps;
+each with a large button. Though long ends are
+very much in favour with silk pelerines, yet there
+are quite as many that are quite round; such was
+the black satin pelerine we cited above.</p>
+
+<p>&lsquo;Coloured bonnets are now all the rage; we are
+happy to say that some, though all too large, are in
+the charming cottage style, and are modestly tied
+<span class="pagenum"><a name="Page_447" id="Page_447">[<span class="hidden">Pg </span>447]</a></span>
+under the chin. Some bonnets are so excessively
+large that they are obliged to be placed quite at
+the back of the head; and as their extensive brims
+will not support a veil, when they are ornamented
+with a broad blond, the edge of that just falls over
+the hair, but does not even conceal the eyes.
+Leghorn hats are very general; their trimmings
+consist chiefly of ribbons, though some ladies add
+a few branches of green foliage between the bows
+or puffs: these are chiefly of the fern; a great
+improvement to these green branches is the having
+a few wild roses intermingled.</p>
+
+<p>&lsquo;The most admired colours are lavender, Esterhazy,
+olive-green, lilac, marshmallow blossom, and
+Indian red.</p>
+
+<p>&lsquo;At rural f&ecirc;tes, the ornaments of the hats generally
+consist of flowers; these hats are backward in
+the Arcadian fashion, and discover a wreath of
+small flowers on the hair, <i>ex bandeau</i>. In Paris the
+most admired colours are ethereal-blue, Hortensia,
+cameleopard-yellow, pink, grass-green, jonquil, and
+Parma-violet.&rsquo;&mdash;<i>September 1, 1827.</i></p>
+</div>
+
+<p>Really this little fashion book is very charming:
+it recreates, for me, the elegant simpering ladies; it
+gives, in its style, just that artificial note which
+conjures this age of ladies with hats&mdash;&lsquo;in the charming
+cottage style, modestly tied under the chin.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_448" id="Page_448">[<span class="hidden">Pg </span>448]</a></span>
+They had the complete art of languor, these dear
+creatures; they lisped Italian, and were fine needlewomen;
+they painted weak little landscapes: nooks
+or arbours found them dreaming of a Gothic revival&mdash;they
+were all this and more; but through this sweet
+envelope the delicate refined souls shone: they were
+true women, often great women; their loops of
+hair, their cameleopard pelerines, shall not rob them
+of immortality, cannot destroy their softening
+influence, which permeated even the outrageous
+dandyism of the men of their time and steered the
+three-bottle gentlemen, their husbands and our
+grandfathers, into a grand old age which we reverence
+to-day, and wonder at, seeing them as giants
+against our nerve-shattered, drug-taking generation.</p>
+
+<p>As for the men, look at the innumerable pictures,
+and collect, for instance, the material for a colossal
+work upon the stock ties of the time, run your list
+of varieties into some semblance of order; commence
+with the varieties of macassar-brown stocks, pass
+on to patent leather stocks, take your man for a
+walk and cause him to pass a window full of
+Hibernian stocks, and let him discourse on the
+stocks worn by turf enthusiasts, and, when you are
+approaching the end of your twenty-third volume,
+<span class="pagenum"><a name="Page_449" id="Page_449">[<span class="hidden">Pg </span>449]</a></span>
+give a picture of a country dinner-party, and end
+your work with a description of the gentlemen
+under the table being relieved of their stocks by
+the faithful family butler.</p>
+
+
+<h3>POWDER AND PATCHES</h3>
+
+<p class="center">&lsquo;The affectation of a mole, to set off their beauty,
+such as Venus had.&rsquo;</p>
+
+<p class="center">&lsquo;At the devill&rsquo;s shopps you buy<br />
+A dresse of powdered hayre.&rsquo;</p>
+
+
+<p>From the splendid pageant of history what figures
+come to you most willingly? Does a great procession
+go by the window of your mind? Knights
+bronzed by the sun of Palestine, kings in chains,
+emperors in blood-drenched purple, poets clothed
+like grocers with the souls of angels shining
+through their eyes, fussy Secretaries of State, informers,
+spies, inquisitors, Court cards come to life,
+harlequins, statesmen in great ruffs, wives of Bath
+in foot-mantles and white wimples, sulky Puritans,
+laughing Cavaliers, Dutchmen drinking gin and
+talking politics, men in wide-skirted coats and
+huge black periwigs&mdash;all walking, riding, being
+carried in coaches, in sedan-chairs, over the face of
+<span class="pagenum"><a name="Page_450" id="Page_450">[<span class="hidden">Pg </span>450]</a></span>
+England. Every step of the procession yields
+wonderful dreams of colour; in every group there
+is one who, by the personality of his clothes, can
+claim the name of beau.</p>
+
+<p>Near the tail of the throng there is a chattering,
+bowing, rustling crowd, dimmed by a white mist
+of scented hair-powder. They are headed, I think&mdash;for
+one cannot see too clearly&mdash;by the cook of
+the Comte de Bellemare, a man by name Legros,
+the great hairdresser. Under his arm is a book,
+the title of which reads, &lsquo;Art de la Coiffure des
+Dames Fran&ccedil;aises.&rsquo; Behind him is a lady in an
+enormous hoop; her hair is dressed <i>&agrave; la belle Poule</i>;
+she is arguing some minute point of the disposition
+of patches with Monsieur L&eacute;onard, another artist
+in hair. &lsquo;What will be the next wear?&rsquo; she asks.
+&lsquo;A heart near the eye&mdash;<i>l&rsquo;assassine</i>, eh? Or a star
+near the lips&mdash;<i>la friponne</i>? Must I wear a <i>galante</i>
+on my cheek, an <i>enjou&eacute;e</i> in my dimple, or <i>la
+majestueuse</i> on my forehead?&rsquo; Before we can hear
+the reply another voice is raised, a guttural German
+voice; it is John Schnorr, the ironmaster of Erzgebinge.
+&lsquo;The feet stuck in it, I tell you,&rsquo; he says&mdash;&lsquo;actually
+stuck! I got from my saddle and looked
+at the ground. My horse had carried me on to
+<span class="pagenum"><a name="Page_451" id="Page_451">[<span class="hidden">Pg </span>451]</a></span>
+what proved to be a mine of wealth. Hair-powder!
+I sold it in Dresden, in Leipsic; and then, at
+Meissen, what does B&ouml;ttcher do but use my hair-powder
+to make white porcelain!&rsquo; And so the
+chatter goes on. Here is Charles Fox tapping the
+ground with his red heels and proclaiming, in a
+voice thick with wine, on the merits of blue hair-powder;
+here is Brummell, free from hair-powder,
+free from the obnoxious necessity of going with his
+regiment to Manchester.</p>
+
+<p>The dressy person and the person who is well
+dressed&mdash;these two showing everywhere. The one is
+in a screaming hue of woad, the other a quiet note
+of blue dye; the one in excessive velvet sleeves that
+he cannot manage, the other controlling a rich
+amplitude of material with perfect grace. Here a
+liripipe is extravagantly long; here a gold circlet
+decorates curled locks with matchless taste. Everywhere
+the battle between taste and gaudiness.
+High hennins, steeples of millinery, stick up out
+of the crowd; below these, the towers of powdered
+hair bow and sway as the fine ladies patter along.
+What a rustle and a bustle of silks and satins,
+of flowered tabbies, rich brocades, cut velvets,
+superfine cloths, woollens, cloth of gold!</p>
+
+<p><span class="pagenum"><a name="Page_452" id="Page_452">[<span class="hidden">Pg </span>452]</a></span>
+See, there are the square-shouldered Tudors;
+there are the steel glints of Plantagenet armour;
+the Eastern-robed followers of C&oelig;ur de Lion; the
+swaggering beribboned Royalists; the ruffs, trunks,
+and doublets of Elizabethans; the snuffy, wide-skirted
+coats swaying about Queen Anne. There
+are the soft, swathed Norman ladies with bound-up
+chins; the tapestry figures of ladies proclaiming
+Agincourt; the dignified dames about Elizabeth of
+York; the playmates of Katherine Howard; the
+wheels of round farthingales and the high lace collars
+of King James&rsquo;s Court; the beauties, bare-breasted,
+of Lely; the Hogarthian women in close caps.
+And, in front of us, two posturing figures in
+Dresden china colours, rouged, patched, powdered,
+perfumed, in hoop skirts, flirting with a fan&mdash;the
+lady; in gold-laced wide coat, solitaire, bagwig,
+ruffles, and red heels&mdash;the gentleman. &lsquo;I protest,
+madam,&rsquo; he is saying, &lsquo;but you flatter me vastly.&rsquo;
+&lsquo;La, sir,&rsquo; she replies, &lsquo;I am prodigiously truthful.&rsquo;</p>
+
+<p>&lsquo;And how are we to know that all this is true?&rsquo;
+the critics ask, guarding the interest of the public.
+&lsquo;We see that your book is full of statements, and
+there are no, or few, authorities given for your
+studies. Where,&rsquo; they ask, &lsquo;are the venerable
+<span class="pagenum"><a name="Page_453" id="Page_453">[<span class="hidden">Pg </span>453]</a></span>
+anecdotes which are given a place in every respectable
+work on your subject?&rsquo;</p>
+
+<p>To appease the appetites which are always
+hungry for skeletons, I give a short list of those
+books which have proved most useful:</p>
+
+<div class="blockquot">
+<p>MS. Cotton, Claudius, B. iv.</p>
+
+<p>MS. Harl., 603. Psalter, English, eleventh century.</p>
+
+<p>The Bayeaux Tapestry.</p>
+
+<p>MS. Cotton, Tiberius, C. vi. Psalter.</p>
+
+<p>MS. Trin. Coll., Camb., R. 17, 1. Illustrated by Eadwine, a monk, 1130-1174.</p>
+
+<p>MS. Harl. Roll, Y. vi.</p>
+
+<p>MS. Harl., 5102.</p>
+
+<p>Stothard&rsquo;s &lsquo;Monumental Effigies.&rsquo;</p>
+
+<p>MS. C. C. C., Camb., xvi.</p>
+
+<p>MS. Cott., Nero, D. 1.</p>
+
+<p>MS. Cott., Nero, C. iv. Full of drawings.</p>
+
+<p>MS. Roy., 14, C. vii.</p>
+
+<p>Lansdowne MS., British Museum.</p>
+
+<p>Macklin&rsquo;s &lsquo;Monumental Brasses.&rsquo;</p>
+
+<p><i>Journal of the Arch&aelig;ological Association.</i></p>
+
+<p>MS. Roy., 2, B. vii.</p>
+
+<p>MS. Roy., 10, E. iv. Good marginal drawings.</p>
+
+<p>The Loutrell Psalter. Invaluable for costume.</p>
+
+<p>MS. Bodl. Misc., 264. 1338-1344. Very full of useful drawings.</p>
+
+<p>Dr. Furnivall&rsquo;s edition of the Ellesmere MS. of Chaucer&rsquo;s &lsquo;Canterbury Tales.&rsquo;</p>
+
+<p>Boutell&rsquo;s &lsquo;Monumental Brasses.&rsquo;</p>
+
+<p><span class="pagenum"><a name="Page_454" id="Page_454">[<span class="hidden">Pg </span>454]</a></span>
+MS. Harl., 1819. Metrical history of the close of
+Richard II.&rsquo;s reign. Good drawings for costume.</p>
+
+<p>MS. Harl., 1892.</p>
+
+<p>MS. Harl., 2278.</p>
+
+<p>Lydgate&rsquo;s &lsquo;Life of St. Edmund.&rsquo;</p>
+
+<p>MS. Roy., 15, E. vi. Fine miniatures.</p>
+
+<p>The Bedford Missal, MS. Add., 18850.</p>
+
+<p>MS. Harl., 2982. A Book of Hours. Many good drawings.</p>
+
+<p>MS. Harl., 4425. The Romance of the Rose. Fine and useful drawings.</p>
+
+<p>MS. Lambeth, 265.</p>
+
+<p>MS. Roy., 19, C. viii.</p>
+
+<p>MS. Roy., 16, F. ii.</p>
+
+<p>Turberville&rsquo;s &lsquo;Book of Falconrie&rsquo; and &lsquo;Book of Hunting.&rsquo;</p>
+
+<p>Shaw&rsquo;s &lsquo;Dresses and Decorations.&rsquo;</p>
+
+<p>Jusserand&rsquo;s &lsquo;English Novel&rsquo; and &lsquo;Wayfaring Life.&rsquo; Very
+excellent books, full of reproductions from illuminated
+books, prints, and pictures.</p>
+
+<p>The Shepherd&rsquo;s Calendar, 1579, British Museum.</p>
+
+<p>Harding&rsquo;s &lsquo;Historical Portraits.&rsquo;</p>
+
+<p>Nichols&rsquo;s &lsquo;Progresses of Queen Elizabeth.&rsquo;</p>
+
+<p>Stubbes&rsquo;s &lsquo;Anatomie of Abuses,&rsquo; 1583.</p>
+
+<p>Braun&rsquo;s &lsquo;Civitates orbis terrarum.&rsquo;</p>
+
+<p>&lsquo;Vestusta Monumenta.&rsquo;</p>
+
+<p>Hollar&rsquo;s &lsquo;Ornatus Muliebris Anglicanus.&rsquo;</p>
+
+<p>Hollar&rsquo;s &lsquo;Aula Veneris.&rsquo;</p>
+
+<p>Pepys&rsquo;s Diary.</p>
+
+<p>Evelyn&rsquo;s Diary.</p>
+
+<p>Tempest&rsquo;s &lsquo;Cries of London.&rsquo; Fifty plates.</p>
+
+<p>Atkinson&rsquo;s &lsquo;Costumes of Great Britain.&rsquo;</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_455" id="Page_455">[<span class="hidden">Pg </span>455]</a></span>
+In addition to these, there are, of course, many
+other books, prints, engravings, sets of pictures,
+and heaps of caricatures. The excellent labours of
+the Society of Antiquaries and the Arch&aelig;ological
+Association have helped me enormously; these,
+with wills, wardrobe accounts, &lsquo;Satires&rsquo; by Hall
+and others, &lsquo;Anatomies of Abuses,&rsquo; broadsides, and
+other works on the same subject, French, German,
+and English, have made my task easier than it
+might have been.</p>
+
+<p>It was no use to spin out my list of manuscripts
+with the numbers&mdash;endless numbers&mdash;of those which
+proved dry ground, so I have given those only
+which have yielded a rich harvest.</p>
+
+
+<h3>BEAU BRUMMELL AND CLOTHES</h3>
+
+<div class="blockquot">
+<p><i>&lsquo;A person, my dear, who will probably come and
+speak to us; and if he enters into conversation, be
+careful to give him a favourable impression of you,
+for,&rsquo; and she sunk her voice to a whisper, &lsquo;he is the
+celebrated Mr. Brummell.&rsquo;</i>&mdash;&lsquo;Life of Beau Brummell,&rsquo;
+Captain Jesse.</p>
+</div>
+
+<p>Those who care to make the melancholy pilgrimage
+may see, in the Protestant Cemetery at Caen,
+<span class="pagenum"><a name="Page_456" id="Page_456">[<span class="hidden">Pg </span>456]</a></span>
+the tomb of George Bryan Brummell. He died, at
+the age of sixty-two, in 1840.</p>
+
+<p>It is indeed a melancholy pilgrimage to view the
+tomb of that once resplendent figure, to think,
+before the hideous grave, of the witty, clever,
+foolish procession from Eton to Oriel College,
+Oxford; from thence to a captaincy in the 10th
+Hussars, from No. 4 Chesterfield Street to No. 13
+Chapel Street, Park Lane; from Chapel Street a
+flight to Calais; from Calais to Paris; and then, at
+last, to Caen, and the bitter, bitter end, mumbling
+and mad, to die in the Bon Sauveur.</p>
+
+<p>Place him beside the man who once pretended
+to be his friend, the man of whom Thackeray spoke
+so truly: &lsquo;But a bow and a grin. I try and take
+him to pieces, and find silk stockings, padding,
+stays, a coat with frogs and a fur coat, a star and a
+blue ribbon, a pocket handkerchief prodigiously
+scented, one of Truefitt&rsquo;s best nutty-brown wigs
+reeking with oil, a set of teeth, and a huge black
+stock, under-waistcoats, more under-waistcoats, and
+then nothing.&rsquo;</p>
+
+<p>Nothing! Thackeray is right; absolutely nothing
+remains of this King George of ours but a sale list
+of his wardrobe, a wardrobe which fetched &pound;15,000
+<span class="pagenum"><a name="Page_457" id="Page_457">[<span class="hidden">Pg </span>457]</a></span>
+second-hand&mdash;a wardrobe that had been a man.
+He invented a shoe-buckle 1 inch long and
+5 inches broad. He wore a pink silk coat with
+white cuffs. He had 5,000 steel beads on his hat.
+He was a coward, a good-natured, contemptible
+voluptuary. Beside him, in our eyes, walks for a
+time the elegant figure of Beau Brummell. I
+have said that Brummell was the inventor of
+modern dress: it is true. He was the Beau who
+raised the level of dress from the slovenly, dirty
+linen, the greasy hair, the filthy neckcloth, the
+crumbled collar, to a position, ever since held
+by Englishmen, of quiet, unobtrusive cleanliness,
+decent linen, an abhorrence of striking forms of
+dress.</p>
+
+<p>He made clean linen and washing daily a part
+of English life.</p>
+
+<p>See him seated before his dressing-glass, a
+mahogany-framed sliding cheval glass with brass
+arms on either sides for candles. By his side is
+George IV., recovering from his drunken bout of
+last night. The Beau&rsquo;s glass reflects his clean-complexioned
+face, his grey eyes, his light brown hair,
+and sandy whiskers. A servant produces a shirt
+with a 12-inch collar fixed to it, assists the Beau
+<span class="pagenum"><a name="Page_458" id="Page_458">[<span class="hidden">Pg </span>458]</a></span>
+into it, arranges it, and stands aside. The collar
+nearly hides the Beau&rsquo;s face. Now, with his hand
+protected with a discarded shirt, he folds his collar
+down to the required height. Now he takes his
+white stock and folds it carefully round the collar;
+the stock is a foot high and slightly starched.
+A supreme moment of artistic decision, and the
+stock and collar take their perfect creases. In an
+hour or so he will be ready to partake of a light
+meal with the royal gentleman. He will stand up
+and survey himself in his morning dress, his regular,
+quiet suit. A blue coat, light breeches fitting the
+leg well, a light waistcoat over a waistcoat of some
+other colour, never a startling contrast, Hessian
+boots, or top-boots and buckskins. There was
+nothing very peculiar about his clothes except, as
+Lord Byron said, &lsquo;an exquisite propriety.&rsquo; His
+evening dress was a blue coat, white waistcoat,
+black trousers buttoned at the ankle&mdash;these were
+of his own invention, and one may say it was the
+wearing of them that made trousers more popular
+than knee-breeches&mdash;striped silk stockings, and a
+white stock.</p>
+
+<p>He was a man of perfect taste&mdash;of fastidious
+taste. On his tables lay books of all kinds in fine
+<span class="pagenum"><a name="Page_459" id="Page_459">[<span class="hidden">Pg </span>459]</a></span>
+covers. Who would suspect it? but the Prince is
+leaning an arm on a copy of Ellis&rsquo;s &lsquo;Early English
+Metrical Romances.&rsquo; The Beau is a rhymer, an
+elegant verse-maker. Here we see the paper-presser
+of Napoleon&mdash;I am flitting for the moment
+over some years, and see him in his room in Calais&mdash;here
+we notice his passion for buhl, his S&egrave;vres
+china painted with Court beauties.</p>
+
+<p>In his house in Chapel Street he saw daily portraits
+of Nelson and Pitt and George III. upon his
+walls. This is no Beau as we understand the term,
+for we make it a word of contempt, a nickname for
+a feeble fellow in magnificent garments. Rather
+this is the room of an educated gentleman of
+&lsquo;exquisite propriety.&rsquo;</p>
+
+<p>He played high, as did most gentlemen; he was
+superstitious, as are many of the best of men.
+That lucky sixpence with the hole in it that
+you gave to a cabman, Beau Brummell, was
+that loss the commencement of your downward
+career?</p>
+
+<p>There are hundreds of anecdotes of Brummell
+which, despite those of the &lsquo;George, ring the bell&rsquo;
+character, and those told of his heavy gaming, are
+more valuable as showing his wit, his cleanliness,
+<span class="pagenum"><a name="Page_460" id="Page_460">[<span class="hidden">Pg </span>460]</a></span>
+his distaste of display&mdash;in fact, his &lsquo;exquisite propriety.&rsquo;</p>
+
+<p>A Beau is hardly a possible figure to-day; we
+have so few personalities, and those we have are
+chiefly concerned with trade&mdash;men who uphold
+trusts, men who fight trusts, men who speak for
+trade in the House of Commons. We have not
+the same large vulgarities as our grandfathers, nor
+have we the same wholesome refinement; in killing
+the evil&mdash;the great gambler, the great men of
+the turf, the great prize-fighters, the heavy wine-drinkers&mdash;we
+have killed, also, the good, the classic,
+well-spoken civil gentleman. Our manners have
+suffered at the expense of our morals.</p>
+
+<p>Fifty or sixty years ago the world was full
+of great men, saying, writing, thinking, great
+things. To-day&mdash;perhaps it is too early to speak
+of to-day. Personalities are so little marked by
+their clothes, by any stamp of individuality, that
+the caricaturist, or even the minute and truthful
+artist, be he painter or writer, has a difficult task
+before him when he sets out to point at the men of
+these our times.</p>
+
+<p>George Brummell came into the world on June 7,
+1778. He was a year or so late for the Macaroni
+<span class="pagenum"><a name="Page_461" id="Page_461">[<span class="hidden">Pg </span>461]</a></span>
+style of dress, many years behind the Fribbles, after
+the Smarts, and must have seen the rise and fall of
+the Zebras when he was thirteen. During his life
+he saw the old-fashioned full frock-coat, bagwig,
+solitaire, and ruffles die away; he saw the decline
+and fall of knee-breeches for common wear, and
+the pantaloons invented by himself take their place.
+From these pantaloons reaching to the ankle came
+the trousers, as fashionable garments, open over the
+instep at first, and joined by loops and buttons, then
+strapped under the boot, and after that in every
+manner of cut to the present style. He saw the
+three-cornered hat vanish from the hat-boxes of the
+polite world, and he saw fine-coloured clothes give
+way to blue coats with brass buttons or coats of
+solemn black.</p>
+
+<p>It may be said that England went into mourning
+over the French Revolution, and has not yet
+recovered. Beau Brummell, on his way to Eton,
+saw a gay-coloured crowd of powdered and patched
+people, saw claret-coloured coats covered with
+embroidery, gold-laced hats, twinkling shoe-buckles.
+On his last walks in Caen, no doubt, he dreamed
+of London as a place of gay colours instead of the
+drab place it was beginning to be.</p>
+
+<p><span class="pagenum"><a name="Page_462" id="Page_462">[<span class="hidden">Pg </span>462]</a></span>
+To-day there is no more monotonous sight than
+the pavements of Piccadilly crowded with people
+in dingy, sad clothes, with silk tubes on their heads,
+their black and gray suits being splashed by the
+mud from black hansoms, or by the scatterings of
+motor-cars driven by aristocratic-looking mechanics,
+in which mechanical-looking aristocrats lounge,
+darkly clad. Here and there some woman&rsquo;s dress
+enlivens the monotony; here a red pillar-box shines
+in the sun; there, again, we bless the Post-Office
+for their red mail-carts, and perhaps we are
+strengthened to bear the gloom by the sight of a
+blue or red bus.</p>
+
+<p>But our hearts are not in tune with the picture;
+we feel the lack of colour, of romance, of everything
+but money, in the street. Suddenly a magnificent
+policeman stops the traffic; there is a sound of
+jingling harness, of horses&rsquo; hoofs beating in unison.
+There flashes upon us an escort of Life Guards
+sparkling in the sun, flashing specks of light from
+swords, breastplates, helmets. The little forest of
+waving plumes, the raising of hats, the polite murmuring
+of cheers, warms us. We feel young, our
+hearts beat; we feel more healthy, more alive, for
+this gleam of colour.</p>
+
+<p><span class="pagenum"><a name="Page_463" id="Page_463">[<span class="hidden">Pg </span>463]</a></span>
+Then an open carriage passes us swiftly as we
+stand with bared heads. There is a momentary sight
+of a man in uniform&mdash;a man with a wonderful face,
+clever, dignified, kind. And we say, with a catch
+in our voices:</p>
+
+<p class="center smcap">&lsquo;The King&mdash;God bless him!&rsquo;</p>
+
+
+<p class="center padtop padbase">THE END</p>
+
+
+<p class="center padbase"><small>BILLING AND SONS, LTD., PRINTERS, GUILDFORD, ENGLAND</small></p>
+
+
+
+<div class="bbox">
+<p><b>Transcriber's Note</b></p>
+
+<p>Hyphenation has been made consistent. Minor errors in punctuation have been
+corrected.</p>
+
+<p>The following items were noted by the transcriber:</p>
+
+<div class="blockquot">
+<p>Page <a href="#Page_361">361</a>&mdash;the text reads, "Another thing the women did was to cut from their
+bodices all the little strips but the in the middle of the back, ..." which
+seems to be missing the word 'one' between 'the' and 'in'. It has been added
+in this etext.</p>
+
+<p>Page <a href="#Page_442">442</a>&mdash;the word CUROSY may be an error for CURSORY, or it may be the
+pen-name of the quoted writer. However, as the transcriber was unable to
+confirm either way, it has been preserved as printed.</p>
+</div>
+
+<p>Archaic spelling is preserved as printed. Variable spelling has been made
+consistent where there was a prevalence of one form over the other, and
+typographic errors have been repaired, as follows:</p>
+
+<div class="blockquot">
+<p>Page <a href="#pl10">38</a> (plate facing)&mdash;whimple amended to wimple&mdash;"She has a wimple in her hands which
+she may wind about her head."</p>
+
+<p>Page <a href="#pl12">52</a> (plate facing)&mdash;whimple amended to wimple&mdash;"There is a chin-band to be seen
+passing under the wimple; ..."</p>
+
+<p>Page <a href="#Page_54">54</a>&mdash;Fontevfaud amended to Fontevraud&mdash;"The effigy of the Queen at Fontevraud shows
+her dress ..."</p>
+
+<p>Page <a href="#Page_73">73</a>&mdash;wode amended to woad&mdash;"... by staining themselves blue with woad and yellow with
+ochre, ..."</p>
+
+<p>Page <a href="#pl18">74</a> (plate facing)&mdash;whimple amended to wimple&mdash;"... a plain cloak, a plain gown, and
+a wimple over the head."</p>
+
+<p>Page <a href="#Page_82">82</a>&mdash;kaleidscope amended to kaleidoscope&mdash;"... like the symmetrical accidents of the
+kaleidoscope, ..."</p>
+
+<p>Page <a href="#Page_87">87</a>&mdash;head-hankerchief amended to head-handkerchief&mdash;"... as was the gown and head-
+handkerchief of his wife."</p>
+
+<p>Page <a href="#Page_92">92</a>&mdash;repeated 'new' deleted&mdash;"... for, although men followed the new mode, ladies
+adhered to their earlier fashions."</p>
+
+<p>Page <a href="#Page_94">94</a>&mdash;tieing amended to tying&mdash;"Every quaint thought and invention for tying up this
+liripipe was used: ..."</p>
+
+<p>Page <a href="#Page_96">96</a>&mdash;tow amended to two&mdash;"Then there were two distinct forms of cape: ..."</p>
+
+<p>Page <a href="#Page_123">123</a>&mdash;Ploughman amended to Plowman&mdash;"... William Langland, or Piers the Plowman."</p>
+
+<p>Page <a href="#Page_142">142</a>&mdash;Louttrell amended to Loutrell&mdash;"... together with the artist of the Loutrell
+Psalter, ..."</p>
+
+<p>Page <a href="#Page_142">142</a>&mdash;repeated 'British' removed&mdash;"... are cheap to obtain and the British Museum is
+free to all."</p>
+
+<p>Page <a href="#Page_154">154</a>&mdash;waistcoast amended to waistcoat&mdash;"Over his tunic he wears a quilted waistcoat,
+..."</p>
+
+<p>Page <a href="#Page_189">189</a>&mdash;excresences amended to excrescences&mdash;"... surmounted by minarets, towers,
+horns, excrescences of every shape ..."</p>
+
+<p>Page <a href="#Page_247">247</a>&mdash;Katharine amended to Katherine&mdash;"Married, 1509, Katherine of Aragon; ..." and
+"... 1540, Katherine Howard; ..."</p>
+
+<p>Page <a href="#Page_259">259</a>&mdash;martin amended to marten&mdash;"... to wear marten or velvet trimming you must be
+worth over two hundred marks a year."</p>
+
+<p>Page <a href="#Page_291">291</a>&mdash;anp amended to and (typesetting error)&mdash;"How, they and we ask, are breeches,
+..."</p>
+
+<p>Page <a href="#Page_296">296</a>&mdash;Nuserie amended to Nurserie&mdash;"&lsquo;The Wits Nurserie.&rsquo;"</p>
+
+<p>Page <a href="#Page_305">305</a>&mdash;underproper amended to underpropper&mdash;"First, the lady put on her underpropper
+of wire ..." and "... wore such a ruff as required an underpropper, ..."</p>
+
+<p>Page <a href="#Page_313">313</a>&mdash;choses amended to chooses&mdash;"... and from these the Queen chooses one."</p>
+
+<p>Page <a href="#Page_334">334</a>&mdash;fardingle amended to fardingale&mdash;"... and twirl her round until the Catherine-
+wheel fardingale is a blurred circle, ..."</p>
+
+<p>Page <a href="#Page_337">337</a>&mdash;Castille amended to Castile&mdash;"On another day comes the news that the Constable
+of Castile ..."</p>
+
+<p>Page <a href="#Page_417">417</a>&mdash;Macaronies amended to Macaronis&mdash;"... you may tell yourself here is one of the
+new Macaronis, ..."</p>
+</div>
+
+<p>The frontispiece illustration has been moved to follow the title page. Other
+illustrations have been moved where necessary so that they are not in the
+middle of a paragraph.</p>
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
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author	Roger Frank <rfrank@pglaf.org>	2025-10-14 19:58:44 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-14 19:58:44 -0700
commit	f43f67727fe56e0e9d8c84d4571174ac45be01df (patch)
tree	2d84d97ea940acdc96897654fd639a24b3b9582d /33020-h