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+The Project Gutenberg eBook, English Costume, by Dion Clayton Calthrop
+
+
+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 www.gutenberg.org
+
+
+
+
+
+Title: English Costume
+
+
+Author: Dion Clayton Calthrop
+
+
+
+Release Date: June 29, 2010  [eBook #33020]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK ENGLISH COSTUME***
+
+
+E-text prepared by Jason Isbell, Sam W., and the Project Gutenberg Online
+Distributed Proofreading Team (http://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the numerous original illustrations,
+      many of which are in full color.
+      See 33020-h.htm or 33020-h.zip:
+      (http://www.gutenberg.org/files/33020/33020-h/33020-h.htm)
+      or
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+
+
+
+
+
+ENGLISH COSTUME
+
+Painted & Described by
+
+DION CLAYTON CALTHROP
+
+
+
+
+
+
+Published
+by Adam & Charles Black
+London . MCMVII
+
+   [Illustration: {Scissors}]
+
+Published in four volumes during 1906.
+
+Published in one volume, April, 1907.
+
+Agents
+
+  America    The Macmillan Company
+             64 & 66 Fifth Avenue, New York
+
+  Canada     The Macmillan Company of Canada, Ltd.
+             70 Bond Street, Toronto
+
+  India      Macmillan & Company, Ltd.
+             Macmillan Building, Bombay
+             309 Bow Bazaar Street, Calcutta
+
+
+
+
+  [Illustration: A MAN OF THE TIME OF GEORGE IV. (1820-1830)
+
+  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.]
+
+
+
+
+INTRODUCTION
+
+
+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's mantle.
+
+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 Caesar; has only to lean forward to smile to Pasquino, the
+wittiest of tailors.
+
+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's coat, talks to Mr.
+Meyer, who shaped his pantaloons. Our world is full of the sound of
+scissors, the clipping of which, with the gossiping tongues, drown the
+grander voices of history.
+
+As you will see, I have devoted myself entirely to civil costume--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.
+
+I have taken the date of the Conquest as my starting-point, and from
+that date--a very simple period of clothes--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.
+
+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 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.
+
+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.
+
+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.
+
+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 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.
+
+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'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.
+
+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.
+
+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'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.
+
+And what romantic incidents may we not hang upon our clothes-line! The
+cloak of Samuel Pepys ('Dapper Dick,' 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,
+'Ginger for pluck'); Mary, Queen of Scots, ordering false attires of
+hair during her captivity--all these scenes clinched into reality by
+the knowledge of the dress proper to them.
+
+And what are we doing to help modern history--the picture of our own
+times--that it may look beautiful in the ages to come? I cannot answer
+you that.
+
+Some chapters of this work have appeared in the _Connoisseur_, and I
+have to thank the editor for his courtesy in allowing me to reproduce
+them.
+
+I must also thank Mr. Pownall for his help in the early stages of my
+labours.
+
+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.
+
+                                          DION CLAYTON CALTHROP.
+
+
+
+
+Contents
+
+
+                                                            PAGE
+
+    WILLIAM THE FIRST                                          1
+
+    WILLIAM THE SECOND                                        10
+
+    HENRY THE FIRST                                           21
+
+    STEPHEN                                                   29
+
+    HENRY THE SECOND                                          46
+
+    RICHARD THE FIRST                                         55
+
+    JOHN                                                      62
+
+    HENRY THE THIRD                                           67
+
+    EDWARD THE FIRST                                          81
+
+    EDWARD THE SECOND                                         92
+
+    EDWARD THE THIRD                                         102
+
+    RICHARD THE SECOND                                       122
+
+    THE END OF THE FOURTEENTH CENTURY                        141
+
+    HENRY THE FOURTH                                         152
+
+    HENRY THE FIFTH                                          161
+
+    HENRY THE SIXTH                                          176
+
+    EDWARD THE FOURTH                                        198
+
+    EDWARD THE FIFTH                                         213
+
+    RICHARD THE THIRD                                        213
+
+    HENRY THE SEVENTH                                        223
+
+    HENRY THE EIGHTH                                         247
+
+    EDWARD THE SIXTH                                         274
+
+    MARY                                                     283
+
+    ELIZABETH                                                291
+
+    JAMES THE FIRST                                          325
+
+    CHARLES THE FIRST                                        341
+
+    THE CROMWELLS                                            359
+
+    CHARLES THE SECOND                                       365
+
+    JAMES THE SECOND                                         378
+
+    WILLIAM AND MARY                                         383
+
+    QUEEN ANNE                                               395
+
+    GEORGE THE FIRST                                         406
+
+    GEORGE THE SECOND                                        414
+
+    GEORGE THE THIRD                                         432
+
+    GEORGE THE FOURTH                                        440
+
+
+
+
+Illustrations in Colour
+
+
+     1. A Man of the Time of George IV.     1820-1830   _Frontispiece_
+
+                                                           FACING PAGE
+     2. A Man of the Time of William I.     1066-1087                2
+
+     3. A Woman of the Time of William I.       "                    8
+
+     4. A Man of the Time of William II.    1087-1100               10
+
+     5. A Woman of the Time of William II.      "                   16
+
+     6. A Man of the Time of Henry I.       1100-1135               22
+
+     7. A Child of the Time of Henry I.         "                   24
+
+     8. A Woman of the Time of Henry I.         "                   26
+
+     9. A Man of the Time of Stephen        1135-1154               30
+
+    10. A Woman of the Time of Stephen          "                   38
+
+    11. A Man of the Time of Henry II.      1154-1189               46
+
+    12. A Woman of the Time of Henry II.        "                   52
+
+    13. A Man of the Time of Richard I.     1189-1199               56
+
+    14. A Woman of the Time of Richard I.       "                   60
+
+    15. A Man of the Time of John           1199-1216               62
+
+    16. A Woman of the Time of John             "                   66
+
+    17. A Man of the Time of Henry III.     1216-1272               68
+
+    18. A Woman of the Time of Henry III.       "                   74
+
+    19. A Peasant of Early England                                  78
+
+    20. A Man and Woman of the Time of
+            Edward I.                       1272-1307               88
+
+    21. A Man and Woman of the Time of
+            Edward II.                      1307-1327               96
+
+    22. A Man of the Time of Edward III.    1327-1377              112
+
+    23. A Woman of the Time of Edward III.      "                  120
+
+    24. A Man of the Time of Richard II.    1377-1399              128
+
+    25. A Woman of the Time of Richard II.      "                  136
+
+    26. A Man and Woman of the Time of
+            Henry IV.                       1399-1413              152
+
+    27. A Man of the Time of Henry V.       1413-1422              164
+
+    28. A Woman of the Time of Henry V.         "                  172
+
+    29. A Man of the Time of Henry VI.      1422-1461              180
+
+    30. A Woman of the Time of Henry VI.        "                  192
+
+    31. A Man of the Time of Edward IV.     1461-1483              200
+
+    32. A Woman of the Time of Edward IV.       "                  208
+
+    33. A Man of the Time of Richard III.   1483-1485              216
+
+    34. A Woman of the Time of Richard III.     "                  220
+
+    35. A Man of the Time of Henry VII.     1485-1509              226
+
+    36. A Woman of the Time of Henry VII.       "                  242
+
+    37. A Man of the Time of Henry VIII.    1509-1547              250
+
+    38. A Man of the Time of Henry VIII.        "                  256
+
+    39. A Woman of the Time of Henry VIII.      "                  258
+
+    40. A Woman of the Time of Henry VIII.      "                  266
+
+    41. A Man and Woman of the Time of
+            Edward VI.                      1547-1553              278
+
+    42. A Man of the Time of Mary           1553-1558              286
+
+    43. A Woman of the Time of Mary             "                  290
+
+    44. A Man of the Time of Elizabeth      1558-1603              298
+
+    45. A Woman of the Time of Elizabeth        "                  306
+
+    46. A Woman of the Time of Elizabeth        "                  314
+
+    47. A Man of the Time of James I.       1603-1625              330
+
+    48. A Woman of the Time of James I.         "                  338
+
+    49. A Man of the Time of Charles I.     1625-1649              346
+
+    50. A Woman of the Time of Charles I.       "                  354
+
+    51. A Cromwellian Man                   1649-1660              360
+
+    52. A Woman of the Time of the
+            Cromwells                           "                  362
+
+    53. A Woman of the Time of the
+            Cromwells                           "                  364
+
+    54. A Man of the Time of Charles II.    1660-1685              366
+
+    55. A Man of the Time of Charles II.        "                  368
+
+    56. A Woman of the Time of Charles II.      "                  372
+
+    57. A Man of the Time of James II.      1685-1689              378
+
+    58. A Woman of the Time of James II.        "                  380
+
+    59. A Man of the Time of William
+            and Mary                        1689-1702              384
+
+    60. A Woman of the Time of William
+            and Mary                            "                  392
+
+    61. A Man of the Time of Queen Anne     1702-1714              396
+
+    62. A Woman of the Time of Queen Anne       "                  400
+
+    63. A Man of the Time of George I.      1714-1727              408
+
+    64. A Woman of the Time of George I.    1714-1727              412
+
+    65. A Man of the Time of George II.     1727-1760              416
+
+    66. A Woman of the Time of George II.       "                  424
+
+    67. A Man of the Time of George III.    1760-1820              432
+
+    68. A Woman of the Time of George III.      "                  434
+
+    69. A Man of the Time of George III.    1760-1820              436
+
+    70. A Woman of the Time of George III.      "                  438
+
+
+Illustrations in Black and White
+
+                                                           FACING PAGE
+    A Series of Thirty-two Half-tone Reproductions of
+        Engravings by Hollar                                       358
+
+    A Series of Sixty Half-tone Reproductions of Wash Drawings
+        by the Dightons--Father and Son--and by the Author         440
+
+    Numerous Line Drawings by the Author throughout the Text.
+
+
+
+
+WILLIAM THE FIRST
+
+    Reigned twenty-one years: 1066-1087.
+
+    Born 1027. Married, 1053, Matilda of Flanders.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of William I.; a shoe}]
+
+Why France should always give the lead in the matter of dress is a
+nice point in sartorial morality--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.
+
+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 embroidered in gold, bearing the figure
+of a man fighting, studded with precious stones, was captured.
+
+William, of Norse blood and pirate traditions, landed in England, and
+brought with him bloodshed, devastation, new laws, new customs, and
+new fashions.
+
+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.
+
+William I. found the Saxons very plainly dressed, and he did little to
+alter the masculine mode.
+
+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.
+
+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 solitudes of the
+woods and the sight of hart and hind.
+
+  [Illustration: A MAN OF THE TIME OF WILLIAM I. (1066-1087)
+
+  Cloak buckled at the shoulder. Leather thongs crossed on his legs.
+  Shoes of leather. Tunic fitting to his body like a jersey.]
+
+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.
+
+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.
+
+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 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.
+
+  [Illustration: {A man of the time of William I.}]
+
+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.
+
+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.
+
+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 at the neck
+was sometimes stitched with coloured or black wool.
+
+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.
+
+  [Illustration: {A man of the time of William I.}]
+
+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.
+
+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 and so held it, the ends of the cords having tags
+of metal or plain ornaments.
+
+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--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.
+
+  [Illustration: {A man of the time of William I.}]
+
+The hats and caps of these men were of the most simple form--plain
+round-topped skull-caps, flat caps close to the head without a brim,
+and a hat with a peak like the helmet.
+
+Hoods, of course, were worn during the winter, made very close to the
+head, and they were also worn under the helmets.
+
+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.
+
+
+THE WOMEN
+
+  [Illustration: {A woman of the time of William I.}]
+
+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.
+
+The gown fitted easily across the shoulders, but fell from there in
+loose folds. The neck opening was cut as the man'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.
+
+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.
+
+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 simply
+round the waist with short ends, which did not show.
+
+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.
+
+The gown, opening at the neck in the same way as did the men's tunics,
+showed the white of the chemise, the opening being held together
+sometimes by a brooch.
+
+  [Illustration: {A woman of the time of William I.; a type of
+      neckline}]
+
+Towards the end of the reign the upper part of the gown--that is, from
+the neck to the waist--was worn close and fitted more closely to the
+figure, but not over-tightly--much as a tight jersey would fit.
+
+Over all was a cloak of the semicircular shape, very voluminous--about
+three feet in diameter--which was brooched in the centre or on the
+shoulder.
+
+  [Illustration: A WOMAN OF THE TIME OF WILLIAM I. (1066-1087)
+
+  A twist of wool holds the gown at the waist. Under the gown the
+  chemise shows. The neck of the gown is embroidered.]
+
+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 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.
+
+Tied round the wimple they sometimes had a snood, or band of silk.
+
+The shoes were like those worn by the men.
+
+These ladies were all housewives, cooking, preparing simples, doing
+embroidery and weaving. They were their own milliners and dressmakers,
+and generally made their husbands' 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.
+
+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.
+
+
+
+
+WILLIAM THE SECOND
+
+    Reigned thirteen years: 1087-1100.
+
+    Born _c._ 1060.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of William II.}]
+
+About this time there came to England a Norman, who settled near by
+the Abbey of Battle--Baldwin the Tailor by name, whom one might call
+the father of English tailoring.
+
+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.
+
+  [Illustration: A MAN OF THE TIME OF WILLIAM II. (1087-1100)
+
+  Shows the wide drawers with an embroidered hem. Under them can be
+  seen the long woollen drawers bound with leather thongs.]
+
+England is getting a little more settled.
+
+The reign opens picturesquely enough with William Rufus hastening to
+England with his father's ring, and ends with the tragedy of the New
+Forest and a blood-stained tunic.
+
+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.
+
+  [Illustration: The Cloak pushed through a Ring.]
+
+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.
+
+The men adopt longer tunics, made after the same pattern as
+before--split up either side and loose in the sleeve--but in many
+cases the skirts reach to the ground in heavy folds, and the sleeves
+hang over the hands by quite a yard.
+
+The necks of these tunics are ornamented as before, with coloured
+bands or stiff embroidery.
+
+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.
+
+The fashion in cloaks is still the same--of a semicircular pattern.
+
+The shoes are the same as in the previous reign--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.
+
+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.
+
+The hair, beard, and moustaches were worn long and carefully
+combed--in fact, the length of the beard caused the priests to rail at
+them under such terms as 'filthy goats.' But they had hardly the
+right to censorship, since they themselves had to be severely
+reprimanded by their Bishops for their extravagance in dress.
+
+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.
+
+  [Illustration: {Two men of the time of William II.}]
+
+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 and a short tunic, or a tunic which trailed upon the
+ground, the sleeves of which reached only to the elbow.
+
+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.
+
+These woollen clothes--cap, tunic, semicircular cloak, and leg
+coverings--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.
+
+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 among the
+dust which filled the bottom of the tomb fragments of red cloth, of
+gold cloth, a turquoise, a serpent's head in ivory, and a wooden spear
+shaft, perhaps the very spear that William carried on that fatal day
+in the New Forest.
+
+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.
+
+
+THE WOMEN
+
+  [Illustration: {A woman of the time of William II.}]
+
+And so the lady began to lace....
+
+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!
+
+However, the lady pleased herself.
+
+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.
+
+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' figures in its deadly grip.
+
+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.
+
+It was, at any rate, a distinct departure from the loosely-clothed
+lady of 1066 towards the neater figure of 1135.
+
+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'
+journals and the condemnation to health faddists.
+
+However, the lacing was not the only matter of note. A change was
+coming over all feminine apparel--a change towards richness, which
+made itself felt in this reign more in the fabric than in the actual
+make of the garment.
+
+  [Illustration: A WOMAN OF THE TIME OF WILLIAM II. (1087-1100)
+
+  This shows the gown, which is laced behind, fitting more closely to
+  the figure. The sleeves are wider above the wrist.]
+
+The gown was open at the neck in the usual manner, was full in
+the skirt and longer than heretofore, was laced at the back, and was
+loose in the sleeve.
+
+The sleeve as worn by the men--that is, the over-long sleeve hanging
+down over the hand--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.
+
+  [Illustration: {A woman of the time of William II.}]
+
+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.
+
+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 the good dame in the country was about a century behind the
+times with her loose gown and heavy cloak.
+
+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.
+
+The large wimple was still worn wrapped about the head, and the hair
+was still carefully hidden.
+
+  [Illustration: {A woman of the time of William II.}]
+
+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.
+
+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.
+
+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 darts into the shadow of the
+porch, and then out of the gloom comes a furious knocking, and a voice
+crying, 'Sanctuary!'
+
+The lady at her window knows that cry well. Soon the monks in the
+belfry will awake and ring the Galilee-bell.
+
+The Galilee-bell tolls, and the knocking ceases.
+
+A few curious citizens look out. A dog barks. Then a door opens and
+closes with a bang.
+
+There is silence in the square again, but the lady still stands at her
+window, and she follows the man in her thoughts.
+
+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.
+
+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.
+
+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 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.
+
+The night is cold. The lady pulls a curtain across the window, and
+then, stripping herself of her chemise, she gets into bed.
+
+
+
+
+HENRY THE FIRST
+
+    Reigned thirty-five years: 1100-1135.
+
+    Born 1068. Married to Matilda of Scotland, 1100; to
+    Adela of Louvain, 1121.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Henry I.; two types of shoe}]
+
+The Father of Popular Literature, Gerald of Wales, says: '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.'
+
+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, to make the clothes stir up and puff themselves into
+the shapes of men.
+
+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.
+
+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.
+
+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.
+
+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.
+
+One may notice that the King's hair is long and elegantly twisted into
+pipes or ringlets, and that it hangs over his shoulders.
+
+  [Illustration: A MAN OF THE TIME OF HENRY I. (1100-1135)
+
+  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.]
+
+No longer is the priestly abuse of 'filthy goat' applicable, for
+Henry's beard is neatly trimmed and cut round his face.
+
+These two things are the only practical difference between the two
+dates--the end of the eleventh century and the beginning of the
+twelfth.
+
+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.
+
+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.
+
+So we may give as a list of clothes for men in this reign:
+
+A white linen shirt.
+
+A long tunic, open at the neck, falling to the ground, with tight
+sleeves to the wrist.
+
+A short tunic reaching only to the knees, more open at the neck than
+the long tunic, generally fastened by a brooch.
+
+Tight, well-fitting drawers or loose trousers.
+
+Bandages or garters crossed from the ankle to the knee to confine the
+loose trousers or ornament the tights.
+
+Boots of soft leather which had an ornamental band at the top.
+
+Socks with an embroidered top.
+
+Shoes of cloth and leather with an embroidered band down the centre
+and round the top.
+
+Shoes of skin tied with leather thongs.
+
+Caps of skin or cloth of a very plain shape and without a brim.
+
+Belts of leather or cloth or silk.
+
+Semicircular cloaks fastened as previously described, and often lined
+with fur.
+
+The clothes of every colour, but with little or no pattern; the
+patterns principally confined to irregular groups of dots.
+
+And to think that in the year in which Henry died Nizami visited the
+grave of Omar Al Khayyam in the Hira Cemetery at Nishapur!
+
+  [Illustration: A CHILD OF THE TIME OF HENRY I.
+
+  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'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.
+
+  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.]
+
+
+THE WOMEN
+
+  [Illustration: {A woman of the time of Henry I.}]
+
+The greatest change in the appearance of the women was in the
+arrangement of the hair.
+
+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.
+
+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 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--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.
+
+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.
+
+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.
+
+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.
+
+The girdles sometimes were broad bands of silk diapered with gold
+thread, of which manufacture specimens remain to us.
+
+  [Illustration: A WOMAN OF THE TIME OF HENRY I. (1100-1135)
+
+  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.]
+
+The sleeves of the gowns had now altered in shape, and had acquired a
+sort of pendulent cuff, which hung down about two hands' breadth from
+the wrist. The border was, as usual, richly ornamented.
+
+  [Illustration: {A woman of the time of Henry I.}]
+
+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--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.
+
+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.
+
+We may conceive a nice picture of Countess Constance, the wife of Hugh
+Lufus, Earl of 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--such good cheeses that
+Anselm, Archbishop of Canterbury, rejoiced in a present of some of
+them.
+
+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--Matilda the very
+royal, the daughter of a King, the sister to three Kings, the wife of
+a King, the mother of an Empress!
+
+
+
+
+STEPHEN
+
+    Reigned nineteen years: 1135-1154.
+
+    Born 1094. Married, 1124, to Matilda of Boulogne.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Stephen}]
+
+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.
+
+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.
+
+There are few illuminated manuscripts of the twelfth century, or of
+the first half of it, and to the 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.
+
+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.
+
+  [Illustration: A MAN OF THE TIME OF STEPHEN (1135-1154)
+
+  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.]
+
+As will be seen from the drawings, the man wore his hair long,
+smoothly parted in the centre, 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.
+
+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.
+
+  [Illustration: {A man of the time of Stephen; two types of shoe; a
+      boot}]
+
+  [Illustration: {Two types of tunic; two types of cloak; four types
+      of sleeve showing cuff variations}]
+
+Next to his skin the man of every class wore a shirt of the pattern
+shown--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 of fastening the shirt differ very slightly--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--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--either a tight sleeve made long and
+rolled back, a sleeve made very wide at the cuff and allowed to 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.
+
+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.
+
+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.
+
+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.
+
+The brooches were practically the same as those worn in the earlier
+reigns, or were occasionally of a pure Roman design.
+
+As will be seen in the small diagrams of men wearing the clothes of
+the day, the tunic, the shirt, and the cloak were worn according to
+the season, and many drawings in the MSS. of the date show men wearing
+the shirt alone.
+
+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.
+
+  [Illustration: {A man of the time of Stephen; an alternative hat
+      for a man}]
+
+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.
+
+The country man wore twists of straw round his calf and ankle.
+
+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 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.
+
+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.
+
+There is in the British Museum a fine enamelled plate of this date
+which is a representation of Henry of Blois, Stephen's brother, who
+was the Bishop of Winchester. Part of the inscription, translated by
+Mr. Franks, says that 'Art is above gold and gems,' and that 'Henry,
+while living, gives gifts of brass to God.'
+
+Champleve 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 was buried. It is a
+portrait of him, and shows the Byzantine influence still over the
+French style.
+
+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--such ornaments as rings and brooches.
+
+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--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.
+
+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 all
+the information necessary to produce any picture or stage-play, or to
+illustrate any story.
+
+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.
+
+
+THE WOMEN
+
+  [Illustration: {A woman of the time of Stephen}]
+
+Though many parts of England were at this time being harassed by wars,
+still the domestic element grew and flourished.
+
+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.
+
+As the knights were away to their fighting, so were the knights'
+ladies engaged in sewing sleeve embroideries, placing of pearls upon
+shoes, making silk cases for their hair, and otherwise stitching,
+cutting, and contriving against the return of their lords.
+
+  [Illustration: {A woman of the time of Stephen}]
+
+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.
+
+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.
+
+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.
+
+  [Illustration: A WOMAN OF THE TIME OF STEPHEN (1135-1154)
+
+  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.]
+
+The second was made tight-fitting in the body and bust, all of
+one elastic material, and the skirt of loose thin stuff.
+
+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.
+
+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.
+
+The collar and the borders of the sleeves were enriched with
+embroidery in simple designs.
+
+In the case of the loose upper garment the border was also
+embroidered.
+
+In winter a cloak of the same shape as was worn by the men was
+used--_i.e._, cut exactly semicircular, with embroidered edges.
+
+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.
+
+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 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.
+
+When the ladies went travelling or out riding they rode astride like
+men, and wore the ordinary common-hooded cloak.
+
+Brooches for the tunic and rings for the fingers were common among the
+wealthy.
+
+The plait was introduced into the architecture of the time, as is
+shown by a Norman moulding at Durham.
+
+Compared with the Saxon ladies, these ladies of Stephen'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 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.
+
+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--to win the simple woman who toiled and span to
+deck her lord in extravagant embroideries.
+
+  [Illustration: {A woman of the time of Stephen}]
+
+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.
+
+The energy of the clergy in this reign was more 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.
+
+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's steward and the
+Father-Procurator bought carefully for their establishments, talking
+meanwhile of the annual catch of eels for the abbey.
+
+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.
+
+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 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.
+
+In the town about the castle the merchants' 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 in the bitter
+cold weather skins of sheep and wolves unlined and but roughly
+dressed.
+
+  [Illustration: Cases for the Hair.]
+
+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.
+
+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.
+
+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 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.
+
+Meanwhile London's thirteen conventual establishments were added to by
+another, the Priory of St. Bartholomew, raised by Rahere, the King's
+minstrel.
+
+
+
+
+HENRY THE SECOND
+
+    Reigned thirty-five years: 1154-1189.
+
+    Born 1133. Married, 1152, to Eleanor of Guienne.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Henry II.}]
+
+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.
+
+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.
+
+  [Illustration: A MAN OF THE TIME OF HENRY II. (1154-1189)
+
+  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.]
+
+The time of patterns upon clothes began. The patterns were simple, as
+crescents, lozenges, stars.
+
+William de Magna Villa had come back from the Holy Land with a new
+fabric, a precious silk called 'imperial,' which was made in a
+workshop patronized by the Byzantine Emperors.
+
+The long tunic and the short supertunic were still worn, but these
+were not so frequently split up at the side.
+
+High boots reaching to the calf of the leg were in common use.
+
+That part of the hood which fell upon the shoulders was now cut in a
+neat pattern round the edge.
+
+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.
+
+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.
+
+Henry, despite his own careless appearance, was nicknamed Court
+Manteau, or Short Mantle, on account of a short cloak or mantle he is
+supposed to have brought into fashion.
+
+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.
+
+The initial difference in this reign was the more usual occurrence of
+patterns in diaper upon the clothes.
+
+The length of a yard was fixed by the length of the King's arm.
+
+With the few exceptions mentioned, the costume is the same as in the
+time of Stephen.
+
+It is curious to note what scraps of pleasant gossip come to us from
+these early times: St. Thomas a Becket dining off a pheasant the day
+before his martyrdom; the angry King calling to his knights, '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!'--the
+veins no doubt swelling on his bull-like neck, the prominent eyes
+bloodshot with temper, the result of that angry speech, to end in the
+King's public penance before the martyr's tomb.
+
+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.
+
+A common sight in London streets at this time was a tin medal of St.
+Thomas hung about the necks of the pilgrims.
+
+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'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's
+tomb.
+
+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.
+
+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:
+
+    'HIC JACET SEPULTUS INCLYTUS REX ARTURIUS IN INSULA
+    AVALONIA.'
+
+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--Arthur and Guinevere, two names which to us now
+are part of England, part of ourselves, as much as our patron St.
+George.
+
+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'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.
+
+They bury them again with great care. So lay our national hero since
+he died at the Battle of 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.
+
+
+THE WOMEN
+
+  [Illustration: {A woman of the time of Henry II.; a circular pin}]
+
+About this time came the fashion of the chin-band, and again the glory
+of the hair was hidden under the wimple.
+
+To dress a lady'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 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.
+
+  [Illustration: {Four steps to dress a woman's hair}]
+
+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.
+
+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.
+
+The chemise showed above the neck of the gown, which was fastened by
+the usual round brooch.
+
+  [Illustration: A WOMAN OF THE TIME OF HENRY II. (1154-1189)
+
+  There is a chin-band to be seen passing under the wimple; this band
+  is pinned to hold it round the head.]
+
+The sleeves were well fitting, rather loose at the elbow, and
+fell shaped over the wrist, where there was a deep border of
+embroidery. It is quite possible that the cuffs and hem may have been
+made of fur.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+
+RICHARD THE FIRST
+
+    Reigned ten years: 1189-1199.
+
+    Born 1157. Married, 1191, to Berengaria of Navarre.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Richard I.; a hood; a shoe}]
+
+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.
+
+The general costume was then as plain as it had ever been, with long
+tunics and broad belts fastened by a big buckle.
+
+The difference in costume between this short reign and that of Henry
+II. is almost imperceptible; if any difference may be noted, it is in
+the tinge of Orientalism in the garments.
+
+There is more of the long and flowing robe, more of the capacious
+mantle, the wider sleeve.
+
+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.
+
+Cloth of gold and cloth of gold and silks--that is, warf of silk and
+weft of gold--were much prized, and were called by various names from
+the Persian, as 'ciclatoun,' 'siglaton.'
+
+Such stuff, when of great thickness and value--so thick that six
+threads of silk or hemp were in the warf--was called 'samite.'
+
+Later, when the cloth of gold was more in use, and the name had
+changed from 'ciclatoun' to 'bundekin,' and from that to 'tissue,' 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.
+
+Leaf-gold was used sometimes over silk to give pattern and richness to
+it.
+
+  [Illustration: A MAN OF THE TIME OF RICHARD I. (1189-1199)]
+
+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.
+
+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.
+
+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's laws from the time of Henry II. until
+1819.
+
+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--a bow which could
+send a shaft through a 4-inch door.
+
+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.
+
+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 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.
+
+
+THE WOMEN
+
+  [Illustration: {A woman of the time of Richard I.; a pouch}]
+
+It is difficult to describe an influence in clothes.
+
+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.
+
+No well-dressed Englishwoman should, or does, look French, but she may
+have a subtle cachet of France if she choose.
+
+The perfection of art is to conceal the means to the end; the
+perfection of dress is to hide the milliner in the millinery.
+
+The ladies of Richard I.'s time did not wear Oriental clothes, but
+they had a flavour of Orientalism pervading their dress--rather
+masculine Orientalism than feminine.
+
+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--these gave a touch of something
+foreign to the dress.
+
+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.
+
+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.
+
+  [Illustration: A WOMAN OF THE TIME OF RICHARD I. (1189-1199)
+
+  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.]
+
+The female anchorites of these days were busy gossips, and from their
+hermitage or shelter by a 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.
+
+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.
+
+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.
+
+The cloaks were ample, and were held on by brooches or laces across
+the bosom.
+
+The shoes were the shape of the foot, sewn, embroidered, elaborate.
+
+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.
+
+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.
+
+
+
+
+JOHN
+
+    Reigned seventeen years: 1199-1216.
+
+    Born 1167. Married, in 1189, to Hadwisa, of Gloucester,
+    whom he divorced; married, in 1200, to Isabella of
+    Angouleme.
+
+
+THE MEN
+
+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.
+
+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's head passing through, and you have a surcoat.
+
+  [Illustration: {A simple surcoat pattern}]
+
+  [Illustration: A MAN OF THE TIME OF JOHN (1199-1216)]
+
+Under this garment the men wore a flowing gown, the sleeves of which
+were so wide that they reached at the base from the shoulder to
+the waist, and narrowed off to a tight band at the wrist.
+
+These two garments were held together by a leather belt buckled about
+the middle, with the tongue of the belt hanging down.
+
+Broad borders of design edged the gowns at the foot and at the neck,
+and heraldic devices were sewn upon the surcoats.
+
+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's cowl, which was strapped under his chin.
+
+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.
+
+Irish cloth of red colour was largely in favour, presumably for cloaks
+and hoods.
+
+The general costume of this reign was very much the same as that of
+Henry II. and Richard I.--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.
+
+  [Illustration: {A man of the time of John; an alternative cuff}]
+
+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.
+
+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.
+
+Second, a shirt of white, like a modern soft shirt.
+
+Third, tights of cloth or wool.
+
+Fourth, shoes strapped over the instep or tied 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.
+
+  [Illustration: {A man of the time of John}]
+
+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.
+
+Sixth, a surcoat sometimes, at others a cloak held together by a
+brooch, or made for travelling with a hood.
+
+This completes an ordinary wardrobe of the time.
+
+
+THE WOMEN
+
+As may be seen from the plate, no change in costume took place.
+
+The hair plaited and bound round the head or allowed to flow loose
+upon the shoulders.
+
+Over the hair a gorget binding up the neck and chin. Over all a wimple
+pinned to the gorget.
+
+A long loose gown with brooch at the neck. Sleeves tight at the
+wrist. The whole gown held in at the waist by a belt, with one long
+end hanging down.
+
+Shoes made to fit the shape of the foot, and very elaborately
+embroidered and sewn.
+
+A long cloak with buckle or lace fastening.
+
+In this reign there were thirty English towns which had carried on a
+trade in dyed cloths for fifty years.
+
+  [Illustration: A WOMAN OF THE TIME OF JOHN (1199-1216)
+
+  One may just see the purse beneath the cloak, where it hangs from
+  the belt. The cloak itself is of fine diaper-patterned material.]
+
+
+
+
+HENRY THE THIRD
+
+    Reigned fifty-six years: 1216-1272.
+
+    Born 1207. Married, 1236, to Eleanor of Provence.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Henry III.}]
+
+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.
+
+It was an age of draperies.
+
+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.
+
+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.
+
+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--a form infinitely more gay and alluring to the eye than the
+ponderous figure that walks through the end of the thirteenth century.
+
+Up to and through the time from the Conquest until the end of Henry
+III.'s reign the clothes of England appear--that is, they appear to
+me--to be lordly, rich, fine, but never courtier-like and elegant.
+
+  [Illustration: A MAN OF THE TIME OF HENRY III. (1216-1272)
+
+  Heavy cloak and fulness of dress characteristic of this time.]
+
+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 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.
+
+Then dawned the fourteenth century--the youth of clothes--and our
+fashion boy shot up, dropped his mantles and heaviness, and came out
+from thence slim and youthful in a cotehardie.
+
+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.
+
+Imagine a stage picture of this time: a mass of wonderful, brilliant
+colours--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--out of his date, a quarter-century
+before his time--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.
+
+  [Illustration: {Two men of the time of Henry III.}]
+
+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.
+
+In common with the general feeling towards more elaborate clothes, the
+shoes grew beyond their normal shape, and now, no longer conforming
+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.
+
+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.
+
+Let me give a wardrobe for a man of this time.
+
+A hood with a cape to it; the peak of the hood made full, but about
+half a hand's breadth longer than necessary to the hood; the cape cut
+sometimes at the edge into a number of short slits.
+
+A cap of soft stuff to fit the head, with or without an upturned brim.
+A fillet of silk or metal for the hair.
+
+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.
+
+A surcoat split from shoulder to hem, or sewn up except for a wide
+armhole.
+
+A coat shaped very slightly to the figure, having pocket-holes in
+front, small armholes, and a buttoned neck.
+
+A great oblong-shaped piece of stuff for a cloak, or a heavy, round
+cloak with an attached hood.
+
+Tights of cloth or sewn silk--that is, pieces of silk cut and sewn to
+the shape of the leg.
+
+Shoes with long points--about 2 inches beyond the toes--fastened by a
+strap in front, or laced at the sides, or made to pull on and fit at
+the ankle, the last sometimes with a V-shaped piece cut away on
+either side.
+
+There was a tendency to beads, and a universal custom of long hair.
+
+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.
+
+There was a slight increase of heraldic ornament, and a certain amount
+of foreign diaper patterning on the clothes.
+
+
+THE WOMEN
+
+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--rouge.
+
+This in itself shows the change in the age. Since the Britons--poor,
+simple souls--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'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 clothes. Paint the face, and
+you have a hint towards the condition of fashion.
+
+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--and this I would leave to your imagination--there was
+a distinction that was not great enough to be a difference.
+
+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.
+
+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.
+
+Shoes very elaborately embroidered and pointed at the toes.
+
+A rich cloak made oblong in shape and very ample in cut.
+
+A shaped mantle with strings to hold it together over the shoulders.
+
+  [Illustration: A WOMAN OF THE TIME OF HENRY III. (1216-1272)
+
+  This will show how very slight were the changes in woman's dress; a
+  plain cloak, a plain gown, and a wimple over the head.]
+
+For the head a wimple made of white linen or perhaps of silk; this
+she would put above her head, leaving the neck bare.
+
+A long belt for her waist, and, if she were a great lady, a pair of
+gloves to wear or stick into her belt.
+
+
+
+
+THE COUNTRY FOLK
+
+    From the Conquest to the reign of Edward I.
+
+
+  [Illustration: {A countryman}]
+
+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.
+
+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--these Sunday clothes.
+
+The week'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.
+
+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.
+
+  [Illustration: {A countryman}]
+
+In the old days--from the Conquest until the end of the thirteenth
+century--the peasant was dressed in perfect clothes.
+
+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.
+
+The mole-catcher provided skin for hats. Hoods 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.
+
+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.
+
+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's glove, a pouch for the hand and fingers and a place for the
+thumb.
+
+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.
+
+The women wore gowns of a like material to the men--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.
+
+  [Illustration: A PEASANT OF EARLY ENGLAND
+
+  (WILLIAM I.-HENRY III.)
+
+  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's horn slung over his shoulder.]
+
+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.
+
+  [Illustration: {Two countrymen}]
+
+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.
+
+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'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.
+
+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
+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.
+
+On lord and peasant alike the sun of this early age sets, and with the
+sunset comes the warning bell--the _couvre-feu_--so, on their beds of
+straw-covered floors, let them sleep....
+
+
+
+
+EDWARD THE FIRST
+
+    Reigned thirty-five years: 1272-1307.
+
+    Born 1239. Married, 1254, Eleanor of Castile; 1299,
+    Margaret of France.
+
+
+MEN AND WOMEN
+
+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.
+
+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.
+
+The mass of simple colours--bright reds, blues, and greens--was a
+perfect expression of the date, giving, as nothing else could give, an
+appearance of an illuminated book come to life.
+
+One might imagine that such a primary-coloured crowd would have
+appeared un-English, and too 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.
+
+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.
+
+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--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--all, like the
+symmetrical accidents of the kaleidoscope, settling into their places
+in perfect harmony.
+
+The entire scene bore the impress of the spirit of historical truth,
+and it is by such pageants that we can imagine coloured pictures of an
+England of the past.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+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--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--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.
+
+  [Illustration: {Three men of the time of Edward I.}]
+
+The men of this time, it must be remembered, were more adapted to the
+arts of war than to those 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 a hole cut, through which
+the arms could be placed.
+
+The men wore their hair long and brushed out about the ears--long,
+that is, to the nape of the neck. They also were most commonly
+bearded, with or without a moustache.
+
+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.
+
+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.
+
+There was an increase of heraldic ornament in this age, and the
+surcoats were often covered with a large device.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+  [Illustration: {Four types of hairstyle and head-dresses for women}]
+
+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.
+
+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.
+
+  [Illustration: A MAN AND WOMAN OF THE TIME OF EDWARD I. (1272-1307)
+
+  The sleeves of the man'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.]
+
+What we know as 'the true lovers' knot' was sometimes used as an
+ornament sewn on to dresses or gowns.
+
+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.
+
+  [Illustration: {Two women of the time of Edward I.}]
+
+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.
+
+Picture such a man as Alexander de Abyngdon, 'le Imaginator,' who with
+William de Ireland carved the statues of the Queen for five marks
+each--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--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.
+
+It is a beautiful love-story this, of fierce Edward, the terror of
+Scotland, for Eleanor, whom he 'cherished tenderly,' and 'whom dead we
+do not cease to love.'
+
+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.
+
+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.
+
+
+
+
+EDWARD THE SECOND
+
+    Reigned twenty years: 1307-1327.
+
+    Born 1284. Married, 1308, Isabella of France.
+
+
+MEN AND WOMEN
+
+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.
+
+Take the enterprising tailor--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--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 he could present this figure to its best
+advantage in a body-tight garment which should reach only to his hips?
+
+  [Illustration: {A man of the time of Edward II.}]
+
+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.
+
+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
+'cotehardies.'
+
+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.
+
+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.
+
+  [Illustration: {Two types of cotehardie}]
+
+  [Illustration: {Two types of tunic; two types of collar}]
+
+Sufficient, perhaps, to say that, although long robes continued to be
+worn, cotehardies were all the fashion.
+
+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 'liripipe.'
+
+Every quaint thought and invention for tying up this liripipe was
+used: they wound it about 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.
+
+  [Illustration: {Four types of shoe; two types of hat}]
+
+The countryman, not behindhand in quaint ideas, copied the form of a
+Bishop's hood, and appeared with his cloth hood divided into two
+peaks, one on either side of his head.
+
+  [Illustration: {Four types of hood}]
+
+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.
+
+The fashionable sleeves were tight to the elbow, and from there
+hanging and narrow, showing a sleeve belonging to an undergarment.
+
+The cloak also varied in shape. The heavy travelling-cloak, with the
+hood attached, was of the old pattern, long, shapeless, with or
+without hanging sleeves, loose at the neck, or tightly buttoned.
+
+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.
+
+The boots and shoes were longer at the toes, and were sometimes
+buttoned at the sides.
+
+The same form of hats remain, but these were now treated with fur
+brims.
+
+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.
+
+  [Illustration: A MAN AND WOMAN OF THE TIME OF EDWARD II. (1307-1327)
+
+  Notice the great length of liripipe on the man's hood, also his
+  short tunic of rayed cloth, his hanging sleeve and his under-sleeve.
+
+  The woman has her hair dressed in two side-plaits, to which the
+  gorget or neckcloth is pinned.]
+
+The time of parti-coloured clothes was just beginning, and the
+cotehardie was often made from two coloured materials, dividing the
+body in 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.
+
+  [Illustration: {A woman of the time of Edward II.; a cap}]
+
+  [Illustration: {A woman of the time of Edward II.}]
+
+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's Hall, London, for solemn feasts--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.
+
+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 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 _vice versa_.
+Third, there was a surcoat like to a man's, not over-long or full,
+with the sleeve-holes cut out wide; this went over both or either of
+the other gowns.
+
+  [Illustration: {Two women of the time of Edward II.; a wimple with
+      fillet and gorget}]
+
+Upon the head they wore the wimple, the fillet, and about the throat
+the gorget.
+
+The arrangement of the wimple and fillet were new, for the hair was
+now plaited in two tails, and 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.
+
+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.
+
+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.
+
+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.
+
+The semicircular mantle was still in use, held over the breast by
+means of a silk cord.
+
+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.
+
+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.
+
+Falding is an Irish frieze; cyclas is a gown; courtepy is a short
+gown; kirtle--again, if we know too much we cannot be accurate--kirtle
+may be a loose gown, or an apron, or a jacket, or a riding-cloak.
+
+The tabard was an embroidered surcoat--that is, a surcoat on which was
+displayed the heraldic device of the owner.
+
+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.
+
+Here at Kenilworth the King hears himself deposed.
+
+'Edward, once King of England,' is hereafter accounted 'a private
+person, without any manner of royal dignity.'
+
+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.
+
+Parliament decided to take this strong measure in January; in the
+following September Edward was murdered in cold blood at Berkeley
+Castle.
+
+
+
+
+EDWARD THE THIRD
+
+    Reigned fifty years: 1327-1377.
+
+    Born 1312. Married, 1328, Philippa of Hainault.
+
+
+THE MEN
+
+Kings were Kings in those days; they managed England as a nobleman
+managed his estates.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Let us imagine Edward III. and his retinue passing over Wakefield
+Bridge before he reduced his enormous company.
+
+The two priests, William Kaye and William Bull, stand waiting for the
+King outside the new Saint Mary's Chapel. First come the guard of
+four-and-twenty archers in the King's livery; then a Marshal and his
+servants (the other King'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's reign); then they see the Chamberlain, who will look to it
+that the King's rooms are decent and in order, furnished with benches
+and carpets; next comes the Wardrobe Master, who keeps the King'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 for
+travelling, soldiers of fortune, women, beggars, minstrels--a motley
+gang of brightly-clothed people, splashed with the mud and dust of the
+cavalcade.
+
+  [Illustration: {Two men of the time of Edward III.}]
+
+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.
+
+The ladies are riding astride, the gentlemen are in civil garments or
+half armour.
+
+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.
+
+These cloaks vary considerably in shape. Here we may see a circular
+cloak, split down the right 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.
+
+  [Illustration: {A man of the time of Edward III.; two types of hood}]
+
+Nearly every man is alike in one respect--clean-shaven, with long hair
+to his neck, curled at the ears and on the forehead.
+
+  [Illustration: {A man of the time of Edward III.}]
+
+Most men wear the cotehardie, the well-fitting garment buttoned down
+the front, and ending over the hips. There is every variety of
+cotehardie--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.
+
+Round the hips of every man is a leather belt, from which hangs a
+pouch or purse.
+
+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.
+
+The hoods over the men'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.
+
+There are two or three kinds of hat worn, and felt and fur caps of the
+usual shape--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--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.
+
+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.
+
+Here and there a man is riding in his silk surcoat, which is
+embroidered with his coat of arms or powdered with his badge.
+
+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.
+
+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.
+
+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--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.
+
+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.
+
+  [Illustration: {Three men of the time of Edward III.}]
+
+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 L30,000 in
+one year; they talk of the tax, its uses and abuses, and how Norfolk
+was proved the richest county in wool by the tax of 1341.
+
+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.
+
+  [Illustration: {A man of the time of Edward III.}]
+
+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--some, however, still wear the hanging
+sleeve and show an under-sleeve--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
+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.
+
+  [Illustration: {A man of the time of Edward III.; three types of
+      head-gear}]
+
+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.
+
+These men have ridden through the rain, and now, as they come closer,
+one can see that their armour is already red with rust.
+
+  [Illustration: {A hat}]
+
+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'
+colours; the tattered crowd behind; and, with the aid of the drawings,
+you should be able to visualize the picture.
+
+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 L66 13s. 4d.,
+which sum was heavy for those days, when L6 would buy twenty-four
+swans. L66 13s. 4d. is about L800 of our money to-day.
+
+
+THE WOMEN
+
+    'I looked on my left half as the lady taught me,
+    And was aware of a woman worthily clothed,
+    Trimmed with fur, the finest on earth,
+    Crowned with a crown, the King had none better.
+    Handsomely her fingers were fretted with gold wire,
+    And thereon red rubies, as red as any hot coal,
+    And diamonds of dearest price, and double manner of sapphires,
+    Orientals and green beryls....
+    Her robe was full rich, of red scarlet fast dyed,
+    With bands of red gold and of rich stones;
+    Her array ravished me, such richness saw I never.'
+
+    _Piers the Plowman._
+
+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.
+
+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 spirit of Gothic
+humour, who saw rural England, not only with the eyes of an artist,
+but with the eyes of a gossiping philosopher.
+
+  [Illustration: A MAN OF THE TIME OF EDWARD III. (1327-1377)
+
+  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.]
+
+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 'Piers the Plowman' I have
+quoted above.
+
+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.
+
+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 'Canterbury Pilgrims' and the 'Vision
+of Piers Plowman.'
+
+There seems to be something in road-travelling which levels all
+humanity; there is no road in 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.
+
+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--japers and
+jugglers; disours and jesters; monk, priest, pilgrim, and pardoner;
+spendthrift and wench; hermits, good and evil; lords, ladies, and
+Kings.
+
+I have written of the men and their dress--how they were often--very
+often--dirty, dusty, and travel-stained--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.
+
+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's household playing upon the trumpet, the cytole, the
+pipe, the taberet, the clarion, and the fiddle.
+
+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.
+
+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 L20 a year in land, he made his fast and vigil, and was
+afterward dubbed knight and given his spurs.
+
+  [Illustration: {Twelve hair arrangements for women}]
+
+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 back
+of her head, and as far as one can see, pushed into the jewelled
+cases.
+
+  [Illustration: {Five sleeve types for women}]
+
+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.
+
+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.
+
+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 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.
+
+  [Illustration: {Four women of the time of Edward III.}]
+
+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.
+
+There was the general custom of wearing the surcoat in imitation of
+the men, a garment I have described frequently--a slightly-fitting
+garment without sleeves--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--in fact, among all fashionable persons--the curious fashion of
+the tippet, or long streamer, was worn. I have carefully described
+this fashion in the previous chapter.
+
+  [Illustration: {A woman of the time of Edward III.}]
+
+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 waist of the under-dress. These
+gowns were generally buttoned in front, from neck to waist, or they
+were laced.
+
+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.
+
+There was at this time a curious fur or cloth cape in use, longer
+behind than in front--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.
+
+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.
+
+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.
+
+  [Illustration: A WOMAN OF THE TIME OF EDWARD III. (1327-1377)
+
+  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.]
+
+Imagine London in the year of the third great pestilence, 1369. It is
+October, and the worst of 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.
+
+Perhaps Will Langland--Long Will--a gaunt man of thirty-seven, is
+brushing past a young man of twenty-nine, Chaucer, going to his work.
+
+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's lady as she lies
+sick of small-pox. John de Gaddesden, the King'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.
+
+
+
+
+RICHARD THE SECOND
+
+    Reigned twenty-two years: 1377-1399.
+
+    Born 1366. Married, 1381, Anne of Bohemia; 1395,
+    Isabella of France.
+
+
+THE MEN
+
+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--a cap and cape
+combined.
+
+We have now arrived at the reign which made such a difference to the
+labourer and workman--such as the blacksmith and miller--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.
+
+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--William Langland, or Piers the
+Plowman. Picture the two along the Strand--Long Will singing his
+dirges for hire, and Chaucer, his hand full of parchments, bustling
+past.
+
+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 pieces of metal joined together, either of silver,
+or enamel in copper, or of gold set with precious stones.
+
+  [Illustration: {A cotehardie; hose}]
+
+  [Illustration: {Three types of footwear; a coat}]
+
+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--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 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.
+
+  [Illustration: {A draped cloak and simple pattern for it}]
+
+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--the same hat that we
+always associate with Dick Whittington.
+
+His gloves would be of leather, often ornamented with designs on the
+back, or, if he were a knight, with his badge.
+
+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 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 _coup de grace_.
+
+The farmer in harvest-time wore, if he did not wear a hood, a peaked
+hat or a round, large-brimmed straw hat.
+
+  [Illustration: The Houppelande or Pelicon.]
+
+We may now arrive at the fashionable man, whose eccentricities in
+clothes were the object of much comment. How the houppelande or
+pelicon 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 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--figures of saints, heraldic figures, or other ornaments.
+Sometimes the entire belt was sewn with small devices in precious
+metal or enamels.
+
+Now, to be in the height of fashion, one either wore the houppelande
+extremely long in the skirt or extremely short--so short, in fact, as
+to leave but a frill of it remaining below the waist--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.
+
+  [Illustration: {Two types of long shoe}]
+
+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.
+
+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.
+
+  [Illustration: A MAN OF THE TIME OF RICHARD II. (1377-1399)
+
+  His chaperon, or hood, is twisted and tied about his head with
+  the liripipe, the elongated peak of his hood, thrown over his
+  shoulders.]
+
+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 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.
+
+For walking in the streets high clogs of wood were used, made with
+long pointed ends to support the shoes.
+
+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.
+
+  [Illustration: {Evolution of the hood to the chaperon}]
+
+Much in favour with this court of gallants were rich chains about the
+neck, having for pendant their badge or some saint's figure in gold or
+silver.
+
+  [Illustration: {Five types of head-wear}]
+
+Now we come to the most interesting and 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 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.
+
+The chains worn about the neck remain as badges of office in Mayors
+and Judges and in various Orders.
+
+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's lord.
+
+  [Illustration: {A houppelande showing the leg opening}]
+
+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.
+
+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.
+
+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.
+
+  [Illustration: {Simpler clothing, hat and hood, and bags of peasants}]
+
+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.
+
+And so over the wardrobe of Dandy Richard stepped Henry, backed by the
+people.
+
+
+THE WOMEN
+
+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.
+
+No doubt a charming woman is always charming, 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--was it possible? I expect it was.
+
+  [Illustration: {Two types of head-dress for women, showing different
+      views and a detail}]
+
+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 gorgieres, the mentonnieres,
+the voluminous escoffions.
+
+  [Illustration: {Two types of head-dress for women, showing different
+      views and a detail}]
+
+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 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.
+
+  [Illustration: {Three types of head-dress for women}]
+
+For outdoor exercises the lady would wear the chaperon (explained in
+the previous chapter), and upon this the peaked hat.
+
+The poorer woman wore always the hood, the wimple tied under the chin,
+or plain plaited hair.
+
+One must remember always that the advance of costume only affected the
+upper classes in the towns, and that the knight'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.
+
+  [Illustration: {A woman of the time of Richard II.}]
+
+In the early part of the reign the cotehardie was the universal
+woman's garment. It was made in two ways: the one a simple,
+well-fitting garment, skirts and bodice in one, buttoned 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--this was the general form of the
+garment for all degrees of rank. The lady enriched this with a belt
+like a man'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's, ending short below the hips,
+under which was worn the petticoat.
+
+  [Illustration: {Three types of dress for women}]
+
+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 frequently ornamental buttons were worn down the front.
+
+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.
+
+  [Illustration: {Two types of dress for women}]
+
+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.
+
+The merchant'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.
+
+  [Illustration: A WOMAN OF THE TIME OF RICHARD II. (1377-1399)
+
+  Her loose surcoat is cut away to show her under-dress. Her hair is
+  completely hidden by her jewelled caul.]
+
+For riding and sport the woman was dressed almost exactly as a
+man--with houppelande or 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's, but
+not so pointed and extreme. Sometimes for riding a big round hat was
+worn over a hood.
+
+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.
+
+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 L20 a year to wear gold and silver
+ornaments, 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.
+
+The custom of wearing crowns was common to all people of rank, as
+heraldic distinction of crowns did not commence until the sixteenth
+century.
+
+What a magnificent time for colour was this reign!--the rich
+houppelandes, the furs, the long-piked shoes with pearls and gold upon
+them, the massive chains about men'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 'cutted to the knee and quaintly
+buttoned, hose in hard weather fastened at the ankle, and buckled
+shoes.'
+
+Imagine that amazing woman the Wife of Bath, in her great hat and
+pound-weight kerchief; the carpenter's wife in her gored apron, at her
+girdle a purse of leather hanging, decorated with silk tassels and
+buttons of metal.
+
+It is almost impossible to describe clearly the head-dresses--the
+great gold net bags which encased the hair--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.
+
+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 fetes.
+
+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' eyebrows where they be, nor schemes to inspire her faithful
+devotees with mad desires to hide their hair and shave their napes.
+
+The crinoline is threatened--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.
+
+
+
+
+THE END OF THE FOURTEENTH CENTURY
+
+
+  [Illustration: Chaucer.]
+
+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--Chaucer--remains to-day the father of English poetry, the
+forerunner of Shakespeare; the other--Gower--less known to most of us,
+was the author of three long poems--'Speculum Meditantis,' in French;
+'Vox Clamantis,' in Latin; 'Confessio Amantis,' in English. Boccaccio
+had written his 'Decameron,' 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
+'Confessio Amantis' and the 'Canterbury Tales'; indeed, many stories
+in both of these works are retold out of the 'Decameron.'
+
+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.
+
+Chaucer drew his characters clearly--so clearly that they have become
+as living as have Uncle Toby or Mrs. Gamp--symbolic people, embracing
+a type of national character.
+
+A third writer--Langland--pictured his age from the poor man's point
+of view, and the three writers, together with the artist of the
+Loutrell Psalter, bring the age most vividly to our eyes.
+
+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.
+
+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 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.
+
+I give you Gower's picture of an exquisite; no words of mine could
+show so well the manner of the man:
+
+    'And therof thenketh he but a lite,
+    For all his lust is to delite
+    In newe thinges, proude and veine,
+    Als ferforth as he may atteine.
+    I trowe, if that he mighte make
+    His body newe, he wolde take
+    A newe form and leve his olde.
+    For what thing that he may behold
+    The which to common use is straunge,
+    Anone his olde guise chaunge
+    He woll, and falle therupon
+    Lich unto the camelion,
+    Whiche upon every sondry hewe
+    That he beholt he mote newe
+    His coloun; and thus unavised
+    Full ofte time he stand desguised.
+    More jolif than the brid in Maie,
+    He maketh him ever fressh and gaie
+    And doth all his array desguise,
+    So that of him the newe guise
+    Of lusty folke all other take.'
+
+Now, if I have described the costume of these times clearly--and I
+think I have done so--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.
+
+You may see the image of Gower for yourself in St. Mary Overies
+Church, now called St. Saviour's, on the Southwark side of London
+Bridge. He is dressed in his sober black, his head resting upon his
+three books.
+
+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.
+
+In 1400 his friend Chaucer died and Gower went blind. He died in 1408.
+
+Chaucer, whose eyes saw England in her greatness 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:
+
+  [Illustration {The knight}]
+
+THE KNIGHT
+
+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 'verray
+parfit gentil knight,' for he belongs more rightly to the chivalrous
+time of the first half of Edward III.'s reign rather than to the less
+gentle time of Richard.
+
+  [Illustration: {The squire}]
+
+THE SQUIRE.
+
+His locks were curled, 'as they were leyed in presse.' His short gown
+with wide sleeves was covered with embroidery of red and white
+flowers.
+
+THE YEOMAN
+
+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.
+
+THE PRIORESS
+
+is in a handsome cloak; she wears coral beads gauded with green, and a
+brooch of gold--
+
+    'On which was first write a-crowned A,
+    And after, "Amor vincit omnia."'
+
+THE MONK
+
+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.
+
+THE FRIAR
+
+has his cape stuck full of knives and pins 'for to yeven faire wyves.'
+
+THE MERCHANT
+
+is in a motley of colours--parti-coloured. His beard is forked; upon
+his head is a Flaunderish beaver hat. His boots are elegantly
+clasped.
+
+THE CLERK
+
+wears a threadbare tunic.
+
+  [Illustration: {The man of law}]
+
+THE MAN OF LAW
+
+is in a coat of parti-colours, his belt of silk with small metal bars
+on it.
+
+THE FRANKELEYN OR COUNTRY GENTLEMAN
+
+has a white silk purse and a two-edged dagger, or akelace, at his
+girdle.
+
+'Then come the HABERDASHER, the CARPENTER, the WEAVER, the DYER, and
+the TAPESTRY WORKER, all in the livery of their companies. They all
+carry pouches, girdles, and knives, mounted in silver.'
+
+THE SHIPMAN
+
+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.
+
+THE DOCTOR
+
+wears a gown of red and blue (pers was a blue cloth) lined with
+taffeta and sendal.
+
+  [Illustration: {The wife of Bath}]
+
+THE WIFE OF BATH.
+
+Her wimples of fine linen--
+
+    'I dorste swere they weyeden ten pound
+    That on a Sonday were upon hir heed.'
+
+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.
+
+THE PLOUGHMAN
+
+wears a tabard, a loose smock without sleeves.
+
+THE REVE OR STEWARD
+
+wears a long surcoat of blue cloth (pers).
+
+THE SOMNOUR
+
+(an officer who summoned persons before the ecclesiastical courts)
+wears on his head a garland--'as greet as it were for an ale-stake.'
+
+  [Illustration: {The pardoner}]
+
+THE PARDONER
+
+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's face.
+
+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's wife in the Miller's Tale is described:
+
+    'Fair was this yonge wyf, and ther-with-al
+    As any wesele hir body gent (slim) and small.
+    A ceynt (belt) she werede barred al of silk,
+    A barneclooth (apron) eek as whyt as morne milk
+    Upon hir lendes (loins), ful of many a gore.
+    Whyt was hir smok and brouded al before
+    And eek behinde, on hir coler aboute,
+    Of col-blak silk, within and eek withoute.
+    The tapes of his whyte voluper (a cap)
+    Were of the same suyte--of hir coler;
+    Hir filet broad of silk, and set ful hye.
+
+         *   *   *   *   *
+
+    And by hir girdel heeng a purs of lether
+    Tasseld with silk and perked with latoun (a compound
+        of copper and zinc).
+
+         *   *   *   *   *
+
+    A brooch she bare upon hir lowe coler,
+    As broad as is the bos of a buckler.
+    Her shoes were laced on hir legges hye.'
+
+Here also, from the Parson'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:
+
+    '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.
+
+    'Upon the other side, to speak of the horrible
+    disordinate scantiness of clothing, as be this cutted
+    sloppes or hainselins (short jackets), that through
+    their shortness do not cover the shameful members of
+    man, to wicked intent.'
+
+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--words which, in our day, are not seemly to
+our artificial and refined palates.
+
+Further, Chaucer remarks upon the devices of love-knots upon clothes,
+which he calls 'amorettes'; on trimmed clothes, as being 'apyked'; on
+nearly all the fads and fashions of his time.
+
+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 'Vision of Piers the Plowman,'
+by Langland.
+
+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.
+
+
+
+
+HENRY THE FOURTH
+
+    Reigned fourteen years: 1399-1413.
+
+    Born 1366. Married, 1380, Mary de Bohun; 1403, Joan of
+    Navarre.
+
+
+THE MEN AND WOMEN
+
+The reign opens sombrely enough--Richard in prison, and twenty-five
+suits of cloth of gold left, among other of his butterfly raiment, in
+Haverford Castle.
+
+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.
+
+  [Illustration: A MAN AND WOMAN OF THE TIME OF HENRY IV. (1399-1413)
+
+  Very little change in dress; the man in the loose gown called the
+  houppelande. The woman also in a houppelande.]
+
+Let us take six gentlemen met together to learn the old
+thirteenth-century part-song, the round entitled 'Sumer is icumen in.'
+
+  [Illustration: {Two men of the time of Henry IV.}]
+
+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.
+
+The second is in the latest mode; he wears the 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.
+
+  [Illustration: {A man of the time of Henry IV.}]
+
+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.
+
+  [Illustration {A man of the time of Henry IV.}]
+
+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 sleeves
+are wide. His hair is long, and his beard is brushed into two points.
+
+  [Illustration: {Four men of the time of Henry IV.; five types of hat;
+      a pouch}]
+
+  [Illustration: {Two men of the time of Henry IV.}]
+
+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.
+
+  [Illustration: {A man of the time of Henry IV.}]
+
+The sixth and last of this group is wearing an unbound
+houppelande--that is, he wears no belt. He wears a plain hood which is
+over his head, and a soft, loose, peaked hat.
+
+'Sumer is icumen in,' the six sing out, and the 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.
+
+Let us suppose that the wives of the six gentlemen are seated
+listening to the manly voices of their lords.
+
+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.
+
+  [Illustration: {A woman of the time of Henry IV.}]
+
+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.
+
+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.
+
+  [Illustration: {Three women of the time of Henry IV.}]
+
+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, the sleeves of which show through the other sleeves, and
+the skirt of which shows when the gown skirt is gathered up.
+
+  [Illustration: {Two women of the time of Henry IV.}]
+
+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.
+
+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.
+
+So is this queer old round sung, 'Sumer is icumen in.'
+
+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--just an ill-fitting
+gown and 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'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.
+
+
+
+
+HENRY THE FIFTH
+
+    Reigned nine years: 1413-1422.
+
+    Born 1388. Married, 1420, Katherine of France.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Henry V.}]
+
+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's time.
+
+We retain the houppelande, its curtailments, its exaggerations, its
+high and low collar, its plain or jagged sleeves. We retain the long
+hair, which 'busheth pleasauntlie,' and the short hair of the
+previous reign. Also we see the new ideas for the priest-cropped hair
+and the roundlet hat.
+
+I speak of the men only.
+
+It was as if, in the press of French affairs, man had but time to
+ransack his grandfather's and his father'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--well, leave them on; perhaps the skirts were good and the
+sleeves soiled--well, cut out the sleeves and pop in some of his
+father'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--Agincourt, where unarmoured men prevailed over mailed
+knights at the odds of six to one; Agincourt, where archers beat the
+great knights of 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--where we lost 100
+men, against the French loss of 10,000!
+
+  [Illustration: A Belt with Bells.]
+
+See the port of Le Havre, with the English army landed there--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--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, 'By
+halidom!' I wonder if all the many, many people who have hastily
+written historical novels of this age, and have peppered them with 'By
+halidoms,' knew that 'By halidom' means 'By the relics of the saints,'
+and that an 'harlote' means a man who was a buffoon who told ribald
+stories?
+
+  [Illustration: The Turban.]
+
+Still, among all these gentlemen, clothed, as it were, second-hand, we
+have the fine fellow, the dandy--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 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'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.
+
+  [Illustration: A MAN OF THE TIME OF HENRY V. (1413-1422)
+
+  Notice the bag cap with a jewel stuck in it.]
+
+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 kind, with wide skirts reaching to his feet, and the belt
+with the long tongue about his middle.
+
+The patterns upon the dresses of these people are heraldry
+contortions--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.
+
+There is a picture of the Middle Ages which was written by Langland in
+'Piers the Plowman'--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
+
+    'Some bryngeth her husband's hood
+    Because the ale is good.'
+
+Both accounts are gems of description, both full of that rich, happy,
+Gothic flavour, that sense of impressionist portraiture, of broad
+humour, which distinguishes the drawings in the Loutrell Psalter.
+
+  [Illustration: The Sugar-bag Cap.]
+
+  [Illustration: A Hood.]
+
+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's
+arms.
+
+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
+and naked things, fiction, which is the wardrobe of fact, will clothe
+truth in more accustomed guise.
+
+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 'cloak';
+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--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.
+
+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 finicky, but very profound; accept it in the right spirit.
+
+Now, one more picture of the age.
+
+The rich man at home, dressed, as I say, in his father'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.
+
+
+THE WOMEN
+
+Every time I write the heading 'The Women' 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.
+
+Should I write 'The Ladies'? 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, 'The Women.'
+
+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.
+
+As I said in my last chapter, this was an age of medley--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.
+
+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--who wore you first? Who last condemned you
+to the World's Great Rag Market of Forgotten Fads?
+
+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's highroad, but they 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.
+
+No doubt--and here there will be readers the first to correct me and
+the last to see my point--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.
+
+For myself, I begin with certainty at Adam and the fig-leaf, and after
+that I plunge into the world's wardrobe in hopes.
+
+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.
+
+This curious head-gear, the caul, after a modest appearance, as a mere
+close, gold-work cap, in the 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--an orange which covered
+the ears, was cut straight across the forehead, and bound all round
+with a stiff jewelled band.
+
+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.
+
+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.
+
+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 with a wimple, which is
+sometimes stiffened with wires.
+
+  [Illustration: A WOMAN OF THE TIME OF HENRY V. (1413-1422)
+
+  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.]
+
+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--that is, silk bags stuffed to the
+likeness of horns.
+
+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.
+
+  [Illustration: {A woman of the time of Henry V.}]
+
+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.
+
+You will see a few of the old houppelandes, with 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.
+
+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.
+
+The women commonly wear the semicircular mantle, which they fasten
+across them by cords running through ornamental brooches.
+
+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.
+
+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's business, or
+returned from France with new ideas, have donned the elaborate
+business of head-boxes and wires and great wimples.
+
+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's nuns are
+very neat; they have an allowance of 6s. 8d. a year for dress.
+
+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.
+
+
+NOTE
+
+As there is so little real change, for drawings of women's dress see
+the numerous drawings in previous chapter.
+
+
+
+
+HENRY THE SIXTH
+
+    Reigned thirty-nine years: 1422-1461.
+
+    Born 1421. Dethroned 1461. Died 1471. Married, 1446,
+    Margaret of Anjou.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Henry VI.; two types of sleeve}]
+
+What a reign! Was history ever better dressed?
+
+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.
+
+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 Bridge, Ludlow, St.
+Albans, and a hundred other historical backgrounds.
+
+Yet, in spite of all this, in spite of the fact that Joan of Arc is
+one of the world's personalities, it is difficult to pick our people
+out of the tapestries.
+
+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.
+
+  [Illustration: {A man of the time of Henry VI.}]
+
+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--these one may see in the round. Elizabeth
+rides 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.
+
+One has, I think, a conventional mind'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 A.D., 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.
+
+We will proceed with that congenial paradox which states that the seat
+of learning lies in the head, and so discuss the most distinctive
+costumery of this time, the roundlet.
+
+  [Illustration: {A man of the time of Henry VI.; two types of
+      head-gear}]
+
+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.
+
+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.
+
+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--or more--of material; he folds it in half, and
+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
+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's
+plumage, caused the peak of his hood to be made long.
+
+  [Illustration: A MAN OF THE TIME OF HENRY VI. (1422-1461)
+
+  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.'s day. This hat is worn to-day, in
+  miniature, on the shoulder of the Garter robes.]
+
+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's food for discussion in that--fops,
+beaux, dandies, coxcombs--surely.
+
+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--a junior branch at that.
+
+As to the dates on this family tree, the vague, mysterious beginnings
+B.C.--goodness knows when--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--those are the dates.
+
+  [Illustration: {A man of the time of Henry VI.}]
+
+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'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
+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--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--on the shoulders of the Garter robe. Also it has two
+more places of honourable distinction--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.
+
+  [Illustration: {Six types of head-gear}]
+
+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--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's, and there is a broad, flat-brimmed hat with a round
+top, like Noah's hat in the popular representations of the Ark.
+
+  [Illustration: {Two men of the time of Henry VI.}]
+
+Besides these, we have the jester'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.
+
+Let us see what manner of man we have under such hats: almost without
+exception among the gentlemen we have the priestly hair--that queer,
+shaved, tonsure-like cut, but without the circular piece cut away from
+the crown of the head.
+
+  [Illustration: {A man of the time of Henry VI.}]
+
+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 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.
+
+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--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'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.
+
+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 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.
+
+  [Illustration: {Two men of the time of Henry VI.}]
+
+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.
+
+The massed effect of well-dressed crowds must have been fine and rich
+in colour--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's clothes, and that these
+other people were 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.
+
+Among all this crowd would pass, in a plain tunic and short shoes,
+Henry, the ascetic King.
+
+
+THE WOMEN
+
+  [Illustration: {Six types of head-dress for women}]
+
+One is almost disappointed to find nothing upon the curious subject of
+horns in 'Sartor Resartus.' 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.
+
+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
+'Alice in Wonderland.'
+
+  [Illustration: {A head-dress for a woman}]
+
+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's
+poem, a dream of delicious faces surmounted by minarets, towers,
+horns, excrescences of every shape--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' hair escapes
+in a river of colour; crown shapes, circular shapes, mitre shapes,
+turbans, and shovel-shaped linen erections, wired into place.
+
+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?
+
+  [Illustration: {Two types of head-dress for women}]
+
+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.
+
+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.
+
+  [Illustration: {Two women of the time of Henry VI.}]
+
+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 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 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 U shape in front and completely
+cover the hair behind.
+
+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 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.
+
+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--a crown of an
+elliptical shape--and there you will have as much magnificence as ever
+graced lady of the fifteenth century.
+
+  [Illustration: A WOMAN OF THE TIME OF HENRY VI. (1422-1461)
+
+  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.]
+
+September 28, 1443, Margaret Paston writes to her husband in London
+
+    '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.'
+
+  [Illustration: {A woman of the time of Henry VI.}]
+
+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's eye when you wrote
+'liefer than a gown though it were of scarlet'? 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--those quaint sleeves, thin to your
+elbows, and then great and wide, like a foresail. I 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--all the mode--and so you hinted at scarlet.
+
+  [Illustration: {A woman of the time of Henry VI.}]
+
+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.
+
+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 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--I have just thought of it--the
+sleeves of your under-gown, the tight sleeves, were laced together
+from elbow to wrist, in place of the old-fashioned buttons.
+
+  [Illustration: {A woman of the time of Henry VI.}]
+
+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--I
+mean the Austin who modelled the effigy of Earl Richard Beauchamp, at
+Warwick.
+
+  [Illustration: {A woman of the time of Henry VI.}]
+
+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--I have not your wonderful
+letter here for reference--heard all about Eleanor of Cobham, and how
+she did penance in a shift in the London streets for magic against the
+King's person.
+
+Some ladies, I notice, wore the long-tongued belt--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.
+
+  [Illustration: {A woman of the time of Henry VI.}]
+
+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.
+
+  [Illustration: {A woman of the time of Henry VI.}]
+
+The town and country maids, the merchants' 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.
+
+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
+knocked off by later-day schoolboys, crop-headed Puritans, or Henry
+VIII.'s sacrilegious hirelings. Lie still in your huge head-dresses
+and your neat-folded gowns--a moral, in marble or bronze, of the pomps
+and vanities of this wicked world.
+
+
+
+
+EDWARD THE FOURTH
+
+    Reigned twenty-two years: 1461-1483.
+
+    Born 1441. Married, 1464, Elizabeth Woodville.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Edward IV.}]
+
+I invite you to call up this reign by a picture of Caxton'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's wares and the poor slinking in to receive alms.
+
+    '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.'
+
+This was Caxton's advertisement.
+
+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.
+
+We have arrived at the generally accepted vague idea of 'medieval
+costume,' 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--this, I think,
+is the amateur's idea of 'costume in the Middle Ages.'
+
+You will notice that all, or nearly all, the passers-by Caxton'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,
+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.
+
+  [Illustration: {Two men of the time of Edward IV.}]
+
+You will see that the poor are in very simple tunics--just a loose,
+stuff shirt with sleeves about 8 inches wide, and with the skirts
+reaching to the knees, a belt about their middle--rough, shapeless
+leather shoes, and woollen tights.
+
+You will remember in the early part of the reign, before the heraldic
+shield with the red pale, Caxton'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 dandies wore the shoes and paid the fine if
+it were enforced.
+
+  [Illustration: A MAN OF THE TIME OF EDWARD IV. (1461-1483)
+
+  Notice the jagged ribbon falling from the brim of his hat; this is
+  the last of the liripipe.]
+
+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 'Blanchardine and
+Eglantine'; Earl Rivers, the Queen's brother, talks over his own
+translation of 'The Sayings of the Philosophers'; and Caxton is
+extolling that worshipful man Geoffrey Chaucer, and singing praises in
+reverence 'for that noble poet and great clerke, Vergyl.'
+
+Edward himself has been to the shop and has consented to become patron
+of an edition of Tully--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 wrists; he is wearing red Spanish leather tall boots, turned
+over at the top.
+
+  [Illustration: {A man of the time of Edward IV.; lacing on a cut
+      sleeve}]
+
+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.
+
+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; 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.
+
+  [Illustration: {A man of the time of Edward IV.; three types of boot}]
+
+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.
+
+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 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, V shape behind at the neck to show the undergarment, above
+which showed a piece of white shirt.
+
+  [Illustration: {A man of the time of Edward IV.}]
+
+A long gown, in shape like a monk's habit, wide sleeves, the same
+width all the way down, a loose neck--a garment indeed to put on over
+the head, to slip on for comfort and warmth--was quite a marked
+fashion in the streets--as marked as the little tunic.
+
+  [Illustration: {Twelve types of head-gear for men}]
+
+If you are remembering Caxton'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.
+
+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.
+
+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--the face of a
+merchant's wife; he will smile at her in a meaning way.
+
+
+THE WOMEN
+
+  [Illustration: {A head-dress for a woman}]
+
+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
+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' heads.
+
+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--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 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 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.
+
+  [Illustration: {Six types of head-dress for women}]
+
+There are many ways of making the steeple 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 L10 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 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.
+
+  [Illustration: A WOMAN OF THE TIME OF EDWARD IV. (1461-1483)
+
+  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.]
+
+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.
+
+Remember, also, that the horned head-dress of the previous reign is
+not by any means extinct.
+
+  [Illustration: {A woman of the time of Edward IV.}]
+
+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 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.
+
+  [Illustration: {A woman of the time of Edward IV.}]
+
+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.
+
+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--that is, an
+opening of a V shape from shoulders to waist, the foot of the 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 V across, but not drawing it together, by having the V fur-edged,
+or made to turn over in a collar of 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 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.
+
+  [Illustration: {A woman of the time of Edward IV.}]
+
+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'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 lived in a village, except that the wimple and the hood then
+worn are out of place to-day, more's the pity!
+
+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, 'Away
+with horns, and into steeples.' 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.
+
+
+
+
+EDWARD THE FIFTH
+
+    Reigned two months: April and June, 1487.
+
+RICHARD THE THIRD
+
+    Reigned two years: 1483-1485.
+
+    Born 1450. Married, 1473, Anne Neville.
+
+
+THE MEN
+
+  [Illustration: {Three men of the time of Edward V. and Richard III.}]
+
+Fashion'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.
+
+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--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.
+
+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.
+
+The men, at first sight, do not appear very different to the men of
+Edward IV.'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 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.
+
+  [Illustration: A MAN OF THE TIME OF RICHARD III. (1483-1485)
+
+  Here one sees the first of the broad-toed shoes and the birth of the
+  Tudor costume--the full pleated skirts and the prominence of white
+  shirt.]
+
+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
+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'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.
+
+  [Illustration: {A man of the time of Edward V. and Richard III.;
+      a hat}]
+
+To sum up, you must picture a man in a dress of Edward IV.'s time,
+modified, or, rather, expanded or expanding into the costume of Henry
+VII.'s time--a reign, in fact, which hardly has a distinct costume to
+itself--that is, for the men--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.
+
+
+THE WOMEN
+
+  [Illustration: {A woman of the time of Edward V. and Richard III.}]
+
+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.'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. 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.
+
+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 V shape, the V point at the forehead. On some occasions two straight
+wires came out on either side of the face in addition to the 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 soon see what bend to give to the wires
+in order that the wings may be properly held out.
+
+Beyond this head-dress there was very little alteration in the lady'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.
+
+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.
+
+  [Illustration: A WOMAN OF THE TIME OF RICHARD III. (1483-1485)
+
+  The great erection on her head is made of thin linen stretched upon
+  wires; through this one may see her jewelled cap.]
+
+Not until night did these ladies discard their winged head erections;
+not until the streets were dark, and the brass basins swinging from
+the barbers' poles shone but dimly, and the tailors no longer
+sat, cross-legged, on the benches in their shop-fronts--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.
+
+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.
+
+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 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.
+
+
+
+
+HENRY THE SEVENTH
+
+    Reigned 24 years: 1485-1509.
+
+    Born, 1456. Married, 1486, Elizabeth of York.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Henry VII.; hose}]
+
+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.
+
+England's winter was buried on Bosworth Field: England's spring, as
+if by magic, commenced with Henry's entry into London.
+
+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's, hearing a _Te
+Deum_; 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.
+
+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.
+
+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--he was to print his
+'Facts of Arms,' joyous tales and pleasant histories of chivalry, by
+especial desire of Henry himself.
+
+Later still, towards the end of the reign, the first book of travel in
+the West began to go from hand to hand--it was written by Amerigo
+Vespucci, cousin to La Bella Simonetta.
+
+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.
+
+The clouds of the Middle Ages were dispersed, and the sun shone.
+
+The costume was at once dignified and magnificent--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.
+
+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.
+
+The fashions of the time have survived for us in the Court cards:
+take the jacks, knaves, valets--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 'Alice in Wonderland' 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.
+
+  [Illustration: {A man of the time of Henry VII.}]
+
+There was, indeed, quite a choice of hats: the berretino--a square hat
+pinched in at the corners; many round hats, some with a high, tight
+brim, some with the least brim possible; into these brims, or
+into a band round the hat, one might stick feathers or pin a brooch.
+
+  [Illustration: A MAN OF THE TIME OF HENRY VII. (1485-1509)]
+
+The chaperon, before described, was still worn by Garter Knights at
+times, and by official, legal, civic, and college persons.
+
+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--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 gathers became higher and higher, became
+more ornamented, and finally rose, in all extravagant finery, to
+behind the ears--and we have the Elizabethan ruff.
+
+  [Illustration: COATS--HATS]
+
+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--striped, dotted, divided in bands--everything--displaying the
+indelicate but universal pouch in front, tied with coloured ribbons.
+
+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.
+
+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 'petticoat'--now wrongly applied; in Scotland, to this
+day, a woman's skirts are called her 'coats.'
+
+About the waists of these coats was a short sash, or a girdle, from
+which hung a very elaborate purse, or a dagger.
+
+Stick in hand, jewel in your hat, dandy--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's reign, your hair busheth
+pleasantly, and is kembed prettily over the ear, where it glimmers as
+gold i' the sun--pretty fellow--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--much use may it be!--by a
+mincing fellow in your dainty livery. And if--oh, rare disguise!--your
+coiffure hides a noble brow, or your little, neat-rimmed coif a clever
+head, less honour be to you who dress your limbs to imitate the
+peacock, and hide your mind beneath the weight of scented clothes.
+
+  [Illustration: SLEEVES]
+
+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.
+
+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. 'Poverty,' the old woman with
+the spoon in her hat, is a good example of the poor of the time.
+
+When one knows the wealth of material of the time, and has seen the
+wonder of the stuffs, one 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--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--mostly large--and all this broken colour
+and glitter of gold thread must have made the streets gay indeed.
+
+  [Illustration: {A man of the time of Henry VII.}]
+
+Imagine, shall we say, Corfe Castle on a day when a party of ladies
+and gentlemen assembled to 'course a stagge,' 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 towers.
+Behind them the dungeon tower, and the great gray mass of the
+keep--all a fitting and impressive background to their bravery.
+
+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--for some who will not go with the hounds will fly the hawk on
+the Isle of Purbeck.
+
+  [Illustration: {A man of the time of Henry VII.}]
+
+Below, in the town over the moat, a crowd is gathered to see them
+off--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.
+
+The drawbridge is down, the portcullis up, and the party, gleaming
+like a bed of flowers in their multi-coloured robes, pass over the
+bridge, through the town, and into the valley.
+
+The sun goes in and leaves the grim castle, gray and solemn, standing
+out against the green of the hills....
+
+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--Chaucer's house--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.
+
+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; he came into
+a disordered, distressed kingdom, ruled it by fear--as had to be done
+in those days--and left it a kingdom ready for the fruits of his
+ordered works--to the fleshy beast who so nearly ruined the country.
+What remained, indeed, was the result of his father's genius.
+
+
+THE WOMEN
+
+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.
+
+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--made stiff,
+so as to stand parallel--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 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.
+
+  [Illustration: {Seven head-dresses for women; side and front view
+      of a shoe}]
+
+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 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.
+
+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--that is, at the end of the reign--the ordinary manner of wearing
+them, till they were finally made up so.
+
+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.
+
+The plain coif, or close-fitting linen cap, was the most general wear
+for the poor and middle classes.
+
+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.
+
+Another form of head-dress, less common, was the turban--a loose bag
+of silk, gold and pearl embroidered, fitting over the hair and
+forehead tightly, and loose above.
+
+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.
+
+  [Illustration: {Three women of the time of Henry VII.}]
+
+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 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 V-shaped opening of the under petticoat bodice,
+and across and above that, the white embroidered or crimped chemise.
+
+The sleeves were as the men's--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.
+
+  [Illustration: {A woman of the time of Henry VII.}]
+
+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 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,
+Ypres 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.
+
+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--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 embroidering a bearing cloth
+for her child against her time.
+
+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 Ypres, 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.
+
+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.
+
+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 ornaments; the girdle held the purse of the lady.
+
+  [Illustration: A WOMAN OF THE TIME OF HENRY VII. (1485-1509)
+
+  Notice the diamond-shaped head-dress, the wide, fur-edged gown with
+  its full sleeves.]
+
+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.
+
+The shoes, it will be seen, are very broad at the toes, with thick
+soles, sometimes made much in the manner of sandals--that is, with
+only a toecap, the rest flat, to be tied on by strings.
+
+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
+painters to procure what, in other days, they were forced to invent.
+
+Many artists have their costumes made of Bolton sheeting, on to which
+they stencil the patterns they wish to use--this is not a bad thing to
+do, as sheeting is not dear and it falls into beautiful folds.
+
+The older ladies and widows of this time nearly all dressed in very
+simple, almost conventual garments, many of them wearing the 'barbe'
+of pleated linen, which covered the lower part of the face and the
+chin--a sort of linen beard--it reached to the breast, and is still
+worn by some religious orders of women.
+
+Badges were still much in use, and the servants always wore some form
+of badge on their left sleeve--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 by servants, who
+used their master'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's head.
+
+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 'Our Monastery of Westminster,' and is of
+beautiful design--a gold ground, covered with boughs and leaves raised
+in soft velvet pile of ruby colour, through which little loops of gold
+thread appear.
+
+I imagine Elizabeth of York, Queen to Henry VII., of the subtle
+countenance--gentle Elizabeth, who died in child-birth--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 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.
+
+
+
+
+HENRY THE EIGHTH
+
+    Reigned thirty-eight years: 1509-1547.
+
+    Born, 1491. Married, 1509, Katherine of Aragon; 1532,
+    Anne Boleyn; 1536, Jane Seymour; 1540, Anne of Cleves;
+    1540, Katherine Howard; 1548, Katherine Parr.
+
+
+THE MEN
+
+VERSES BY HENRY THE EIGHTH IN PRAISE OF CONSTANCY
+
+    'As the holy grouth grene with ivie all alone
+    Whose flowerys cannot be seen and grene wode levys be gone,
+    Now unto my lady, promyse to her I make
+    From all other only to her I me betake.
+    Adew myne owne ladye, adew my specyall
+    Who hath my hart trewly, be sure, and ever shall.'
+
+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
+mother, figures in our pageant a veritable symbol of the Renaissance
+in England.
+
+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'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.
+
+In these days there lived and died Botticelli, Leonardo da Vinci,
+Raphael, Duerer, Erasmus, Holbein, Copernicus, Luther, Rabelais, and
+Michael Angelo, to mention a few men of 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.
+
+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, _Grace a
+Dieu_!
+
+The mental picture from our--costume--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--that should bring a picture to your eyes--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 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 a Becket.
+
+  [Illustration: {A man of the time of Henry VIII.; collar; ruff}]
+
+  [Illustration: A MAN OF THE TIME OF HENRY VIII. (1509-1547)
+
+  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.]
+
+  [Illustration: {A man of the time of Henry VIII.; breeches}]
+
+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 Duerer and
+the more German designs of Holbein. The garments which were known as
+'blistered' 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 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
+'blistered.'
+
+  [Illustration: {A man of the time of Henry VIII.}]
+
+The shoes were of many shapes, as I have shown, agreeing in one point
+only--that the toes should be cut very broad, often, indeed, quite
+square.
+
+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.
+
+Cloaks, as you may see, were worn over the dress, and also those
+overcoats shaped much like the modern dressing-gown.
+
+It is from these 'blistered,' 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.
+
+Separate pairs of sleeves were worn with the waistcoats, or with the
+petti-cotes, a favourite sleeve trimming being broad velvet bands.
+
+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--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.
+
+The other and more usual fashion springs from the habit of clothes in
+bygone reigns.
+
+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 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--a collar, in fact. That this collar took all forms
+under certain limitations will be noticed, also that thick necked
+gentlemen--Henry himself must have invented this--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.
+
+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.
+
+  [Illustration: {Two types of sleeve; eight hats for men}]
+
+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--open to the waist, open all the way in front,
+close to the neck--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's neck.
+
+  [Illustration: A MAN OF THE TIME OF HENRY VIII. (1509-1547)
+
+  This is the extreme German-English fashion. In Germany and
+  Switzerland this was carried to greater lengths.]
+
+The overcoat D is the gown of the previous reign cut, for the dandy,
+into a shorter affair, 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 _applique_ 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.
+
+  [Illustration: {A man of the time of Henry VIII.}]
+
+Of course, I suppose one must explain, the sleeves varied in every
+way: were long, short, full, medium full, according to taste.
+Sometimes the overcoats were sleeveless. Beneath these garments the
+trunks were worn--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 S or a double S curve. Other
+slashes were squared top and bottom.
+
+  [Illustration: {Three men of the time of Henry VIII.}]
+
+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.
+
+  [Illustration: A WOMAN OF THE TIME OF HENRY VIII. (1509-1547)
+
+  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.]
+
+The shoes were very broad, and were sometimes stuffed into a mound at
+the toes, were sewn with precious stones, and, also, were cut and
+puffed with silk.
+
+  [Illustration: {A man of the time of Henry VIII.}]
+
+The little flat cap will be seen in all its varieties in the drawings.
+
+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.
+
+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.
+
+Short hair came into fashion about 1521.
+
+  [Illustration: {Three men of the time of Henry VIII. (torso only);
+      three types of shoe; two types of boot; a cod-piece}]
+
+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 effect: Drakes, the
+shoemaker, seeing that the county talked of Sir Philip'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'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's son, also Sir Philip, married Amy, daughter of Sir William
+Boleyn, of Blickling, Norfolk. She was aunt to Queen Anne Boleyn.
+
+
+THE WOMEN
+
+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--the fine
+and noble lady--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.
+
+  [Illustration: {Eight stages in the evolution of the hood}]
+
+The note of the time, as we look at it with our eyes keen on the
+picture, is the final evolution 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 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.
+
+  [Illustration: {Four types of head-dress for women}]
+
+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 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.
+
+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.
+
+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--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--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.
+
+  [Illustration: {A woman of the time of Henry VIII.; a head-dress}]
+
+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--mere man has but a
+limited vocabulary when the talk comes to clothes--and these dresses
+that look like silk pumpkins, blistered and puffed and slashed, 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 Duerer.
+
+  [Illustration: {Two women of the time of Henry VIII.}]
+
+Surely, I say to myself, most people who will read this will know
+their Holbein and Duerer, 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: '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 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!'
+
+  [Illustration: A WOMAN OF THE TIME OF HENRY VIII. (1509-1547)
+
+  Notice the wide cuffs covered with gold network, and the rich panel
+  of the under-skirt.]
+
+  [Illustration: {A woman of the time of Henry VIII.; three types of
+      sleeve}]
+
+Or in the writings of Tertullian, called by Sigismund Feyerabendt,
+citizen and printer of Frankfort, a 'most strict censor who most
+severely blames women:' 'Come now,' says Tertullian, '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's were allowed, Eve, I suppose,
+would have desired these things on her expulsion from Paradise, and
+when spiritually dead.'
+
+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'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--caps which showed
+always the form of the head beneath.
+
+  [Illustration: {A woman of the time of Henry VIII.; three types of
+      hat for women}]
+
+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, were rolled
+over to show little or great expanses of these materials.
+
+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.
+
+    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.
+
+    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.
+
+    Afternoon--should they suffer the pangs of hunger--a
+    maunchet of bread from the pantry bar, and a gallon of
+    ale at the buttery bar.
+
+    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.
+
+    After supper--to insure a good night's rest--a chete
+    loaf and a maunchet from the pantry bar, and half a
+    gallon of ale from the seller bar.
+
+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.
+
+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'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 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.
+
+  [Illustration: {Two women of the time of Henry VIII.}]
+
+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 of clothing are mixed up is more
+disturbing than useful.
+
+The wide sleeve to the gown, once part and parcel of the gown, was at
+last made separate from it--as a cuff more than a sleeve naturally
+widening--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.
+
+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.
+
+Many were the varieties of girdle and belt, from plain silk sashes
+with tasselled ends to rich jewelled chain girdles ending in heavy
+ornaments.
+
+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 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--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.
+
+
+
+
+EDWARD THE SIXTH
+
+    Reigned six years: 1547-1553.
+
+    Born, 1537.
+
+
+THE MEN AND WOMEN
+
+  [Illustration: {A man of the time of Edward VI.; a type of hat}]
+
+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.
+
+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,
+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--a frock coat, straight, trim, quite a near
+cousin to our own garment of afternoon ceremony.
+
+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.
+
+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.
+
+We now see a more general appearance in the 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.
+
+  [Illustration: {Two men of the time of Edward VI.}]
+
+It is the time of jerkin or jacket, doublet or coat, and
+hose--generally worn with trunks, which were puffed, short
+knickerbockers.
+
+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 of the English trade of cappers. 'One cap of
+wool, knit, thicked, and dressed in England,' was to be worn by all
+over six years of age, except such persons as had 'twenty marks by
+year in lands, and their heirs, and such as have borne office of
+worship.'
+
+Edward, according to the portraits, always wore a flat cap, the base
+of the crown ornamented with bands of jewels.
+
+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's time, the mark of
+the grave man, others wore these same skirts cut to the knee.
+
+That peculiar fashion of the previous reign--the enormously
+broad-shouldered appearance--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 painting of
+Edward, and the puff in the shoulders not so rotund.
+
+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.
+
+Antiquarian research has, as it often does, muddled us as to the
+meaning of the word 'partlet.' Fairholt, who is very good in many
+ways, puts down in his glossary, 'Partlet: A gorget for women.' Then
+he goes on to say that a partlet may be goodness knows what else.
+Minshein says they are 'part of a man'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' bands, or womens'
+neckerchiefs, which are in some, or at least have been within memorie,
+called partlets.'
+
+Sir F. Madden says: '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.'
+
+  [Illustration: A MAN AND WOMAN OF THE TIME OF EDWARD VI. (1547-1553)
+
+  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.]
+
+Hall, the author of 'Satires,' 1598, speaks of a 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, 'the loose collar of
+a doublet,' in reality the same thing as a shirt band.
+
+  [Illustration: {Two men of the time of Edward VI.}]
+
+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.
+
+In this case, then, the partlet is head of the family tree to our own
+collar, 'to be set on or taken off by itself,' and so by way of ruff,
+valued at threescore pound price apiece, to plain bands, to falling
+bands, laced neckcloth, stock--to the nine pennyworth of misery we
+bolt around our necks.
+
+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.
+
+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's head apparel was born, I think, out
+of the folds 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.)
+
+  [Illustration: {Two women of the time of Edward VI.; two types of
+      head-dress}]
+
+The women are also wearing cloth hoods, rather baggy cap-like hoods,
+with a hanging-piece behind.
+
+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--what I
+shall call--the woman's partlet, as the embroidery is often detachable
+and answers the same purpose as the man's partlet; this later became a
+separate article, and was under-propped with wires to hold it out
+stiffly.
+
+The same stiff-bodied appearance holds good, but in more simple
+dresses the skirts were not quite as voluminous as heretofore.
+
+With overcoats in general the hanging sleeve is being worn, the arm of
+the wearer coming out just below the puffed shoulder-piece.
+
+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.
+
+
+
+
+MARY
+
+    Reigned five years: 1553-1558.
+
+    Born, 1516. Married, 1554, Philip of Spain.
+
+
+THE MEN AND WOMEN
+
+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:
+
+    'First, the citizens' 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 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.
+
+    'The Queen herself was dressed in violet velvet, and was
+    then about forty years of age, and rather fresh
+    coloured.
+
+    '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.
+
+    'She was followed by her sister, named Madame Elizabeth,
+    in truth a beautiful Princess, who was also accompanied
+    by ladies both married and single.'
+
+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
+leather doublets; citizens' servants in blue liveries; gentlemen's
+servants in very gorgeous liveries of their masters' colours. Here is
+a description of a gentleman's page and his clothes:
+
+    'One doublet of yelow million fustian, th'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'cell of the same hatt; a payer
+    of watchet (blue) stockings. Likewise he hath twoe
+    clokes, th'one of vessey colour, garded with twoe yards
+    of black clothe and twisted lace of carnacion colour,
+    and lyned with crymsone bayes; and th'other is a red
+    shipp russet colour, striped about th'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.'
+
+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.
+
+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.
+
+  [Illustration: {A man of the time of Mary}]
+
+With these Spaniards comes, also, the first appearance of the ruff,
+very neat and small.
+
+Although the overcoats of Henry's and Edward'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.
+
+  [Illustration: A MAN OF THE TIME OF MARY (1553-1558)
+
+  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.]
+
+One sees more beards and moustaches, short clipped beards, and beards
+with two points.
+
+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.
+
+  [Illustration: {A man of the time of Mary; two types of boot}]
+
+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.
+
+Ladies now show more hair, parted, as before, in the centre, but now
+puffed out at the sides.
+
+The new shape of head-dress becomes popular, and the upstanding collar
+to the gown is almost universal.
+
+The gowns themselves, though retaining the same appearance as before,
+full skirts, no trains, big sleeves, and split to show the
+under-gown, 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.
+
+Women wear neat linen caps, made very plain and close to the head,
+with small ear-pieces.
+
+  [Illustration: {Three men of the time of Mary}]
+
+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.
+
+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 of violets arranged exactly as the penny bunches
+sold now in our streets.
+
+There was, in most dresses, a great profusion of gold buttons, and the
+wearing of gold chains was common--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.
+
+  [Illustration: {Two types of head-dress for women; two types of
+      collar}]
+
+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 quiet change that could take
+place in those few years, and alter man'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.
+
+  [Illustration: A WOMAN OF THE TIME OF QUEEN MARY (1553-1558)
+
+  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.]
+
+
+
+
+ELIZABETH
+
+    Reigned 45 years: 1558-1603.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Elizabeth}]
+
+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--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 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--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--grave clothes.
+
+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--Drake, Raleigh, and the rest. The very names of the garments
+arouse associations--ruff, trunks, jumper, doublet, jerkin, cloak,
+bone-bobbin lace, and lace of Flanders--they almost take one's breath
+away.
+
+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 pea'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.
+
+  [Illustration: {A man of the time of Elizabeth}]
+
+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--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
+across our memory the picture of a lighted stage, a row of shops, a
+policeman, and then a well-known voice calling, 'Hello, Joey, here we
+are again!'
+
+Here we are again after all these centuries--clown and pantaloon, the
+rustic with red health on his face, the old man in Venetian slops--St.
+Pantaloone--just as Elizabethan, humour included, as anything can well
+be.
+
+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.
+
+To these enter 1830--Columbine--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.
+
+We are a conservative nation, and we like our own 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.
+
+Even as we dream of this, and the harlequinade dazzles our eyes, the
+dream changes--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.
+
+'Root-ti-toot, rootity-toot!' There, by the corner of the quiet
+square, is a tall box covered with checkered cloth. Above a man'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--Punch. The other
+with a linen cap and a ruff round her neck--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--Toby. And we
+know--delightful to think of it--that a box hidden by the check
+covering, contains many curiously dressed figures--all friends of
+ours. The world is certainly curious, and I suppose that an
+Elizabethan revisiting us to-day would find but one thing the same,
+the humour of the harlequinade and the Punch and Judy show.
+
+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--
+
+    'Microcynicon.'
+
+    'Pleasant Quippes for Upstart Newfangled Gentlewomen.'
+
+    Hall's 'Satires.'
+
+    Stubbes' 'Anatomie of Abuses.'
+
+    'The Cobbler's Prophesie.'
+
+    'The Debate between Pride and Lowliness.'
+
+    'The Letting of Humours Blood in the Head Vaine.'
+
+    'The Wits Nurserie.'
+
+    Euphues' 'Golden Legacie.'
+
+    'Every Man out of his Humour.'
+
+If you do not come out from these saturated with detail then you will
+never absorb anything.
+
+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
+stuffed or bombasted into the form known as 'pea's cod bellied' or
+'shotten-bellied.'
+
+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.
+
+  [Illustration: {A man of the time of Elizabeth; a travelling cloak;
+      a jerkin}]
+
+The jornet was a loose travelling cloak.
+
+The jumper a loose jerkin, worn for comfort or extra clothing in
+winter.
+
+Both doublet and jerkin had a little skirt or base.
+
+  [Illustration: {Three types of doublet; two types of epaulette}]
+
+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--wool, rags, or bran--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.
+
+  [Illustration: A MAN OF THE TIME OF ELIZABETH (1558-1603)
+
+  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.]
+
+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.
+
+The French breeches were tight and ruffled in puffs about the thighs.
+
+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.
+
+  [Illustration: {A man of the time of Elizabeth}]
+
+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.
+
+The shoes were shaped to the foot, and made of 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--wearing very
+square-toed shoes, for instance, or cock feathers in their hair.
+
+The sturtops were boots to the ankle.
+
+  [Illustration: {Three types of hat for men; three type of breeches
+      and stockings}]
+
+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.
+
+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.
+
+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's ark-like appearance to the wearers. Those who cared
+nothing for the fashions left their gowns open and wore them loose.
+
+  [Illustration: {A man of the time of Elizabeth}]
+
+The common people wore simple clothes of the same cut as their
+lords--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: '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.' His stockings are also gray kersey, tied with different
+coloured laces; his bonnet is green, and has a copper brooch with the
+picture of St. Dennis. '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.'
+
+  [Illustration: {Three men of the time of Elizabeth; a sleeve}]
+
+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.
+
+  [Illustration: {Five types of hat for men}]
+
+I think we may let these gallants rest now to walk among the shades--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 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.
+
+
+THE WOMEN
+
+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--his lady--sits under the hands of her maid, and tries
+various attires of false _hair_, 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.
+
+Even the country girl eagerly waits for news of the town fashions, and
+follows them as best she may.
+
+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.
+
+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.
+
+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.
+
+  [Illustration: {Twelve types of head-dress and collar or ruff for
+      women}]
+
+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 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 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 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.
+
+  [Illustration: A WOMAN OF THE TIME OF ELIZABETH (1558-1603)]
+
+  [Illustration: {Four women of the time of Elizabeth}]
+
+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'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 were the man'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.
+
+This jerkin was sometimes worn buttoned up, like a man'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.
+
+The plainer fashion of this was a gown buttoned high--up to the
+ruff--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.
+
+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 country ladies; this covered
+the hair, showing nothing but a neat parting in front.
+
+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.
+
+  [Illustration: {Two women of the time of Elizabeth}]
+
+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 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.
+
+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.
+
+The ladies' 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.
+
+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.
+
+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--from two
+inches to seven or eight--and they were called _chopines_. They were
+not such a foolish custom as might 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.
+
+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
+_bongrace_, to keep their faces from sunburn.
+
+Cambric they brought from Cambrai in France, and calico from Calicut
+in India--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.
+
+  [Illustration: {Four women of the time of Elizabeth}]
+
+  [Illustration: {Two women of the time of Elizabeth}]
+
+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 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.
+
+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--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
+of burnished metal shine. With great care this wig is fastened on to
+the Queen's head, and she watches the process with her bright eyes and
+still features in the great mirror.
+
+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--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--in this
+case but a petticoat with a linen bodice which has no sleeves.
+
+  [Illustration: A WOMAN OF THE TIME OF ELIZABETH (1558-1603)
+
+  Compare this with the other plate showing the opposite fashion.]
+
+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 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's eyes twinkle on this story, for she has a great
+fund of dry humour--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.
+
+The Queen wavers, and the tire-woman recommends the smaller bands:
+'This, madame, is one of those ruffs made by Mr. Higgins, the tailor
+near to St. James's, where he has set up an establishment for the
+making of such affairs--it is a picadillie, and would----'
+
+The Queen stops her and chooses the ruff; it is very much purled into
+folds, and it bristles with points.
+
+The women approach with a crimson over-gown and slips it over the
+Queen's head--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.
+
+This done, the strings of pearls are placed around the Queen'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 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--Queen Elizabeth is
+dressed.
+
+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....
+
+
+SHAKESPEARE AND CLOTHES
+
+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, for example, Coriolanus. Here are the
+clothes allusions in that play:
+
+    'When you cast your stinking greasy caps,
+    You have made good work,
+    You and your apron-men.'
+
+    'Go to them with this bonnet in your hand.'
+
+    'Enter Coriolanus in a gown of humility.'
+
+    'Matrons fling gloves, ladies and maids their scarfs and
+    handkerchers.'
+
+    'The kitchen malkin pins her richest lockram[A] 'bout
+    her reechy neck.'
+
+        [A] 'Lockram' is coarse linen.
+
+    'Our veiled dames.'
+
+    'Commit the war of white and damask in their nicely
+    gawded cheeks to the wanton and spoil of Phoebus'
+    burning kisses.'
+
+    'Doublets that hangmen would bury with these that wore
+    them.'
+
+I have not kept the lines in verse, but in a convenient way to show
+their allusions.
+
+In 'Pericles' we have mention of ruffs and bases. Pericles says:
+
+    'I am provided of a pair of bases.'
+
+Certainly the bases might be made to appear Roman, if one accepts the
+long slips of cloth or leather in Roman military dress as being
+bases; but Shakespeare is really--as in the case of the
+ruffs--alluding to the petticoats of the doublet of his time worn by
+grave persons. Bases also apply to silk hose.
+
+In 'Titus Andronicus' we have:
+
+    'An idiot holds his bauble for his God.'
+
+Julius Caesar is mentioned as an Elizabethan:
+
+    'He plucked ope his doublet.'
+
+The Carpenter in 'Julius Caesar' is asked:
+
+    'Where is thy leather apron and thy rule?'
+
+The mob have 'sweaty night-caps.'
+
+Cleopatra, in 'Antony and Cleopatra,' says:
+
+    'I'll give thee an armour all of gold.'
+
+The 'Winter's Tale,' 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:
+
+    'Lawn as white as driven snow;
+    Cyprus[B] black as ere was crow;
+    Gloves as sweet as damask roses;
+    Masks for faces and for noses;
+    Bugle-bracelet, necklace amber,
+    Perfume for a lady's chamber;
+    Golden quoifs and stomachers,
+    Pins and polking-sticks of steel.'
+
+        [B] Thin stuff for women's veils.
+
+So, you see, Autolycus, the pedlar of these early times, is spoken of
+as carrying polking-sticks with which to stiffen ruffs.
+
+Shylock, in 'The Merchant of Venice,' should wear an orange-tawny
+bonnet lined with black taffeta, for in this way were the Jews of
+Venice distinguished in 1581.
+
+In 'The Tempest' one may hear of rye-straw hats, of gaberdines,
+rapiers, and a pied fool's costume.
+
+In 'The Two Gentlemen of Verona' we hear:
+
+    'Why, then, your ladyship must cut your hair.'
+
+    'No, girl; I'll tie it up in silken strings
+    With twenty odd conceited true-love knot;
+    To be fantastic may become a youth
+    Of greater time than I shall show to be.'
+
+Also:
+
+    'Since she did neglect her looking-glass,
+    And threw her sun-expelling mask away.'
+
+Many ladies at this time wore velvet masks. 'The Merry Wives of
+Windsor' gives us a thrummed hat, a muffler or linen to hide part of
+the face, gloves, fans. Falstaff says:
+
+    'When Mistress Bridget lost the handle of her fan,
+    I took it up my honour thou had'st it not.'
+
+Also:
+
+    'The firm fashion of thy foot would give an excellent
+    motion to thy fait in a semicircled farthingale.'
+
+'Twelfth Night' is celebrated for us by Malvolio's cross garters. Sir
+Toby, who considers his clothes good enough to drink in, says:
+
+    'So be these boots too: an they be not, let them hang
+    themselves in their own straps.'
+
+Sir Toby also remarks to Sir Andrew upon the excellent constitution of
+his leg, and Sir Andrew replied that:
+
+    'It does indifferent well in a flame-coloured stock.'
+
+The Clown says:
+
+    'A sentence is but a cheveril[C] glove to a good wit.'
+
+        [C] 'Cheveril' is kid leather.
+
+In 'Much Ado About Nothing' we learn of one who lies awake ten nights,
+'carving the fashion of his doublet.' Also of one who is
+
+    '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.'
+
+Again of a gown:
+
+    '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.'
+
+In 'As You Like It' one may show a careless desolation by ungartered
+hose, unbanded bonnet, unbuttoned sleeve, and untied shoe.
+
+'The Taming of the Shrew' tells of serving-men:
+
+    'In their new fustian and their white jackets.... Let
+    their blue coats be brushed, and their garters of an
+    indifferent knit.'
+
+Also we have a cap 'moulded on a porringer.'
+
+'Love's Labour's Lost' tells of:
+
+    'Your hat penthouse-like o'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.'
+
+'All's Well that Ends Well':
+
+    'Why dost thou garter up thy arms o' this fashion? Dost
+    make a hose of thy sleeves?'
+
+    'Yonder's my lord your son with a patch of velvet on's
+    face: whether there be a scar under't or no, the velvet
+    knows.... There's a dozen of 'em, with delicate fine
+    hats and most courteous feathers, which bow the head and
+    nod at every man.'
+
+In 'Henry IV.,' Part II., there is an allusion to the blue dress of
+Beadles. Also:
+
+    'About the satin for my short cloak and slops.'
+
+    'The smooth-pates do now wear nothing but high shoes,
+    and bunches of keys at their girdles.'
+
+    'To take notice how many pair of silk stockings thou
+    hast, or to bear the inventory of thy shirts.'
+
+There are small and unimportant remarks upon dress in other plays, as
+dancing-shoes in 'Romeo and Juliet' and in 'Henry VIII.':
+
+    'The remains of fool and feather that they got in France.'
+
+                        'Tennis and tall stockings,
+    Short blistered breeches and those types of travel.'
+
+But in 'Hamlet' we find more allusions than in the rest. Hamlet is
+ever before us in his black:
+
+    ''Tis not alone my inky cloak, good mother,
+    Nor customary suits of solemn black.'
+
+    'Lord Hamlet, with his doublet all unbraced;
+    No hat upon his head; his stockings fouled,
+    Ungartered, and down-goes to his ancle;
+    Pale as his shirt.'
+
+    'Your ladyship is nearer to heaven than when I saw you
+    last, by the altitude of a chopine.'[D]
+
+        [D] Shoes with very high soles.
+
+    'O, it offends me to the soul to hear a robustious
+    periwig-pated fellow tear a passion into tatters.'
+
+    'With two provincial roses on my ragged shoes,
+    My sea-gown scarfed about me.'
+
+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 'Hamlet' 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.
+
+
+
+
+JAMES THE FIRST
+
+    Reigned twenty-two years: 1603-1625.
+
+    Born 1566. Married 1589, Anne of Denmark.
+
+
+THE MEN
+
+This couplet may give a little sketch of the man we should now see
+before us:
+
+    'His ruffe is set, his head set in his ruff;
+    His reverend trunks become him well enough.'
+
+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.
+
+Now in such a matter lies the difficulty of presenting an age or a
+reign in an isolated chapter. In the first place, one must endeavour
+to show how a Carolean gentleman, meeting a man in the street, might
+say immediately, 'Here comes one who still affects Jacobean clothes.'
+Or how an Elizabethan lady might come to life, and, meeting the same
+man, might exclaim, 'Ah! these are evidently the new fashions.' 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'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 'roses' 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 eyes--eyes which told him that he was himself an
+elegant, careless fellow, dressed in the best of taste and
+comfort--eyes which showed him that the Jacobean was a nice enough
+person in his dress, but old-fashioned, grandfatherly.
+
+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.
+
+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 'smart.'
+
+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.
+
+  [Illustration: {Three men of the time of James I.; three types of
+      shoe; one type of boot}]
+
+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 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.
+
+We have still:
+
+    'Morisco gowns, Barbarian sleeves,
+    Polonian shoes, with divers far fetcht trifles;
+    Such as the wandering English galant rifles
+    Strange countries for.'
+
+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:
+
+                        'His doublet is
+    So close and pent as if he feared one prison
+    Would not be strong enough to keep his soul in,
+    But his taylor makes another;
+    And trust me (for I knew it when I loved Cupid)
+    He does endure much pain for poor praise
+    Of a neat fitting suit.'
+
+To wear something abnormally tight seems to be the condition of the
+world in love, from James I. to David Copperfield.
+
+Naturally, a man of the time might be riding down the street across a
+Scotch plaid saddle cloth and pass by a beggar dressed in clothes of
+Henry VIII.'s time, or pass a friend looking truly Elizabethan--but he
+would find generally that the short, swollen trunks were very little
+worn, and also--another point--that a number of men had taken to
+walking in boots, tall boots, instead of shoes.
+
+  [Illustration: {A man of the time of James I.; a variation of
+      breeches}]
+
+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:
+
+    'Will you buy any sand, mistress?'
+
+    'Brooms, brooms for old shoes! Pouch-rings, boots, or
+    buskings! Will ye buy any new brooms?'
+
+    'New oysters, new oysters! New, new cockles!'
+
+    'Fresh herrings, cockels nye!'
+
+    'Will you buy any straw?'
+
+    'Hay yee any kitchen stuff, maids?'
+
+    'Pippins fine! Cherrie ripe, ripe, ripe!'
+
+  [Illustration: A MAN OF THE TIME OF JAMES I. (1603-1625)
+
+  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.]
+
+  [Illustration: {Four men of the time of James I.; the bottom of a
+      doublet; an alternative collar; shoe and stocking}]
+
+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.
+
+    'As soon as a passenger comes to an Inn, the servants
+    run to him' (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), 'and one takes his horse and walks
+    him till he be cool, then 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' (these
+    two servants would be wearing aprons). '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' (he will retain his hat
+    within the house), '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.
+
+    'It is the custom and in no way disgraceful to set up
+    part of supper for his breakfast.
+
+    '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.'
+
+Beyond this and the drawings I need say no more.
+
+The drawings will show how the points of a 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--of everything, I
+hope, that is necessary and useful.
+
+  [Illustration: {A man of the time of James I.}]
+
+
+THE WOMEN
+
+    'What fashion will make a woman have the best body,
+    tailor?'
+
+    'A short Dutch waist, with a round Catherine-wheel
+    fardingale, a close sleeve, with a cartoose collar, or a
+    pickadell.'
+
+I think, with a little imagination, we can see the lady: add to our
+picture a feather fan, a man'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--and I think the lady walks. 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:
+
+    'And no servant may toy with the maids under pain of
+    fourpence.'
+
+It is a salutary warning, and one that must be kept in the mind'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.
+
+  [Illustration: {High collar and head-dress for a woman}]
+
+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--so many bones, tissues, and
+nerves--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 the word
+'cartoose' or 'pickadell,' 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.
+
+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.
+
+You will find, if you look into the lady'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 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.
+
+She is taking more readily to the man'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.
+
+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.
+
+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 her bodice will finish off in a double Catherine-wheel.
+
+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.
+
+  [Illustration: {Comparison of head-dress between a lady and a maid}]
+
+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'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's hands and the cheeks of twenty ladies of honour.
+
+The fashion for dresses of pure white, either in 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's breeches or slops are Spanish; his waist, like
+the lady'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--
+
+    'How his band jumpeth with his piccadilly,
+    Whether his band-strings balence equally,
+    Which way his feather wags,'
+
+strut along on their high-heeled shoes, and ogle any lady as she
+passes.
+
+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.
+
+The ruffs and collars of lace were starched in many colours--purple,
+goose-green, red and blue, yellow being completely out of the fashion
+since the murder of Sir Thomas Overbury by Mrs. Anne Turner, the
+friend of the Countess of Somerset; and this because Mrs. Turner
+elected to appear at the gallows in a yellow ruff.
+
+  [Illustration: A WOMAN OF THE TIME OF JAMES I. (1603-1625)
+
+  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.]
+
+  [Illustration: {A woman of the time of James I.; a ruff and hat; an
+      alternative dress}]
+
+As for the fardingale, it was having its last fling. This absurd
+garment had its uses once--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.
+
+Such a conglomeration is needed (if you remember we are looking over a
+lady'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 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--Eve!
+
+All this, for what purpose? To turn out one of those extraordinary
+creatures with a cart-wheel round the middle of their persons.
+
+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's next footstep.
+
+
+
+
+CHARLES THE FIRST
+
+    Reigned twenty-four years: 1625-1649.
+
+    Born 1600. Married 1625, Henrietta of France.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of Charles I.}]
+
+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.
+
+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's jackets melted away, breeches no longer
+swelled themselves with rags and bran, collars fell down, and shirts
+lounged through great open spaces in the sleeves.
+
+It was the time of an immaculate carelessness; the hair was free, or
+seemed free, to droop in languid tresses on men's shoulders, curl at
+pretty will on men'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?
+
+  [Illustration: {Six styles of hair and beard}]
+
+We know, all of us, the Vandyck beard, the Carolean moustache brushed
+away from the lips; we know Lord Pembroke's tousled--carefully
+tousled--hair; Kiligrew's elegant locks.
+
+From the head to the neck is but a step--a sad step in this
+reign--and here we find our friend the ruff utterly tamed;
+'pickadillies, now out of request,' 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.
+
+  [Illustration: {A doublet}]
+
+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
+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's time.
+
+  [Illustration: {Two men of the time of Charles I.; a type of jacket;
+      a type of breeches}]
+
+The breeches are mostly in two classes--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 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).
+
+A new method of ornamentation was this notion of coloured ribbons in
+bunches, on the breeches, in front, at the sides, at the knees--almost
+anywhere--and also upon the coats.
+
+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.
+
+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 turned in all manner of
+ways by those who cared to give thought to it.
+
+  [Illustration: {Sixteen types of boot and shoe}]
+
+  [Illustration: A MAN OF THE TIME OF CHARLES I. (1625-1649)
+
+  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.]
+
+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--this
+turning of broad tops was such an inconvenience that he was forced to
+use a straddled walk when he wore his boots thus.
+
+Canes were carried with gold, silver, or bone heads, and were
+ornamented further by bunches of ribbon.
+
+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.
+
+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.
+
+There is a washing tally in existence of this time belonging, I think,
+to the Duke of Rutland, 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:
+
+    Ruffs.    Bandes.       Cuffes.         Handkercher.  Cappes.
+    Shirtes.  Halfshirts.   Boote Hose.     Topps.        Sockes.
+    Sheetes.  Pillowberes.  Table Clothes.  Napkins.      Towells.
+
+Topps are linen boot-frills, and halfshirts are stomachers.
+
+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.
+
+For the rest, Vandyck'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.
+
+
+THE WOMEN
+
+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: 'A Wonder of Wonders, or a Metamorphosis of Fair Faces into
+Foul Visages; an invective against black-spotted faces.'
+
+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.
+
+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--this toy tragedy of the
+dressing-table.
+
+For the dress we can do no better than look at the 'Ornatus Muliebris
+Anglicanus,' that wonderfully careful compilation by Hollar of all the
+dresses in every class of society.
+
+It is interesting to see how the Jacobean costume lost, by degrees,
+its formal stiffness, and first fardingale and then ruff vanished.
+
+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.
+
+We see at first that while the ruff, or rather the rebatoe--that
+starched lace high collar--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 stomacher, the
+woman's fashion having retained the form of the man'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.
+
+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.
+
+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'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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+The change of fashion to short full sleeves gave 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.
+
+Part of the lady'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.
+
+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.
+
+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.
+
+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, 'Roses worth
+a family.'
+
+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.
+
+Women's petticoats were called plackets as well as petticoats.
+
+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 to the scratches and bobs of one's
+grandfather'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.
+
+  [Illustration: A WOMAN OF THE TIME OF CHARLES I. (1625-1649)
+
+  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.]
+
+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.
+
+
+
+
+ENGRAVINGS BY HOLLAR
+
+
+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.
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+
+
+
+THE CROMWELLS
+
+    1649-1660.
+
+
+THE MEN AND WOMEN
+
+    'I left my pure mistress for a space,
+    And to a snip-snap barber straight went I;
+    I cut my hair, and did my corps uncase
+    Of 'parel's pride that did offend the eye;
+    My high crowned hat, my little beard also,
+    My pecked band, my shoes were sharp at toe.
+
+    'Gone was my sword, my belt was laid aside,
+    And I transformed both in looks and speech;
+    My 'parel plain, my cloak was void of pride,
+    My little skirts, my metamorphosed breech,
+    My stockings black, my garters were tied shorter,
+    My gloves no scent; thus marched I to her porter.'
+
+  [Illustration: {A man of the time of the Cromwells; a type of jacket}]
+
+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, 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 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.
+
+  [Illustration: A CROMWELLIAN MAN (1649-1660)
+
+  Notice the careful plainness of his dress, and his very wide-topped
+  boots.]
+
+  [Illustration: {Three men of the time of the Cromwells; a type of
+      sleeve; two types of breeches and boot; a type of collar}]
+
+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 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--these families coming
+later into the gay court of Charles II. had all the more to lavish on
+the follies of his fashions.
+
+  [Illustration: {A man of the time of the Cromwells; a type of coat}]
+
+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'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 bands are as much part of our national picture as
+Punch or Harlequin.
+
+  [Illustration: A WOMAN OF THE TIME OF THE CROMWELLS (1649-1660)
+
+  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.]
+
+  [Illustration: {Two women of the time of the Cromwells; a type of
+      jacket; two types of head-dress for women}]
+
+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--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.
+
+In the next reign you will see an entirely new era of clothes--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--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.
+
+  [Illustration: A WOMAN OF THE TIME OF THE CROMWELLS (1649-1660)
+
+  This shows the modification of the dress of the time of Charles I.
+  Not an extreme change, but an endeavour towards simplicity.]
+
+
+
+
+CHARLES THE SECOND
+
+    Reigned twenty-five years: 1660-1685.
+
+    Born 1630. Married, 1662, Katherine of Portugal.
+
+
+THE MEN AND WOMEN
+
+  [Illustration: {Two men of the time of Charles II.}]
+
+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 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.
+
+  [Illustration: {Two men of the time of Charles II.}]
+
+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.
+
+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.
+
+  [Illustration: A MAN OF THE TIME OF CHARLES II. (1660-1685)
+
+  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.]
+
+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 and high-heeled, and are tied with a long-ended
+bow of ribbon.
+
+  [Illustration: {A man of the time of Charles II.; a type of sleeve;
+      the back of a coat}]
+
+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' cheeks, do not shake at the
+thunderings of Mr. Baxter or other moral gentlemen who regard a
+Maypole as a stinking idol. Mr. Hall writes on 'The Loathsomeness of
+Long Hair,' Mr. Prynne on 'The Unloveliness of Lovelocks,' and we do
+not care a pinch of rappe.
+
+Little moustaches and tiny lip beards grow under careful treatment,
+and the ladies wear a solar system in patches on their cheeks.
+
+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 'fore-top,' which
+gave rise to another fashion, less common, called a 'taure,' or bull's
+head, being an arrangement of hair on the forehead resembling the
+close curls of a bull. The loose curls on the forehead were
+called 'favorites'; the long locks arranged to hang away from the
+face over the ears were called 'heart-breakers'; and the curls close
+to the cheek were called 'confidents.' Ladies wore cloaks with baggy
+hoods for travelling, and for the Mall the same hats as men, loaded
+with feathers.
+
+  [Illustration: A MAN OF THE TIME OF CHARLES II. (1660-1685)
+
+  This is the change which came over men'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.]
+
+  [Illustration: {A man of the time of Charles II.}]
+
+  [Illustration: {A man of the time of Charles II.}]
+
+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, closes the door on a wardrobe of
+brilliant eccentricity, and opens a cupboard containing our first
+frock-coat.
+
+
+PEPYS AND CLOTHES
+
+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--I say possibly because the argument is really absurd--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' sons. This is no more true of Adam,
+who certainly did interest himself, than it is of myself.
+
+Pepys was educated at St. Paul'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
+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's, Crutched Friars.
+
+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.
+
+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.
+
+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.
+
+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 silver buttons. Then he and Mr. Pin, the tailor, agree upon a
+velvet coat and cap ('the first I ever had'). He buys short black
+stockings to wear over silk ones for mourning.
+
+  [Illustration: {Two women of the time of Charles II.}]
+
+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 L200. He mentions ladies' masks.
+
+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.
+
+He has a riding-suit with close knees.
+
+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--as the fashion is--to appear under
+the breeches.
+
+  [Illustration: A WOMAN OF THE TIME OF CHARLES II. (1650-1685)
+
+  You will notice her hair in ringlets tied with a ribbon, and dressed
+  over a frame at the sides.]
+
+The Queen wears a white-laced waistcoat and a crimson short
+petticoat. Ladies are wearing hats covered with feathers.
+
+  [Illustration: {Three types of wig for men}]
+
+God willing, he will begin next week to wear his three-pound periwig.
+
+He has spent last month (October) L12 on Miss Pepys, and L55 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.
+
+In 1664 his wife begins to wear light-coloured locks.
+
+In 1665 there is a new fashion for ladies of yellow bird'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.
+
+In 1666 women begin to wear buttoned-up riding-coats, hats and
+periwigs.
+
+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 our
+friend Pepys, and hear how this came about. Evelyn had given the King
+his pamphlet entitled 'Tyrannus, or the Mode.' 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 'Mundus Muliebris; or,
+the Ladies' Dressing-Room Unlocked.'
+
+  [Illustration: {A woman of the time of Charles II.}]
+
+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 fifteenth the King wears his in public, and says he will never
+change to another fashion. 'It is,' says Pepys, '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's
+legs.'
+
+  [Illustration: {A woman of the time of Charles II.}]
+
+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.
+
+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.
+
+Sir Philip Howard increases in the Eastern fashion, and wears a
+nightgown and a turban like a Turk.
+
+On November 2 Pepys buys a vest like the King's.
+
+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 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.
+
+  [Illustration: {A woman of the time of Charles II.}]
+
+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 _just au corps_,
+which is a close body-coat.
+
+  [Illustration: {A woman of the time of Charles II.}]
+
+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.
+
+In 1668 his wife wears a flower tabby suit ('everybody in love with
+it'). He is forced to lend the Duke of York his cloak because it
+rains. His barber agrees to keep his periwig in order for L1 a year.
+He buys a black bombazin suit.
+
+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.
+
+
+
+
+JAMES THE SECOND
+
+    Reigned four years: 1685-1689.
+
+    Born 1633. Married, 1661, Anne Hyde; 1673, Mary of
+    Modena.
+
+
+THE MEN AND WOMEN
+
+  [Illustration: {Two men of the time of James II.; a type of sleeve}]
+
+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--to present what I can only call a frock-coat figure. The
+coat became closer to the 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'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.
+
+  [Illustration: A MAN OF THE TIME OF JAMES II. (1685-1689)
+
+  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.]
+
+  [Illustration: {A man of the time of James II.}]
+
+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.
+
+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 with a bunch or so of ribbons, began to become
+fashionable.
+
+  [Illustration: {A woman of the time of James II.}]
+
+Swords were carried in broad baldricks richly ornamented.
+
+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.
+
+The ladies of this reign simplified the dress into a gown more tight
+to the bust, the sleeves more like the men's, the skirt still very
+full, but not quite so long in the train.
+
+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.
+
+  [Illustration: A WOMAN OF THE TIME OF JAMES II. (1685-1689)
+
+  Notice the broad collar again in use, also the nosegay. The sleeves
+  are more in the mannish fashion.]
+
+But the most noticeable change occurs in the dress of countryfolk and
+ordinary citizens. The men began to drop all forms of doublet, and
+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's hat over it. She has the sleeves of her
+dress made with turned-back cuffs, like her husband'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.
+
+  [Illustration: {A woman of the time of James II.}]
+
+One might see the farmer'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 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.
+
+Most notable was the neckcloth in this unhappy reign, which went by
+the name of Judge Jeffreys' hempen cravat.
+
+
+
+
+WILLIAM AND MARY
+
+    Reigned thirteen years: 1689-1702.
+
+    The King born in 1650; the Queen born in 1662; married
+    in 1677.
+
+
+THE MEN
+
+  [Illustration: {A man of the time of William and Mary}]
+
+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' coats;
+scented hair, almost hiding the loose-tied cravat, 'most agreeably
+discoloured with snuff from top to bottom.'
+
+  [Illustration: {A man of the time of William and Mary; a type of
+      cuff}]
+
+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.
+
+  [Illustration: A MAN OF THE TIME OF WILLIAM AND MARY (1689-1702)
+
+  Strings again in use on the shoes. Cuffs much broader; wigs more
+  full; skirts wider. Coat left open to show the long waistcoat.]
+
+We are now among most precise people. One must walk here with just
+such an air of artificiality as will account one a 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.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+  [Illustration: {A man of the time of William and Mary}]
+
+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.
+
+The pockets on the coats were cut vertically and 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's and women's muffs were small, and often tied and slung with
+ribbons.
+
+  [Illustration: {A man of the time of William and Mary}]
+
+Plain round riding-coats were worn, fastened by a clasp or a couple of
+large buttons.
+
+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.
+
+  [Illustration: {Three men of the time of William and Mary}]
+
+Stockings were pulled over the knee, and were gartered below and
+rolled above it.
+
+The ordinary citizen wore a modified edition of these clothes--plain
+in cut, full, without half the number of buttons, and without the
+tremendous periwig, wearing merely his own hair long.
+
+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.
+
+  [Illustration: {A man of the time of William and Mary; a shoe}]
+
+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.
+
+    'We three are engaged in one cause,
+    I snuffs, I smokes, and I chaws.'
+
+
+THE WOMEN
+
+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.
+
+'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 echelle is beautiful, and her pinner exquisitely
+worked. We can see her commode, her top-not, and her fontage, for she
+wears no rayonne. A silver pin holds her meurtriers, and the fashion
+suits better than did the creve-coeurs. 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.'
+
+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's hats from her trousseau (curiously enough a trousseau is a
+little bundle):
+
+'The hat is a paille d'Italie trimmed with a profusion of pink roses,
+accompanied by a pink chiffon ruffle fashioned into masses
+bouillonnee arranged at intervals and circled with wreaths of shaded
+roses.'
+
+  [Illustration: {Two women of the time of William and Mary}]
+
+The modern terms so vaguely used are shocking, and the descriptive
+names given to colours by dress-artists are horrible beyond
+belief--such as Watteau pink and elephant grey, not to speak of
+Sevres-blue cherries.
+
+However, the female mind delights in such jargon and hotch-potch.
+
+Let me be kind enough to translate our William and Mary fashion
+language. 'Weeds' is a term still in use in 'widow's weeds,' meaning
+the entire dress appearance of a woman. A 'figuretto gown looped and
+puffed with the monte-la-haut' is a gown of figured material gathered
+into loops over the petticoat and stiffened out with wires
+'monte-la-haut.' The 'echelle' is a stomacher laced with ribbons in
+rungs like a ladder. Her 'pinner' is her apron. The 'commode' is the
+wire frame over which the curls are arranged, piled up in high masses
+over the forehead. The 'top-not' is a large bow worn at the top of the
+commode; and the 'fontage' or 'tower' 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 'rayonne' is a cloth hood pinned in
+a circle. The 'meurtriers,' or murderers, are those twists in the hair
+which tie or unloose the arrangements of curls; and the
+'creve-coeurs' are the row of little forehead curls of the previous
+reign. A 'muffetee' is a little muff, and a 'chapeau-bras' 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.
+
+  [Illustration: {A woman of the time of William and Mary}]
+
+'Plumpers' were artificial arrangements for filling out the cheeks,
+and 'watchet' eyes are blue eyes.
+
+The ladies have changed a good deal by the middle of this reign: they
+have looped up the gown 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.
+
+  [Illustration: {Two hair arrangements and necklines for women}]
+
+Black pinners in silk with a deep frill are worn as well as the white
+lace and linen ones.
+
+  [Illustration: {A woman of the time of William and Mary}]
+
+The ladies wear short black capes of this stuff with a deep frill.
+
+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.
+
+Her sleeves are like a man'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.
+
+  [Illustration: A WOMAN OF THE TIME OF WILLIAM AND MARY (1689-1702)
+
+  Here you see the cap called the 'fontage,' the black silk apron, the
+  looped skirt, and the hair on the high frame called a 'commode.']
+
+  [Illustration: {A woman of the time of William and Mary}]
+
+  [Illustration: Country Folk.]
+
+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.
+
+Later in the reign there began a fashion for copying men'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's waistcoat fashions,
+carried sticks and little arm-hats--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.
+
+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.
+
+
+
+
+QUEEN ANNE
+
+    Reigned twelve years: 1702-1714.
+
+    Born 1665. Married, 1683, Prince George of Denmark.
+
+
+THE MEN AND WOMEN
+
+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--people were
+wearing powdered wigs, and were taking snuff, and were talking
+scandal, but it did not appeal so forcibly.
+
+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--they are very much 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.
+
+  [Illustration: {A man of the time of Anne}]
+
+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 long pigtail on the Ramillies wig is
+tied--that is over.
+
+  [Illustration: A MAN OF THE TIME OF QUEEN ANNE (1702-1714)
+
+  The coat has become still more full at the sides. The hat has a more
+  generous brim. Red heels in fashion.]
+
+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?
+
+  [Illustration: A Running Footman.]
+
+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 writing to
+Mr. Bickerstaff of the _Tatler_ to implore his aid.
+
+This is the list of the things she has missed--at least, as much of
+the list as my mind remembers as it travels back over the years:
+
+  [Illustration: {A woman of the time of Anne}]
+
+    A thick wadded Calico Wrapper.
+
+    A Musk-coloured Velvet Mantle lined with Squirrels'
+    Skins.
+
+    Eight night shifts, four pairs of stockings curiously
+    darned.
+
+    Six pairs of laced Shoes, new and old, with the heels of
+    half 2 inches higher than their fellows.
+
+    A quilted Petticoat of the largest size, and one of
+    Canvas, with whalebone hoops.
+
+    Three pairs of Stays boulstered below the left shoulder.
+    Two pairs of Hips of the newest fashion.
+
+    Six Roundabout Aprons, with Pockets, and four strip'd
+    Muslin night rails very little frayed.
+
+    A silver Cheese toaster with three tongues.
+
+    A silver Posnet to butter eggs.
+
+    A Bible bound in Shagreen, with guilt Leaves and Clasps,
+    never opened but once.
+
+    Two Leather Forehead Cloathes, three pair of oiled
+    Dogskin Gloves.
+
+    Two brand new Plumpers, three pair of fashionable
+    Eyebrows.
+
+    Adam and Eve in Bugle work, without Fig-leaves, upon
+    Canvas, curiously wrought with her Ladyship's own hand.
+
+    Bracelets of braided Hair, Pomander, and Seed Pearl.
+
+    A large old Purple Velvet Purse, embroidered, and
+    shutting with a spring, containing two Pictures in
+    Miniature, the Features visible.
+
+    A Silver gilt box for Cashu and Carraway Comfits to be
+    taken at long sermons.
+
+    A new Gold Repeating Watch made by a Frenchman.
+
+    Together with a Collection of Receipts to make Pastes
+    for the Hands, Pomatums, Lip Salves, White Pots, and
+    Water of Talk.
+
+Of these things one strikes the eye most curiously--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.
+
+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, but only two or
+three--at the waist--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--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.
+
+  [Illustration: {A man of the time of Anne}]
+
+  [Illustration: A WOMAN OF THE TIME OF QUEEN ANNE (1702-1714)
+
+  Notice that the fontage has become much lower, and the hoop of the
+  skirt has become enormous. The hair is more naturally dressed.]
+
+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
+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! 'But you have seen the new
+hoop?' 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.
+
+  [Illustration: {A woman of the time of Anne}]
+
+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--a wig of white hair drawn back 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.
+
+  [Illustration: {Ramillies wig; Black Steenkirk; a hat for men}]
+
+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, 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.
+
+There is another figure on the sampler--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'clock
+toilette, and at two cheapens fans at the Change.
+
+  [Illustration: {A woman of the time of Anne}]
+
+  [Illustration: {A woman of the time of Anne}]
+
+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
+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'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--'with a little knob at the upper end, and widening
+downward till it ends in a basis of a most enormous circumference.'
+
+To finish. I quite agree with Mr. Bickerstaff, when he mentions the
+great shoe-shop at the St. James'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.
+
+
+
+
+GEORGE THE FIRST
+
+    Reigned thirteen years: 1714-1727.
+
+    Born 1660. Married, 1682, Sophia of Brunswick.
+
+
+THE MEN AND WOMEN
+
+  [Illustration: {1720: A woman of the time of George I.; a shoe}]
+
+We cannot do better than open Thackeray, and put a finger on this
+passage:
+
+    'There is the Lion's Head, down whose jaws the
+    Spectator's own letters were passed; and over a great
+    banker'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 before him; or Mrs. Dinah in her sack,
+    tripping to chapel, her footboy carrying her ladyship'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).
+
+    '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--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's Majesty
+    himself is going to St. James's as we pass.'
+
+    _The Four Georges._
+
+  [Illustration: {A man of the time of George I.}]
+
+  [Illustration: {A woman of the time of George I.}]
+
+We find ourselves, very willingly, discussing the shoes of the King of
+France with a crowd of powdered beaux; those shoes the dandyism of
+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--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--patches, powder, paint,
+and smiles. Here a woman passes in a Nithsdale hood, covering her from
+head to foot--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.
+
+  [Illustration: A MAN OF THE TIME OF GEORGE I. (1714-1727)
+
+  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.]
+
+  [Illustration: {A hat; coat tails; a wig}]
+
+There is a curious sameness about the clean-shaven faces surmounted by
+white wigs; there is--if we believe the pictures--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's coats fall in full
+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--and narrow streets and mud.
+
+  [Illustration: {A man of the time of George I.}]
+
+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--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's men--a pickpocket, a highwayman, a cut-throat in hiding. He
+will repent his jokes on Jack Ketch'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 Jove, to a gorgeous young fop in a
+light-buttoned coat of sky-blue.
+
+  [Illustration: {A man of the time of George I.}]
+
+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--and always there is the beau looking on.
+
+  [Illustration: {A woman of the time of George I.}]
+
+Country ladies, still in small hoops, even in full 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--the lady'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.
+
+  [Illustration: {A man of the time of George I.}]
+
+'And what,' says country dame to country dame lately from town--'what
+is the mode in gentlemen's hair?' Her own goodman has an old periwig,
+very full, and a small bob for ordinary wear.
+
+  [Illustration: {A man of the time of George I.}]
+
+'The very full periwig is going out,' our lady assures her; '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.' So, with talk of flowered tabbies and
+fine lutestring, are the fashions passed on.
+
+  [Illustration: A WOMAN OF THE TIME OF GEORGE I. (1714-1727)
+
+  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.]
+
+  [Illustration: {A woman of the time of George I.}]
+
+Just as Sir Roger de Coverley nearly called a young lady in
+riding-dress 'sir,' because of the upper half of her body, so the
+ladies of this day might well be taken for 'sirs,' with their
+double-breasted riding-coats like the men, and their hair in a queue
+surmounted by a cocked hat.
+
+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's-eye hoods, bodices
+covered with gold lace and embroidered flowers--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.
+
+
+
+
+GEORGE THE SECOND
+
+    Reigned thirty-three years: 1727-1760.
+
+    Born 1683. Married, 1705, Caroline of Anspach.
+
+
+THE MEN
+
+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' enthusiasms,
+half-forgotten designs, names dependent on a twist, a lock, a careful
+disarrangement--pigeon'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's a world of dress for you by the grim
+humorist who painted Sarah Malcolm, the murderess, in her cell; who
+painted 'Taste in High Life.' Wigs! inexhaustible subject--wigs
+passing from father to son until they arrived 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--Grizzle Majors at
+twenty-five shillings, Great Tyes at a guinea, and Brown Bagwigs at
+fifteen shillings--quite a considerable saving might be made by the
+lucky lottery winner.
+
+  [Illustration: {Back view of a man's coat; seven types of hat for
+      men}]
+
+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--an endless crowd. Such a day for clothes, for patches, and
+politics, Tory side and Whig to your 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.
+
+  [Illustration: {1739: Two views of a coat for men}]
+
+  [Illustration: {A man of the time of George II.; a sleeve; a
+      waistcoat}]
+
+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--some will get small; then the fashions
+begin to run riot; by 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--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.
+
+  [Illustration: A MAN OF THE TIME OF GEORGE II. (1727-1760)
+
+  Notice the heavy cuffs, and the very full skirts of the coat. He
+  carries a _chapeau bras_ under his arm--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.]
+
+  [Illustration: {A man of the time of George II.}]
+
+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's hand emerging with his snuff-box from a
+filmy froth of white lace.
+
+  [Illustration: {A man of the time of George II.; a wig; breeches and
+      stockings}]
+
+In this era of costume--from George I. to George IV.--the great thing
+to remember is that the coat changes more than anything else; from
+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.'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--this often worn over a
+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.
+
+  [Illustration: {Four men of the time of George II.}]
+
+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.
+
+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.
+
+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
+resplendent morning gown richly laced, a morning cap, and very
+comfortable embroidered slippers, such mixtures of clothes in his
+wardrobe--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.
+
+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--as Thackeray says, so say I:
+'I should like to have seen the Folly,' he says, meaning Nash. '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.'
+
+It was the fashion to wear new clothes on the Queen's birthday, March
+1, and then the streets noted the loyal people who indulged their
+extravagance or pushed a new fashion on that day.
+
+Do not forget that no hard-and-fast rules can be laid down; a man'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--merely would I have you
+remember the essentials.
+
+  [Illustration: {A man of the time of George II.; four styles of hair
+      for men}]
+
+There was a deal of dressing up--the King, bless you, in a Turkish
+array at a masque--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 tapping
+the ground, all a-shepherding--what? Cupids, I suppose, little Dresden
+loves, little comfit-box jokes, little spiteful remarks about the
+Germans.
+
+  [Illustration: {1745: Two men of the time of George II.; 1758: Three
+      men of the time of George II.}]
+
+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.
+
+
+THE WOMEN
+
+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 _Bath Guide_:
+
+    'Bring, O bring thy essence-pot,
+    Amber, musk, and bergamot;
+    Eau de chipre, eau de luce,
+    Sanspareil, and citron juice.
+
+         *   *   *   *   *
+
+    In a band-box is contained
+    Painted lawns, and chequered shades,
+    Crape that's worn by love-lorn maids,
+    Watered tabbies, flowered brocades;
+    Straw-built hats, and bonnets green,
+    Catgut, gauzes, tippets, ruffs;
+    Fans and hoods, and feathered muffs,
+    Stomachers, and Paris nets,
+    Earrings, necklaces, aigrets,
+    Fringes, blouses, and mignionets;
+    Fine vermillion for the cheek,
+    Velvet patches a la grecque.
+    Come, but don't forget the gloves,
+    Which, with all the smiling loves,
+    Venus caught young Cupid picking
+    From the tender breast of chicken.'
+
+  [Illustration: A WOMAN OF THE TIME OF GEORGE II. (1727-1760)
+
+  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.]
+
+  [Illustration: {Three women of the time of George II.}]
+
+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 under-sleeve of linen with lace frills
+came half-way down the forearm, leaving bare arm and wrist to show.
+
+  [Illustration: {Four women of the time of George II.}]
+
+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.
+
+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.
+
+The lady's shoes would be high-heeled and pointed-toed, with a little
+buckle and strap.
+
+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 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.
+
+  [Illustration: {A woman of the time of George II.; four types of
+      shoe}]
+
+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.
+
+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--this would be a man'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 of their new
+uniform. So did the navy go into blue and white.
+
+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--these might be bought of Mrs. Holt, whose card
+Hogarth engraved, at the Two Olive Posts in the Broad part of the
+Strand.
+
+  [Illustration: {Two women of the time of George II.}]
+
+Seventeen hundred and fifty-five saw the 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--post-chaises, chairs and
+chairmen, even waggons, and this craze grew and grew, and hair
+grew--in wigs--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.
+
+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 under a tower of hair, but that waits for
+the next reign.
+
+One cannot do better than go to Hogarth's prints and
+pictures--wonderful records of this time--one picture especially,
+'Taste in High Life,' 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 'Noon'
+of the 'Four Parts of the Day' there are clothes again satirized.
+
+  [Illustration: {A woman of the time of George II.; a shawl}]
+
+I am trusting that the drawings will supply what my words have failed
+to picture, and I again--for the twenty-first time--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--patterns of the materials are obtainable, and Hogarth
+will give anything required in detail.
+
+
+
+
+GEORGE THE THIRD
+
+    Reigned sixty years: 1760-1820.
+
+    Born 1738. Married, 1761, Charlotte Sophia of
+    Mecklenburg-Strelitz.
+
+
+THE MEN AND WOMEN
+
+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.
+
+Details concerning this reign are so numerous: Fashion books, fashion
+articles in the _London Magazine_, the _St. James's Chronicle_, works
+innumerable on hair-dressing, tailors' patterns--these are easily
+within the reach of those who hunt the second-hand shops, or are
+within reasonable distance of a library.
+
+  [Illustration: A MAN OF THE TIME OF GEORGE III. (1760-1820)
+
+  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.]
+
+Following my drawings, you will see in the 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.
+
+  [Illustration: {Eleven types of head-dress for women; three types
+      of shoe}]
+
+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.
+
+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, 'Sixteen String Jack,' as he was
+called after this fashion, had been hung in this make of breeches.
+
+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.
+
+  [Illustration: A WOMAN OF THE TIME OF GEORGE III. (1760-1820)
+
+  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.]
+
+In the fifth drawing we see the double-breasted cut-away coat.
+
+Number six is but a further tail-coat design.
+
+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.
+
+A distinct change is shown in the eighth drawing of the long-tailed,
+full coat, the broad hat, the hair powdered, but not tied.
+
+Number nine is another example of the same style.
+
+The tenth drawing shows the kind of hat we associate with Napoleon,
+and, in fact, very Napoleonic garments.
+
+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--the top-hat, the shorter hair, the larger neckcloth,
+the pantaloons--forerunners of Brummell's invention--the open sleeve.
+
+  [Illustration: {Fourteen styles of hair and hats for men}]
+
+  [Illustration: A MAN OF THE TIME OF GEORGE III. (1760-1820)
+
+  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.]
+
+Number twelve shows us an ordinary gentleman in a coat and waistcoat,
+with square flaps, called dog's ears.
+
+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.
+
+The drawings of the women's dresses should also speak for themselves.
+You may watch the growth of the wig and the decline of the hoop--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 powder, laid on in a paste, the cleaning
+of which is too awful to give in full detail. 'Three weeks,' says my
+lady's hairdresser, 'is as long as a head can go well in the summer
+without being opened.'
+
+  [Illustration: {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.}]
+
+  [Illustration: A WOMAN OF THE TIME OF GEORGE III. (1760-1820)
+
+  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.]
+
+Then we go on to the absurd idea which came over womankind that it was
+most becoming to 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.
+
+Travel a little further and you have the mob cap.
+
+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.
+
+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.
+
+
+DRAWINGS TO ILLUSTRATE THE COSTUME OF THE REIGN OF GEORGE THE THIRD
+
+THE FIRST FORTY-EIGHT DRAWINGS BY THE AUTHOR, AND THE REMAINING TWELVE
+BY THE DIGHTONS, FATHER AND SON
+
+  [Illustration: {Four men}]
+
+  [Illustration: {Five men}]
+
+  [Illustration: {Four men}]
+
+  [Illustration: {Four men}]
+
+  [Illustration: {Four men and a boy}]
+
+  [Illustration: {A man and three women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: {Four women}]
+
+  [Illustration: The King.]
+
+  [Illustration: The Navy.]
+
+  [Illustration: The Army.]
+
+  [Illustration: Pensioners.]
+
+  [Illustration: The Church.]
+
+  [Illustration: The Law.]
+
+  [Illustration: The Stage.]
+
+  [Illustration: The Universities.]
+
+  [Illustration: The Country.]
+
+  [Illustration: The Duke of Norfolk.]
+
+  [Illustration: The City.]
+
+  [Illustration: The Duke of Queensberry.]
+
+
+
+
+GEORGE THE FOURTH
+
+    Reigned ten years: 1820-1830.
+
+    Born 1762. Married, 1795, Caroline of Brunswick.
+
+
+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--I was going to say clothes--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.
+
+Our wives--bless them!--occasionally treat us to a few bewildering
+terms, hoping by their gossamer knowledge to present to our gaze a
+mental picture of a new, adorable, ardently desired--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'
+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?
+
+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's servants. Your servant puffs her hair at the sides, and, hang
+it! she becomes exactly like an aristocrat. Our servant having dropped
+her _g's_ for many years as well as her _h's_, it behoved us to
+pronounce our _g's_ and our _h's_. Our servants having learned our
+English, it became necessary for us to drop our _g's_; we seem at
+present unwilling in the matter of the _h_, but that will come.
+
+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.'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.
+
+    'CUROSY REMARKS ON THE LAST NEW FASHIONS.
+
+    '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.
+
+    '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.
+
+    'Now, if those who chance to remain in London take a
+    day'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.
+
+    'No; those of the middle class belonging to _Cockney
+    Island_ 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.
+
+    '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.
+
+    '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
+    _poodle-like_ appearance of a wig.
+
+    'The bows of hair are elevated on the summit of the
+    head, and confined by a comb of tortoise-shell.
+
+    '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.
+
+    '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.
+
+    '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.
+
+    '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.
+
+    '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. 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.
+
+    'Gros de Naples dresses are very general, especially for
+    receiving dinner-parties, and for friendly evening
+    society.
+
+    '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, barege,
+    or thick embroidered tulle.
+
+    '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 belles so tardy in adopting those coverings,
+    which ought now to succeed to the light appendages of
+    summer costume.
+
+    'The muslin Canezon spencer, the silk fichu, and even
+    the lighter barege, are frequently the sole additions to
+    a high dress, or even to one but partially so.
+
+    '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, _a la Marie_, 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.
+
+    '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 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.
+
+    'The most admired colours are lavender, Esterhazy,
+    olive-green, lilac, marshmallow blossom, and Indian red.
+
+    'At rural fetes, 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, _ex bandeau_. In Paris the most admired
+    colours are ethereal-blue, Hortensia,
+    cameleopard-yellow, pink, grass-green, jonquil, and
+    Parma-violet.'--_September 1, 1827._
+
+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--'in the
+charming cottage style, modestly tied under the chin.'
+
+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--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.
+
+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, 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.
+
+
+POWDER AND PATCHES
+
+    'The affectation of a mole, to set off their beauty,
+    such as Venus had.'
+
+    'At the devill's shopps you buy
+    A dresse of powdered hayre.'
+
+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--all walking, riding, being carried in coaches, in
+sedan-chairs, over the face of 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.
+
+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--for one cannot see too clearly--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, 'Art de la Coiffure des Dames
+Francaises.' Behind him is a lady in an enormous hoop; her hair is
+dressed _a la belle Poule_; she is arguing some minute point of the
+disposition of patches with Monsieur Leonard, another artist in hair.
+'What will be the next wear?' she asks. 'A heart near the
+eye--_l'assassine_, eh? Or a star near the lips--_la friponne_? Must I
+wear a _galante_ on my cheek, an _enjouee_ in my dimple, or _la
+majestueuse_ on my forehead?' Before we can hear the reply another
+voice is raised, a guttural German voice; it is John Schnorr, the
+ironmaster of Erzgebinge. 'The feet stuck in it, I tell you,' he
+says--'actually stuck! I got from my saddle and looked at the ground.
+My horse had carried me on to what proved to be a mine of wealth.
+Hair-powder! I sold it in Dresden, in Leipsic; and then, at Meissen,
+what does Boettcher do but use my hair-powder to make white porcelain!'
+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.
+
+The dressy person and the person who is well dressed--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!
+
+See, there are the square-shouldered Tudors; there are the steel
+glints of Plantagenet armour; the Eastern-robed followers of Coeur
+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'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--the lady; in gold-laced wide
+coat, solitaire, bagwig, ruffles, and red heels--the gentleman. 'I
+protest, madam,' he is saying, 'but you flatter me vastly.' 'La, sir,'
+she replies, 'I am prodigiously truthful.'
+
+'And how are we to know that all this is true?' the critics ask,
+guarding the interest of the public. 'We see that your book is full of
+statements, and there are no, or few, authorities given for your
+studies. Where,' they ask, 'are the venerable anecdotes which are
+given a place in every respectable work on your subject?'
+
+To appease the appetites which are always hungry for skeletons, I give
+a short list of those books which have proved most useful:
+
+    MS. Cotton, Claudius, B. iv.
+
+    MS. Harl., 603. Psalter, English, eleventh century.
+
+    The Bayeaux Tapestry.
+
+    MS. Cotton, Tiberius, C. vi. Psalter.
+
+    MS. Trin. Coll., Camb., R. 17, 1. Illustrated by
+    Eadwine, a monk, 1130-1174.
+
+    MS. Harl. Roll, Y. vi.
+
+    MS. Harl., 5102.
+
+    Stothard's 'Monumental Effigies.'
+
+    MS. C. C. C., Camb., xvi.
+
+    MS. Cott., Nero, D. 1.
+
+    MS. Cott., Nero, C. iv. Full of drawings.
+
+    MS. Roy., 14, C. vii.
+
+    Lansdowne MS., British Museum.
+
+    Macklin's 'Monumental Brasses.'
+
+    _Journal of the Archaeological Association._
+
+    MS. Roy., 2, B. vii.
+
+    MS. Roy., 10, E. iv. Good marginal drawings.
+
+    The Loutrell Psalter. Invaluable for costume.
+
+    MS. Bodl. Misc., 264. 1338-1344. Very full of useful
+    drawings.
+
+    Dr. Furnivall's edition of the Ellesmere MS. of
+    Chaucer's 'Canterbury Tales.'
+
+    Boutell's 'Monumental Brasses.'
+
+    MS. Harl., 1819. Metrical history of the close of
+    Richard II.'s reign. Good drawings for costume.
+
+    MS. Harl., 1892.
+
+    MS. Harl., 2278.
+
+    Lydgate's 'Life of St. Edmund.'
+
+    MS. Roy., 15, E. vi. Fine miniatures.
+
+    The Bedford Missal, MS. Add., 18850.
+
+    MS. Harl., 2982. A Book of Hours. Many good drawings.
+
+    MS. Harl., 4425. The Romance of the Rose. Fine and
+    useful drawings.
+
+    MS. Lambeth, 265.
+
+    MS. Roy., 19, C. viii.
+
+    MS. Roy., 16, F. ii.
+
+    Turberville's 'Book of Falconrie' and 'Book of Hunting.'
+
+    Shaw's 'Dresses and Decorations.'
+
+    Jusserand's 'English Novel' and 'Wayfaring Life.' Very
+    excellent books, full of reproductions from illuminated
+    books, prints, and pictures.
+
+    The Shepherd's Calendar, 1579, British Museum.
+
+    Harding's 'Historical Portraits.'
+
+    Nichols's 'Progresses of Queen Elizabeth.'
+
+    Stubbes's 'Anatomie of Abuses,' 1583.
+
+    Braun's 'Civitates orbis terrarum.'
+
+    'Vestusta Monumenta.'
+
+    Hollar's 'Ornatus Muliebris Anglicanus.'
+
+    Hollar's 'Aula Veneris.'
+
+    Pepys's Diary.
+
+    Evelyn's Diary.
+
+    Tempest's 'Cries of London.' Fifty plates.
+
+    Atkinson's 'Costumes of Great Britain.'
+
+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 Archaeological
+Association have helped me enormously; these, with wills, wardrobe
+accounts, 'Satires' by Hall and others, 'Anatomies of Abuses,'
+broadsides, and other works on the same subject, French, German, and
+English, have made my task easier than it might have been.
+
+It was no use to spin out my list of manuscripts with the
+numbers--endless numbers--of those which proved dry ground, so I have
+given those only which have yielded a rich harvest.
+
+
+BEAU BRUMMELL AND CLOTHES
+
+    _'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,' and she
+    sunk her voice to a whisper, 'he is the celebrated Mr.
+    Brummell.'_--'Life of Beau Brummell,' Captain Jesse.
+
+Those who care to make the melancholy pilgrimage may see, in the
+Protestant Cemetery at Caen, the tomb of George Bryan Brummell. He
+died, at the age of sixty-two, in 1840.
+
+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.
+
+Place him beside the man who once pretended to be his friend, the man
+of whom Thackeray spoke so truly: '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'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.'
+
+Nothing! Thackeray is right; absolutely nothing remains of this King
+George of ours but a sale list of his wardrobe, a wardrobe which
+fetched L15,000 second-hand--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.
+
+He made clean linen and washing daily a part of English life.
+
+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'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 into it, arranges it,
+and stands aside. The collar nearly hides the Beau'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, 'an exquisite
+propriety.' His evening dress was a blue coat, white waistcoat, black
+trousers buttoned at the ankle--these were of his own invention, and
+one may say it was the wearing of them that made trousers more popular
+than knee-breeches--striped silk stockings, and a white stock.
+
+He was a man of perfect taste--of fastidious taste. On his tables lay
+books of all kinds in fine covers. Who would suspect it? but the
+Prince is leaning an arm on a copy of Ellis's 'Early English Metrical
+Romances.' The Beau is a rhymer, an elegant verse-maker. Here we see
+the paper-presser of Napoleon--I am flitting for the moment over some
+years, and see him in his room in Calais--here we notice his passion
+for buhl, his Sevres china painted with Court beauties.
+
+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 'exquisite propriety.'
+
+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?
+
+There are hundreds of anecdotes of Brummell which, despite those of
+the 'George, ring the bell' character, and those told of his heavy
+gaming, are more valuable as showing his wit, his cleanliness, his
+distaste of display--in fact, his 'exquisite propriety.'
+
+A Beau is hardly a possible figure to-day; we have so few
+personalities, and those we have are chiefly concerned with trade--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--the great gambler, the great men of the turf, the great
+prize-fighters, the heavy wine-drinkers--we have killed, also, the
+good, the classic, well-spoken civil gentleman. Our manners have
+suffered at the expense of our morals.
+
+Fifty or sixty years ago the world was full of great men, saying,
+writing, thinking, great things. To-day--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.
+
+George Brummell came into the world on June 7, 1778. He was a year or
+so late for the Macaroni 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.
+
+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.
+
+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'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.
+
+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' 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.
+
+Then an open carriage passes us swiftly as we stand with bared heads.
+There is a momentary sight of a man in uniform--a man with a wonderful
+face, clever, dignified, kind. And we say, with a catch in our voices:
+
+                      'THE KING--GOD BLESS HIM!'
+
+
+                               THE END
+
+
+        BILLING AND SONS, LTD., PRINTERS, GUILDFORD, ENGLAND
+
+
+
+
+      *      *      *      *      *
+
+
+
+Transcriber's note:
+
+Illustration captions in {curly brackets} have been added by the
+transcriber for the convenience of the reader.
+
+Hyphenation has been made consistent. Minor errors in punctuation have
+been corrected.
+
+The following items were noted by the transcriber:
+
+    Page 361--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.
+
+    Page 442--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.
+
+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:
+
+    Page 38 (plate facing)--whimple amended to wimple--"She
+    has a wimple in her hands which she may wind about her
+    head."
+
+    Page 52 (plate facing)--whimple amended to
+    wimple--"There is a chin-band to be seen passing under
+    the wimple; ..."
+
+    Page 54--Fontevfaud amended to Fontevraud--"The effigy
+    of the Queen at Fontevraud shows her dress ..."
+
+    Page 73--wode amended to woad--"... by staining
+    themselves blue with woad and yellow with ochre, ..."
+
+    Page 74 (plate facing)--whimple amended to wimple--"...
+    a plain cloak, a plain gown, and a wimple over the
+    head."
+
+    Page 82--kaleidscope amended to kaleidoscope--"... like
+    the symmetrical accidents of the kaleidoscope, ..."
+
+    Page 87--head-hankerchief amended to head-handkerchief--"...
+    as was the gown and head-handkerchief of his wife."
+
+    Page 92--repeated 'new' deleted--"... for, although men
+    followed the new mode, ladies adhered to their earlier
+    fashions."
+
+    Page 94--tieing amended to tying--"Every quaint thought
+    and invention for tying up this liripipe was used: ..."
+
+    Page 96--tow amended to two--"Then there were two
+    distinct forms of cape: ..."
+
+    Page 123--Ploughman amended to Plowman--"... William
+    Langland, or Piers the Plowman."
+
+    Page 142--Louttrell amended to Loutrell--"... together
+    with the artist of the Loutrell Psalter, ..."
+
+    Page 142--repeated 'British' removed--"... are cheap to
+    obtain and the British Museum is free to all."
+
+    Page 154--waistcoast amended to waistcoat--"Over his
+    tunic he wears a quilted waistcoat, ..."
+
+    Page 189--excresences amended to excrescences--"...
+    surmounted by minarets, towers, horns, excrescences of
+    every shape ..."
+
+    Page 247--Katharine amended to Katherine--"Married,
+    1509, Katherine of Aragon; ..." and "... 1540, Katherine
+    Howard; ..."
+
+    Page 259--martin amended to marten--"... to wear marten
+    or velvet trimming you must be worth over two hundred
+    marks a year."
+
+    Page 291--anp amended to and (typesetting error)--"How,
+    they and we ask, are breeches, ..."
+
+    Page 296--Nuserie amended to Nurserie--"'The Wits
+    Nurserie.'"
+
+    Page 305--underproper amended to underpropper--"First,
+    the lady put on her underpropper of wire ..." and "...
+    wore such a ruff as required an underpropper, ..."
+
+    Page 313--choses amended to chooses--"... and from these
+    the Queen chooses one."
+
+    Page 334--fardingle amended to fardingale--"... and
+    twirl her round until the Catherine-wheel fardingale is
+    a blurred circle, ..."
+
+    Page 337--Castille amended to Castile--"On another day
+    comes the news that the Constable of Castile ..."
+
+    Page 417--Macaronies amended to Macaronis--"... you may
+    tell yourself here is one of the new Macaronis, ..."
+
+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.
+
+
+
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