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diff --git a/42682-8.txt b/42682-8.txt deleted file mode 100644 index 8389df0..0000000 --- a/42682-8.txt +++ /dev/null @@ -1,12066 +0,0 @@ -The Project Gutenberg EBook of The Heritage of Dress, by Wilfred Mark Webb - -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: The Heritage of Dress - Being Notes on the History and Evolution of Clothes - -Author: Wilfred Mark Webb - -Release Date: May 10, 2013 [EBook #42682] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE HERITAGE OF DRESS *** - - - - -Produced by eagkw, Chris Curnow, Google Print and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - - - THE HERITAGE OF DRESS - - - - - [Illustration: VERY EARLY MAN IN JAVA. (_Chapter II._) - - _PLATE I._] - - - - - THE HERITAGE - OF DRESS - - BEING NOTES ON THE HISTORY - AND EVOLUTION OF CLOTHES - - BY - WILFRED MARK WEBB - - FELLOW OF THE LINNEAN SOCIETY OF LONDON - CURATOR OF ETON COLLEGE MUSEUM - - WITH ELEVEN PLATES - AND ONE HUNDRED AND SIXTY-NINE FIGURES IN THE TEXT - - LONDON - E. GRANT RICHARDS - 1907 - - - - - TO MY WIFE - HILDA E. WEBB - - - - -PREFACE - - -It would be difficult to find a subject of more universal interest than -that of dress, and hosts of books have been written which deal with the -attire that has been adopted at different times and by various nations -or social classes. The ornamental and artistic sides of the question -have also received much consideration, but the volumes that have -appeared serve chiefly as works of reference. The present book aims at -being of more immediate interest and usefulness; it starts with things -as they are, and is really a popular contribution to the natural history -of man. - -On all sides the advantages of observation and the need for the -nature-study method in education are being rightly urged, but there is -a tendency to narrow the purview. Anything in our environment is worthy -of notice, and though attention is well directed towards that which is -least artificial, we should not leave man and his works altogether on -one side. There is material for observation, research, and deduction, -even in a bowler hat and a cut-away coat. - -One of the pleasantest features in connection with the making of this -book has been the kind and ready help which I have received from all -sides. Here and there throughout the text the names of friends and -correspondents who have given their assistance have been mentioned. To -these I offer my hearty thanks, as well as to the following, who with -suggestions, information, or with material for illustrations, have -contributed in no small way to the interest of the book: Messrs. Fownes -Brothers & Company, Mr. Allan A. Hooke, Mr. W. S. Ward, Mr. Karl, of -Messrs. Nathan & Company, Messrs. Tress & Company, Messrs. Lincoln & -Bennett, Mr. M. D. Hill, the Rev. A. W. Upcott, Head Master of Christ's -Hospital, Miss Clark, Miss Hodgson, the Rev. R. Ashington Bullen, Mr. -Henry Miller, of the Church Association, Mr. Ravenscroft, of Messrs. Ede -Sons & Ravenscroft, Mr. Paley Baildon, Mr. George Hertslet, of the Lord -Chamberlain's Office, Messrs. Wilkinson & Company, Mr. C. M. Mühlberg, -Mr. W. S. Parker, of Messrs. Debenhams, Ltd., Capt. H. Trench, Major -J. W. Mallet, of the _Army and Navy Gazette_, Mr. Basil White, of -Messrs. Hawkes & Company, Mr. W. H. Jesson, Messrs. Souter & Company, -Mr. William Lawrence, Mr. Heather Bigg, Dr. J. Cantlie, and the Rt. Hon. -Viscountess Harberton. - -A glance at the bibliography, which is given on pages 363-7, will show -the principal books and papers to which reference has been made. - -In connection with the illustrations, special thanks must be given to -Monsieur Maurice Sand, the Editor of the _Review of the University of -Brussels_, for his kind permission to reproduce a number of the figures -used to illustrate a translation of Sir George Darwin's article. These -are Figures 14, 17, 18, 19, 21, 22, 23, 26, 27, 30, 31, 33, 46, 48, 62, -63, and 82. Acknowledgments are due to Mr. St. John Hope for Figures -86-8, to Messrs. A. & C. Black for Figures 123 and 124 and 132 and 133, -and to Messrs. Prewett & Co. for Figures 111 and 112. - -For the original of Plate II, I am indebted to the kindness of Captain -R. Ford, of Plate III to Mr. Henry Stevens; Plate IV has been taken from -a brass rubbing in Rugby School Museum, through the kind offices of Mr. -J. M. Hardwich. I have to thank Mr. R. Bamber for the original of Plate -VIII, which was obtained through his instrumentality. Figure B of Plate -IX was kindly contributed by the Rev. A. W. Upcott, Head Master of -Christ's Hospital, and Figures B and C on Plate X were copied from -Moseley's "Voyage of the 'Challenger,'" by the kind permission of Mr. -John Murray, while Figure D is due to the courtesy of General Robley. -Plate XI is reprinted from _The Reliquary_, by the kind permission of -Messrs. Bemrose and Sons, and the source of other illustrations is -acknowledged beneath them, while the classic collection of pictures -which were brought together by the late Mr. F. W. Fairholt to illustrate -his "Costume in England" has proved, as will be seen, of the utmost -service. - -In conclusion, I have much pleasure in calling attention to the time and -care which Mr. W. J. Webb has expended upon the figures, which are a -feature of the book; and I must mention the willing help which I have -been afforded in a number of details by Miss Amy Astbury and Mr. Bernard -Weaver. - - WILFRED MARK WEBB. - - ODSTOCK, HANWELL, - _November, 1907_. - - - - -CONTENTS - - - I - THE THRALL OF DRESS PAGE - The principles of evolution applied to clothes 1 - - II - THE ORIGIN OF DRESS 6 - - III - DEVELOPMENT OF THE MODERN COAT - The ancestral shawl--Problematical buttons 15 - - IV - BUTTONS AS CHRONICLES - Episodes in the later history of the coat and cuffs 25 - - V - COLLARS AND BANDS - Nicks in coat lapels--The why and wherefore of the white shirt - front 41 - - VI - VESTIGES IN THE HAT - How hats were evolved--Why plumes are on the left side--The - growth of the busby--Helmets and cocked hats 49 - - VII - SHOES AND STOCKINGS - Early foot-gear--The origin of the clock--A modern imitation of - tattooing--Gaily coloured garters 62 - - VIII - PETTICOATS AND TROUSERS - The belted plaid and kilt--Early skirts--The antiquity of - trousers--Trouser stripes 72 - - IX - COATS OF ARMS - Signet rings--Armorial bearings--Escutcheons--Crests--Badges 83 - - X - GLOVES AND MITTENS - Origin of the baby's glove--Fourchettes--The "points" on the - backs of gloves 94 - - XI - TAGS, PINS, AND BALDRICS - Laces--The evolution and vagaries of the safety-pin--Primitive - methods of carrying burdens as illustrated by muff-chains, - baldrics, and yokes 100 - - XII - ORNAMENTS - Primitive necklaces--Finger rings--The origin of the hair - comb--Buttons--Studs--Flowers--Feathers--Amulets 111 - - XIII - HAIR DRESSING - Head shaving--Wigs that are still worn--Roman curls and fringes 126 - - XIV - SPECIAL DRESSES - Fashions kept up by ceremonies--Survivals in special - costume--Flowing garments 135 - - XV - SERVANTS' DRESS - The prototypes of liveries--Reminiscences of George II and - George III--Origin of the page-boy's buttons--The jockey - cap--Aprons 139 - - XVI - COCKADES - The cockade a degenerated chaperon--The varieties of the - cockade--Cockade wearers 152 - - XVII - CHILDREN'S DRESS - Survivals in children's dress--Special school costumes--The - blue-coat boy--Public school boys--Adoption of special dress - at girls' schools 162 - - XVIII - WEDDING GARMENTS - The veil--Bridesmaids and bribery--Old shoes--Orange blossom 175 - - XIX - MOURNING - Colours associated with mourning--Widows' weeds--Perennial - mourning 181 - - XX - COSTUME CONNECTED WITH RELIGION - The surplice and "the cloth"--The civil origin of - vestments--Fine vestments--Processional vestments, so - called--Nuns' dress--The choker 184 - - XXI - SUNDAY CLOTHES - The significance of Sunday clothes--The wearing of hats in - church by ladies 205 - - XXII - ACADEMICAL DRESS - Gowns and hanging sleeves--The forerunner of the hood--The - origin of the doctor's hat--The evolution of the mortar-board 208 - - XXIII - LEGAL DRESS - Vestiges of the coif--Hoods and gowns--Signs of mourning 215 - - XXIV - STATE AND COURT ATTIRE - Coronation dress--Parliamentary robes--Mistakes in Court - dress--Vestiges of the wig and of the chaperon--Court cards 221 - - XXV - SURVIVALS IN MILITARY UNIFORMS - Armour--Prickers for flint locks--Forage cords--Reminiscences - of gallantry--Regimental badges--Courtship colours 233 - - XXVI - NAVAL UNIFORM - Supposed survivals--Petticoats and wide breeches 251 - - XXVII - THE COSTUME OF PUPPETS - Punch and Judy--Fashion dolls--Dolls in swaddling clothes--The - Egyptian "shabbies" 253 - - XXVIII - THE CLOWN AND PAINTING THE BODY - The clown's dress--Savage painting and survivals of - it--Tattooing--Patches and false complexions--Masks 269 - - XXIX - STAGE COSTUMES - The harlequin, pantaloon, columbine, and acrobat 282 - - XXX - NIGHTDRESS - Bands on nightgowns--Nightcaps--Night attire worn in the - streets 287 - - XXXI - THE DRESS OF ANIMALS - Natural representatives of clothes--Horse trappings--Amulets on - harness--Dogs' disguises--Fashions in the form of animals 291 - - XXXII - COLOUR - Importance of colour--Instinctive love of bright - hues--Desirability of coloured clothes and gay scenes--Colour - and complexion 305 - - XXXIII - PATTERNS - Ancient designs--Checks and tartans--Parti-coloured - clothes--Evolution of ornamentation 311 - - XXXIV - IMPRESSIONS TO BE GAINED FROM DRESS - Clues from clothes--Individuality not disguised by them--Modern - dress of other countries--Significance of clothes 315 - - XXXV - THE EFFECT OF CLOTHES UPON THE INDIVIDUAL - The origin of stays--Tight lacing no new thing--Its - effects--Mr. Heather Bigg on the need for support--The ideal - foot--Skull deformities--Padding 322 - - XXXVI - FURTHER EFFECTS OF CLOTHES ON THE INDIVIDUAL - Mental effects of different clothes--Preferences of girls for - certain articles of dress--Movements that depend upon the - presence or absence of clothes 339 - - XXXVII - THE RISE AND FALL OF FASHIONS - Reason why fashions are followed--Gay clothes seen when periods - of depression are over--Condemnation of fashions by the - clergy--Quakers--Sumptuary laws--The killing of fashions 343 - - XXXVIII - DRESS REFORM - Clothes to be avoided--Need for warmer garments--"Rational" - dress for women 354 - - CONCLUSION 362 - - BIBLIOGRAPHY 363 - - INDEX 369 - - - - -LIST OF PLATES - - - PLATE FACING PAGE - I. Very early man in Java. Illustrating the remarks in Chapter - II, pages 6 and 7 _Frontispiece_ - - II. A woman and a witch-doctor of Central Africa, showing the - part that ornaments may play even when clothing is of - the scantiest. (From a photograph by Captain Ford) 9 - - III. The silk vest worn by Charles I on the scaffold. - Illustrating the sleeved tunic opening for a short - distance down the front. (From a photograph by Mr. - Henry Stevens) 18 - - IV. Reproduction of a brass to John Brandon and his two wives - in the Church of St. Mary, King's Lynn. Date, 1364. On - the male figure, continuous rows of buttons run from - the wrist to the elbow of the under-vest. The women - wear the wimple and gorget or throat cloth 38 - - V. A Siamese Princess wearing trousers 81 - - VI. Two Padaung women, showing the numerous metal collars - which they wear round their necks 114 - - VII. Methods of hairdressing, illustrated by Romano-Egyptian - portrait models in the Myers Collection, Eton College - Museum. (From photographs by Wilfred Mark Webb) 129 - - VIII. A barge girl, showing the costume worn on the canals. - (From a photograph by Wakefield Brentford) 150 - - IX. Fig. A. The cap worn by the scholars of Christ's Hospital - until the middle of the nineteenth century. - - Fig. B. A scholar of Christ's Hospital. (By the courtesy - of the Rev. A. W. Upcott, M.A., Head Master of Christ's - Hospital) 167 - - X. Fig. A. The head of a clown, showing the painted face, the - ruff, and the Elizabethan method of doing the hair. - - Fig. B. The face of a Japanese actor (after Moseley, by - the courtesy of Mr. John Murray). - - Fig. C. The painted face of a paper figure which is burned - at Chinese funerals (after Moseley, by the courtesy of - Mr. John Murray). - - Fig. D. The tattooed head of a Moorish chief. (By the - courtesy of General Robley) 270 - - XI. Wooden stay busks. These incidentally show survivals of - primitive ornament. From _The Reliquary_, by kind - permission of Messrs. Bemrose & Sons, Ltd. 326 - - - - -LIST OF FIGURES - - - FIG. PAGE - - 1. Drawing of a woman engraved by a cave man 9 - - 2. Sketch showing the development of the tunic. In this stage - it has no arms 17 - - 3. Diagram showing the way in which a sleeved tunic is derived - from the shawl 18 - - 4. A smock frock 19 - - 5. Jacket of a woman, made in one piece. Bronze stage of - culture (after Worsaae) 19 - - 6. Man's dress showing buttons on the right side 20 - - 7. Woman's dress showing buttons on the left side 21 - - 8. Diagram showing how a man does up a button. First stage 23 - - 9. Diagram showing how a man does up a button. Second stage 23 - - 10. Diagram showing how a woman does up a button. First stage 23 - - 11. Diagram showing how a woman does up a button. Second stage 23 - - 12. The buttons on the back of a policeman's great-coat 26 - - 13. The buttons that close the slit up the back of an ulster 27 - - 14. A back view of a seventeenth-century coat showing the - buttons and buttonholes 28 - - 15. The tab and buttons on the back of a soldier's great-coat - which make a temporary waist 29 - - 16. The buttons and tab on a tramway driver's coat 31 - - 17. An eighteenth-century coat with side buttons and tab 31 - - 18. Side tabs and buttons at the back (after Racinet) 31 - - 19. A coat worn at the end of the seventeenth century (after H. - Bonnart) 32 - - 20. A modern coat with side pockets 32 - - 21. A footman's coat, modern, with vestigial pocket flaps 33 - - 22. Coat skirts buttoned back (after Hogarth) 33 - - 23. A coat with the skirts buttoned back and showing the lining 34 - - 24. A dress coat with skirts cut away 34 - - 25. A modern coat cuff with buttons 35 - - 26. Turned-back cuff, end of seventeenth century (after - Bonnart) 35 - - 27. A coat sleeve (after Hogarth) with horizontal row of - buttons 36 - - 28. Sleeve of a coat of the seventeenth century, reputed to - have been worn by Charles I 36 - - 29. The turned-back cuff of an overcoat, modern 37 - - 30. A sleeve with vertical buttons and a turned-back cuff as - well (from a uniform, after Hogarth) 37 - - 31. The uniform of a coastguard officer of 1775 (after Racinet) 39 - - 32. The nicks in the coat and waistcoat 41 - - 33. A stage when the nick was useful (Lucien Bonaparte, after - Paul Lacroix) 42 - - 34. The "toothpick" on a dress coat 43 - - 35. Modern bands 45 - - 36. A blue-coat boy's bands 45 - - 37. A chorister of Jesus College, Cambridge, showing the collar - worn until recently. (From a photograph, by the courtesy - of Mr. H. Austin Wheaton) 45 - - 38. A stage in the reduction of bands (portrait of Jan Steen - from the _Illustrated Magazine of Art_) 46 - - 39. Full-sized bands (portrait of John Pym from the - _Illustrated Magazine of Art_) 46 - - 40. A modern bandbox, now used for hats 47 - - 41. Bands that survive at the present day 47 - - 42. The turban of a Jewish priest (after Kitto) compared with - the dome of the Mosque of Omar 50 - - 43. A Siamese head-dress and a Pra Pang or votive spire (after - P. A. Thompson) 51 - - 44. A Gothic spire (St. Stephens, Caen) compared with the - hennin (the latter after Fairholt) 51 - - 45. Band with streamers fastening on the head-dress of an - Egyptian woman. From a figure of the Sixth Dynasty, - 3500 B.C. 52 - - 46. A lady's head-dress confined with a fillet, fourteenth - century (after Viollet le Duc) 52 - - 47. A sailor hat with band and streamers 53 - - 48. A twelfth-century head-dress with streamers, from a MS. - (after Viollet le Duc) 53 - - 49. A modern Scotch cap with streamers 54 - - 50. A mitre of the See of Durham showing the strings (after - Millington) 54 - - 51. Small vestigial bow of ribbon in a modern hat 55 - - 52. A hat with the remains of lacing 55 - - 53. A hunting hat with complete lacing inside 56 - - 54. A disc of leather 57 - - 55. The disc perforated and the lace inserted 57 - - 56. The lace tightened to form a crown 57 - - 57. The ends of the lace tied as a bow inside 57 - - 58. A bow fastened to the lining of a lady's hat 58 - - 59. Plumes on the left side 58 - - 60. The red Hungarian cap, which was the forerunner of the - busby 59 - - 61. A busby (of the Hon. Artillery Company) in which the cap is - a vestige only 59 - - 62. A fireman's helmet (of the ancient Greek type) 60 - - 63. Buttons so arranged that the broad brim of a hat can be - fastened to the crown, thus forming a temporary "cock" - (Hudibras, after Hogarth) 60 - - 64. A modern boot decorated with perforations made in the - leather 63 - - 65. An ornamented Roman shoe, of two thicknesses 63 - - 66. A Roman shoe of open-work leather 63 - - 67. A hide shoe of pre-Roman type from Ireland (after Fairholt) 64 - - 68. The original top boot with the upper part temporarily - turned down 65 - - 69. The modern top boot in which the upper part can no longer - be turned up 66 - - 70. Puttees 66 - - 71. Leg bandages of a royal personage at the end of the tenth - century (after Fairholt) 67 - - 72. A stocking with clocks 68 - - 73. An embroidered stocking showing the further evolution of - the clock (date 1900) 69 - - 74. An open-work stocking of 1905 69 - - 75. A shawl used as a kilt by a chieftain of Denmark in the - bronze stage of culture (after Worsaae) 73 - - 76. A simple dress in the form of a petticoat from an Egyptian - figure of the Sixth Dynasty (3500 B.C.), from the Myers - collection in Eton College Museum 74 - - 77. A Korean servant (after Hough) 75 - - 78. A short kilt 76 - - 79. A barbarian soldier wearing characteristic trousers (from a - diptych of St. Paul, after Marriott) 78 - - 80. A Saxon military man wearing wide trousers (from the - Harleian MS., No. 603, after Fairholt) 79 - - 81. A peasant woman of Champéry wearing trousers 80 - - 82. A German Hussar of 1808 81 - - 83. The crest on a modern signet ring 85 - - 84. Sir Geoffrey Loutterell and the ladies of his family, - showing the extent to which armorial bearings were worn - in the middle of the fourteenth century. From a psalter, - made for Sir Geoffrey (after Fairholt) 85 - - 85. The crest and surcoat of Henry, first Duke of Lancaster, - A.D. 1347. From the brass to Sir Hugh Hasting at Elsyng, - Norfolk (after Charles Boutell) 86 - - 86. The helmet and crest of the Black Prince. From "Vetusta - Monumenta" (after St. John Hope) 88 - - 87. The shield of the Black Prince. From "Vetusta Monumenta" - (after St. John Hope) 89 - - 88. The surcoat or jupon of the Black Prince. From "Vetusta - Monumenta" (after St. John Hope) 89 - - 89. The postilion of a Lord Mayor of London, wearing a crest - upon his cap, and a coat of arms upon his sleeve (copied - by permission from a plate published by the John - Williamson Co., Ltd.) 92 - - 90. A baby's glove without separate fingers 95 - - 91. The back of a woollen glove showing the three vestiges - known as "points" 96 - - 92. A modern kid glove showing the fourchettes or pieces - between the fingers, which form three pointed V's 97 - - 93. Queen Elizabeth's coronation glove, showing the stitching - carried down on to the back. (From a photograph by the - courtesy of Messrs. Fownes Brothers and Co.) 97 - - 94. The glove of Anne, Queen Consort of James I, showing the - embroidery on the fingers, which is the ancestor of the - modern "points." (From a photograph, by the courtesy of - Messrs. Fownes Brothers and Co.) 99 - - 95. A silk lace with simple metal tags 101 - - 96. Ornamental metal tags on a velvet neck ribbon 101 - - 97. A simple safety-pin 102 - - 98. An Etruscan brooch or fibula, resembling a safety-pin. (In - the collection of Major W. J. Myers in Eton College - Museum) 103 - - 99. The safety-pin in the waistband 103 - - 100. The safety-pin grown larger and used for fastening on a - hat 104 - - 101. A muff-chain 105 - - 102. A hawker, illustrating the primitive way of carrying a - burden 107 - - 103. A courier-bag supported by a baldric 107 - - 104. An ornamental baldric of the early fifteenth century. - (Royal MS. 15, D. 5, after Fairholt) 108 - - 105. A lady's dress, showing the part which is called a yoke, - and recalls a primitive method of carrying burdens 109 - - 106. A loom comb found in the Glastonbury lake dwellings (after - Boyd Dawkins) 118 - - 107. A modern comb for the hair 118 - - 108. Two studs of bronze, seen from above and from the side, - later Bronze Age (after Worsaae) 119 - - 109. The "flash" of five black ribbons on the collar of the - Welsh Fusiliers. A survival from the days of the pigtail 134 - - 110. The modern groom, showing the belt to which ladies clung - when riding on a pillion 140 - - 111. A footman in plush breeches and with powdered hair. His - "pouter" coat dates from the reign of George III. By the - courtesy of Messrs. F. T. Prewett and Co. 141 - - 112. A sheriff's coachman with the full-skirted coat of the - time of George II. By the courtesy of Messrs. Prewett and - Co. 142 - - 113. The wig-bag (a survival of the bag-wig) now seen on the - back of the collar of the Lord Mayor's coachman 143 - - 114. A modern page-boy's livery 145 - - 115. The Dutch skeleton dress, fashionable for boys in 1826 145 - - 116. The cockade known as the "large treble," representing a - survival of the chaperon 152 - - 117. A "treble cockade" covered with black cloth for mourning. - The concentric circles would appear to represent the - twisted liripipe of the chaperon 154 - - 118. Treble cockade used by Chelsea pensioners 155 - - 119. The Regent cockade 155 - - 120. Royal cockade for state occasions 155 - - 121. Ordinary Royal cockade 155 - - 122.{Two stages in the evolution of the chaperon. Combined - { hood and cape 156 - { - 123.{Enlargement of the peak of the hood to form the liripipe. - { (After Calthrop, by kind permission of Messrs. A. and - { C. Black) 156 - - 124.{Further development of the chaperon. Cape and liripipe - { made into a head-dress that can be altered at will 157 - { - 125.{A chaperon ready made up, in order to save trouble. - { (After Calthrop, by kind permission of Messrs. A. and - { C. Black) 157 - - 126. Dress worn by the girls at Coombe Hill School, Westerham. - It is a modification of the Dervish Djibah 172 - - 127. Dress worn by the girls at the Croft School, Betley, when - at work 173 - - 128. St. Gregory the Great with his father Gordianus, who was a - senator, on his right, and his mother Sylvia on his left. - This shows the similarity between ecclesiastical and - civil costume in early times. From an authentic picture - (after Marriott) 188 - - 129. A priest in the vestments now worn at the celebration of - the Eucharist 194 - - 130. The coat of arms of Thomas à Becket, showing an - archbishop's pall 198 - - 131. The head-dress of a nun showing the veil and breast-cloth - derived from the wimple, the cap which represents the - chin-cloth, together with the frontal and the hood 203 - - 132. The head-dress of a lady of the time of Henry II. The - wimple is shown covering the chin and head-bands (after - Calthrop) 203 - - 133. The chin-band and forehead strap after the wimple has been - removed (after Calthrop) 203 - - 134. Hanging sleeve of the fifteenth century 209 - - 135. The hanging sleeve of a Chancellor of Oxford University 211 - - 136. A college cap or trencher 214 - - 137. Cranmer's hat, illustrating a stage in the evolution of a - mortar-board (after Fairholt) 214 - - 138. The hat of a bishop of the Stuart Period showing a stage - at which the stiffening now seen in the mortar-board was - becoming necessary (after Fairholt) 214 - - 139. The wig of a modern judge 216 - - 140. The vestige of the coif from the wig of a serjeant-at-law 217 - - 141. A barrister's gown showing the vestigial hood and its - streamer. The buttons and braid which once temporarily - looped up the sleeves now fix it permanently 219 - - 142. A Yeoman of the Guard of the present reign 224 - - 143. The wig-bag or "flash" from a Court suit, showing the - rosette held away and displaying the black silk bag. At - the lower corners of the latter loops are seen, which are - probably the remains of those through which a ribbon was - passed, which went round the neck and fastened on the - breast by a brooch 229 - - 144. The hood from the mantle of a Knight of the Garter, - showing the survival of the chaperon and its liripipe 230 - - 145. Relic of chain mail on the shoulder of an Imperial Yeoman 233 - - 146. Chain mail illustrated by the brass of Sir Richard de - Trumpington, A.D. 1289 234 - - 147. A reversion in military equipment. One of Cromwell's - Ironsides (1679), from a print. A Cavalryman sketched at - Aldershot in 1901. Copied, by permission, from the _Daily - Mail_ 237 - - 148. The prickers on the shoulder-belt of a Hussar, which - survive from the time of flint-lock muskets 239 - - 149. The Oscan Pulicinella of 1731, without a long nose. The - dress is very similar to that figured in 1630 (after - Riccoboni) 256 - - 150. The Calabrian Giangurgolo of 1731, with the long nose. The - dress is very similar to that figured in 1630 (after - Riccoboni) 257 - - 151. An ancient bronze statuette with the face and features of - Punch (after Ficorroni) 258 - - 152. A fourteenth-century puppet-show (from the MS. of the - "Roman d'Alexandre") 259 - - 153. Punch, from the Punch and Judy Show, showing the ruff and - other details of Elizabethan costume 263 - - 154. Judy, from the Punch and Judy Show, with ruff, mob cap, - and apron 263 - - 155. The Beadle, from the Punch and Judy Show 264 - - 156. The Doctor, from the Punch and Judy Show, with wig and - white tie 264 - - 157. A clown, showing a survival of an Elizabethan costume 270 - - 158. The dress of a modern harlequin 284 - - 159. A pantaloon, showing an Elizabethan costume of which - Venetian breeches form part 285 - - 160. The bands that survive on a lady's nightdress 289 - - 161. A woman's nightcap, still worn in Wiltshire 289 - - 162. A man's nightcap, from Oxfordshire 290 - - 163. An English horse amulet in the form of a crescent. The - flat places near the tips of the horns are evidence that - the form is derived from two boars' tusks 294 - - 164. An English horse amulet showing both the heart and the sun 296 - - 165. The cowry-shell ornaments on the head of an officer's - charger of the 10th Hussars. The pendant recalls that on - mules in Palestine 298 - - 166. Cowry shells on an Eastern mule, hanging like the pendant - of the 10th Hussars 299 - - 167. Cowry shells on the head-stall of a camel from Palestine 299 - - 168. A Merveilleuse (after A. Robida) 345 - - 169. A modern family, consisting of the average-sized mother, - the taller daughter, and the puny boy (from a drawing by - Miss Audrey Watson in "Physical Efficiency," by Dr. - Cantlie, by kind permission of Messrs. Putnam's Sons) 357 - - - - -I - -THE THRALL OF DRESS - -THE PRINCIPLES OF EVOLUTION APPLIED TO CLOTHES - -_The numbers in the text refer to a bibliography at the end of the book_ - - -Unluckily, perhaps, we are born naked and helpless, but no sooner do we -come into the world than we are provided with body-guards in the shape -of clothes. In consequence, our social position is made manifest. Our -vanity is flattered at the same time that our modesty is assured. On the -other hand, however, our skin may be chafed, our hair worn away, and, -should our equipment strictly follow the dictates of the Goddess -Fashion, our bodies may even be deformed and our lives shortened. -Moreover, there are other penalties to be paid; we are kept warm in -summer as well as in winter, the purchase of our attire may entail -the spending of much money, while the mere donning and doffing of our -clothes gives rise to a prodigious waste of time. - -Even tramps have at intervals to replace the rags which cover them, and -while, for all practical purposes, every one else takes off his clothes -when going to bed and puts them on again when getting up, many of those -who are at work in the daytime "dress for dinner" in the evening. -Moreover, Society may demand a further expenditure of time on the part -of its members, and the rule may be laid down that the higher the -standing of a civilized individual, the more often does he change his -garments. In fact, more than one monarch, from the way in which he -appears in different uniforms at various functions which follow one -another in quick succession, has been likened to the now familiar -"lightning change artist" of the music-hall stage. - -It is thus quite clear that all of us are more or less under the thrall -of dress. Those, therefore, who find the position irksome, will gain -solace from the interesting investigations which can be made into the -origin and development of costume. Others, again, whose clothes already -find favour in their eyes, will enjoy looking at them from a different -point of view. - -As a matter of fact, our artificial coverings have become so much a part -of our life that one may perhaps be allowed to apply the methods of the -naturalist to their consideration, and deal with them as if they were -part and parcel of the creature which wears them. - -Darwin established beyond a doubt[1] that the plants and animals of -to-day are the direct descendants of older and often very different -forms, and it is the task and delight of the naturalist to trace their -genealogies. Most useful suggestions may be obtained from the small -vestiges that remain in the bodies of present-day creatures, of -structures which in early times were important and useful organs. - -For instance, if the skin be lifted from the head of a "slow worm" we -find a third eye, which tells us that once its ancestors, like the giant -Cyclops, were able to look out from the middle of their faces. - -Again, to take a case which applies to ourselves, and has a melancholy -interest for us, one might mention the vermiform appendix. This is a -remnant of a great sac which once was useful when our ancestors were -vegetarians; now it is worse than useless, for it is very liable to -become irritated and give rise to what is known as appendicitis. - -So long as a quarter of a century ago Sir George Darwin pointed out[2] -that the great theory of evolution established by his father could be -applied with much advantage to the study of dress, and it will be seen -as we proceed that not the least fascinating part of the subject are -vestiges similar to those which we have just described, and which have -often survived solely for ornamental reasons. - -Many of these are so familiar, that in running the eye in the ordinary -way over a man's usual costume, attention would not be drawn to them. -There is the band round the outside of his hat and the little bow -inside; the nick in the collar of his coat and the more or less useless -buttons on his sleeves and back; while we must not forget the curious -ornamentation on the toes of his boots, nor the crest on his signet -ring. - -When, however, an indication is given of the times and peoples to which -these trivialities can be made to carry us back, interest is aroused to -a remarkable degree. It can also be well maintained, for other clothes -present similar quaint survivals for investigation, while the evolution -of many individual garments is worth following, and special costumes -have been handed down to the present day, practically unchanged. - -Fortunately, the student of dress is in a much better position than -the naturalist proper. The evidence available when the history of an -organism in past ages is being unravelled, is very scanty in many cases. -Sometimes the fossil remains recovered from the earth are very perfect -and follow one another in unbroken succession, but they usually consist -merely of the hard parts of the creatures. The individual development of -an organism is also a help, but when the changes which have taken untold -ages to perfect, are repeated, as in the case of the chicken in the egg, -within the space of a few short weeks, it is not surprising that much is -left out and obscured. - -Man has existed in a civilized condition for a comparatively short time, -and there remain all kinds of records and illustrations, not to mention -actual clothes themselves, which can be consulted or examined. -Moreover, primitive men in almost every stage of culture are, or were -till quite lately, to be found somewhere in the world, and much can be -gleaned from them as to the origin and uses of costume. - -There is a point that may be borne in mind when seeking for curiosities -of clothing, and it is that the more special or ceremonial the occasion, -the more ancient or more primitive the costume which is worn. In this -connection also it may be mentioned that the dress of the master of one -generation may survive as that of the servant in another. - - - - -II - -THE ORIGIN OF DRESS - - Both he and his people were black as sloes - For the region they lived in was torrid, - And their principal clothes were a ring through the nose - And a patch of red paint on the forehead. - THOMAS HOOD THE YOUNGER. - - -In seeking the origin of dress we necessarily assume that once upon -a time our primitive ancestors did not wear any clothes at all. Even -nowadays, in our own country, at sports, in the ball-room, and on the -stage, the garments worn, or some of them, may be reduced to the minimum -that the rules of Society appear to demand. There are, moreover, two -reasons why very early man did not trouble to dress: first of all, he -was covered with hair like the majority of mammals; and, secondly, it is -more than probable that his home was within the tropics. (See Plate I., -Frontispiece.) The two ideas are quite compatible, for all the great -apes--chimpanzee, orang-utan, and gorilla--which are the nearest -relatives of man, have been found in the warmer regions of the world, -and are well supplied with hair. - -It has long been thought that the cradle of mankind is to be looked for -in the south of Asia, and it is a striking fact that of recent years the -bones of the earliest known creature that can with certainty be called -a man (_Pithecanthropus erectus_) were discovered in Java.[3] At the -same time it appears that _Pithecanthropus_, although it walked erect, -approximated more closely to the apes than does any more recent human -being, and in making a restoration of the type in question, one would -feel bound to endow it with a coat of hair. This has since been lost, -and, according to Darwin, owing to æsthetic reasons, the members of one -sex having chosen as mates those of the other who were the least hairy. - -Man also has found his way into most parts of the globe, but he has not -always acted with regard to dress in the same way in similar climates. -The problem, therefore, which we have set ourselves to solve, proves to -be less simple than it appeared at the outset, for great use may be made -of clothes in one cold country and not in another, while they may be -unknown in certain parts of the tropics, and adopted elsewhere within -their radius. - -Very often when it is sought to explain a matter, it is found that this -can be done in two or three different ways, and it is quite possible -that all of them may be correct. This fact may with advantage be borne -in mind when seeking for the reasons which lead to the adoption of -dress, for the first time, by any particular race. - -Perhaps it will help us if we pause for a moment to consider why clothes -are worn at the present day. There is no doubt but that in the case of -many garments their ornamental character, real or supposed, is the first -consideration. Others are chosen chiefly for protection and warmth, -while, as already indicated, the rest suffice to satisfy the claims of -modesty. Although the three reasons are now intimately combined, it is -practically certain that any one of them is sufficient to have led to -the adoption of clothes in the first place, and as if these were not -enough there may be other contributing, if not actual causes. - -We may now consider these matters in detail. It would seem from the -study of modern peoples, who are still in a very simple state of -civilization, as well as from one of the earliest drawings scratched -by the cave-men who were contemporary with the mammoth in France, that -ornaments are the most primitive part of dress. (See Figure 1 and Plate -II.) - -[Illustration: A WOMAN AND A WITCH DOCTOR OF CENTRAL AFRICA, SHEWING THE -PART THAT ORNAMENTS MAY PLAY EVEN WHEN CLOTHING IS OF THE SCANTIEST. - -(_From a photograph by Captain Ford._) - - _PLATE II._] - -Generally speaking, the more simple the race, the greater is its love of -ornament. The cave-man's sketch shows a woman who is devoid of clothing, -but who wears bracelets, while it is said that in the original a -necklace can be traced, though owing to an injury to the fragment of -bone on which the drawing was made, the head of the figure has been -lost. - -On the West Coast of Africa, where clothes are not a necessity owing -to the heat, bracelets are worn in such numbers by the native belles as -to cover a large part of the forearm, while anklets rise in succession -nearly to the knee. (See Plate II.) Again, in New Guinea the women of -some tribes who do not indulge in a single scrap of clothing, still wear -ornaments on their heads and round their necks. - -[Illustration: FIGURE 1.--Drawing of a woman engraved by a cave-man. - -(Modified from Wilson.)] - -There is, however, something to be advanced on behalf of savages that -cannot be said for white people who bedizen themselves with jewellery, -or bedeck themselves with the feathers of rare and beautiful birds. -Uncivilized people have no pockets nor safes in which to keep their -valuables, and it comes about that these take a form which permits them -to be worn on the person, so that many of the objects which take the -place of ornaments--such as teeth, shells, and beads--serve as the -currencies of their owners. Even now there are individuals of whom it is -said that they "put all their money on their backs," but, unfortunately -for them, it depreciates sadly in value, and cannot be turned to account -at a moment's notice. Furthermore, one naked warrior is very much like -another, and chiefs, in order that they may easily be identified, have -come to wear certain ornaments just as at the other extreme with regard -to covering, knights in full armour carried crests on their helmets and -other devices on their surcoats and shields. - -Clothes proper are of later origin, and, as we have already mentioned, -would only be adopted for protective purposes after man had lost the -greater part of his hairy covering. - -It is probable that this had happened before the earliest settlers -arrived in this country, although the cave-men made their drawings of -themselves in the nude, and it is contended that the marks on their -bodies are similar to those in the drawings of animals and are not mere -attempts at shading, but indicate the presence of hair. - -In the first place, man was a hunter pure and simple, and his clothes -were made from the hairy skins of his quarry. At the present time the -Eskimos are clothed in this way, and there is little doubt but that they -are the descendants of the cave-men, who made the striking drawings to -which we have already alluded. Their implements, stature, and so forth, -all point this way, and the fact that their clothes are merely adopted -as a protection against the weather, is shown by the fact that they -remove them altogether when in their huts. - -We have already said that it does not always follow that even when -the climate is cold, complete dress is brought into use. When H.M.S. -_Beagle_ visited South America, some of the Tierra del Fuegians -wore only an otter skin or some small scrap about as large as a -pocket-handkerchief. It was laced across the breast by strings, and -was shifted from side to side according to the direction of the wind. -Others, both men and women, wore nothing. One of the latter, who was -suckling a recently born child, came alongside the vessel in a canoe, -and stayed there, out of pure curiosity, while the sleet fell and thawed -on her naked bosom and on the bare body of her baby.[4] - -Some races can make very passable clothes by hammering the fibres from -the bark of trees into a kind of cloth, while when men took to husbandry -and cultivated plants that produce fibres, they learned also to spin and -weave materials from which to make their garments. The use of furs has -always survived to a greater or less extent, but it is interesting to -note that motoring has caused a return to primitive dress as regards -external garments, for in order to withstand the air which is met when -the car is in rapid movement, fur clothes and leather suits have been -introduced, the latter of course being not quite so old in type as the -former. It must not be forgotten at this point that climate is not the -only enemy that man has had to face, and that armour was a development -of dress, intended to preserve him from the onslaughts of his own -species. - -We have now noticed two ways in which clothes must have been brought -into use, namely, as adornments and for protection. We have still to -consider the third of the obvious reasons. Modesty is a habit, or one -might perhaps call it equally well a fashion, which is so widespread -that some have characterized it as being an instinct, and have stated -quite wrongly that it is universal. The most curious point with regard -to the matter is that very different ideas of modesty prevail in various -regions of the world, one part of the body being covered by some people -and another by others. Besides, it by no means follows that a naked race -is less chaste than one which is clothed. - -Although at the present day races exist where only the men cover -themselves, it is very likely that clothes worthy of the name were first -worn by women, for keen observers have pointed out that men dependent on -their skill and speed in the chase would hardly encumber themselves with -clothes, though having comely wives they might deem it advisable for -them to be protected from the public gaze. This idea is still carried -out in Eastern countries, where women cover even the greater part of -their faces, and are usually secluded in a harem. As bearing out, -however, what we have just said with regard to modesty, it may be -mentioned that the peasant women in Egypt are perfectly happy so long -as their faces and the backs of their heads are covered, and it is -considered even more shameful to expose the latter than the former. The -objection made not long ago to the appearance of English women in church -without hats may be remembered in this connection. - -Painting may often replace clothing, and members of races accustomed to -decorate their bodies in this way, are much ashamed if they are seen -unpainted. Tattooing also does away to a great extent with bareness, and -it is obvious that unclothed black men and women never present such a -naked appearance as do lighter-coloured races. In fact, a white man -who bathed with a number of coloured people likened himself and his -companions to an artificial, blanched, and sickly plant among its -healthy dark green fellows. - -Doubtless the hair of original man was coloured so as to match his -surroundings, and it seems likely that the tint of his skin was reddish. -We have now no need for protective colouration (except in war time), and -as we do not live in the tropics, we should gain no advantage from being -black; therefore pigment is but little developed in our skins, and it -has been suggested that clothes sometimes have been adopted by white -races for æsthetic reasons apart from their development from ordinary -ornaments. - -It seems possible, too, that man, upon realizing that he differed from -other animals in having no natural covering, set about to provide -himself with one. - -There is, however, another contributing cause which may have led to the -adoption of dress, and this depends on the action of women themselves. -They may put on clothes for reasons of coquetry just as on occasion they -may modify or discard them. For instance, fashion at a moment's notice -may obscure one part of the body that hitherto was obvious, and at the -same time emphasize the natural outlines of others which before were -hidden. Again, the bare necks and arms displayed in our ball-rooms -afford another case in point. - - - - -III - -DEVELOPMENT OF THE MODERN COAT - -THE ANCESTRAL SHAWL--PROBLEMATICAL BUTTONS - - -Now that we have considered the origin of dress as a whole, we may turn -with advantage to the evolution of individual garments. People are very -often pleased to allude to what are called the vagaries of fashion, but -it is curious to notice how little real change is made in costume at the -present time. The really useful characters are always retained, and our -modern clothes can be reduced to a very few types. A skirt is a skirt -whether it falls naturally, is held out all round with a hoop, or -crinoline, or is only supported behind by what at one time was known as -an "improver." And in the same way it may be said that trousers remain -trousers whether they have bell bottoms or are peg tops. - -Even types which we recognize as being quite distinct, are often so -closely related as to cause surprise when their family history is made -known. Although it constantly alters as regards details, which from a -constructional point of view are quite unimportant, woman's dress does -not seem to have varied to any very great extent. Consequently, there -are not quite so many curious features to be seen as in the ordinary -clothes or uniforms of men. On the other hand, however, we may with -greater reason hope to find that some primitive characters have survived -until the present day. - -No article of clothing could well be simpler than the shawl, and though -there is an art in its arrangement, the only point in its structure that -would appear to invite attention is the presence of a fringe on only two -sides. This seems to be a small matter, but it takes us straight back -to the time when men had ceased to be hunters merely, and having become -agriculturists had learned, as we have already indicated, to weave -fibres with the help of simple looms. From the cloth thus made clothes -were constructed, though skins continued to be used as outer mantles. -When the stuff was taken from these early looms, the threads of the warp -were left hanging from two opposite edges, and the fringe that we have -now on our shawls is a direct survival of this accidental occurrence. - -There seems not the slightest doubt but that we can trace the coat from -the shawl. A simple improvement in the latter is to join two edges of -the shawl together and make a tunic. Such a tubular garment was used in -Greece, and, with some slight modifications, is worn by Egyptian women -to-day. It came up to the armpits, was gathered up on to each shoulder -and fastened with two brooches. (Figure 2.) - -[Illustration: FIG. 2.--Sketch showing the development of the tunic. In -this stage it has no arms.] - -The next stage in development would be a sleeved tunic, and how easily -this could be derived from a shawl can be seen by putting a narrow one -over the shoulders and lifting up the arms as shown in Figure 3. The -material has only to be sewn together under the arms, and if necessary -cut into shape. - -[Illustration: FIG. 3.--Diagram showing the way in which a sleeved tunic -is derived from the shawl.] - -If the front be not sewn up, we get the coat as we know it; if the edges -be joined along half their length or more, then we have a sleeved tunic, -a shirt, or vest (see Plate III). The smock-frock (see Figure 4) and -gown are more voluminous, while the jersey is short again, and has only -a small opening at the neck. An interesting garment is found among the -costumes of the Bronze Age chieftains of Denmark and their wives, -which have been preserved in the oak coffins of these people, owing to -the action of tannin from the wood which has preserved the woven -material.[5] The article in question belonged to one of the women, -and though the front edges are joined for a short distance, it is -practically a jacket. The sleeves are made all in one piece, and the -garment is very nearly as highly evolved as the Cardigan jacket, which -it very much resembles. (See Figure 5.) - -[Illustration: THE SILK VEST WORN BY CHARLES I ON THE SCAFFOLD. -ILLUSTRATING THE SLEEVED TUNIC OPENING FOR A SHORT DISTANCE DOWN THE -FRONT. - -(_From a photograph by Mr. Henry Stevens._) - - _PLATE III._] - -[Illustration: FIG. 4.--A smock frock.] - -[Illustration: FIG. 5.--Jacket of a woman, made in one piece. Bronze -stage of culture (after Worsaae).] - -It is by this time clear, that several important garments are the -descendants of the shawl, which is still used by men in the British -Isles under the title of the plaid, or maud. - -[Illustration: FIG. 6.--Man's dress showing buttons on the right side.] - -Though differing, of course, in detail, the upper garments of men and -women agree in general construction. One of the points alluded to is -worthy of mention, namely, that the buttons on a man's coat are on -the right side and the buttonholes on his left, while in the case of -women's attire the exact opposite is found--at least, so far as one can -ascertain--in European countries. In the East, the little knobs which -are passed through loops and take the place of buttons, may in the -women's dress be on the right side, and in other Asiatic costumes the -same thing holds good. In connection with this peculiarity, it may be -pointed out that men and women have different ways of doing up buttons. -The man takes hold of the button with his right hand, puts his left -thumb into the buttonhole and pushes the button against it. Then he -pulls the stuff over with his right forefinger and pushes the button -through with his right thumb while he guides it with his left. - -[Illustration: FIG. 7.--Woman's dress showing buttons on the left side.] - -The woman, on the other hand, puts her right thumb through the -buttonhole, takes hold of the button with the fingers of the same hand, -and finally, if the other hand is at liberty, brings it up to finish the -process. (See Figures 6 to 11.) - -To explain the difference in the position of the buttons is not by any -means easy. In the correspondence which has arisen out of lectures which -the writer has given on the evolution of dress, it has, in the first -place, been suggested that the arrangement of his clothing permitted a -man to thrust his right and fighting arm into his jacket in order to -keep it warm. This explanation, of course, does not account for the -variation in the case of women. - -Dr. Lyman, of Baltimore, has submitted the theory that a man wearing -a loose cloak, toga, or plaid, would grasp it with the left hand and -thrust the left side over the right so as to leave the right-hand free -in order to hold a weapon or implement. A woman would grasp her attire -with her right hand, and push it over the left side and leave her left -arm unencumbered, wherewith to carry a child. It would, however, seem -more natural for the right side to be pulled over the left, but it is -unlikely that a man would fight in a loose cloak, and the toga was only -worn in times of peace. Moreover, the jacket, as we have seen, was -developed from the cloak through the tunic. A tunic was worn under the -toga, and as the only loose edge of the latter lies in the same way as -the buttonhole side of a man's coat, it is feasible that the edges of -the tunic beneath would for convenience be made to lap the same way. - - [Illustration: FIG. 8.--First stage. FIG. 9.--Second stage. - - Diagrams showing how a man does up a button.] - - [Illustration: FIG. 10.--First stage. FIG. 11.--Second stage. - - Diagrams showing how a woman does up a button.] - -To turn to women's dress, it is customary, as Dr. Lyman says, to carry -children on the left arm, and they are allowed to suck the left breast -to a greater extent than the other. The left side of a bodice could, if -the right lapped over it, be pulled back without exposing so much of the -person as if the reverse held good, and in the case of tightly-fitting -clothing, if the buttons have to be done up with the right hand alone, -the task is made easier. Another interesting little point of difference -between the clothes of the two sexes is, that while the buttons on a -man's wristbands are on the thumb side, those of a woman are on that -which corresponds with the little finger. This arrangement is no doubt -correlated with that previously discussed, but the reason for it is not -obvious. - - - - -IV - -BUTTONS AS CHRONICLES - -EPISODES IN THE LATER HISTORY OF THE COAT AND CUFFS - - -We have gained some insight into the development of garments as a whole, -and no doubt it is now obvious that the little details of construction -will prove by no means the least attractive part of our subject. It -has become customary to refer to a button as typifying something of -specially small account, though very often much may depend in practice -upon one of these despised articles. - -We have already shown that the mere position of a few buttons that are -still useful, may raise most curious points, and in the present chapter -we shall proceed to investigate some episodes in the later history of -the coat which have left their mark upon it, to a great extent in the -shape of useless buttons. This topic will be dealt with in some detail, -so that it may serve as a guide to those of our readers who may be -induced to undertake the fascinating study of survivals in dress. -Afterwards, the general survey of modern clothes will be continued, and -here and there lines of research will be indicated, while some problems -will be left for our readers to solve. In the second part of the book, -it is intended to deal with a certain number of costumes which have been -handed down to us as they are. - -[Illustration: FIG. 12.--The buttons on the back of a policeman's great -coat.] - -At the present time there are usually to be seen two buttons on the -back of civilians' coats, except in the case of lounge suits and dinner -jackets, and there may be four or more on the great coats of policemen -(see Figure 12) and on the tunics of some soldiers. The first question -which we will endeavour to answer is, Why are they there? The two upper -buttons in the case of uniforms are now used to support a belt, and -at first sight it looks as if they were originally intended for this -purpose. Their adoption in other cases might then be put down as a -survival from a time when civilians carried swords. Unfortunately for -this theory, it can be shown that the sword-belt was not necessarily -worn outside the coat (see Figures 18 and 19). - -We must therefore look round for further evidence, and we find that -those coats which bear the pair of buttons, have a slit up the middle -which gives rise to the skirts or tails. This arrangement carries us -back to the time when there were no railways and few conveyances; when -men commonly travelled on horseback and their whole attire was adapted -to this end, so that they were ready for the saddle at a moment's -notice. The division in the coat which we are considering, allowed one -tail to fall conveniently on each side of the horse after its rider had -mounted it. - -[Illustration: FIG. 13.--The buttons that close the slit up the back of -an ulster.] - -In long overcoats of to-day we find only a short slit, left for -convenience in walking (see Figure 13); but it has a special interest -for us, as in connection with it there are two or three buttons and -buttonholes, usually hidden, which allow of the opening being closed -up. - -Here, then, we have buttons on the back of the coat still serving a -useful purpose, and it is not at all difficult to trace the series of -fastenings back to a much longer one, which in the seventeenth century -was quite obvious. (See Figure 14.) - -[Illustration: FIG. 14.--A back view of a seventeenth-century coat -showing the buttons and buttonholes.] - -Each button and buttonhole was placed in the middle of similar pieces -of lace or embroidery, so that the sides of the coat were made to look -symmetrical. The object in view was the keeping of the skirts of the -coat together when the wearer was not on horseback. At the present day -the buttons have been duplicated and are on both sides of the coat, and -they are still sewn to ornamental pieces in the uniform of the Grenadier -Guards. The presence of the lower buttons on uniforms and coats is -therefore explained. It might be assumed that the topmost button had -also been doubled and raised above the slit, and that in this way we -have obtained the two ornaments on the back of our coats. - -[Illustration: FIG. 15.--The tab and buttons on the back of a soldier's -great coat which make a temporary waist.] - -Before accepting such a solution of the problem, however, it may be well -to see if the buttons may not have had another origin; and on looking -for some clue we find that two folds take their rise from the point -where the buttons are situated. These may be expected to throw some -light upon the question. The folds are now permanent, but on a -voluminous coat, such as still used by horse soldiers, they can be -produced temporarily (see Figure 15) by setting the two buttons further -apart and running a tab from one to the other. Sir George Darwin has -attempted to carry the history of these two buttons still further -back.[6] He has expressed the opinion that each is one of a pair that -originally kept in place a small tab at the side of the coat, and so -helped to produce a waist when required. (See Figures 17 and 18.) - -In some drawings of coats (see Figure 18) the side tabs and their -corresponding buttons are shown in addition to those on the back of the -coat. - -There is, however, evidence to show that the buttons were originally -on the sides of the coat, for they are so wide apart as to be to all -intents and purposes in that position, on the uniform overcoats of the -London Electric Tramway drivers. (See Figure 16.) - -They may well represent the topmost buttons of the lateral series, still -found on the overcoat of the members of the Corps of Commissionaires. In -this case there are three buttons on each side, of which the middle one -is used for fastening the side-pocket. - -[Illustration: FIG. 16.--The buttons and tab on a tramway driver's -coat.] - -[Illustration: FIG. 17.--An eighteenth-century coat with side buttons -and tab.] - -[Illustration: FIG. 18.--Side tabs and buttons at the back (after -Racinet).] - -It is worth while to consider side-pockets, which in their turn are -remnants of lateral openings which were made in coats at the end of -the seventeenth and the beginning of the following centuries. The -sword-handle conveniently protruded through the left-hand slit, which, -like its fellow, ran from the waist to the lower margin of the coat -or stopped half-way. (See Figures 18 and 19.) In the latter case, the -arrangement very much resembles the vertical pocket which has become -common again of recent years. (See Figure 20.) - -[Illustration: FIG. 19.--A coat worn at the end of the -seventeenth-century (after H. Bonnart).] - -[Illustration: FIG. 20.--A modern coat with side pockets.] - -Occasionally a tab, such as that to which reference has been made, -kept the parts of the coat together; but often there were buttons and -buttonholes, at least at the upper end of the openings. These survive -in several cases, such as in the overcoat of the commissionaire, while -the pocket is sometimes represented by a mere flap (see Figure 21) -ornamented with buttons as on the livery of certain footmen. - -[Illustration: FIG. 21.--A footman's coat, modern, with vestigial pocket -flaps.] - -[Illustration: FIG. 22.--Coat skirts buttoned back (after Hogarth).] - -To sum up the matter, the topmost pair of buttons has come from the -fastenings of the side slit and the lower ones from those of the back -slit. Buttons on the skirt behind have in the meantime had a very -intimate connection with the evolution of the "swallow-tail" coat -(see Figure 24). They were used to fasten the corners of the ordinary -riding-coat together, so that the linings should not be injured by the -sweat of the horses. (See Figure 22.) - -Mr. Deane Butcher tells me that he can remember this buttoning back -being done in the case of his uncle, when the latter rode to market or -to church; but in this case it was the two uppermost buttons which -were again brought into use. At dances the coats were also subjected -to similar treatment, and what at first was a temporary condition -afterwards became a permanent one. It is obvious that the turned-back -lining would often be of a different colour from the outside of the -coat, and facings on old uniforms, and in that of the present dress of -a lord-lieutenant (see Figure 23) are derived from the practice of -fastening the corners of the coat together. In the "swallow-tail" the -outer corners have been cut right away. (See Figure 24.) - -[Illustration: FIG. 23.--A coat with the skirts buttoned back and -showing the lining.] - -[Illustration: FIG. 24.--A dress coat with skirts cut away.] - -The buttons, in the interesting cases which we have described, have -been allowed to remain as part and parcel of our costume on account of -their decorative character, and in a great measure the same is true of -those on coat cuffs (see Figure 25). In many cases there are proper -buttonholes, and it is possible to undo the sleeve buttons; but -occasionally the arrangement has degenerated and the buttonholes are -imitations or only the buttons remain. - -[Illustration: FIG. 25.--A modern coat cuff with buttons.] - -[Illustration: FIG. 26.--Turned-back cuff, end of seventeenth century -(after Bonnart).] - -To find an explanation of this feature we shall have to go back again to -the seventeenth century, when so much was expended upon coats that it -became advisable to turn back the cuffs out of harm's way. To hold them -in position, series of buttons and buttonholes were devised, and just -as the turning back of the skirts was at first temporary and afterwards -came to be done once for all when the coat was made, so the turned-back -cuff grew into a permanent institution. In Figure 26 the buttons are one -above the other as in modern dress, but in the next two Figures (27 and -28) they are horizontal. - -[Illustration: FIG. 27.--A coat sleeve (after Hogarth) with a horizontal -row of buttons.] - -[Illustration: FIG. 28.--Sleeve of a coat of the seventeenth century, -reputed to have been worn by Charles I.] - -A survival of this arrangement can still be seen in the coat sleeves of -the higher clergy. In ordinary dress, the turned-back edge of the cuff -may now only be represented by a band of braid or a row of stitches; but -in soldiers' uniforms, an ornamented cuff persists which represents -in reality the lining of the sleeve. Again, the turned-back cuff is -actually present in the clothes of costermongers, and has been revived -on overcoats to a considerable extent during the last few years. (See -Figure 29.) - -As a rule, too, the vertical pocket already described accompanies the -turned-back cuff, as it did some centuries ago. (See Figure 20.) - -[Illustration: FIG. 29.--The turned-back cuff on an overcoat, modern.] - -[Illustration: FIG. 30.--A sleeve with vertical buttons and a -turned-back cuff as well (from a uniform, after Hogarth).] - -It must not be forgotten that buttons have long been used on narrow -sleeves. They are undone when the hand is to be pushed through the -cuff, and afterwards fastened for the sake of warmth or to give a neat -appearance. It is therefore possible that the ring of buttons is more -properly a survival of the time when cuffs were turned back to preserve -them, and that the vertical row is really of earlier origin. A uniform -represented by Hogarth (Figure 30) shows both the row of buttons and the -turned-back cuff, which seems to be quite independent of them. - -In this instance we may have the degenerated turned-back cuff and one -revived, shown together. Such a case, we need scarcely point out, could -hardly occur in the case of an animal structure, for if by a "throw -back" or "reversion to type" we get a vestigial character once more -fully reproduced, we cannot expect the original structure and the -vestige to be shown at the same time. - -The adoption of buttons more or less for ornament has long been -practised. John Brandon, who died in the year 1364, is shown on his -brass (in the church of St. Mary, King's Lynn) with no less than forty -buttons on the sleeves of his undervest, which has embroidered cuffs -and is buttoned to the elbow (see Plate IV). We shall, however, have -something more to say with regard to buttons from this and other points -of view as we proceed. - -[Illustration: REPRODUCTION OF A BRASS TO JOHN BRANDON AND HIS TWO -WIVES, IN THE CHURCH OF ST. MARY, KING'S LYNN. DATE 1364. ON THE MALE -FIGURE A CONTINUOUS ROW OF BUTTONS RUNS FROM THE WRIST TO THE ELBOW OF -THE UNDER VEST. THE WOMEN WEAR THE WIMPLE AND THE GORGET OR THROAT -CLOTH. - - _PLATE IV._] - -An interesting case of superfluous buttons on the front of clothes is to -be seen in the case of the short jackets of the postilions, belonging to -His Majesty the King. There is a useful row down the middle which closes -the garment, and two ornamental rows which start from each shoulder and -curve downwards towards the middle row. These are probably vestiges of -buttons that were once of use, and to seek an explanation it might be -well to study some uniforms of the past. We shall find that in the -eighteenth century it was customary to button back the revers of the -uniform coat, as in the case of the French coast-guard officer of 1775. -(See Figure 31.) - -Fashion afterwards decreed that the coats should be fastened again with -hooks, but the two rows of buttons remained. - -[Illustration: FIG. 31.--The uniform of a coast-guard officer of 1775 -(after Racinet).] - -In the coat of the postilion there is no trace of the revers which -showed the lining, and were consequently of a different colour from -the rest of the coat. We find, however, in the peculiar uniform of -the Lancers that there are the two side rows of buttons, to which is -fastened a red front. This appears to represent the two revers combined. -In the present year, 1907, a number of ladies' dresses are to be seen in -which the revers trimmed with a different material from the dress are -buttoned back against the latter. - -In some ceremonial dresses and uniforms there are cross stripes on the -breast (see Figure 61) which, it has been pointed out, represent series -of buttonholes which have become hypertrophied, and are now exaggerated -beyond recognition. The braid on the cuff of the London Scottish -Volunteers seems also to represent buttonholes. - -Such features as turned-back cuffs occur in women's clothes, and, as -we have seen, the arrangement of buttons may be copied from masculine -attire. In other cases buttons seem to appear which have, it would seem, -no hereditary right to their position; but it may be well, before -dismissing them, to see whether they have not a pedigree. We might cite -the case of the buttons that are sewn on to the frocks a little below -the knee. They are often at the head of a plait, and it would be worth -while to look into their history. - - - - -V - -COLLARS AND BANDS - -NICKS IN COAT LAPELS--THE WHY AND WHEREFORE OF THE WHITE SHIRT FRONT - - -Let us carry on our work of dissecting the clothes of a modern man, and -as we once more survey our subject, we may glance a little higher than -heretofore, until our eyes rest upon the collar of his coat. This -structure passes into the lapels, and at the point of junction there is -a curious nick which is repeated in the waistcoat if this be similarly -provided with lapels. (See Figure 32.) - -[Illustration: FIG. 32.--The nicks in the coat and waistcoat.] - -[Illustration: FIG. 33.--A stage when the nick was useful (Lucien -Bonaparte, after Paul Lacroix).] - -There is always a temptation to invent some interesting theory in order -to explain the origin of vestiges, and a penny paper, which hardly -boasts of scientific accuracy, not long ago informed its readers that -the slit in the coat lapel is the outcome of a "unique and beautiful -custom among the orthodox Jews," for in former days, when death visited -a Jew's household, he cut the lapel of his coat. It was undoubtedly a -custom of the Jews to rend their garments, but it does not, on the -face of it, seem likely that the practice would have influenced modern -costume. It would appear, however, that the slit in the lapel has a -much more prosaic origin, and owes its existence rather to a practical -requirement than to a sentimental observance. When the collar of a coat -is made to stand up, it is absolutely necessary that a piece should be -cut out of the cloth, or the lapel will not lie down. In the exaggerated -garment of which we give an illustration (see Figure 33) this need is -most manifest; but a moment's thought will show that the provision -must be made, even if the collar be small. A trifling experiment will -indicate that at the present day the cut is not usually made deep enough -to allow of the collar being turned up without disturbing the lapels. - -[Illustration: FIG. 34.--The "toothpick" on a dress coat.] - -Another remarkable variation is to be found in the collars of some dress -suits. A little point is left on the collar known to tailors as the -"toothpick," which runs across the nick into the lapel (see Figure 34). -This structure is probably a survival of some particular kind of collar. - -It might be pointed out here that the facings and collar that are of -silk or velvet represent the lining of the coat which came into view -when the collar was turned down and the lapels turned back. The case -is quite similar to that of the cuffs on uniforms, and to be quite -consistent, the whole coat should be lined with what is usually used now -only as a kind of trimming. - -It is but a short step from the features that we have been discussing, -to the linen collar and the shirt front. The cutting away of the outer -garment to bring the shirt into view is a relic of the time when only -those who were very well to do could afford to wear linen, and they -showed it, in order to indicate their social position, or at any rate -their financial resources. At the same time, the women cut their dresses -low so as to show their underlinen; and not content with this, they -further, at the end of the thirteenth century, slit their gowns from the -armpits to the hips. The openings thus made were laced across, so that -the linen garments beneath could easily be seen. - -The white shirt has long survived, and in spite of its depreciated value -has up to quite recently posed as a badge of respectability. Now at last -there are signs that its sway is over, and that soon it will come to be -only a garment of ceremony. - -The linen collar of to-day is quite a small affair compared with some of -its forerunners. An interesting relic is to be seen in the two little -linen flaps which we call bands (see Figure 35). These are still worn -by preachers in conjunction with the Geneva gown, by barristers, and -by Blue-coat boys (see Figure 36), and we can easily trace their -relationship to the collar. Until a few years ago the choristers at -Jesus College, Cambridge, wore a peculiar collar which ended in two -flaps much resembling bands, and the descent of this from the large -structures which were called falling bands is not difficult to trace. - -[Illustration: FIG. 35.--Modern bands.] - -[Illustration: FIG. 36.--A blue-coat boy's bands.] - -[Illustration: FIG. 37.--A chorister of Jesus College, Cambridge, -showing the collar worn until recently. - -(From a photograph by the courtesy of Mr. H. Austin Wheaton.)] - -The portrait of Jan Steen, which we reproduce, shows bands which are -less stiff and formal, but of ampler proportions. (See Figure 38.) - -Going a little further back, we find the collar that covered the -shoulders, such as Milton wore, and which is shown in our picture of -John Pym. (See Figure 39.) - -[Illustration: FIG. 38.--A stage in the reduction of the bands (portrait -of Jan Steen from the _Illustrated Magazine of Art_).] - -[Illustration: FIG. 39.--Full-sized bands (portrait of John Pym from the -_Illustrated Magazine of Art_).] - -At this point we may pause to recall a simple article which is known -as a bandbox, but which has been diverted from its original purpose of -holding bands, and is now commonly used as a receptacle for hats. Though -not itself part of dress, the bandbox furnishes an interesting instance -of adaptation to circumstances. It was well suited to contain articles -of dress other than those for which it was primarily intended, and -hence it has survived in the struggle for existence. (See Figure 40.) - -[Illustration: FIG. 40.--A modern bandbox, now used for hats.] - -[Illustration: FIG. 41.--Bands that survive at the present day.] - -We must not, however, jump to the conclusion that bands are now only -represented by vestiges, for they are still to be seen in their full -glory on very small boys (see Figure 41), and the writer recalls a lad -of fourteen or so who had reached the dignity of trousers who wore the -same kind of collar. As he also had a trencher, or in common parlance, a -"mortar-board," it is possible that he was not an isolated survival, but -belonged to some school which adopted a special costume. - -As linen collars are one of the articles of dress in regard to which -the wearer is allowed in a great measure to follow his own taste, it -is not surprising that a great many forms have from time to time been -invented. Quite a number are still to be seen here and there, while the -development of the more fashionable shapes one from the other would, in -itself, form a chapter in the Evolution of Dress. The clerical collar -may be singled out, as it fastens behind like the bands, though the -reason for this is not at all obvious. - -In recalling the great ruffs and expanded collars of Queen Elizabeth's -reign, one may be inclined to smile at the lengths to which a fad may be -carried, and the curious, not to say monstrous, structures that are its -culminations. These, like the huge creatures of bygone ages, die out, -but differ in this respect that they sometimes revive for a time. For -instance, only a few years have passed since the collars of ladies' -mantles stood up round the back of their heads; but as the collars -usually lacked the decoration and colour of the Elizabethan period, they -appeared as if they were intended merely to keep the draught from the -necks of their wearers, and they did not last for long. - - - - -VI - -VESTIGES IN THE HAT - -HOW HATS WERE EVOLVED--WHY PLUMES ARE ON THE LEFT SIDE--THE GROWTH OF -THE BUSBY--HELMETS AND COCKED HATS - - -Those who have written upon dress from an artistic point of view have -recognized that costume and architecture are affected by the same -influences. When we come to the hat, we find that its name is connected -with a building of a primitive character, namely, a hut. Mr. Allan -Poe Newcombe, an architect, some years ago pointed out the curious -resemblance which has existed, and is still to be found in many -countries, between headgear and habitations or other buildings.[7] -It may be that the cases which have been collected together are mere -coincidences, though it must be allowed that they are both numerous and -striking. It may be that the same taste, or lack of it, has given rise -to the similarity of style, or in the beginning, the designer of the hat -may have taken the hut as a model. - -In the Hawaiian Islands, long before the inhabitants troubled about -clothes, they built themselves grass houses, and at the present time the -characteristic Hawaiian hat is remarkably like the hut. The turbans of -Eastern Church dignitaries are still of the same shape as those worn -by the high priests among the Jews, and are remarkably like the -characteristic dome which surmounts a mosque. (See Figure 42.) - -[Illustration: FIG. 42.--The turban of a Jewish priest (after Kitto) -compared with the dome of the Mosque of Omar.] - -Looking about in other countries we shall find further instances that -support Mr. Newcombe's contention; our illustration of a Siamese -head-dress and building is a case in point. (See Figure 43.) - -Again going back into European history, we find that the high pointed -spires of Gothic churches were cotemporaneous with the high horn-like -head-dress known as the hennin (see Figure 44). It is claimed, moreover, -that like results will be found after a comparison of other styles of -architecture with the costume of the period in which they flourished. - -[Illustration: FIG. 43.--A Siamese head-dress and a Pra Pang or Votive -spire (after P.A. Thompson).] - -[Illustration: FIG. 44.--A Gothic spire (St. Stephen's, Caen) compared -with the hennin (the latter after Fairholt).] - -Leaving this suggestive line of research, and coming to hats as we have -them at the present day, we find that they offer several remarkable -vestiges for our consideration. First of all there is the hat-band -outside, which sometimes ends in two tails or streamers that hang from -the back of the hat (see Figure 47). From the bow usually present it -is evident that the hat-band was tied, and the streamers represent the -loose ends. As a matter of fact, primitively, a head-dress was made from -a piece of cloth, round which a fillet was tied so that it fitted the -head. In this connexion Figure 45 is most interesting. It represents -the back view of the head of the Egyptian woman of the Sixth Dynasty, -who is seen in Figure 76, and shows a head-dress which is confined with -a fillet that is tied at the back so as to make two tails. - -[Illustration: FIG. 45.--Band with streamers fastening on the head-dress -of an Egyptian woman. From a figure of the Sixth Dynasty, B.C. 3500.] - -[Illustration: FIG. 46.--A lady's head-dress confined with a fillet, -fourteenth century (after Viollet le Duc).] - -The modern Arab fastens his kefiyeh with a twist of camel's hair without -streamers, and the lady of the fourteenth century, shown in Figure 46, -has also an ordinary band. - -The child's sailor hat and the Scotch cap are among the modern head -coverings which retain the strings (Figure 49). A twelfth-century -head-dress shown in a manuscript (Figure 48) has a great similarity to -the Scotch cap, as the band forms a kind of binding to the article in -both cases, and there are streamers to both. - -[Illustration: FIG. 47.--A sailor hat with band and streamers.] - -[Illustration: FIG. 48.--A twelfth-century head-dress with streamers -from a MS. (after Viollet le Duc).] - -The strings or streamers are to be found in many other head coverings, -including the mitres of bishops (see Figure 50). The particular mitre -illustrated is that of the See of Durham, which is distinguished from -others in being plumed. - -[Illustration: FIG. 49.--A modern Scotch cap with streamers.] - -[Illustration: FIG. 50.--A mitre of the See of Durham showing the -strings (after Millington).] - -An interesting suggestion as to the origin of the slit in the top of the -mitre may be mentioned here. Head-dresses were used in very early times -which were in the form of a fish's head, and it has been thought that -the slit in the mitre, so distinctly shown in chess-men, represents the -fish's mouth. - -On looking at the inside of a modern hat, a little bow of silk ribbon -will usually be found at the back where the two edges of the leather -lining meet. Here, again, is a vestige. (See Figure 51.) - -[Illustration: FIG. 51.--Small vestigial bow of ribbon in a modern hat.] - -In some hats the ribbon does not simply make the bow, but it is threaded -through a greater or less number of holes in the leather, though now -fulfilling no useful purpose. (See Figure 52.) - -[Illustration: FIG. 52.--A hat with the remains of lacing.] - -In a hunting hat, however (see Figure 53), the lacing is continuous -round the hat, and the lining can be made to fit the wearer. It helps to -form a buffer, should the huntsman unfortunately fall on his head, and -it is claimed that many lives have been saved by this small detail. - -[Illustration: FIG. 53.--A hunting hat with complete lacing inside.] - -It may be gathered from the description that in times when hats could -not easily be got to fit their wearers, the lacing inside would be most -useful, as it ensured that the size could be adjusted. - -It is possible also that in the lacing we have a means by which a hat -was originally shaped, and that the lace is really a hat-band threaded -through the material of the head-dress instead of being tied round -outside. The first diagram on page 57 shows a flat piece of leather -cut into a circular form; the next shows it perforated and a lace put -through the openings; the third indicates how by tightening the string a -crown could be made to the hat. - -[Illustration: FIG. 54.--A disc of leather.] - -[Illustration: FIG. 55.--The disc perforated and the lace inserted.] - -[Illustration: FIG. 56.--The lace tightened to form a crown.] - -[Illustration: FIG. 57.--The ends of the lace tied as a bow inside.] - -In time, when the crown was made in different ways, it would be easy to -transfer the lacing to the lining as seen already in the hunting hat -(Figure 53). - -It is interesting to note that a small bow is also found inside ladies' -hats, and often used as a place on which to put the name of the maker. -(See Figure 58.) - -[Illustration: FIG. 58.--A bow fastened to the lining of a lady's hat.] - -[Illustration: FIG. 59.--Plumes on the left side.] - -Sir George Darwin has shown why plumes are, and used to be, on the left -side of a hat only. In the days when the feathers were particularly long -there was also plenty of fighting, and it only needs the attention to -be drawn to the point, to make one realize that if the plume had been -on the right side, it might often have got in the way of a sword and -thereby caused the overthrow or even death of its wearer. At the present -day in the army (see Figure 59), the plumes will be found on the left -side as in the days of cavaliers. - -Sir George Darwin[8] has traced the origin of the busby, and has -shown that the little red flap that hangs on the left side as a -useless appendage is really the original cap. Busbies were the special -attributes of the Hussars, who were originally Hungarian soldiers. It -is the peasant's cap of Hungary that is the forerunner of the military -head-dress which we are considering, and it consisted of a red cap of -cloth with a band of fur round the edge. As time went on, the fur on the -cap, which was adopted in the end by various regiments, became wider and -wider, and the original red cap got smaller and smaller until the form -of the modern busby was reached. In some cases even the flap already -mentioned has gone, though the fact that the top of the busby is made of -cloth instead of fur still points to its origin. (See Figures 60 and -61.) - -[Illustration: FIG. 60.--The red Hungarian cap, which was the forerunner -of the busby.] - -[Illustration: FIG. 61.--A busby (of the Honourable Artillery Company) -in which the cap is a vestige only.] - -Though we are not discussing armour at the moment, we may say while -speaking of military head-dresses that metal helmets are still in use in -a few regiments. The helmet also of the fireman deserves attention, as -it is practically of the same type as that worn by the ancient Greeks. -(See Figure 62.) - -[Illustration: FIG. 62.--A fireman's helmet (of the ancient Greek -type).] - -[Illustration: FIG. 63.--Buttons so arranged that the broad brim of a -hat can be fastened to the crown, thus forming a temporary "cock" -(Hudibras after Hogarth).] - -The cocked hat should also claim our attention, and it gives us -another instance of temporary alterations which have ultimately become -permanent. The picture of Hudibras shows an early stage in the history -of cocking. The strings which connect the brim of a bishop's tall hat -to the crown are evidently connected with this practice. In the modern -cocked hat more of the right side is turned up than of the left. -A little careful examination will render its development from the -broad-brimmed hat easily understood, while the representatives of the -hat-band and the details of the cocking will be soon discovered. - -The cock of the hat formed a convenient spot in which to fix an -ornament, and the name cockade has come to be applied to such an -addition, borne on the hat, as a mark to distinguish the wearer. - -The part which cockades have played in history is considerable, but as -they are now chiefly associated with the liveries of men-servants they -will be considered later on in the book. Before, however, we leave, for -the present, the subject of head coverings, we ought to mention that a -piece of woven material as primitively used without even a restraining -band, still survives in the shape of the small shawl which north-country -girls and women very generally wear over their heads. The head-dress of -the nun is another case in point, and recalls that in vogue in Tudor -times, while the sun-bonnet of the barge and market women, though more -highly developed, still consists to a considerable extent of simple -drapery. - - - - -VII - -SHOES AND STOCKINGS - -EARLY FOOT-GEAR--THE ORIGIN OF THE CLOCK--A MODERN IMITATION OF -TATTOOING--GAILY COLOURED GARTERS - - -Many persons still go barefoot, so that ancient as foot-gear may be, the -stage preceding its adoption is even now represented. Moreover, sandals, -which are very primitive, have been much in use of recent years, and -have especially been worn by children. - -If we turn to ordinary boots and shoes we shall not find many obvious -points about them which lead up to their history. Still we shall see in -the case of a large number that in places where one piece of leather -laps over another, it is perforated with rows of holes which form a kind -of simple ornamentation. (See Figure 64.) - -The perforations do not go through the boot or shoe, and in a Roman -example in the British Museum, which is much more highly decorated, -there are two thicknesses of leather, of which the outer one only is -pierced. (See Figure 65.) - -In many cases, however, the Roman shoe was truly of open work. It -consisted of but one thickness of leather, and from this, large pieces -were cut out so as to make a kind of lattice. Several examples of -this kind of shoe are exhibited at the British Museum, and we give an -illustration of one of these, which is in a very fair state of -preservation. (See Figure 66.) - -[Illustration: FIG. 64.--A modern boot decorated with perforations made -in the leather.] - -[Illustration: FIG. 65.--An ornamented Roman shoe, of two thicknesses.] - -[Illustration: FIG. 66.--A Roman shoe of open-work leather.] - -It seems very probable that the ornamentation on our modern shoes is -a survival of the open work which was in favour with the Romans, -especially as even then the apertures did not always expose the foot. In -pre-Roman times in this country there were perforations in some of the -shoes which were useful rather than ornamental, and one type (of which a -specimen figured by Fairholt is preserved by the Royal Irish Academy) -has survived until recently, if it is not to be found to-day, in -Scotland and Ireland. This shoe was made of raw hide (see Figure 67), -and the holes, it is said, were intended to allow the water to pass -through when the wearer was crossing morasses. An examination of the -figure will, however, show that the holes are really slits, and it would -appear that however useful they may have proved in the way described, -they were originally made for quite a different reason. - -[Illustration: FIG. 67.--A hide shoe of pre-Roman type from Ireland -(after Fairholt).] - -The most primitive kind of shoe would doubtless be a piece of hide -placed under the foot and brought up over the toes and round the heel. -It would make a rather unprepossessing bundle, and there would be -awkward puckers where the hide was gathered up. If the superfluous -material at the toe were cut away, we should have a slit in every case -where there had previously been a fold. This state of affairs is exactly -what is to be seen in the Irish shoe, where the strips of leather that -are left are held in place by a thong. In an ingenious way, apparently -with the help of the same lace, the difficulty of securing a fit at the -heel has also been got over. The result is a very neat shoe indeed, -though in reality it is only the original flat piece of hide. - -[Illustration: FIG. 68.--The original top boot with the upper part -temporarily turned down.] - -One of the most perfect instances of vestiges, as Sir George Darwin -points out, is afforded by top boots. In their original form, still to -be seen in our streets on sewer men, the boots were made to come above -the knee, but fashion decreed that the top should be turned back (see -Figure 68), and so it came about that the inside became visible, as did -also the tags, with the help of which the boots were pulled on. When the -outside of the boots was blacked it would form a distinct contrast to -the inside, which remained brown, and in modern top boots the difference -in colour has been in many cases greatly accentuated. Indeed, the upper -parts are made of different leather, and as ordinary coat cuffs are now -incapable of being turned down, the tops of the boots are immovable and -cannot be turned up. It is curious, however, that the tags at the sides -are still represented and sewn to the boot so as to be quite useless, -while new tags placed inside the boot now do their duty. (See Figure -69.) - -[Illustration: FIG. 69.--A modern top boot in which the upper part can -no longer be turned up.] - -[Illustration: FIG. 70.--Puttees.] - -Socks and stockings are, at the present time, the most usual coverings -for the lower parts of the legs, and there is at least one vestige which -remains in their structure that has an interest for us. Before we -consider this, however, we may look at another means of protecting the -lower extremities which tells of more primitive conditions. The leg -bandages so commonly worn by our regular soldiers and volunteers are the -case in point. (See Figure 70.) These appear to have been immediately -derived from the Indian Army, and their name--"puttees"--is evidence -of this; but such an arrangement is very widespread, and was that -generally adopted in this country in Anglo-Saxon times. Our illustration -is taken from an illuminated manuscript prepared for St. Aethelwold for -use at Winchester, which was completed between the years 963 and 964 -A.D. Bandaged stockings are common on representations of Anglo-Saxons, -but according to Fairholt the example given shows them to greater -advantage than does any other known. The figure in question is dressed -in royal costume, and the bandages, which are of gold, are fastened just -below the knee with a knot from which hang tassels. (See Figure 71.) - -[Illustration: FIG. 71.--Leg bandages of a royal personage at the end of -the tenth century (after Fairholt).] - -It has been thought that leg bandages were originally derived from the -haybands which peasants wrap round their legs, and the writer has seen -it stated that ostlers in this country still perpetuate the Anglo-Saxon -fashion, though he has never met with an actual instance. The pfiferari -who some years ago used to play on bagpipes and other primitive -instruments in our streets, wore leg bandages or loose linen stockings, -and these were cross-gartered with bands which held in place a simple -sandal made of a piece of leather. - -[Illustration: FIG. 72.--A stocking with clocks.] - -The vestige in modern stockings to which allusion has been made is very -often present, and takes the form of the ornament which we know as a -"clock." The name signifies a gusset, and in modern socks and so on, -which are woven or knitted all in one piece, no such arrangement is -to be found. Stockings, however, like those at first worn by Queen -Elizabeth, and used at least by American settlers until the year 1675, -were made up from pieces of cloth. In these there would be seams down -the sides, and it is possible that where the ornamental lines meet in -Figure 72 there may have been a gusset. In any case, it is evident that -the intention of the clock was to hide the side seams. - -Of recent years, when ladies have most sensibly adopted short skirts, -the clock has developed into a series of embroidered patterns which -cover the front of the foot and ankle. The parentage of these is quite -evident from the shape, which is shown in Figure 73. - -[Illustration: FIG. 73.--An embroidered stocking showing the further -evolution of the clock (date 1900).] - -[Illustration: FIG. 74.--An open-work stocking of 1905.] - -This ornamentation has been carried still further, though it is not -produced in the same way. The patterns, instead of being embroidered, -are the result of perforations, or, in more technical language, -"open-work," and the background which shows up the design is no longer -the material of the stockings, but the skin of their fair wearers. (See -Figure 74.) - -In many cases the stockings are dark in colour, and the effect of -tattooing is produced without the preliminary pain and inconvenience. We -have here an instance of the way in which the specially human instinct -of decorating the body persists, and at the same time a development of -the fashion for displaying, in the daytime under a thin veil of gauze or -lace, the necks and arms which since the time of our grandmothers have -only been allowed to appear uncovered in the evening. - -Leather stockings were once worn, for example, by William Penn, and they -and the leggings of to-day may be a direct survival from the time when -our ancestors, though still wearing skins, had learnt to dress them. -Leggings, as such, are possibly connected more closely with the -protection of man against man than with that of man against the weather, -and in that case their history is bound up with that of armour. Gaiters, -under the name of spatter-dashes, were originally part of a soldier's -uniform. To-day, when worn by civilians in ordinary dress, they are -quite short, and go by the contracted name of "spats." Pedestrians still -wear the full-sized gaiters in conjunction with knickerbockers, and -white gaiters are a feature of Highland regiments. - -Long Florentine hose, which practically took the place of trousers and -stockings together, are now represented by what are called "tights," -and are to be seen in the dress of acrobats. We shall allude to these -again. - -Garters when visible on men's legs become very ornamental, and one in -use now, merely as a decoration, gave its name to the celebrated Order -of Knighthood, among the insignia of which it is still to be found. -At the present day garters are hidden, and there is a tendency for -them to be replaced by more comfortable straps or "suspenders," but -those which ladies wear still retain their gaudy character. In this -connection an interesting ceremony may be mentioned, which is carried -in Haute-Vienne on the day of St. Eutropius. All the girls of the -neighbourhood troop to the church dedicated to the saint at St. -Junien-les-Gombes, and each damsel hangs her left garter on the cross -hard by, which becomes so smothered with garters of different colours -that when seen from a short distance it looks as if it were covered -with flowers. - - - - -VIII - -PETTICOATS AND TROUSERS - -THE BELTED PLAID AND KILT--EARLY SKIRTS--THE ANTIQUITY OF -TROUSERS--TROUSER STRIPES - - -We were at some pains to trace the evolution of the coat from the shawl, -and it is possible also to show that the petticoat, and through this -even trousers, have equal claims to the same ancestry. - -The plaid as we saw it in Chapter III is only a shawl, and at one time -in Scotland it was used as a covering for practically the whole of the -person. It was ingeniously disposed, and part of it was fastened by a -belt round the waist so as to form a kind of kilt or petticoat. Hence -arose the name of belted plaid. It seems to have needed a considerable -amount of practice to put on this garment properly, and the method -customarily adopted by the wearer was to spread the plaid on the ground -and, after duly arranging it in its proper folds, to lie down upon it -and fix it with the belt. Some races seem to have recognized very much -earlier that it would be more convenient to separate the kilt from the -upper garment. In fact, if we examine the woven garments which the -Danish chieftain wore under his deer-skin cloak, at a time before the -use of iron had spread to Western Europe, we find that round his loins -he had a small shawl held in place by a girdle. (See Figure 75.) - -[Illustration: FIG. 75.--A shawl used as a kilt by a chieftain of -Denmark in the bronze stage of culture (after Worsaae).] - -The next stage in the evolution of the petticoat would be characterized -by the permanent joining of the edges of the cloth, so that a garment -would be formed which resembled the lower part of the tubular tunic -which played its part in the evolution of the shirt or coat. Such a -state of affairs is to be seen in the simple skirt of the Danish -chieftainess whose bodice we have already described. (See page 18.) -Here the petticoat was not shaped in any way at the top, but was -gathered in round the waist and fastened as in the case of the man with -a girdle. - -[Illustration: FIG. 76.--A simple dress in the form of a petticoat from -an Egyptian figure of the Sixth Dynasty (3500 B.C.), from the Myers -collection in Eton College Museum.] - -In a warm climate it would be easy to dispense with a covering for the -upper part of the body, and one of the simplest dresses imaginable was -adopted in ancient Egypt. This costume is to be seen on the figure of a -woman belonging to the Sixth Dynasty (3500 B.C.), which we have already -mentioned when tracing the development of the hat-band and ribbons. (See -Figure 45.) In this instance there is a simple tight-fitting skirt -reaching to the waist or a little above it, which is supported by two -straps passing between the bare breasts and over the otherwise naked -shoulders. (See Figure 76.) - -[Illustration: FIG. 77.--A Korean servant (after Hough).] - -It seems certain, as in the original carving the woman is shown with a -burden on her head and in the act of driving a calf before her, that she -is a representative of the peasant class. In the Korea at the present -day, women of the lower orders, although they adopt a jacket which -covers their arms and shoulders, wear so short an one that as there is -no garment beneath it leaves their breasts quite bare. (See Figure 77.) -Such an arrangement would obviously facilitate the nursing of children, -and this fact has been advanced as the reason for its adoption. Still -it may be merely a fashion such as some women, at the other end of the -social scale, once adopted in our non-tropical country. In the time of -James I of England, the noble ladies, while they wore an exaggerated -ruff round their necks, nevertheless had their dresses cut away from -just below it almost to their waists. - -[Illustration: FIG. 78.--A short kilt.] - -The short kilt now worn in Scotland represents the lower part of the -belted plaid, and is in fact a petticoat and specially interesting, -seeing that it is a survival of this type as a man's garment. Of the -origin of the sporran which is worn in front of the kilt, little seems -to be known, and though it recalls to mind the time when men were -clothed in skins, it forms a pouch as well as an ornament, and possibly -also may have been useful as a protection. (See Figure 78.) - -Having once derived the petticoat, however, from the ancestral shawl, it -is a very simple matter to proceed and evolve a pair of trousers. As a -matter of fact, the Eastern women, when they fasten their petticoats -between their ankles for convenience in walking, demonstrate the first -stage in the production of bifurcated garments. - -A single row of stitches will give rise to a kind of divided skirt, -while two seams and a single cut made between, and parallel, to them, -will produce a pair of trousers. - -It would be strange if so simple a process, which under many conditions -results in such a great improvement, had not been put into practice -in very early times, and trousers, although they seem to typify the -ugliness of modern costume, are in reality surrounded by a halo -of antiquity. It is only right, however, to point out that these -tubular garments were in olden days not associated with the highest -civilization. The Romans, for instance, did not wear trousers, though -the nations whom they were pleased to call barbarians, did. Some of the -enemies of Rome are shown on Trajan's column wearing nether garments of -the kind most familiar to us, and our illustration is taken from the -representation of a barbarian soldier carved on an ivory diptych of St. -Paul. (See Figure 79.) - -[Illustration: FIG. 79.--A barbarian soldier wearing characteristic -trousers (from a diptych of St. Paul, after Marriott).] - -The kilt is sometimes called the garb of old Gaul, but one province of -the latter owes its name--Gallia Braccata--to the custom among its -inhabitants of wearing braccæ or breeches. In our own country trousers -were in vogue before the advent of the Roman conquerors, and though -for a time the dress of the invaders was adopted by those who followed -their fashions, we find that in the time of the Saxons and Normans the -barbarian style found favour once more. - -In the picture of a Saxon fighting man (see Figure 80), we see that he -wears trousers that somewhat recall those of the modern sailor, and -there seem to have been many different styles even in those early days. - -[Illustration: FIG. 80.--A Saxon military man wearing wide trousers -(from the Harleian MS., No. 603, after Fairholt).] - -During the course of our history, long trousers went out of fashion -for a very considerable period, though knee-breeches of various kinds -flourished from time to time, until recently, when the original and less -elegant garment once more triumphed and became part of the everyday -dress of men. Boys still wear knickerbockers in one stage of their -development, intermediate between the doffing of the petticoat and the -donning of the trouser, and there is a tendency, that does not diminish, -for the shorter garments to be used by men of all ages when they are not -occupied with formal business. - -[Illustration: FIG. 81.--A peasant woman of Champéry wearing trousers.] - -Trousers are often wrongly thought to be a modern invention, and it is -easy to go away with the idea that they are exclusively the attributes -of men. This is far from being the case, and as in Scotland we find the -petticoat still in use by men, so in France and Switzerland (see Figure -81) we see the peasant woman wearing trousers of the ordinary type, to -say nothing of Oriental countries like Persia and Siam (see Plate V), -where trousers form part of the dress of women even of the highest rank. - -[Illustration: A SIAMESE PRINCESS, SHEWING THE TROUSERS WORN BY WOMEN OF -HIGH RANK. - - _PLATE V._] - -We must not forget the energetic crusade which is being carried on in -this country in favour of "rational dress" for women, on lines which are -more sensible than those laid down by Mrs. Bloomer, whose name has been -immortalized in connection with divided garments for women. It is not -intended, at the moment, to enter into a discussion of the advantages -that may be gained by banishing the skirt, as we shall consider clothes, -from the point of view of their effect upon the body, in a later -chapter. Suffice it to say that the ugly clothes worn a few years ago -by lady bicyclists who, while adopting divided garments, tried to -make them look like a skirt, did much to hinder the "rational dress" -movement. - -[Illustration: FIG. 82.--A German Hussar of 1808.] - -There is one vestige in connection with trousers that we may mention -before leaving this subject, and that is the stripes which are to be -seen on many official dresses, and which have been adopted by some men -in their evening dress of recent years. It seems that this takes us back -to a row of buttons which were once used along the whole length of the -breeches when these were too tight for the foot to be put through them, -and in consequence they had to be undone and done up again along the -side of the leg. (See Figure 82.) - -There is little doubt but that the stripe represents a fold of cloth -that in some cases covered up these buttons. Just a few of such buttons -are still to be seen on riding breeches and those worn by liveried -servants. - - - - -IX - -COATS OF ARMS - -SIGNET RINGS--ARMORIAL BEARINGS--ESCUTCHEONS--CRESTS--BADGES - - -Before we deal with coverings for the hand, it will not be amiss to -consider something else which is worn on the fingers. Strictly speaking, -of course, rings should be reckoned as ornaments, but signet rings very -often bear upon them the crest or coat of arms of their wearer, and thus -we have still carried on the person at the present day, a small and -inconspicuous vestige of what were once most important articles of -costume. In fact, they had a significance as great if not greater than -any others, for when the face of their wearer was hidden by his helmet, -they told to those well versed in heraldry not only his name but his -lineage. - -The crest was worn on the helmet, and might or might not be one of the -devices or charges embroidered on the surcoat,--which was worn over the -armour--and emblazoned on the shield and elsewhere. - -At the present day, except in the case of ceremonial dress such as the -tabards of heralds, the only survivals are the crest and shield. The -devices on the latter are now called a coat of arms, as in olden times -they were, as already indicated, merely a repetition of those actually -worn on the dress or coat armour. - -Let us compare for a moment the first two figures which illustrate this -chapter. In the first (see Figure 83) we have a tiny device engraved on -a ring that is worn on the little finger of the left hand. In the second -(see Figure 84) we have Sir Geoffrey Loutterell mounted on his charger -in the act of receiving his helmet and shield from some of the ladies -belonging to his family. All of the figures and the horse are decorated -with armorial bearings. We wonder whether there could be a greater -contrast. The knight has what is really his surcoat on his back -displaying six martlets with a bend between them. The charges are -repeated on a small square shield on his shoulder called an ailette, -which was used apparently more as an ornament than as a protection, -though it is said that ailettes were originally intended as a defence -for the neck. Sir Geoffrey holds his helmet, on which, in the place of -the crest, we again see his armorial bearings. They appear again on the -pavon or small flag held by one of the ladies, and on the shield which -the other carries. We find the same devices repeated five times on the -trappings of his charger; and as if this were not enough, the ladies -also have the bearings on their dresses. In the case of Lady Loutterell, -who was the daughter of Sir Richard Sutton, there is shown also the -lion rampant borne by her father. - -[Illustration: FIG. 83.--The crest on a modern signet ring.] - -[Illustration: FIG. 84.--Sir Geoffrey Loutterell and the ladies of his -family, showing the extent to which armorial bearings were worn in the -middle of the fourteenth century. From a psalter, made for Sir Geoffrey -(after Fairholt).] - -We give another illustration taken from the effigy of Henry, the first -Duke of Lancaster, on a brass at Elsyng, in Norfolk. (See Figure 85.) -On this figure the surcoat is very well shown, and on it are emblazoned -the three lions (or leopards) of the Royal Arms of England. It is -interesting, too, owing to the label which differences the arms and -shows that the wearer was not the king himself. The label takes the form -of three vertical bars joined by a horizontal one, and is like that -which may be seen to-day on the Prince of Wales's banner in St. George's -Chapel at Windsor. In this illustration, too (Figure 85), the crest is -very well shown. - -[Illustration: FIG. 85.--The crest and surcoat of Henry, first Duke of -Lancaster, A.D. 1347. From the brass to Sir Hugh Hasting at Elsyng, -Norfolk (after Charles Boutell).] - -Armorial bearings are still used to a considerable extent in -architecture, but otherwise they are chiefly confined to notepaper, -carriage panels, and harness. Occasionally hatchments, or more properly -achievements, are put upon the fronts of the houses of important people -on the death of a member of the family, and afterwards transferred to -the church in which the body is buried. The hatchment consists of the -arms of the deceased person, painted on a lozenge-shaped field, which is -surrounded by a black frame, and if it indicates the death of a husband, -the right half of the field is sable (black), the left, argent (silver). -If it is a wife that is dead, the colours on the field are reversed. -When a widower, widow, or unmarried person dies, the whole of the field -is made black. - -In olden times the actual helmet, surcoat, and shield were carried at -the funeral, and in some instances these were deposited over the tomb of -the deceased. Examples survive to the present day, and one of the most -interesting cases is to be found in Canterbury Cathedral, where the -shield, helmet, and surcoat of Edward the Black Prince are still to -be seen. (See Figures 86, 87, and 88.) The Black Prince left most -careful instructions in his will with regard to his funeral, and the -accoutrements which we are able to figure through the kindness of the -Society of Antiquaries, were the "arms of war," as he called them, that -were to be carried at the ceremony. His "arms of peace" consisted of his -ostrich feather badge, of which we shall again speak. There are traces -on the crest and surcoat of a label to distinguish them, but this is -absent from the shield, though it occurs on the arms many times repeated -on the tomb, alternately with the feather badge already mentioned. - -[Illustration: FIG. 86.--The helmet and crest of the Black Prince. From -"Vetusta Monumenta" (after St. John Hope).] - -[Illustration: FIG. 87.--The shield of the Black Prince. From "Vetusta -Monumenta" (after St. John Hope).] - -[Illustration: FIG. 88.--The surcoat or jupon of the Black Prince. From -"Vetusta Monumenta" (after St. John Hope).] - -With the exception of the signet rings and the ceremonial dress, which -were alluded to at the beginning of the chapter, there are now but -few cases where armorial bearings are worn on the person. School and -college arms are embroidered on the breast pockets of blazers and on the -fronts of caps, while perhaps the most common instances are the devices -which we see on the buttons of servants. Whole coats of arms may appear, -but usually it is the crest of the master, which has now taken the place -of the household badge which the retainers wore in olden times. - -There is a difference generally between a crest and a badge, though in -some cases the badge was really a crest. This was so before armorial -bearings became hereditary, for the badge which the knight wore on his -helmet formed its crest. Afterwards the same device was handed down to -generation from generation. Individuals, possibly with a view of hiding -their identity, sometimes wore a special badge instead of their family -crest; but the badge as generally understood was, as has already been -indicated, worn by the retainers and was usually chosen by each head -of the family. The matter is further complicated, because badges were -sometimes hereditary and occasionally identical with the crest proper. - -It is of course only the hereditary badges which have survived to the -present day, and in only one or two cases are they apparently still used -as such, though occasionally they survive for other purposes. The Prince -of Wales's feathers we have already mentioned. They were not adopted by -the Black Prince for the reasons usually given in history, as there is -nothing to show that the King of the Bohemians ever wore them, and long -before his time an ostrich feather was often used as a royal badge in -England. - -On his carriage, the Marquis of Abergavenny wears his badges, a rose and -a portcullis, one on each side of his crest, and there are interesting -cases here and there of badges worn as part of a livery. The porters of -the Inner Temple wear the pascal lamb in silver. Watermen still have -badges on their arms, and not very long ago the private firemen of the -insurance companies wore badges bearing the sign of the company. When -speaking of signs, it is worthy of note that very many royal badges have -furnished signs for inns. We cannot go into details, but we may mention -the White Hart of Richard II, the Falcon and Fetterlock of Henry VII, -now degenerated into the hawk and buckle, and the Rose and Crown also -used by the Tudors. - -Those who chance to see the dress of our convicts will hardly be -inclined to associate it in any way with that of royalty. Yet it is -true, nevertheless, that the broad arrow which marks--we can hardly say -adorns--the garments of the penitentiary, is in reality a royal badge. -The broad arrow can be traced to an ancient symbol consisting of three -converging rods or rays of light used by the Druids, and it was adopted -by Edward III as his badge. The symbol was also worn by the Black -Prince and other Princes of Wales. As early as the year 1386 the broad -arrow was used in the Royal household, and from the beginning of the -eighteenth century onwards it was adopted as a mark for distinguishing -Government stores. - -[Illustration: FIG. 89.--The postilion of a Lord Mayor of London, -wearing a crest upon his cap, and a coat of arms upon his sleeve. -(Copied by permission from a plate published by the John Williamson Co., -Ltd.)] - -We may conclude our remarks upon this fascinating subject by alluding to -a case in which a crest is actually borne on the head. It will be seen -on looking at Figure 89, which represents the postilion of a Lord Mayor -of London, that he wears upon his jockey cap the actual crest of his -master, in the same way that in the days of chivalry the knights wore -their crests upon their helmets. On his sleeve also there is a full coat -of arms with helmet and crest, which takes the place of the badge, and -is similar to the instances which we have mentioned just above. - - - - -X - -GLOVES AND MITTENS - -ORIGIN OF THE BABY'S GLOVE--FOURCHETTES--THE "POINTS" ON THE BACKS OF -GLOVES - - -Gloves play a considerable part in our everyday life, and now exercise -a kind of mild tyranny over us. It is perhaps not to be wondered at, -seeing the importance which has been attached to these protectors of the -hand in the past. - -Records show that in the earliest gloves there were no divisions between -the fingers, and only the thumbs had a separate covering. This is what -one might have expected to be the case, and if we look at the gloves -which tiny babies wear (see Figure 90), we shall find a similar state of -affairs, so that here we have a direct survival from very early times. - -Such a case is on all fours with that of young animals which belong to -species that originally were spotted like the leopard, but which in -the course of their evolution have changed their spots, and are now, -like the lion, self-coloured. Among other animals which are spotted -when immature may be mentioned the wild boar and the tapir (see -Frontispiece). While these young ones are protected by their parents, -their primitive colouring is no detriment to them, but when they go out -into the world for themselves it would be disadvantageous under existing -conditions for them to retain their aboriginal markings. In a similar -way the baby wears the primitive glove, which its ancestors made shift -to use for purposes of warmth or protection, and the child continues to -do so until it is necessary or convenient for it to use its fingers to -help itself without removing its gloves. - -[Illustration: FIG. 90.--A baby's glove without separate fingers.] - -There is little doubt but that gloves are the products of a cold -climate, and it is interesting to note that in Iceland, where in order -that gloves may be put on quickly and easily they are made without -fingers; and what is more, so that no time shall be wasted in choosing -right or left-hand gloves, they are provided with two thumbs, one of -which is in use while the other remains idle. - -Of vestiges, gloves offer a very curious instance. There are on the -backs of most of them, at the present day, three lines of raised -embroidery or fancy stitching, which run almost parallel with one -another, though they converge slightly as they approach the wrist. When -these are worked in black on the back of a white woollen glove, for -instance, they are very conspicuous, and to explain their origin may -well seem puzzling. (See Figure 91.) - -[Illustration: FIG. 91.--The back of a woollen glove showing the three -vestiges known as "points."] - -Inquiry into the history of these most persistent ornaments is apt to -produce a fine crop of speculations. One explanation that may be offered -is that the lines are vestiges that date from the time when gloves were -so ill-fitting that they had to be laced up the back with the help of a -string which was passed through eyelet holes. On hearing this one might -be tempted to ask why there should be three ornaments and not one. -Another guess which can be more easily shown to be wrong is that we are -dealing with the remains of ventilation holes. We say "more easily" -because an examination of the facts will show that openings through -which air was intended to enter were made in the palm of the glove. - -[Illustration: FIG. 92.--A modern kid glove showing the fourchettes or -pieces between the fingers, which form three pointed V's.] - -[Illustration: FIG. 93.--Queen Elizabeth's coronation glove showing -the stitching carried down on to the back. (From a photograph by the -courtesy of Messrs. Fownes Brothers and Co.)] - -A third suggestion which may occur, is that the ornamentation is a -survival from the time when great men, particularly prelates, had -various devices and even jewels fixed to the back of their gloves. Once -more, however, we meet with the difficulty in the shape of the point -that there are always three of the marks. - -In making a careful investigation into the true origin of the vestiges -we can, on the one side, endeavour to see whether there is anything in -the form of the hand which can have given rise to the number three, -that is so constant; and on the other, whether the glove-makers have any -particular name for the marks which may throw some light upon them. In -connection with the first line of research, it will be seen on spreading -out the fingers that there are, if we ignore the thumb which has its -insertion lower down in the hand, three "V"-shaped openings between -them, and we find on taking up our second clue that the ornaments are -called "points." Now there is a point at the bottom of a "V," and this -is well seen in looking at a glove where the pieces or fourchettes which -form the insides of the fingers meet (see Figure 92); but if this is -evident in a modern glove, it is very much more so in old gloves. (See -Figure 93.) - -A result of this fact was that the stitching which made the fingers was -carried down for some distance on to the back of the glove, as seen in -Queen Elizabeth's coronation glove. (See Figure 93.) - -This stitching was and is often somewhat elaborate, and in some cases a -line of embroidery covered it. This is well seen in the glove of Anne, -the Queen Consort of James I (see Figure 94); and here it is noticeable -that the two lines of embroidery at the points of the three "V's" run -parallel and touching each other, so that we get a beginning of the -three "points" as we know them. With improvements in the making of the -fourchettes, the stitching terminated more abruptly, and the embroidery -was allowed to remain on the back of the glove, where it is still to be -seen. - -[Illustration: FIG. 94.--The glove of Anne, Queen Consort of James I, -showing the embroidery on the fingers, which is the ancestor of modern -"points." (From a photograph, by the courtesy of Messrs. Fownes Brothers -and Co.)] - -Some mention should perhaps be made of mittens. When they are used for -the purpose of keeping the hands warm, they are usually on the principle -of a baby's glove, but with the end of the thumb and part of the bag for -the fingers cut off. Otherwise, when these articles are used merely to -cover part of the hands, or for ornament, they are more elaborate, and -divisions are introduced for some distance between the fingers. In the -construction of these, as in that of stockings and other garments, we -meet with the modern tendency towards transparency. Often also the -patterns are dependent upon the skin showing through, and we are once -more reminded of tattooing. - - - - -XI - -TAGS, PINS, AND BALDRICS - - LACES--THE EVOLUTION AND VAGARIES OF THE SAFETY-PIN--PRIMITIVE - METHODS OF CARRYING BURDENS AS ILLUSTRATED BY MUFF-CHAINS, - BALDRICS, AND YOKES - - -During the course of their evolution many little appurtenances in -connection with dress go through a number of changes. Some of them, -which at first are useful, afterwards become ornamental. Others, which -have reached a stage in which they are both necessary and decorative, -may for a time be simplified and retain a practical importance only, -while at a later period they resume their ornamental character once -more. - -We have at the present day various laces which are provided with simple -metal tags, and which are as primitive as they very well can be. (See -Figure 95.) - -If we examine the dresses of both sexes in the sixteenth and seventeenth -centuries, we shall find that ties were used to a great extent instead -of buttons, and they were provided with metal tags of an ornamental -character called aiglets, or, more properly, aiguillettes. In many -cases the chief object of the ribbons which they adorned was that of -embellishment, for as many as a dozen or more might be found round one -knee. Sometimes the tags were in the form of little figures, and in the -"Taming of the Shrew" it is said of Petruchio that if you gave him gold -enough any one "might marry him to a puppet or an aglet-baby." - -[Illustration: FIG. 95.--A silk lace with simple metal tags.] - -[Illustration: FIG. 96.--Ornamental metal tags on a velvet neck ribbon.] - -Of recent years the velvet ribbons which ladies have worn round their -necks have been provided in like manner with little tags (see Figure -96), though the fashion does not seem to have developed again to any -very great extent. - -The safety-pin is an object which may well occupy our attention for a -moment. As we knew it when we were children, it was merely a piece of -wire that had been pointed at one end and bent into the required shape. -(See Figure 97.) - -[Illustration: FIG. 97.--A simple safety-pin.] - -The point was protected in a very simple manner, and the safety-pins -used for fastening hooks to curtains are still constructed in the same -way. Occasionally gold safety-pins of a plain and even ornamental -character were made and used as brooches by ladies for fastening -lace, or by men for securing their ties in the place of the straight -scarf-pins. It would seem therefore that a brooch is a development of -the safety-pin rather than the reverse; but if we study the brooches -or fibulæ of the Romans, we shall find that the pin, instead of being -hinged, was often made in one piece with the rest of the structure. -A coil or two in the metal acted as a spring, as in the case of the -safety-pin, and prevented breakage. We may even find an Etruscan fibula -of such simple construction (see Figure 98) that it is to all intents -and purposes a safety-pin. All sorts of devices have been invented for -the better protection of the points in modern safety-pins, as well -as for rendering the opening and closing more easy; but this is the -development which has taken place along practical lines. Such pins are -for use only, and are not intended to be seen. When, on the other hand, -safety-pins are not hidden, they retain their more simple character -as regards their fastenings, though they themselves again become -decorative, and are ornamented in various ways. We have therefore a very -good illustration of the evolution of one thing along two different -lines, and of the survival of the fittest types in each case. - -[Illustration: FIG. 98.--An Etruscan brooch or fibula, resembling a -safety-pin. (In the collection of Major W. J. Myers in Eton College -Museum.)] - -The ornamental safety-pin in recent years has changed its habits, and it -is interesting to note its vagaries. A little while ago its sphere of -action was extended, and instead of figuring under the chins of ladies -it took up a position in the back of their waistbands (see Figure 99), -where it occupied itself with the duty of keeping blouse and skirt -together. Then, as if this situation were not important enough, the -safety-pin migrated to the head and usurped the place of the straight -hat-pin (see Figure 100), just as in the case of men it has sometimes -ousted the tie-pin proper. - -[Illustration: FIG. 99.--The safety-pin in the waistband.] - -During the process which we have described the safety-pin has become -stronger and larger, until in the last stage it has grown almost out of -recognition. - -[Illustration: FIG. 100.--The safety-pin grown larger and used for -fastening on a hat.] - -Straight pins have developed along the same two lines, and we have the -strictly useful pin and tie- or hat-pins, which are often quite as -important as fastenings, but which may also be highly ornamental. These -small articles have a special claim to our attention, as they have been -taken as being emblematical of clothes, or at least of female attire. -Even now the allowance which a lady is given for dress is called -"pin-money." Moreover, it is possible to illustrate by means of pins -the various phases of culture through which mankind has passed in the -process of civilization. We meet with pins of bone, in the stage of -stone, before metals were used. In the stage characterized by bronze we -have pins made of this alloy. Such pins occurred in Egypt before the -historic period, and they have been found in the Swiss lake dwellings as -well as in our own country. - -[Illustration: FIG. 101.--A muff-chain.] - -Although we now live in the iron, or perhaps more correctly steel, stage -of culture, the familiar pin of to-day is still usually made of brass; -but nevertheless we find steel pins of the ordinary form which are -plated with brass, and glass-headed steel pins are very common. In early -times also gold, silver, and precious stones were pressed into service -for making ornamental pins, and very handsome pins are represented on -effigies of the fourteenth century in Westminster Abbey. These, no -doubt, have for their descendants the scarf-pins of to-day. - -[Illustration: FIG. 102.--A hawker, illustrating the primitive way of -carrying a burden.] - -[Illustration: FIG. 103.--A courier-bag supported by a baldric.] - -A muff-chain is a thing which is very often seen at the present day, and -this simple arrangement, coupled with the way in which it is worn (see -Figure 101), may lead us along a very interesting line of research, -which we may follow for a short time. If we look once again at the muff, -we shall see that it is supported by a chain which goes round the back -of the neck, allowing the muff to rest against the front of the body. -This is a primitive method of carrying a burden. Pedlars of old made use -of it, and it is still adopted by the hawker (see Figure 102), because, -if necessary, the hands can remain free, while a modification of the -same principle is seen when the strap takes the form of a baldric, and -passes over one shoulder and under the arm on the other side. In this -way travellers carry their courier-bags (see Figure 103), the school-boy -or girl supports his or her satchel, the fisherman his creel, and -the sportsman his field-glasses. To a baldric also was attached the -quiver of the archer, and sometimes such a band was merely worn as a -decoration. (See Figure 104.) In the illustration which we give, and -which is of the time of Henry V, the baldric is hung with bells like -those which were worn by horses. Possibly a survival of the ornamental -use of the baldric is to be seen in the ribbons of various orders and in -military sashes, though no doubt the bandoleer which carries the pouch -or cartridges of a modern soldier represents the useful baldric. It is -of interest to note that the red or blue cord worn over the cross-belts -of the Life Guards and Horse Guards is a survival of a cord by which the -horn containing powder for priming muskets used to be suspended. In this -connection we might also mention the leather sling of a rifle and the -strap by which the itinerant harpist, in common with the organ-grinder, -carries his instrument. - -[Illustration: FIG. 104.--An ornamental baldric of the early fifteenth -century. (Royal MSS. 15 D. 5, after Fairholt.)] - -The ordinary belt should not be overlooked, as from it many things, such -as weapons, may be suspended, not to mention pouches, which may carry -ammunition, flint and steel, and so on. - -[Illustration: FIG. 105.--A lady's dress, showing the part which is -called a yoke, and recalls a primitive method of carrying burdens.] - -Even more intimately connected with dress are pockets, and they may be -touched upon here, for they are intended for carrying small objects. We -have seen how the flaps of pockets which have become ornamental survive -after the pockets themselves have disappeared (see Figure 21), and it is -worthy of note that clothes in various countries lend themselves to the -transportation of commodities. It has been pointed out by Mr. Otis T. -Mason[9] that the Oriental, especially the Korean, has pockets in his -sleeves having the capacity of half a bushel; while the Turk and Arab -can stow an equal amount in the ample folds of their robes. The writer -also remembers hearing the account of a journey in Asia from a traveller -who, when riding in wide trousers fastened at the ankle, used to keep -all his clean linen in one trouser-leg and his dirty clothes in the -other. - -We are reminded by the name given to the upper part of a lady's dress, -namely, the yoke (see Figure 105), of another means of carrying burdens, -which still survives in London, where a few milk-women even now carry -round their pails on a yoke. Their costume, which includes a small shawl -and an apron, can be compared with that of the barge-girl, though the -picturesque sun-bonnet of the latter is lacking. - - - - -XII - -ORNAMENTS - - PRIMITIVE NECKLACES--FINGER-RINGS--THE ORIGIN OF THE HAIR - COMB--BUTTONS--STUDS--FLOWERS--FEATHERS--AMULETS - - -We have touched upon one or two objects which may have a decorative -character, but we now come to a consideration of ornaments themselves. -Roughly speaking, they owe their survival to one of two reasons: either -the deep-rooted instinct which exists in even the lowest races for -adorning their person, or, secondly, the adoption of various objects -which have been worn as charms or amulets. - -Dr. E. B. Tylor[10] has pointed out the tendency of higher civilization -to give up savage ornaments. Not the most primitive possibly, but -seemingly the most barbarous, are the ornaments which are fastened into -the body in special orifices which are pierced to receive them. It is -true that in this country we do not make holes in our lips for the -insertion of wooden plugs two or three inches across, and the only nose -ornaments which we see are on the faces of the Hindu ayahs who have come -over from India with their white nurselings; but still many among the -population pierce their ears for the reception of earrings. In the -higher social ranks ear-drops are now worn which do not require the ear -to be perforated for their reception; but among the lower orders--as, -for instance, those who live in canal-boats--the ears of men, women, and -children are still pierced. - -Of ornaments which can be attached to the person without injuring it -there are more in use, but they are practically confined in civilized -countries to the neck, arms, and head. Of those which are fastened to -clothes we will not for the moment speak. Beads, which at the moment of -writing seem to be greatly in fashion, or their representatives, take us -back to the very earliest men of whose work we have any knowledge. In -the caves where the Stone Age men of the mammoth period lived there have -been found periwinkle shells, which were bored to form bracelets or -necklaces, just as nowadays native tribes and æsthetic ladies still make -use of the more ornamental and beautiful exotic shells. The prehistoric -Egyptians who, it has been calculated, flourished about 6000 B.C., had -necklaces of beads cut out from pieces of shell, and others made of many -different materials. Among the earliest remains in our own country beads -are found, and throughout the historic period everywhere they seem to -have held their sway. - -We have already mentioned how easy it is for ornaments to be used as -currencies, owing to the facility with which they may be carried on the -person, and beads for many centuries have been used--as in Africa for -instance--in the place of money. There are on the west coast of that -continent still to be seen "aggries" similar to those which the Arab -traders brought with them from Egypt as early as the seventeenth -dynasty. At the present day beads of various kinds--for only particular -varieties will buy certain commodities--are made and exported to Africa -to be used in trading. - -While speaking of Egyptian beads, it might be said that, as in other -matters of art, the Egyptians excelled in the making of beads. -Some--known as blue popo beads, which found their way to West -Africa--are worth more than their weight in gold at the present day, and -the most skilful of the Venetian beadmakers are unable to imitate them -sufficiently well to induce the natives to accept them. - -Chains for the neck in our time do not assume very massive proportions, -except those which are used as symbols of office in the case of mayors -and by the members of various knightly orders. These take us back to the -time of Richard II, when such ornaments came into vogue. - -Among savage races metal rings find much favour as ornaments, and they -illustrate the fact that the lady who wears the minimum of clothes will -put up with the height of inconvenience, not to say pain, just as her -over-dressed and more civilized white sister will do, in order to be in -the height of fashion. The Padaung women put metal collars round their -necks when they are young children till these number between twenty -and thirty, and the necks of the wearers are stretched out in the most -grotesque and uncomfortable fashion. (See Plate VI.) African belles will -wear great copper rings on their limbs, which get so hot in the sun that -an attendant has to carry water with which to occasionally cool them -down. The wearing of armlets and bracelets has never been confined to -women. Men among the Greeks did not wear them, but among the Romans they -did. Armlets were conferred on soldiers for heroic deeds, and even -now the rank of non-commissioned officers in the army is indicated by -stripes on their sleeves. - -[Illustration: TWO PADAUNG WOMEN, SHOWING THE NUMEROUS METAL COLLARS -WHICH THEY WEAR ROUND THEIR NECKS. - - (_See page 114._) - - _PLATE VI._] - -Dr. Tylor hints that ordinary finger-rings have originated from those -used as signets in Egypt and Babylon. In this case the modern signet -ring, which we have already discussed in connection with heraldic -devices, is a survival from the earliest times. Most rings are now -merely ornamental, though a few are symbolical--the episcopal ring of -the bishop, the engagement ring of the betrothed damsel, and the wedding -ring of the wife. - -As early as the seventh century a ring was among the distinctive -insignia of a bishop, and one was found on the finger of Bishop Agilbert -of Paris (who lived at this time) when his coffin was opened. The ring -was of gold and, as is usual, had a jewel set in it, on which, in the -particular case mentioned, was a likeness of Christ and of St. Jerome. -The origin is no doubt to be found in the fact that in Roman times rings -were used as an insignia of rank. - -The episcopal ring proper was only one of many other rings which a -bishop might wear as ornaments. It was borne on the third finger of the -right hand, above the second joint, and was usually kept in place with a -plain guard ring. - -The Greeks and Romans used betrothal rings as pledges, but not wedding -rings. There is a good deal of interesting symbolism in connection with -rings, and it is said that the third finger of the left hand was chosen -because in old times it was thought that a vein came to that finger -direct from the heart. The practical point is that the finger in -question is not very much used, and on it the rings would not be so -liable to be worn out as on some of the others. - -It is also supposed that the left hand was chosen as it was the less -important, and the wearing of a ring on this hand signified servitude. -An interesting form of early wedding rings was that called the gimmal -ring, which consisted of two links, each having a hand upon it, which -when brought together formed a single ring with the hands clasped -together. The ring was used at betrothal, and the man and woman each -kept a half until their wedding day. Perhaps the old custom of breaking -a coin upon engagement so that each of the contracting parties may have -half, is a relic of the same custom. In Ireland the peasantry still use -a ring, though a solid one, bearing clasped hands. We have possibly a -survival of the interesting posey rings in those which bear the word -Mizpah. This originally signified "a watch-tower," but it is now taken -as expressing the following sentiment: "God watch over thee and me when -we are apart." In the fourteenth and fifteenth centuries the couplet -or line was, as in the case mentioned, put on the outside of the ring, -while later, in the sixteenth and seventeenth centuries, the words were -engraved inside the ring. Occasionally we see a necktie held in place -with a ring, and this may well be connected with the custom of wearing -rings round the neck on a ribbon. It is recorded that the Duke of -Burgundy, who died in 1476, carried his signet ring in this way. - -A custom is still sometimes followed which dates back to the sixteenth -century. It is that of choosing stones on account of the first letters -of their names and setting them in a ring in such an order that the -initials spell a word or words. For instance, the following--Ruby, -Emerald, Garnet, Amethyst, Ruby, and Diamond, indicate REGARD; while a -lover's exhortation is produced by such a combination as Lapis-lazuli, -Opal, Verdi-antique, Emerald, Malachite, Emerald. - -Many of the Egyptian rings are made of blue pottery or faïence, and some -of them show highly ornamental and pierced work. The lotus flowers and -other figures upon them point to their being symbolical. Others bear the -sacred eye in the place where the seal would be in a signet ring, and -were probably used as amulets; but of ornaments worn on account of their -supposed virtues we will speak in a moment. - -An ornament for the head, with which we will deal, is the crown. Mr. -Elworthy, in a paper to the British Association at Ipswich in 1895, -derived the crown from horns of honour. He maintained that the symbols -found on the head of the god Serapis were the elements from which were -formed the composite head-dress called the crown, into which horns -entered to a very great extent. The panache in heraldry is derived from -the horn, and it may be recalled that the deer-skin cloaks worn by the -Bronze Age people over the woven dresses that have been described on -pages 18 and 73, bore the horns of the animal from which they were -taken. - -Though the comb used as an ornament in the hair is also worn on -the head, it is on a very much lower plane than the crown, and has -presumably a very much less exalted origin. Professor Boyd Dawkins[11] -has expressed the opinion that the old loom comb (see Fig. 106), such as -one found in the prehistoric lake dwellings which have been excavated -at Glastonbury, is the ancestor of the comb worn as a head-dress at the -present day (see Fig. 107). Combs were used to push down the weft on -a hand loom, the warp being kept taut by means of weights. The long -hair-combs used by the natives of the West Carolines are also of very -much the same shape as the old loom combs. - -[Illustration: FIG. 106.--A loom comb found in the Glastonbury lake -dwellings (after Boyd Dawkins).] - -[Illustration: FIG. 107.--A modern comb for the hair.] - -Already in the safety-pin and scarf-pin we have had instances of -fastenings which at times are ornamental. The button and its relative -the stud afford another case in point. A stud is in reality a button -which appears on both sides of the stuff through which it is put. It -is obvious that it is most convenient to use when the material to be -fastened is of a stiff texture. At present we use studs in our starched -linen, and they are also adopted for fastening parts of leather -accoutrements, as they evidently were in the times of the later bronze -folk. This will be seen from Figure 108. One of these is adorned with -the triskele, which is allied to the swastika, and no doubt gave rise to -the three-legged charge on the coat of arms of the Isle of Man and of -Sicily. - -[Illustration: FIG. 108.--Two studs of bronze, seen from above and from -the side. Later Bronze Age (after Worsaae).] - -Buttons have from time to time done a great deal in the way of -decorating clothes, in addition to the part which they have played as -fastenings. We saw in an earlier chapter how many of our buttons, which -are now only ornamental, were once of use, and any history of costume -which goes into details will show how largely, superfluous buttons have -figured as ornaments. The older Quakers, of course, refused to wear any -buttons that were not needful, and brought down upon them the criticisms -of Cobbett, who referred to other things which they lacked besides -buttons. Although at the present time we may be inclined to appreciate -some of our purposeless buttons, on account of their historic -associations, we cannot say the same for many of those which now appear -on ladies' dresses. There is little sense in having on the front of a -bodice a series of buttons of which the first member is very large and -the last very small, with the others graduated in size between them, -while there seems to be no rhyme nor reason in many other individual -buttons or patches of them which are dotted here and there over the -costume. It is not as if these additions were really handsome. Not long -ago they looked as if the wearer had saved up all her old glove buttons, -and then had sewed them to her frock, for they were quite tiny and made -of brass. Now, though they are larger, they are merely covered with the -cloth of which the dress is made and are usually quite plain. - -In some cases buttons show great beauty of design, and for this reason, -if not on account of the material of which they are made, may be -exceedingly valuable. - -Bearing on the antiquity of buttons, we may say that they are found -among prehistoric remains in this country, and though they were foreign -to the ancient Egyptians, we learn (through the kindness of Professor -Flinders Petrie) that engraved buttons or seals were usual from the -sixth to the nineteenth dynasty, probably among foreign immigrants, -for the designs are never true Egyptian. In the present year, 1907, -Professor Petrie found a cornelian button with a copper shank which -belongs to the twelfth dynasty. - -The use of flowers, whether artificial or natural, on the person, and -more particularly the wearing of feathers, also takes us back to the -primitive instinct of early or uncivilized man. - -In our own country the custom of wearing feathers is an exceedingly -old one. The single upright specimens worn by the knights of the -fourteenth century have been characterized as being preposterous in -size. The plumes afterwards worn in helmets in the fifteenth and -sixteenth centuries were also immense. In 1606, according to Nichol's -"Progresses," on the occasion of the visit of Christian IV, some of -the knights "wore strange feathers of rich and great esteem which they -called Birdes of Paradice," and, unfortunately, ladies of the present -day wear them still. In the reign of Edward IV, we learn, only men, -practically speaking, wore feathers. They still survive in the army, -but otherwise in the twentieth century, with the exception of an -occasional small and modest instance amongst civilians, the wearing of -plumes is confined to ladies. - -Many flowers and feathers are exceedingly beautiful, and from an -artistic point of view there seems little reason why we should allow -civilization to sweep them away. We are quiet and colourless in our -clothing, and if we are not careful the same element of dulness may -creep into our lives. At the same time, however, to wear feathers which -can only be obtained at the cost of cruelty or of depriving others of -the sight of beautiful birds, or, again, of bringing any species to -extinction, savours too much of barbarousness and thoughtlessness to be -in any way condoned. - -Ostriches are reared for their feathers, and the plumage of many birds -that are killed for food is always at hand. - -Men have much less opportunity now of showing any great individuality in -their dress than heretofore, but sometimes they may be known by always -wearing a buttonhole, even if that does not always consist of the same -kind of bloom. The language of flowers, though now seemingly considered -to be a dead letter, was hardly invented for nothing. - -Of the brooch and its connection with the safety-pin we have already -spoken. In many ornaments we find remnants of religious ideas; for -instance, all brooches showing a crescent pattern or bearing the design -of a hand are connected with the old phallic worship. The cross, it may -be mentioned, is of much more ancient origin than Christianity, and is -connected intimately with the swastika or fylfot. - -The locket and other pendant ornaments must in many, if not all, cases -be the descendants of amulets. The Arab women at the present day wear -a little metal box containing a written talisman. An ancient Egyptian -buried, with his mummies, many amulets and charms so that the soul, in -obedience to various precepts, might enter into complete union with Ra, -the solar god, and so accompany him on his journey round the world, and -secure his everlasting protection. - -It is due to these ideas that we owe the beautifully modelled figures -of glazed pottery found in the Egyptian tombs. Many of them depict the -various gods and goddesses acknowledged in Egypt, and they are usually -pierced for attachment to the person. These were also carried on the -person during life, and children especially were accustomed to wear -them. - -Old religious beliefs and superstitions that have not yet died out, have -elsewhere given rise to the wearing of charms, and it is interesting to -note that flint arrow-heads, under the name of "elves' arrows," were -made into pendants by races who had reached the metal stage of culture. - -Precious stones, upon which a word may be said here, no doubt at first -were prized for their beauty alone, and then imagination gradually -endowed many of them with fictitious properties and virtues, though -doubtless the supposed attributes of some and the value and beauty of -others have kept many precious stones in favour until the present day. -Fashion is now particularly fickle as regards them, and craftsmen who -deal with gems, feel her decrees[12] more keenly perhaps than any -one else. Some half-dozen kinds of stones--such as diamonds, rubies, -emeralds, sapphires, opals, and turquoises--never go completely out of -fashion, but even among these, one or other becomes paramount from time -to time. - -The topaz and chrysolite were reported to lose their brilliancy when -placed in liquid that contains poison. To the amethyst was attributed -the power of warding off the effects of drunkenness. The diamond, it -was believed, gave to the wearers magnanimity, virtue, and courage. The -ancients supposed that the opal shared the charm of every stone of -which it reflected the colour, but when it was stolen, the thief became -invisible, and was allowed to escape scot free. Mr. Claremont[13] has -made an interesting suggestion as to the reason why the opal has been -considered unlucky. The notion, he says, is not nearly so ancient as -many of the superstitions relating to other stones, and probably does -not date further back than the Middle Ages. The old name "ophal" was -used as late as the time of Queen Elizabeth, and came from the Greek for -"eye"-stone, and as eyes are unlucky even in peacocks' feathers, perhaps -the explanation of the superstition lies in the name of the stone. - -Such walking-sticks as those garnished with "sylver" and "golde," which -are described as being at the Royal Palace at Greenwich in the reign of -Henry VIII, may well be considered as ornaments. The same may be said of -the be-ribboned canes of the exquisites of Charles II's and later times. -We mention them because, within the last two or three years, there -has been a talk of seeing "the nice conduct of a clouded cane" more -generally considered, and some men have appeared at the theatre with -long, gold-knobbed and tasselled canes. - -The buckle, which may be ornamental or useful, or both, is well worthy -of our attention. It consists in its simple form of a ring and a pin, -and the latter is hinged on to the former. It is, in fact, much like -a brooch, but without a hasp, and used in a different way. There are -brooches, however, at the present day, which are even simpler in -construction than the buckle, and they are used[14] even now by -blacksmiths in Kirkudbrightshire, in the form of the iron ring and a -horseshoe nail, with which they fasten their aprons. Similar pin-ring -brooches were used in Ireland until quite recently and are known from -early times. Mr. Edward Lovett[15] thinks that such a fastening may well -have been derived from two bones of the sheep or deer, the garment being -pulled through the ring formed by half the hip girdle, and speared -through with the pointed heel bone. - -A still more primitive pin was no doubt a thorn, and fish-hooks are to -this day used on the coasts of Essex, which are made from the same -natural object. - - - - -XIII - -HAIR DRESSING - -HEAD SHAVING--WIGS THAT ARE STILL WORN--ROMAN CURLS AND FRINGES - - -The styles in which hair is dressed are so intimately connected -with fashions in costume that no excuse is needed for dealing with -the question here. Moreover, there are certain vestiges in costume -occasionally to be met with which owe their origin to the way in which -hair was once arranged. Hair can be treated in all sorts of manners -without injuring the person in any way, and usually without causing -pain, though some fashions in hair arrangement had results that were far -from pleasant, and must have caused considerable discomfort. - -In addition to the styles in which hair is allowed to grow, there are -others which lead to its removal from one or more of the places which it -normally covers, and almost every change that could be rung is met with. -In addition to the hair on the head, women have only their eyebrows -and eyelashes to consider, though it is the fashion to remove any -"superfluous" hair from their faces and arms. Men have also to consider -moustaches, whiskers, and beard. Nowadays it is decreed that women's -hair should be long and that men's should be short; but even now men -with long hair do not necessarily look effeminate, as is shown by the -cowboys from the Wild West who have taken part in various exhibitions in -this country, and whose hair reaches on to their shoulders. The shaving -of the whole head is carried out by many savage nations, and this is -perhaps surprising, seeing that the process cannot but be laborious and -even painful when carried out with flint knives or pieces of shell. The -Chinese leave the hair that grows from one small spot in order to make -their pigtail. - -In this country it might be thought that the tonsure of priests was the -only remnant of shaving the head; but we need go no farther than the -East End of London to find Jewesses who upon marriage shave their head -and put on wigs. It appears that the custom is still universal in the -remote villages of Russia, where every Jewess on her marriage shaves her -head. The wig that is worn is of a very plain pattern, and the hair of -which it is composed is parted down the middle. The object which seems -to underlie the custom is the destruction of the charm of the women when -once they have found husbands. In London the younger women do not seem -to be keeping up the practice, and it is mostly in the case of those who -are over forty years of age that shaved heads and wigs are to be found. - -There may be, however, another explanation. In many countries where -great value was attached to a profuse head of hair a variety of -superstitions arose, and emblematic observances were followed with -regard to it. Parents dedicated the hair of their infants to gods, as -did young women theirs at their marriage, warriors after a successful -campaign, and sailors after deliverance from a storm. The Egyptians of -all classes, as well as their slaves, shaved their heads and wore wigs. -By this habit they ensured greater cleanliness, and the structure of the -wig not only allowed the heat from the head to escape, but protected the -latter effectively from the sun. - -It does not happen that both sexes always follow the practice of shaving -their heads, for, contrary to what prevails amongst civilized nations, -Fijian women are usually closely cropped, while the men spend much time -and attention on cultivating and elaborately arranging a luxuriant mass -of hair. - -The tendency nowadays is to cultivate eyebrows and eyelashes, but if we -go back in our history to the reign of Richard II we find that it was -thought necessary to pull out the eyebrows, and at the present day in -some parts of Africa it is one of the requirements of female beauty to -eradicate the eyebrows. Special pinchers for this purpose are to be -found among the appliances of the native toilet. A man may of course -remove all the hair, speaking in the ordinary way, from his face, or -he may retain only his moustache or his whiskers or his beard, or a -combination of any two of these. At the present day we meet with all -sorts of styles, though one may be the fashion for the moment among the -younger generation or those who wish to be considered smart. One cannot -alter the disposition of one's hair as easily as one can change one's -clothes, and this, perhaps, taken in conjunction with the objection to -change on the part of a man and his relatives, gives the variety that -has been mentioned. For instance, if it were customary when a man was -young for his fellows to wear beards or only a moustache, then he -continues to wear a beard or only a moustache. - -Perhaps no other fashions come round again more regularly than those -which govern the amount of hair on a man's face, and it may be -interesting to indicate very briefly some of the changes which have -taken place during the last two thousand years or so in this country. - - [Illustration: FIG. A. FIG. B. - FIG. C. FIG. D. - FIG. E. FIG. F. - -METHODS OF HAIRDRESSING ILLUSTRATED BY ROMANO-EGYPTIAN PORTRAIT MODELS -IN THE MYERS COLLECTION, ETON COLLEGE MUSEUM. - -(_Photographs by Wilfred Mark Webb_.) - - (_See pages 129 and 133._) - - _PLATE VII._] - -The inhabitants of England at the time of the Roman invasion either did -not shave at all or wore only a moustache. The Romans often cut their -beards (see Plate VII, Figure F.), and the Saxons parted their beards -into double locks or neatly trimmed them. When the Normans came into -this country they were closely shaved, but afterwards they went to the -opposite extreme. - -In the fourteenth century old men wore beards and the younger generation -shaved. Edward III had a long beard, Edward II two small tufts on his -chin, and in Edward IV's time the beard was closely shaven. Afterwards -we find that a tax was put on beards, and once more, in Elizabeth's and -the following reigns, we have a number of extraordinary fashions in -connection with the hair on the chin. When we get to 1798, among the -upper classes beards were again no longer worn, and there have been -several changes since that time. - -Apart from the prevailing fashion, there is, under the conditions which -we have seen to govern the matter, considerable scope for the indulgence -of individual taste, and often an effect is produced which is much -more striking than otherwise would be the case. A man may choose, for -instance, to grow a large pair of bushy whiskers, and he may thereby -give character and importance to his face, which without them would be -very insignificant. Curly hair is effective and has its advantages, -therefore we find that it is carefully imitated both in the case of real -hair and of wigs. The effect is now usually produced artificially only -in connection with ladies' hair. When dealing with this branch of the -subject, once more we might allude to the monstrous toilets which have -been built up in defiance of all laws of proportion and, we might add, -of comfort and cleanliness also. - -To utilize the hair from the heads of others is an ancient practice -still to be met with, and all sorts of means for making the most of -one's own hair in the shape of pads and so on are still adopted. - -When speaking of footmen, we shall find that those who dress in the -costume that was in fashion when hair powder was in vogue still wear it, -and the custom has been traced to the days of Rome, when gold dust was -put upon the head. It has been suggested that our Saxon forerunners used -coloured hair powder or else dyed their hair, but the evidence comes -from Saxon drawings in which the hair is often painted blue, and this -may be due merely to the caprice of the artist. It is well to be wary -also in studying the colour of clothes at early periods, by looking at -pictures, to remember that the illuminators may have followed their own -fancy, and made garments of such colours as fitted in with their own -ideas of ornament. - -Though the use of wigs is extremely ancient, the origin, which is -customarily ascribed to the peruke, is interesting. Many curious -fashions have arisen through royal peculiarities or temporary -indispositions, the courtiers having imitated their royal master or -mistress, out of compliment. Louis XIV had, when a child, remarkably -beautiful hair, which fell in curls on to his shoulders, and to imitate -this, his courtiers put on false hair, while later in life the king -himself adopted the fashion which they had set. - -The obvious use of artificial additions to the hair has now been -discontinued for very many years except in a few cases. Judges and -barristers with a few Parliamentary and other officials still wear wigs, -as do also certain coachmen and footmen, but these we shall consider -elsewhere. - -It will prove of no small interest after recalling the various modes -of doing the hair which ladies have adopted during the last twenty or -thirty years, to compare them with the fashions in Egypt in Roman times -about two hundred years before the Christian era. - -The reason why we can do this so well is that the Romano-Egyptians put -on the top of their coffins a model of the head of the person who was -buried in it. Professor Flinders Petrie has shown that the effigies were -really portraits, and even a glance at some of them would go far to -prove the statement. Professor Petrie made composite photographs of the -face on the outside of the coffin and of the skull within, and both in -the profile as well as in the full-face pictures it was seen that the -plaster model clothed the skull, as it were, with flesh. - -To return to the question of hair dressing, if one examines Plate VII -we shall see first of all a lady with corkscrew curls, which were more -prevalent in the last century than they are now, though they have not -yet died out. Then we have a lady with a very elaborate fringe, another -who allows her hair to fall in waves on her forehead, and it forms a -chignon at the back. Lastly (Plate VII, Figure B) a little girl with a -small bun on the top of her head. Another specimen, not figured here, -and also contained in the celebrated Myers Collection, shows the bun -exactly as it was worn at the end of the last century. - -We have included two heads (Plate VII, Figures A and F), one of a boy -and the other of a man, showing the great likeness that exists between -the way in which hair was done more than two thousand years ago and at -the present day. - -Besides the methods of hair arrangement which have survived or been -revived, there are certain little features still to be seen here and -there in modern dress which owe their origin to the ways in which hair -or wigs were dressed. - -A remnant of the bag-wig, with its great bow of black ribbon, we may -find in the army. For a long time on the backs of the collars of the -officers and staff-sergeants of the Welsh Fusiliers there have been -fixed some ribbons which hang down their back. These, which are few in -number, are called the "flash," and are said to represent the bow which -used to ornament the bag-wig. A hundred years ago the officers of the -regiment wore their hair turned up behind, and it was then tied with a -bow. This is in keeping with another explanation which Mr. R. Simkin has -given us, which is that the flash is the survival of a bunch of ribbons -that were sewn on the back of the coat-collar to protect it from the -pomatum and powder of the "clubbed" or "queued" hair. The privilege -of wearing the "flash" has recently been extended to all ranks of the -regiment (see Figure 109). - -[Illustration: FIG. 109.--The "flash" of five black ribbons on the -collar of the Welsh Fusiliers. A survival from the days of the pigtail.] - -A survival of the same kind, which takes us back to the time of wigs, -is to be seen on the backs of the collars of several court dresses, -and it is known technically as the "wig-bag." It is also, as we have -had occasion to mention, to be seen on the back of the collar of the -liveries of some servants whose dress is in the old style, and here, -as in the case of the Lord Mayor's coachman, it looks as if it had -originated in a bow (see Figure 113). - - - - -XIV - -SPECIAL DRESSES - -FASHIONS KEPT UP BY CEREMONIES--SURVIVALS IN SPECIAL COSTUME--FLOWING -GARMENTS - - -In the foregoing pages we have been concerned chiefly with individual -parts of costume, and while showing how various garments have reached -their present form, we have busied ourselves with discovering the origin -of many important survivals. We have not however hesitated, in dealing -with these details, to touch on all kinds of costumes, and here and -there we have left civilians' dress for a moment to take an illustration -from that of the soldier or the member of some other profession. - -At the same time, we have indicated that on occasions of ceremony, -whether religious or otherwise, the dress adopted is, as a rule, more -primitive or older in style than that which is customarily worn. This -is what might be expected, as, on the one hand, innate conservatism and -objection to change come into play, and, on the other, ordinary everyday -practical matters being for the time put on one side, it is possible to -wear clothes which otherwise would be inconvenient and liable to get -damaged. - -When we ourselves dress for dinner we go back nearly a century, but -nothing could be more primitive than the Court etiquette of certain -tribes,[16] where the subjects of the king may only approach him when -entirely unclothed. Livingstone was received by the Queen of the Balonde -Negroes in South Africa when she was in a state of complete nudity. The -women of neighbouring tribes and members of other races, for instance -those in Australia, entirely remove their clothing on festive occasions. - -Among some black races, also, the girls who are sent as official -messengers to important persons are not clothed. There are still certain -tribes of "leaf wearers" in India, while at a yearly festival in Madras -the whole low-caste population throw off their ordinary clothing and put -on aprons of leafy twigs. Another case in point is that of the priests -who conducted the sacrifices in ancient Italy and Greece, for they are -often represented on monuments as being naked, while the rest of those -present at the ceremony are fully clothed. - -In taking up the question of ceremonial dress among civilized peoples, -we find that we have a very wide field in which to wander. We have the -Court, which might alone occupy our whole attention; we have naval, -military, ecclesiastical, and legal dress, the garb of the universities, -the costume of pantomime characters, of the acrobat, of the athlete, -and the liveries of servants, besides the costumes adopted for special -ceremonies and in connection with particular institutions. In treating -of survivals in the case of the army, where the variety in uniform--if -we may use this paradoxical expression--is so great, we may content -ourselves with discussing matters in a way similar to that which we have -adopted before. On the other hand, we may also describe and illustrate -particular costumes, as a whole, while showing how far their history may -carry us back. - -In addition to the clothes actually worn by persons, there are those -which are found on dolls. These may be on the representations of -personages such as St. Nicholas, on the Continent and elsewhere, and -they are interesting because in many cases they may show a national -costume which is no longer worn. In the same way, puppets such as are -used in the play which we know as Punch and Judy, and their dresses, -like others which we have studied, may bring to our notice chapters of -history in a way that is exceedingly attractive. - -There is no doubt but that long flowing garments produce a more elegant -effect, and give rise to a more stately appearance than those which are -short or tight fitting. In the case of men, such garments would now be -too much in the way on ordinary occasions, or when any physical exertion -is required. The king and noblemen on state occasions wear robes, as do -also the members of City companies and borough councillors when they -assemble together. The case of the clergy will occur to every one, and -legal and academical dress may also be mentioned. - -In the privacy of the home it is possible for every man to wear a -dressing-gown, and pyjamas have not in all cases superseded the more -primitive nightshirt. In the case of ladies, we find that they cling -lovingly to long dresses, though, as we know, there is much effort being -made to dispense with skirts under ordinary conditions, and the fact -that short skirts have for some years been fashionable for outdoor use -looks as if some progress were being made. - - - - -XV - -SERVANTS' DRESS - - THE PROTOTYPES OF LIVERIES--REMINISCENCES OF GEORGE II AND - GEORGE III--ORIGIN OF THE PAGE-BOY'S BUTTONS--THE JOCKEY - CAP--APRONS - - -In taking up the question of special costumes, we may perhaps begin with -those which we see most commonly, and for that reason we may turn our -attention, in the first place, to the liveries and dress of servants. - -We have laid down a sort of rule that the costume of servants is that of -the master of an earlier generation, and we will now bring forward some -evidence in support of it. - -Modern coachmen and outdoor footmen wear the tall hat, the bright -buttons, doeskin breeches and the top boots characteristic of the -outdoor and riding dress of the gentlemen at the beginning of the -nineteenth century. The groom, it will be noticed (see Figure 110), -wears in addition a leather belt, and the reason for this will not -perhaps strike the inquirer straight away. Our grandmothers and -great-grandmothers did not always drive in carriages, and it was -customary for them, when riding on horseback, to sit on a pillion -behind a gentleman or a servant. The belt which we now see round the -waist of a groom afforded a hold to which they had to cling, in order to -prevent themselves from falling off the horse. - -[Illustration: FIG. 110.--The modern groom, showing the belt to which -ladies clung when riding on a pillion.] - -Such a livery as we have described is also adopted by the general run of -well-to-do people. The aristocracy, however, are more inclined to stand -upon ceremony, and through it to make more show. Their footmen, who go -by the generic name of "Jeames," wear plush breeches, silk stockings, -and powdered hair. (See Figure 111.) - -[Illustration: FIG. 111.--A footman in plush breeches and with powdered -hair. His "pouter" coat dates from the reign of George III. (By the -courtesy of Messrs. F. T. Prewett and Co.)] - -A little inquiry will soon show that these peculiarities of dress were -those which it pleased the gentlemen of George III's time to adopt. Some -flunkeys belonging to the nobility have their breasts ornamented with -cords known as aiguillettes, and these give them somewhat of a military -appearance, besides reminding us of the old retainers. The coats that go -with the plush breeches and are cut away so as to recall the wings -of a pigeon--hence the name "pouter" coat--are a special feature of -George III's reign. The coachman's coat is usually a little fuller in -the skirt, and carries us back to the time of George II. In another way -this costume is a little older in its style than that of the footman who -powders his own hair instead of wearing a wig like his colleague. (See -Figure 112.) - -[Illustration: FIG. 112.--A sheriff's coachman with the full-skirted -coat of the time of George II. (By the courtesy of Messrs. F. T. Prewett -and Co.)] - -In connection with the Lord Mayor more ceremony still is maintained. -His coachmen and footmen appear in all the glory of three-cornered -hats, which are decorated with feathers, and their coats are highly -ornamented. They are representatives of the very fine gentlemen of -George III's time. - -On the back of the collar of the Lord Mayor's coachman, we find an -arrangement that looks like an elaborately made rosette of black ribbon -(see Figure 113). This is a survival of the bag-wig, of which we shall -have occasion to speak again when dealing with Court and military dress, -so that we need not go into further details here with regard to this -curious vestige. (See page 229, Figure 143.) - -[Illustration: FIG. 113.--The wig-bag (a survival of the bag-wig) now -seen on the back of the collar of the Lord Mayor's coachman.] - -This is a progressive age, in spite of the many survivals which still -flourish, and when we come to consider the costume of the modern -manservant who attends at table, or the waiter in the restaurant, we -find that he has come out of his generation, as it were, and has adopted -the dress of his masters before they have themselves discarded it. -Confusion has arisen through this before now, and it has been suggested -that if ornamental buttons were worn by the man who serves, the -difficulty would be overcome. - -The writer well remembers being amused when standing in a room at a -well-known restaurant, where a private dinner was to be given, to notice -the change which suddenly came over the dress of the waiters. When the -latter first arrived they had black cloth buttons on their coats, while -in a few minutes' time, these same garments were adorned with brass -buttons bearing the initials of the firm that provided the dinner. -Inquiry soon elicited the fact that the men carried with them small -brass cases which were sprung on to their ordinary buttons, and at once -gave them the appearance of being on the staff, and showed that they -were waiters. - -The almost overwhelming number of buttons which are worn by page-boys -must have been a source of wonder to many. They run from neck to waist -of a tight-fitting jacket in such a crowded line that the pages usually -go by the name of "Buttons." Occasionally we see the livery ornamented -by two other rows of buttons which are useless, and run from the -shoulder towards the waist (see Figure 114) in a way similar to that -described as being the case on the coats of His Majesty's postilions. On -looking at an old book[17] of fashions we find that a costume called the -"Dutch Skeleton Dress" was very fashionable for young boys in 1826 (see -Figure 115). In this we find that there were brass buttons arranged in -three rows, similar to those we have just described. It is difficult -even in the modern page-boy's dress to see the lower edge of his coat, -but in the case of the small boy of 1826 it was impossible, because his -trousers were buttoned on to the outside of it. - -[Illustration: FIG. 114.--A modern page-boy's livery.] - -[Illustration: FIG. 115.--The Dutch skeleton dress, fashionable for boys -in 1826.] - -The name of the skeleton dress is interesting, because it points to the -buttons marking out the position of the breast bone, and it recalls -the story that the lacing on the breast of Hussars, which we have -interpreted as representing enlarged buttonholes, was intended to give -the appearance of ribs. This would be in keeping with the figure of a -skull that was worn by some of them on their head-dress. We may imagine -that in the page-boys, with the superabundance of buttons in one row, -that the other two series have migrated and joined with those which -originally fastened the coat. - -On special occasions such as weddings and coronations, the nobility and -members of old families dress their servants in state liveries, and some -very interesting costumes appear for the time. For instance, at the -wedding of the Duke of Norfolk in 1877, some of the coachmen and footmen -appeared wearing on the shoulder of their livery a "manche" or large -hanging sleeve, which is familiar to students of heraldry and may be the -origin of the sign usually called the "Crooked Billet." - -An interesting little survival is sometimes seen on livery collars. -It is a little patch of lace, and is an imitation of the knotched -buttonhole or laced hole which was commonly made on elaborate dresses. - -We get a survival of a livery cap, which was worn by servants generally -in the middle of the eighteenth century, in the black cap worn by the -drum-major of the Foot Guards and the bands of the Household Cavalry. We -find that it is also adopted by huntsmen and postilions (see Figure -89), while jockey caps are of a similar shape. - -The costume of jockeys is an instance of parti-coloured dress which, -apart from the Stage, is now chiefly worn in connection with sports -such as football and racing. Some parti-coloured garments made their -appearance early in English history, as we shall see when dealing with -the subject of patterns. - -The cockade is now a particular feature of the liveried servant, and as -the story of its evolution is of a particularly striking nature, we will -consider it in a special chapter. - -Here and there we find survivals of the old beadle, with his -three-cornered hat and his long gown with its curious capes and its -bright edging. To find the original wearer of such garments we shall -have to look about at the end of the seventeenth century. The watch then -wore very large coats with many capes, and from these was developed that -of the beadle. No doubt colours and other ornamentation were produced so -as to bring the dress of the beadle more into the line with liveries and -to give him a more ornamental and imposing appearance. - -We might also mention that the beadle, to whom we shall once more -allude, still makes his appearance and plays his part in the Punch and -Judy show. - -When we recall the many and varied liveries which the porters belonging -to the various places of amusement and business establishments now wear, -we cannot help drawing attention to the magnitude of the problem which -would confront any one who desired to trace the origin of their clothes. -In one detail or another we see the remains of an old livery, while -turning from these we find a gaily coloured plastron borrowed from a -Hussar uniform, and besides the cap there are a host of other features -which have been taken from military and civilian dress. - -Railway porters if not menials are the servants of the companies which -employ them, and there is one feature of their dress which is worthy of -note. It will be seen that their waistcoats, although generally built -on the same plan as that of the ordinary individual and having a linen -back, are provided with sleeves. It is truly a coat which comes to the -waist, such as we shall speak of when dealing with the dress of the -Guards and other regiments, and it is usually the outermost garment of -the porter. - -If we now turn to the costume of the gentleman, we shall find a very -good instance of what Mr. Paley Baildon claims to be done whenever a -new garment is adopted. He says that it is always put on over all the -others. In the case of the ordinary civilian we have the waistcoat, -which was originally an outer garment. Then comes the frock-coat or -surtout, which at the beginning of the nineteenth century was an -overcoat, and over this again in cold weather the modern ulster or -top-coat is put. - -No consideration of servants' dress would be complete without an -allusion to the cap and apron of the house- or parlour-maid. To begin -with, we see in these a survival of the special dresses which were once -adopted by particular trades. The fact that the cap is white points to -a connection with the early head-dresses of women which we see now -perpetuated by the nuns, and which are relics of the time when it was -customary to have linen caps and hoods. Perhaps there is some connection -between the cap of the servant and the custom which condemns women to -wear their hats in church and makes them feel desirous of keeping them -on their heads at all kinds of public entertainments. On this question, -however, we shall have a word to say later. - -Sometimes servants' caps have strings which, like those that are -customarily found on bonnets and on mitres (see page 54), are the -survival of the ends of a head fillet. The latest development in this -direction is a scarf which is allowed to hang down from the backs of -ladies' hats, and which may be of so substantial a nature that it looks -very much like a fringed towel. - -The apron can claim a long history, and just as the plush and powder of -the footman were once worn by his master, so we may easily discover that -the apron was not always the special attribute of those who work or -serve. Towards the end of the seventeenth century aprons were considered -an almost essential part of a fine lady's costume. A little later on, -Queen Anne made and wore them herself, and very gaily ornamented -garments they were. - -In the case of the lower classes, aprons were--as they still often -are--provided with bibs. The old name for them was barme-cloth, and -under this title Chaucer refers to the apron of Carpenter's wife as -being as white as the morning milk. Unless the article of dress which -we are discussing was of considerable age, we should hardly have the -proverbial expression which defines a man who is always at home as being -tied to his wife's apron-strings. - -Another name for an apron with a bib which was pinned to the front of -the dress was "pinner," which gives us the word pinafore, which refers -now to a kind of overall rather than to an apron. - -In the costumes of the barge-women and milk-women, where we get a slight -survival of characteristic country dress, we have seen that in both -cases the apron is always adopted as part of the outfit. (See Plate -VIII.) - -[Illustration: A BARGE GIRL WITH THE CHARACTERISTIC BONNET AND APRON. -SHE IS NOT WEARING HER SMALL PLAID SHAWL. - -(_From a photograph by Wakefield, Brentford._) - - _PLATE VIII._] - -The uniform of the hospital nurse partakes somewhat of that of the -nun, but at the same time the apron is often one of its most important -features. We mention this uniform here because it has become customary -of recent years for the nurses who look after the children of well-to-do -families to assume the bonnet and veil and severely cut collars and -cuffs of the hospital nurse. - -Here again we get a case on all fours with the adoption of evening dress -by waiters, and the gradual assumption by the lower classes of the dress -of their social superiors. - - - - -XVI - -COCKADES - -THE COCKADE A DEGENERATED CHAPERON--THE VARIETIES OF THE -COCKADE--COCKADE WEARERS - - -The cockade as we know it (see Figure 116) is now commonly worn by -servants, but, like their clothes generally, it was once used by their -masters. The books of an old-established firm of hat manufacturers show -that as late as 1789 cockades were worn by gentlemen themselves. -Apparently in the beginning, the sporting of a black cockade meant -allegiance to the House of Hanover. Now the use of the ornaments is -supposed to be confined to the servants of Royalty and of those in the -Royal service, though this does not seem to be actually the case. In a -letter to the _Morning Post_[18] Messrs. André and Co. say that "the -practice has long been regarded as a convenient and fitting sign of -social distinction, and that only such persons should assume the cockade -as enjoy hereditary rank or else some position of importance in the -State, including all officers, military and civil." Yet they can find no -trace of the question even having been dealt with by any authority, nor -have the classes of persons privileged to display the cockade been at -any time accurately defined. - -[Illustration: FIG. 116.--The cockade, known as the "large treble," -representing a survival of the chaperon.] - -Sir Alfred Scott Gatty, Garter King-at-Arms, points out that the matter -is really outside the College of Arms, and it does not come under -the jurisdiction of the Lord Chamberlain's department, which usually -arranges all matters connected with official dress. - -Before, however, we touch on the various kinds of cockades, and mention -those by whom the different types are at present worn, it will be well -to deal with the construction and evolution of the cockade, and we -shall be able to show that it has considerable claims to be considered -something more than a mere conventional rosette. As regards actual -material, the basis of the cockade consists of leather, which is -japanned, while a certain amount of ribbon may also be used. In the case -of mourning, we find that the cockade should properly be covered with -black cloth (see Figure 117), but nowadays a piece of crape is often -twisted round the one generally worn. The ribbon is usually merely a -small bow tied in the middle of the rosette (see Figure 116), but the -centre of the latter may be covered with ribbon and the bow replaced by -a button. - -[Illustration: FIG. 117.--A "treble cockade" covered with black cloth -for mourning. The concentric circles would appear to represent the -twisted liripipe of the chaperon.] - -The cockades worn by the Royal servants on the front of their -three-cornered hats on state occasions (see Figure 120) are large. -The rosette has points, while the upper part, or fan, shows them in -profusion, and there is no silk bow. The Royal cockade for semi-state -has a simple fan, while that worn on the silk hat at ordinary times (see -Figure 121) has no fan, but the edges are cut into points and there is a -bow of ribbon in the centre. - -[Illustration: FIG. 118.--Treble cockade used by Chelsea pensioners.] - -[Illustration: FIG. 119.--The Regent cockade.] - -[Illustration: FIG. 120.--Royal cockade for state occasions.] - -[Illustration: FIG. 121.--Ordinary Royal cockade.] - -The ordinary fan cockade is used in various sizes, and is shown in -Figure 116. This is called the "treble," and has a bow of ribbon as a -rule. A curious variety worn by the Chelsea Pensioners has no ribbon, -while a segment is cut from the lower part of the rosette (see Figure -118). The only other variety with regard to shape that we have now to -mention is the "regent" cockade, which is exactly like the treble, but -without the fan. (See Figure 119.) - -[Illustration: Two stages in the evolution of the chaperon. - -FIG. 122.--Combined hood and cape. - -FIG. 123.--Enlargement of the peak of the hood to form the liripipe. - -(After Calthrop, by kind permission of Messrs. A. and C. Black.)] - -It appears that the cockade can lay claim to have been descended from a -very ancient and curious form of head-dress, and Mr. Calthrop[19] has -traced in a very interesting way the development of this, as well as of -the cockade which is a survival of it in miniature. The head-dress in -question was called a chaperon, and came into favour in the time of -Richard II. It was itself derived from a hood and a cape which were -originally worn separately, but afterwards the two were joined together -for convenience, so that they could both be donned at the same time. -Fashion lengthened out the peak of the hood extravagantly until it -reached nearly to the ground, and then the prolongation was called a -liripipe. Next it was ordained that the whole arrangement should be -twisted up round the head, so that what was in the beginning a cape -with jagged edges stuck out on one side like a cock's comb. - -[Illustration: Further development of the chaperon. - -FIG. 124.--Cape and liripipe made into a head-dress that can be altered -at will. - -FIG. 125.--A chaperon ready made up, in order to save trouble. - -(After Calthrop, by kind permission of Messrs. A. and C. Black.)] - -It will be noticed that the modern cockade shows the jagged edges -sticking up, and it would appear that the rosette represents a coiled-up -liripipe. Even to-day cockades are of various colours, and, as Mr. -Calthrop points out, the servant's chaperon from which it was derived -used to bear the colours of the master's livery. The chaperon is also to -be seen on the robes of the Knights of the Garter at the present day, -where it is fixed on the right shoulder as a kind of cape. (See Figure -144.) Mr. Calthrop also points out that the present head-dress of the -French lawyer is another descendant of the chaperon, and that the -buttons worn by the members of the Legion of Honour and other foreign -Orders are connected with the same idea. - -A writer in the _Sketch_[20] sees in the rosette and fan of the treble -cockade the remnants of the crown and star which we see on military -uniforms. He says that the earlier forms seem to have been made of -metal, which must surely be a mistake, though the cock of the hat was, -as we know, sometimes fastened up with a brooch. The example which he -figures, however, and uses in support of his theory, is evidently a -helmet plate which displays the star, garter, and St. George's Cross, -the whole being surmounted by a crown, and in the cockade he claims to -see all these elements in a modified condition. If this derivation of -the cockade were correct, it would be in keeping with the quotation -which the same writer gives from Cussan's "Handbook of Heraldry," that -the privilege of wearing a cockade is confined to the servants of -officers in the King's service, or those who by courtesy may be regarded -as such. The theory is that the servant is a private soldier who when -not wearing his uniform retains this badge as a mark of his profession. -We cannot help thinking that Mr. Calthrop's derivation of the cockade is -more feasible, though it is not easy to see the remains of the coiled-up -liripipe of the chaperon in the way which Mr. Calthrop represents it in -his sketch.[21] In the majority of the cockades there is no trace of -a spiral such as he indicates in his figure, though in the mourning -cockade, concentric rings are very clearly shown. A word may now be said -as to those whose coachmen and footmen wear cockades. - -The Royal cockade is used by the servants of the King, and by those -belonging to members of the Royal Household. It is large and circular, -as we have seen, and half the disk projects above the top of the hat. -The regent cockade, which has no fan, is worn by the servants of naval -officers, and no part of it is allowed to project above the hat. The -servants of the officers in the Army, Yeomanry, Militia, and Volunteers -wear the treble cockade with the fan, as do also the Lords Lieutenant -and their deputies, as well as the servants of the members of the -Diplomatic Corps. Besides this, it appears that the same kind of cockade -is worn by the servants of the following: All peers and their sons -and daughters, baronets, knights, and sheriffs, judges, justices, and -magistrates; members and high officers of Parliament and of the Civil -Service; dignitaries of the Church, King's Counsel, and law officers of -the Crown. - -English ambassadors have the fan painted with three stripes of red, -white, and blue, and while the edge of the rosette is red, the next -part is white, and the centre blue. In this case also the ribbon in -the centre shows the same three colours. The cockade of the Danish -ambassador is of ordinary black leather, but the centre is covered with -a rosette of ribbon, red at the edge, with a circle of white next to -it, and green in the centre, while the whole is finished off with an -ornamental black button or knob. Other foreign ambassadors have their -cockades coloured upon the same principle as the English; but in some -the colours are shown on the fan in bands instead of in stripes, and the -centre of the rosette may have segments of different colours instead of -rings. In the case of the French ambassador the colours on the fan are -in stripes, while those of the rosette are in segments. - -Of recent years cockades have been reduced in size until they have -become mere pigmies in connection with the uniform of "chauffeurs," or -motorcar drivers. The latter customarily wear a military kind of hat -with a mushroom top, and as a cockade fastened on the side of one of -these would not look elegant, a very small cockade is now made and -fixed in the front of the cap just above the peak. Would not one of the -wearers of the old cock's-comb turbans be amazed if he could see the -most recent outcome of his head-dress in its modern surroundings? - -There seems to be little doubt but that the "cockade" forms part of the -livery of many who have no recognized right to it. Perhaps the ease with -which it can be assumed is shown by the price lists of jobmasters, in -which we find, after the charge for the hire of broughams and victorias, -a footnote to the effect that cockades are "6d. extra if required." - - - - -XVII - -CHILDREN'S DRESS - - SURVIVALS IN CHILDREN'S DRESS--SPECIAL SCHOOL COSTUMES--THE - BLUE-COAT BOY--PUBLIC SCHOOL BOYS--ADOPTION OF A SPECIAL DRESS - AT GIRLS' SCHOOLS - - -Children's costume, though characteristic, is in some instances -connected with ceremonies, and in others with particular institutions; -it may therefore with advantage be considered at this point. - -We find that for very many centuries in this country, children, except -when small babies and in their early years, were dressed practically -in the same way as their parents, and looked like men and women in -miniature. - -The ludicrous effect that was sometimes produced is well seen in -Hogarth's engravings, which date from the time when infants were -powdered and patched as well as dressed in a way that made them truly -grotesque. - -A relic of this custom is still to be seen in certain costumes which it -is now fashionable for children to wear. Possibly the sailor's suit -takes the most prominent place, and the Highland dress is also a -favourite. It is perhaps not very strange that we do not see little boys -going about in the uniform of policemen, and until the South African -war occupied the attention of this country, boys were seldom if ever -seriously dressed as soldiers, but during the struggle to which allusion -has been made, it was not an uncommon sight to see small boys in the -khaki uniform and slouch hats which were adopted by the troops in -Africa. Now, of course, the knickerbockers of the small boy, and the -short skirts of his little sisters, though not absolutely characteristic -of extreme youth, are recognized features of children's costume. - -As regards small infants, it is still customary for some time after -they are born to wrap more or less of a bandage round them in order to -protect their tender bodies from injury. The modern "binder" is, of -course, a relic of swaddling clothes, or those which consisted of a -profusion of bandages. These still survive in the Holy Land. It may here -be said that we meet in the word "pupa," which is the scientific term -that we apply to a chrysalis, with the old Greek name for a baby in -swaddling clothes. It is used now because the wings and legs of the -future flying insect are hidden in something the same way as are the -legs and arms of the much trussed-up baby. From the same word we get the -name "puppet" and the French word "poupée," meaning a doll. - -In Roman Catholic churches at the time of baptism it is still the -custom to place on the head of the baby a white cloth. It is now too -small to cover the body, and it is called the chrysome, or chrism cloth, -and with it once the newly-baptized infant was swathed. This was worn -for a month by the child, and if the latter died within that time the -cloth was used as a shroud. The chrysome is really the remains of a -series of vestments which in the sixth or seventh century were worn by -the newly baptized. The most important part of the costume was the albe, -which was probably similar to that worn by the clergy, and a chaplet of -flowers was also used to crown the child after baptism. - -There are in this country still a few monumental brasses called chrysom -brasses showing babies in their baptismal robes. A case where the child -is swathed up even more rigidly than was customary in the old world is -to be seen in the case of the North American Indian papoose, which is -fastened down to a cradle of board or basket work, and at first is so -fixed by the swaddling process that only its head is movable. In some -instances several months elapse before even the arms are allowed to be -free, and these are fastened up again at night. - -It is probably owing to deformities that were at first accidentally -caused by this bandaging process, that the fashions arose which demand -that the shape of the skull in certain races shall be intentionally and -artificially altered. To this subject, however, we shall refer again -when dealing with the question of the effects of clothes upon the body. - -As might well be imagined, the petticoats of small boys are a survival, -and one which is to be commended in every way. The putting of infants at -an early age into jersey knickerbocker suits cannot but be bad for them -physically, and it makes them look for all the world like little woollen -monkeys. Mr. Druitt[22] has described as many as seven brasses of -various dates between the years 1585 and 1642, which show boys dressed -in petticoats. - -Dr. Alice Vickery thinks that it would be well if infant boys and girls -were dressed exactly alike, say up to the age of five or seven. She says -it is difficult to judge the extent to which sex bias is imbibed in the -earliest years, and we should do our best to postpone it as long as -possible. She continues[23]:--"If boys and girls were dressed alike, -taught together and played together, this would do much to direct -attention away from, instead of towards, sex distinction. The longer -such a system could be maintained the longer would be the period during -which rewards and punishments, praise and blame, would attach to actions -and conduct, to the exercise of self-control, kindliness and generosity, -efficiency, industry and alertness, quite apart from all intrusions of -sex idea, and its possibilities of subjection and predominance. That -would in itself be a great gain." - -"The best school for the training of life and conduct is the school of -equality, where privilege and subjection are alike unknown, and the -co-education of the sexes is a step in the direction of justice and -fraternity." - -"There is one point more on which I will add a few words. I have always -been a great sceptic as to the essential physical inferiority of the -feminine. It is true that in the aggregate that inferiority does exist, -but where can we find a place, a people among whom the development of -girlhood has had full and free scope?" - -The custom for young girls to wear their hair down is also an old -one, though married ladies of the fifteenth century are occasionally -represented with flowing tresses. - -At the present day, as a rule, when a girl puts up her hair her -petticoats are usually lengthened simultaneously. The age at which these -important changes are made varies. For instance, if a girl has a number -of unmarried sisters older than herself, the time is often put off. -Sometimes the term "old-fashioned" is synonymous with "sensible," and -people with such ideas very often keep their girls in short frocks until -they are really grown up. - -The two changes in the girls' method of dressing are not, however, -always made at the same time. In the upper classes we find a tendency -for the long dress to come first. Girls, on the other hand, who have -to go out into the world as nursemaids and kitchenmaids, may, in order -to make themselves look older and more sedate, put up their hair while -they are still in short frocks, though it must be said that the effect -is not quite pleasing if it is business-like. - -In the bib of the infant we find a relative of that part of the apron or -the more voluminous pinafore which covers the chest. Although grown-up -women sometimes wear pinafores, these, like the bibs, must now be -considered as part of children's dress, though no doubt in the beginning -they were derived from the costume of grown-up people. - -[Illustration: FIG. A. - -THE CAP WORN BY THE SCHOLARS OF CHRIST'S HOSPITAL UNTIL THE MIDDLE OF -THE NINETEENTH CENTURY. - -FIG. B. - -A SCHOLAR OF CHRIST'S HOSPITAL. - -(_By the courtesy of the Rev. A. W. Upcott, M.A., Headmaster of Christ's -Hospital._) - - _PLATE IX._] - -The next subject that we may appropriately consider here is that of the -characteristic costumes which are worn in certain schools. In connection -with boys, the first case which immediately comes to mind is that of the -Blue-coat boys, as the scholars of Christ's Hospital, which was founded -in 1552, have come to be called. Their blue coat is part of the ordinary -dress of the citizen of the reign of Edward VI, and the scholarly man -at this time had the skirts of his blue coat long, while in other cases -they were cut off at the knee. Instead of trunks, however, the Blue-coat -boy wears more modern knickerbockers, but he clings to his yellow -stockings. (See Plate IX, Figure B.) - -The scholars of Christ's Hospital have discarded caps (see Plate IX, -Figure A), but the one which should go with their dress is flat, like -the one which came into fashion in the reign just mentioned. It was the -one afterwards called the statute cap, when Elizabeth for the good of -trade ordered that "one cap of wool, knitted thick and dressed in -England," was to be worn "by all over six years of age except such -persons as had twenty marks a year in land and their heirs and such as -have borne office of worship." A cap of the same kind was worn by -Edward VI, and is still part of the dress of Beef-eaters at the Tower -of London. - -The blue coat afterwards came to be the ordinary livery of serving-men -in the sixteenth and early part of the seventeenth centuries, and blue -is still a popular colour for coachmen's liveries at the present day. - -In a similar way we find that certain schools are called grey-coat or -green-coat schools, and we have blue schools--for instance, one for boys -and another for girls at Wells. - -Then there is the Red Maid School, which was established in 1627 at -Bristol, and in accordance with the founder's will the girls are dressed -in red frocks, with white aprons and tippets and plain straw bonnets, -trimmed with blue ribbon. In connection with this foundation it may be -said that £50 is set on one side each year for the award of marriage -portions to girls who have left the school. - -Our public schools afford us very interesting cases of special dresses. -Perhaps no other coat which a boy wears is so well known as the Eton -jacket. This is accompanied by a tall silk hat. - -King's scholars who are on the foundation and live "in College" also -wear an academical gown of fairly ample proportions. The Eton jacket was -not always black, and originally the head-dress was a mortar-board, and -there was a broad lace collar or bands round the neck (see page 47). -The black coats and top hats were introduced in 1820 as mourning for -King George III, and have been worn ever since. The broad collar which -takes its name from Eton is probably a survival of lace bands, and is -worn over the jacket in the same way. - -Very similar coats are also worn by the younger boys at Westminster and -at Harrow. In the latter case the jacket finishes off in a small point -at the back, whereas the jacket worn at Eton is cut straight. The older -boys at Eton wear a morning coat, a stick-up collar, and a white tie. -This white tie is also worn by the masters, whether they be clerks in -holy orders or not, and it seems to be a survival of a white choker -which was wound round and round the stick-up collar, though, on the -other hand, it may represent academical bands. - -At Winchester the scholars wear bands, and this is no doubt connected -with the use of academical dress, for it is usual for the boys on the -foundation of public schools, as we have seen to be the case at Eton, to -wear gowns. - -The upper boys at Harrow, on the other hand, wear dress-coats with -swallow tails; but should, however, a lower boy outgrow his short -jacket, he is given what is called "charity" tails. - -When speeches are made at Eton, those who take part in the performance -wear dress-coats, knee-breeches, silk stockings, and buckled shoes. - -Some costumes have probably been in existence since the foundation and -endowment of the schools, and we can find parallel cases in the dress -of some almshouses and hospitals for pensioners. Probably the idea -originally underlying the wearing of a special dress is the same as -is to be seen in modern charity schools, where all the boys or girls -are dressed alike. It must simplify the tailoring and dressmaking -arrangements, but at the same time it intentionally or unintentionally -brands the children. Nevertheless, we see that the boys at most -aristocratic and celebrated schools are in very much the same kind of -boat. - -To return to Eton again, we might mention one or two fashions in the -ordinary dress which are curious. It is ordained that the lowest button -of the waistcoat should be left unbuttoned and the bottom of the -trousers should be turned up, while it is part of the performance to -thrust the hands deeply into the trouser pockets. If a boy elects to -wear an overcoat, and he does not occupy a certain definite position or -status in the school, public opinion forces him to keep the collar of -his top coat turned up. Of course, schools generally, and sometimes the -various houses in important schools, make a particular point of school -or house colours. - -At Eton, on the Fourth of June, in connection with the boating there -are interesting ornamentations added to the straw hats in the shape -of flowers, and three boys who act as coxswains wear the uniform of -an admiral and carry bouquets. The Fourth of June celebrations were -instituted to take the place of the festival known as the Eton Montem. -The ceremony consisted of a procession to a little hill near Slough, -when many old and interesting costumes were worn. - -The custom came to an end in the early years of Queen Victoria's reign, -and its immediate object was the collecting of money with which to send -the head boy of the year to the University. It seems, however, to have -originated in a piece of folk-lore, probably connected with the old -tree worship, but sanctioned by the early Christian authorities as a -semi-religious function. In this connection it is pleasant to think that -flowers seen in the hats on the Fourth of June are a survival of the -green branches and garlands that were once brought back each year from -the Montem expedition. - -When dealing with children's dress we ought not to forget the special -costumes that have been adopted in some private girls' schools, nor how -much is being done in them towards disseminating ideas on the subject -of dress reform. For, after all, it is to the women of the future that -we must look if any alteration is to be generally made. The introduction -of exercises in the gymnasium has necessitated the adoption of a -drilling dress in very many cases, but there are schools where such a -costume is generally worn at all times, and others where it forms the -working dress, while long skirts are only put on when no active exertion -is expected. - -[Illustration: FIG. 126.--Dress worn by the girls at Coombe Hill School, -Westerham. It is a modification of the Dervish Djibah.] - -At Coombe Hill School, Westerham, in Kent, the dress takes the form of a -tunic with wide sleeves which come to the elbow (see Figure 126). It is -put over the head and has no fastenings. It is modelled upon the Djibah -of the Dervishes, and is made of soft woollen material of a fawn colour. -The yoke is of green embroidery and the underslip is tussore. Under the -tunic a blouse of white silk is worn, and the sleeves, of course, show -from the elbow downwards. The rest of the costume consists of cloth -knickerbockers and stockings, with sandals or shoes that are made to the -shape of the foot. This dress is worn on all occasions at school, and -the girls are very proud of it. - -[Illustration: FIG. 127.--Dress worn by the girls at the Croft School, -Betley, when at work.] - -At the Croft School, Betley, in school and when any basket-making, -book-binding, drilling, or Morris-dancing is going on, a special costume -is brought into use. In this case it consists of a tunic without -sleeves, of red material with a velvet yoke, and shoulder straps (see -Figure 127). As a finishing touch there is a girdle tied loosely in a -bow. It is not placed round the waist proper, but drops towards the left -knee as did the sword-belts which the knights in olden times wore over -their armour. A white silk blouse shows above the yoke round the neck -and has full sleeves. The knickerbockers in this case are made of -red knitted stockinette instead of cloth. The whole costume has been -carefully worked out, and Miss Hodgson, one of the principals of the -school, has an interesting doll which is dressed exactly like the girls. -It should be said that all the girls wear this dress whether they are -nine or nineteen years old, and as it is much appreciated by them there -is no doubt but that when they come to have girls of their own they -will support any movement in favour of the more general adoption of a -sensible costume. - - - - -XVIII - -WEDDING GARMENTS - -THE VEIL--BRIDESMAIDS AND BRIBERY--OLD SHOES--ORANGE BLOSSOM - - -Weddings are ceremonies in connection with which we may look for some -points of interest, as customs in connection with them change but -slowly. In this country, if convention be followed, the bride's dress is -of white. - -The veil that is worn recalls the primitive head-dress that was bound -by a fillet, and, like that of the nun, may well be derived from the -wimple, though it is said to represent the canopy which in many -countries, and by the Jews in our own, is held over, or erected above, -the bride and bridegroom. Flowers take a part in the adornment of the -bride, and the special use of orange blossom will be dealt with when -discussing wedding crowns. - -It is customary for the bridesmaids to be dressed alike, and they often -wear some ornament which has been presented to them by the bridegroom. -It may be that this is a survival like many other wedding customs of the -old marriage by capture, for in some countries the girl friends of the -bride will not allow her to be approached by the bridegroom until he -has given them presents, or in reality bribed them. Now, like tipping, -it is merely a custom that must be followed, but originally no doubt the -bridegroom and his accomplice, the best man, might have found that what -they could not do by force they might encompass by bribery. - -The expression "to tie the nuptial knot" takes its origin from the fact -that, among the Babylonians, the priest who conducted the wedding used -to take a thread from the garment of the bride and another from that of -the bridegroom. These he tied together into a knot and presented to the -bride as a symbol of the binding nature of the union between her and her -husband. - -There is an article of dress which often plays a part at weddings, for -old shoes are usually thrown after the newly-married pair, while boots, -with a hole in them, filled with rice, are hung from the backs of -carriages, and satin slippers have on occasion been fastened to the -carriage door handle of the railway train which speeds the pair on their -honeymoon. - -We all know that the throwing of old slippers is intended to bring luck -to the bride and bridegroom, but it is not apparent what particular -form it is intended that the blessing should take, and the origin of -the custom is difficult to determine. Mr. James E. Crombie,[24] after -carefully considering the various superstitions connected with weddings -and shoes, has come to the conclusion that the intention is to ensure -that the young couple shall be blessed with children, and that old -shoes are thrown because of the idea that the essence or life of the -individual that wore them remains in them, and makes them powerful -talismans. - -In this connection it may be well to consider the importance which shoes -have assumed at various times in connection with weddings and otherwise. -So long ago as the year 1291, a law in Hamburg ordered that the -bridegroom should give his bride a pair of shoes, and it is still a -custom in Transylvania for the bridegroom to make a similar present on -his wedding morning. In Greece the best man puts a new pair of boots, -supplied by the bridegroom, on to the feet of the bride when she leaves -her father's house. In Bulgaria, a money present which the bridegroom -makes to the relatives of the bride is called shoe money, and with it -the father of the family buys shoes for it. This money is said to be -a relic of the price that was paid to the clan from which a wife was -taken. - -Shoes have figured as part of wages, and they were thrown over the heads -of the O'Neils by the O'Cahans when the former were chosen chiefs. This -was done to symbolize the superiority of the throwers. In Russia, the -wives as part of the wedding festivities remove their husband's boots in -order to show their subjection to him, though while the bride dutifully -takes off her lord and master's boots as a sign of subserviency, she -always hits him on the head with one of them to show that she is not one -whit inferior to him. It is said that the Hebrew word for shoe and wife -are identical, and a Bedouin form of divorce is "She is my slipper, I -have cast her off." The casting of a shoe over land, as mentioned in the -Bible, was symbolical of conquering it. - -As regards fruitfulness, the Eskimo women carry a piece of an old shoe -which has once been worn by European sailors, to make them prolific -mothers. Women who are blessed with families in China present shoes to -the "Mother goddess," and those who wish for children borrow these shoes -and vow that if the desired result is effected they will present another -one to the divinity when the borrowed shoe is returned. - -Mr. Crombie gives a number of instances to show that there is still a -belief that the soul of persons may live in their shoes. In the Museum -of Northern Antiquities at Copenhagen is a mummified corpse of a -woman who was intentionally drowned in a bog, and from her body, after -the murder, a shoe had been removed. During the Arran murder case at -Edinburgh, in 1889, it transpired that the boots of the murdered man had -been removed by the local constable, who had buried them on the seashore -between high and low water marks. No explanation was forthcoming, though -the man admitted that it was by the orders of his senior officer that -he put them out of sight. There is no doubt but that the idea underlying -the action was that of preventing the ghost of the murdered man from -walking. - -It must not be forgotten that shoes used to be thrown after anybody -when he or she was starting on a journey, which in old days was a risky -business, and Ben Jonson wrote, "Would I had Kemp's shoes to throw -after you." This has been interpreted as meaning that Kemp was a lucky -individual, and that something of him and his good fortune remained -in his shoes. Summing up his remarks, Mr. Crombie says with regard to -throwing shoes at weddings that by doing so "we should be doing for the -young couple, in a more pleasant way, exactly the same as the relatives -of the Galla bride did for her when they anointed her from top to toe -with bullock's blood. We should be doing for them with shoes what our -Aryan ancestors did for their cattle with the sacred parna rod, and what -the herdsmen of Sweden and The Mark do to this day, when on the 1st -of May they watch on which branch of the mountain ash the sun first -strikes, and then, cutting it down, beat the yearling heifers with it on -the loins and haunches, repeating at each stroke a verse in which they -pray that as sap comes into the birch so may milk fill the cow's udder. -We should be doing with shoes what the Romans did in ancient Rome at -the festival of the Lupercalia, when the boys, armed with strips of the -skin of the slaughtered goats, used to rush through the city striking -all they met, and where women, particularly those who desired to be made -fruitful, placed themselves naked in the way, and received the blows of -the Luperci on their palms." - -At a wedding sometimes the priest's vestments play a part. It is -customary in some continental countries for the priest to wrap the hands -of the bride and bridegroom in his stole, and even in some of our -English churches the contracting parties are instructed to take hold of -the stole by the officiating clergyman. We might mention that in many -countries the bridal dresses are very beautiful, and are often survivals -of very old-fashioned costumes. The Norwegian bridal dress is an -instance of this. The wearing of a bridal crown is also a custom in -Scandinavia, where it is said that every parish possesses its special -crown which is the property of the church, but the use of it is only -sanctioned when the bride bears an irreproachable character. - -The wearing of orange blossom has apparently the same meaning, and it -may be mentioned that on funeral monuments or brasses the wearing of a -garland by the effigy of a girl means that she died a virgin. - - - - -XIX - -MOURNING - -COLOURS ASSOCIATED WITH MOURNING--WIDOWS' WEEDS--PERENNIAL MOURNING - - -The ceremonies connected with death and burial are no exception to the -rule which we have laid down, that on solemn and important occasions -primitive customs and costumes are most commonly to be met with. The -making of clothes from bark has come to have a special significance -in the case of races which no longer adopt this in everyday life. The -Kayans of Borneo now ordinarily wear smart foreign stuffs which they -get from traders; but when they go into mourning they discard these -garments, and return once more to the old native garment of bark -cloth. The putting on of sackcloth is no doubt a similar custom, and -dishevelling of locks is also in keeping with it. - -Among the many curious customs connected with funeral rites which -survive in civilized countries, the adoption of some kind of mourning -dress is very general. Sombre black has come to be associated in our -minds with mourning, but other colours are used among other nations, -and even in this country. The drapery with which the hats of the hired -mourners at a child's funeral are veiled are white instead of black. -White ostrich feathers may appear on the horses' heads, and white adorns -their trappings. Royalty is still privileged to have a special mourning -colour--purple is used at state funerals, and grey is looked upon as -half-mourning. - -In China white is the colour used instead of black, and other Oriental -nations wear yellow. In modern Egypt, at a funeral, the women, whether -relatives or servants of the deceased, are distinguished by a strip of -linen or muslin bound round the head and tied in a single knot behind. -This stuff is usually of a blue colour. The women of ancient Egypt, as -shown on the walls of tombs, wore a similar bandage round their head. -Excessive mourning is now becoming a thing of the past, and there is no -need now for such laws as were made at the end of the fifteenth century -to restrict extravagance in mourning attire. Nowadays men may follow the -custom observed by those in the army and those who wear Highland dress -of putting a black band round their arm. At the most they wear black -clothes and put a wider band round their hats. Among women it is only -widows who wear a special costume. It is not a becoming one, though -sometimes a smartness is imparted to it that is a little out of keeping -with the idea of mourning. Now a widow's dress is called weeds, though -this term at one time signified the whole of any woman's costume. - -For the origin of the widow's veil we must go back to mediæval times, -when the dress of widow ladies was similar to that of the convent. It -was the custom of elderly ladies whose husbands had died to become what -is called vowesses, and to go into seclusion. A relic perhaps of the -practice is to be found in the kind of prejudice which still exists in -the minds of some people against second marriages. The white cuffs of -the widow recall those of the nurse, and similar ones are used by some -members of the legal profession as part of their mourning. - -When dealing with military costume we shall find that signs of mourning, -when once adopted, have in some cases never been wholly abandoned. There -are similar vestiges like those found in the dress of public schools, -and there has been a suggestion of the same thing happening in the Navy. - -In connection with the hired mourners or mutes at funerals, now so -solemnly habited in black, it may be interesting to recall that the old -Roman mimes, of whom we have seen that Punch was originally one, were -employed at funerals to imitate the language and manners of the -deceased. - - - - -XX - -COSTUME CONNECTED WITH THE CHRISTIAN RELIGION - - THE SURPLICE AND "THE CLOTH"--THE CIVIL ORIGIN OF - VESTMENTS--SPECIAL VESTMENTS--PROCESSIONAL VESTMENTS, SO - CALLED--NUNS' DRESS--THE CHOKER - - -The dress worn by clergy when conducting religious ceremonies offers -many opportunities for studying the development of garments, and -illustrates at the same time how the dress used by a special class may -evolve more slowly and on different lines from the same clothes that may -be worn by the people at large. The case is similar to that of animals -or plants which are isolated from the other members of their species, -and in course of time come to differ very markedly from their far-away -relatives who flourish in the old home. - -We shall see that many of the ecclesiastical vestments can be traced to -civil dress; but for the moment we may discuss those which are in use at -the present time, and which afford additional evidence in support of our -statement that the more important the ceremonial, the more ancient the -costume. At the present day we find that the clergy of the Church of -England preach either in a white surplice or in a black gown. We can -trace the black gown to an order made by James I, but at the present day -the vestments worn by the clergy of the Presbyterian Churches are rather -professional, or academical like a barrister's gown, than properly -ecclesiastical. We have already mentioned the bands (see p. 44) which -are worn with the black gown, and here we might mention that when the -preacher ministers to a recognized congregation he wears them, though if -he is ordained but is conducting an occasional service he does not. - -Charles I gave instructions that the surplice should be worn, and had an -Act passed giving him power to regulate clerical costume. But the clergy -sent in a petition that matters should be left as they were, and this -request seems to have been granted, as some of the ministers at the time -expressed the fear that His Majesty would order them to wear hoods and -bells. Mr. Macalister[25] says that the surplice was originally invented -to take the place of the albe, which was made so small that it was -difficult to put it over the cassock when the latter garment was thick -and lined with fur. - -Originally the surplice was put on over the head, in the same way as the -albe, the place of which it took, but some two hundred years ago the -surplice was made open in front and fastened at the neck with a button. -The reason for this is that in this way the surplice could be put on -without disarranging the enormous wigs which were worn during the -seventeenth and eighteenth centuries. The cassock, to which we have -already alluded, was a long, loose coat or gown, which was worn by both -sexes from the eleventh century onwards. The name was applied to the -coat adopted by foot soldiers in the time of Elizabeth. In the case of -the laity, it was abandoned in favour of the shorter and more convenient -coat. - -The black coat of the modern clergy, whom we term "the cloth," no doubt -represents it, while it is of course worn ordinarily by many Roman -Catholic clergy, and some High Churchmen, as an everyday garment, for -which it was originally intended. The row of buttons which now fasten -the long cassocks from neck to the foot have been humorously compared by -Lord Grimthorpe to the close row of rivets on a boiler. - -With regard to the development of the more ornamental dress of the -clergy there is a great deal to be said. In the past, two separate -origins for it have been suggested, and to pursue either of these would -be to take us far back into history. It has been claimed, in the first -place, that modern church vestments have been derived from those of the -Levitical priesthood. The other idea is that the ceremonial dress of the -clergy was derived from the civil costume of the Romans. It appears, -however, that careful researches have shown that the decorations -which have given ecclesiastical vestments their highly ornamented -character--in which they resemble certainly those used by the Jews in -Temple worship--have been gradually acquired. - -The dress of the ancient Christians was simple, and it seems likely that -owing to the poverty of the early Church rich clothing could hardly have -been adopted. Besides, for many centuries there is no mention of such -vestments as we are considering, and no records as to their having been -derived from Jewish models. On the other hand, everything points to a -more natural origin of the raiment concerned. Flowing garments, as -we have already seen, give dignity, and we find that among the Romans -such were used in dignified leisure or on occasions of state, in -contradistinction to the dress of active existence, which consisted of a -short tunic or chiton. It is with the first kind of dress that we have -to deal. - -It consisted of a tunic either short or long, over which was worn the -toga which was capable of the same variety of arrangement as the plaid -which still survives. Even when the toga was given up by the people -generally, on the founding of the Roman Empire, it continued to be used -in certain cases. - -It was etiquette to wear a toga when dining with the Emperor or going -to court; advocates wore it, as did clients when they visited their -patrons, and it was also adopted at funerals and when sacrifices were -being made. - -On the face of it, it would appear likely that those who ministered to -the early Christian Church would follow the general custom. Nothing, -perhaps, affords better evidence of this having taken place than an -illustration which is considered authentic of St. Gregory the Great with -his father and mother. As Mr. Marriott[26] points out, if it were not -for the Papal pallium--that is to say, the band round his shoulders--on -which crosses are embroidered, and the book of the Gospels which he -holds in his hand, it would be hard to distinguish which was the bishop -and which the senator. (See Figure 128.) - -[Illustration: FIG. 128.--St. Gregory the Great with his father -Gordianus, who was a senator, on his right, and his mother Sylvia on his -left. This shows the similarity between ecclesiastical and civil costume -in early times. From an authentic picture (after Marriott).] - -From this dress it is claimed, by those who have carefully gone into -the question, that ecclesiastical vestments have been developed. In -connection with this, Mr. Macalister[27] makes the following remarks: -"Fashion in dress or ornaments is subject to constant changes, which, -though perhaps individually trifling, in time amount to complete -revolutions; but the devotees of any religion, true or false, are by -nature conservative of its doctrines or observances. At first the early -Christians wore the same costume both at worship and at home. Fashion," -Mr. Macalister continues, "would slowly change unchecked from year to -year, while ecclesiastical conservatism would retard such changes as -far as they concern the dress worn at divine service; small differences -would spring into existence between everyday dress and the dress of -the worshipper. These differences, at first hardly perceptible, would -increase as the process went on, until the two styles of costume became -sharply distinguished from one another." In this connection it will be -interesting to mention those vestments which antiquarians have traced to -Roman costume. - -The albe takes its name from the _tunica alba_, which was used as a -purely secular garment until the ninth century. It was worn by all the -ministers and deacons, but as the latter had no vestment above the albe, -it came to be the special characteristic of the deacons. Usually, as the -name implies, the albe was white, but in this country coloured albes -were sometimes used. - -We have already seen that the surplice was derived from the albe, and -Mr. Marriott has brought forward all the evidence that he can to show -that white was the colour of the vestments at the earliest times in -the history of the Church. His arguments, however, do not seem to -be conclusive, and his inferences do not commend themselves to Mr. -Macalister. The latter thinks, however, that the view that white was the -colour appropriated in primitive times to the dress of the Christian -ministry is preferable to the theory that the early vestments were of -the same elaborate description as their mediæval successors. He is of -opinion, nevertheless, that the passages upon which Mr. Marriott bases -his arguments are quite consistent with a third alternative, namely, -that no distinctive vestments were set apart for the exclusive use of -the Christian minister during the first four centuries of the Christian -era. - -The dalmatic was a wide gown or tunic with long full sleeves, which was -derived apparently from the albe and used by persons in high secular -positions before it was adopted by the Church. In the mediæval period -the dalmatic was slit for a short distance up either side and fringes -were added to decorate the slits, the hems, and the ends of the sleeves. -In this style the garment was worn by a bishop. There were, however, -only fringes on the left sleeves and along the left side in the form of -this vestment which was appropriated to a deacon. - -Most elaborate explanations were offered by mediæval writers for this -difference, which seems merely to be a matter of convenience for the -deacon, who served at the altar. It was important that he should have -his right side free, and the heavy fringes would have got into his way. -One of the ideas with regard to the fringe was that the absence from the -right side symbolizes our freedom from care in the world to come; but -why, Mr. Macalister asks, was not the bishop to be exempt from care -in the future world? In connection with the coronation of English -sovereigns the dalmatic is still used, as well as representatives of -other ecclesiastical vestments, but to these we shall refer again. - -It is not at all unlikely that the stole which a clergyman wears after -the fashion of an untied tie, and which hangs from his neck nearly to -the ground, is really the same thing as our handkerchief, and it is -certain that it was employed originally as a scarf or _orarium_. In many -Roman monuments which are not of an ecclesiastical character, scarves -are worn over the rest of the dress. They pass over the left shoulder, -diagonally, towards the right side, and are fastened under the right -arm. They are not to be confounded with the two bands of purple (or -_clavi_) which on the tunics of senators and other important men ran -round the sides of the neck openings and down to the lower hem. - -It is probable that the scarves were used in the same way as favours and -"colours" among ourselves. It is recorded that Aurelian was the first -emperor who distributed "oraria" as presents to the people to be worn as -favours. In this connection we must not forget the ribbons of the -Knightly Orders, which we have already mentioned when speaking of the -baldric. - -The Fourth Council of Toledo enacted that deacons should wear their -stoles over their left shoulder so that their right arm might be free to -facilitate the execution of their duties in divine service. An English -church vestment actually goes by the name of the scarf, and is a broad -black band of silk worn in the same way as the stole. It is probably a -modification of some article of university costume, possibly the tippet -(see p. 212), and is worn by Doctors of Divinity and the clerical -authorities of Collegiate and Cathedral bodies. - -The outdoor garment which replaced the toga took several forms. One of -these had already been in use for some time as part of the dress of the -lower classes and of slaves. Speaking briefly, it rose in the world, and -emperors even wore it when they were travelling. One form, called the -casula, is of interest to us because it is the forerunner of the -chasuble. - -So much attention has been drawn to ecclesiastical vestments of recent -years, owing to the adoption by English High Church clergy of those in -which Roman Catholic priests celebrate Mass, that it may be perhaps -of interest, even at the risk of recapitulation, to consider them. It -should be said at the outset that the stripes of embroidery, which are -often very elaborate and enriched with jewels, which appear on vestments -such as the amice and albe, are called apparels. - -To garments which are white and have at times to be washed, these -ornaments are sewn or otherwise attached, so that they can be removed -when it is necessary and replaced. The amice we have not yet mentioned, -as it is of mediæval origin and did not come into our consideration of -the evolution of modern vestments from Roman dress. It was a rectangular -piece of linen, about thirty-six inches by twenty-five inches, with an -apparel sewn along one edge and a cross embroidered in the centre. This -the priest at the present time wears round his neck. The outer garment -or chasuble, which is richly ornamented, we have traced to the garment -which replaced the Roman toga, and as it is without sleeves and has -become heavier, it has been found necessary to slit up the sides. Under -this the stole is worn over the albe, and only its ends appear beneath -the chasuble. (See Figure 129.) There is ornamentation on the sleeves -of the albe, where they show, and on the back and front of it where it -shows below the chasuble. - -[Illustration: FIG. 129.--A priest in the vestments now worn at the -celebration of the Eucharist.] - -The apparels, according to Druitt, are possibly the remains of the -purple bands and other ornamentations of the Roman tunic, from which -we have seen that the albe was derived. Over the left arm the priest -carries a maniple which is something like a stole. This was originally -made of linen, and worn over the fingers of the left hand. There -is no doubt but that it was once a napkin and, according to Mr. -G. C. Coulton,[28] originally used in the fashion of a modern -pocket-handkerchief. That it was a napkin is shown by quotations from -ancient writers, and there seems no doubt also that many refinements of -Roman civilization, of which the pocket handkerchief was one, were lost -in the later Middle Ages. In fact, the handkerchief only began to come -into general use in polite society about Henry VIII's reign, and the -maniple of the ministrant at the altar must have lost its original use, -or Bernard would not have twice warned him against blowing his nose on -his chasuble or surplice. - -When speaking of the handkerchief, there is another use which we may -mention. It was often employed for ceremonial purposes in connection -with the giving of presents, and this idea seems to have come from -Eastern lands, where gifts are wrapped in highly ornamental covers. In -the parable of the talents, one of them, it will be remembered, was -wrapped in a napkin, and even to-day the labourer has his dinner taken -to him in a brightly coloured cotton handkerchief. - -Among the special vestments of bishops are the dalmatic, which we have -already described, and the tunicle, which originally did not differ from -it, and began to be worn beneath it about the twelfth century. Others -are the buskins or stockings (which were originally reserved for the -pope), sandals, ring, gloves, and mitre, together with a pastoral staff -adapted from the shepherd's crook. - -Archbishops have a cross staff and a pallium or pall which is probably -derived from the same ancestor as the stole, namely the orarium, which, -we have seen, was a favour or distinction granted by the Roman Emperor. - -The word pallium has been applied to a number of garments in the past, -many of which were of a flowing character, and some writers have seen -in the archbishop's pall a small vestige of what was once an ample -vestment. Early pictures, however, show the pall looped round the -shoulders with one end hanging in front of the body and one behind. Mr. -Macalister says that it was difficult sometimes to distinguish between -it and the stole, and that the next step in its evolution was to knot -the free ends to the loops as shown in the eighth, ninth, and tenth -centuries. From this it was but an easy step to the final form which -consists of an oval loop with a long tail pendent from each of its ends, -so that when it is worn on the person it makes a capital "Y" on the back -and another on the chest. It should be pointed out that the pall must -not be confounded with the apparel of the chasuble called the orphrey, -which also has a "Y" shape. - -In connection with the manufacture of the pall there are some -interesting proceedings. It is made from the wool of two lambs, and they -are solemnly blessed on Saint Agnes's day in the church dedicated in -the name of that saint at Rome. The animals are chosen with special -reference to their whiteness and goodness, and are carried into Rome in -separate baskets, which are slung over a horse's back. - -On the way to the church the Pope makes the sign of the cross from a -window over the lambs, and they, after Mass has been celebrated and they -have been blessed by the celebrant, go back to the Pope, who sends them -to a nunnery, where they are shorn and the wool made into palls by the -nuns. - -The modern pall has six black crosses on it, but previous to the eighth -century it had sometimes four, sometimes eight, worked in purple. - -At first the pall was fastened by gold pins to the chasuble to keep it -in place, but just as ladies now use little lead weights to keep parts -of their dress in position, so lead was used to hold the archbishop's -pall in place. The effigy of Albrect von Brandenburg in 1555, at -Mayence, shows two palls, which probably indicate that he was Archbishop -of Magdeburg as well as of Mayence. This repetition can hardly be -strictly correct, as the pall could only be worn within the Archbishop's -province. - -Archbishops in olden days appeared to have had no authority to act -until they received their pall from the Pope. The honour was, however, -bestowed occasionally on bishops. The pall is generally shown on the -coats of arms of archbishops. (See Figure 130.) - -The cope is one of the so-called processional vestments. It does not -appear before the ninth century, and is apparently connected with Roman -dress. It was an outer cloak without sleeves, and originally was used -as a protection from the weather at open-air processions in Rome, its -ancestor probably being the lacerna. In a similar way the almuce was a -hood to protect the head, and such articles, as Mr. Macalister says, the -clergy would continue to adopt in their cold and draughty churches or in -open-air processions. - -[Illustration: FIG. 130.--The coat of arms of Thomas à Becket. Showing -an archbishop's pall.] - -Of monastic habits the earliest was the Benedictine, consisting of a -cassock over which was worn the cowl--a large, loose gown, with hanging -sleeves and a hood attached to it. In the old times the costume of -abbesses and nuns resembled the mourning habit of widows, who often -retired to end their days in a convent. When the English Church was -reformed, the Mass vestments practically disappeared. The first Prayer -Book of Edward VI prescribed for the Holy Communion a white albe, -without any apparels, with a vestment or cope, while the assistant -priest or deacons were to wear albes with tunicles. The cope was also -to be worn with a plain albe or surplice on Wednesdays and Fridays when -there was no communion. The bishop was to wear a rochet, a surplice or -albe, and a cope or vestment. The second Prayer Book prohibited the use -of the albe, vestment, or cope to the minister, allowing him only a -surplice, while the archbishop or bishop was allowed a rochet. The Act -of Uniformity upheld the ornaments rubric of the first Prayer Book of -Edward VI, and this has never been superseded. - -The lawn sleeves of the modern bishop developed from the rochet, which -was a kind of modified albe, which at first had a kind of tight-fitting -sleeves or none at all. Over this rochet is worn a black satin chimere, -and as it was difficult to get this over the bishop's sleeves, they were -removed from the rochet and are now fastened to the chimere. The black -scarf we have already considered. - -It is customary at the present day for clergy of the English Church to -wear the academical hood of their university degree over their -surplices. This is ordained by the fifty-eighth canon, but ministers who -are not graduates are permitted to wear, instead of hoods, "some decent -tippet of black, be it not silk." It appears that in the time of -Elizabeth, in everyday dress, ministers wore a gown and some of them a -silk hood. The tippet is a survival of the almuce, which we mentioned -in connection with the cope, and is one of the so-called processional -dresses. It must therefore not be confounded with the amice, which is a -truly ecclesiastical vestment. - -As bearing on the conservatism of the Church in matters of dress, we -may mention that in Holland, until recent times, the clergy wore a -very old-fashioned dress, or perhaps it may better be described as a -picturesque uniform, consisting of an old three-cornered hat, and a coat -resembling the ordinary evening dress-coat, having a long pleated strip -called "the mantle" hooked on the neck, and obviously being a survival -from an early and more ample gown of some kind. They wore knee-breeches -buckled at the knees, and buckled shoes, but this costume was only used -when the minister was officiating at service. - -Some of the heads of the churches in Scotland still adopt a kind of -Court dress. - -In turning for a moment again to the everyday dress of the clergy, the -method of fastening the characteristic white choker at the back seems -to have come from the bands. Thackeray in "The Newcomes" uses the name -choker as meaning a white necktie, and it was also applied to the old -leather stocks which the clerical collar, in its stiffness, resembles. -The bishop's hat we have already alluded to, as showing the stage in a -process of cocking, the brim being tied to the crown by strings. The -clerical gaiters we can derive from the old episcopal buskins, while the -apron appears to be a vestige of the cassock to which we have before -referred. - -The dress of monks usually consists of a tunic or closed gown and -scapular, while there may be one or more open gowns with a hood at the -back. - -Nuns or Sisters of Mercy are so commonly seen in our streets, and -they do so much for the benefit of the poor, and take such a part in -educational matters, that their dress is very familiar to us. It is -difficult to say how old it may not be, and though stiff hoods similar -to those which are now in use by nuns were adopted by women generally -in Tudor times, we find in the head-dress of Henry II's reign the -counterpart of the linen bands which surround the face and hide -the hair. The other garments of nuns may have the same origin as -ecclesiastical vestments, for the dress of the Roman women was very -much like that of the men. (See Figures 128 and 131-133.) - -There are, of course, many orders, congregations, and communities of -nuns, but we may describe the dress of one of the latter, and then make -a few additional remarks. In the case of the Kilburn Sisters of the -Church, who are English Catholics--but who have dedicated their lives to -religion in the same way as the Roman Catholic nuns--the indoor dress -consists of a white cap, the descendant of the Norman chin-band, which -fits tightly round the head--as the hair of all nuns is, of course, cut -close--and it is gathered round the face with a string. This cap, if -it comes down low on the forehead, correspondingly covers the chin, -but in many cases the latter is free. Over the white cap in indoor -dress a black veil is worn in the case of professed nuns, a blue veil -by novices, while postulants, who may be taken as corresponding to -probationers in a hospital, wear only a cap, though in chapel they have -a white veil as well. Round the neck of the Sister is a white collar, -which in this case is separate from the cap and buttons on to it at one -side. - -This collar, which like the veil may be traced to the wimple of Norman -and later ladies, is also called a breast cloth or a gremial, and may -be, as we have indicated, made in one piece with the cap. - -In outdoor dress a stiff white hood is placed over the indoor -head-dress, and over that again comes the outdoor black veil. - -It should be mentioned that the Kilburn Sisters now pin their veils to -the sides of their linen caps in exactly the same way that the dame in -the time of the early Plantagenets did her wimple to the sides of her -chin-band. - -For working Sisters, the rest of the costume is a habit with skin-tight -sleeves, though there are also most voluminous outer sleeves which are -detachable and can be removed. A small cape is buttoned across the -chest, and the number of buttons corresponds with the letters in the -word "Obedience." An apron is also worn and a thick girdle, to one of -the hanging ends of which a cross is attached. Other Sisters wear a -scapular with shoulder-straps, over a white cape. Nuns are not allowed -to wear gloves, and some orders use sandals, though absolutely -barefooted orders exist. - -[Illustration: FIG. 131.--The head-dress of a nun showing the veil and -breast-cloth derived from the wimple, the cap which represents the -chin-cloth, together with the frontal and the hood.] - -[Illustration: FIG. 132.--The head-dress of a lady of the time of -Henry II. The wimple is shown covering the chin- and head-bands (after -Calthrop).] - -[Illustration: FIG. 133.--The chin-band and forehead strap after the -wimple has been removed (after Calthrop).] - -The lay sisters of the community under consideration wear a blue habit -and a white cap with flaps. Some orders, in addition to the white cap, -wear a plain band round the forehead over it, which is called a frontal, -and is seen in the dress of Henry II's time. (See Figures 131 and 133.) - -Professed sisters wear a wedding ring on the third finger of their right -hand. The white outdoor stiffened hoods often stand right up from the -head in a very striking way, and sometimes no veils are worn. Some of -the caps, which are made in one piece with the collar, are fastened -under the chin by two strings, and the goffered edges of the collar -recall the bands of the Stuart period. - - - - -XXI - -SUNDAY CLOTHES - -THE SIGNIFICANCE OF SUNDAY CLOTHES--THE WEARING OF HATS IN CHURCH BY -LADIES - - -Sunday clothes are a time-honoured institution, though it is a sign of -the times that many now make no difference between their weekday costume -and that which they wear on the day of rest, or if they do, they only -put on garments which are appropriate to the relaxations in which they -are accustomed to indulge. St. Jerome and St. Clement both exhorted the -early Christian worshippers to wear a special dress for worship, and the -Jews in their synagogues put on a vestment called a talith, which is -used by the whole of the congregation as well as by the officiating -minister. - -We quote the following passage from St. Clement[29] because it deals -with the question of women having their heads covered while at church: -"The wife and the husband should take their way unto the church, in -seemly apparel, with unaffected gait, and speech refrained; having love -unfeigned; pure in body and pure in heart; fitly decked for prayer to -God. And this further let the woman have: let her wholly cover her head -(unless perchance she be at home), for so dressed she will have respect -and be withdrawn from gazing eyes. And if thus with modesty, and with a -veil, she covereth her own eyes, she shall neither be misled herself, -nor shall she draw others, by the exposure of her face, into the -dangerous path of sin. For this willeth the Word; seeing that it is meet -for the woman that she pray with covered head.... But then so as they, -who are joined to Christ, adorn themselves, in a more solemn fashion, -for assemblies of the church, even such should they ever be, even so be -fashioned, all the days of their life. 'To be, not seem to be,' let that -be their watchword; gentle, reverent, full of holy love, at one time not -less than at another. - -"But it is not so, indeed. Somehow doth it come about, that, with change -of place, they change both their habit and their manners; even as the -polypus is said to change each one his colour to the semblance of the -rock whereby he dwells." - -It will be remembered that not long ago objection was taken by a -minister to women appearing in his church without any hats. It would -appear that the whole custom is a relic of that still observed in -eastern countries, where women cover not only their heads, but also -their faces, though, as pointed out in an earlier chapter (see page -13), in some places it is still considered more immodest to uncover the -back of the head than to expose any other part of the person; and in -Egypt, for instance, an Arab woman disturbed when drawing water will -throw her single garment over her head in order to hide it. - -One is rather afraid that those ladies who follow the lines laid down -by St. Clement as to covering their heads in church sometimes obey his -injunctions in the letter rather than in the spirit. For scoffers have -been found who say that one of the reasons why fashionable ladies go -to church is to show their own new hats and gowns and to look at those -belonging to their neighbours. The question of covering the head was -touched upon when dealing with servants' dress in connection with the -cap of the housemaid. (See page 149.) - -The greatest contrast between Sunday and weekday clothes is to be looked -for in the country among agricultural labourers, as the cessation of -labour gives an opportunity for discarding the rough and heavy garments -of the field in favour of something lighter and of better quality, and -this quite apart from the religious idea which no doubt first led to -the practice. Probably the custom of putting on Sunday clothes in the -country will survive until the rural exodus, which has unfortunately -begun, has led to the complete depopulation of our villages. - - - - -XXII - -ACADEMICAL DRESS - - GOWNS AND HANGING SLEEVES--THE FORERUNNER OF THE HOOD--THE ORIGIN - OF THE DOCTOR'S HAT--THE EVOLUTION OF THE MORTAR-BOARD - - -Many complaints have been very justly made against the solemnity, if -not the ugliness, of men's modern evening dress. On important occasions -it may be more or less enlivened by the ribbons and stars of various -orders, but we really get a return to something of mediæval brightness -at those functions connected with the universities at which academical -dress is worn. Then the black coats and trousers are practically hidden, -in many cases by scarlet, by purple, and other coloured gowns. -Occasionally there are combinations of colours which are trying to the -eyes of many, but on the whole the effect is one that is pleasing and -worthy of repetition. Academical dress is in itself a survival, and the -gay colours are almost enough to tell us this. Records exist which show -that in the fifteenth century they were already adopted by the graduates -of our universities. - -The evidence which has been brought forward as to the origin of academic -costume points to its having been derived from that of the clergy; but -there are interesting connections with civil dress, as we shall see. One -of the special features of many academic gowns is their long hanging -sleeves, and we shall find that so long ago as the time of William Rufus -sleeves had grown so long that it had become convenient to make a hole -through them through which the hand and forearm could be protruded. (See -Figure 134.) - -[Illustration: FIG. 134.--Hanging sleeve of the fifteenth century.] - -These sleeves took upon themselves all sorts of forms, and they were -made so long and narrow that they resembled very much the elongation -of the hood which was called a liripipe. Occasionally it was found -necessary to knot them so that they should not trail upon the ground. -Very few parts of dress have varied so much as sleeves, and it is -said that any costume can be dated by an examination of the sleeves. -Nowadays, as in the past, the length of the sleeve and of the gown -itself indicates the status of the member of the university. At Oxford, -for instance, the undergraduate's gown is so short that it is hardly -worthy of the name, and it is without sleeves that act as such. The -scholar's gown is more voluminous, and the gowns of the bachelors and -masters of arts are more important again, while the sleeves belonging to -the latter reach nearly to the ground. - -When we come, however, to the robes of the Chancellor, which are made -of stiffer material, we find that the ancient character of the hanging -sleeves is much more marked (see Figure 135), and there is a train so -long that small pages are told off to support it. In the old days, the -material of which the gowns were made, and their trimmings indicated the -rank of the wearers; and, as Mr. Druitt[30] points out, the bachelor, -for instance, was unable to use fur of so costly a kind as that worn -by his academical superiors. Stuff or silk gowns still have their -significance, and in the hoods which are the survival of a part of -dress which was once useful and worn by graduates and undergraduates -alike, we find great diversity in the case of the various degrees of -different universities. - -[Illustration: FIG. 135.--The hanging sleeve of a Chancellor of Oxford -University.] - -As a head covering, the cap took the place of a hood, and the latter -fell down behind like that often seen on a modern ulster. We have -already noticed (p. 157) how this peak of the hood was exaggerated, and -in old times the liripipe was longer in the case of undergraduates. The -modern hood of the universities has grown in size, but it has lost its -long streamer. Examples are, of course, most commonly seen in churches, -as it is a custom of the clergy to wear their academical hoods over -their white surplices. The colour of the hood and of its lining -indicates, to the initiated, the university to which the wearer belongs, -and the degree which he has taken. - -In early times a tippet or cape made of fur or cloth edged or lined with -fur, according to the degree, was also worn. To this we have alluded -when speaking of the surplice (see page 199). It seems also to have -originally been a kind of hood which developed first into the almuce, -one of the processional vestments of the priesthood. This was covered by -the ecclesiastical cope, but was worn outside the academical gown. -Doctors of Divinity were allowed to wear scarlet tippets, and the colour -survives now in their academical hood, and the ordinary black almuce -with its fur lining has not been greatly changed in becoming the hood of -the Bachelor of Arts. - -Sometimes the tippet and sometimes the hood was worn (if we may judge -from monumental brasses), but also they were both put on at the same -time. The figure of a doctor embroidered on a fifteenth-century cope -belonging to the Pro-Cathedral of the Apostles at Clifton, depicts him -wearing a tippet edged with white, a red hood, and a red cap. His gown, -which is worked in gold thread, is shown with a blue lining. - -Perhaps no form of head-dress is more strange than the college cap or -mortar-board, or, in technical language, _pileus quadratus_, or cater -cap. This skull-cap, with its curious square top, is not the only kind -of academical head-dress. There is the round cap which is especially -that of the doctor, while the mortar-board or trencher already mentioned -is used by masters and bachelors, as well as by undergraduates and -scholars. The former head-dress seems to have been very little altered, -and was developed somewhere about the fourteenth century or earlier from -the ecclesiastical skull-cap, which was something like an old-fashioned -man's nightcap, with a tuft. The square cap is an undoubted descendant -of the ecclesiastical cap of dignity, and in England this also came -from the skull-cap already mentioned. Towards the end of the fifteenth -century, while still used by ecclesiastics, it began to assume a square -or cusped shape. Prof. E. C. Clark[31] agrees with the opinion expressed -to him by the late Dr. Littledale, that folds were introduced into the -soft material in order to make the cap easier to hold, for by them it -was stiffened. The folds became four wings, and so converted the -round top into a square. From this it was but a short step to the -ecclesiastical biretta of the present day. Any further exaggeration -of its top would cause the cap to fall down on the face, and would -naturally suggest the insertion of something to stiffen it and hold it -out, and in the end the square top of the cap was made of cardboard -covered with cloth, and a skull-cap was fixed to it underneath. (See -Figure 136.) - -[Illustration: FIG. 136.--A college cap or trencher.] - -[Illustration: FIG. 137.--Cranmer's hat, illustrating a stage in the -evolution of a mortar-board (after Fairholt).] - -[Illustration: FIG. 138.--The hat of a bishop of the Stuart Period -showing a stage at which the stiffening now seen in the mortar-board was -becoming necessary (after Fairholt).] - -There is a likeness between the round hat of the doctor and the Tudor -flat cap, and Fairholt would derive the mortar-board from the same -head-dress; and as illustrating the story of its evolution, he compares -the cap shown in the portrait of Cranmer (see Figure 137) in the British -Museum with that of a bishop of the time of Charles I (see Figure 138); -and here again the need for stiffening is obvious, if the enlargement of -the crown of the cap be carried any further. - - - - -XXIII - -LEGAL DRESS - -VESTIGES OF THE COIF--HOODS AND GOWNS--SIGNS OF MOURNING - - -It would be strange if the majesty of the law did not depend to some -extent upon dress, and there is no doubt but that an impressiveness -which would otherwise be absent from our courts is given by wigs and -gowns. The wigs themselves are an interesting survival, and presumably -are not more uncomfortable to the few who now wear them than they were -to many in times gone by. We will describe here a few interesting -vestiges among those which are to be met with in legal costume. - -Any one who has an opportunity of looking on to the top of a judge's wig -will notice a small circular depression about three inches across. (See -Figure 139.) This has a very interesting history, and in order to trace -it we shall have to look at the long wigs of the serjeants-at-law, -from whose ranks in the past most of the judges used to come. On the -serjeant's wig we shall find that there is a similar depression, and -that it is filled with a circular white patch, having a black centre, -and reminding one of two large pieces of court plaster, one stuck over -the other. (See Figure 140.) - -[Illustration: FIG. 139.--The wig of a modern judge.] - -The white piece represents the coif, or close-fitting cap of white -lawn or silk which resembles that of a nun, and with which the -serjeants-at-law on their creation were decked. From this cap, the body -to which the serjeants-at-law belonged was called the Order of the -Coif. It seems that the origin of this head-dress cannot definitely be -settled. Mr. Druitt[32] and Mr. Paley Baildon are content to consider it -as part of the insignia of the serjeants-at-law, in the same way that -the round cap indicates the possessor of a doctor's degree, and they are -not inclined to give credence to the suggestion that the coif was to -hide the tonsure or to prevent its absence from being noticed. The black -patch represents a black skull-cap that was worn over the coif. - -[Illustration: FIG. 140.--The vestige of the coif from the wig of a -serjeant-at-law.] - -After having been in existence for many hundreds of years, the order -of serjeants-at-law was abolished by Mr. Gladstone. Lord Lindley, we -believe, is the last member who survives. A black skull-cap is also worn -by a judge, but it is not to be confounded with the cap of dignity which -is used by him when pronouncing sentence, and which was ordered to be -worn in church when on circuit. Ordinarily, the judge does not wear his -scarlet gown, but a black one, the girdle of which has grown to a very -great width. - -The drab colour of the trimmings, which does not harmonize well with the -rest of the gown, has recently begun to give way to primrose, and the -change is due to the initiative of the late Lord Coleridge. - -It is said that black gowns which are worn by the King's Counsel and -other barristers superseded the coloured ones on the death of Queen -Mary II, and in reality were intended as mourning which has never been -discarded. Legal gowns have come down with very little change from the -Middle Ages, and are doubtless derived from ecclesiastical through -academical costume. The original robes of the serjeants-at-law were -somewhat striking in colour, for taking a line down the centre of the -black, one half was of a mustard colour and the other red, while the -latter was further ornamented with green stripes. The robe of the Barons -of the Exchequer was of a beautiful heliotrope tint. - -The material of the gown of the King's Counsel is indicated by the -phrase "taking silk." One peculiarity of the garment is that it has a -large collar resembling that of court-ushers and of vergers in churches. -The ordinary dress of the King's Counsel which he wears in court is -interesting on account of the ornamental cuffs and the escalloped flaps -of the pockets of the coat and waistcoat, which resemble those of Court -dress. - -[Illustration: FIG. 141.--A barrister's gown showing the vestigial hood -and its streamer. The buttons and braid which once temporarily looped up -the sleeves now fix it permanently.] - -On the barrister's gown there is a tiny hood on the left shoulder -resembling that from which the chaperon was developed, and from the -vestige runs a streamer which comes over the left shoulder and hangs -down in front of the gown. (See Figure 141.) There is also a series of -buttons as well as pieces of braid on the sleeves which are survivals, -and we have not the hanging sleeves of the King's Counsel, which are -comparable to those seen in many academic gowns. Small falling bands -are of course generally worn by members of the legal profession, and -barristers and King's Counsel when in mourning have a little pleat down -the middle of each band. Perhaps the most curious additions to legal -costume used in order to indicate mourning are the little white lawn or -muslin cuffs, like those of widows, which the King's Counsel wear on -their sleeves when the Court is in mourning, or when they themselves -have suffered bereavement. - - - - -XXIV - -STATE AND COURT ATTIRE - - CORONATION DRESS--PARLIAMENTARY ROBES--MISTAKES IN COURT - DRESS--VESTIGES OF THE WIG AND OF THE CHAPERON--COURT CARDS - - -The English sovereigns are heads of the Church as well as of the State, -and in connection with their coronation dress there are, as might be -expected, many survivals from the past. The vestments used on the -occasion in question agree almost entirely with those which we have -described as being worn by a bishop at mass. We may except, however, the -amice and the maniple, while the sceptre and crown take the place of the -crosier and the mitre. The first vestment to be put on is of linen, and -is an albe or rochet, and up to the time of James II it was provided -with sleeves--it is known as the _Colobium sindonis_. Over this is -placed the tunicle or dalmatic. This is made of silk, and across it is -worn the stole in the same way as deacons were ordered to do in the year -561. The custom is still followed in Greece and Rome, whereas priests -generally put on the stole immediately after the albe. - -Over the dalmatic comes the imperial mantle which seems to have been -originally a chasuble, but is now slit up in front. This garment, which -is of cloth of gold, is embroidered with eagles, that are interesting as -probably representing the claim of the King of England to be Emperor of -Britain and Lord Paramount over all the Islands of the West. In -Charles II's reign further ornaments occurred in the shape of roses and -fleur-de-lys, and on Queen Victoria's mantle there were roses, half red -and half white, as well as thistles, shamrocks, and fleur-de-lys, while -the eagles were embroidered in silver. - -At the coronation of King Edward VII the vestments which we have -described were all used with the exception of the albe, and to the other -devices on the imperial mantle the lotus flower was added as a symbol -for India, as the King was the first sovereign to be crowned as Emperor -of India. - -The robe which the King wears at the opening of Parliament has a cape -of ermine made up in miniver style, and it is lined throughout with the -same fur. We might here say that ordinary ermine is decorated with the -tails of the stoat, which remain black when this animal puts on its -winter dress, whereas in the case of miniver the fur is spotted all over -with little black pieces made from the skin of some other animal. This -has not always been the same, but at the present time Persian lamb is -used. - -The magnificence of the King's parliamentary robe and its train of -crimson velvet may be gathered from the fact that in the making of the -miniver, upwards of ten thousand pieces of black fur were used. In a -portrait of the King, taken when wearing this robe, he is shown in the -uniform of a Field Marshal, and holds in his hand the Field Marshal's -baton. The latter originally was a box in which the general carried the -orders of his sovereign, and it is rather curious that what was once the -emblem of the servant should come to be used by a crowned head himself. - -The rank of noblemen is indicated on their parliamentary robes by the -number of bands of ermine with which they are decorated. A Baron has -two, a Viscount two and a half, an Earl three, a Marquis three and a -half, and a Duke four, whereas on their coronation robes the same effect -is gained by a similar number of rows of black spots on the miniver, -which forms a kind of cape. - -As in connection with life at Court there are a number of special -uniforms and official dresses which are carefully prescribed, it is -likely that we should find among the dress of those surrounding the -sovereign, many and excellent examples of survivals. There is, indeed, -one uniform which has come down to us practically unaltered from the -year 1485. This is the dress worn by the Yeomen of the Guard, who may be -looked upon as the King's Retainers. (See Figure 142.) - -It is an obvious example of the point that we have dwelt upon in -connection with badges and liveries, for borne on the back and chest are -the royal crown and initials. Of course, the latter have altered from -time to time, and when the King came to the throne the Tudor crown, -which had been superseded by that of St. Edward, was replaced. - -[Illustration: FIG. 142.--A Yeoman of the Guard of the present reign.] - -The development of the badges on the coat is interesting. In Henry VII's -reign there was the crown and the red and white rose. In the time of -Anne the thistle was added, and the rose was placed upon a stalk. The -Tudor crown was also replaced, for during the Stuart period, St. -Edward's crown had appeared, and the royal motto was added. In the -Georgian period St. Edward's crown again was made use of, while -George III added the shamrock. Now, in King Edward VII's time, we have -the Tudor crown, the rose, thistle, and shamrock, the motto "Dieu et mon -droit," and the initials "E.R." - -What the original uniform was, is not quite certain, but practically the -same kind of coat was worn in Henry VIII's reign that appears now. The -ruff would appear to be Elizabethan, though the hat is earlier. The -officers used to wear a similar but more gorgeous uniform, but when -William IV commanded that only officers of the army should be given -commissions in the Guard, the present dress, which is that of a field -officer of the Peninsular period, was introduced. When King Edward VII -came to the throne he left the decision as to whether they should wear -the old Tudor dress, to the officers themselves, and they decided in -favour of the more modern military one. We might mention the halberds -that are carried by the Yeomen, and also allude to some of the duties -which they have carried out, from the making of the King's bed in early -times to searching the Houses of Parliament before the session opens, -which is a memory of Guy Fawkes, and of attending, as they have done for -centuries, at the giving of alms by the sovereign in Westminster Abbey -on Maundy Thursday. - -Very many uniforms seen at Court show the turned-back edges and -the lining of the tails, described when we were dealing with the -evolution of the coat (see p. 34)--for instance, in the case of the -gentlemen-at-arms, and of several officials. We may mention also the -Scottish Archers who wear a green coat with a turned-back part--which -represents the lining--of red velvet. - -The style of Court dress which may be worn to-day by civilians has -become somewhat simpler, though ruffles and frills are still to be found -in connection, and may be worn with, what is known as old-style dress -that is always adopted by the legal profession. The knee-breeches come -from the time of William III, and the coat in its original form dates -back to the time of Napoleon. The sides of the coat have, however, been -cut away, and this was done during the last reign, when the alteration -was made for the convenience of those who were not accustomed to wear a -sword. - -The more recent simplification of Court dress has, however, provided -pitfalls for the unwary, and all sorts of curious mistakes in small -details are made. To show how easy it is to put a button too many here, -or too few there, we may describe the differences between the old and -new styles. On the old there are seven buttons up the front of the coat -and three on the cuffs. In the new, there are but six in the first case -and none in the second. Again, in the simplified coat there are no -buttons below the flaps (which represent pockets), and but four buttons -behind on the tails. In the old style there are three buttons below the -flaps--while there are similar ornaments on the waistcoat, which is -skirted--and there are six buttons on the tails. Then in addition there -is the wig-bag, to which we shall refer in a moment, at the back of the -coat collar, as well as the frills and ruffles. Although on the lace of -these as much may be spent as on the rest of the costume, the cost of -the simpler dress is really not much less than that of the other. A -survival is, of course, to be seen in the sword and in the simplified -costume, it is worn in a frog instead of on a sling. - -We have made it evident how much a man now depends upon his tailor for -correctness in the detail of his Court dress, and it is amusing to find -that wig-bags are put on to modern-style coats, and that the number of -buttons is often quite wrong; but if these are the faults of the tailor, -it is the man himself who is responsible who goes to Court with his -sword hanging at his right side. We have not heard of military men -making such a mistake, but officers have been known to appear with their -cross-belts over the wrong shoulder. It is a good thing for some that -Court etiquette is not so strict as it has been in the past. - -A curious survival is found in connection with old-style dress and some -of the uniforms which are worn by officials, and we have had to mention -similar vestiges when speaking of the Lord Mayor's coachman and of the -Welsh Fusiliers. This is what is known as a wig-bag (see Figures 109 and -113), though in the Lord Chamberlain's descriptions it is now referred -to by the same name as the ornament of somewhat similar origin of the -Welsh Fusiliers, namely, the "flash." It consists of a small bag of -silk, at the bottom corners of which little satin ribbon loops are -fixed, while the whole is covered by an elaborate rosette of satin -ribbon, and is suspended from the back of the coat collar. The bag -represents the old bag in which the bob of the wig was placed, and the -loops no doubt are those through which a ribbon was passed, which went -round the neck of those who wore wigs, and was secured by a jewel on the -breast. This was to provide against the wig being lost, should it fall -from the head of its wearer, for these curious replacements of natural -hair were of considerable value, costing twenty, thirty, sixty or even -more guineas. The rosette of ribbon is the modern representative of the -bow that tied the wig. (See Figure 143.) - -We have already traced the connection which Mr. Calthrop has shown -between the cockade and the chaperon, and we might mention again that -this ancient form of head-dress survives in connection with the hood -of the mantle of the Knights of the Garter and of other Orders, for -instance, those of St. Patrick and of the Thistle. (See Figure 144.) - -[Illustration: FIG. 143.--The wig-bag or "flash" from a Court suit, -showing the rosette held away and displaying the black silk bag. At -the lower corners of the latter loops are seen, which are probably the -remains of those through which a ribbon was passed, which went round the -neck and fastened on the breast by a brooch.] - -In the case of the Knight of the Garter, the hood consists of a flat -piece of crimson velvet about three-quarters of a yard across, slightly -oval in shape, and at a spot a little on one side of the centre is to -be found the remains of the turban of the chaperon. It is a thick ring -covered outside with crimson velvet, and inside with white silk. To -one side of this is fastened a long band of crimson velvet one and -three-quarter times as long as the hood is wide. This represents, -of course, the liripipe of the chaperon. (See page 166 and Figures -122-125.) The edges of the velvet in all cases are ornamented with a -white silk piping. The hood is fixed on the right shoulder, and the band -representing the liripipe is brought across the breast of the wearer. -In addition there are some wide loops and ends of ribbon called the -streamer, and narrow ribbons with which to fasten the structure to the -mantle. - -[Illustration: FIG. 144.--The hood from the mantle of a Knight of the -Garter, showing the survival of the chaperon and its liripipe.] - -The hoods of the Orders of the Thistle and of St. Patrick are similar -in construction, and in the case of the former the velvet of which they -are made is blue in colour. On the mantles of other Orders only the -streamer remains. On the left shoulder of the Knights of the Bath and -of St. Michael and St. George there is a small vestige of aiguillettes. -This is of silk cord in the former case, and of gold cord in the second. -The under-dress, which is not commonly worn now, is furnished with trunk -hose and silk tights, and from its appearance is known as the silver -dress. Much the same style was carried out in all the Orders that we -have up to the present had occasion to mention. In the more modern -Orders there is, of course, no such ancient under-dress. - -If we have Kings and Queens at Court, we also have Kings and Queens and -Knaves among our playing-cards, and the costumes which survive on the -curious pictures which represent them in double, but without their lower -limbs, are worthy of some little attention. As a matter of fact, they -are Tudor dresses, slightly modified perhaps of recent years, but -nevertheless, a common and widespread relic of the fashions which were -in vogue when Henry VIII was going through his matrimonial troubles, and -shaking this country clear from its allegiance to the Pope. - -There are two series of ceremonial dresses not immediately connected -with the State which it may be worth while to investigate. They are, in -the first place, the liveries of the City Companies, and in the second -the insignia of Masons. In the first case, on some of the gowns we find -again the chaperon appearing as a hood on the shoulder, and many of -the caps that are worn have survived for some centuries. A few of the -companies still possess their ancient embroidered hearse cloths, which -recall the early semi-religious and provident purposes of the guilds out -of which the great City Companies have developed. - -There seems no doubt, too, but that the apron of the Masons is actually -derived from that worn by the craftsmen when at work, and in some -countries it is still of the same circular form as those which were used -by the English masons of the eighteenth century. Other parts of the -clothing of Masons are no doubt derived from the old guild liveries, and -in the fact that some high officials wear gauntlets we have a reminder -of the knights' armour, and possibly a survival from the time when high -officials were knights. - - - - -XXV - -SURVIVALS IN MILITARY UNIFORMS - - ARMOUR--PRICKERS FOR FLINT-LOCKS--FORAGE CORDS--REMINISCENCES OF - GALLANTRY--REGIMENTAL BADGES--COURTSHIP COLOURS - - -The cuirass of the Household troops which they wear on important -occasions, as well as the metal helmets of various regiments, are -survivals from the time when armour was of use, and if we examine the -shoulders of certain soldiers, we shall find that there are vestiges of -chain mail, though now this only takes the place of epaulettes. (See -Figure 145.) To see chain mail in its perfection we must go back to the -time of Edward I, and if we look, for instance, at the brass of Sir -John D'Aubernoun (who died in the year 1277) or of Sir Richard de -Trumpington, A.D. 1289 (see Figure 146), which are the earliest -remaining in this country, we shall find that the chain mail now -represented by a little patch on the shoulder then covered the head and -neck, arms and hands, body, feet and legs. - -[Illustration: FIG. 145.--Relic of chain mail on the shoulder of an -Imperial Yeoman.] - -As time went on, plate armour was mixed with the mail, until at last, in -the time of Henry IV, we get the complete plate period in which there -was a breastplate and a corresponding back plate, which had already -appeared in the period of transition of chain mail to plate armour. From -thence onward the development of armour progressed until it gradually -disappeared. In Stuart times, jack boots and spur leathers took the -place of the armour on the legs, and a buff coat that on the body, with -the exception of a gorget. This came to be in the early part of the -nineteenth century, merely a small badge of the officer on duty, and in -a still more diminished form is to be seen in some foreign armies. - -[Illustration: FIG. 146.--Chain mail illustrated by the brass of Sir -Richard de Trumpington, A.D. 1289.] - -In the earlier part of the book it was made evident that military -uniforms afford a fine field for research, though apart from the remains -of armour, however, they are comparatively modern. It was not, indeed, -until the reign of Charles II that we meet with uniforms regularly -adopted by the Army; and the red coat which has given its name to -the soldier, though many regiments are dressed in other colours, was -previous to that time merely a best coat. We see it now on fox-hunters -and golfers, though a long coat of this colour is still worn by the -King's footmen and coachmen. A writer in the _Spectator_, No. 129, says, -when speaking of Cornwall: "Here we fancied ourselves in Charles II's -reign, people having made little variation in their dress since that -time. The smartest of the country squires appear still in the Monmouth -cock; when they go a-wooing (whether they have any post in the militia -or not) they put on a red coat." - -There had previous to the Restoration been some attempt to introduce -uniform dress for soldiers quite apart from the sovereign's special -guards, who, after the fashion of retainers, wore his livery. For -instance, the Duke of Norfolk, in the reign of Henry VIII, issued -instructions that every soldier should wear a blue coat guarded with -red, the right hose to be red, the left blue, and a red stripe three -fingers broad down the outside of each leg. The archers are described as -wearing white gaberdines, at one time in this reign, while in 1576 those -belonging to Ireland had a cassock of blue cloth with two small white -guards. Red coats as well as others of blue or white were worn by the -English troops in Turenne's army in 1657, and examples of the last two -colours are by no means extinct in the army to-day. Red, blue, grey, -and green, it may be added, were all worn during the Civil War on both -sides. - -It must not be forgotten, however, that gay uniforms are now only used -at home in times of peace, for we have learnt a lesson from the lower -animals, many of which are protectively coloured, and the service -uniform to-day is one calculated to render its wearer as inconspicuous -as possible. Before the time of firearms which could be used with -precision, and when hand-to-hand combats played a great part in war, it -was necessary for two adversaries to be able to see one another, but -now each tries to hide himself. - -[Illustration: FIG. 147.--A reversion in military equipment. - -One of Cromwell's Ironsides (1679), from a print. - -A Cavalryman sketched at Aldershot in 1901. - -Copied, by permission, from the _Daily Mail_.] - -Some years ago a sketch, which was made from a cavalry man at Aldershot, -was given in the _Daily Mail_; side by side was shown another taken -from a print representing one of Cromwell's Ironsides, and the likeness -between the two is almost exact. (See Figure 147.) - -Ornamental epaulettes may also be looked upon as the last remnant of -armour, though the modern kind probably came from a shoulder-knot of -Charles II's time, as they were originally intended to protect the -shoulders from sword-thrusts. At the present day, though they are -worn in the English Navy and are common on the Continent, they have -practically disappeared from the Army. - -The officers of the Yeomen of the Guard, whose uniform is that which was -worn in the Peninsular War, still wear epaulettes, as do the -Gentlemen-at-Arms and the Lords-Lieutenant of Counties. As we have said, -there is a fine field for the study of survivals in uniforms proper, and -from time to time many of these have attracted the notice of popular -writers.[35 & 36] - -Additional interest is given to this subject by the fact that besides -the variations which have gradually evolved, there are special features -which have suddenly appeared often in connection with some important -battle, which we might liken to the curious sports and freaks which -sometimes occur in the natural history world. - -When, in 1881, the old regimental facings were abolished, many -distinctions vanished, still there are more curious details left than -we shall be able to describe. We have already seen how the busby was -derived from the Hungarian cap, and quite a number of other features -have been introduced from foreign countries. The square cap of the -Lancer is the national head-dress of the Poles, who call it a shapka, -and the uniform itself came from Poland. The sling jacket or dolman of -the Hussars (see Figure 82), which is now extinct in our army, was also -an introduction, but still on the pouch-belt of Light Cavalry officers -are the prickers fastened with silver chains, which were used with old -flint-lock muzzle-loaders. (See Figure 148.) - -[Illustration: FIG. 148.--The prickers on the shoulder-belt of a Hussar, -which survive from the time of flint-lock muskets.] - -Some of these interesting but useless instruments are furnished -with plain round knobs, but others made as if they were arrows with -feathered shafts. Mr. Caton Woodville gives the following explanation of -the aiguillettes worn by aides-de-camp. He says that "they date from the -days when the war-horses, or chargers, were of solid build and slow of -movement, and when only the adjutants were mounted on fleet steeds. Then -the head-dress was a heavy three-cornered hat perched on a wig that was -itself often not too securely fastened to its wearer's head. He needed, -therefore, a cord with metal tags passing round the brim and under the -loops which upheld its three sides. It was fastened to the officer's -shoulder, as the weight of the felt hat, with its bars of steel as a -protection against sword cuts, was considerable, and it was enough -to choke a man if it should happen to dangle from his throat, so the -aiguillettes have become the distinguished mark of the assistant to the -general commanding in the field or garrison." - -It should, however, be mentioned also that these ornaments are worn in -the Household Cavalry by non-commissioned officers, and are a relic -there of the days when these soldiers were gentlemen of the Royal Life -Guards, who had the right to a commission in a line regiment after a -certain number of years' service. Other soldiers carry them, as do also -the footmen of the nobility. Horse soldiers have also an ornamental cord -to their head-dresses, and it seems likely that the aiguillettes had -another origin, and that prickers or some other instruments were at one -time attached to them. - -In the Lancers there is a very long cap-line, which has been mixed up, -we are told by Mr. P. W. Reynolds, with a very interesting survival. -This is the remains of a cord used for binding up grass and other forage -into bundles, worn for convenience round the body, and over one shoulder -by cavalry men, when it was not in use. It is known to the French as a -"fourragère." In the Lancers the cap-line passes round the cap and -is brought under the right shoulder-strap. So far it is the original -cap-line; then it passes twice round the body, under the left arm, and -under the right shoulder-strap, and ends, in a festoon and a couple of -acorns, which remind one of aiguillettes, on the left breast. The part -that goes round the body is the old forage cord. - -The sergeants' sashes, it is said, were originally intended to make -slings so that the wounded could be carried out of action with the help -of pikes, and the drum-major's baton is the survival of a cane which the -drill-sergeant sometimes used on the backs of the recruits. The "flash" -of the Welsh Fusiliers, as we have seen, is a survival from the times -when wigs were worn. Here and there we find old head-dresses once nearly -universal, such as the shako which is now confined to the Highland Light -Infantry and the Scottish Rifles. Other regiments, such as those of the -Rifle Brigade, which have been at times used as cavalry, retain certain -features of the horse soldier's uniform. For instance, the Rifle Brigade -has a head-dress which resembles the Hussars' busby, and instead of a -sash the officers wear a cross-belt. - -The officers of the Somersetshire Light Infantry, which on one occasion -was turned into cavalry at a moment's notice, wear a mess jacket of the -cavalry pattern; they have also a black worm in their lace, like -the East Yorkshire and North Lancashire regiments, which is usually -explained as being mourning for Sir John Moore in the first case, and -for General Wolfe in the two others. Before turning to peculiarities -which were granted for special services, we may mention the black tunics -and black plumes of the farriers belonging to the Life Guards, who carry -a great axe with which to kill horses that are wounded in battle, and -the state trumpeters also of the Household Cavalry, who wear a highly -ornamental uniform which has persisted for nearly two centuries. - -There still remain relics of the time when commanding officers had a -great deal to say in connection with the uniforms of their regiments. -When the Cameron Highlanders were first raised in 1794, Colonel Cameron -did not adopt the Cameron tartan, because he did not think it would go -well with a scarlet tunic, and he introduced one which had been designed -by his mother, called the "Cameron Erracht," which has been worn -ever since. The White Horse of Hanover appears as a badge on several -regiments, and it is recorded that George I, objecting to the private -crests of the commanding officers, replaced them in many cases with the -Hanoverian device. Even now, in spite of the minute regulations of the -War Office, which are continually being altered, the uniforms are not -always made absolutely as they are prescribed. Little details may be -added, and colonels still seem to exercise some influence in the matter. -The red puggaree of the Duke of Cornwall's Light Infantry is not -obtained from the regimental tailor who supplies the uniform. - -The white jackets of the Guards and Highland corps which are worn in -undress are still called "waistcoats," and, according to Mr. Walter -Wood, are a relic of the white waistcoat which was worn under the -tunic by the British soldiers down to the time of William IV. It must, -however, be remembered that a waistcoat was originally an outer garment, -as indicated on page 148. - -An exceedingly curious privilege is that which has been accorded to the -non-commissioned officers and men of the Royal Marines, who for many -years have been allowed when in mourning, to cover one button of their -tunics with crape. The Eighth Hussars wear their sword-belts over their -shoulders, and the tradition is that at the battle of Saragossa they -behaved so gallantly that they totally destroyed a corps of Spanish -cavalry and took possession of their adversaries' belts. - -Perhaps the most curious mark of distinction is the extra drummer of -the Third Hussars, who enjoys special pay and is permitted to wear a -sergeant's uniform. This privilege was granted by George III when it -was brought to his notice that the regiment possessed some silver -kettledrums which they had captured. The request for this honour was -made in 1778 by General Fitzroy, and his wife presented a silver collar -for the use of the additional drummer which is still worn to-day. It is -handsomely engraved with military devices, and fits closely round the -throat. In full dress the Eleventh Hussars wear an ivory-hilted sword -made on the model of one picked up at Bhurtpore. The Fifteenth Hussars -wear the Austrian Imperial lace on account of their gallantry at -Villiers-en-Couche, which prevented the Emperor of Austria from falling -a prisoner to the French. - -The Scots Greys were given Grenadier caps, which are not worn by other -cavalry regiments, for their bravery at Ramillies. The Northumberland -Fusiliers have red and white hackle feathers--that is to say, that -the upper part of their plume is red, and the lower part white. It is -recorded that at Wilhelmstahl, and also when in St. Lucia, this regiment -was victorious after great struggles, and took from the caps of the -French Grenadiers who were slain, enough white feathers to fit up -the whole regiment with plumes, the use of which afterwards received -official sanction. When, however, an order was made in 1829 that white -plumes should be generally worn, the Fusiliers complained that they -would lose the distinction which they enjoyed, and by a compromise they -were allowed to have a plume which was half red and half white. The -Northumberland Fusiliers share with one or two other regiments, that -distinguished themselves at the battle of Minden, the privilege of -wearing roses in their caps on St. George's Day. - -We might spend a considerable time in dealing with the badges of -various regiments, for often the history of the latter is bound up with -them. They figure on the collar and other parts of the uniform, and -occasionally, as badges might be expected to do, they appear on the -buttons. We have touched upon this subject in connection with George I. -The Scots Greys have as a badge an eagle with outstretched wings. It -commemorates the capture of a French eagle at Waterloo by Sergeant -Ewart, who was given a commission for his bravery. - -The Gloucestershire Regiment has a badge in front and another on the -back of the helmets, because on one occasion, in Egypt, when it was -attacked in the rear as well as in front by large bodies of French -cavalry, and there was no time to form a square, the commanding officer -gave the order, "Rear rank, right about face, fire!" The result was -that the enemy was beaten off. In connection with this achievement the -second badge was given. - -An interesting tale is told with regard to the formation of the Guards -by Charles II after the Restoration. There were three regiments present, -and they were commanded to take up arms as the First, Second, and Third -Guards, but while the first and third obeyed the order, General Monk's -regiment stood still. The King, who was surprised at the apparent -insubordination, asked Monk for the reason. Whereupon he said that his -regiment declined to be considered second to any other. As a result, -Charles is said to have answered, "Very well, they shall be my -Coldstream Regiment of Foot Guards, and second to none." From this comes -their motto, "Nulli secundus." It may be mentioned, also, that this -regiment has a distinction which is absolutely unique in the Army, as it -bears on the King's colour a small Union Jack, which commemorates the -fact that Monk was an Admiral of the Fleet as well as a General. - -It is only about a hundred years since the pretensions of the English -sovereigns to the throne of France ceased to be evident, for it was not -until the end of George III's reign that the French fleur-de-lys were -removed from the Royal Arms and disappeared from our coins. There is -still, however, a survival of the lilies of France on the braid of the -drummers in the Guards. White lace with red crowns is what is almost -universally worn by drummers in the Army, but the crown is replaced in -the case mentioned by the fleur-de-lys. Whilst speaking of the Guards, -one may recall that not very long ago a uniform was used by the -solicitor with which these soldiers were, and in the case of the -Coldstream Guards are still, provided. The solicitor, like the medical -officer, wore the cocked hat that is now dying out in the Army, though -generals and aides-de-camp still adopt this most curious outcome of the -Cavalier's beaver. Here and there, as in the case of the surgeon and -veterinary surgeon of the Life Guards, and the medical officers of some -Volunteer regiments, we still see the cocked hat. It flourishes also in -Court dress, it adorns the Lords-Lieutenant and their deputies, besides -maintaining its position among the officers of the Navy. - -Fur, the material of which the first clothes of our ancestors were made, -is still seen to a considerable extent in the Army, and is chiefly used -for the construction of busbies. So important was the trade in furs -for military purposes at one time, that bear-skins were classified as -follows: "Officers," or first grade; "Grenadiers," or second grade; and -"unfit for the Army," or third grade. Like all features of dress which -are exaggerated, the big busbies of the Guards have on more than one -occasion afforded material for the caricaturist. Leech depicted the -soldiers of the Brigade of Guards warming their hands and feet in their -busbies, which they used as muffs; and an amusing series of sketches -for the amusement of the young people was published not long ago, in -which the soldier disappeared almost entirely into his busby and became -a sort of Humpty-Dumpty. - -Tall hats of the type of our modern silk hats were not unknown in the -Army. Perhaps it may come as a shock to some that Lord Howard of -Effingham is shown in a portrait as wearing a top hat, in shape very -similar to the modern form, but ornamented with a plume of ostrich -feathers. There is, we believe, however, still one top hat which is -served out by the War Office at the present day, and this is worn by the -Chapel Keeper at Wellington Barracks. - -Of buttons we have already spoken times out of number, and it may be -interesting to mention here that the various regiments of the Brigade of -Guards may be told by the arrangement of buttons on the tunic. They are -arranged at even distances apart in the Grenadiers, in twos on the -Coldstreams, and in threes on the Scots Guards, and in fours on the -Irish Guards, which were created of recent years. - -We find plenty of survivals in the Army of buttons which are seen in -similar places to those on civilians' clothes. Mr. P. W. Reynolds has -pointed out another, which is found in connection with a cord loop on -the collars of the officers of the Oxfordshire Light Infantry. This is a -survival of a fashion once universal in the British Infantry, though the -loop often consisted of half-inch lace instead of cord. The button was -originally on a turned-down collar, and previous to that was on the -coat, coming through a hole in the collar with a view to holding the -latter properly in place. - -If officers and sergeants were seen together it would probably be -noticed that the former wear their sashes over the left shoulder, whilst -the latter wear theirs over the right. To this a single exception can, -however, be found. In the Twenty-ninth Foot the sergeants and officers -both wear their sashes over the left shoulder, and this custom has been -traced back to the battle of Culloden, where so many officers were slain -that the sergeants had to take their places. - -The drummers of the Leicestershire Regiment on state occasions wear -tiger-skin aprons instead of the usual ones of pipeclayed leather. This -is connected, as is also their badge, with their services in India. - -A point that is perhaps not generally known is that officers going on -voyages in hot climates are allowed to substitute the kamarband for the -mess waistcoat, various colours being adopted by various regiments. - -We have seen the origin of the red coat so far as it affects the modern -army. Under these circumstances it is hardly necessary to say that it -is not intended to prevent the soldier from seeing his blood when he is -wounded, as has sometimes been suggested. It might be taken as acting -as a warning colour like that of the wasp or hornet, but we have also -noticed the way in which conspicuous dress is replaced by protectively -coloured uniforms when the soldiers are upon active service. - -We cannot help mentioning, however, one case in which the ornamental -garb of peace proves useful to its wearer. We find in the animal kingdom -that, whatever may happen in modern times in our own case, the males -are as a rule the more brightly coloured, and we have come to call the -brilliant hues with which they are endowed "courtship colours." The -charm which our gallant soldiers seem to have for the fair sex surely -entitles us to reckon the gay uniforms of our Army as coming into the -category of "courtship colours." - - - - -XXVI - -NAVAL UNIFORMS - -SUPPOSED SURVIVALS--PETTICOATS AND WIDE BREECHES - - -If we had headed this chapter "survivals in naval dress," we should have -been in the historic predicament of the writer who took as his topic the -snakes of Iceland, and afterwards had to own that there were none. It -would be better, however, if we were to say that there are no survivals -of a strictly naval kind, as then we should be nearer the truth. There -are, of course, in the uniform of both officers and men, plenty of -survivals from civilian costume, such as we have spent much time in -describing. Though the crews of the galleys, which are the boats -reserved for the captain's use, had, in the case of the smart ships, -long been dressed in a uniform manner, the actual uniforms of the Navy -only date from a little before the year 1767. - -The colours, blue and white, so tradition says, were due to an -inspiration which George II received, while the subject was under -discussion, on seeing the Duchess of Bedford riding in a new habit which -was of blue faced with white. - -There are two points in the dress of the ordinary sailor which are -commonly supposed to be interesting survivals, and indeed they appear on -the surface to have all the makings of such. It has been thought that -the black silk handkerchief which a sailor wears round his neck was -first put on as mourning for the death of Nelson. The other matter is -the blue jean collar which covers the similar-shaped one which is made -of the same material as the sailor's jumper. This would no doubt have -protected its fellow from the grease of the pigtail which sailors wore -once; but Commander Robinson, who has gone into the question, says that -pigtails were discarded before the blue jean collar came into existence, -and at the same time tells us that black silk handkerchiefs were adopted -previous to the time of Nelson. It is not perhaps very widely known that -sailors at one time wore a kind of kilt or petticoat, and this no longer -ago than the year 1779. - -Some thirty or forty years earlier there were in vogue loose slops like -the petticoat breeches of the reign of Charles II, and the collar of the -coat, which was open at the neck, turned back on to the shoulders. - -The trousers, however, that are now adopted are tight round the body and -thighs, but remain very loose round the legs, and are therefore somewhat -curious. The method of buttoning is one which they share with the -gentlemen of George II's time, the old-fashioned labourer, and, we -believe, the bishop. - - - - -XXVII - -THE COSTUME OF PUPPETS - -PUNCH AND JUDY--FASHION DOLLS--DOLLS IN SWADDLING CLOTHES--THE EGYPTIAN -"SHABBIES" - - -By way of a change let us turn from people to their images--in fact, to -puppets and dolls--for these semblances and caricatures of human forms -are generally clothed, and at times may present to us very curious -survivals. Let us begin with Punch and Judy, and in this connection we -must not forget the dog Toby, for the ruff which he wears round his neck -is a reminiscence of Queen Elizabeth's reign. Punch himself, however, is -very much older than his clothes, though to find the explanation of the -hump in front we must examine the clothes of the time of Henry III of -France, when the men's busked doublets came down low to a strap-shaped -point, and had a great padded punch-like protuberance.[37] - -For other peculiarities that we see we may have to go to the times of -Henry IV of France, but the character is very many centuries older; and -the careful investigations made by a friend of the present writer, Mr. -George Heppel,[38] into the history of Punch have shown why his present -costume was adopted and what was his prototype. - -As might be expected, the original Punch was a man--not Pontius Pilate, -as has sometimes been suggested owing to the connection of Punch with -miracle plays, but a character in the old Italian farces, which go -back to the early days of Rome. The town most celebrated for such -entertainments was Atella, situated not very far from Naples. The -farcical plays were full of buffoonery, and Punch or Pulicinella was one -of the stock characters, represented by a live actor, as were also the -originals of the Harlequin, Pantaloon, and Scaramouch, among others. - -It appears that the plays were not written as we understand a play to be -written, but as a rule the plot of them was known, and a great deal of -the dialogue was left to the actors themselves. From this it will be -seen that the art of gagging can hardly be considered to be modern. The -Italian, though by no means great as a dramatic author, was, as he is -now, exceedingly good as an actor. It is said[39] that for genuine fun -no dramatist can beat the Neapolitan, no actor can surpass him. He -writes or acts without the least effort; it is born in him, and he -cannot help it. The very beggar-boy who hunts one along the street is a -consummate actor; his gestures are prolific, easy, and natural; he is a -facial artist without knowing it, and he has a power of elocution and -expression which are only acquired by experienced performers after many -years of study. - -It may perhaps come as a surprise to many, seeing how long Punch has -persisted, to learn that in Italy he was not one of the important -characters in the original plays, but his choice as the hero of the -puppet-show depended rather on the fact that he had not so much to do as -some of the others--the harlequin, for instance. Therefore his character -could be better portrayed under the restricted conditions that prevailed -in such an entertainment as the Punch and Judy show. It will be obvious -also that only two characters can be acting at one time, as the showman -has only two hands. Mr. Heppel could only trace one instance of Punch -figures being worked by wires like other marionettes. This is a figure -in a little book no larger than a playing-card, entitled "Scènes de -Polichinelle," in the Art Library at the South Kensington Museum. - -The showman in the case of the French Punch on occasion makes a virtue -of necessity, and when the hero of the puppet-show is about to be tried -for murder, the performance is interrupted in order that the following -apology may be made:--"The scene which we are about to have the honour -to put before you requires a tolerably large number of characters. It -is, indeed, impossible to suppose that so important a prisoner as -Guignol should be tried without due ceremony and by a single judge, but -as the director of this theatre, like the generality of mankind, has -but two hands, the actors in this scene will most of them remain quite -still. This need not in the least interfere with the truth of the -representation, for this stillness gives the administration of justice -an additional solemnity. We may suppose that the judges are asleep, -which will enable them to decide free from passion, and that the -officials of the court are paralysed by the majesty of the court and the -magnitude of the issues to be determined." - -[Illustration: FIG. 149.--The Oscan Pulicinella of 1731, without a long -nose. The dress is very similar to that figured in 1630 (after -Riccoboni).] - -The Punch and Judy show went on in Italy side by side with the farces -that were represented by living actors, but the idea of puppet-shows is -very much more ancient than this. - -The clothes of Punch were plain, and illustrations made in 1630 are -similar to others made a hundred years later (see Figures 149 and 150). - -[Illustration: FIG. 150.--The Calabrian Giangurgolo of 1731, with the -long nose. The dress is very similar to that figured in 1630 (after -Riccoboni).] - -Originally, also, Punch does not seem to have had a long nose. The -exaggerated nose is, however, found on the representative of Punch which -flourished in Calabria, and which went by the name of "Giangurgolo" (see -Figure 150). - -The French Punch is called Guignol, of which the derivation cannot be -directly traced, but Mr. Heppel has made an interesting suggestion that -in the name of this character is to be found that of Giangurgolo in a -contracted form. - -As may have been surmised, we got our Punch and Judy by way of France, -but as a human actor Punch himself came direct to England. - -[Illustration: FIG. 151.--An ancient bronze statuette with the face and -features of Punch (after Ficorroni).] - -An ancient statuette which is figured by Ficorroni (see Figure 151) is -supposed by antiquarians to represent Punch, and if the individual whom -it represents did not go by that name, he must certainly have been one -of Punch's ancestors, for the likeness to our modern hero is exceedingly -great. References are made by a number of classical authors to -puppet-shows, and these were also known in China as long ago as a -thousand years before the Christian era. - -[Illustration: FIG. 152.--A fourteenth-century puppet-show (from the MS. -of the "Roman d'Alexandre").] - -The method also of exhibiting the puppets is not very modern, for a very -interesting figure of a show embellishes the celebrated MS. of the -"Roman d'Alexandre" (see Figure 152) which is preserved in the Bodleian -Library at Oxford, and was executed between the years 1338 and 1344. The -figures were evidently worked by the hands as in Punch and Judy, and -that it was intended to amuse children is shown by three little girls -who are represented as looking on. - -Though sticks are not strictly a part of dress, unless we consider the -canes of the dandies as being so, yet their usefulness in puppet-shows -is so great that we are tempted to digress for a moment to give the -comments of M. Lemercier de Neuville on the subject:-- - -"The stick! that is the great argument of Guignol, as well as of -Polichinelle. The stick settles everything. It puts an end to disputes, -it pays debts, it sends away troublesome people, it disciplines wives, -it takes vengeance on men, it is the 'Deus ex machina' of all this -Lilliputian world. What a marvellous dramatic resource it is. If a -situation becomes difficult to manage, settle it with a blow of the -stick. If a _dénouement_ seems to hang fire, hasten its progress by -a thrashing. The stick is above all criticism; it checkmates it, it -destroys it, for it is in the right, in spite of everybody, because it -is the strongest. The stick has no respect of persons. With it Guignol -beats his creditors, his friends, his wife, the constable, the judge, -the hangman, and the more he strikes the more he makes people laugh. -There is no spoken joke that is as good as this. And yet the stick is -not beautiful, nor is it new. One sees that it has done duty for a long -time, for it is worn out and cracked." - -We have, in fact, a record of Italian players coming to act their farces -in this country in 1577, but as Punch in the capacity of a person is -now obsolete with us, we shall only incidentally refer to him as a -living actor, though perhaps we might recall the fact that Molière -introduced him into his play _Le Malade Imaginaire_. - -We have spoken already of Punch's hump in front, and it may be -interesting in this connection to give the opinion of a Frenchman on -the subject of Punch's bodily characteristics. M. Magnin says that with -a sufficient amount of exaggeration and caricature to set aside the -suspicion of disloyalty, the Punch figure recalls the appearance of some -Gascon officer imitating the walk and demeanour of Henri IV in the Guard -Chamber of St. Germain or in the Louvre. The hump in front, he says, was -derived from the protuberance of the heavy cuirass. This is much the -same explanation as that which we have already given, though the cuirass -probably stuck out in front of its wearer even more than did the -doublet. - -There is no doubt but that the French like gayer dresses than the -Italians, and we have seen that even in 1630 the clothes of Harlequin, -Pantaloon, and Scaramouch in Italy were, like those of Punch, plain -and simple; but in order to be popular in France the Pulicinella had -to dress in a new style, and it is known that already in 1649 the -puppet-show of which he is the hero had set up on the left bank of the -Seine, opposite the Louvre. When Punch got to England it was at a time -when gay clothes were worn, and some relics of these he has retained to -the present day. - -Red and yellow play a considerable part in the dress of the Punch -figures used by Mr. W. H. Jesson, the members of whose family have for -generations been performers of Punch and Judy, and who is one of the few -that are still left. Punch has a very high cap of antique appearance, -with turned-up brim and a bow of ribbon on the top. The hump on his back -is almost horn-like, and forms a complete circle. It seems unlikely -that this appendage was developed from any part of costume unless -it were perhaps the liripipe; but we may rather imagine that in the -past Pulicinella may have been represented as being a hunchback, and -certainly Figure 151, taken from the statuette mentioned previously, -suggests an individual suffering from such a deformity. - -Punch also wears a ruff (see Figure 153), though it is not a separate -part of his costume, as in Judy's case, where it is of lace and its -character is well shown, as it consists of more than one thickness. -Judy's head-dress is the mob cap which was fashionable in the time of -George III. (See Figure 154.) - -The beadle, with his three-cornered hat and his brightly trimmed coat -and cape, has survived for a century or so after his clothes first -became fashionable, and no doubt in the puppet-show he will persist for -many years when every living representative of his kind has passed away. -(See Figure 155.) Of two more characters we have a word to say,--in -the first place, of the doctor, who is brought before us in clothes of -almost clerical cut, which remind us of the fact that the members of the -medical profession were once more easily recognized by their dress -than they are now (see Figure 156); in the second, of Toby, whose sole -costume consists of a ruff, that once more takes us back to the time of -Good Queen Bess. - -[Illustration: FIG. 153.--Punch, from the Punch and Judy Show, showing -the ruff and other details of Elizabethan costume.] - -[Illustration: FIG. 154.--Judy, from the Punch and Judy Show, with ruff, -mob cap, and apron.] - -Though Punch has donned new clothes and altered his habits to suit not -only the countries in which he sojourned, but the times in which he has -performed, yet despite these and other changes that have gone on since -he set foot on these islands, there is one thing that has always been -his special characteristic. This is his squeaky voice, which he retained -even in Molière's play, and it is from the peculiarity of his voice that -he gained his name. Pulicinella means a "hen-chicken," which might well -be expected to have a squeaky voice. - -[Illustration: FIG. 155.--The Beadle, from the Punch and Judy Show.] - -[Illustration: FIG. 156.--The Doctor, from the Punch and Judy Show, with -wig and white tie.] - -With regard to the changes in Punch's behaviour we have a word to say. -Originally he was somewhat of a composite character, the constituent -elements being derived from several of the personages of the larger -theatre. At first, to the amorous and intriguing ways of Pulicinella -there was added the roguery of Scaramouch, as well as the dash and -braggadocio of the Spanish captain who was a member of the comedy -company, akin to the Miles Gloriosus of Plautus and the Bobadil of Ben -Jonson. - -As time went on there was less love-making and trickery and more -knocking about, but Mr. Heppel will not allow that the French writers -are right in ascribing the whole of this to English influence. For the -fact that the puppets are not alive gives an opportunity for dealing -blows with a reality that could not be tolerated if the actors were -living, and when we remember the way in which dog Toby seizes Punch by -the nose, we cannot help feeling that the effect could hardly be so -realistically produced on the actual stage. - -In France, Punch is a bachelor, or if he is married he is not very much -married, while in England Punch always runs in double harness. Another -alteration has taken place. Polly, who was one of the characters that -have disappeared, has departed for the reasons put into the showman's -mouth by Mr. Henry Mayhew in 1861. "Miss Polly was left out, because it -wasn't exactly moral. Opinions has changed. We ain't better, I fancy. -Such things goes on, but people don't like to let it be seen now; that's -the difference. Judy's dress, you see, is far different, bless you, than -Miss Polly's. Judy's, you see, is bed-furniture stuff, and Polly's is -all silk and satin. Yes, that's the way of the world; the wife comes off -second best." - -As in old times, there was much buffoonery introduced even into -religious plays, and the characters which have been separated from the -other performers to take part in the special harlequinade of the modern -pantomime used, together with Punch, to appear side by side with those -who took the part of religious personages. To uneducated people there -seemed nothing profane about this; but as time went on men and women -came to look at matters in a different light. For reasons somewhat -similar, the devil and the ghost are now left out, and in the -performances that are given in drawing-rooms even the coffin, in some -cases. - -The connection, however, of Punch with religious plays probably accounts -for the name by which his wife now goes. Those who mistakenly supposed -that the word Punch was derived from Pontius Pilate looked upon Judy as -representing Judas Iscariot. We have already pointed out the origin of -the former appellation, which ante-dates the Christian era, while a -difficulty is met with in the fact that the wife of Punch for many years -was known as Joan. Mr. Heppel says that of the miracle plays some of the -most popular were taken from the Apocrypha, and a very favourite subject -was the tale of Judith and Holofernes. If we cannot find an instance -recorded of Punch furnishing the amusement in this story, we can, at -any rate, find an advertisement of a play in which Harlequin and Judith -were together, and the comic business was sometimes entrusted to Punch -and sometimes to Harlequin. Hence Punch and Judy may not improbably have -come from Punch and Judith, while Toby naturally suggests the dog in the -book of Tobit. - -With regard to Toby, it may be said that he is represented in France -by a cat, and that until the nineteenth century he was only a stuffed -figure. In China, where Punch beats his wife to the music of the -clarionette instead of Pandæan pipes held in a muffler, Toby is replaced -by a wooden dragon with jaws that snap, and this figure is also now -introduced in England. Hector the horse has quite disappeared. We might -mention here that in the English version a clown is brought in with very -considerable effect. - -There is another connection of dolls with costume rather than of costume -with dolls which we may mention at this point. In the fourteenth -century, when there were no fashion plates, and written descriptions -would hardly do their duty effectively, model costumes were put upon -dolls and sent from country to country. It is, moreover, a curious and -interesting fact that it was principally from Paris that these fashions -were sent out. - -Examples of national costumes sometimes survive on the bodies of dolls. -The figure of St. Nicholas, in Belgium, shows an old dress, and the -costume dolls of Holland, France, and Switzerland are excellent records -of native dress now seldom seen in everyday life. Mr. Edward Lovett -bought a little doll in Lucerne which is in a cradle, and shows -excellently well the swaddling clothes that were formerly in use. -Ancient Greek and Roman dolls, taken from children's graves, were -similarly dressed, and a modern Russian doll, which is also in -possession of Mr. Lovett, is shown with the swathing band _in situ_. The -only dolls that are to be found in Malta represent ancient saints, and -it is said that they are dressed as such. - -The long garments of Noah and his sons in the toy Noah's Ark are worthy -of mention and are an interesting survival. - -The wrappings that were placed round mummies in ancient Egypt are shown -on figures which were found in the tombs, and which are often seen as -curiosities in this country. They were carved out of wood or modelled -out of clay, while some of them were made out of the well-known glazed -faïence. They were put into the tombs in order that they might do the -work of the deceased in his after life, and their origin is exceedingly -interesting. Many barbarous nations have in the past sacrificed the -servants of a chief at his funeral, and the Egyptians, who were humane -people, contented themselves with a make-believe, and replaced the -actual persons with the figures that we call "ushabti," or, in modern -parlance, "shabbies." - - - - -XXVIII - -THE CLOWN AND PAINTING THE BODY - - THE CLOWN'S DRESS--SAVAGE PAINTING AND SURVIVALS OF - IT--TATTOOING--PATCHES AND FALSE COMPLEXIONS--MASKS - - -No costume is perhaps more characteristic or better known than that -of the clown; and it is of special interest, for while the hat was -fashionable at the beginning of the fifteenth century, the dress, -generally speaking, is a caricature of that which was in vogue in -the time of Queen Elizabeth. The same remarks apply to the method of -hair-dressing, and we shall see, when dealing with the other characters -that appear in the harlequinade, that the pantaloon in his dress -illustrates that of the same time in our history. - -Unlike the other heroes of the pantomime, the clown is essentially -English, and he is to be found also in the circus of to-day, at all -times of the year, as well as on the stage at Christmas. - -As to the clown's clothes, first of all there is the ruff, which is, -however, not stiffened out. He has trunk hose or wide breeches which do -not reach to his knee, his stockings are well ornamented with clocks; -and lastly, there is the paint on his face, which brings us to a custom -that seems nearly as old as man himself. (See Figure 157 and Plate X, -Figure A.) - -[Illustration: FIG. 157.--A clown, showing a survival of an Elizabethan -costume.] - -Among the relics of the ancient cave men of Europe are found hollowed -stones, and these were used as mortars in which ochre and other colours -were ground for painting the body. - -[Illustration: FIG. A. - -THE HEAD OF A CLOWN, SHOWING THE PAINTED FACE, THE RUFF AND THE -ELIZABETHAN METHOD OF DOING THE HAIR. - - -FIG. B. - -THE FACE OF A JAPANESE ACTOR. - -(_After Moseley, by the courtesy of Mr. John Murray._) - - -FIG. C. - -THE PAINTED FACE OF A PAPER FIGURE WHICH IS BURNED AT CHINESE FUNERALS. - -(_After Moseley, by the courtesy of Mr. John Murray.)_ - - -FIG. D. - -THE TATTOOED HEAD OF A MAORI CHIEF. - -(_By the courtesy of General Robley._) - - _PLATE X._] - -The Egyptians still follow the practice of blackening the edge of the -eyelid, both below and above the eye, with a black powder called kohl. -The material is prepared either from burning an aromatic resin or the -shells of almonds. The custom prevailed among both sexes in Egypt far -back in its history, and long before the historic period, painting the -eyes was already practised by the people whom Professor Petrie called -the "New Race" (until he determined that they preceded the dynastic -Egyptians). - -It may be well to point out that these prehistoric people lived about -6000 years B.C.: they had little or no metal, though they made most -beautiful flint knives and stone vases. They buried their dead lying on -one side with the knees towards the chin, instead of making mummies. -Among the contents of their tombs have been found curious slate palettes -of all shapes and sizes, similar to some which had previously been known -for many years, but the origin of which was undetermined. It has been -shown that these palettes were used for grinding up malachite to form a -green colour with which to paint the eye. The idea was, it is supposed, -to mitigate the glare of the sun, and is similar to that which leads -Anglo-Indians to have the under sides of the brims of their hats -coloured green. - -Another kind of temporary ornamentation is produced in Egypt to-day by -staining the feet and hands with the juice of the leaves of henna. The -result is that the part to which it is applied becomes a yellowish red -or deep orange colour. The most common practice is to dye the tips of -the fingers and toes so far as the first joint, the whole of the inside -of the hand and the sole of the foot, and there are other and more -fanciful modes of applying the henna, which is said to have an agreeable -effect upon the skin, particularly in the way of preventing it from -becoming too tender. The dyeing has to be renewed every fortnight or -three weeks, and the stain is brighter and more permanent on the nails -than on the fingers. - -Among many native races in a low stage of civilization there are few who -do not decorate their body by painting it in some way. We have already -mentioned that painting takes away the appearance of nakedness, and that -many nations would be as much ashamed to be seen without their paint, -as Europeans would be to walk about without their clothes. On special -occasions, however, particularly striking colours are put on--for -instance, by the Australians when about to dance a corroboree, and -Professor Moseley[40] has pointed out that they have breast stripes and -leg stripes such as those which are seen on European uniforms. At first -sight these, as Professor Moseley, indeed, points out, would appear -to have quite a different origin, but it will be remembered that when -speaking of the Hussar uniform and the Dutch skeleton dress (see pages -145-6) it was suggested that the ornamentation might be intended to -follow the lines of the chief bones of the body, and it is possible that -the same idea may have underlain the painting carried out by savages. - -In this case what in one instance was effected by paint was in the other -done by means of trimmings. - -Paint plays a great part in savage warfare, and no doubt the intention -very often was to terrify the adversary. It is apparently this idea -which actuated the old inhabitants of this country, who, as Cæsar says, -stained themselves with woad in order to be of horrider aspect in -battle; but Dr. Tylor has pointed out the error into which many -historians have fallen through considering as savages races who, while -having attained to considerable civilization, still kept up the practice -of colouring their bodies in time of war. To the instances which we have -mentioned of modern races staining themselves, we may add that of the -Hindu women in India, who colour their teeth black and paint their feet -scarlet. Japanese women blacken their teeth upon marriage. - -In certain Japanese plays the actors have bright streaks of red paint -made on their faces, usually on each side of the eyes (see Plate X, -Figure B). - -Professor Moseley[41] records that the same form of painting is to be -seen in the case of Japanese children on festive occasions, for after -they have been elaborately dressed by their parents they are further -adorned with one or two transverse and narrow streaks of bright red -paint, leading outwards from the outer corners of their eyes, or placed -near to that position. The style is the same as that which survives in -the case of adults on the stage. Professor Moseley brings forward a -further case showing that such a form of painting possibly existed in -ancient times in China. When a man of distinction died in China in -former times, a certain number of servants were sacrificed at his -burial. Now, figures made of pasteboard and paper, about three feet or -so high, are burnt instead at the funeral service in small furnaces -provided for the purpose in the temples, together with cartloads of -similar pasteboard gifts which are sent by the survivors for the use of -the dead in the next world. Earthenware figures were similarly buried -with great men in old times in Japan, and we may compare with these -customs that of the Egyptians who buried models of servants, as -mentioned on page 268, in the graves of their dead. - -The pasteboard heads of these funeral servants and retainers are painted -with streaks, some of which are put on in almost exactly the same style, -at the angles of the eyes, as those of modern Japanese actors. It seems -a fair conjecture that the streaks on these heads are a direct survival -of an actual former savage form of painting which was once in vogue in -China, and probably used to make fighting men hideous. - -It is well known that primitive customs survive in connection with -funerals all over the world with extreme tenacity. The numerous -interesting survivals existing in the case of English funerals are -familiar. - -We give a figure taken from the head of a Chinese servant, which -Professor Moseley bought at a manufactory of funeral properties in Hong -Kong. (See Plate X, Figure C.) - -With regard to the ordinary use of paint by women in China and Japan, -Professor Moseley points out that it is entirely different in principle -from that in vogue in Europe. He says: "The use of paint as an ornament -in China and Japan seems to me to be of considerable interest. In both -countries the women regularly paint their faces when in full dress, of -which the paint is a necessary part. - -"The paint is not put on with any idea of simulating a beauty of -complexion, which might be present naturally, or which has been lost by -age. The painted face is utterly unlike the appearance of any natural -beauty. - -"An even layer of white is put on over the whole face and neck, with the -exception, in Japan, of two or three angular points of natural brown -skin, which are left bare at the back of the neck as a contrast. After -the face is whitened, a dab of red is rubbed in on the cheeks, below -each eye. The lips are then coloured pink with magenta, and in Japan -this colour is put on so thickly that it ceases to appear red, but takes -on the iridescent metallic green tint of the crystallized aniline -colour. - -"In modern Japanese picture books, the lips of girls may sometimes be -seen to be represented thus green. I suppose the idea is that such -application of paint shows a meritorious disregard for expense. It is -curious that the use of aniline colour should have so rapidly spread in -China and Japan. In China, at least, such was not to be expected; but it -seems to have supplanted the old rouge, and it is sold spread on folding -cards, with Chinese characters on them, at Canton and in Japan. This -form of painting the face seems to be exactly of the same nature as -savage painting." - -The likeness of this painting to that of our clowns is of course quite -obvious. - -Sometimes the painting of the body has a practical advantage. The -Andaman Islanders plaster themselves with a mixture of lard and coloured -earth, which protects their skin from the heat and mosquitoes; but, as -Dr. Tylor points out, they go off into love of display when they proceed -to draw lines on the paint with their fingers, or when a dandy will -colour one side of his face red and the other olive-green, and make an -ornamental border-line where the two colours meet down his chest and -abdomen. - -Fashions in paint were quite as slavishly followed as any other, and, -as we see, have died hard. It is not a very far cry from painting to -tattooing. Of savages, Théophile Gautier has said that, having no -clothes to embroider, they embroider themselves. Scar tattooing is -connected with various rites such as are followed when a brave arrives -at manhood, and certainly tattooing serves to indicate the family or -tribe to which the ornamented person belongs. There is no doubt, -however, that the intention of much tattooing is to increase individual -beauty. Excellent examples of this are to be found in the case of the -Maoris, whose faces were most elaborately covered with designs. We are -kindly permitted to reproduce some of the drawings which General Robley -has made from specimens in his magnificent collection (see Plate X, -Figure D). The practice now, however, is dying out. Of the Formosans it -is said that their skins are covered with flower patterns until they -look like damask. - -Tattooing was practised by the old inhabitants of this country, by the -Jews and the earliest Egyptians: it is still carried on in modern Egypt, -chiefly on the chin, on the back of the hands, the arms and feet, the -middle of the bosom, and the forehead. It survives principally in the -case of the women of the lower classes and in the country. Among -European sailors and among the lower classes, and even occasionally -those up in high social scale, we find tattooing carried on, though the -original idea of ornamentation is lost when the decoration is covered by -clothing. - -We have seen occasionally at shows--such as that organized by -Barnum--white people who have been tattooed to a very great extent, and -even in the case of Europeans the patterns tend to take off the bare -look even of the white skin. No doubt the desire to make permanent such -ornamentation as that obtained by painting, led to the introduction of -tattooing, and just as some marks suggest that they are copied from -amulets, so some amulets show traces of having been derived from tattoo -patterns. Mr. Lovett has pointed out to us that possibly the floral -designs worked on the backs of the bodices of the women of Marken, in -Holland, may have originated from tattooing, but no doubt careful -research would show some other and undoubted instances. - -The painting of the face, which is intended to heighten its beauty and -hide the ravages of time, is quite another matter. It survives to the -present day, but luckily it is much less common in this country than -it was a few years ago. It does not, however, seem to have been at all -in vogue in England until the Middle Ages, though cosmetics and false -complexions were made use of by ladies in Roman times. - -Fairholt[42] quotes from an old French poem of the thirteenth century -which describes the wares of a mercer who declares, "I have cotton with -which they rouge, and whitening with which they whiten themselves." The -cotton took the place of the hare's foot that is now used in making up, -to rub colour on the cheeks. - -At this point we might consider patches, the use of which made it -possible to ornament the skin with patterns that could be removed at -will. These patches came into fashion in Charles I's reign, but were -banned by the Puritans. As soon, however, as Charles II came into his -own again, they made their appearance once more, and took various -fantastic shapes: owls, rings, crescents, and crowns; a coach and horses -was particularly fashionable, and in the time of Queen Anne it was -possible to tell the political views of fashionable ladies by their -faces and their fans. Party feeling ran very high at this time, and -those who were neutral wore patches on both cheeks, a Whig lady on the -right side only, while a High Church Tory dame only adorned the left, -and she wore suspended from her wrist a fan on which was depicted a -scene from the trial of Dr. Sacheverell at Westminster Hall. - -Red and white paint was at the same time universally employed by women -of fashion, who, as Miss Helen Gordon[43] says, had perforce to keep -their lovers at a respectful distance, lest a kiss "snatched by a -forward one might transfer the complexion of the mistress to the -admirer." The untimely decease of more than one famous beauty was -attributed to the paint with which she besmeared her countenance, a -notable instance being the death of Lady Coventry, whose husband had -been wont to chase her round the dinner-table in his determined efforts -to remove the deleterious compound from her face with his serviette. -According to Walpole, Lady Mary Wortley Montagu used the cheapest white -paint obtainable, and left it so long on her skin that it had literally -to be scraped off. It may be inferred that these fine ladies rarely -washed; but "the age was careless in that respect, personal cleanliness -at a discount, and the essence pot consequently in great demand." - -We spoke just now of fans, which can, perhaps, be considered an article -of dress as they are very often fastened to the person. There seems no -doubt but that at first fans did not close, and were made of feathers -like those still in use in the East from whence they are derived. -Probably in the beginning, leaves were used as fans, and palm-leaf fans -are still to be seen. Fans were in general use in the sixteenth century, -and the folding one appeared in the next. - -Sometimes, as at the end of the eighteenth century, large green fans, -called sunshades, were used out of doors in the same way as a modern -parasol now is. There is another use of the fan still to be noted in -China, namely, for blowing up a fire, and from this we no doubt get the -expression of "fanning the flame." - -Painting apparently was not only practised by women, for male courtiers -at the end of the sixteenth century occasionally coloured their faces. -If we are to believe some of the writers in the newspapers of to-day, -men of leisure are not a whit better nor less foolish now. - -Of masks as an ordinary everyday addition to costume we have no -survivals, except in connection with some balls and an occasional -burglary; but masks such as we see on the 5th of November will remind -us, like the face of the clown, of primitive face-painting, and also of -the many curious head-dresses and masks which savages wear at certain -ceremonies and dances. It is easy to produce grotesque effects by means -of masks, and the discomfort that would arise from the paint is thereby -avoided. - -The practice of wearing masks, and indeed dominoes, by private -individuals came from Venice. In the sixteenth and seventeenth centuries -masks made of black satin and velvet often formed part of the toilet of -society ladies. At one period the wearing of them was restricted to the -times of carnivals; at another, the nobility alone were allowed to use -them, and now we only see masks at fancy-dress balls. Of the unwritten -laws that rule the wearing of the mask, Mrs. Aria says[44]: "Whether -worn privately or in public, its disguise has at all times and in -all countries been respected as inviolably sacred. To the masked the -greatest extravagance of language and gesture is permitted. He is -allowed to indulge in acrid personalities and proclaim scathing truths, -which, even if addressed to the monarch himself, go unrebuked. To strike -a mask is a serious offence, while in no class of society, however -degraded, would any one dare to unmask a woman. Yet another prerogative -entitles the masked to invite any woman present, whether masked or not, -to dance with him, etiquette decreeing that the queen of the land may -not claim exemption from this rule. Dear to romance is the masked -highwayman, who flourished until the advent of railways robbed him of -his occupation; and a grim figure is ever the masked headsman." - - - - -XXIX - -STAGE COSTUMES - -THE HARLEQUIN, PANTALOON, COLUMBINE, AND ACROBAT - - -While Punch has left the stage and is now a puppet, some of his -coadjutors are with us, for the harlequinade is still introduced into -many pantomimes at Christmas, and special plays have been written in -which these characters appear. The harlequin, who gives his name to what -is now an interlude, was some thousand or two years back one of the -important personages in the old Italian comedy which gave us Punch, and -which we have already mentioned in a previous chapter. - -Harlequin was versatile and many-sided, and he still keeps up his -slap-dash character. It is true that harlequin does not now speak, any -more than does the columbine, and we may trace the evolution of the -Italian Mimi, or buffoons, into the Pantomimi, who were tragic actors. -They, by means of certain well-understood signs and gestures, were able -to play tragedies in the open air under conditions which would have -prevented their voices from being heard. In some theatres also the -actors were not allowed by the authorities to speak. Originally the -harlequin was a mime. He had a shaven head, a sooty face--for the mimi -blackened their faces like our modern niggers--he had flat, unshod feet -and a patched coat of many colours which he derived from the ancient -peasants of Italy. - -Some have seen in the wand of the harlequin a descendant of the rod of -Mercury, and have sought for a prototype of the modern pantomime in -pagan mysteries. In England, however, we have turned the harlequin into -a magician, and his wand is perhaps the gilt wooden sword which belonged -to the clown or fool all the world over. Now also we have the character -in what Mr. Calthrop terms his tight-fitting lizard-skin of flashing -golden colours, for the patches on his rags have now given place to a -symmetrical pattern (see Figure 158). - -There have been many celebrated harlequins who have devoted their lives -to the development of this character, and there is an interesting case -which Disraeli[45] gives in his "Curiosities of Literature," in which, -as part of a quit-rent or feudal tenure--whenever the Abbot of Figéac -entered this town--the Lord of Montbron, dressed in a harlequin's coat, -with one of his legs bare, has to lead the prelate's horse by its bridle -to the abbey. - -[Illustration: FIG. 158.--The dress of a modern harlequin.] - -In the clown and the pantaloon we still have the dress of Elizabethan -times (see Figures 157 and 159). The paint on the former, as we have -seen, will carry us back to times of remote antiquity. His hat is of a -shape well known in early English history, and he himself is English -all through. The pantaloon, again, is Italian. Both he and his Venetian -breeches get their names from St. Pantaleone, one of the patron saints -of Venice. Pantaleone was by no means an uncommon patronymic in that -place. In order to reconcile the statements that the dress of the -pantaloon is Elizabethan and his nether garments are Venetian, which -might appear to be mutually contradictory, it must be pointed out -that the Venetian breeches had been introduced in the days of earlier -Tudors, and were still in vogue when Elizabeth was on the throne. The -pantaloon's red and green colours and his red heels are also, as we have -indicated, Elizabethan. - -[Illustration: FIG. 159.--A pantaloon, showing an Elizabethan costume of -which Venetian breeches form part.] - -The columbine, who, like the harlequin, does not speak, and so keeps -up the pantomime character, wears the ballet dress of early Victorian -times. Originally she was a female harlequin, or harlequinne, and her -dress of spangles is still sometimes used in fancy-dress dances. Of the -other characters, who once assisted those that we have described, we -have none left. Scaramouch persisted for some time, and was, like the -harlequin and columbine, a pantomimist. He has gone even from Punch and -Judy, though the doctor still remains. - -Though not strictly a theatrical performer, but seen in the circus, -the music-hall, and still also as a wandering mountebank, we have the -acrobat. His dress is simple and eminently suitable for the work which -he has to do; it consists of a vest, of very short trunk hose or -breeches, and long Florentine hose, or, as we now call them, tights. -Though such a costume was worn in the reigns of the early Tudors, in -detail the breeches are very much like those which were worn by Lord -Darnley, the husband of Mary Queen of Scots. Doubtless also in the -tights which are so familiar on the stage we have a survival similar -to that seen in the acrobat, the clown, and the knights of the older -orders. - - - - -XXX - -NIGHTDRESS - -BANDS ON NIGHTGOWNS--NIGHTCAPS--NIGHT ATTIRE WORN IN THE STREET - - -Going to bed can hardly be called a ceremony; but the dress in which the -bulk of humanity now sleeps can claim to be a special one. There are, of -course, many people, who are not mere casual tramps, who sleep in their -everyday clothes. Drovers who have to go to out-of-the-way places with -cattle, where they can never be sure of getting a lodging, will sleep -possibly after merely removing their outer coat, and it stands to reason -that men engaged in this business can hardly be bothered to carry -luggage with them. Any survivals that we may have to deal with in the -case of our airiest dresses will not take us very far back into history, -because our ancestors, from all accounts, went to an extreme which is -the opposite to that which we have just been mentioning, and instead of -keeping on all their clothes at night, they took them all off and put -on no others. Mr. Calthrop[46] graphically describes a scene which he -supposes to be taking place in the reign of William Rufus. A lady is -disturbed while getting ready for bed by a cry of "sanctuary," and -watches from her window until the fugitive is let into the church by the -monks. In concluding his story, Mr. Calthrop says, "The night is cold. -The lady pulls a curtain across the window, and then, stripping herself -of her chemise, she gets into bed." - -A man's nightshirt is severe in cut like that which he wears in the day, -and the sides are slit up in both garments as they are in the dalmatic -and the tunics worn by the Anglo-Saxons, which were like a day shirt, -longer behind than in front. A survival of the latter as an outer -garment is to be seen in the short smocks worn by labourers who dig -drains and do similar work. The lady's nightgown may be elegantly -ornamented with lace in the same way as are the linen garments which she -wears in the daytime; but very often we find a large collar edged with -lace, which recalls the falling band which we have had so often to -mention. (See Figure 160.) - -To a great extent sleeping suits of a coat and trousers, which are known -by the name of pyjamas, have taken the place of the man's nightshirt. -These have the merit of making a man look more presentable if called up -on an emergency. We shall see, if we contrast male and female fashions, -that it has always been customary for the costume of women to follow -that of men, though most ladies draw the line at adopting trousers. We -have heard, however, of one young lady at least who does by night what -she will not do by day, for she has given up her nightgown in favour of -pyjamas. - -[Illustration: FIG. 160.--The bands that survive on a lady's -nightdress.] - -[Illustration: FIG. 161.--A woman's nightcap, still worn in Wiltshire.] - -Here and there we find that nightcaps are still worn. That belonging to -an old lady, which we figure (see Figure 161), came from the village of -Bishopstone in Wiltshire, where no fewer than twelve old ladies, all of -them over eighty, still wear such a head-dress at night. Nightcaps were -worn by men in the time of the Tudors, and that of Queen Elizabeth, as -is shown by the following extract from a bill of 1547: "Pd. for two -nyght caps of vellvet for them, 8s. 0d."[47] - -They were very elaborately embroidered at this time, and in Mary's -reign were mentioned in a sumptuary law. Old men still wear nightcaps, -and the one we figure was used until lately at South Stoke in -Oxfordshire. It is of the familiar style that we associate with such a -head-dress, and has a tassel on the top. (See Figure 162.) - -[Illustration: FIG. 162.--A man's nightcap, from Oxfordshire.] - -In the time of Queen Anne ladies wore their nightdresses, or night-rails -as they were called, in the streets, and the fashion seems to have -been in vogue at later times, though every means were taken to try and -abolish it. It was not until a murderess was persuaded to appear at her -execution in a bedgown that the fad was relinquished. - - - - -XXXI - -THE DRESS OF ANIMALS - - NATURAL REPRESENTATIVES OF CLOTHES--HORSE TRAPPINGS--AMULETS ON - HARNESS--DOGS' DISGUISES--FASHIONS IN THE FORM OF ANIMALS - - -Here and there in the animal kingdom we find that creatures protect -themselves from injury by building up cases and coverings from -extraneous materials, and these may very well be compared with the -armour and clothes of mankind. Protection may be gained by merely -securing something ready made to take the place of a coat, as is done in -the case of the hermit-crab or "soldier," which covers itself with the -shell of some dead mollusc. The caddis worm, or larva of the caddis -fly, builds its home of sticks and stones or twigs, and thereby not -only preserves its soft body from injury, but also harmonizes with its -surroundings, in the same way as does the soldier on active service in -time of war. - -To gain protection, also, some molluscs when building their shells -introduce stones and other shells and corals into the edifice, so that -they become indistinguishable from the sea-bottom on which they lie. -Many caterpillars cover themselves with bits of leaves, and even with -the help of silk make spiral shells that might easily be mistaken for -those of snails. The silk also, from which many of our gay clothes are -made, is spun by the silkworm, which, like the larva of many moths, -produces it in order to protect the chrysalis while it rests. - -We are occupied here, however, with the coverings of animals that they -owe to man, and first and foremost of those creatures which have come in -for his polite attentions is the horse. - -We may recall the armour by which the chargers of the old knights were -protected, and the trappings or emblazoned coverings that were put over -this in the same way as the surcoat was made to cover the armour of the -knights. (See Figure 84.) The trappings were often made of coloured -satin, and were embroidered with gold and silver, and at the exhibition -held by the Burlington Fine Arts Society in 1905 a chasuble of red -velvet was shown, embroidered with the arms of England in gold, which -was apparently made from a horse-trapper of the fourteenth century. -Figure 84 well shows how the horses carried the armorial bearings of -their masters. - -In the ostrich-feather ornaments and the velvet trappings of modern -funeral horses, we still have some remnants of the days of chivalry. - -To-day horse clothing, though not intended to be of an ornamental -character, we should imagine, is still often decorated with a monogram -of the horse's owner. - -Perhaps one of the most interesting survivals in connection with horses -is to be found in the brasses which decorate those used for carts and -waggons. Dr. Plowright[48] has shown that many of these ornaments, which -are really amulets put on to the harness with a view to protecting the -horses against the evil eye, are of Moorish origin. He contrasts their -style with the ornamental details shown in the Alhambra, and he figures -a number which take the form of a crescent, or a crescent enclosing -an eight-rayed star, and others in which the ornament shows eyes and -eyebrows conventionalized. In other cases we get the fleur-de-lys -treated in an arabesque way, the escallop shell and the mystic -interlaced triangles (which were considered the talisman of talismans, -and are known as the seal of Solomon or the shield of David), with -a crescent in the centre. Miss Lina Eckenstein[49] figures many -other horse brasses which can be compared with those worn by Roman -cart-horses. Among them is the crescent, which was also worn by women -carved in ivory, and by certain senators as ornaments on their shoes. - -The crescent is made from a thin plate of metal, and is worn by children -on the west coast of India, with the points upwards, as a protection -against the evil eye, and gold ornaments of similar shape are among -those which were worn in ancient Peru. - -The moon, from times of remote antiquity, has been represented by a ring -for the full moon and a half-ring or sickle for the crescent. Miss -Eckenstein does not, however, carry the origin of the horse amulets back -to the stone stage of civilization, but she thinks that the crescent -represents two boars' tusks joined together by a thong, and the -horse-amulet now worn in Italy shows the thinness and sharpness of curve -that would be evident in one which was made out of boars' tusks. - -[Illustration: FIG. 163.--An English horse amulet in the form of a -crescent. The flat places near the tips of the horns are evidence that -the form is derived from two boars' tusks.] - -We may point out that in some English crescents the hollows which one -tusk makes by wearing against its fellow are represented by little flat -places on the horns of the crescent near their tips. (See Figure 163.) - -The brasses seen in England to-day are worn on the face-plate, -breast-plate, and martingale. On grand occasions, such as May Day -celebrations, and the cart-horse parade of Whit Monday, brasses are -specially put on, though there is a tendency now for them to be stamped -out of thin metal instead of being cast, with the result that they soon -wear out. German horses wear the crescent on a strap which dangles below -the right ear. - -The English crescent from harness will be found to match those which are -represented on the horses on Trajan's column and other monuments. The -same design is to be seen also on the harness of camels and elephants. -The most important symbol besides the moon is that of the sun, which is -worn on the top of the head between the ears. - -Heraldic brasses are not uncommon, and the heart-shaped amulet is also -seen; it is possible, too, that this form may be connected with that -of the flint arrows, which we have already mentioned as being worn as -amulets. In Egypt, an amulet hung on a cow is said to protect the woman -who owns it, and Miss Eckenstein suggests a similar origin in the case -of the heart worn by horses. A brass showing a horse rampant, came from -the estate of the Duke of Norfolk at Arundel, and it will be seen on -looking at the arms of the nobleman in question that this device forms -one of the supporters of his shield. - -In prehistoric Egypt the slate palettes on which malachite was ground -for face painting were often in the form of two birds, with their bodies -put back to back, and their heads fully shown, and when this form -degenerates it becomes a kind of heart-shaped shield. Professor Petrie -has pointed out that when this decoration is used, as on coffins and -elsewhere, it is often thought to be merely a shield. Possibly the -heart-shaped amulet may have some connection with this. - -[Illustration: FIG. 164.--An English horse amulet showing both the heart -and the sun.] - -An amulet found by Professor Vellucci in Umbria consisted of an -arrow-head sewn upon a piece of scarlet cloth, which was of a heart -shape, and was intended doubtless to emphasize the heart significance. -Another horse amulet, obtained by Miss Eckenstein from Sicily, also -consists of a piece of scarlet cloth cut into the shape of a heart and -decorated with tinsel. - -An English horse brass seen in Figure 164 shows both the heart and the -sun. - -While on the subject of horses, one might allude to the wisps of straw -which are twisted in the mane and tail of cart-horses when they are for -sale at markets and fairs. Horses were sacrificed in the old days; and -as the slaying of domestic animals was supposed to secure fruitfulness, -the horse became identified as a corn spirit, and the killing of horses -formed a necessary incident of the harvest. The deity Demeter took upon -himself the semblance of a mare, and the word mare is applied in the -Midlands to the last uncut ears of corn, at which the sickles are thrown -in order to bring them down. It is possible that the wisps of straw worn -by horses are connected with these ideas. - -A very curious and interesting custom is represented on the trappings of -the horses ridden by the officers of the 10th Hussars. These trappings -are ornamented on full-dress occasions with cowry shells; and to find a -parallel to this we have to go to the East, where the head-stalls of the -camels and mules are covered with the shells, while round their necks -and those of donkeys there may hang an ornament or bell on a band which -is similarly decorated. It will be noted that there is a pendant from -the head of the Hussar horse which resembles that of the mule of the -Holy Land. There is no doubt but that originally these ornaments were -really amulets, and it is said that they are a survival of ancient -phallic worship. (See Figures 165-7.) - -Cowry shells were once generally used by the Hussars, and were revived -in the case of the 10th Hussars in connection with service in India. - -[Illustration: FIG. 165.--The cowry-shell ornaments on the head of an -officer's charger of the 10th Hussars. The pendant recalls that on mules -in Palestine.] - -Toby, as we have seen, is decorated with an Elizabethan ruff, but the -wearing of collars and bells by pet animals is a remnant of a very old -custom, and on early mediæval brasses in this country, dogs are often -seen decorated with collars--sometimes bearing their actual names--and -with bells. Now the wearing of a collar is enforced by law as a means -of identification. All dogs found without collars may be considered as -strays, and the regulation followed, as is well known, upon the muzzling -order by which hydrophobia was practically stamped out. - -[Illustration: FIG. 166.--Cowry shells on an Eastern mule, hanging like -the pendant of the 10th Hussars.] - -[Illustration: FIG. 167.--Cowry shells on the head-stall of a camel from -Palestine.] - -Mr. C. J. Cornish[50] once considered the subject of animals' clothes, -and made some interesting remarks on horses' hats and sun-bonnets. He -described the following sight, met with in Kensington Gore: First came -a costermonger with his horse duly "hatted" and the hat trimmed with -ribbon; next came a lady wearing a hat, in a victoria. Her horse also -had a hat, and both hats had pink flowers in them. - -In Holland, cows wear rain-proof jackets all the winter, and coats for -show cattle are quite the fashion in England. Mr. Cornish says that a -really smart Jersey cow would not like to be seen at a show without her -luggage--"a chest containing, not only her sleeping jacket, but her -brushes and combs, cosmetics and horn protectors. She puts on, or -has put on, a smarter jacket in the daytime if she has to stand in a -draughty place; if she is not sleeping out it does not so much matter. -There are many ladies who would almost go without a jacket themselves -rather than see their best animals go to a show without proper clothes." - -In the North lambs are provided with waterproof coats when going on to -the hills. These garments are called "brats," and the name has been -transferred not only to the young sheep themselves, but also to human -babies. We are all familiar with the clothes which monkeys wear when -they go about with organs, and the big apes which are exhibited at -shows are sometimes even clothed in the dress suit of conventionality. -Johanna, the chimpanzee which was at Barnum's exhibition, looked -very effective in her petticoats, and the penguins at the Zoo, when -performing tricks, wear coats, while animal actors are often dressed to -suit their parts. - -There is one case at least in which animals are disguised by dressing -them up. There was a duck-decoy dog which was known to Mr. Cornish, -which, in the first instance, grew as much like a fox as it was possible -for a dog to be. This proved exceedingly attractive to the ducks, which -seem to have an irresistible impulse to swim after a fox in order to -see what he is about. In a short time, however, they get used to a -particular dog, and their curiosity dies away. Then the dog's master -supplies him with a disguise in the shape of a jacket made of sheepskin. -Furthermore, when this palls a rough woollen jacket of a black colour is -brought into requisition, and the dog apparently knows the meaning of -the whole performance. In other cases the disguise of a decoy dog takes -the shape of a foxskin with its brush. - -Racing dogs, prize dogs, and pet dogs also have their coats, and we have -heard even of bracelets for poodles, while there are fashions which -regulate the way in which the hair of these dogs should be cut. Just as -men and women deform themselves, so they mutilate their animals by the -clipping of their ears and the shortening of their tails--practices -which are worse than the dubbing of the birds' combs in the old days -of cock-fighting, for the infliction of one slight injury probably -prevented many. - -This deforming of animals is a savage custom, for Hottentots twist the -horns of their cattle and sheep, while a number of horns are produced in -Africa by splitting the budding horns of the young animals. Though not -obviously causing any deformity, there is one fashion which, though -condemned by most people, is still followed by otherwise cultured and -humane people. We refer to the bearing-rein with which horses' heads are -kept in unnatural, uncomfortable, and constrained positions. - -If, however, we consider animal fashions as a whole, and bring under -discussion the colours and peculiarities of the fur or feathers that -cover their bodies, we shall find that men from quite early times have -amused themselves with producing all manner of curious and striking -appearances. The fact is, that the ordinary conditions and dangers -of life in the open, which would soon eliminate any creatures out of -harmony with their surroundings, do not act in the case of domesticated -animals very much; and this has been a help. We have, therefore, white -rats, piebald mice, gold fishes--some even with several tails--yellow -canaries, frizzled bantams, hairless dogs, hornless cattle, booted -bantams, and top-knotted fowls, as well as hosts of patterns and forms -that are hardly to be numbered. There is an adage that "like produces -like," but the student of heredity has recently become aware of the fact -that animals of a certain colour may not always produce offspring -which resemble them in this respect; but that in order to get the tint -required for show purposes, parents of some particular but unfashionable -colour should be chosen. - -The colour of animals is taken into consideration in connection with -ceremonies. White elephants have to be treated as if they were gods, -and proverbially cost much to keep. Black horses are usually used at -funerals; white or grey horses, which are much decorated with the badges -and insignia of the regiments, carry the kettledrums of the cavalry. The -Scots Greys take their name from their horses, which are all grey, like -those with which, it is said, they were supplied by William III in -Flanders. Spotted Dalmatian hounds are those which are chosen to run -by the side of carriages, while circus horses exhibit much variety of -colouring. - -Whips are perhaps a little beside the subject, though there are fashions -with regard to them. Not long ago it was customary for the whip stick in -connection with a smart turn-out to have a bend in it. In various parts -of the East the camel driver carries in a graceful manner a red forked -stick, and one of this form was used as a sceptre in ancient Egypt from -5000 B.C. downwards, so that we meet with a very interesting, if humble, -survival of what was once a royal ornament. - - - - -XXXII - -COLOUR - - IMPORTANCE OF COLOUR--INSTINCTIVE LOVE OF BRIGHT - HUES--DESIRABILITY OF COLOURED CLOTHES AND GAY SCENES--COLOUR - AND COMPLEXION - - -It has been apparent throughout this book, as it is in everyday life, -that colour plays a tremendous part. Not only has it often a great -significance, but its presence or absence must also have a considerable -effect upon the minds of the people at large. One cannot help thinking -that if women were to dress as a whole in the same quiet, or let us say -solemn, tints which are characteristic of men in their everyday life, -how much we should lose. Yet that there is a craving for bright colours -is shown in every direction, and that they are attractive to those who -do not themselves have an opportunity of wearing them is also obvious. -The High Church clergy in this country make use of the coloured -vestments that had developed in the Roman Catholic Church previous to -the Reformation, and which have been proclaimed illegal. - -The new universities vie with the older seats of learning in the colours -which they choose for gowns and hoods. It is merely a question of -expense which prevents the fancy-dress dance from being more common -than it is. The pageants which have been held in various parts of this -country, and the profits which have been made in many cases, bear out -what we have said. Men, as shown by the red coats which they don for -hunting and golfing, the colours in which they ride steeplechases or -play hockey, or the dresses in which they bathe, seek as far as possible -during their leisure hour pursuits to go back to bright array. - -Plays also are popular which are cast in the times when picturesque -attire flourished or which borrow it from Oriental countries. The -significance of colour is exceedingly far reaching. The ordinary -liveries of Royalty in this country are red; the red shirt of the -followers of Garibaldi, the red cap of Liberty in the French Revolution, -the red rose of Lancaster, call to mind great struggles. The platelayer, -it is said, is instructed to wear a red tie so that on emergency it may -be used as a danger signal. A red ribbon worn in the hair of a girl in -some places on the Continent shows that she is engaged to be married, -and it is with a red rag that the chulos in the bull fight enrage the -bull. The term "born in the purple" alludes to this colour having been -that adopted by emperors and kings in the past. Yellow is a favourite -colour with gipsies; the women wear yellow kerchiefs and yellow beads, -while the men favour yellow neckties. Mr. Yoxall[51] points out that -this colour was worn by mediæval Jews, and had a contemptuous or -degrading significance. We have seen that yellow has been chosen as a -mourning colour in Oriental countries, and possibly it was adopted on -some particular occasion by gipsies like the black worms that we have -mentioned in the lace of military uniforms, and has never been entirely -left off since. - -Among savages, yellow comes next in popularity to red, and it is said -that young children are also fond of red, but are inclined to prefer -yellow. The latter colour is not so stimulating as red, and this is well -shown by the fact that the red light used in photographic works was -found to cause so much mental irritation on the part of the workers that -it has been abandoned in many cases in favour of orange. As regards the -preference of older persons, it has been found that schoolgirls are more -precocious than boys in the discrimination of colours, and never prefer -orange to any other colour, yet they choose yellow rather than green, -and usually than violet, but never prefer it to red or blue. - -As age goes on, male students shift their liking towards the violet end -of the spectrum which is the favourite one with men, while women keep -to the red. Blue is associated in this country with the boat race held -between representatives of the two old Universities of Oxford and -Cambridge, and blue is usually taken to represent the Liberal side in -political elections. The blue blouse of the butcher is characteristic, -and, as we have found, is a still better instance of the survival of a -trade costume than that seen in the case of servants. The colour, it is -said, was chosen, as blood stains are not so noticeable upon it as upon -other tints. A black habit is that which the clergy adopt when not -engaged in religious duties, while white has for centuries been used by -them when conducting services. The same two colours, if we can so call -them, are to be found in mourning, and to them a man is now restricted -when he appears in ordinary Court or evening dress. The use of colour -merely as a distinguishing mark without any deeper origin or special -significance is so general that we shall touch upon it, and recall one -or two instances with which we have previously met. - -The gorgeous dresses of the Masons and the bright green scarfs of their -humbler brethren, the Foresters, are further evidences of the love which -civilized man still retains of dressing himself up. It is only but -little less strongly developed apparently in him than it is in his -children and in savage people. - -We pointed out that red, although a special character of the British -Army, is very far from being the universal colour of the uniform. We -have had to deal with blue, buff, white, and black among the other -colours that are to be seen adorning the bodies of our soldiers. The -colours of heraldry no longer appear on our persons, except when we wear -favours such as ribbons of red, white, and blue that come from national -flags, and here we may recall that the standards of our regiments are -called their "colours," and illustrate not only regimental but national -history. The part that colour plays in the hoods and gowns of academical -dress has on more than one occasion occupied our attention. Various -coloured veils serve to differentiate the sisters of a religious order, -while the ribbons and mantles of the knightly orders serve a similar -purpose. It seems a great pity that at the present day the chapters or -meetings of these Orders are seldom if ever held, and it would surely be -interesting and useful, as well as enlivening, for certain occasions to -be created on which the public might have an opportunity of seeing more -of the dresses which have been handed down to our own times. - -It is true that the King has of recent years opened Parliament in -person, and glimpses may have been had of him in his state robes by a -privileged few, but surely some opportunity should be found of having -more pageants which are real and where there is no need for any -make-believe. Besides having the advantages which we have urged would -accrue from the bringing of a little more colour into our lives, such -meetings would also have a practical result, and be exceedingly good for -trade. - -It is obvious that certain costumes, particularly the gay peasant -dresses of the Continent, suit the style, complexion, and colouring of -those who wear them. In races like our own, where we have all kinds of -stages between the very fair blonde and the very dark brunette, the -question of the choice of colours from an artistic point of view is -important. There is also the question of surroundings to be considered, -though nowadays it is not every one who can afford the time, as the late -Mrs. Haweis did, to visit the rooms in which she was invited to spend -an evening, so that the colours of her costume might be arranged to -harmonize with her temporary surroundings. - - - - -XXXIII - -PATTERNS - -ANCIENT DESIGNS--CHECKS AND TARTANS--PARTI-COLOURED CLOTHES--EVOLUTION -OF ORNAMENTATION - - -The subject of patterns is a very wide one, and we shall content -ourselves with mentioning a few to show how these have survived. When -speaking of studs, we had occasion to mention the swastika or fylfot, -which is probably the earliest known symbol. It is the forerunner of -the cross, and it occurs on ecclesiastical vestments as well as civil -clothes, and the well-known key pattern was derived from it. On Plate -VII, Figure F, it may be seen on the shoulder of the Romano-Egyptian -man, and its use seems to be almost universal. The pine pattern which we -see on shawls is of Eastern origin, and it is said that it originally -was taken from a map of some rivers in Cashmere. - -Checks and plaids are among the commonest of our present-day designs, -and the Gauls and those of our forerunners, who flourished at the time -of Cæsar, wore breeches of chequered patterns. In fact, the very name of -breeches is derived from "breac," which means striped or spotted, and in -Gaelic also signifies the trout, which is speckled. Usually the ancient -breeches showed a number of colours, in which, according to Diodorus, -red predominated. Queen Boadicea wore a tunic apparently of plaid, -the colours of which had a mixture of blue, red, and yellow. The real -shepherd's plaid of Scotland is of a plainer character, being merely -black and white, but it is in the special tartans of the Scotch clans -that we find the system of coloured lines and squares carried to great -perfection. - -These tartans, as we may judge, date back to times of which we have no -record, but they have been used continuously in historic times. In the -accounts of King James III of Scotland, in 1471, there are several -entries with regard to money spent on tartans. The tartans, of course, -were a distinguishing mark of the various Scottish clans, but sometimes, -when attempts have been made to identify the patterns, confusion has -arisen owing to the fact that many clans had more than one tartan; in -fact, there may be the common clan tartan; that which was worn only -by the chief and his heir; a dress tartan; a fourth for hunting, and -a fifth for mourning. For instance, while the dress tartan of the -MacPhersons consists chiefly of black and white, with thin lines of red -and yellow, the hunting tartan of the same clan is black and buff, with -lines of blue and red. Similarly, in the Royal Stuart tartans, we find -that the ordinary Royal Stuart has large red squares, the hunting -tartan is mostly green and blue, while the dress Stuart has a large -amount of white in its composition. There was, of course, a wonderful -variety in colours, and it is interesting to note that all the dyes -required were obtained from common native plants. - -In England, after the Norman Conquest, there seems to have been little -pattern used up to the time of Henry II, when diaper began to appear. -Just as damask takes its name from Damascus, so diaper originally -was derived from D'Ypres, meaning "of Ypres," a town which was noted -for rich stuffs and fine linen. In Edward II's time pied cloth and -parti-coloured silks came into vogue, while costumes of a parti-coloured -character, which developed in the following reign to such an extent, -were seen for the first time. Sometimes the whole dress would be -symmetrically divided, so that half was of one colour and half of -another. Again, the clothes would be striped in various directions, or -one would find the right arm and left leg coloured blue, while the other -two limbs were red. We get something of the same kind of ornamentation -nowadays, as already noticed, in the dress of jockeys and the colours of -athletic clubs. - -In studying decorative patterns, the way in which some natural object -has often become conventionalized is very interesting to trace, and if -this is so in the case of art of civilized people, it is still more -true of savage decoration. Our object is not, however, to deal with the -evolution of ornamentation pure and simple, though we commend its study -to our readers. - -Turning to the Jews for a moment, we may recall that part of the -adornment of the High Priests consisted of pomegranates and bells. The -connection does not seem at all obvious, and Mrs. Finn has suggested -that the bells are probably the flowers of the pomegranate which have -been conventionalized. - - - - -XXXIV - -IMPRESSIONS TO BE GAINED FROM DRESS - - CLUES FROM CLOTHES--INDIVIDUALITY NOT DISGUISED BY THEM--MODERN - DRESS OF OTHER COUNTRIES--SIGNIFICANCE OF CLOTHES - - -If we turn our attention once more to clothes and their effect upon the -outsider, there are questions to consider with regard to what may be -judged from dress. First of all, as to the matter of social status, it -must be confessed that it is very much more difficult nowadays than it -was years ago to make any pronouncements from clothes, though it must be -pointed out that there is a way of wearing clothes, quite irrespective -of their kind, that will help us considerably in making a judgment. - -The reason for the levelling up or down as the case may be, is due, of -course, to the standard of luxury having been raised and the price of -materials for clothing having been lowered. As regards the determination -of the profession of the wearer from his or her dress, it must be -said that often we remain quite at a loss in the matter. Bearing and -expression and general action may again afford a clue. - -Characteristic costumes are now rare. We can tell the cleric as a rule, -though some, especially those who have belonged to some other profession -previously, will not adopt the collarless coat of black, the choker, or -the white tie. - -Servants' liveries may be left out of consideration here, but the man -that has to do with horses proverbially looks "horsey." To the list of -uniforms to which we are accustomed there has been added of recent -years that of the hospital nurse. The garb of various sisterhoods -still catches our eye, and there are certain points which may help us -occasionally in identifying a doctor, a lawyer, a schoolmaster, and an -actor. According to a recent article by a detective in one of the daily -papers,[52] the characteristics and individuality of a man will show -through his clothes, and the writer alluded to, suggests the putting -of a clergyman into a soldier's or a sailor's uniform, or again, the -dressing of a valet in his master's clothes. "He will look quite -different. He will give a fresh character to the clothes, and you will -realize at once that he is a second-hand copy." - -Mr. Chevasse says that if you walk down Oxford Street, Piccadilly, or -through the City, you may pick out the ex-army officer, in his mufti -tweed, for his instinct for dress is so ingrained that it is easy to -recognize him. Mr. Chevasse would tell the fashionable physician from -the following signs. His frock coat, scrupulously cut, his silk hat -correctly quiet, which fit in with his sleek manners and the sang-froid -of his superior knowledge. The dress dummy is another type--the man with -the airs of a peacock, whose every article of dress is meant to attract -attention. Of the actor whom one meets in the Strand, it is said that -the odds and ends which he wears are typical of the parts he plays, but -that his real individual character is not disguised as sometimes he -might wish it to be. - -In similar fashion we are given the points of the modern solicitor, of -whom there are, we are told, two classes. The first type is dressed to -exhale prosperity, and to convince the litigant that he is a safe man, -but the character of his waistcoat will tell you more often than not -that he robs Peter to pay Paul. The dress of other solicitors beams out -sincerity, truth, reliability; the cloth is good and plain, and is well -fitted to inspire trust and confidence. - -At the present time so many visitors from other countries, who are -sojourning here for a while or have come to stay, are to be seen in our -streets, that it may be of interest to see what the Editor of the -_Tailor and Cutter_[53] has to say upon the subject of their dress, or -so far as that of the men goes. He says that, as a rule, in the case of -the members of the aristocracy of all nations, their garments give -the impression of having been made in London, and are free from the -peculiarities which characterize those of other countries. Generally -speaking, however, it is not difficult to tell the nationality of a man -by his clothes. The American's garments are usually made two sizes too -large for him. The collar of his coat is very narrow, and the shoulders -and back, on the other hand, exceedingly wide. His jackets are often -extremely long, his trousers are peg-tops, finished with raised seams. - -In some ways the German is a modified American, though often there is -to be found a seam up the front of his coat from the waist, as he likes -plenty of room about his chest, of which he makes much. While the -American, however, often has his coat finished in some extraordinary way -which he fancies to be original, there is a lack of personality about -the German, and the uniformity of his garments would appear to be the -result of his military training. The American likes a lounge suit, and -the German the same, or a morning coat, while the Frenchman favours -the latter or a frock coat, which he has finished off with as much -ornamentation as possible in the way of silk facings, braided edges, -and fantastic flaps. His garments are close-fitting, and the waist is -emphasized. - -The Spaniard is like the Frenchman with modifications, for his garments -are tasteful and neat, with few peculiarities. In warm weather he wears -no vest, and his jackets are close-fitting and finished with a low roll. -In Austrian and Hungarian clothes French and German ideas seem to be -skilfully blended, while Italian dress has more of the French than of -the German characters. Norwegians and Danes are like Englishmen, though -there is perhaps a little more preciseness and stiffness about their -clothes. The colonial has no desire for show, and his tweed lounge suit -is cut for comfort and made up for strength. - -The impressions to be gained from dress that we have hitherto mentioned -in this chapter are chiefly those which are unintentionally given to -us by their wearers. The significances which it is meant that clothes -should bear are still most numerous and important. - -To-day, on ordinary occasions, rank is not shown by any special dress, -which those in high stations themselves wear, though the case of their -servants is different. In earlier times in our history, especially under -the earlier Tudors, rank was indicated in civilian dress. Now the frock -coat worn by King and Peer is considered just as necessary in many -businesses, and is characteristic of the shop-walker. Men of assured -position can even afford to dress badly, though the poor man cannot. - -Here and there we have met with survivals of class costumes (see pages -150 and 308), and to these we may add that of the costermongers, for -in the dress of both men and women there are peculiarities which single -them out. - -In the same way we find remnants here and there of special dresses that -are characteristic of trades. The blue blouse of the butcher, the white -clothes of the butterman or man cook, and the white cap of the latter -are cases in point; and in connection with certain duties and modern -manufactures we have special dresses. We might allude to the overalls -of furriers, feather merchants, and stationers. Divers, sewage men, and -miners have special dresses, and boiler cleaners have a curious dress of -coat and trousers made in one, which recalls one form of the military -tunic used by the Norman soldiers, which sometimes ended in closely -fitting trousers. It was first drawn on the legs, and the arms were -then put through the sleeves. Such combination garments are shown in -contemporary drawings, and it has been questioned whether these were -really made in one piece, but the artist, though he might not indicate -with certainty the openings through which they were put on, is hardly -likely to have left out the lines which would have made clear a division -at the waist. - -At the present time in England there are very little differences in the -costume of single and married women, though it was once compulsory for -them to dress differently. The remains, however, of the custom are to be -found in plenty in foreign countries. - -In many professions rank is indicated by the dress or its -ornamentations. In the Army and Navy, the Church, the legal profession, -such points are obvious. We have had occasion to deal with academical -costume, and in the knightly orders the same holds good. Just as an -undergraduate has a stuff gown, while a graduate may have a silk one, a -Proctor is given velvet sleeves and the Chancellor of the University an -embroidered gown and train, so, for instance, in the order of Knights -of the Order of St. John of Jerusalem, the Knight of Grace has a stuff -gown, the Knight of Justice a silk one, while the Grand Prior is habited -in velvet. - - - - -XXXV - -THE EFFECT OF CLOTHES UPON THE INDIVIDUAL - - THE ORIGIN OF STAYS--TIGHT LACING NO NEW THING--ITS EFFECTS--MR. - HEATHER BIGG ON THE NEED FOR SUPPORT--THE IDEAL FOOT--SKULL - DEFORMITIES--PADDING - - -We have already seen (page 111) that the human form may be directly -mutilated in connection with the wearing of ornaments and in order to -produce scars or tattoo marks which are considered to be embellishments -and often in a way take the place of clothes, in so much as they do away -with the appearance of nakedness. Now we may consider the distortions -which are actually caused by clothes and bandages. There are cases for -which, as a rule, we have to look outside the confines of Europe in -which special contrivances are worn for a time in order to permanently -alter the shape of some part of the body. Then, again, we meet among the -races which claim to be most highly civilized instances which are not -one whit less barbaric, but in which some article of dress is intended -to cause or allowed to produce distortions, which satisfy the dictates -of some particular fashion. It may be that an appearance of elegance or -smartness is aimed at which may be the natural attribute of some persons -and the envy of others, or a false idea of symmetry may lead to the same -thing. - -The idea of altering bodily conformation is very ancient, but following -our usual plan we will touch, first of all, on the modern examples of -the custom before tracing the older ones. Not very long ago, and not for -the first time in history, a great many women became imbued with the -notion that there was nothing more desirable in this world than a -wasp-like waist; and there are rumours, not to say signs, even in the -twentieth century, when it might be supposed that we were getting more -sensible, that a similar madness is again to overtake the gentler sex. - -Now we may discuss the apparatus which has been degraded into carrying -out the painful duty of producing an attenuated figure. The name stays -indicates exactly the original intention of the clothing to which it is -applied; but unfortunately something more than mere support has been -sought after at various times since the classic period to which the -beginnings of stays may be traced. The pair of stays which together form -the modern corset--sometimes ignorantly and by false analogy supplied -with an extra "s"--is what is now used for purposes of compression. -Proximately the idea is that of improving the figure, as it is called, -and ensuring that it can be covered with garments of a fashionable -shape. The ultimate results are about as bad as they can be, and it is -not a question of opinion in this case, for the evil effects can be -easily demonstrated. Sir William Flower[54] refers to the practice as -being "one of the most remarkable of all the artificial deformities -produced by adherents to a conventional standard, in defiance of the -dictates of Nature and of reason." He points out that in the process of -deforming the skull, to which we shall allude later, the latter being a -solid case with tolerably uniform walls, its capacity remains the same -whatever alterations may be made in the shape, but in the case of the -body it is quite another matter. It can, in fact, be well likened to a -cylinder of fixed length which is closed above and below by a framework -of bone, and circular compression must actually diminish the area which -has to be occupied by some of the most vital organs. He goes on to -say that the framework of the chest is a most admirable and complex -arrangement of numerous pieces of solid bone and elastic cartilage -joined together in such a manner as to allow of expansion and -contraction for the purposes of respiration--expansion and contraction -which, if a function so essential to the preservation of life and health -is to be performed in an efficient manner, should be perfectly free -and capable of variation under different circumstances. So, indeed, it -has been allowed to be in all parts of the world and in all ages with -one exception. It was reserved for mediæval civilized Europe to have -invented the system of squeezing together, rendering immobile, and -actually deforming the most important part of the human frame; and -the custom has been handed down to, and flourishes in, our day, -notwithstanding all our professed admiration for the models of classical -antiquity, and our awakened attention to the laws of health. - -The crusade against corsets is by no means confined to this country; -even the educational authorities in America and on the continent of -Europe have dealt pretty drastically with the matter. It is said, -moreover, that the Queen of Portugal has brought before the ladies of -her Court the evils of tight lacing, by means of radiographs. There -have been other times when even laws have been made with regard to the -corset, which, it appears, was first employed for a wrong purpose in -mediæval times. It is said of the time of Henry III of France that the -corset was no longer the simple basquine that was inoffensive enough at -first.[55] The corps piqué which was endured by the fair ladies of the -period was an instrument of torture. A hard solid mould into which the -wearer had to be compressed, there to remain and suffer in spite of -the splinters of wood that penetrated the flesh, took the skin off the -waist, and made the ribs ride one over the other. Montaigne and Ambrose -Paré are witnesses, and the latter must have known something about the -question. It is not, perhaps, surprising that Charles IX and Henry III -brought in stringent laws on the subject. - -We are told[56] that with Catherine de Medici's ascent to the throne the -habit became compulsory. She gave her subjects no choice, and said that -all women of good birth and breeding should wear corsets which would -reduce their waists to the abnormal size of thirteen inches. - -In our country on various occasions lacing was carried to extremes, as -in the time of Henry VIII. In Elizabeth's time, the forerunner of the -busks was not fastened to the stays, but consisted of a piece of carved -wood which was pushed down inside the bodice. (See Plate XI.) Some of -the outer bodices in the times of the early Georges seem to be as hard -and unyielding as if they were intended for armour. Tin stays were not -unheard of in the days of the earlier colonists in America. - -[Illustration: WOODEN STAY BUSKS. THESE INCIDENTALLY SHOW SURVIVALS OF -PRIMITIVE ORNAMENT. - -_From the "Reliquary," by kind permission of Messrs. Bembrose & Sons, -Ltd._ - - _PLATE XI._] - -The craze for tight lacing once more made itself felt at the beginning -of the nineteenth century, and not many years before the end one heard -from time to time of the cruelty that was practised at high-class -schools for young ladies, where the girls were made to sleep in -specially tight and rigid corsets. - -Although there is a tendency to abolish stays, it does not, of course, -prove that on occasion they may not be of use. Mr. Heather Bigg, the -well-known surgeon, who is a specialist in cases of spinal curvature, -and who adopts mechanical means of treatment,[57] is in a position to -offer an opinion on the use of corsets, as he uses special ones as -precautionary means of support and where curvatures may threaten, as -well as to be safeguards against relapse after the mechanical treatment -of a curvature has been consummated. In one of his books he has much to -offer in favour of the corset, and at the outset it may be well to say -that Mr. Heather Bigg's remarks are mainly directed against the views of -the practitioner who, from the treatment that he advises, is called a -gymnastic practitioner, and who, according to Mr. Heather Bigg, goes -further than attacking matters of treatment, and in order to popularize -his own practice endeavours to entwine with it revolutions that shall -extend even to the simplest garments. For instance, the gymnastic -practitioner maintains that corsets are detrimental to health. - -Mr. Heather Bigg's opinions practically are those with which most -sensible people would entirely agree. The arguments which he brings -forward in favour of them are not, however, very conclusive, as we hope -to show. Corsets, he says, are intended in their right and proper use -simply to stay and support the body in its natural shape, and not to -mould it into funny forms according to the vagaries of fashion. The -women of classic times did not use them for this purpose. On the -contrary, they had no reason to do so, as their flowing garments did not -permit them to display the outlines of their figures; they therefore -simply wore corsets because it had been found by centuries of experience -that they were conducive to health and serviceable in exertion. - -His description of the original corset of Greece and Rome will show -to what ancient form of stay the modern corset may be traced. The -arrangements of the ancients consisted of three pieces, and these were -worn either together or separately, as required. They consisted of -supporting bands worn round the body in a way very similar to the -"putties" worn for support round the legs by the present-day soldiery. -The main and most useful portion of the corset was a zone, or loin band. -Then there was the thoracic band, or strophion, intended to uphold the -breasts and conserve the figure. And, lastly, there was the waistband, -which filled up the space between the other two. It is from the -conjunction of these triple bands that the modern corset has been -evolved, as it is worn by women of every class throughout civilized -Europe to-day. What was made before in three pieces is now simply -manufactured in one. - -Now let us consider the reasons given by Mr. Heather Bigg as to why -"women of all dominant and civilized races always wear, and with -advantage have worn, some binder or corset"; and again, why the whole -history of the world shows that extraneous support is beneficial. In -the first place, Mr. Heather Bigg says that in primitive and aboriginal -races that practically wear no clothes, the girls may be perfect in -form when they arrive at their full growth, but that they are, as a -rule, "hideous objects of disfigurement after their first child." The -inference is that civilized women retain their beauty in later life -owing to the fact that they have worn stays. On the other hand, the fact -that the native girls lose their beauty must, according to the argument, -be because they have not worn stays; but surely this can be compared -with the fading of a flower or its changing colour after fertilization, -and is rather due to the absence of any conditions or kind of selection -which would tend to preserve the woman's youthfulness. Besides, we need -go no farther than our own country to find cases where married women -gradually lose their beauty, and the Welsh and Italian women -proverbially age rapidly. - -The wearing of belts by navvies when they are doing heavy work is -possibly a precautionary measure against strain, but it does not refer -to the race as a whole, and one would take it that when it is said that -Elijah girt his loins in order to run before the chariot of Ahab, it -simply means that he fastened up his flowing garments. To the second -question as to history showing that extraneous support is beneficial, -Mr. Heather Bigg says that the answer is simple even if Darwinian. He -may claim that the "if" saves him, though unintentionally, for in his -argument he seems to ignore the main principles of evolution. He says, -first of all, that it might just as well be asked why any clothing -whatsoever should be found requisite by civilized mankind. He claims -rightly, and so far he is in keeping with Darwinism, that man, according -to his obvious mechanism and morphology, is a creature built on the -quadruped pattern. The word is spelt "quadrupled," though presumably -this is a printer's error; but he goes on to say that this building -was done with the intent that his body should be horizontal instead of -vertical. Of course, the body of the original quadruped was horizontal; -but in the course of evolution such changes were made as enabled man -to occupy an upright position. Mr. Heather Bigg talks as if it was an -intentional act on the part of man when he says that he "managed to -rear himself in a permanently erect position, and as he has chosen the -upright position, so he has to experience some of the penalties attached -to it." - -The state of affairs is this: man became perfectly well fitted for an -upright position, and his internal organs were arranged quite properly -for progress on two legs instead of four, although Mr. Heather Bigg -claims to the contrary. What may be the case is, that natural selection -no longer acts to keep man as perfectly constructed as he was, or to -improve him, and some human beings may need support, owing to weakness -or the undue development of their bust, just as those of us who suffer -from short sight and bad teeth take advantage of eye-glasses and the -skill of the dentist. We think it hardly time yet to say that all women -need stays, any more than that we all need eye-glasses or should be -provided with false teeth at a certain age. - -Summing up the matter, when human beings take up work for which their -bodies were not specially evolved, or when they wish to do things which -at one time all human beings could do, but which, through the cessation -of the action of natural selection, they are not now able to do, then -they want help. This would explain why our soldiers when marching in -South Africa found puttees so useful, as Mr. Heather Bigg maintains. - -The case of dress brought forward by Mr. Heather Bigg is exactly a case -in point. We have seen in the opening chapters of this book that man has -lost his hairy covering, and, so far as cold climates are concerned, we -must agree with Mr. Heather Bigg that it has been found by experience -that clothing is necessary for healthful warmth. All the same, we should -like to see some experiments tried to show whether even now it might not -be quite possible to exist in this climate with little or no artificial -covering. We do not agree at all with the statement that as man "has -reared himself from four legs on to two, so he has found by similar -experience that some sort of bandaged support is required in order to -assist an abdominal mechanism that is inadequate for biped progression." - -In order to prove that the gymnastic practitioner is wrong when he says -that corsets are injurious to health, Mr. Heather Bigg brings forward -the results of experiments made by Professors Roy and Adami, which he -says scientifically prove stays to be distinctly beneficial. These -experiments were described at the British Association Meeting in 1888, -under the title of "The Physiological Bearing of Waist-belts and Stays," -and the effects of these contrivances were tried not only upon men, but -upon animals. It was shown that a gentle compression of the abdomen -caused a greater flow of blood to other parts of the body, and conduced -in consequence to an increase of mental and muscular activity. The -experimenters do not seem to have waited to see whether in the course -of time these effects were or were not obtained at the expense of the -digestive organs, but they concluded that they had directly explained -"the beneficial and extensive use of some form or other of waist-belt by -all nations that had passed beyond the stage of absolute barbarity." - -The theory has been advanced that stays are derived from swaddling -clothes, and that the custom has survived in the case of women alone, -for we may neglect the occasional use of such garments by men in the -past at the present time, for, judging from advertisements in the -papers, their use is not confined to the fair sex. There seems, however, -little evidence in support of this theory, and inquiry from a lady who -has lived a long time in Palestine has elicited the information that -while swaddling clothes are still in use in the Holy Land, stays do not -form a part of native dress. - -The other part of the body which nowadays appears to be deformed to -the greatest extent is the foot. It seems to be considered absolutely -necessary, if one is to appear elegant, for one's toes to be pointed -in such a way that the apex of the angle is in the middle of the foot -instead of on the inner side; and although the two points are probably -unconnected, we might here mention the idea that in a perfect foot the -second toe ought to be longer than the great toe. This would make the -extreme end of the foot a little nearer the middle line, and in Art -the second toe is represented as being the longest in accordance with -the Greek canon. These proportions were copied from the Egyptian -representations, and the original is probably to be found in the -negroes, according to Sir William Flower. The latter points out that -the longer our big toe is, the further we are removed from apes; and he -found, too, that amongst hundreds of bare and therefore undeformed feet -of children in Perthshire, which he examined, he was not able to find -one in which the second toe was the longest. These children would, of -course, belong to the lower classes, and it would be interesting to know -whether the same thing holds good in higher social circles when the -foot remains normal. It may be well to remember that Sir William Flower -was a surgeon, for Mr. Heather Bigg, who tilts with the gymnastic -practitioner once more on the subject of boots and stockings, expresses -somewhat different ideas upon the question. He alludes to the two -classes of people in the British Isles who habitually discard boots and -stockings--the fisher-folk and factory girls in some of the large Scotch -cities. He says that he scarcely likes to be ungallant about the latter, -but commends the adult feet of both of these classes to the inspection -of those who would draft their children into the "bare-footed brigade." -He continues as follows: The truth is that the feet of those who have -been unbooted till they have reached adult life are splayed and spread, -large-jointed, and very generally deformed from all approach to the -ideal foot as it is depicted by the greatest painters, or modelled by -the greatest sculptors. - -We have seen that the ideal foot of the sculptors is probably not a true -ideal from an evolutionary point of view, and there is no doubt but that -the ideal foot would be the one produced under natural conditions in -which we cannot include boots and stockings. We should take it, however, -that the stones of the seashore and the floor of a factory are not the -ideal surfaces on which to habitually tread. - -There is no doubt but that the deformities caused by shoes are often -very great, and Sir William Flower sums up the matter in the following -sentences:--"The English mother or nurse who thrusts the tender feet -of a young child into stiff, unyielding, pointed shoes or boots, often -regardless of the essential difference in form of right and left at -a time when freedom is especially needed for their proper growth and -development, is the exact counterpart of the Chinook Indian woman, -applying her bandages and boards to the opposite end of her baby's body, -only with considerably less excuse; for a distorted head apparently less -affects health and comfort than cramped and misshapen feet, and was also -esteemed of more vital importance to preferment in Chinook society. -Any one who recollects the boots of the late Lord Palmerston will be -reminded that a wide expanse of shoe leather is in this country, even -during the prevalence of an opposite fashion, quite compatible with the -attainment of the highest political and social eminence."[58] - -After all, it is generally what our eyes are accustomed to that we -consider to be right and fitting. The broad-toed shoes that were adopted -in the reign of Henry VIII look clumsy to us; but so did the pneumatic -tyres of bicycles after we had got used to the look of the narrow solid -ones. It is not so much the wearing of boots of course, but the kind of -boots that has to be considered. - -The high heels of shoes add to the evil effects of the pointed toes, and -a copy of a drawing from an advertisement figured by Sir William Flower -recalls strongly the stunted foot of a Chinese woman which the wearer of -the shoe would be one of the first probably to anathematize. This brings -us to the malformation which has been caused through many centuries in -a country that can claim a good deal of civilization, and is produced by -special bandages after a long and very painful course of treatment. - -There is very little evidence of alteration in the form of the head -having been practised in this country, though one or two skulls have -been found, and there is a tradition that the custom prevailed not very -long ago in Norfolk. In France, however, it was well known until recent -years, and even it may not have now become extinct. There are plenty of -records in the works of early writers with regard to the practice, and -some of the North-American Indians still follow the fashion of their -fathers. The Chinook Indians flatten the skull between boards so that -they get the name of Flat-heads, and other tribes produce an elongated -skull by constructing bandages of deer hide. Deformation of the head -seems to have little effect on the free-living American Indians, but -the same statement does not hold good among Europeans. According to the -reports of French physicians, they have traced all kinds of troubles to -the practice. - -If we have little evidence of head-deforming in this country by means -of compression, we meet occasionally with prehistoric skulls which -have been trepanned, and have had inserted into them a small piece of -extraneous bone. It is curious that such an operation could have been -successfully made when there were probably no instruments of metal -with which it could be done, and one might well ask what object could -possibly have been in view, especially as the individual so treated had -met with no accident that could have rendered the operation necessary. -It appears, however, that the piece of bone was probably that of some -dead relative, the idea being that the incorporation of it in the head -of the young man would give him the qualities of the chief who had -departed. It is this notion which probably led to cannibalism. When a -brave warrior was slain, his conqueror thought that by eating a small -piece of him he might add his adversary's prowess to his own, and no -doubt when a respected relative died it was thought that his good -qualities would pass to those who ate a portion of him. - -Besides the alterations that have been permanently made in the shape of -the body, there are many curious instances where clothes themselves have -been utilized for the purpose of apparently altering its shape. We have -seen that Punch's curious figure is due to a costume, while the stuffed -breeches adopted in the reign of James I, the great farthingale of -Elizabeth's reign, the hooped petticoat of Queen Anne's, and the -crinoline of the nineteenth century are instances of fashions that -originated with or without apparent reasons. - -Just as Mrs. Aria discovered what she terms the ancestress of the -straight-fronted specialité corset on a bas-relief of a female figure -from one of the mysterious forest cities in South America, so Mr. Rhead -has reminded us of the festal dress of Otaheite which Captain Cook -figured in his "Geography." - -Our grandmothers in their crinoline may have looked like walking -hay-cocks; but the young women of Otaheite who carry presents from one -person of rank to another look as if they were issuing from an immense -drum. It is nothing new to make up deficiencies with padding that is -intended to deceive, and while at one time our countrywomen may have -made themselves flat-chested with the help of leaden weights, some, -judging from articles which we now see displayed in the shops, are -willing to call to their aid artificial contrivances which give the -appearance of plumpness to their bust. - -When speaking of padding, one might recall the fact that the most usual -place in which it is to be found--in civilians' clothes at least--is on -the shoulder. This reminds us of the way in which sleeves were sometimes -puffed up above the shoulder. The protuberance thus formed, Dr. Meyer -tells us, was originally intended to prevent weapons from slipping -off when they were carried over the shoulder. The fashion has since, -however, been adopted in civilian costume both by men and by women. - - - - -XXXVI - -FURTHER EFFECTS OF CLOTHES ON THE INDIVIDUAL - - MENTAL EFFECTS OF DIFFERENT CLOTHES--PREFERENCES OF GIRLS FOR - CERTAIN ARTICLES OF DRESS--MOVEMENTS THAT DEPEND UPON THE - PRESENCE OR ABSENCE OF CLOTHES - - -Putting on one side the special points of detriment which clothes bring -about with regard to the body, we may turn to more general effects. Our -language is full of proverbial sayings as to the way in which clothes -may give beauty, and also as to how much we owe to fine feathers and to -our tailors. Quite apart from the results which clothes have upon other -people, there are the mental effects which are produced on ourselves. -That it is not, perhaps, comfort or discomfort altogether which -causes our body to react on the mind, is shown by the results of some -investigations made by Dr. Louis W. Flaccus among the schoolgirls of New -York.[59] - -Feelings of lightheartedness are the result of filmy clothes, and -one girl of eighteen said that whenever she had on a garment of this -consistency she always wanted to dance. The pleasant mental effects of -gauzy stuffs and laces are said by the investigator to be due not only -to their lightness, but to the mental associations with which they are -connected. Such dresses as those which we have mentioned suggest some -gay social function. Again, just as the putting on of a smoking jacket -suggests relaxation to a man, so does the assuming of evening dress -impart the idea that correct behaviour is necessary. Heavy clothes bring -about mental depression. - -"In a large, heavy hat my spirits are low," says one of the girls who -were interrogated, and Dr. Flaccus claims that the mood may change with -the hat, while that he has evidence to go upon will be seen from the -following answers: "A broad hat makes me feel jolly"; "If my hat is flat -on my forehead, I feel depressed"; "If I have a fancy hat on, I am in a -coquettish mood"; or again, "I feel brighter in a hat that rolls away -from my face." Then the effect which certain surfaces have upon various -persons has to be taken into consideration when dealing with this aspect -of the subject, for clothes are made of very different materials. -To touch a blanket will set some individuals' teeth on edge, and an -irritable mood may result when rough material rubs against the skin. -Again, while one person feels chills running down her back when she -touches velvet, another will delight to feel a velvety surface. Another -remarkable thing which Dr. Flaccus has brought before us is the striking -difference between the preferences which girls have for certain articles -of clothing. - -Most of the girls to whom the questions were addressed put shoes first; -gloves came very close, then neckwear, hats, underwear, jewellery, and -ribbons; and though this may not fit in with the ideas of the humorists -on the subject, the weakness for hats was shown to be less than -one-third that for gloves. - -Speaking of the effect that clothes may have upon the action of -people, we may recall the way in which skirts and trousers may give -rise to different habits. If one drops anything into a boy's lap he -instinctively brings his knees together to prevent the object thrown -from falling between them; whereas a girl would throw her thighs apart -in order to make a receptacle with her frock. Advantage has been taken -of this fact by those who wished to discover whether a person with whom -they were dealing was a woman, or a man masquerading in female attire. - -More than one novelist has enlarged on this theme, and Mark Twain -has used it effectively in the "Adventures of Huckleberry Finn." The -occasion is when the hero visits Mrs. Judith Loftus at St. Petersburg, -in order to find out what is going on with regard to the murder. Mrs. -Loftus, whose suspicions were aroused, got the boy who was dressed up as -a girl, to thread a needle, to throw a bit of lead at a rat, and having -gained some evidence from these two experiments, she tried a third. - -She says, "Keep your eye on the rats; you had better have the lead in -your lap handy." Huckleberry's story continues: "So she dropped the lump -into my lap just at that moment. I clapped my legs together on it, and -she went on talking, but only about a minute. Then she took off the hank -(he was holding some yarn), and looked me straight in the face, but very -pleasant, and said: - -"Come, now--what's your real name?" - -"Wh-what, mum?" - -"What's your real name? Is it Bill, or Tom, or Bob, or what is it?" - - - - -XXXVII - -THE RISE AND FALL OF FASHIONS - - REASONS WHY FASHIONS ARE FOLLOWED--GAY CLOTHES SEEN WHEN PERIODS - OF DEPRESSION ARE OVER--CONDEMNATION OF FASHIONS BY THE - CLERGY--QUAKERS--SUMPTUARY LAWS--THE KILLING OF FASHIONS - - -The rise and fall of fashions is a matter that affects every nation and -practically every individual, for savages are quite as much harassed and -tortured by them as any civilized people are. Fashions are perpetuated, -as Herbert Spencer has pointed out, by imitation, and from two motives -which are widely divergent. It may be prompted by reverence for the one -imitated, on the one hand, or by a desire to assert equality with him. -In the beginning, no doubt fashions arose with an idea to improve upon -nature, though notions as to ideals of beauty must have been hazy in -many cases. - -Fashions have been advanced as evidence in support of the proverb -that there is nothing new under the sun, and the way in which some of -them come round again goes a very long way to prove it in the case of -clothes. Luckily some enormities seem to have died out, but in the light -of past history we can never feel quite safe, and we never know, on the -other hand, where some slight change which in itself seems novel may not -lead us to ridiculous extremes. Of course, many garments and styles are -importations from other countries. The pelisse came from Persia at the -time of the Crusaders, just as the kimono was brought in recent times -from Japan. Fads and peculiarities and even deformities of Royalty, -as we saw in the case of the peruke, have introduced fashions. The -crinoline, according to all accounts, was first devised to hide the -shape of a princess. Perhaps no other contrivance has brought more -nuisance in its train or had more ridicule poured upon it; but it is -only one instance of many fashions that have been carried to excess. It -is true, as we shall have occasion to mention, that in earlier times -laws were enacted to restrict the size of ruffs and the length of the -toes of shoes, but often with little effect, and when shape and size did -not occupy attention, the costliness of the garment caused restrictions -to be made, while the clergy seem never to have ceased from inveighing -against the follies of fashions. - -In the twelfth century the devil was represented by an old illustrator -in the costume of a fine lady with the long hanging sleeves and tightly -laced bodice of the time. A hundred years later English preachers took -exception to laced openings through which ladies showed their costly -under-linen, and dignified them with the name of "gates of hell." In the -twentieth century ministers in the United States have wasted their time -in scolding the lady members of their congregations for wearing fancy -stockings. Sometimes, on the other hand, the clergy themselves have laid -themselves open to criticism with regard to the gorgeousness of their -apparel. - -[Illustration: FIG. 168.--A Merveilleuse (after A. Robida).] - -Periods of depression have been followed by fashions of the gayest. We -may recall the times of Charles II, when England breathed again after -the civil wars. After the French Revolution, when the reign of terror -was over, the Merveilleuses went back to the dresses of antiquity, such -as the Athenian costume and that of the Lacedemonian girls, whose tunics -were slit down the sides from the hips. When this was not done the -skirts were looped up on the left side above the knee with a cameo -brooch. (See Figure 168.) One writer records a wager in which a lady -betted that her dress, including trinkets, did not weigh two pounds. She -afterwards retired and took off the dress, which was weighed, and the -whole costume turned the scales at a little over a pound. One of these -dresses went by the name of the "female savage," and consisted of a -gauze chemise over pink fleshings, with golden garters. It is not -surprising that such costumes, like others before, brought down upon -them the condemnation of the Church, and the following "bull," dated at -Rome on the 16th October, 1800, is reprinted from _The Times_ of January -28th, 1801:-- - -"The Pope, so long engaged in reducing the Gallican Church within the -Catholic pale, has not been negligent of the duty of recalling the -female form within the petticoat and the handkerchief. After speaking -in appropriate terms of the present scarcity of clothing, and of the -sensations it may excite even in the withered bosom of a monk, and -quoting the authority of St. Clement of Alexandria, His Holiness -strictly enjoins his officers, civil and ecclesiastical, to repress, by -fine or corporal punishment, according to the circumstances of the case, -these crying enormities. He directs, too, that their punishment should -be extended to such damsels as though at first sight they appear -properly attired, are nevertheless decked in transparent robes, and with -a voluptuous and magnificent attire display themselves in very seductive -and tempting attitudes. Moreover, fathers, husbands, heads of families, -who weakly or negligently permit their wives, daughters, servants, etc., -to trespass against these rules, shall not escape with impunity. Also, -all taylors, haberdashers, milliners and men-milliners, hairdressers, -and others who contribute to these enormities of dress shall in no -wise pass unpunished." The bull goes on to state that "all priests, -confessors, overseers, churchwardens, and others shall in no wise admit -such delinquents to the Holy Supper; that they shall not allow women -improperly dressed to enter the church, and if they come they shall be -driven out, and if they resist, the higher powers shall be required to -lend their aid." - -It is said that a Russian nobleman who was used to judge the position of -ladies by the amount of furs and clothes that they wore, on seeing an -English lady in a costume of the merveilleuse style offered her money in -the belief that she was a beggar. - -Fashions may have a special significance, as in the case of bell-bottom -trousers of the costermonger, for it is said that by the cut of these -garments the progress of the wearer's courtship can be traced. When he -first "walks out," the bottoms of his trousers are of such an ample size -that only the toes of his boots can be seen. As matters proceed and the -wedding comes into view, the trousers assume more moderate dimensions -below the knee, and when at last the man is married he is content with a -bell of quite modest proportions, with what a writer in one of our comic -papers describes as an almost total absence of "sauciness" in the cut of -the garment. - -The lengths to which women will go in their desire to appear in the -fashion, even if they are not, is shown by the business which a lady in -New York is said to have founded. According to all accounts, she deals -in nothing but discarded Paris waistbands--that is to say, those which -bear the names of well-known dressmakers. Women in plenty in New York -will buy these little strips of silk in order to have them stitched -into their own dresses, to give their friends the impression that their -garments were made in the French capital. - -Laws intended for the good of trade have brought in fashions, as in the -case of the statute cap. The very objections made by religious sects -such as the Puritans and Quakers, who have departed from extravagance -and superfluity, have given rise to new fashions of plainness. Even -Quaker ladies must have shown their love of dress, for at a meeting in -1726 the following message was sent by some of the stronger-minded of -them to their fellow-women:-- - -"As first, that immodest fashion of hooped petticoats or the imitation, -either by something put into their petticoats to make them set full, or -any other imitation whatever, which we take to be but a branch springing -from the same corrupt root of pride. And also that none of our ffriends -accustom themselves to wear their gowns with superfluous folds behind, -but plain and decent, nor go without aprons, nor to wear superfluous -gathers or plaits in their caps or pinners, nor to wear their heads -drest high behind; neither to cut or lay their hair on their foreheads -or temples. - -"And that ffriends be careful to avoid wearing striped shoes or red and -white heeled shoes or clogs or shoes trimmed with gaudy colours. - -"And also that no ffriends use that irreverent practice of taking snuff -or handing a snuff-box one to the other in meeting. - -"Also that ffriends avoid the unnecessary use of fans in meeting, lest -it direct the mind from the more inward and spiritual exercises which -all ought to be concerned in. - -"And also that ffriends do not accustom themselves to go with bare -breasts or bare necks." - -Perhaps in a minor way superstitions also have tended to keep up -fashions. At a wedding, for instance, it is always said that a bride -should wear - - Something old and something new, - Something borrowed and something blue. - -The enactments, however, which were directed against excess in dress do -not seem to have always been so successful. The part which the law -has played with regard to dress in our own country has been very -considerable, and it may be of interest to consider briefly one or two -of the so-called sumptuary laws. - -In Edward III's reign the people were ordered to dress according to -their station, and those who were not of high rank were forbidden to -use expensive furs and ornaments. These orders were so neglected that -Henry IV revised and strengthened them. Slashed sleeves at the time of -Edward IV were prohibited to yeomen and any one below their rank. -Legislation was also introduced to lessen the preposterous length to -which the toes of shoes had grown, for it was enacted that not even the -gentlemen should have them of a greater length than two inches. - -The Recorder of Chester shows the following order made by Henry VIII: -"To distinguish the head-dresses of married women from unmarried, no -married woman to wear white or other coloured caps; and no woman to wear -any hat, unless she rides or goes abroad into the country (except sick -or aged persons), on pain of 3s. 4d." - -Another law amounted to a tax on persons who dressed elegantly, for -those who would not keep a horse and armour ready for the wars were -fined heavily if they or their wives wore fine clothes or ornaments. It -is probable, too, that Henry VIII's officers took care to collect the -fines. - -Mary brought in a law against the use of silk, and a little later on the -great ruffs claimed attention, for in 1562 it was ordered that no more -than a yard and a half of kersey should be used in making a ruff. James -I repealed all the sumptuary laws, though we have seen that he and his -successors occupied themselves somewhat with the dress of the clergy. - -In Scotland, after the rising of 1745, an Act was passed forbidding the -wearing of tartan as part of Highland dress, under the penalty of six -months' imprisonment for the first offence and transportation beyond the -seas for seven years for the second. No Highlander could receive the -benefit of the Act of Indemnity without first taking the following oath: -"I, A.B., do swear, and as I shall answer to God at the great day of -judgement, I have not, nor shall have, in my possession any gun, sword, -pistol, or arm whatsoever, and never use tartan, plaid, or any part of -the Highland garb; and if I do so, may I be cursed in my undertakings, -family, and property,--may I never see my wife and children, father, -mother, or relations,--may I be killed in battle as a coward, and lie -without Christian burial, in a strange land, far from the graves of -my forefathers and kindred; may all this come across me if I break my -oath." This severe and harsh Act caused great discontent, and was -repealed in 1772. - -As showing the hindrances caused to trade by some of the peculiar -regulations, we find that in 1565 the Recorder of London describes -an interview which he had with civic tailors, who were puzzled as to -whether they should "line a slop hose, not cut in panes, with a lining -of cotton stitched to the slop over and besydes the linen lining -straight to the leg." The Recorder, on considering the words of the -proclamation which had caused the trouble, gave it as his opinion that -they could not; but the tailors, though they went away satisfied, came -back to say that their customers had gone to other tailors outside -the City, who made their clothes for them in the way that was first -suggested. It was this contretemps which caused the Recorder to write to -a higher legal authority. - -Nowadays clothes and the law have little to do with one another, -though occasionally ladies' dresses about which there is a dispute are -seriously tried on in court, the legal luminaries meanwhile making a -studied pretence of ignorance with regard to the garments. Though there -are no statutes to curb modern fashions, yet we are reminded of the -rules that have had to be made in certain theatres on account of the -overwhelming size of the matinée hat. - -Although the law does not seem to have been able to change the fashions -to a very great extent, they have sometimes been killed suddenly. In -the days of public executions, criminals sometimes elected to wear -fashionable garments, and in consequence the demand for them ceased. -Sometimes, again, those who were interested in the suppression of the -fashion persuaded the doomed man or woman to wear a particular dress, -and a judge has been known to compass the same end by ordering the -hangman who officiated to deck himself in the objectionable garment. - -The wearing of nightgowns in the street by ladies was stopped owing to a -woman being executed in her bedgown. The use of yellow starch had its -death-blow when the hangman appeared in orange collar and cuffs. Black -satin dresses went out of fashion because Mrs. Manning was hung when -wearing one. Now, however, as there are no public executions, there is -not this opportunity of getting rid of obnoxious styles, and society -ought to look about for another means to repress them. - - - - -XXXVIII - -DRESS REFORM - -CLOTHES TO BE AVOIDED--NEED FOR WARMER GARMENTS--"RATIONAL" DRESS FOR -WOMEN - - -It is evident from what we have said about the effect of clothes upon -the body, that there is ample opportunity for improvement in our costume -as regards its shape and the methods in which it is worn. We have -already said also, when speaking of colour, that, in the case of men -at any rate, it might often be more picturesque and brighter. There -are several societies whose aim it is to bring about improvements. The -Rational Dress League has general objects in view, and it also keeps in -mind the special one of introducing bifurcated garments for women. There -is also the Healthy and Artistic Dress Union which seems to have general -objects. - -Education is needed in order that knowledge of the evil results of -wrongly shaped shoes and tight stays may be known, and what is more, -such training as will enable that strength of mind to be acquired -which will prevent the coming generation from being swayed by foolish -fashions. The origin of these it is difficult to trace, but the pioneers -of them, whether self-centred costumiers or willing victims, ought -to be punished in some way. There are points to be borne in mind in -connection with garments which have not yet been considered, and they -cause otherwise unoffending clothes to do harm. There is no doubt but -that the weight of one's dress should be suspended from the shoulders, -though the great majority of women hang much of their clothes from their -waists. A good deal of the weight could easily be taken off this part of -the body by the fastening of skirts and under garments to bodices, or by -the use of shoulder-straps and the introduction of tunics. - -Dr. Cantlie[60] has very graphically shown the common features of a -modern family, and he has given a picture (see Figure 169) of a group -consisting of the average-sized mother, the taller and larger-framed -daughter, and the insufficiently clad boy of poor physique. This author -says that the sailor suit worn at the age of two and a half or three -years is a recent innovation, and the rather puny young boy of to-day -came in with the change. Dr. Cantlie has estimated that, except in very -hot weather, children should have a pound of clothing for every stone -they weigh, for the one great secret of rendering children healthy is -to keep them warm. As a matter of fact, a girl that weighs three stone -really wears clothes that weigh three pounds; but one of the small boys -of the same weight, in a sailor suit, wears clothes that only weigh -about half as much as his sister's. - -Dr. Cantlie also objects to short jackets which do not cover the loins, -and says that the public school that will introduce the Norfolk jacket -in the place of the Eton will thrive at the expense of its neighbours. - -High collars worn by youths keep the head at the wrong angle, and also -perpetuate the deformity of the jaw which is caused by breathing through -the mouth. They also prevent the shoulders from being squared in the -attempt to get rid of round shoulders. Dr. Cantlie urges a return to -the brace worn by our fathers, and still occasionally seen, in which -the straps are not united. It is impossible for any one wearing joined -braces to stand erect with the shoulders squared, for they press on -the neck and cause the wearer to poke his head forward. Dr. Cantlie, -however, hopes that the difficulties in the way of obtaining separate -braces will not lead to the adoption of the elastic belt, for the only -place where this could be worn without bad effects is below the haunch -bones, and in ordinary dress this would bring it below the waistcoat. It -will be found also that the use of belts by labourers brings evils in -its train which were not mentioned by Mr. Heather Bigg, when speaking of -the advantages of girding up the loins. (See page 329.) - -No account of dress and its developments would be complete without a -reference to Mrs. Bloomer and the garments which now bear her name, and -are emblematical of rational costume. That women have no absolute claim -to petticoats as their own special dress has been made quite clear, and -it is equally evident that in many places they wear trousers as a matter -of course. Still, in this country there seems to be a rooted objection -on the part of the majority to doffing skirts, though this seems, -however, to be growing less day by day, in spite of the many reasons -which cause the fair sex to cling to petticoats. As we have found -before, garments which fall to the ground give dignity, and women -sacrifice their dignity with difficulty. Yet, as need hardly be -pointed out, men do not wear dressing-gowns when they are jumping, nor -fur-trimmed mantles when they go to business. Dresses with trains could -be kept for ceremonial occasions, or when there is nothing much to be -done, or again, we might add, when there is little dust to be raised. - -[Illustration: FIG. 169.--A modern family, consisting of the -average-sized mother, the taller daughter, and the puny boy (from a -drawing by Miss Audrey Watson in "Physical Efficiency," by Dr. Cantlie, -by kind permission of Messrs. Putnam's Sons).] - -Bacteriology has shown us that the long skirt disseminates germs as it -trails along the ground; in fact, it stirs them up for other people to -breathe, and the culprit herself carries off as her fair share a large -quantity which settles on her dress. In this way the germs of disease -are carried home to the dwelling-house. - -In these days also, when women even jump on and off motor omnibuses -before they are at a stand-still, it is evident that long frocks are -objectionable and dangerous. - -When lady gardeners were first employed at Kew Gardens, it was found -that their skirts got in the way, and were liable to damage the plants. -The Director ordered that the girls should wear a suitable costume, and -they adopted divided garments, though it must be said that they covered -them to some extent with an apron. In riding-dress of course ladies wear -trousers under their habits when they use a side saddle, although it has -been considered right of recent years for them to ride astride, and from -time to time we hear that it is being done. In the time of Stephen and -of Edward III women rode astride, and the ladies in Mexico and other -parts of America regularly do so at the present time. - -Chaucer described "The Wife of Bath" as wearing "on her feet a paire of -spurries sharpe." From this we may judge that she also adopted a cross -saddle, and as a matter of fact in the Elesmere MSS. we find a picture -of her, showing that she rode astride, and was dressed in a curious -garment like a divided bag. On the Continent, ladies who go shooting -very often dress like their husbands, and a year or two ago the American -newspapers were full of accounts of a lady who imitated the riding -costume of a hunting man to the smallest detail. Apropos of this, _The -Field_[61] told an amusing story of an English lady who in a measure -unintentionally forestalled our American cousins, for after she had had -the best part of her habit carried away by some aggressive brambles, she -was seen scudding after her horse in a pair of real top boots. - -Divided garments only appear unfeminine because we are unaccustomed to -see them on ladies, and it is no secret that they are worn to a very -great extent under skirts. Doubtless there may be some to whom the -very idea of such a thing is abhorrent, and possibly there are still -wardrobes like those of a good lady mentioned by Miss Alice Morse -Earle[62] in her book on the "Costume of Colonial Times." She was -the wife of a respectable and well-to-do Dutch settler in the New -Netherlands, and her name was Vrouentje Ides Stoffelsen, and she left -behind her in 1641, "a gold hoop ring, a silver medal and chain, and a -silver undergirdle to hang keys on; a damask furred jacket, two black -camlet jackets, two doublets, one iron gray, the other black; a blue, a -steel-gray lined petticoat, and a black coarse camlet-lined petticoat; -two black skirts, a new bodice, two white waistcoats, one of Harlem -stuff; a little black vest with two sleeves, a pair of damask sleeves, -a reddish mourning gown, not linen; four pair pattens, one of Spanish -leather; a purple apron and four blue aprons, nineteen cambric caps and -four linen ones; a fur cap trimmed with beaver; nine linen handkerchiefs -trimmed with lace, two pair of old stockings, and three shifts. One -disposed to be critical might note the somewhat scanty proportion of -underclothing in this wardrobe, and as Ides's husband swore 'by his -manly troth' that the list of her possessions was a true and complete -one, we are forced to believe that it was indeed all the underclothing -she possessed." - -It seems, however, as we have said before, that the actual ugliness of -many of the so-called bloomer costumes which were in vogue a few years -ago, did much to keep back progress in the direction of their adoption. -It seems as if women were frightened, as it were, to go the whole hog, -and instead of wearing neat knickerbockers they had them exceedingly -baggy and inelegant, or adopted a kind of hybrid costume, half bloomers -and half skirt. - -Let us see what the tendency now is with regard to a rational dress -for women. Mrs. Bloomer had a skirt just below the knees, and trousers -gathered in at the ankles. The modern bloomers come only to the knee, -but really, as Dr. Bernard O'Connor says when writing in the Gazette -published by the Rational Dress League,[63] "they are made too full." -Dr. O'Connor recommends for active exercise, such as cycling, something -like a sailor's jacket and sailor's trousers, but the latter should end -and be gathered in at the knees. In addition there should be long -tight stockings, and Dr. O'Connor adds that tights throughout would be -preferable to the ordinary bloomers. - -It would seem, however, that this dress for general use might be -improved as regards both form and elegance, and that a long coat or -tunic, reaching nearly to the knees, with fairly tight knickerbockers, -is the rational dress that is most to be commended for women. - - - - -CONCLUSION - - -By way of ending, we would again point out that the account which we -have given of survivals in dress and their history, shows that they in -their development are governed by the same laws as those which act on -the bodies and organs of living creatures, and we hope that what we have -gathered together may be taken as a small contribution to "the proper -study of mankind," which we have been told times out of number is -nothing more nor less than "man." - - - - -BIBLIOGRAPHY - -The small numbers given in the text correspond with those printed here. - - - NO. PAGE - 1. "The Origin of Species," by Charles Darwin. (First edition - published 1859) 2 - - 2. "Development in Dress," by George H. Darwin. _Macmillan's - Magazine_, September, 1872, page 410 3 - - 3. "_Pithecanthropus erectus_, eine Menschenaehnliche - Uebergangsform aus Java," by Eug. Dubois, Batavia, 1894 7 - - 4. "Journal during the voyage of H.M.S. Beagle," by Charles - Darwin. Minerva Library, 1889, page 154 11 - - 5. "The Industrial Arts of Denmark," by J. J. A. Worsaae. - 1882, page 48 18 - - 6. See Number 2, page 412 30 - - 7. Notice of Lecture given by Mr. Allan Poe Newcombe, in the - Sandwich Islands. Quoted from the _Honolulu Commercial - Advertiser_ in _The English Mechanic_, No. 1934 49 - - 8. See Number 6 58 - - 9. "The Human Beast of Burden," by Otis T. Mason. Smithsonian - Report of the United States National Museum, 1887, page - 246 110 - - 10. "Anthropology," by Edward B. Tylor. 1892, page 236 111 - - 11. "The British Lake Dwellings near Glastonbury." 1896, - page 13 117 - - 12.} "The Gem Cutter's Craft," by Leopold Claremont. 1906, 123 - 13.} pages 75 and 87 124 - - 14.} "Some Suggestions as to the Origin of the Penannular - 15.} Brooch," by Edward Lovett. _The Reliquary_, Vol. X, - 1904, page 15 125 - - 16. "Races of Man," by Oscar Peschel. English Translation, - 1889, page 174 136 - - 17. "The Cyclopædia of the British Costumes, from the - Metropolitan Repository of Fashions." 1826, page 196 145 - - 18. A letter in _The Morning Post_ of November 12th, 1897, - from Messrs. André & Co. 153 - - 19. "English Costume," painted and described by Dion Clayton - Calthrop. 1906, page 130 156 - - 20. Article on "Cockades" in _The Sketch_ for March 9th, 1898 158 - - 21. See Number 19 159 - - 22. "Costume from Monumental Brasses," by Herbert Druitt. 1906 165 - - 23. "Rational Dress _v._ Industrialism," _The Rational Dress - Gazette_, No. 88, by Dr. Alice Vickery, page 356 165 - - 24. "Shoe-throwing at Weddings," by James E. Crombie, _Folk - Lore_, Vol. VI (1895), page 258 176 - - 25. "Ecclesiastical Vestments, their Development and History," - by R. A. S. Macalister. 1896, page 140 185 - - 26. "Vestiarium Christianium: the Origin and Gradual - Development of the Dress of the Holy Ministry in the - Church," by the Rev. Wharton D. Marriott. 1861, page 48 188 - - 27. See Number 25, page 21 189 - - 28. A letter in _The Guardian_, by G. C. Coulton, August, 1907 194 - - 29. Paedag. Lib. iii., page 300 205 - - 30. See Number 22, page 122 210 - - 31. "College Caps and Doctors' Hats," by Professor E. C. - Clark. _Archæological Journal_, Vol. LXI. 1894, page 36 213 - - 32. See Number 22, page 224 216 - - 33. "The Sacring of the English Kings," by J. Wickham Legg. - _Archæological Journal_, Vol. XLI. 1894, page 35 221 - - 34. "History of the King's Body Guard of the Yeomen of the - Guard," by Colonel Sir Reginald Hennell. 1904, plate - facing page 32 225 - - {"Uniforms of our Fighting Forces, Regimental Survivals - 35.{ and Peculiarities," by R. Caton Woodville. _Cassell's - 36.{ Magazine_, 1906, page 524; and "Peculiarities of British - { Army Dress," by Walter Wood. _Pall Mall Magazine_, Vol. - { XI. 1897, page 527 238 - - 37. "Yester Year," by A. Robida, English translation, page 83 253 - - 38. A Lecture given by Mr. George Heppel before the - Hammersmith Literary and Scientific Society 253 - - 39. "Naples in 1888," by Eustace Neville Rolffe 254 - - 40. "Notes by a Naturalist on H.M.S. Challenger," by Professor - Moseley 272 - - 41. See Number 40, page 423 273 - - 42. "Costume in England," by F. W. Fairholt. Revised Edition, - 1885, Vol. II, page 303 278 - - 43. "The Whole Stock of a Coquette," by Helen C. Gordon. - _English Illustrated Magazine_, February, 1901, page 451 279 - - 44. "Costume: Fanciful, Historical, and Theatrical," by Mrs. - Aria. 1906, page 199 281 - - 45. "Curiosities of Literature," by Disraeli. Vol. I, page 186 283 - - 46. See Number 19, page 20 287 - - 47. See Number 42, page 240 289 - - 48. "Suggested Moorish Origin of certain Amulets in use in - Great Britain," by Dr. Plowright. _The Reliquary,_ Vol. - XII, 1906, page 106 293 - - 49. "Horse Brasses," by Lina Eckenstein. _The Reliquary,_ Vol. - XII, 1906, page 251 293 - - 50. "Animal Artisans," by C. J. Cornish. 1906, page 251 300 - - 51. Article by Mr. Yoxall in _The Journal of Gipsy Lore_, new - series, Vol. I, part I, 1907 306 - - 52. Article by Mr. J. Chevasse. _Evening News_, April 5th, - 1907 316 - - 53. Article in _The Daily Mail_, September 4th, 1907 317 - - 54. "Essays on Museums and other subjects connected with - Natural History," by Sir William Flower. 1898, page 350 324 - - 55. See Number 37, page 91 325 - - 56. "The History of the Corset," by Geraldine Vane and F. Glen - Walker. _Lady's Realm_ Summer Number, 1901 326 - - 57. "Spinal Curvatures," by Heather Bigg. 1905 326 - - 58. See Number 54, page 347 335 - - 59. Article in _The Morning Leader_ of April 17th, 1906 339 - - 60. "Physical Efficiency," by James Cantlie. 1906 355 - - 61. Leaderette in _The Field_, August 29th, 1902, page 452 359 - - 62. "Costume of Colonial Times," by Alice Morse Earle, page 28 359 - - 63. "Why Won't They Alter It?" by Bernard O'Connor, _Rational - Dress Gazette_, No. 87, page 352 361 - - - - -INDEX - - -NOTE.--_The numbers in heavy type refer to the pages on which figures -will be found._ - - - Abbesses, costume of, 198 - - Abergavenny, the Marquis of, wears badges, 91 - - Academical dress, 208 - -- hoods, 210 - - Achievements, styles of, 87 - - Acrobat, dress of, 286 - -- tights of, 286 - -- trunk hose of, 286 - - Admiral, uniform of, worn by coxswains at Eton on the Fourth of - June, 171 - - Africa, the West Coast of, little clothing worn on, 8 - - Aggries, 113 - - Agilbert, Bishop of Paris, ring of, 114 - - Aiglets, 100 - - Aiguillettes, 101, =101= - -- Mr. Caton Woodville on, 240 - -- of aides-de-camp, 240 - -- -- footmen, 141, =141=, 240 - -- -- Household Cavalry, 240 - -- -- a Knight of the Bath, 231 - -- -- -- Knight of St. Michael and St. George, 231 - - Ailette, 84 - - Albe, 198, 199 - -- of James II, 221 - -- originally a secular garment, 189 - -- replaced by surplice, 185 - - Alhambra, 293 - - Almshouses, costumes of, 170 - - Almuce, 198, 199 - -- forerunner of the tippet, 212 - - Ambassadors, cockade of Danish, 160 - -- -- -- English, 160 - -- -- -- Foreign, 160 - -- -- -- French, 160 - - American, dress of the, 318 - - Amethyst, supposed powers of the, 124 - - Amice, 200, 221 - - Amulet, arrow-head, 296 - - Amulets buried with the head of ancient Egyptians, 122 - -- crescent-shaped, 293 - -- heart-shaped, 295, 296 - -- worn by Egyptian children, 123 - - Andaman Islanders, painting the body among, 276 - - André, Messrs., & Co., on cockades, 153 - - Anglo-Saxon, bandaged stocking of, 67, =67= - - Animal actors, clothes of, 301 - - Animals, colour of, in connection with ceremonials, 303 - -- curious variations of, produced under domestication, 302 - -- spotted when young, 94 - -- mutilation of, 302 - - Anklets, 9 - - Anne, apron of Queen, 150 - -- Consort of James I, glove of, 98, =99= - - Antiquities, Museum of, Copenhagen, 178 - - Apparel of chasuble called an orphrey, 196 - -- on albe, possibly remains of clavi, 193 - - Appendix, vermiform, 3 - - Apron, 149 - -- of barge-woman, milk-woman, and hospital nurse, 150 - -- -- bishop, a vestige of the cassock, 200 - -- -- housemaid, 149 - -- -- Judy, 263, =263= - -- -- masons, 232 - -- -- nuns, 202 - -- -- Queen Anne, 150 - - Aprons, tiger skin, of Leicestershire Regiment, 249 - - Arab women, 122 - -- -- ideas of modesty, 207 - - Arabs use folds of robes as pockets, 110 - - Archers, Scottish, coats of, 226 - - Aria, Mrs., on the ancestress of the straight-fronted specialité - corset, 337 - -- -- on the unwritten laws that rule the wearing of a mask, 281 - - Armlets conferred on soldiers, 114 - -- need for cooling, in some climates, 114 - - Armorial bearings on ladies' dresses, 84, =85= - - Armour, 83 - -- a development of dress, 12 - -- of chargers, 292 - - Arms, coat of, 83 - -- of England, 86 - -- -- schools and colleges, 90 - -- -- Thomas à Becket, =198= - - Arran murder case, 178 - - Arrow-head amulets, 296 - - Arrow-heads, flint, as pendants, 123 - - Arts, gown of master of, 210 - -- hood of bachelor of, 212 - - Atella, celebrated for Italian farces, 254 - - Athletic clubs, parti-coloured dress of, 313 - - Aurelian, distribution of oraria by, 192 - - Austria, Emperor of, 244 - - Austrian, dress of the, 318 - - Axe for killing wounded horses, 242 - - Ayahs, nose-rings of, 111 - - - Babylon, finger-rings in, 114 - - Baby's glove without fingers, 94, =95= - - Bachelor of Arts, hood of, 212 - - Badge and crest, difference between, 90 - -- broad arrow, 91 - -- of Black Prince, 88 - -- -- Edward III, 91 - -- -- the porters of the Inner Temple, 91 - - Badges, hereditary, 90 - -- signs derived from royal, 91 - -- regimental, 243, 245 - -- of Gloucestershire regiment, 245 - -- -- private firemen, 91 - - Badges of the Yeomen of the Guard, 224, =224= - -- -- Watermen, 91 - -- worn by the Marquis of Abergavenny, 91 - - Bag-wig, vestige of the, 133, =134=, 143, =143=, 228, =229= - - Baildon, Mr. Paley, on new garments put over old, 148 - -- -- -- -- the coif, 216 - - Baldric, 106 - -- modern use of, 106 - -- ornamented with bells, 108, =108= - - Ballrooms, bare necks in, 14 - - Band, black on arm as mourning, 182 - -- chin, 202, =203= - -- hat, 52 - - Bandaged stockings of Anglo-Saxons, 67 - - Bandages, leg, 66, =66=, =67= - - Bandbox, 46, =47= - - Bandoleer, on baldric, 108 - - Bands, 44, =45= - -- of barristers, 44 - -- -- blue-coat boys, 44, =45= - -- -- choristers at Jesus College, Cambridge, 45, =45= - -- -- Jan Steen, 46, =46= - -- -- John Pym, 46, =46= - -- -- Milton, 46 - -- -- small boys, 47, =47= - -- -- the legal profession, 219 - -- -- Winchester scholars, 169 - -- on a lady's nightgown, 288, =289= - -- worn with a black Geneva gown, 44, 185 - - Bantams, booted, 303 - -- frizzled, 303 - - Baptism, vestments used at, 164 - - Barbarians wore trousers, 77, =78= - - Barge women, apron of, 150; Plate VIII facing page 150 - -- -- costume of, 110 - -- -- sun-bonnet of, 61; Plate VIII facing page 150 - - Barme-cloth (apron), 150 - - Barons of the Exchequer, robes of, 218 - - Barristers' bands, 44 - -- gown, 218, =219= - -- wigs, 132 - - Basquine, 325 - - Baton of drum-major, 241 - -- -- Field-Marshal, 223 - - Beadle, dress of, 147, =264= - -- in Punch and Judy, 147, 262, =264= - - Beads as currencies, 113 - -- blue popo, worth their weight in gold, 113 - -- early used in England, 112 - -- from Egypt, 113 - -- of the prehistoric Egyptians, 112 - -- still fashionable, 112 - - _Beagle_, H.M.S., voyage of, 11 - - Beard of Edward II, 130 - -- -- -- III, 129 - - Beards, closely shaved by Normans, 129 - -- -- -- in Edward IV's time, 130 - -- cut by Romans, 129 - -- parted or trimmed by Saxons, 129 - - Bedford, Duchess of, riding habit of, 251 - - Bedgown, woman executed in a, 290 - - Beefeaters, cap of, 168 - - Bells as ornaments, derived from flowers, 314 - - Belt of groom, =140= - -- -- -- origin of, 139 - - Belts, Dr. Cantlie on the use of, 356 - -- worn by navvies, 329 - - Bernard, on blowing the nose on the chasuble, 195 - - Bhurtpore, battle of, 244 - - Bib, 150 - -- of infant, 167 - - Bibliography, 363-7 - - Bigg, Mr. Heather, on the erect position of man, 330, 331 - -- -- -- -- -- rapid loss of beauty in native girls, 328 - -- -- -- -- -- use of stays, 326, 327 - - Billet, sign of the Crooked, 146 - - Binder of infant, 163 - - Biretta, evolution of, 213 - - Bishop, hat of, 214, =214= - -- method of buttoning trousers, 252 - -- rochet, chimere, and lawn sleeves of, 199 - - Black as mourning, 181 - - Bloomer, Mrs., 81, 356 - -- -- dress of, 361 - - Bloomers, Dr. Bernard O'Connor on, 361 - - Blouse, blue, of the butcher, 307, 320 - - Blue blouse of butcher, 307, 320 - -- coat boys, 167 - -- -- -- bands of, 44, =45= - -- favours, 307 - - Boadicea, dress of, 312 - - Boar, wild, spotted when young, 94 - - Bohemians, the King of the, wore no ostrich feathers, 91 - - Body, clothes used to alter the shape of, 337 - - Boiler cleaners, combination garments of, 320 - - Bone inserted into prehistoric skulls, 336 - -- pin, 105 - - Boots, jack, 235 - -- of bridegrooms removed by brides in Russia, 177 - -- ornamentation of modern, 62, =63= - -- top, 65, =65= - -- -- upper parts now immovable, 66, =66= - - Borough Councillors, robes of, 138 - - Bouquets carried by coxswains on the Fourth of June at Eton, 171 - - Bows inside ladies' hats, 57, =58= - -- of silk ribbon inside hat, 54, =55= - - Boy catching an object in his lap, 341 - - Boys, blue-coat, 167 - -- colour preferences of, 307 - -- dressed as soldiers, 163 - -- petticoats of, 165 - - Brace in which the straps are not united, 356 - - Bracelets, 9 - -- need to be cooled in some climates, 114 - - Brandenburg, Albrect von, with two palls, 197 - - Brandon, John, brass to, 38 - - Brasses, 38, Plate IV, 86, =86=, 234, =234= - -- chrysome, 164 - - Brats, 300 - - Breast cloth of nun, 202, =203= - -- plate of horse, amulets on, 294 - - Breasts, bare, in Ancient Egypt, =74=, 75 - -- -- in Korea, 75, =75= - -- -- in the time of James I, 76 - - Breeches, knee, 79 - -- of Lord Darnley, 286 - -- origin of the word, 311 - -- petticoat, of sailors, 252 - -- plush, 140, =141= - -- stuffed, 337 - -- Venetian, of pantaloon, 284 - - Bridesmaids, origin of presents made to, by bridegroom, 175 - - Bristol, Red Maid School of, 168 - - Broad arrow badge, 91 - - Bronze Age chieftains, dress of, 18, =19= - -- -- people wore deerskin cloaks retaining horns, 117 - -- pins, 105 - - Brooch, 122 - -- safety-pin like an Etruscan, 102, =103= - -- the buckle, a, without hasp, 125 - - Brooches, pin ring, 125 - -- to fasten tunic, 17, =17= - - Buckle, 125 - - Bulgaria, shoe money in, 177 - - Burden, primitive method of carrying a, 106, =107= - - Busbies, caricatures of, 247, 248 - - Busby, 238 - -- development of, 59 - -- of Rifle Brigade, 242 - -- origin of the, Sir George Darwin on, 58, =59= - -- red flap on, 59, =59= - - Buskins, 195 - - Bust, padding used to improve the, 338 - - Butcher's blue blouse, 320 - - Butterman, white clothes of, 320 - - Button, 118 - -- covered with crape, 243 - -- Mr. P. W. Reynolds on the survival of a, 248 - - Buttonholes, exaggerated on uniforms, 40 - -- knotched, 146 - -- laced, 146 - -- on the backs of coats, 27, =27=, 28, =28= - - Buttons, 24, 248 - -- antiquity of, 120 - -- as chronicles, 25 - -- done up differently by men and women, 21, =23= - -- horizontal row of, on sleeve, 36, =36= - -- meaningless, on ladies' dresses, 120 - -- numerous, on sleeve of undervest, 38; Plate IV, facing page 38 - -- of brass on Dutch skeleton dress, 145, =145= - -- -- Legion of Honour, 158 - -- -- man's coat on right side, 20, =20= - -- -- page boys, 144, =145= - -- -- woman's coat on left side, 20, =21= - -- on coats of Grenadier Guards, 29 - -- -- cuffs, 35, =35= - -- -- overcoats of Commissionaires, 30 - -- -- postilion's jackets, 38 - -- -- sleeves of clergy, 36 - -- -- the back of coats, 26, =26=, =27=, =28=, =29=, =31=, =32=, - =33=, =34= - -- -- the back of tramway driver's coats, 30, =31= - -- problematical, 15 - - Buttons replaced by knobs in the East, 20 - -- vertical row on sleeve, =37= - - - Calthrop, Mr., on survivals of the chaperon, 158 - -- -- -- the costume of Harlequin, 283 - -- -- -- -- evolution of the cockade, 156 - -- -- -- -- origin of the cockade, 159 - - Camels, cowry shells on the trappings of, 297, =299= - - Cameron Erracht tartan, 242 - -- tartan, 242 - - Canaries, yellow, 303 - - Cane of drill sergeant, 241 - - Canes, be-ribboned, 124 - -- tasselled, 125 - - Cannibalism, probable origin of, 337 - - Canterbury Cathedral, shield, helmet, and surcoat of Black Prince - in, 87, =88=, =89= - - Cantlie, Dr., on short jackets, 356 - -- -- -- the effect of insufficient clothing, 355, =357= - -- -- -- -- use of belts, 356 - - Cap, college, 47, 169, 212, =214= - -- Hungarian, 238 - -- judge's sentence, 217 - -- line of Lancers, 241 - -- livery, 146 - -- of Beefeaters, 168 - -- -- dignity, ecclesiastical, 213 - -- -- housemaid, 149 - -- -- Hungarian peasant, 59, =59= - -- -- nuns, 201, =203=, 204 - -- -- the Lancers, a Polish head-dress, 239 - -- Scotch, streamers of, 53, =54= - -- statute, 168, 348 - -- Tudor flat, 214 - - Cape, combined with hood, =156=, 157 - - Caps not to be worn by married women, 350 - - Cards, playing, show Tudor dresses, 231 - - Carolines, haircombs of West, 118 - - Cases of brass for waiters' buttons, 144 - - Cassock, 200 - -- of Benedictines, 198 - -- once generally worn, 186 - - Casula, forerunner of the chasuble, 192 - - Cater cap, 212 - - Cattle, hornless, 303 - - Cavalryman, modern, compared with Cromwell's Ironsides, 237, =237= - - Cave men, drawings of, 8, =9=, 10 - -- -- painting of the body by, 270 - -- -- wore ornaments but no clothing, 8 - - Ceremony, primitive dress worn on occasions of, 5, 135 - - Chaco of Highland Light Infantry, 241 - -- -- Scottish Rifles, 241 - - Chain mail, 233, 234, =234= - - Chains for the neck in Richard II's time, 113 - -- of Mayors, origin of, 113 - - Chancellor of a University, robes of a, 210 - - Chapel keeper at Wellington Barracks, top hat of, 248 - - Chaperon, 152 - -- development of, =156=, 157, =157= - -- of Richard II's time, 157 - -- survival of, 228 - -- vestige on gowns of City Livery Companies, 231 - -- -- -- mantles of knights, 158, =230= - - Chaplet of flowers used after baptism, 164 - - Charles I regulates clerical costume, 185 - -- II, formation of Guards by, 246 - - Chasuble, 193, =194= - -- casula, the forerunner of, 192 - - Chauffeurs' cockades, 160 - - Checks, 311 - - Chemise, 288 - -- gauze, of Merveilleuses, 346 - - Chevasse, Mr., on individuality shown by clothes, 316 - - Children carried on the left arm, 22 - -- dressed like their parents, 162 - -- sucking the left breast, 24 - - Chimere, 199 - - Chimpanzee, hair of, 6 - - China, painted pasteboard figures burnt at funerals in, 274 - -- puppet-show in, 259 - -- the use of paint by women in, 275 - - Chin band, 201, 202, =203= - - Chinese women, stunted foot of, 335 - - Chinook Indians, deforming the heads of children, 335 - - Chiton, 187 - - Choker, 200 - - Choristers at Jesus College, Cambridge, bands of, 45, =45= - - Chrism cloth, 164 - - Christians, dress of ancient, 187 - -- early, wore the same costume at worship as at home, 189 - - Christ's Hospital, 167 - - Chrysalis, 163 - - Chrysolite as a detector of poison, 124 - - Chrysome, 164 - -- brasses, 164 - - Chulos in bull fight, red rag of, 306 - - Churches, Gothic, compared with hennin-like head-dress, 50, =51= - - Clans, tartans of Scotch, 312 - -- with several tartans, 312 - - Claremont, Mr., on opals and bad luck, 124 - - Clark, Professor E. C., on college caps, 213 - - Clavi, 191 - - Clement, St., on special dress for worship, 205 - - Clergy, adoption of vestments by English High Church, 192 - -- black habit of, 308 - -- buttons on sleeves of, 36 - -- condemnation of dress by, 344 - -- criticized for gorgeous apparel, 345 - -- in Holland, dresses of, 200 - -- wear academical hood over surplice, 199, 212 - - Cloaks, deer skin, of Bronze Age people, retaining horns, 117 - - Clock, meaning a gusset, 68, =68= - -- origin of, 68 - - Clocks of clowns, 269 - - Cloth, breast, 202, =203= - -- chrism, 164 - -- pied, 313 - -- parti-coloured, 313 - - Clothes, adopted for æsthetic reasons, 14 - -- -- -- reasons of coquetry, 14 - -- adoption of, for ornamentation, 8 - -- -- -- -- reasons of modesty, 8 - -- -- -- -- warmth, 8 - -- dispensed with on ceremonial occasions, 136 - -- distortions caused by, 322 - -- effect upon action, 341 - -- -- of, upon the outsider, 315 - -- everyday, worn at night, 287 - -- first worn by women, 12 - -- in their development subject to the same laws that act upon the - bodies of animals, 362 - -- made from the bark of trees, 11 - -- mental effect of, 339 - -- minimum of, worn at sports, 6 - -- not necessarily worn in cold climates, 11 - -- -- worn at night, 287 - -- of animal actors, 301 - -- -- dolls, 137 - -- -- monkeys, 301 - -- -- Punch, origin of, 257 - -- represented among animals, 291 - -- Sunday, 205 - -- swaddling, 163 - -- the principles of evolution applied to, 1 - -- used to alter the shape of the body, 337 - -- useful characters always retained, 15 - -- why worn, 8 - -- worn at executions, become unfashionable, 353 - (See also under the headings of _Costume_ and _Dress_) - - Clothing, not worn by cave men, 8 - -- preferences of girls for different articles of, 340, 341 - - Clown, 283 - -- clocks of, 269 - - Clowns, painting of, likened to that once in vogue in China and - Japan, 276 - -- paint of face of, 269 - - Clubbed hair, 134 - - Coachman, coat of, 142, =142= - -- Lord Mayor's, wig-bag of, 143, =143= - -- origin of dress, 139 - -- red coat of royal, 235 - -- wig of, 132, 142, =142= - - Coastguard, revers of, buttoned back, =39= - - Coat, blue in sixteenth century, 168 - -- buff, 235 - -- development of the modern, 15 - -- evolved from the shawl, 16 - -- lapels, nicks in, 41, =41=, =42= - -- patched, of harlequin, 283 - -- pouter, 141, =141= - -- red, a best, 235 - -- -- origin of, 249 - -- -- survived for a long time in Cornwall, 235 - -- skirts buttoned back for riding, =33= - -- swallow-tail, evolution of, 33, =34= - - Coats at Harrow, 169 - -- -- Westminster, 169 - -- of arms, 83 - -- -- Scottish Archers, 226 - - Coats, waterproof of, lambs, 300 - - Cobbett, criticisms on Quakers, 119 - - Cock of a hat, 61 - - Cockade, 61, 152, =152= - -- black, 153 - -- bow of ribbon on, 156 - -- evolution of, 153, =156=, =157= - -- for mourning, 154, =154=, 159 - -- jagged edges of, 158 - -- material of, 154 - -- of Chelsea pensioners, =155=, 156 - -- -- Danish ambassadors, 160 - -- -- French ambassadors, 160 - -- -- of various colours, 158 - -- regent, =155=, 156, 159 - -- royal, 154, 155, =155=, 159 - -- treble, =152=, 156 - - Cockades, not under the jurisdiction of Heralds' College or Lord - Chamberlain, 153 - -- of foreign ambassadors, 160 - -- -- chauffeurs, 160 - -- those entitled to use, 153, =159= - -- worn by gentlemen, 152 - - Cocking, 200 - - Coffins, Bronze Age, 18 - - Coif of Serjeant-at-law, 216 - -- Order of the, 215 - -- vestige of, 215, =217= - - Coin, custom of breaking, upon engagement, 115 - - Coldstream Regiment, motto of, 246 - - Collar, broad lace, at Eton, 169 - -- silver worn by additional drummer, 244 - - Collars, high, keep the head at a wrong angle, 356 - -- metal of Padaung women, =114=; Plate VI, facing page 114 - -- of Court ushers and vergers, 218 - -- -- ladies' mantles standing up, 48 - -- -- nuns, 202 - -- worn by pet animals, 298 - - _Colobium sindonis_, 221 - - Colonial, dress of the, 319 - - Colour, craving for, shown by the gorgeous dress of Masons, 308 - -- -- -- -- -- green scarfs of the Foresters, 308 - -- -- -- -- -- pageants, 306 - -- of academical dress, 309 - - Colours, 192 - -- gay uniforms come under the category of courtship, 250 - -- heraldic, derived from flags, still worn, 308 - -- house, 171 - -- of ancient drawings due to caprice of artists, 131 - -- -- Naval uniform, 251 - -- -- regiments, 309 - - Columbine, ballet dress of, 285 - - Comb as an ornament, 117, =118= - - Combs, hair, 118, =118= - -- loom, the origin of the ornamental comb, 117, =118= - - Combination garments of boiler cleaners, 320 - -- -- -- Normans, 320 - - Coombe Hill School, Westerham, dress worn by girls at, 172, =172= - - Commissionaires, buttons on overcoats of, 30 - - Companies, Livery, robes of, 138 - - Complexions, false, of Roman ladies, 278 - - Convicts' dress, 91 - - Cope, 197, 199 - -- of fifteenth century, 212 - - Cornish, Mr. C. J., on animals' clothes, 300 - - Corps piqué, Montaigne and Ambrose Paré on the suffering caused by - the, 325 - - Corroboree, paint used at a, 272 - - Corset, misspelling of the word, 323 - -- of Greece, 328 - -- -- Rome, 328 - - Corsets, crusade against, 325 - - Cosmetics used by Roman ladies, 278 - - Costermongers, dress of, 319 - -- trousers of, show progress of wearer's courtship, 347 - - Costume, clerical, regulated by Charles I, 185 - -- connected with religion, 184 - -- ecclesiastical, similar to civil in early times, =188= - -- of barge-women, 110 - -- -- the clown, Elizabethan, 269, =270= - -- -- dolls, 267 - -- -- milk-women, 110 - -- -- nuns and abbesses resembled that of widows, 198 - -- -- servants', derived from that of masters, 139 - -- indicating the profession of the wearer, 316 - - Costumes adopted in girls' schools, 171 - -- of hospitals for pensioners, 170 - -- ugliness of bloomers, 81, 360 - (See also under the headings of _Clothes_ and _Dress_) - - Coulton, Mr. G. C., on the evolution of the maniple from a - pocket-handkerchief, 194 - - Courier bags carried on a baldric, 106, =107= - - Court dress, mistakes made in, 227 - -- ushers, collars of, 218 - - Coventry, Lady, death due to painting the face, 279 - - Cowboy's long hair, 127 - - Cows, clothing of, 300 - -- rainproof jackets of, 300 - - Cradle of American Indian papoose, 164 - - Cranmer, hat of, =214= - - Crescent as an amulet among the Romans, 293 - -- made by joining two boars' tusks, 294 - -- worn on a special strap by German horses, 295 - - Crest and badge, difference between, 90 - -- -- surcoat of Henry Duke of Lancaster, 86, =86= - -- on helmet, 83 - -- -- signet ring, 85 - -- worn upon cap of Lord Mayor's postilion, 92, =92= - - Creel carried on a baldric, 106 - - Crinoline, 337 - -- devised to hide the shape of a princess, 344 - -- of the young women of Otaheite, 338 - - Croft School, Betley, dress worn by girls at, 173, =173= - - Crombie, Mr. James, on superstitions connected with weddings, 176 - - Crook, shepherd's, 195 - - Crosier, 221 - - Cross of nuns, 202 - -- older than Christianity, 122 - - Cross-belt of Rifle Brigade, 242 - - Crown, 158, 221 - -- bridal, 180 - -- Tudor, superseded that of St. Edward, 224, =224= - - Crusaders, 344 - - Cuff, turned back, 35, =36=, =37=, 38 - - Cuffs, 35 - -- of widow, 183 - -- white lawn, used as mourning by King's Counsel, 220 - -- worn by the legal profession as part of mourning, 183 - - Cuirass of Household troops, 233 - - Culloden, battle of, 249 - - Currencies carried on the person, 113 - -- ornaments as, 112 - - Cussan's "Handbook of Heraldry," 159 - - Custom of breaking a coin upon engagement, 115 - - - Dalmatic, 190, 195, 221 - -- compared with a shirt, 288 - -- of Bishop, fringes on, 190 - -- -- deacon, fringes on left side only, 191 - -- symbolism of fringes, 191 - - Damascus, damask takes its name from, 313 - - Damask takes its name from Damascus, 313 - - Dane, dress of the, 319 - - Darnley, Lord, breeches of, 286 - - Darwin, Charles, on the loss of hair by man, 7 - -- -- theory of evolution, 2 - -- Sir George, on buttons, 30 - -- -- -- -- evolution in dress, 3 - -- -- -- -- the origin of busbies, 58, =59= - -- -- -- -- top boots, 65, =65= - -- -- -- -- why plumes are on the left side, 58, =58= - - D'Aubernoun, Sir John, brass of, showing chain-mail, 234 - - David, shield of, 293 - - Dawkins, Professor Boyd, on the origin of the hair comb, 117 - - Deacons, stoles of, 192 - - Deaths due to painting the face, 279 - - Decoys, dogs dressed as duck, 301 - - Deformities caused by bandaging infants, 164 - - Demeter, 297 - - Denmark, dress of Bronze Age chieftains, 18, =19= - - Depression in a judge's wig, 215, =216= - - Diamond, supposed powers of the, 124 - - Diamonds, always fashionable, 123 - - Diaper appeared in reign of Henry II, 313 - -- derived from D'Ypres, 313 - - Dinners, handkerchief used for wrapping, 195 - - Diodorus on the plaid of, 312 - - Distortion of the head, 336 - - Divorce, Bedouin form of, 178 - - Djibah, =172=, 173 - - Doctor in the Punch and Judy show, 263, =264= - -- of Divinity, scarf of, 192 - -- round cap of, 213 - - Dogs, dress of, as duck decoys, 301 - -- hairless, 303 - - Dolls, clothes of, 137 - -- costume, 267 - -- in swaddling clothes, Mr. Edward Lovett on, 268 - - Dolman of the Hussars, =81=, 239 - - Donkeys, cowry shells on trappings of, 297 - - Drawings of cave men, 8, =9=, 10 - - Dress, academical, 208 - -- -- Druitt on, 210 - -- bridal, 175 - -- characteristic of trades, 320 - -- children's, Dr. Alice Vickery on, 165 - -- colour in academical, 309 - -- condemnation of, by the clergy, =344= - -- Court, 226 - -- -- mistakes made in, 227 - -- does not usually show rank, 319 - -- Dutch skeleton, 145, =145= - -- evening, black and white, 308 - -- -- suggests correct behaviour, 340 - -- Highland, 162 - -- League, Rational, 354 - -- monastic, 198 - -- more primitive, worn on occasions of ceremony, 135 - -- naval, supposed survivals in, 252 - -- of acrobats, 286 - -- -- ancient Christians, 187 - -- -- animals, 291 - -- -- beadles, 147, 262, =264= - -- -- coachmen, origin of, 139 - -- -- convicts, 91 - -- -- costermongers, 319 - -- -- footmen, origin of, 139 - -- -- girls at Coombe Hill School, Westerham, 171, =172= - -- -- -- -- the Croft School, Betley, 173, =173= - -- -- grooms, origin of, 139 - -- -- harlequins, 283 - -- -- heads of churches in Scotland, 200 - -- -- jockeys, coloured, 147 - -- -- King's Counsel, 218 - -- -- Knights of St. John of Jerusalem, 321 - -- -- monks, 201 - -- -- Mrs. Bloomer, 81, 361 - - Dress of Norwegian bride, 180 - -- -- nuns, 201, =203= - -- -- particular trades, 149 - -- -- peasants, gay, 309 - -- -- Punch and Judy, 137, 253 - -- -- Romans, 187 - -- -- servants, 139 - -- -- the American, 318 - -- -- -- Austrian, 318 - -- -- -- Colonial, 319 - -- -- -- Dane, 319 - -- -- -- Frenchman, 318 - -- -- -- German, 318 - -- -- -- Hungarian, 318 - -- -- -- Norwegian, 319 - -- -- -- Spaniard, 318 - -- -- St. Nicholas, 137 - -- -- soldiers previous to the Restoration, 236 - -- -- Yeomen of the Guard, 223, =225= - -- once indicated rank, 319 - -- origin of, 6 - -- parti-coloured, came into fashion in Edward II's time, 313 - -- profession often not indicated by, 315 - -- rank indicated in certain professions by, 320 - -- rational, 81, 361 - -- reform, 354 - -- simplification of Court, 226 - -- special, for worship, 205 - -- tax on elegant, 350 - -- to be according to station, 350 - -- ugliness of evening, 208 - -- Union, Healthy and Artistic, 354 - -- used in special occupations, 320 - - Dresses, bridal, often survivals, 180 - -- special school, 168 - -- with trains to be kept for ceremonial occasions, 358 - - Dressing-gowns, 138, 358 - - Drops for ears, 112 - - Druitt, Mr., on academical dress, 210 - -- -- -- boys dressed in petticoats, 165 - -- -- -- the coif, 216 - - Drummer, extra of Third Hussars, 244 - - Dutch settler's wife, Miss Alice Morse Earle on the dress of, 359 - -- skeleton dress, 145, =145=, 272 - - Dyes for tartans obtained from native plants, 313 - - - Eagles on coronation robe, 222 - - Ear drops, 112 - - Ears, perforated for rings, 112 - - Earle, Miss Alice Morse, on the costume of the wife of a Dutch - settler, 359 - - Eckenstein, Miss Lina, on horse brasses, 293 - - Edward II, beard of, 130 - -- III, badge of, 91 - -- -- beard of, 129 - -- IV, beard of, closely shaven, 130 - -- VII, robes worn at the coronation of, 222 - - Egypt, finger rings in, 114 - - Egyptian graves, models of servants put into, 268 - -- pins, 105 - -- rings of blue pottery, 116 - - Egyptians, ancient, bury amulets with their dead, 122 - -- blackening eyelids, 270 - -- early, tattooing practised by, 277 - -- modern, tattooing practised by, 277 - -- prehistoric, beads of, 112 - - Elizabeth, statute cap of, 168 - -- Queen, stocking of, 68 - - Elizabeth's coronation glove, stitching carried on to the back - of, =97=, 98 - -- reign, ruffs of, 48 - - Elsyng, brass in church at, 86, =86= - - Elves' arrows as pendants, 123 - - Elworthy, Mr., on horns of honour, 117 - - Embroidery carried on to the backs of gloves, 98, =99= - - Emeralds always fashionable, 123 - - Epaulettes, 238 - -- worn by the Gentlemen-at-Arms, 238 - -- -- -- officers of the Yeomen of the Guard, 238 - -- -- -- the Lords-Lieutenant of Counties, 238 - -- -- in the Navy, 238 - - Ermine, 222 - -- bands of, indicate rank, 223 - - Eskimos descendants of the cave men, 10 - -- shoes, piece of old, worn by, to ensure fruitfulness, 178 - - Essex, fish-hooks made of thorns in, 125 - - Eton, gowns worn by scholars at, 169 - -- jacket, 169 - -- white tie at, 169 - - Etruscan brooch, safety-pin like an, 102, =103= - - Eutropius, St., ceremony of garters, 71 - - Evolution, the principles applied to clothes, 1 - - Ewart, Sergeant, captures a French eagle, 245 - - Eyelashes, removal of, 128 - -- lid, blackening of, by Egyptians, 270 - -- sacred on rings, 117 - -- stone or opal, 124 - -- third in slow worm, 3 - - Executions, clothes worn at, become unfashionable, 353 - - - Face plate of horse, amulets on, 294 - -- sooty, of harlequin, 283 - - Facings, regimental, abolished in 1881, 238 - -- why a different colour from that of the coat, 34 - - Fairholt on bandaged stockings, 67, =67= - -- -- the origin of the mortar-board, 214 - - Fans called sunshades, 280 - -- for blowing up a fire, 280 - -- origin of, 280 - - Farces, Atella, celebrated for Italian, 254 - - Farthingale, 337 - - Fashion determines the amount of the body which is to be covered, 14 - - Fashions due to royal peculiarities, 131 - -- gay, follow periods of depression, 345 - -- in hair arrangement, 126 - -- kept up by superstitions, 349 - -- origin of, difficult to trace, 354 - -- the killing of, 352 - - Favours, 192 - - Fawkes, Guy, 225 - - Feathers, objections to the wearing of, 121 - -- of birds of paradise, 121 - -- -- ostriches, 122 - -- peacocks', unlucky because of eyes, 124 - -- wearing of, 121 - - Ficorroni, 258 - - Field-Marshal's baton, 223 - - Fillet, 175 - -- forerunner of the hatband, 52, =52= - -- head, 149 - -- vestiges of, 52, =52= - - Finn, Huckleberry, 341 - -- Mrs., on bells derived from flowers, 314 - - Fireman, helmet of, 60, =60= - -- private, badge of, 91 - - Fisher folk, barefooted, 334 - - Fish, gold, with several tails, 303 - -- hook made of a thorn in Essex, 125 - - Fitzroy, General, 244 - - Flaccus, Dr. Louis W., on the effect of clothes on the minds of - school-girls, 339, 340 - -- -- -- -- -- -- preference of girls for different articles of - clothing, 340, 341 - - Flags, heraldic colours of, still worn as favours, 308 - - Flap, red, on busby, 59, =59= - - Flash on Court dress, 228, =229= - -- of Welsh Fusiliers, 133, =134=, 241 - - Fleshings, pink, of Merveilleuses, 346 - - Fleur-de-lys, 222, 293 - -- on braid of drummers of the Guards, 246 - -- removed from royal arms, 246 - - Flower, Sir William, on deforming of the foot, 334 - -- -- -- -- injuries caused by tight lacing, 324 - -- -- -- -- the most highly evolved foot, 333 - - Flowers, chaplet of, used after baptism, 164 - -- wearing of, 121 - -- worn at Eton on Fourth of June, 171 - -- -- by a bride, 175 - - Folds of robes used as pockets by Arabs, 110 - - Foot, deforming of the, 334 - -- gear, early, 62 - -- Guards, drum-major's livery cap, 146 - -- Sir William Flower on deforming of the, 334 - -- -- -- -- -- the most highly evolved, 333 - -- stunted, of Chinese woman, 335 - -- the ideal in art, 333, 334 - - Footman, 140, =141=, 149 - -- origin of dress, 139 - - Footmen, aiguillettes worn by, 240 - -- flaps of, 32, =33= - -- wig of, 132 - -- with powdered hair, 131 - - Fourchettes of gloves, =97=, 98 - - Fourragère, 241 - - Fowls, top-knotted, 303 - - Fox-hunters, red coat of, 235 - - Frenchman, dress of, 318 - - Frills, 227 - - Fringe of a shawl, origin of, 16 - - Fringes, Mr. Macalister on symbolism of, on dalmatics, 191 - - Frock coat, 148 - - Frontal of nun, =203=, 204 - - Fruitfulness, superstitious practices to ensure, 179, 180 - - Funerals, horse trappings still used at, 292 - -- painted pasteboard figures burnt in China at, 274 - - Fur, 11 - -- use of, in the army, 247 - - Fusiliers, Welsh, flash of, 133, =134= - - Fylfot, 122; see Plate VII, Fig. F, facing page 129 - - - Gagging, art of, not modern, 254 - - Gaiters, 70 - - Garlands, wearing of, signifies virginity, 180 - - Garment, new, put on over old, 148 - - Garments, dislike of divided, 359 - -- flowing, give an elegant effect, 137, 357 - -- -- -- dignity, 187, 357 - -- long, of Noah's Ark figures, 268 - - Garter, 158 - - Garters as insignia, 71 - -- golden, of Merveilleuses, 346 - -- of girls, annual ceremony in Haute-Vienne, 71 - -- ornamental, 71 - - Gatty, Sir Alfred Scott, on cockades, 153 - - Gauntlets worn by masons, 232 - - Gentleman of George III's time, 141, 143 - - George II's reign, coachman, coat of, 142, =142= - -- -- on naval uniform, 251 - -- III, black coats at Eton, mourning for, 169 - -- -- gentleman's dress, 141, 143 - -- III's reign, the pouter coat of, 141 - - German, dress of the, 318 - - Germs of disease disseminated by trailing skirts, 358 - - Giangurgolo, Calabrian, 1731, 257, =257= - - Gimmal rings, 115 - - Girdle, 73 - -- of judge, 217 - - Girl catching an object in her lap, 341 - - Girls, colour preferences of, 307 - -- in factories, barefooted, 334 - -- wearing their hair down, 166 - - Gladstone, Mr., abolished the serjeants-at-law, 217 - - Gloucestershire regiment, badges of, 245 - - Glove of Anne, Consort of James I, 98, =99= - -- stitching carried on to the back of Elizabeth's coronation, - =97=, 98 - -- -- -- down the back of, =97=, 98 - - Gloves, 94, 195 - -- early, without fingers, 94 - -- embroidery carried on to the backs of, 98, =99= - -- fourchettes of, =97=, 98 - -- not worn by nuns, 204 - -- points on, =96=, 98 - -- with two thumbs in Iceland, 95 - - God, solar, of Egypt, 123 - - Gold dust put on the head, 131 - - Golfers, red coat of, 235 - - Gordon, Miss Helen, on painting used in the time of Queen Anne, 279 - - Gorget the badge of an officer on duty, 235 - - Gorilla, hair of, 6 - - Gown, 18 - -- black, 185 - -- Geneva, bands worn with, 44 - -- of judge, 217 - -- -- King's Counsel, 218 - -- -- Master of Arts, 210 - -- -- Oxford Undergraduates, 210 - - Gowns, black, legal mourning for Queen Mary II, 218 - -- worn by scholars at Eton, 169 - - Greek betrothal rings, 115 - - Gremial, 202 - - Grenadier, caps of Scots Greys, 244 - - Greys, Scots, 245 - - Grenadier Guards, 248 - - Groom, =140= - -- origin of belt, 139 - -- -- -- dress, 139 - - Guards, drummers of, fleur-de-lys on braid of, 246 - -- formation of, by Charles II, 246 - -- Grenadier, 248 - -- -- buttons on coats of, 29 - -- Irish, 248 - -- Life and Horse, survival of cord for priming powder horn, 108 - -- Scots, 248 - -- white jackets of, 243 - - Guignol, 255 - -- French punch, 257 - -- the name derived from Giangurgolo, 257 - - Guild liveries, 232 - - Guinea, New, women wear no clothes, 9 - - - Habit, black of clergy, 308 - - Habits, monastic, 198 - - Hackle feathers of Northumberland Fusiliers, 244 - - Hair, clubbed, 134 - -- curly, imitated, 130 - -- dedication of, 128 - -- dishevelling of, as mourning, 181 - -- down, girls wearing their, 166 - -- early man covered with, 6 - -- great value attached to a profuse head of, 128 - -- long, not necessarily effeminate, 127 - -- not correlated with cold climate, 6 - -- of women dressed differently from that of men, 128 - -- powder, 131 - -- -- coloured, 131 - -- putting up of, by girls, 166 - -- queued, 134 - -- Roman modes of doing the, 132; Plate VII, facing page 129 - -- use of others, 130 - - Halberds of Yeomen of the Guard, 225 - - Handkerchief in general use in Henry VIII's time, 195 - -- used for wrapping up dinners, 195 - -- -- -- -- -- presents, 195 - - Hanover, cockade of House of, 153 - - Harem, 13 - - Harlequin, 261, 267 - -- coat of, worn by the Lord of Montbron, 283 - -- modern dress of, 283, =284= - -- origin of the character, 282 - -- patched coat of, 283 - -- shaven head of, 283 - -- sooty face of, 283 - -- wand of, 283 - - Harlequinade, 269, 282 - - Harlequinne, 285 - - Harrow, coats at, 169 - -- swallow tails at, 170 - - Hat band, 52 - -- -- origin of, 52 - -- cocked, development of, 60, =60= - -- Cranmer's, 214, =214= - -- for hunting with lacing, 56, =56= - -- how made from a disc of material 57, =57= - -- of a bishop of the Stuart period, 214, =214= - -- sailor, streamers of, 53, =53= - -- tall, used in the Army, 248 - - Hats with the underside painted green, 271 - -- women in church without, 206 - - Haweis, Mrs., dressing to suit her surroundings, 310 - - Hawaiian Islands, hut of, 49 - - Haybands forerunners of leg bandages, 67 - - Head, distortion of, 336 - - Head-dress of French lawyer, 158 - -- -- -- Henry II's reign surviving in that of nuns, 201, =203= - -- -- shawl as a, 61 - -- -- Siamese, compared with a Votive Spire, 50, =51= - -- shaven, of harlequin, 283 - -- shaving, 127 - -- strap, =203= - - Heads, deforming of children's, by Chinook Indians, 335 - - Hearse cloths, 232 - - Heart-shaped amulets, 295, 296, =296= - - Hector the horse extinct in Punch and Judy show, 267 - - Helmet of Black Prince, 87, =88= - -- fireman's, 60, =60= - -- plate, 158 - - Helmets, metal, 60 - - Henna used for staining fingers and toes by Egyptians, 271 - - Henry VIII's reign, handkerchief came into general use in, 195 - - Heppel, Mr. George, on Punch and Judy, 253 - -- -- -- -- figures worked by wires, 255 - - Heraldry, Handbook of, by Cussan, 159 - - Heralds, tabards of, 83 - - Hereditary badges, 90 - - Hide, raw, shoe made of, 64, =64= - - Highland corps, white jackets of, 243 - -- dress, 162 - - Hindu ayahs, nose rings of, 111 - -- women, painting of the feet scarlet by, 273 - -- -- teeth blackened by, 273 - - Hodgson, Miss, uses a doll to show costume, 174 - - Hogarth's engravings of children, 162 - - Holland, dress of clergy in, 200 - - Holy Land, swaddling clothes persist in, 163, 333 - - Hood, 198 - -- academical, 210 - -- -- wearing of, by clergymen, 199, 212 - -- combined with cape, 156, =156=, 157 - -- enlargement of the peak, =156=, 157 - -- of a Knight of the Garter, 229, =230= - -- -- Bachelor of Arts, 212 - -- -- nuns, 202, =203= - -- -- the Order of the Thistle, 230 - -- -- -- -- -- St. Patrick, 230 - -- -- undergraduates, liripipe of, 211 - -- peak of prolonged, to form liripipe, 157 - -- tiny, on barrister's gown, 218, =219= - - Horn for priming powder, survival of cords for suspending, 108 - - Horns of honour, 117 - - Horse amulets, 293, 294, =294=, 295, =296= - -- clothing, 292 - -- brass, crescent shaped, derived from boar's tusks, 294, =294= - -- brasses, English, the counterpart of those shown on Trajan's - column, 295 - -- -- Dr. Plowright on the origin of some, 293 - -- -- Miss Lina Eckenstein on, 293 - -- -- heraldic, 295 - -- identified as a corn spirit, 297 - -- trappings, 292 - -- -- still used at funerals, 292 - -- white, of Hanover, 243 - - Horses, black, used at funerals, 303 - -- circus, 303 - -- grey, carry the kettledrums, 303 - -- hats of, 300 - -- killing of, at harvest time, 297 - -- sun-bonnets, 300 - -- white carry the kettledrums, 303 - - Hose, Florentine, 70, 286 - -- tights, a survival of Florentine, 286 - -- trunk, 269 - -- -- of acrobat, 286 - -- -- -- clown, 269 - -- -- -- knights, 231 - - Household cavalry, bandsmen's livery caps, 146 - - Housemaid, apron of, 149 - -- cap of, 149 - - Hounds, Dalmatian, as carriage dogs, 303 - - Howard of Effingham, hat of Lord, 248 - - Hump of Punch, back, 262, =263= - -- -- -- front, origin of, 253 - - Hungarian, dress of the, 318 - -- peasant's cap, 59, =59= - - Huntsman, livery cap of, 146 - - Hussars, 59 - -- cowry shells on trappings of horses of, 297, =298= - -- dolman of, 81, 239 - -- Eighth, wear sword-belts over their shoulders, 243 - -- Eleventh, wear ivory-hilted swords, 244 - -- Fifteenth, wear Austrian imperial lace, 244 - -- lacing of, 146 - -- prickers on shoulder belt of, 239, =239= - -- sling jacket of, 81, 239 - -- Third, extra drummer of, 244 - -- uniform of, 272 - - Hut of Hawaiian Islands, 49 - - - Iceland, glove with two thumbs, 95 - - India, lotus flowers on king's mantle, symbolical of, 222 - - Indian Army, puttees of, 66 - - Infant, bib of, 167 - -- binder of, 163 - - Infants, deformities caused by bandaging, 164 - -- powdered, 162 - -- patched, 162 - - Inner Temple, badge of the porters of, 91 - - Ireland, pin-ring brooches in, 125 - - Irish Guards, 248 - - Ironside of Cromwell compared with a modern cavalryman, 237, =237= - - Italian women age rapidly, 329 - - - Jacket, Cardigan, 18 - -- Eton, 169 - -- smoking, suggests relaxation, 340 - - Jackets, rainproof, for cows, 300 - -- white, of Guards, 243 - -- -- -- Highland corps, 243 - - Japan, use of paint by women in, 275 - - Japanese actors paint the face, 273 - -- children, painting the face of, 273 - -- women, teeth blackened by, on marriage, 273 - - Java, earliest man in, 7. See Frontispiece - - Jerome, St., on special dress for worship, 205 - - Jesson, Mr. W. H., a performer of Punch and Judy, 262 - - Jesus College, Cambridge, choristers' bands, 45, =45= - - Jewesses shave their heads, 127 - - Jews, 205 - -- rending their garments, 42 - -- tattooing practised by, 277 - - Joan the old name of Judy, 266 - - Jockey, livery cap of, 147 - -- parti-coloured dress of, 147, 313 - - Johanna, 301 - - Judge, girdle of, 217 - -- gown of, 217 - -- sentence cap of, 217 - -- wig of, 132, 216, =216= - - Judith, 267 - - Judy, dress of, =263= - -- apron of, =263= - -- mob cap of, 262, =263= - -- once known as Joan, 266 - -- origin of the name, 266 - - - Kamarband worn by officers, 249 - - Kayans of Borneo, clothes of bark worn by, as mourning, 181 - - Kefiyeh fastened with a fillet of camel's hair, 53 - - Kersey, 351 - - Kettledrums, silver, 244 - - Kilburn Sisters, 201, 202 - - Kilt of sailors, 252 - -- short, 76, =76= - - Kimono brought from Japan, 344 - - King's Counsel, dress of, 218 - -- -- gown of, 218 - -- -- white lawn cuffs used as mourning by, 220 - -- footmen, red coats of, 235 - - Kirkudbrightshire, pin-ring brooches of blacksmiths in, 125 - - Knee-breeches worn when speeches are made at Eton, 170 - - Knickerbocker suits, jersey, 165 - - Knickerbockers, 80 - -- of blue-coat boys, 167 - -- a recognized feature of children's costume, 163 - - Knights of the Garter, 229 - -- -- -- -- chaperon on robes of, 158 - -- -- St. Patrick, 229 - -- -- the Thistle, 229 - - Knobs in the East take the place of buttons, 20 - - Kohl, 271 - - - Label to difference arms, 86, =86=, 88 - - Labourers' method of buttoning trousers, 252 - - Lace, Austrian imperial, worn by Fifteenth Hussars, 244 - - Lacedæmonian girls, tunics of, slit down the sides, 346 - - Lacerna, 198 - - Laces, 100, =101= - - Lacing inside a hat, =55= - -- of Hussars, 146 - -- tight, banned by Charles IV and Henry III, 326 - -- -- in England, 326 - -- -- made compulsory by Catherine de Medici, 326 - - Ladies, armorial bearings on dresses of, 84, =85= - -- married with flowing tresses, 166 - -- wear pyjamas, 288 - - Lady gardeners at Kew wear trousers, 358 - - Lake dwellings, pins found in Swiss, 105 - - Lamb, Persian, used for making spots on miniver, 222 - - Lambs that supply the wool for the pallium, 196 - -- waterproof coats of, 300 - - Lancaster, Henry Duke of, crest and surcoat of, 86, =86= - - Lancers, 39 - - Lap, boys and girls catching objects in their, 341 - - Lawn sleeves of a bishop, 199 - - Laws for the good of trade, 348 - - Lawyer, head-dress of French, 158 - - Leech, caricatures the busbies of the Guards, 247 - - Leg bandages, 66, =66=, =67= - -- -- derived from haybands, 67 - -- -- of pfiferari, 68 - - Leggings, survival of the wearing of skins, 70 - - Legion of Honour, buttons of, 158 - - Leicestershire Regiment, tiger-skin aprons of, 249 - - Leopards on Arms of England, 86 - - Life Guards, black plumes of farriers of, 242 - -- -- -- tunics of farriers of, 242 - - Light Infantry, Duke of Cornwall's puggaree of, 243 - - Lindley, Lord, last surviving serjeant-at-law, 217 - - Linen, strip of, round head as mourning in Egypt, 182 - -- the showing of, 44 - - Lion spotted when young, 94 - - Lions on Arms of England, 86 - - Liripipe, =156=, 157, =157=, 210, 230 - -- of undergraduates' hoods, 211 - -- peak of hood prolonged to form, 156, =156= - - Lip plugs, 111 - - Liveries of the City Companies, 231 - - Livery cap, 146 - -- -- of bandsmen of the Household Cavalry, 146 - -- -- -- drum-major of the Foot Guards, 146 - -- -- -- jockeys, 147 - -- -- -- huntsmen, 146 - -- Companies, chaperon, vestige on gowns of, 231 - -- of page-boy, 145, =145= - -- -- porters, 148 - - Locket, 122 - - Loom combs, 117, =118= - - Lord Mayor's coachman, wig-bag of, 134, 143, =143= - -- -- postilion, crest worn upon cap of, 92, =92= - - Lotus flowers symbolical of India, on Edward VII's mantle, 222 - - Louis XVI, hair of, gave rise to wigs, 131 - - Louterell, Sir Geoffrey, figure showing armorial bearings, 84, =85= - - Lovett, Mr. Edward, on dolls in swaddling clothes, 268 - -- -- -- -- origin of pin-ring brooches, 125 - -- -- -- -- patterns derived from tattooing, 278 - - Lyman, Dr., explanation of buttons being differently arranged on - the clothes of the two sexes, 22 - - - Macalister, Mr., on fashions, 189 - -- -- -- symbolism of the fringes on dalmatics, 191 - -- -- -- the pallium, 196 - -- -- -- -- surplice, 185 - -- -- -- there being no distinctive garments for the ministers, - among early Christians, 190 - - Macphersons, tartan of the, 312 - - Magnin, M., on the origin of Punch's hump, 261 - - Mail, chain, vestige of, on shoulder of Imperial Yeoman, 233, =233= - -- plate, 235 - - Malachite used for painting by prehistoric Egyptians, 271 - - Man cook, white clothes of, 320 - -- Isle of, triskele in the coat-of-arms of, 119 - -- once hairy, 7. Frontispiece - -- skin of, originally reddish, 13 - -- primitive, 5 - - Manche, 146 - - Maniple, 221 - -- once a napkin, 194 - - Manning, Mrs., hung in a black satin dress, 353 - - Manservant, modern, 143 - - Mantle, imperial, 221 - -- of Edward VII, lotus flowers on, 222 - -- -- Queen Victoria, roses on, 222 - - Mantles of ladies, collars standing up, 48 - - Maoris, tattooing of, 277 - - Mare, the last uncut ears of corn, 297 - - Marken, women of, floral designs on the bodice, 278 - - Market woman, sun-bonnet of, 61 - - Marines, Royal, mourning of, 243 - - Marionettes, 255 - - Marriage by capture, 175 - - Marriott, Mr., on the colour of early vestments, 190 - - Martingale of horse, amulets on, 294 - - Mask, unwritten laws that rule the wearing of, 281 - - Masks of the 5th of November a reminder of primitive - face-painting, 280 - -- worn by savages, 280 - - Mason, Mr. Otis T., on pockets, 110 - - Masons, aprons of, 232 - -- insignia of, 231 - - Master, clothing of, becomes that of servant, 5, 152 - - Maud, 20 - - Maundy Thursday, 226 - - Mayhew, Mr. Henry, on Punch and Judy, 265 - - Medical officers, volunteer, wear cocked hats, 247 - - Men, colour preferences of, 307 - - Merveilleuses, 345, =345= - - Mess jacket of Somersetshire Light Infantry, 242 - - Meyer, Dr., on the padding of sleeves above the shoulder to - prevent weapons from slipping off, 338 - - Mice, piebald, 302 - - Milk-women, apron of, 150 - -- -- costume of, 110 - -- -- with yokes, 110 - - Milton, bands of, 46 - - Mimes, Roman, 183, 282, 283 - - Mimi, 282 - - Miniver, 222 - -- rows of black spots on, indicate rank, 223 - - Mitten, open work, 99 - - Mittens and tattooing, 99 - - Mitre, 221 - -- strings of, 54, =54= - - Mizpah rings, 116 - - Mob cap worn by Judy, 262, =263= - - Modesty a habit, 12 - -- different ideas of, in various regions, 12 - -- ideas of, Arab women, 207 - - Molière introduces Punch into _Le Malade Imaginaire_, 261 - - Monk, General, 246 - - Monkeys, clothes of, 301 - - Monk, dress of, 201 - -- scapular of, 201 - -- tunic of, 201 - - Montbron, Lord of, harlequin's coat worn by, 283 - - Montaigne on the sufferings caused by the corps piqué, 325 - - Montagu, Lady Mary Wortley, and painting, 279 - - Montem at Eton, 171 - - Moore, Sir John, black worm as mourning for, 242 - - Mortar-board, 47, 169, 212, =214= - - Moseley, Professor, on face-painting in China, 273, 274, 275; - see Plate X, fig. C facing p. 270 - -- -- -- painting the body, 272 - -- -- -- the use of paint by women in Japan, 275 - - Mosque-like turban, 50, =50= - - Mourning bands of barristers, 219 - -- black as, 181 - -- black band on arm for, 182 - -- -- worm for Sir John Moore as, 242 - -- clothes of bark worn by Kayans of Borneo as, 181 - -- cuffs worn by the legal profession as part of, 183 - -- dishevelling of hair as, 181 - -- for death of Nelson, 252 - -- -- General Wolfe, black worm as, 242 - -- of Royal Marines, 243 - -- purple as, 182 - -- sackcloth as, 181 - -- strip of linen round head in Egypt as, 182 - -- white as, 182 - -- white lawn cuffs used by King's Counsel as, 220 - -- yellow as, 182 - - Moustache, 129 - - Mules, cowry shells on trappings of, 297, =299= - - Mutes at children's funerals, 182 - - - Nail, horseshoe, as part of a pin-ring brooch, 125 - - Nakedness, effect of, destroyed by tattooing even in Europeans, 277 - - Napkin, 194, 195 - - Naval uniforms, 251 - - Navvies wear belts, 329 - - Neapolitan, the, as an actor, 254 - - Neck chains, 113 - -- -- of Richard II's time, 113 - - Nelson, mourning for death of, 252 - - Neuville, M. Lemercier de, on Punch's stick, 260 - - Newcombe, Allan Poe, on hats and habitations, 49 - - Nicks in coat lapels, 41, =41=, =42= - - Nightcap of man, 290, =290= - -- -- woman, 289, =290= - - Nightcaps, elaboration of, restricted in the reign of Mary, 290 - -- of Tudors, 289 - -- still worn, 289 - - Night-dresses worn by ladies in the street in Anne's reign, 290 - - Nightgown, the bands on a lady's, 288, =289= - - Night rails, 290 - - Nightshirt cut like a day shirt, 288 - - Noah's Ark figures, long garments of, 268 - - Norman chin-band, 201, =203= - - Normans closely shaved their beards, 129 - -- combination garments of, 320 - -- wore trousers, 79 - - Northumberland Fusiliers, hackle feathers of, 244 - -- -- wear roses, 245 - - Norwegian, dress of the, 319 - - Nose rings of Hindu ayahs, 111 - - Novice, veil of, 202 - - Nuns, 201, 203 - -- aprons of, 202 - -- breast cloth of, 202, =203= - -- cap of, 202, =203=, 204 - -- collar of, 202 - -- costume of, 198 - -- cross of, 202 - -- frontal of, =203=, 204 - -- hood of, 202, =203= - -- not allowed to wear gloves, 204 - -- scapular of, 202 - -- veil of, 202, =203= - -- wear wedding-rings, 204 - - Nurse, hospital, uniform of, 150 - - Nurses, domestic, imitating hospital nurses' dress, 150 - - - O'Connor, Dr. Bernard, on bloomers, 361 - -- -- -- -- woman's dress for active exercises, 361 - - Officers, commanding, choice of uniform, 242, 243 - -- non-commissioned, stripes on sleeves of, 114 - - Opal, supposed powers of the, 124 - - Opals, always fashionable, 123 - -- and bad luck, 124 - - Openwork mittens, 99 - -- of Roman shoe, 62, =63= - -- stocking, 69, =69= - - Ophal, 124 - - Orange blossom, 180 - - Orang-utan, hair of, 6 - - Oraria, distribution of, by Aurelian, 192 - - Orarium, 191, 195 - - Order of the Coif, 216 - - Origin of fashions difficult to trace, 354 - -- -- mayoral chains, 113 - -- -- the clock, 68 - - Ornament, love of, among simple races, 8 - - Ornamentation of modern boots, 62, =63= - -- -- -- shoes, 62 - - Ornaments as currencies, 112 - -- of Stone Age, 112 - -- serve for identification, 10 - -- shells as, 112 - -- why they survive, 111 - -- worn even if there are little clothes, 9; see Plate II, - facing page 9 - - Orphrey, the apparel of the chasuble, 196 - - Ostrich feathers, 122 - - Oxford University, Chancellor of, hanging sleeve of, 210, =211= - -- -- undergraduate's gown, 210 - - Overcoat, 149 - - - Pads in hair dressing, 131 - - Padding, 338 - - Page-boy, buttons of, 144, =145= - -- -- livery of, 145, =145= - - Pageants, success of, a sign of the craving for colour, 306 - - Paint on face of clowns, 269 - -- use of, by women in Japan, 275 - -- -- -- -- -- -- China, 275 - -- -- -- at a corroboree, 272 - -- -- -- in war to terrify, 273 - - Painted pasteboard figures burnt at funerals in China, 274 - - Painting, 13 - -- by native races, 272 - -- follows the bones of the body, 272 - -- of clowns likened to that once in vogue in China and Japan, 276 - -- -- the body by cave men, 270 - -- practised by civilized men, 280 - -- the body among Andaman Islanders, 276 - -- -- -- Professor Moseley on, 272 - -- -- eyes, practised by the prehistoric Egyptian, 6000 B.C., 271 - -- -- face to hide the ravages of time, 278 - -- -- -- -- heighten its beauty, 278 - -- -- -- deaths due to, 279 - -- -- -- of Japanese children, 273 - -- -- -- -- -- actors, 273 - -- -- feet scarlet by Hindu women, 273 - - Palettes, slate, in the form of two birds in prehistoric Egypt, 295 - -- -- of the New Race, 271 - - Pall, 197 - -- manufacture of, 196 - - Pallium, 195 - -- development of the, 196 - - Palmerston's, Lord, broad-toed shoes, 335 - - Panache derived from the horn, 117 - - Pantaloon, 254, 261, 283, 285 - -- Elizabethan costume of, 269, 285, =285= - - Pantomimes, 269, 282 - - Pantomimi, 282 - - Papoose, swathing of American Indian, 164 - - Paré, Ambrose, on the suffering caused by the corps piqué, 325 - - Paris, waistbands, trade in, discarded, 348 - - Parliamentary officials, wigs of, 132 - - Parti-coloured dress of Athletic clubs, 313 - -- -- -- jockeys, 313 - - Patches indicating political views, 279 - -- of Charles I's reign banned by the Puritans, 278 - -- reappear in Charles II's reign, 279 - - Pattern, pine, origin of, 311 - - Patterns, breeches of chequered, worn by Gauls and early - inhabitants of England, 311 - - Peasant dress, slight survivals in England, 150; Plate VII, - facing page 150 - - Pelisse obtained from Persia, 344 - - Pendants, 122 - - Pensioners, costumes of, 170 - - People, uncivilized, without pockets, 9 - - Persian women wear trousers, 81 - - Pet animals, collars worn by, 298 - - Perthshire, the bare feet of children in, 333 - - Petrie, Professor, on Romano-Egyptian portrait models, 132 - -- -- -- buttons in Egypt, 120 - -- -- -- the origin of a supposed shield-shaped ornament, 296 - - Petticoat at first not shaped, 73 - -- hooped, 337 - - Petticoats, lengthening of, 166 - -- of sailors, 252 - -- -- small boys, 165 - - Pfiferari, cross gartering of, 68 - -- leg bandages of, 68 - - Phallic worship, 122 - - Pig-tail, grease of, 252 - - _Pileus quadratus_, 212 - - Pillion, 140 - - Pin, safety, 101, 118 - -- -- in hat, 104, =104= - -- -- -- waistband, =103=, 104 - -- -- like an Etruscan brooch, 102, =103= - -- scarf, 118 - - Pinafore, 150 - - Pinafores now children's dress, 167 - - Pin-money, 105 - - Pinner, 150 - - Pins, bronze, 105 - -- Egyptian, 105 - -- found in Swiss Lake dwellings, 105 - -- gold, 197 - -- made of thorns, 125 - -- of bone, 105 - -- ornamental, 106 - -- scarf, 106 - - _Pithecanthropus erectus_, 7 - - Plaid, 20, 187 - -- belted, 72 - -- shepherd's, 312 - - Plaids, 311 - - Plastron of Hussars, 148 - - Plowright, Dr., on the Moorish origin of some horse brasses, 293 - - Plugs for lips, 111 - - Plumes, black, of farriers of Life Guards, 242 - -- why on left side, 58 - - Plush, 149 - -- breeches, 104, =141= - - Pocket flaps, vestiges of, 32, =33= - - Pockets, 109 - -- in the sleeves of a Corean, 110 - -- side, 30 - -- uncivilized people without, 9 - - Points, 98 - -- on gloves, =96=, 98 - - Policeman's coat, buttons on the back of, 26, =26= - -- uniform not worn by children, 163 - - Polly, Miss, in the Punch and Judy show, now extinct, 265 - - Polypus (= the octopus) changing colour, 206 - - Porters, livery of, 148 - -- railway, waistcoats of, 148 - - Portugal, Queen of, demonstrates the evils of tight-lacing by - means of radiographs, 325 - - Postilions, buttons on jackets of, 38 - -- coats of His Majesty's, 145 - -- of Lord Mayor, crest worn upon cap of, 92, =92= - - Postulant, veil of, 202 - - Poupée derived from pupa, 163 - - Pouter coat, 141, =141= - - Powder, 149 - -- for hair, 131 - - Prayer-book, first, of Edward V, ornaments, rubric of, upheld by - Act of Uniformity, 199 - -- -- second, of Edward VI, 199 - -- -- vestments prescribed by the, first, of Edward VI, 198 - - Prickers on the shoulder-belt of a Hussar, 239, =239= - - Priest, =194= - - Profession indicated by costumes, 316 - - Puggaree of Duke of Cornwall's Light Infantry, 243 - - Pulicinella, 254 - -- means a hen chicken, 264 - -- Oscan, of 1731, =256= - - Punch, =263= - -- a Roman mime, 183 - -- and Judy, dress of, 137 - -- -- -- show, beadle of, 147, 262, =264= - -- -- -- -- doctor of, 263 - -- -- -- -- Hector, the horse, extinct in, 267 - -- -- -- -- Miss Polly, now extinct in, 265 - -- back hump of, 262, =263= - -- bronze statuette with face and features of, 258, =258= - -- figures worked by wires, 255 - -- front hump of, 253, 261 - -- gay clothes of, in France and England, 261 - -- in religious plays, 266 - -- introduced into _Le Malade Imaginaire_, by Molière, 261 - -- origin of clothes of, 257 - -- -- --, hump of, 253, 261 - -- ruff of, 262, =263= - -- stick of, 260 - -- the behaviour of, changes, 264 - -- voice of, 264 - - Pupa, Greek name for a baby in swaddling clothes, 163 - - Puppet derived from pupa, 163 - -- show of fourteenth century, 259, =259= - -- shows in China, 259 - - Puritans and Quakers, fashions set by, 348 - - Purple as mourning, 182 - - Puttees, 66, =66=, 328 - -- of Indian Army, 66 - - Pyjamas, 128 - -- worn by ladies, 288 - - Pym, John, bands of, 46, =46= - - - Quakers refused to wear buttons, 119 - - Queued hair, 134 - - Quiver carried on a baldric, 106 - - - Ra, 122 - - Rats, white, 302 - - Rank once indicated by dress, 319 - -- indicated by dress in certain professions, 320 - -- not usually shown by dress, 319 - - Ramillies, battle of, 244 - - Red cap of liberty, 306 - -- not universal in the British Army, 308 - -- rag of chulos in the bull fight, 306 - -- ribbon of engaged girl, 306 - -- rose of Lancaster, 306 - -- shirt of the followers of Garibaldi, 306 - -- tie of platelayer, 306 - - Regimental badges, 245 - - Revers buttoned back, 38, =39= - - Reynolds, Mr. P. W., on the survival of a button, 248 - -- -- -- -- -- -- -- -- forage cords, 241 - - Rhead, Mr., on the festal dress of Otaheite, 338 - - Richard II's time, chaperon of, 157 - - Rifle Brigade, busby of, 242 - -- -- cross belt of, 242 - - Ring, 195 - -- for nose of Hindu ayahs, 111 - -- in Ireland, bearing clasped hands, 116 - -- of Bishop Agilbert of Paris, 114 - - Rings, betrothal of Greeks, 115 - -- -- -- Romans, 115 - -- engagement, 114 - -- Egyptian, of blue pottery of faïence, 116 - -- Episcopal, 114 - -- finger, in Babylon, 114 - -- -- -- Egypt, 114 - -- for ears, 112 - -- gimmal, 115 - -- in which the stones stand for letters, 116 - -- sacred eye on, 117 - -- signet, 83, =85= - -- -- in Egypt, 114 - -- -- suspended from the neck, 116 - -- used as an insignia of rank by Romans, 115 - -- wedding, 114 - -- -- worn by nuns, 204 - -- why worn on third finger, 115 - - Robe, parliamentary, of the King, 222 - -- coronation, eagles on, 222 - - Robes of companies, 138 - -- -- a chancellor of a university, 210 - -- -- borough councillors, 138 - -- -- the Barons of the Exchequer, 218 - -- worn on State occasions, 137 - - Robinson, Commander, on naval uniforms, 252 - - Robley, General, collection of Maori heads, 277 - - Rochet, 199, 221 - - Roman betrothal rings, 115 - -- d'Alexandre, MS. of, 259 - - Romans cut their beards, 129 - -- did not wear trousers, 77 - -- shoes of open work of, 62, =63= - -- tunic of, 191 - -- use rings as insignia of rank, 115 - - Roses on Queen Victoria's mantle, 222 - -- worn by Northumberland Fusiliers, 245 - -- -- -- soldiers on St. George's day, 245 - - Roy and Adami, Professors, on the beneficial use of waist belts - and stays, 332 - - Royalty, fashions arising from deformities of, 344 - - Rubies always fashionable, 123 - - Ruff, Elizabethan, of Toby, 253 - -- of Toby, 263 - -- worn by Punch, 262, =263= - - Ruffles, 227 - - Ruffs of Elizabeth's reign, 48, 351 - - Russia, boots of bridegrooms removed by brides in, 177 - - - Sackcloth as mourning, 181 - - Safety-pin, 101, =102=, =103=, =104=, 118 - - Sailor suit, 162 - - Sailors, European, tattooing practised by, 277 - -- kilt of, 252 - -- petticoat breeches of, 252 - -- petticoat of, 252 - -- trousers, method of buttoning, 252 - - St. Clement on women covering their heads in church, 205, 207 - -- George, cross of, 158 - -- Gregory the Great, costume of, 188, =188= - -- John of Jerusalem, dress of Knights of, 321 - -- Lucia, 244 - -- Nicholas, dress of, 137 - -- -- figure of, shows old dress, 267 - -- Patrick, hood of the Order of, 230 - - Sapphires always fashionable, 123 - - Saragossa, battle of, 243 - - Sashes meant to be used as slings, 241 - -- of officers, 249 - -- worn over the left shoulder by sergeants of the Twenty-Ninth - Foot, 249 - - Satchel carried on a baldric, 106 - - Savage, the female--a Merveilleuse dress, 346 - - Savages, colour preferences of, 307 - - Saxons parted or trimmed their beards, 129 - -- wore trousers, 79, =79= - - Scapular of nuns, 202 - - Scaramouch, 254, 261 - -- a pantomimist, 286 - - Scarf, 191, 199 - -- on ladies' hats, 149 - -- pin, 106, 118 - - Scarves, 192 - - Sceptre, 221, 304 - - School, Blue-coat, 167 - -- Bristol Red-Maids, 168 - -- Wells Grey-Maids, 168 - - Schools, Green-coat, 168 - -- Grey-coat, 168 - - Scotland, dress of heads of churches in, 200 - - Scottish Rifles, chaco of, 241 - - Scots Greys, 245 - -- -- take their name from their horses, 303 - -- -- Grenadier, caps of, 244 - -- Guards, 248 - - Seal of Solomon, 293 - - Serapis, crown of, 117 - - Serjeant-at-law, Lord Lindley, last, 217 - -- coif of, 216 - -- robes of, 218 - -- wig of, 215 - - Sergeants of Twenty-Ninth Foot wear sashes over their left - shoulders, 249 - - Servant, clothing of master becomes that of, 5, 139 - - Servants' dress, 139 - - Sex idea, 165 - - "Shabbies," 268 - - Shamrock, 222 - - Shapka, 239 - - Shaving carried out with flint knives or pieces of shell, 127 - -- of heads by Egyptians, 128 - -- -- -- -- East End Jewesses, 127 - -- -- the whole head, 127 - - Shawl, 16 - -- as a head-dress, 61 - -- the ancestral, 15 - -- used as kilt by Danish chieftain, 72, =73= - - Shells as ornaments, 112 - -- cowry, on trappings of camels, 297, =299= - -- -- -- -- -- donkeys, 297 - -- -- -- -- -- Hussars, 297, =298= - -- -- -- -- -- mules, 297, =299= - - Shepherd, plaid of, 312 - - Shield, 83 - -- heart-shaped, derived from a double bird, 296 - -- of Black Prince, 87, =89= - -- -- David, 293 - - Shirt front, origin of the, 44 - -- survival of the, as an outer garment, 288 - - Shoe made from a flat piece of hide, 65 - -- money in Bulgaria, 177 - -- of raw hide, 64, =64= - - Shoes, broad toed, of Henry VIII's reign, 335 - -- gift of, by bridegroom to bride, 177 - -- high heels of, 335 - -- old, thrown at weddings, 176 - -- ornamentation of modern, 62 - -- part of wages, 177 - -- pieces of old, worn by Eskimos to ensure fruitfulness, 178 - -- removed from dead bodies to lay ghosts, 178 - -- with preposterously long toes, 350 - -- thrown over the heads of the O'Neils by the O'Cahans, 177 - -- -- to ensure fruitfulness, 177 - - Shoulder knot, use of, 238 - - Siamese women wear trousers, 81; see Plate V, facing p. 81 - - Sicily, triskele in the coat-of-arms of, 119 - - Sign of the "Crooked Billet," 146 - - Signs derived from Royal badges, 91 - - Silk, forbidden, 351 - -- stockings, 140, =141= - - Simkin, Mr. R., explanation of the flash, 133 - - Sisters, lay, 204 - -- Kilburn, 201, 202 - -- of Mercy, 201 - - Skeleton dress, Dutch, 145, =145= - - "Sketch, The," on cockades, 158 - - Skirt, long, dangerous nowadays, 358 - -- -- disseminates germs, 358 - - Skirts, short, a recognized feature of children's costume, 163 - -- simple, of a Danish chieftainess, 73 - -- of lady gardeners damaged the plants, 358 - - Skull on head-dress of Hussars, 146 - - Skulls, bone inserted into prehistoric, 336 - - Sleeves, costume dated by, 210 - -- detachable, of nuns, 202 - -- hanging, 209, =209= - -- hanging, of a chancellor of Oxford University, =211= - -- slashed, prohibited, 350 - -- velvet, of a Proctor, 321 - - Sling jacket of the Hussars, =81=, 239 - - Smock-frock, 18, =19= - - Socks, 66 - - Soldiers, armlets conferred on, 114 - -- boys dressed as, 163 - -- dress previous to the Restoration, 236 - - Solicitor of Guards, uniform of, 247 - -- -- -- cocked hat of, 247 - - Solomon, seal of, 293 - - Somersetshire Light Infantry, cavalry mess jacket of, 242 - - Soul remaining in shoes, 178 - - Spaniard, dress of the, 318 - - Spatterdashes, 70 - - Spencer, Herbert, on fashions, 343 - - Spire, Siamese head-dress compared with a votive, 50, =51= - - Sporran, =76=, 77 - - Spur leathers, 235 - - Staff, cross, 195 - -- pastoral, 195 - - Star, 158 - - Statuette, bronze, of Punch, 258, =258= - - Statute cap of Elizabeth, 168 - - Stays, original intention of, 323 - -- Professors Roy and Adami on the beneficial use of, 332 - -- theory that they are derived from swaddling clothes, 332 - - Steen, Jan, bands of, 46, =46= - - Stick of camel driver survival of a sceptre, 304 - - Sticks, walking, 124 - - Stitching carried down the back of gloves, =97=, 98 - - Stoat, 222 - - Stockings, 66, 195 - -- embroidered, 69, =69= - -- leather, worn by William Penn, 70 - -- of cloth, 68 - -- open work, 69, =69= - -- silk, 140, =141= - -- yellow, of blue-coat boys, 167 - - Stocks of leather, 200 - - Stole, 193, 221 - - Stoles of deacons, 192 - - Stone Age, ornaments of, 112 - - Stones, precious, fashions in, 123 - -- -- supposed attributes of, 123 - - Straps, shoulder, =74=, 75 - - Straw wisps on horses, 297 - - Streamers of sailor hat, 53, =53= - -- -- Scotch cap, 53, =54= - -- on barristers' gowns, 219 - -- -- hats, 52, =52= - -- -- head-dress of twelfth century, 53, =53= - - Strings, cap, 149 - -- on mitres, 54, =54= - - Stripe on trousers, vestige of a row of buttons, =81=, 82 - - Stripes on sleeves of non-commissioned officers, 114 - - Stud, 118, =119= - - Suit, sailor, 162 - - Sumptuary laws, 349, 350, 351 - -- -- a hindrance to trade, 351 - -- -- usually a failure, 349 - - Sun-bonnet of barge women, 61; see Plate VIII, facing p. 150 - - Sun-bonnets of horses, 300 - -- -- -- market-garden women, 61 - - Surcoat, 83 - -- of Black Prince, 87, 89 - -- -- Henry Duke of Lancaster, 86, =86= - - Surgeons of the Life Guards wear cocked hats, 247 - - Superstitions keep up fashions, 349 - - Surplice, 185, 195, 199 - -- academical hood worn by clergy on a, 212 - -- Mr. Macalister on the, 185 - -- slit in front in order to go over big wigs, 185 - - Survivals of trade costumes (butchers), 308 - -- supposed in naval dress, 252 - - Suspenders, 71 - - Surtout, 148 - - Swaddling clothes still used in the Holy Land, 333 - -- -- theory that stays are derived from, 332 - -- -- swallow-tail coat, evolution of, 33, =34= - -- tails at Harrow, 170 - - Swastika, 119, 122; see Plate VII, fig. F, facing p. 129, 311 - -- the forerunner of the cross, 311 - - Sword belt, not worn outside the coat, 26 - -- handle, opening for, in coat, 30 - -- in Court dress, 227 - -- ivory hilted, worn by Eleventh Hussars, 244 - - - Tab on soldier's coat, =29=, 30 - -- -- side of coat, =31=, 32 - - Tabards of heralds, 83 - - Tags, metal, 100, =101= - -- ornamental, 101, =101= - -- useless on top boots, 66, =66= - - _Tailor and Cutter_, Editor of, on clothes and nationality, 317 - - Talismans, wearing of, by ancient Egyptians, 122 - - Talith, 205 - - Tannin preserves woven material, 18 - - Tapir, spotted when young, 94; see Frontispiece - - Tartan, Cameron, 242 - -- wearing of, forbidden, 351 - - Tartans, Royal Stuart, 312 - -- of Scotch clans, 312 - -- dyes for, obtained from native plants, 313 - -- clans with several, 312 - - Tattooing, 13 - -- and mittens, 99 - -- destroys the effect of nakedness even in Europeans, 277 - -- effect of, produced by open-work stockings and blouses, 70 - -- of the Maoris, 277 - -- practised by early Egyptians, 277 - -- -- -- European sailors, 277 - -- -- -- modern sailors, 277 - -- -- -- Jews, 277 - -- -- -- practised by old inhabitants of this country, 277 - -- scar, as a means of recognition, 276 - - Tax on elegant dress, 350 - - Teeth blackened by Hindu women, 273 - -- -- -- Japanese women on marriage, 273 - - Thistle, hood of the Order of the, 230 - - Thistles, 222 - - Tie, white at, Eton, 169 - - Tierra del Fuegians, 11 - - Tights, 70 - -- of acrobats, 286 - -- a survival of Florentine hose, 286 - -- -- knightly orders, 231 - - Tippet, 192, 212 - - Tippets of Doctors of Divinity, scarlet, 212 - -- for ministers who are not graduates, 199 - - Tobit, dog in the Book of, suggested by Toby, 267 - - Toby, Elizabethan ruff of, 253 - -- represented in China by a dragon, 267 - -- -- -- France by a cat, 267 - -- ruff of, 263 - -- suggests the dog in the book of Tobit, 267 - - Toga, 187 - -- replacement of, 192 - -- when worn, 187 - - Toledo, Fourth Council of, 192 - - Tonsure, 217 - -- of priests, 127 - - Topaz as a detector of poison, 124 - - "Toothpick" collar of dress coat, 43, =43= - - Top-coat, 149 - - Trades, characteristic dresses of, 320 - - Trajan, trousers shown on the column of, 78 - - Tramway drivers, buttons on back of the coats of, 30, =31= - - Treble, cockade, large, =152= - - Trencher, 47, 213, =214= - - Triangles, mystic interlaced, 293 - - Trimmings of judge's gown, altered in colour by Lord Coleridge, 218 - - Triskele in the coat-of-arms of the Isle of Man, 119 - -- -- -- -- -- -- -- Sicily, 119 - - Trousers, bell-bottom, 347 - -- evolution of, 77 - -- method of buttoning bishops', 252 - -- not worn by Romans, 77 - -- of labourers, method of buttoning, 252 - -- -- sailors, method of buttoning, 252 - -- shown on Trajan's column, 78 - -- worn by barbarians, 78, =78= - -- -- -- lady gardeners at Kew, 358 - -- -- -- Normans, 79 - -- -- -- Saxons, 79, =79= - -- -- -- women in Siam, 81; see Plate V, facing p. 81 - -- -- -- -- -- Persia, 81 - -- -- in riding dress by ladies, 358 - - Trumpeters, State, uniform of, 242 - - Trumpington, Sir Richard de, brass of, showing chain mail, 234, =234= - - Trunk hose of clown, 269 - -- -- of Knightly Orders, 231 - - Tudor dresses, shown by playing cards, 231 - -- flat cap, 214 - - Tunic, 16, 17, =17=, 187 - -- developed from the shawl, 17, =18= - - Tunic, Egyptian, 16 - -- Greek, 16, =17= - -- of monks, 201 - -- sleeved, 17 - -- survival of the Anglo-Saxon, 288 - - Tunica alba, 189 - - Tunicle, 195, 221 - - Tunics, black, of farriers of Life Guards, 242 - -- of Anglo-Saxons compared with a shirt, 288 - -- -- Lacedæmonian girls slit down the side, 346 - - Turban like the dome of a mosque, 50, =50= - - Turquoises always fashionable, 123 - - Twenty-Ninth Foot, sergeants of, wear sashes over their left - shoulders, 249 - - Twain, Mark, 341 - - Tylor, Dr., on finger-rings, 114 - -- -- -- painting in war time by civilized races, 273 - -- -- -- the tendency to give up savage ornaments, 111 - - - Underclothes, lack of, 360 - - Ulster, 149 - - Uniforms, naval, 251 - -- of Hussars, 272 - -- -- Navy, date from 1767, 251 - -- -- sergeant worn by extra drummer, 244 - -- military, regular adoption of, 235 - -- -- solicitor of Guards, 247 - -- service, protectively coloured, 236 - -- gay, only used in times of peace, 236 - - Union Jack on King's colours of Coldstream Guards, 246 - - Ushabti, models of servants put into Egyptian graves, 268 - - - Veil of a bride, 175 - -- -- novice, 202 - -- -- nun, 202, =203= - -- -- postulants, 202 - - Vergers, costume of, 218 - - Vermiform appendix, 3 - - Vestments, adoption of, by English High Church clergy, 192 - -- baptismal, 164 - -- ecclesiastical, 184 - -- of High Church clergy, coloured, adopted by, 305 - -- ornaments of, gradually acquired, 187 - -- prescribed by the first Prayer Book of Edward VI, 198 - -- prohibited by second Prayer Book of Edward VI, 199 - -- of Presbyterian clergy, professional, 185 - -- worn at the celebration of the Eucharist, =194= - - Vestige of a row of buttons, stripe on trousers, =81=, 82 - -- -- the coif from wig of a sergeant-at-law, 216, =217= - - Vestiges, buttons on postilions, 38 - -- of the fillet, 52, =52= - -- in the animal kingdom, 3 - - Vickery, Dr. Alice, on children's dress, 165 - - Villiers-en-Couche, battle of, 244 - - Voice of Punch, 264 - - Vowesses, 183 - - - Waist, wasp-like, 323 - - Wales', Prince of, feathers a hereditary badge, 90 - - Waistbands, trade in discarded, in Paris, 348 - - Waistbelts, Professors Roy and Adami, on the beneficial use of, 332 - - Waistcoat, 148 - - Waiter, 144 - - Waiters, evening dress of, 144, 151 - - Wand of harlequin, 283 - - Warp, 16 - -- of hand loom, 117 - - Waterloo, battle of, 245 - - Watermen, badges of, 91 - - Wearing of talismans by ancient Egyptians, 122 - - Weddings, superstitions at, 176 - - Weights, leaden, used by women to flatten their chests, 338 - - Weeds, old meaning of the word, 182 - -- widows, 182 - - Weft of hand loom, 117 - - Wells, Blue schools at, 168 - - Welsh Fusiliers, flash of, 241 - - Westminster, coats at, 169 - - Whips, fashions in, 303 - - Whiskers, effect of bushy, 130 - - White as mourning, 182 - -- clothes of butterman, 320 - -- -- -- man cook, 320 - - Widows, costume of, 198 - - Wig of coachman, 142, =142= - -- of judge, 215, =216= - -- -- -- depression in, 215 - -- -- doctor in the Punch and Judy show, =264= - - Wig-bag of Court dress, 227, =229= - -- remnant of, 133 - -- on liveries of servants, 134, =143= - -- of Lord Mayor's coachman, 134, 143, =143= - - Wigs, barristers', 132 - -- coachmen's, 132 - -- imitating curly hair, 130 - -- footmen's, 132 - -- judges, 132 - -- legal, 215 - -- of East End Jewesses, 127 - -- -- Egyptians, 128 - -- -- Parliamentary officials, 132 - -- -- Serjeants-at-law, 215 - -- value of, 228 - - Wilhelmstahl, battle of, 244 - - William Rufus, hanging sleeves of the time of, 209 - - Wimple, 175, =203= - -- of Norman ladies, 202 - -- of the time of the Plantagenets, 202 - - Winchester scholars, bands of, 169 - - Wolfe, General, black worm worn as mourning for, 242 - - Women, Arab, 122 - -- -- ideas of modesty, 207 - -- barge, apron of, 150; see Plate VIII, facing p. 150 - -- colour preferences of, 307 - -- covering their faces, 13, 206 - -- dress of, varies little, 16 - -- in church without hats, 13, 206 - -- -- many places wear trousers, 357 - -- married, not to wear caps, 350 - -- milk, 150 - -- -- yokes of, 110 - -- Padaung, metal collars of, 114; see Plate VI, facing p. 114 - -- rational dress for, 361 - -- riding astride, 359 - -- the first to wear clothes, 12 - -- Welsh and Italian, age rapidly, 329 - - Wood, Mr. Walter, on white jackets for soldiers, 243 - - Woodville, Mr. Caton, on aiguillettes, 240 - - Worm, black, of East Yorkshire regiment, 242 - -- -- mourning for Sir John Moore, 242 - -- -- of North Lancashire regiment, 242 - -- -- of Somersetshire Light Infantry, 242 - -- -- worn as mourning for General Wolfe, 242 - -- slow, third eye in, 3 - - Wristbands, 24 - - - Yellow as mourning, 182 - -- a favourite colour of gipsies, 306 - -- mourning colour in Oriental countries, 307 - -- worn by mediæval Jews, 307 - - Yeomen of the Guard, badges of, 224, =224=, 225 - -- -- -- -- dress of, 223 - -- -- -- -- duties of, 225 - -- -- -- -- officers, dress of, 225 - -- -- -- -- -- of, wear the uniform used in the Peninsular War, 225 - -- -- -- -- original uniform of, 225 - - Yoke, =109=, 110 - -- of milk woman, 110 - - Yoxall, Mr., on wearing of yellow by Jews, 306 - - - - - PRINTED BY - WILLIAM BRENDON AND SON, LTD. - PLYMOUTH - - - - -Transcriber's note - - -Words in italics were surrounded by _underscores_ and in bold by -=signs=. - -Anchors for footnote 33 and 34 were added, after careful consideration -where they should have been. - -Some illustrations were slightly moved for reader convenience, but -the bold numbers in the index, leading to the original pages, were not -changed. - -In the Index, errors in the alphabetical order were not corrected. Also -in the Index, the item "Moseley" seemed to contain a footnote, which -has been removed because it did not refer to anything. The original -said: "see Plate X, fig. C1". - -A few punctuation errors have been corrected silently. Also the -following corrections were made, on page - - 134 "Fusillers" changed to "Fusiliers" (Fig. 109) - 145 "Sketon" changed to "Skeleton" (Dutch Skeleton Dress) - 213 "carboard" changed to "cardboard" (made of cardboard covered - with cloth) - 221 "almostly" changed to "almost" (agree almost entirely with those) - 263 "mop" changed to "mob" (Fig 154.), also in the List of - Illustrations - 278 "Markan" changed to "Marken" (the women of Marken, in Holland, - may have) - 289 "o" changed to "0" (8s. 0d.) - 309 "deferentiate" changed to "differentiate" (serve to - differentiate the sisters) - 314 "promegranate" changed to "pomegranate" (the flowers of the - pomegranate) - 329 "had" changed to "hand" (On the other hand, the fact that) - 369 "Abesses" changed to "Abbesses" (Abbesses, costume of) - 388 "oy" changed to "by" (worn by Punch). - -Otherwise the original has been preserved, including inconsistent -spelling and hyphenation. - - - - - -End of Project Gutenberg's The Heritage of Dress, by Wilfred Mark Webb - -*** END OF THIS PROJECT GUTENBERG EBOOK THE HERITAGE OF DRESS *** - -***** This file should be named 42682-8.txt or 42682-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/6/8/42682/ - -Produced by eagkw, Chris Curnow, Google Print and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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