Chapter VIII: Part 8

It is a question, in this time of restraint, of formalism, where anything could be made plain, cut in a cumbrous fashion, rendered inelegant, it was done. The little jackets were denuded of all forms of frippery, the breeches were cut straight, and the ornaments, if any, were of the most severe order. Hats became broader in the brim, boots wider in the tops, in fact, big boots seemed almost a sign of heavy religious feeling. The nice hair, love-locks, ordered negligence all vanished, and plain crops or straight hair, not over long, marked these extraordinary people. It was a natural revolt against extravagance, and in some more sensible minds it was not carried to excess; points and bows were allowable, though of sombre colours. Sashes still held good, but of larger size, ruffs at the wrists were worn, but of plain linen. The bands or collars varied in size according to the religious enthusiasm of the wearers, but all were plain without lace edgings, and were tied with plain strings. Black, dark brown, and dull gray were the common colours, relieved sometimes, if the man was wearing a sleeveless coat, by the yellow and red-barred sleeves of the under-jacket, or possibly by coloured sleeves sewn into the coat under the shoulder-wings. Overcoats were cut as simply as possible, though they did not skimp the material but made them wide and loose.

Notice the careful plainness of his dress, and his very wide-topped
boots.]

The women dressed their hair more plainly, the less serious retained the little bunches of side curls, but the others smoothed their hair away under linen caps or black hoods tied under their chins. Another thing the women did was to cut from their bodices all the little strips but the one in the middle of the back, and this they left, like a tail, behind. Some, of course, dressed as before with the difference in colour and in ornament that made for severity. It had an effect on the country insomuch as the country people ceased to be extravagant in the materials for garments and in many like ways, and so lay by good fortunes for their families--these families coming later into the gay court of Charles II. had all the more to lavish on the follies of his fashions.

The Puritan is as well-known a figure as any in history; an intelligent child could draw you a picture or describe you a Puritan as well as he could describe the Noah of Noah's Ark. He has become part of the stock for an Academy humourist, a thousand anecdote pictures have been painted of him; very often his nose is red, generally he has a book in his hand, laughing maids bring him jacks of ale, jeering Cavaliers swagger past him: his black cloak, board shoes, wide Geneva bands are as much part of our national picture as Punch or Harlequin.

This is not one of the most Puritanical dresses, but shows how the
richness of the reign of Charles I. was toned down. She carries a
muff in her hand, wears a good wide collar and cuffs, and neat roses
on her shoes.]

The Puritaness is also known. She is generally represented as a sly bird in sombre clothes; her town garments, full skirts, black hood, deep linen collar are shown to hide a merry-eyed lady, her country clothes, apron, striped petticoat, bunched up skirt, linen cap, her little flaunt of curls show her still mischievous. The pair of them, in reality religious fanatics, prepared a harvest that they little dreamt of--a harvest of extravagant clothes and extravagant manners, when the country broke loose from its false bondage of texts, scriptural shirts, and religious petticoats, and launched into a bondage, equally false, of low cut dresses and enormous periwigs.

In the next reign you will see an entirely new era of clothes--the doublet and jerkin, the trunks and ruffs have their last eccentric fling, they become caricatures of themselves, they do all the foolish things garments can do, and then, all of a sudden, they vanish--never to be taken up again. Hair, long-neglected, is to have its full sway, wigs are the note for two centuries, so utterly different did the man become in the short space of thirty-five years, that the buck of the Restoration and the beau of the Jacobean order would stare helplessly at each other, wondering each to himself what manner of fool this was standing before him.

This shows the modification of the dress of the time of Charles I.
Not an extreme change, but an endeavour towards simplicity.]

CHARLES THE SECOND

Reigned twenty-five years: 1660-1685.

Born 1630. Married, 1662, Katherine of Portugal.

THE MEN AND WOMEN

England, apparently with a sigh of relief, lays aside her hair shirt, and proves that she has been wearing a silk vest under it. Ribbon-makers and wig-makers, lace-makers, tailors, and shoemakers, pour out thankful offerings at the altar of Fashion. One kind of folly has replaced another; it is only the same goddess in different clothes. The lamp that winked and flickered before the stern black figure in Geneva bands and prim curls is put to shame by the flare of a thousand candles shining on the painted face, the exposed bosom, the flaunting love-locks of this Carolean deity.

We have burst out into periwigs, monstrous, bushy; we have donned petticoat breeches ruffled like a pigeon; we have cut our coats till they are mere apologies, serving to show off our fine shirts; and we have done the like with our coat-sleeves, leaving a little cuff glittering with buttons, and above that we have cut a great slit, all to show the marvel of our linen.

Those of us who still wear the long wide breeches adorn them with heavy frills of deep lace, and sew bunches of ribbons along the seams. We tie our cravats in long, stiff bows or knot them tight, and allow the wide lace ends to float gracefully.

This shows the dress during the first half of the reign. The feature
of groups of ribboning is shown, with the short sleeve, the full
shirt, and the petticoat.]

Our hats, broad-brimmed and stiff, are loaded with feathers; our little cloaks are barred with silk and lace and gold cord; our shoes are square-toed and high-heeled, and are tied with a long-ended bow of ribbon.

Ribbon reigns triumphant: it ties our periwigs into bunches at the ends; it hangs in loops round our waists; it ties our shirt-sleeves up in several places; it twists itself round our knees. It is on our hats and heads, and necks and arms, and legs and shoes, and it peers out of the tops of our boots. Divines rave, moralists rush into print, to no purpose. The names seem to convey a sense of luxury: dove-coloured silk brocade, Rhingrave breeches, white lutestring seamed all over with scarlet and silver lace, sleeves whipt with a point lace, coat trimmed and figured with silver twist or satin ribbon; canvas, camblet, galloon and shamey, vellam buttons and taffety ribbons. The cannons, those bunches of ribbons round our knees, and the confidents, those bunches of curls by our ladies' cheeks, do not shake at the thunderings of Mr. Baxter or other moral gentlemen who regard a Maypole as a stinking idol. Mr. Hall writes on 'The Loathsomeness of Long Hair,' Mr. Prynne on 'The Unloveliness of Lovelocks,' and we do not care a pinch of rappe.

Little moustaches and tiny lip beards grow under careful treatment, and the ladies wear a solar system in patches on their cheeks.

The ladies soon escaped the bondage of the broad Puritan collars, and all these had hid was exposed. The sleeves left the arms bare to the elbow, and, being slit above and joined loosely by ribbons, showed the arm nearly to the shoulder. The sleeves of these dresses also followed the masculine fashion of little cuffs and tied-up linen under-sleeves. The bodices came to a peak in front and were round behind. The skirts were full, satin being favoured, and when held up showed a satin petticoat with a long train. The ladies, for a time, indulged in a peculiar loop of hair on their foreheads, called a 'fore-top,' which gave rise to another fashion, less common, called a 'taure,' or bull's head, being an arrangement of hair on the forehead resembling the close curls of a bull. The loose curls on the forehead were called 'favorites'; the long locks arranged to hang away from the face over the ears were called 'heart-breakers'; and the curls close to the cheek were called 'confidents.' Ladies wore cloaks with baggy hoods for travelling, and for the Mall the same hats as men, loaded with feathers.

This is the change which came over men's dress on or about October,
1666. It is the new-fashioned vest or body-coat introduced to the
notice of Charles by John Evelyn.]

I am going to leave the change in dress during this reign to the next chapter, in which you will read how it struck Mr. Pepys. This change separates the old world of dress from the new; it is the advent of frocked coats, the ancestor of our frock-coat. It finishes completely the series of evolutions beginning with the old tunic, running through the gown stages to the doublet of Elizabethan times, lives in the half coat, half doublet of Charles I., and ends in the absurd little jackets of Charles II., who, sartorially, steps from the end of the Middle Ages into the New Ages, closes the door on a wardrobe of brilliant eccentricity, and opens a cupboard containing our first frock-coat.

PEPYS AND CLOTHES

It is not really necessary for me to remind the reader that one of the best companions in the world, Samuel Pepys, was the son of a tailor. Possibly--I say possibly because the argument is really absurd--he may have inherited his great interest in clothes from his father. You see where the argument leads in the end: that all men to take an interest in clothes must be born tailors' sons. This is no more true of Adam, who certainly did interest himself, than it is of myself.

Pepys was educated at St. Paul's School, went to Trinity College, Cambridge, got drunk there, and took a scholarship. He married when he was twenty-two a girl of fifteen, the daughter of a Huguenot. He was born in 1633, three years after the birth of Charles II., of outrageous but delightful memory, and he commenced his Diary in 1660, the year in which Charles entered London, ending it in 1669, owing to his increasing weakness of sight. He was made Secretary to the Admiralty in 1672, in 1673 he became a member of Parliament, was sent to the Tower as a Papist in 1679, and released in 1680. In 1684 he became President of the Royal Society, and he died in 1703, and is buried in St. Olave's, Crutched Friars.

Pepys mentions, in 1660, his coat with long skirts, fur cap, and buckles on his shoes. The coat was, doubtless, an old-fashioned Cromwellian coat with no waist.

Later he goes to see Mr. Calthrop, and wears his white suit with silver lace, having left off his great skirt-coat. He leaves Mr. Calthrop to lay up his money and change his shoes and stockings.

He mentions his scarlet waistclothes, presumably a sash, and regards Mr. John Pickering as an ass because of his feathers and his new suit made at the Hague. He mentions his linning stockings and wide cannons. This mention of wide cannons leads me to suppose that at this time any ornament at the knee would be called cannons, whether it was a part of the breeches or the stockings, or a separate frill or bunch of ribbons to put on.

On July 1, still in the same year, comes home his fine camlett cloak and gold buttons; also a silk suit. Later he buys a jackanapes coat with silver buttons. Then he and Mr. Pin, the tailor, agree upon a velvet coat and cap ('the first I ever had'). He buys short black stockings to wear over silk ones for mourning.

On October 7 he says that, long cloaks being out of fashion, he must get a short one. He speaks of a suit made in France for My Lord costing L200. He mentions ladies' masks.

In 1662 his wife has a pair of peruques of hair and a new-fashioned petticoat of sancenett with black, broad lace. Smocks are mentioned, and linen petticoats.

He has a riding-suit with close knees.

His new lace band is so neat that he is resolved they shall be his great expense. He wears a scallop. In 1663 he has a new black cloth suit, with white linings under all--as the fashion is--to appear under the breeches.

You will notice her hair in ringlets tied with a ribbon, and dressed
over a frame at the sides.]

The Queen wears a white-laced waistcoat and a crimson short petticoat. Ladies are wearing hats covered with feathers.

God willing, he will begin next week to wear his three-pound periwig.

He has spent last month (October) L12 on Miss Pepys, and L55 on his clothes. He has silk tops for his legs and a new shag gown. He has a close-bodied coat, light-coloured cloth with a gold edge. He sees Lady Castlemaine in yellow satin with a pinner on.

In 1664 his wife begins to wear light-coloured locks.

In 1665 there is a new fashion for ladies of yellow bird's-eye hood. There is a fear of the hair of periwigs during the Plague. Even in the middle of the Plague Pepys ponders on the next fashion.

In 1666 women begin to wear buttoned-up riding-coats, hats and periwigs.

On October 8 the King says he will set a thrifty fashion in clothes. At this momentous date in history we must break for a minute from our friend Pepys, and hear how this came about. Evelyn had given the King his pamphlet entitled 'Tyrannus, or the Mode.' The King reads the pamphlet, and is struck with the idea of the Persian coat. A long pause may be made here, in which the reader may float on a mental cloud back into the dim ages in the East, and there behold a transmogrified edition of his own frock-coat gracing the back of some staid philosopher. Evelyn had also published 'Mundus Muliebris; or, the Ladies' Dressing-Room Unlocked.'

So, only one month after the Great Fire of London, only a short time before the Dutch burnt ships in the Medway, only a year after the Plague, King Charles decides to reform the fashion. By October 13 the new vests are made, and the King and the Duke of York try them on. On the fifteenth the King wears his in public, and says he will never change to another fashion. 'It is,' says Pepys, 'a long cassocke close to the body, of black cloth and pinked with white silk under it, and a coat over it, and the legs ruffled with black ribband like a pigeon's legs.'

The ladies, to make an alteration, are to wear short skirts. Nell Gwynne had a neat ankle, so I imagine she had a hand in this fashion.

On October 17 the King, seeing Lord St. Alban in an all black suit, says that the black and white makes them look too much like magpies. He bespeaks one of all black velvet.

Sir Philip Howard increases in the Eastern fashion, and wears a nightgown and a turban like a Turk.

On November 2 Pepys buys a vest like the King's.

On November 22 the King of France, Louis XIV., who had declared war against England earlier in the year, says that he will dress all his footmen in vests like the King of England. However, fashion is beyond the power of royal command, and the world soon followed in the matter of the Persian coat and vest, even to the present day.

Next year, 1667, Pepys notes that Lady Newcastle, in her velvet cap and her hair about her ears, is the talk of the town. She wears a number of black patches because of the pimples about her mouth, she is naked-necked (no great peculiarity), and she wears a _just au corps_, which is a close body-coat.

Pepys notices the shepherd at Epsom with his wool-knit stockings of two colours, mixed. He wears a new camlett cloak. The shoe-strings have given place to buckles, and children wear long coats.

In 1668 his wife wears a flower tabby suit ('everybody in love with it'). He is forced to lend the Duke of York his cloak because it rains. His barber agrees to keep his periwig in order for L1 a year. He buys a black bombazin suit.

In 1669 his wife wears the new French gown called a sac; he pays 55s. for his new belt. His wife still wears her old flower tabby gown. So ends the dress note in the Diary.

JAMES THE SECOND

Reigned four years: 1685-1689.

Born 1633. Married, 1661, Anne Hyde; 1673, Mary of
Modena.

THE MEN AND WOMEN

In such a short space of time as this reign occupies it is not possible to show any great difference in the character of the dress, but there is a tendency, shown over the country at large, to discard the earlier beribboned fashions, and to take more seriously to the long coat and waistcoat. There is a tendency, even, to become more buttoned up--to present what I can only call a frock-coat figure. The coat became closer to the body, and was braided across the front in many rows, the ends fringed out and held by buttons. The waistcoat, with the pockets an arm's length down, was cut the same length as the coat. Breeches were more frequently cut tighter, and were buttoned up the side of the leg. The cuffs of the sleeves were wide, and were turned back well over the wrist.

The body-coat has now become the universal fashion, as have also the
wide knee-breeches. Buckles are used on the shoes instead of
strings.]

Of course the change was gradual, and more men wore the transitional coat than the tight one. By the coat in its changing stages I mean such a coat as this: the short coat of the early Charles II. period made long, and, following the old lines of cut, correspondingly loose. The sleeves remained much the same, well over the elbow, showing the white shirt full and tied with ribbons. The shoe-strings had nearly died out, giving place to a buckle placed on a strap well over the instep.

There is a hint of growth in the periwig, and of fewer feathers round the brim of the hat; indeed, little low hats with broad brims, merely ornamented with a bunch or so of ribbons, began to become fashionable.

Swords were carried in broad baldricks richly ornamented.

The waistclothes of Mr. Pepys would, by now, have grown into broad sashes, with heavily fringed ends, and would be worn round the outside coat; for riding, this appears to have been the fashion, together with small peaked caps, like jockey caps, and high boots.

The ladies of this reign simplified the dress into a gown more tight to the bust, the sleeves more like the men's, the skirt still very full, but not quite so long in the train.

Black hoods with or without capes were worn, and wide collars coming over the shoulders again came into fashion. The pinner, noticed by Pepys, was often worn.

Notice the broad collar again in use, also the nosegay. The sleeves
are more in the mannish fashion.]

But the most noticeable change occurs in the dress of countryfolk and ordinary citizens. The men began to drop all forms of doublet, and take to the long coat, a suit of black grogram below the knees, a sash, and a walking-stick; for the cold, a short black cloak. In the country the change would be very noticeable. The country town, the countryside, was, until a few years back, distinctly Puritanical in garb; there were Elizabethan doublets on old men, and wide Cromwellian breeches, patched doubtless, walked the market-place. Hair was worn short. Now the russet brown clothes take a decided character in the direction of the Persian coat and knickerbockers closed at the knee. The good-wife of the farmer knots a loose cloth over her head, and pops a broad-brimmed man's hat over it. She has the sleeves of her dress made with turned-back cuffs, like her husband's, ties her shoes with strings, laces her dress in front, so as to show a bright-coloured under-bodice, and, as like as not, wears a green pinner (an apron with bib, which was pinned on to the dress), and altogether brings herself up to date.

One might see the farmer's wife riding to market with her eggs in a basket covered with a corner of her red cloak, and many a red cloak would she meet on the way to clep with on the times and the fashions. The green apron was a mark of a Quaker in America, and the Society of Friends was not by any means sad in colour until late in their history.

Most notable was the neckcloth in this unhappy reign, which went by the name of Judge Jeffreys' hempen cravat.

WILLIAM AND MARY

Reigned thirteen years: 1689-1702.

The King born in 1650; the Queen born in 1662; married
in 1677.

THE MEN

First and foremost, the wig. Periwig, peruke, campaign wig with pole-locks or dildos, all the rage, all the thought of the first gentlemen. Their heads loaded with curl upon curl, long ringlets hanging over their shoulders and down their backs, some brown, some covered with meal until their coats looked like millers' coats; scented hair, almost hiding the loose-tied cravat, 'most agreeably discoloured with snuff from top to bottom.'

My fine gentleman walking the street with the square-cut coat open to show a fine waistcoat, his stick hanging by a ribbon on to his wrist and rattling on the pavement as it dragged along, his hat carefully perched on his wig, the crown made wide and high to hold the two wings of curls, which formed a negligent central parting. His pockets, low down in his coat, show a lace kerchief half dropping from one of them. One hand is in a small muff, the other holds a fine silver-gilt box filled with Vigo snuff. He wears high-heeled shoes, red heeled, perhaps, and the tongue of his shoe sticks up well above the instep. Probably he is on his way to the theatre, where he will comb his periwig in public, and puff away the clouds of powder that come from it. The fair lady in a side box, who hides her face behind a mask, is delighted if Sir Beau will bow to her.

Strings again in use on the shoes. Cuffs much broader; wigs more
full; skirts wider. Coat left open to show the long waistcoat.]

We are now among most precise people. One must walk here with just such an air of artificiality as will account one a fellow of high tone. The more enormous is our wig, the more frequently we take a pinch of Violet Strasburg or Best Brazil, Orangery, Bergamotte, or Jassamena, the more shall we be followed by persons anxious to learn the fashion. We may even draw a little silver bowl from our pocket, place it on a seat by us, and, in meditative mood, spit therein.

We have gone completely into skirted coats and big flapped waistcoats; we have adopted the big cuff buttoned back; we have given up altogether the wide knee-breeches, and wear only breeches not tight to the leg, but just full enough for comfort.

The hats have altered considerably now; they are cocked up at all angles, turned off the forehead, turned up one side, turned up all round; some are fringed with gold or silver lace, others are crowned with feathers.

We hear of such a number of claret-coloured suits that we must imagine that colour to be all the rage, and, in contrast to other times not long gone by, we must stiffen ourselves in buckram-lined skirts.

These powdered Absaloms could change themselves into very fine fighting creatures, and look twice as sober again when occasion demanded. They rode about the country in periwigs, certainly, but not quite so bushy and curled; many of them took to the travelling or campaign wig with the dildos or pole-locks. These wigs were full over the ears and at the sides of the forehead, but they were low in the crown, and the two front ends were twisted into single pipes of hair; or the pipes of hair at the side were entirely removed, and one single pipe hung down the back. The custom of thus twisting the hair at the back, and there holding it with a ribbon, gave rise to the later pigtail. The periwigs so altered were known as short bobs, the bob being the fullness of the hair by the cheeks of the wig.

The cuffs of the coat-sleeve varied to the idea and taste of the owner of the coat; sometimes the sleeve was widened at the elbow to 18 inches, and the cuffs, turned back to meet the sleeves, were wider still. Two, three, or even more buttons held the cuff back.

The pockets on the coats were cut vertically and horizontally, and these also might be buttoned up. Often the coat was held by only two centre buttons, and the waistcoat flaps were not buttoned at all. The men's and women's muffs were small, and often tied and slung with ribbons.

Plain round riding-coats were worn, fastened by a clasp or a couple of large buttons.

The habit of tying the neckcloth in a bow with full hanging ends was dying out, and a more loosely tied cravat was being worn; this was finished with fine lace ends, and was frequently worn quite long.

Stockings were pulled over the knee, and were gartered below and rolled above it.

The ordinary citizen wore a modified edition of these clothes--plain in cut, full, without half the number of buttons, and without the tremendous periwig, wearing merely his own hair long.

For convenience in riding, the skirts of the coats were slit up the back to the waist; this slit could be buttoned up if need be.

Now, let us give the dandy of this time his pipe, and let him go in peace. Let us watch him stroll down the street, planting his high heels carefully, to join two companions outside the tobacco shop. Here, by the great carved wood figure of a smoking Indian with his kilt of tobacco leaves, he meets his fellows. From the hoop hung by the door one chooses a pipe, another asks for a quid to chew and a spittoon, the third calls for a paper of snuff newly rasped. Then they pull aside the curtains and go into the room behind the shop, where, seated at a table made of planks upon barrels, they will discuss the merits of smoking, chewing, and snuffing.

'We three are engaged in one cause,
I snuffs, I smokes, and I chaws.'

THE WOMEN

Let me picture for you a lady of this time in the language of those learned in dress, and you will see how much it may benefit.

'We see her coming afar off; against the yew hedge her weeds shine for a moment. We see her figuretto gown well looped and puffed with the monte-la-haut. Her echelle is beautiful, and her pinner exquisitely worked. We can see her commode, her top-not, and her fontage, for she wears no rayonne. A silver pin holds her meurtriers, and the fashion suits better than did the creve-coeurs. One hand holds her Saxon green muffetee, under one arm is her chapeau-bras. She is beautiful, she needs no plumpers, and she regards us kindly with her watchet eyes.'

A lady of this date would read this and enjoy it, just as a lady of to-day would understand modern dress language, which is equally peculiar to the mere man. For example, this one of the Queen of Spain's hats from her trousseau (curiously enough a trousseau is a little bundle):

'The hat is a paille d'Italie trimmed with a profusion of pink roses, accompanied by a pink chiffon ruffle fashioned into masses bouillonnee arranged at intervals and circled with wreaths of shaded roses.'

The modern terms so vaguely used are shocking, and the descriptive names given to colours by dress-artists are horrible beyond belief--such as Watteau pink and elephant grey, not to speak of Sevres-blue cherries.

However, the female mind delights in such jargon and hotch-potch.

Let me be kind enough to translate our William and Mary fashion language. 'Weeds' is a term still in use in 'widow's weeds,' meaning the entire dress appearance of a woman. A 'figuretto gown looped and puffed with the monte-la-haut' is a gown of figured material gathered into loops over the petticoat and stiffened out with wires 'monte-la-haut.' The 'echelle' is a stomacher laced with ribbons in rungs like a ladder. Her 'pinner' is her apron. The 'commode' is the wire frame over which the curls are arranged, piled up in high masses over the forehead. The 'top-not' is a large bow worn at the top of the commode; and the 'fontage' or 'tower' is a French arrangement of alternate layers of lace and ribbon raised one above another about half a yard high. It was invented in the time of Louis XIV., about 1680, by Mademoiselle Fontage. The 'rayonne' is a cloth hood pinned in a circle. The 'meurtriers,' or murderers, are those twists in the hair which tie or unloose the arrangements of curls; and the 'creve-coeurs' are the row of little forehead curls of the previous reign. A 'muffetee' is a little muff, and a 'chapeau-bras' is a hat never worn, but made to be carried under the arm by men or women; for the men hated to disarrange their wigs.

'Plumpers' were artificial arrangements for filling out the cheeks, and 'watchet' eyes are blue eyes.

The ladies have changed a good deal by the middle of this reign: they have looped up the gown till it makes side-panniers and a bag-like droop at the back; the under-gown has a long train, and the bodice is long-waisted. The front of the bodice is laced open, and shows either an arrangement of ribbon and lace or a piece of the material of the under-gown.

Black pinners in silk with a deep frill are worn as well as the white lace and linen ones.

The ladies wear short black capes of this stuff with a deep frill.

Sometimes, instead of the fontage, a lady wears a lace shawl over her head and shoulders, or a sort of lace cap bedizened with coloured ribbons.

Her sleeves are like a man's, except that they come to the elbow only, showing a white under-sleeve of lace gathered into a deep frill of lace just below the elbow.

Here you see the cap called the 'fontage,' the black silk apron, the
looped skirt, and the hair on the high frame called a 'commode.']

She is very stiff and tight-laced, and very long in the waist; and at the waist where the gown opens and at the loopings of it the richer wear jewelled brooches.

Later in the reign there began a fashion for copying men's clothes, and ladies wore wide skirted coats with deep-flapped pockets, the sleeves of the coats down below the elbow and with deep-turned overcuffs. They wore, like the men, very much puffed and ruffled linen and lace at the wrists. Also they wore men's waistcoat fashions, carried sticks and little arm-hats--chapeau-bras. To complete the dress the hair was done in a bob-wig style, and the cravat was tied round their necks and pinned. For the winter one of those loose Dutch jackets lined and edged with fur, having wide sleeves.

The general tendency was to look Dutch, stiff, prim, but very prosperous; even the country maid in her best is close upon the heel of fashion with her laced bodice, sleeves with cuffs, apron, and high-heeled shoes.

QUEEN ANNE

Reigned twelve years: 1702-1714.

Born 1665. Married, 1683, Prince George of Denmark.

THE MEN AND WOMEN

When I turn to the opening of the eighteenth century, and leave Dutch William and his Hollands and his pipe and his bulb-gardens behind, it seems to me that there is a great noise, a tumultuous chattering. We seem to burst upon a date of talkers, of coffee-houses, of snuff and scandal. All this was going on before, I say to myself--people were wearing powdered wigs, and were taking snuff, and were talking scandal, but it did not appeal so forcibly.

We arrive at Sedan-chairs and hoops too big for them; we arrive at red-heeled shoes. Though both chairs and red heels belong to the previous reign, still, we arrive at them now--they are very much in the picture. We seem to see a profusion, a confused mass of bobbins and bone lace, mourning hatbands, silk garters, amber canes correctly conducted, country men in red coats, coxcombs, brass and looking-glass snuff-boxes.

Gentlemen walk past our mental vision with seals curiously fancied and exquisitely well cut. Ladies are sighing at the toss of a wig or the tap on a snuff-box, falling sick for a pair of striped garters or a pair of fringed gloves. Gentlemen are sitting baldheaded in elegant dressing-gowns, while their wigs are being taken out of roulettes. The peruquier removes the neat, warm clay tube, gives a last pat to the fine pipes of the hair, and then gently places the wig on the waiting gentlemen. If you can look through the walls of London houses you will next see regiments of gentlemen, their faces pressed into glass cones, while the peruquier tosses powder over their newly-put-on periwigs. The bow at the end of the long pigtail on the Ramillies wig is tied--that is over.

The coat has become still more full at the sides. The hat has a more
generous brim. Red heels in fashion.]

Running footmen, looking rather like Indians from the outsides of tobacco shops, speed past. They are dressed in close tunics with a fringed edge, which flicks them just above the knee. Their legs are tied up in leather guards, their feet are strongly shod, their wigs are in small bobs. On their heads are little round caps, with a feather stuck in them. In one hand they carry a long stick about 5 feet high, in the top knob of which they carry some food or a message. A message to whom?

The running footman knocks on a certain door, and delivers to the pretty maid a note for her ladyship from a handsome, well-shaped youth who frequents the coffee-houses about Charing Cross. There is no answer to the note: her ladyship is too disturbed with household affairs. Her Welsh maid has left her under suspicious circumstances, and has carried off some articles. The lady is even now writing to Mr. Bickerstaff of the _Tatler_ to implore his aid.

This is the list of the things she has missed--at least, as much of the list as my mind remembers as it travels back over the years:

A thick wadded Calico Wrapper.

A Musk-coloured Velvet Mantle lined with Squirrels'
Skins.

Eight night shifts, four pairs of stockings curiously
darned.

Six pairs of laced Shoes, new and old, with the heels of
half 2 inches higher than their fellows.

A quilted Petticoat of the largest size, and one of
Canvas, with whalebone hoops.

Three pairs of Stays boulstered below the left shoulder.
Two pairs of Hips of the newest fashion.

Six Roundabout Aprons, with Pockets, and four strip'd
Muslin night rails very little frayed.

A silver Cheese toaster with three tongues.

A silver Posnet to butter eggs.

A Bible bound in Shagreen, with guilt Leaves and Clasps,
never opened but once.

Two Leather Forehead Cloathes, three pair of oiled
Dogskin Gloves.

Two brand new Plumpers, three pair of fashionable
Eyebrows.

Adam and Eve in Bugle work, without Fig-leaves, upon
Canvas, curiously wrought with her Ladyship's own hand.

Bracelets of braided Hair, Pomander, and Seed Pearl.

A large old Purple Velvet Purse, embroidered, and
shutting with a spring, containing two Pictures in
Miniature, the Features visible.

A Silver gilt box for Cashu and Carraway Comfits to be
taken at long sermons.

A new Gold Repeating Watch made by a Frenchman.

Together with a Collection of Receipts to make Pastes
for the Hands, Pomatums, Lip Salves, White Pots, and
Water of Talk.

Of these things one strikes the eye most curiously--the canvas petticoat with whalebone hoops. It dates the last, making me know that the good woman lost her things in or about the year 1710. We are just at the beginning of the era of the tremendous hoop skirt.

This gentleman from the country will tell me all about it. I stop him and remark his clothes; by them I guess he has ridden from the country. He is wearing a wide-skirted coat of red with deep flap pockets; his coat has buttons from neck to hem, but only two or three--at the waist--are buttoned. One hand, with the deep cuff pushed back from the wrist to show his neat frilled shirt, is thrust into his unbuttoned breeches pocket, the two pockets being across the top of his breeches. Round his neck is a black Steenkirk cravat (a black silk tie knotted and twisted or allowed to hang over loose). His hat is of black, and the wide brim is turned back from his forehead. His wig is a short black periwig in bobs--that is, it is gathered into bunches just on the shoulders, and is twisted in a little bob at the back of the neck. I have forgotten whether he wore red or blue stockings rolled above the knee, but either is likely. His shoes are strong, high-heeled, and have a big tongue showing above the buckle.

Notice that the fontage has become much lower, and the hoop of the
skirt has become enormous. The hair is more naturally dressed.]

He tells me that in Norfolk, where he has come from, the hoop has not come into fashion; that ladies there dress much as they did before Queen Anne came to the throne. The fontage is lower, perhaps, the waist may be longer, but skirts are full and have long trains, and are gathered in loops to show the petticoat of silk with its deep double row of flounces. Aprons are worn long, and have good pockets. Cuffs are deep, but are lowered to below the elbow. The bodice of the gown is cut high in the back and low in front, and is decked with a deep frill of lace or linen, which allows less bare neck to show than formerly. A very observant gentleman! 'But you have seen the new hoop?' I ask him. Yes, he has seen it. As he rode into town he noticed that the old fashions gave way to new, that every mile brought the fontage lower and the hair more hidden, until short curls and a little cap of linen or lace entirely replaced the old high head-dress and the profusion of curls on the shoulders. The hoop, he noticed, became larger and larger as he neared the town, and the train grew shorter, and the patterns on the under-skirt grew larger with the hoop.

I leave my gentleman from the country and I stroll about the streets to regard the fashions. Here, I see, is a gentleman in one of the new Ramillies wigs--a wig of white hair drawn back from the forehead and puffed out full over the ears. At the back the wig is gathered into a long queue, the plaited or twisted tail of a wig, and is ornamented at the top and bottom of the queue with a black bow.

I notice that this gentleman is dressed in more easy fashion than some. His coat is not buttoned, the flaps of his waistcoat are not over big, his breeches are easy, his tie is loose. I know where this gentleman has stepped from; he has come straight out of a sampler of mine, by means of which piece of needlework I can get his story without book. I know that he has a tremendous periwig at home covered with scented powder; I know that he has an elegant suit with fullness of the skirts, at his sides gathered up to a button of silver gilt; there is plenty of lace on this coat, and deep bands of it on the cuffs. He has also, I am certain, a cane with an amber head very curiously clouded, and this cane he hangs on to his fifth button by a blue silk ribbon. This cane is never used except to lift it up at a coachman, hold it over the head of a drawer, or point out the circumstances of a story. Also, he has a single eyeglass, or perspective, which he will advance to his eye to gaze at a toast or an orange wench.

There is another figure on the sampler--a lady in one of those wide hoops; she has a fan in her hand. I know her as well as the gentleman, and know that she can use her fan as becomes a prude or a coquette. I know she takes her chocolate in bed at nine in the morning, at eleven she drinks a dish of bohea, tries a new head at her twelve o'clock toilette, and at two cheapens fans at the Change.

I have seen her at her mantua-makers; I have watched her embroider a corner of her flower handkerchief, and give it up to sit before her glass to determine a patch. She is a good coachwoman, and puts her dainty laced shoe against the opposite seat to balance herself against the many jolts; meanwhile she takes her mask off for a look at the passing world. If only I could ride in the coach with her! If only I could I should see the fruit wenches in sprigged petticoats and flat, broad-brimmed hats; the ballad-sellers in tattered long-skirted coats; the country women in black hoods and cloaks, and the men in frieze coats. The ladies would pass by in pearl necklaces, flowered stomachers, artificial nosegays, and shaded furbelows: one is noted by her muff, one by her tippet, one by her fan. Here a gentleman bows to our coach, and my lady's heart beats to see his open waistcoat, his red heels, his suit of flowered satin. I should not fail to notice the monstrous petticoats worn by ladies in chairs or in coaches, these hoops stuffed out with cordage and stiffened with whalebone, and, according to Mr. Bickerstaff, making the women look like extinguishers--'with a little knob at the upper end, and widening downward till it ends in a basis of a most enormous circumference.'

To finish. I quite agree with Mr. Bickerstaff, when he mentions the great shoe-shop at the St. James's end of Pall Mall, that the shoes there displayed, notably the slippers with green lace and blue heels, do create irregular thoughts in the youth of this nation.

GEORGE THE FIRST

Reigned thirteen years: 1714-1727.

Born 1660. Married, 1682, Sophia of Brunswick.

THE MEN AND WOMEN

We cannot do better than open Thackeray, and put a finger on this passage:

'There is the Lion's Head, down whose jaws the
Spectator's own letters were passed; and over a great
banker's in Fleet Street the effigy of the wallet, which
the founder of the firm bore when he came into London a
country boy. People this street, so ornamented with
crowds of swinging chairmen, with servants bawling to
clear the way, with Mr. Dean in his cassock, his lacquey
marching before him; or Mrs. Dinah in her sack,
tripping to chapel, her footboy carrying her ladyship's
great prayer-book; with itinerant tradesmen, singing
their hundred cries (I remember forty years ago, as a
boy in London city, a score of cheery, familiar cries
that are silent now).

'Fancy the beaux thronging to the chocolate-houses,
tapping their snuff-boxes as they issue thence, their
periwig appearing over the red curtains. Fancy
Saccharissa beckoning and smiling from the upper
windows, and a crowd of soldiers bawling and bustling at
the door--gentlemen of the Life Guards, clad in scarlet
with blue facings, and laced with gold at the seams;
gentlemen of the Horse Grenadiers, in their caps of
sky-blue cloth, with the garter embroidered on the front
in gold and silver; men of the Halberdiers, in their
long red coats, as bluff Harry left them, with their
ruffs and velvet flat-caps. Perhaps the King's Majesty
himself is going to St. James's as we pass.'

_The Four Georges._

We find ourselves, very willingly, discussing the shoes of the King of France with a crowd of powdered beaux; those shoes the dandyism of which has never been surpassed, the heels, if you please, painted by Vandermeulen with scenes from Rhenish victories! Or we go to the toy-shops in Fleet Street, where we may make assignations or buy us a mask, where loaded dice are slyly handed over the counter. Everywhere--the beau. He rides the world like a cock-horse, or like Og the giant rode the Ark of Noah, steering it with his feet, getting his washing for nothing, and his meals passed up to him out by the chimney. Here is the old soldier begging in his tattered coat of red; here is a suspicious-looking character with a black patch over his eye; here the whalebone hoop of a petticoat takes up the way, and above the monstrous hoop is the tight bodice, and out of that comes the shoulders supporting the radiant Molly--patches, powder, paint, and smiles. Here a woman passes in a Nithsdale hood, covering her from head to foot--this great cloak with a piquant history of prison-breaking; here, with a clatter of high red heels, the beau, the everlasting beau, in gold lace, wide cuffs, full skirts, swinging cane. A scene of flashing colours. The coats embroidered with flowers and butterflies, the cuffs a mass of fine sewing, the three-cornered hats cocked at a jaunty angle, the stockings rolled above the knee. Wigs in three divisions of loops at the back pass by, wigs in long queues, wigs in back and side bobs. Lacquer-hilted swords, paste buckles, gold and silver snuff-boxes flashing in the sun, which struggles through the mass of swinging signs.

The buckles on the shoes are now much larger; the stockings are
loosely rolled above the knee. The great periwig is going out, and
the looped and curled wig, very white with powder, is in fashion.]

There is a curious sameness about the clean-shaven faces surmounted by white wigs; there is--if we believe the pictures--a tendency to fat due to the tight waist of the breeches or the buckling of the belts. The ladies wear little lace and linen caps, their hair escaping in a ringlet or so at the side, and flowing down behind, or gathered close up to a small knob on the head. The gentlemen's coats fall in full folds on either side; the back, at present, has not begun to stick out so heavily with buckram. Aprons for ladies are still worn. Silks and satins, brocades and fine cloths, white wigs powdering velvet shoulders, crowds of cut-throats, elegant gentlemen, patched Aspasias, tavern swindlers, foreign adventurers, thieves, a highwayman, a footpad, a poor poet--and narrow streets and mud.

Everywhere we see the skirted coat, the big flapped waistcoat; even beggar boys, little pot-high urchins, are wearing some old laced waistcoat tied with string about their middles--a pair of heel-trodden, buckleless shoes on their feet, more likely bare-footed. Here is a man snatched from the tripe-shop in Hanging Sword Alley by the King's men--a pickpocket, a highwayman, a cut-throat in hiding. He will repent his jokes on Jack Ketch's kitchen when he feels the lash of the whip on his naked shoulders as he screams behind the cart-tail; ladies in flowered hoops will stop to look at him, beaux will lift their quizzing glasses, a young girl will whisper behind a fan, painted with the loves of Jove, to a gorgeous young fop in a light-buttoned coat of sky-blue.

There is a sadder sight to come, a cart on the way to Tyburn, a poor fellow standing by his coffin with a nosegay in his breast; he is full of Dutch courage, for, as becomes a notorious highwayman, he must show game before the crowd, so he is full of stum and Yorkshire stingo. Maybe we stop to see a pirate hanging in chains by the river, and we are jostled by horse officers and watermen, revenue men and jerkers, and, as usual, the curious beau, his glass to his eye. Never was such a time for curiosity: a man is preaching mystic religion; there is a new flavour to the Rainbow Tavern furmity; there is a fellow who can sew with his toes; a man is in the pillory for publishing Jacobite ballads--and always there is the beau looking on.

Country ladies, still in small hoops, even in full dresses innocent of whalebone, are bewildered by the noise; country gentlemen, in plain-coloured coats and stout shoes, have come to London on South Sea Bubble business. They will go to the Fair to see the Harlequin and Scaramouch dance, they will buy a new perfume at The Civet Cat, and they will go home--the lady's head full of the new hoop fashion, and she will cut away the sleeve of her old dress and put in fresh lace; the gentleman full of curses on tavern bills and the outrageous price of South Sea shares.

'And what,' says country dame to country dame lately from town--'what is the mode in gentlemen's hair?' Her own goodman has an old periwig, very full, and a small bob for ordinary wear.

'The very full periwig is going out,' our lady assures her; 'a tied wig is quite the mode, a wig in three queues tied in round bobs, or in hair loops, and the long single queue wig is coming in rapidly, and will soon be all the wear.' So, with talk of flowered tabbies and fine lutestring, are the fashions passed on.

You will see that the fontage has given way to a small lace cap. The
hair is drawn off the forehead. The hoop of the skirt is still
large.]

Just as Sir Roger de Coverley nearly called a young lady in riding-dress 'sir,' because of the upper half of her body, so the ladies of this day might well be taken for 'sirs,' with their double-breasted riding-coats like the men, and their hair in a queue surmounted by a cocked hat.

Colours and combinations of colours are very striking: petticoats of black satin covered with large bunches of worked flowers, morning gown of yellow flowered satin faced with cherry-coloured bands, waistcoats of one colour with a fringe of another, bird's-eye hoods, bodices covered with gold lace and embroidered flowers--all these gave a gay, artificial appearance to the age; but we are to become still more quaintly devised, still more powdered and patched, in the next reign.

GEORGE THE SECOND

Reigned thirty-three years: 1727-1760.

Born 1683. Married, 1705, Caroline of Anspach.

THE MEN

Just a few names of wigs, and you will see how the periwig has gone into the background, how the bob-wig has superseded the campaign wig; you will find a veritable confusion of barbers' enthusiasms, half-forgotten designs, names dependent on a twist, a lock, a careful disarrangement--pigeon's-wing wigs with wings of hair at the sides, comets with long, full tails, cauliflowers with a profusion of curls, royal bind-wigs, staircase wigs, ladders, brushes, Count Saxe wigs, cut bobs, long bobs, negligents, chain-buckles, drop-wigs, bags. Go and look at Hogarth; there's a world of dress for you by the grim humorist who painted Sarah Malcolm, the murderess, in her cell; who painted 'Taste in High Life.' Wigs! inexhaustible subject--wigs passing from father to son until they arrived at the second-hand dealers in Monmouth Street, and there, after a rough overhauling, began a new life. There was a wig lottery at sixpence a ticket in Rosemary Lane, and with even ordinary wigs--Grizzle Majors at twenty-five shillings, Great Tyes at a guinea, and Brown Bagwigs at fifteen shillings--quite a considerable saving might be made by the lucky lottery winner.

On wigs, hats cocked to suit the passing fashion, broad-brimmed, narrow-brimmed, round, three-cornered, high-brimmed, low-brimmed, turned high off the forehead, turned low in front and high at the back--an endless crowd. Such a day for clothes, for patches, and politics, Tory side and Whig to your face, Tory or Whig cock to your hat; pockets high, pockets low, stiff cuffs, crushable cuffs, a regular jumble of go-as-you-please. Let me try to sort the jumble.