Curiosities of Literature (Vol. 1-3). Disraeli Isaac

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      The wild variety of dresses worn in the reign of Henry VIII. is alluded to in a print of a naked Englishman holding a piece of cloth hanging on his right arm, and a pair of shears in his left hand. It was invented by Andrew Borde, a learned wit of those days. The print bears the following inscription:—

      I am an Englishman, and naked I stand here,

       Musing in my mind, what rayment I shall were;

       For now I will were this, and now I will were that,

       And now I will were what I cannot tell what.

      At a lower period, about the reign of Elizabeth, we are presented with a curious picture of a man of fashion by Puttenham, in his "Arte of Poetry," p. 250. This author was a travelled courtier, and has interspersed his curious work with many lively anecdotes of the times. This is his fantastical beau in the reign of Elizabeth. "May it not seeme enough for a courtier to know how to weare a feather and set his cappe aflaunt; his chain en echarpe; a straight buskin, al Inglese; a loose à la Turquesque; the cape alla Spaniola; the breech à la Françoise, and, by twentie maner of new-fashioned garments, to disguise his body and his face with as many countenances, whereof it seems there be many that make a very arte and studie, who can shewe himselfe most fine, I will not say most foolish or ridiculous." So that a beau of those times wore in the same dress a grotesque mixture of all the fashions in the world. About the same period the ton ran in a different course in France. There, fashion consisted in an affected negligence of dress; for Montaigne honestly laments, in Book i. Cap. 25—"I have never yet been apt to imitate the negligent garb which is yet observable among the young men of our time; to wear my cloak on one shoulder, my bonnet on one side, and one stocking in something more disorder than the other, meant to express a manly disdain of such exotic ornaments, and a contempt of art."

      The fashions of the Elizabethan age have been chronicled by honest John Stowe. Stowe was originally a tailor, and when he laid down the shears, and took up the pen, the taste and curiosity for dress was still retained. He is the grave chronicler of matters not grave. The chronology of ruffs, and tufted taffetas; the revolution of steel poking-sticks, instead of bone or wood, used by the laundresses; the invasion of shoe-buckles, and the total rout of shoe-roses; that grand adventure of a certain Flemish lady, who introduced the art of starching the ruffs with a yellow tinge into Britain: while Mrs. Montague emulated her in the royal favour, by presenting her highness the queen with a pair of black silk stockings, instead of her cloth hose, which her majesty now for ever rejected; the heroic achievements of the Right Honourable Edward de Vere, Earl of Oxford, who first brought from Italy the whole mystery and craft of perfumery, and costly washes; and among other pleasant things besides, a perfumed jerkin, a pair of perfumed gloves trimmed with roses, in which the queen took such delight, that she was actually pictured with those gloves on her royal hands, and for many years after the scent was called the Earl of Oxford's Perfume. These, and occurrences as memorable, receive a pleasant kind of historical pomp in the important, and not incurious, narrative of the antiquary and the tailor. The toilet of Elizabeth was indeed an altar of devotion, of which she was the idol, and all her ministers were her votaries: it was the reign of coquetry, and the golden age of millinery! But for grace and elegance they had not the slightest feeling! There is a print by Vertue, of Queen Elizabeth going in a procession to Lord Hunsdon. This procession is led by Lady Hunsdon, who no doubt was the leader likewise of the fashion; but it is impossible, with our ideas of grace and comfort, not to commiserate this unfortunate lady; whose standing-up wire ruff, rising above her head; whose stays, or bodice, so long-waisted as to reach to her knees; and the circumference of her large hoop farthingale, which seems to enclose her in a capacious tub; mark her out as one of the most pitiable martyrs of ancient modes. The amorous Sir Walter Raleigh must have found some of the maids of honour the most impregnable fortification his gallant spirit ever assailed: a coup de main was impossible.

      I shall transcribe from old Stowe a few extracts, which may amuse the reader:—

      "In the second yeere of Queen Elizabeth, 1560, her silke woman, Mistris Montague, presented her majestie for a new yeere's gift, a paire of black knit silk stockings, the which, after a few days' wearing, pleased her highness so well, that she sent for Mistris Montague, and asked her where she had them, and if she could help her to any more; who answered, saying, 'I made them very carefully of purpose only for your majestie, and seeing these please you so well, I will presently set more in hand.' 'Do so (quoth the queene), for indeed I like silk stockings so well, because they are pleasant, fine, and delicate, that henceforth I will wear no more CLOTH STOCKINGS'—and from that time unto her death the queene never wore any more cloth hose, but only silke stockings; for you shall understand that King Henry the Eight did weare onely cloath hose, or hose cut out of ell-broade taffety, or that by great chance there came a pair of Spanish silk stockings from Spain. King Edward the Sixt had a payre of long Spanish silk stockings sent him for a great present.—Dukes' daughters then wore gownes of satten of Bridges (Bruges) upon solemn dayes. Cushens, and window pillows of velvet and damaske, formerly only princely furniture, now be very plenteous in most citizens' houses."

      "Milloners or haberdashers had not then any gloves imbroydered, or trimmed with gold, or silke; neither gold nor imbroydered girdles and hangers, neither could they make any costly wash or perfume, until about the fifteenth yeere of the queene, the Right Honourable Edward de Vere, Earl of Oxford, came from Italy, and brought with him gloves, sweete bagges, a perfumed leather jerkin, and other pleasant things; and that yeere the queene had a pair of perfumed gloves trimmed only with four tuffes, or roses of coloured silk. The queene took such pleasure in those gloves, that she was pictured with those gloves upon her handes, and for many years after it was called 'The Earl of Oxford's perfume.'"

      In such a chronology of fashions, an event not less important surely was the origin of starching; and here we find it treated with the utmost historical dignity.

      "In the year 1564, Mistris Dinghen Van den Plasse, borne at Tænen in Flaunders, daughter to a worshipfull knight of that province, with her husband, came to London for their better safeties and there professed herself a starcher, wherein she excelled, unto whom her owne nation presently repaired, and payed her very liberally for her worke. Some very few of the best and most curious wives of that time, observing the neatness and delicacy of the Dutch for whitenesse and fine wearing of linen, made them cambricke ruffs, and sent them to Mistris Dinghen to starch, and after awhile they made them ruffes of lawn, which was at that time a stuff most strange, and wonderfull, and thereupon rose a general scoffe or by-word, that shortly they would make ruffs of a spider's web; and then they began to send their daughters and nearest kinswomen to Mistris Dinghen to learn how to starche; her usuall price was at that time, foure or five pound, to teach them how to starch, and twenty shillings how to seeth starch."

      Thus Italy, Holland, and France supplied us with fashions and refinements. But in those days there were, as I have shown from Puttenham, as extravagant dressers as any of their present supposed degenerate descendants. Stowe affords us another curious extract. "Divers noble personages made them ruffes, a full quarter of a yeard deepe, and two lengthe in one ruffe. This fashion in London was called the French fashion; but when Englishmen came to Paris, the French knew it not, and in derision called it the English monster." An exact parallel this of many of our own Parisian modes in the present day.

      This was the golden period of cosmetics. The beaux of that day, it is evident, used the abominable art of painting their faces as well as the women. Our old comedies abound with perpetual allusions to oils, tinctures, quintessences, pomatums, perfumes, paint white and red, &c. One of their prime cosmetics was a frequent use of СКАЧАТЬ