And introduces hunger, frost, and woe,
Where peace and hospitality might reign."[[1074]]
There was "no difference between the nobleman and city 'prentice, except that the latter was sometimes the greater beau," writes the Female Spectator.[[1075]]
"His hands must be covered with fine Brussels lace."[[1076]]
Painters of the eighteenth century loved to adorn their portraits with the finest fabrics of Venice and Flanders; modern artists consider such decorations as far too much trouble. "Over the chimney-piece," writes one of the essayists, describing a citizen's country box, "was my friend's portrait, which was drawn bolt upright in a full-bottomed periwig, a laced cravat, with the fringed ends appearing through the button-hole (Steinkirk fashion). Indeed, one would almost wonder how and where people managed to afford so rich a selection of laces in their days, did it not call to mind the demand of the Vicaress of Wakefield 'to have as many pearls and diamonds put into her picture as could be given for the money.'"
Ruffles were equally worn by the ladies:—[[1077]]
"Frizzle your elbows with ruffles sixteen;
Furl off your lawn apron with flounces in rows."[[1078]]
Indeed, if we may judge by the intellectual conversation overheard and accurately noted down by Miss Burney,[[1079]] at Miss Monckton's (Lady Cork) party, court ruffles were inconvenient to wear:—
"'You can't think how I am encumbered with these nasty ruffles,' said Mrs. Hampden.