The ruff, already partly described under the dress of Elizabeth, was common to both sexes; but under the fostering care of the ladies, attained, in stiffness, fineness, and dimensions, the most extravagant
pitch of absurdity. It reached behind to the very top of the head, and the tenuity of the lawn or cambrick of which it was made was such, that Stowe prophecies, they would shortly "wear ruffes of a spider's web." In order to support so slender a fabrick, a great quantity of starch become necessary, the skilful use of which was introduced by a Mrs. Dingen Van Plesse in 1564, who taught her art for a premium of five guineas. Starching was subsequently improved by the introduction of various colours, one of which, the yellow die, being the invention of a Mrs. Turner, who was afterwards concerned in the murder of Sir Thomas Overbury, was dismissed with abhorrence from the fashionable world, in consequence of this abandoned woman being executed at Tyburn in a ruff of her favourite tint. The extreme indignation with which Stubbes speaks of the use of starch is highly amusing:—"One arch or piller," says he, "wherewith the devil's kingdome of great ruffes is underpropped, is a certain kind of liquid matter which they call startch, wherein the devill hath learned them to wash and die their ruffes, which, being drie, will stand stiff and inflexible about their neckes. And this starch they make of divers substances—of all collours and hues, as white, redde, blewe, purple, and the like."
We are further informed by the same vehement satirist, that the ruff had the additional support of an underpropper called a suppertasse, and that its plaits were adjusted by poking-sticks made of iron, steel, or silver, that, when used, were heated in the fire, a custom against which he expresses his wrath by relating a most curious story of a gentlewoman of Antwerp who had her ruff poked by the devil on the 27th of May, 1582, "the sound whereof," says he, "is blowne through all the world, and is yet fresh in every mans memory." It appears that this unfortunate lady, being invited to a wedding, could not, although she employed two celebrated laundresses, get her ruff plaited according to her taste, upon which, proceeds Stubbes, "she fell to sweare and teare, to curse and ban, casting the ruffes under feete, and wishing that the devill might take her when shee did wear any neckerchers againe;" a wish which was speedily accomplished; for the devil,
assuming the form of a beautiful young man, made his appearance under the character of a suitor, and enquiring the cause of her agitation, "tooke in hande the setting of her ruffes, which he performed to her great contentation and liking; insomuch, as she, looking herselfe in a glasse (as the devill bad her) became greatly inamoured with him. This done, the young man kissed her, in the doing whereof, he writhed her neck in sunder, so she died miserably; her body being straight waies changed into blew and black colours, most ugglesome to beholde, and her face (which before was so amorous) became most deformed and fearfull to looke upon. This being knowne in the citie, great preparation was made for her buriall, and a rich coffin was provided, and her fearfull body was laide therein, and covered very sumptuously. Foure men immediately assayed to lift up the corpes, but could not move it; then sixe attempted the like, but could not once stirre it from the place where it stood. Whereat the standers-by marvelling, causing the coffin to be opened to see the cause thereof: where they found the body to be taken away, and a blacke catte, very leane and deformed, sitting in the coffin, setting of great ruffes, and frizling of haire, to the greate feare and woonder of all the beholders."[97:A]
The waist was beyond all proportion long, the bodice or stays terminating at the bottom in a point, and having in the fore part a pocket, for money, needle-work, and billets, a fashion to which Proteus alludes in the Two Gentlemen of Verona, when he tells Valentine
"Thy letters ———————————————
————————————— shall be deliver'd
Even in the milk-white bosom of thy love."[97:B]
Gowns were made of the richest materials, with velvet capes embroidered with bugelles, and with the sleeves curiously cut[97:C]; the
fashionable petticoat was the Scottish fardingale, made of cloth, taffety, satin, or silk, and of enormous bulk, so that when an Elizabethan lady was dressed in one of these, with the gown, as was usually the case, stuffed about the shoulders, and the ruffe in the first style of the day, her appearance was truly formidable. Over all was frequently thrown a kirtle, mantle, or surcoat, with or without a head, formed of silk or velvet, and richly bordered with lace.