Not so are the ladies shoes, for they only were allowed the privilege of discomfort, fashion having in this country declared in favor of small feet, and the prejudice of the people having gone with it, the feet of all ladies of decent rank in society, are cramped in early life, by being placed in so strait a confinement, that their growth is retarded, and they are not more than three or four inches in length, from the toe to the heel. By the smallness of the foot the rank or high-breeding of the lady is decided on, and the utmost torment is endured by the girls in early life, to insure themselves this distinction in rank; the lower classes of females not being allowed to torture themselves in the same manner. The Chinese poets frequently indulge in panegyrics on the beauty of these crippled members of the body, and none of their heroines are considered perfect without excessively small feet, when they are affectionately termed by them “the little golden lilies.” It is needless to say that the tortures of early youth are succeeded by a crippled maturity, a Chinese lady of high birth being scarcely able to walk without assistance. These shoes are generally made of silk and embroidered in the most beautiful manner, with flowers and ornaments in colored silk and threads of gold and silver. A piece of stout silk is generally attached to the heel for the convenience of pulling up the shoe.
The Turkish ladies of the sixteenth century, and very probably much earlier, wore a very high shoe known in Europe by the name of a “chopine.” This fashion spread in Europe in the early part of the seventeenth century, and it is alluded to by Hamlet, in act ii., scene 2, when he exclaims, “Your ladyship is nearer heaven than when I saw you last, by the altitude of a chopine,” by which it appears that something of the kind was known in England, where it may have been introduced from Venice, as the ladies there wore them of the most extravagant size.
Coryat, in his “Crudities,” 1611, says: “There is one thing used by the Venetian women, and some others dwelling in the cities and towns subject to signiory of Venice, that is not to be observed (I think) among any other women in Christendom.” The reader must remember that it was new to Coryat, but a common fashion in the East. The engraving is intended to represent a singular fashion once adopted by the Venetians. It is called a chapiney. They were of various heights, some half a yard, the tallest being worn by the shortest women, although the height and ornament usually designated the nobility. They were curiously painted and gilded. It required the utmost skill to balance upon the chapines: the ladies always in public, were supported by two servants or old women, upon whose heads the ladies placed their hands, and in this ridiculous manner proceeded to their gondolas.
The sabot, a shoe peculiar to France, is here represented. They are quite clumsy, but warm and comfortable. Those usually worn are entirely plain, and the color of the wood.
The modern styles of boots and shoes do not require any particular description. The Gaiter Boot inaugurated a new era in the history of “coverings for the feet,” and its introduction is attributed to the Countess of Blessington. This boot was found to be troublesome, owing to the necessity of lacing and unlacing, the tags breaking off, holes wearing out, and such like annoyances. All these difficulties were obviated in a great measure by the introduction of the Elastic Gaiter. American skill and ingenuity has completely rivalled the most elegant specimens of Parisian handicraft, and the importation of French gaiters, which was once quite extensive, has almost or quite ceased. Most of the so-called French manufacture is the product of American artizans. This “amiable deception” is practiced in order to gratify the whims of those who lack confidence in the skill and taste of American manufacturers. An anecdote illustrative of this prejudice is general in its application. The incident related, occurred in a Broadway establishment, New York.
