Chapter 10

"Standing on slippers, which his nimble hasteHad falsely thrust upon contrary feet:"[106:A]

"Standing on slippers, which his nimble haste

Had falsely thrust upon contrary feet:"[106:A]

and Scott, in hisDiscoverie of Witchcraft, observes, that he who receiveth a mischance, "will consider, whether he put not on his shirt wrong side outwards, or hisleft shoe on his rightfoot."[106:B]

Thebootswere, if possible, still more eccentric and costly than the shoes, resembling, in some degree, though on a larger scale, the theatric buskin of the modern stage. They were usually manufactured of russet cloth or leather, hanging loose and ruffled about the leg, with immense tops turned down and fringed, and the heel decorated with gold or silver spurs. Decker speaks of "a gilt spur and a ruffled boot;" and in another place adds,—"let it be thy prudence to have the tops of them wide as the mouth of a wallet, and those with fringed boot-hose over them to hang down to thy ancles."[106:C]Yet even this extravagance did not content those who aspired to the highest rank of fashion; for Doctor Nott, the editor of Decker's Horn-book, in a note on the last passage which we have quoted, informs us, on the authority of Stubbes's Anatomie of Abuses, that these boots were often "made of cloth fine enough for any hand, or ruff; and so large, that the quantity used would nearly make a shirt: they were embroidered in gold and silver; having on them thefigures of birds, animals, and antiques in various coloured silks: the needle-work alone of them would cost from four to[107:A]ten pounds." Shakspeare alludes to the large boots with ruffles, or loose tops, which were frequently calledlugged boots, inAll's Well That Ends Well, act iii. sc. 2.; and we find, from the same authority, that boots closely fitting the leg were sometimes worn; for Falstaff, inHenry the Fourth, Part II., accounting for the Prince's attachment to Poins, mentions, among his other qualifications, that he "wears his boot very smooth, like unto the sign of the leg."[107:B]

Nor was the interior clothing of the beau less sumptuous and expensive than his exterior apparel; his shirts, relates that minute observer, Stubbes, were made of "camericke, Hollande, lawne, or els of the finest cloth that may be got." And were so wrought with "needle-worke of silke, and so curiously stitched with other knackes beside, that their price would sometimes amount to ten pounds."[107:C]

No gentleman was considered as dressed without his dagger and rapier; the former, richly gilt and ornamented, was worn at the back: thus Capulet inRomeo and Juliet, exclaims,

"This dagger hath mista'en,—for, lo! his houseIs empty on the back of Montague—And is mis-sheathed in my daughter's bosom:"[107:D]

"This dagger hath mista'en,—for, lo! his house

Is empty on the back of Montague—

And is mis-sheathed in my daughter's bosom:"[107:D]

and an old play, of the date 1570, expressly tells us,

"Thou must weare thy sword by thy side,And thydaggerhandsumlyat thy backe:"[107:E]

"Thou must weare thy sword by thy side,

And thydaggerhandsumlyat thy backe:"[107:E]

Therapier, or small sword, which had been known in this country from the reign of Henry the Eighth, or even earlier, entirelysuperseded, about the 20th of Elizabeth, the use of the heavy or two-handed sword and buckler; an event which Justice Shallow, in theMerry Wives of Windsor, is represented as regretting.[108:A]Though occasionally used as an offensive weapon, and certainly a more dangerous instrument than its predecessor, it was chiefly worn as a splendid ornament, the hilt and scabbard being profusely, and often elegantly decorated. It was also the custom to wear these swords when dancing, as appears from a passage inAll's Well That Ends Well, where Bertram says,

"I shall stay here the forehorse to a smock—Till honour be bought up, andno sword worn,But one to dance with;"[108:B]

"I shall stay here the forehorse to a smock—

Till honour be bought up, andno sword worn,

But one to dance with;"[108:B]

an allusion which has received most satisfactory illustration from Mr. Douce, in an extract taken from Stafforde'sBriefe conceipt of English pollicy, 1581, 4to., in which not only this practice is mentioned, but the preceding fashion of the heavy sword and buckler is particularly noticed:—"I thinke wee were as much dread or more of our enemies, when our gentlemen went simply, and our serving men plainely, without cuts or gards, bearing theirheavy swords and buckelerson their thighes, insted of cuts and gardes andlight daunsing swordes; and when they rode, carrying good speares in theyr hands in stede of white rods, which they cary now more like ladies orgentlewemen than men; all which delicacyes maketh our men cleane effeminate and without strength."[109:A]

It soon became the fashion to wear these rapiers of such an enormous length, that government was obliged to interfere, and a sumptuary law was passed to limit these weapons tothree feet, which was published by proclamation, together with one for the curtailment of ruffs. "He," says Stowe, "was held the greatest gallant, that had the deepest ruffe and longest rapier: the offence to the eye of the one, and the hurt unto the life of the subject that came by the other, caused her Majesty to make proclamation against them both, and to place selected grave citizens at every gate to cut the ruffes, and breake the rapiers' points of all passengers that exceeded a yeard in length of their rapiers."[109:B]This regulation occasioned a whimsical circumstance, related by Lord Talbot, in a letter to the Earl of Shrewsbury, dated June 23d, 1580:—"The French Imbasidore, Mounswer Mouiser, (Malvoisier) ridinge to take the ayer, in his returne cam thowrowe Smithfild; and ther, at the bars, was steayed by thos offisers that sitteth to cut sourds, by reason his raper was longer than the statute: He was in a great feaurie, and dreawe his raper; in the meane season my Lord Henry Seamore cam, and so steayed the mattr: Hir Matieis greatlie ofended wththe ofisers, in that they wanted jugement."[109:C]

This account of themale fashionabledress, during the days of Shakspeare, has sufficiently borne out the assertion which we made at its commencement,—that in extravagance and frivolity it surpassed the caprice and expenditure of the other sex; a charge which is repeated by Burton at the close of this era; for, exclaiming against the luxury of fine clothes, he remarks, "women are bad, and men worse.—So ridiculous we are in our attires, and for cost so excessive, that as Hierom said of old,—'tis an ordinary thing to puta thousand oaks, and an hundred oxen into a suit of apparel, to wear a whole mannor on his back. What with shoo-ties, hangers, points, caps and feathers, scarfs, bands, cuffs, &c., in a short space their whole patrimonies are consumed. Heliogabalus is taxed by Lampridius, and admired in his age for wearing jewels in his shoos, a common thing in our times, not for Emperors and Princes, but almost for serving-men and taylors: all the flowres, stars, constellations, gold and pretious stones do condescend to set out their shoos."[110:A]

The dress of the citizen, indeed, was, if less elegant, equally showy, and sometimes fully as expensive as that of the man of fashion. The medium habit may, with great probability, be considered as sketched in the following humorous tale, derived from a popular pamphlet printed in 1609:—

"A citizen, for recreation-sake,To see the country would a journey takeSome dozen mile, or very little more;Taking his leave with friends two months before,With drinking healths, and shaking by the hand,As he had travail'd to some new-found-land.Well: taking horse with very much ado,London he leaveth for a day or two:And as he rideth, meets upon the waySuch as (what haste soever) bid men stay."Sirrah! (says one) stand, and your purse deliver,I am ataker, thou must be agiver."Unto a wood hard by they hale him in,And rifle him unto his very skin."Maisters, (quoth he) pray heare me ere you go:For you have rob'd more now than you do know.My horse, in troth, I borrow'd of my brother:The bridle and the saddle, of another:The jerkinand thebasesbe a taylor's:Thescarfe, I do assure you, is a saylour's:Thefalling bandis likewise none of mine,Norcuffes; as true as this good light doth shine.Thesattin-doubletandrays'd velvet hoseAre our church-wardens—all the parish knows.The boots are John the grocer's, at the Swan:The spurrs were lent me by a serving-man.One of my rings, (that with the great red stone)In sooth I borrow'd of my gossip Jone:Her husband knows not of it. Gentlemen!Thus stands my case:—I pray shew favour then.""Why, (quoth the theeves) thou need'st not greatly care,Since in thy loss so many beare a share.The world goes hard: many good fellowes lacke:Looke not, at this time, for a penny backe.Go, tell, at London, thou didst meete with foureThat, riflingthee, have rob'd at least ascore.""[111:A]

"A citizen, for recreation-sake,

To see the country would a journey take

Some dozen mile, or very little more;

Taking his leave with friends two months before,

With drinking healths, and shaking by the hand,

As he had travail'd to some new-found-land.

Well: taking horse with very much ado,

London he leaveth for a day or two:

And as he rideth, meets upon the way

Such as (what haste soever) bid men stay.

"Sirrah! (says one) stand, and your purse deliver,

I am ataker, thou must be agiver."

Unto a wood hard by they hale him in,

And rifle him unto his very skin.

"Maisters, (quoth he) pray heare me ere you go:

For you have rob'd more now than you do know.

My horse, in troth, I borrow'd of my brother:

The bridle and the saddle, of another:

The jerkinand thebasesbe a taylor's:

Thescarfe, I do assure you, is a saylour's:

Thefalling bandis likewise none of mine,

Norcuffes; as true as this good light doth shine.

Thesattin-doubletandrays'd velvet hose

Are our church-wardens—all the parish knows.

The boots are John the grocer's, at the Swan:

The spurrs were lent me by a serving-man.

One of my rings, (that with the great red stone)

In sooth I borrow'd of my gossip Jone:

Her husband knows not of it. Gentlemen!

Thus stands my case:—I pray shew favour then."

"Why, (quoth the theeves) thou need'st not greatly care,

Since in thy loss so many beare a share.

The world goes hard: many good fellowes lacke:

Looke not, at this time, for a penny backe.

Go, tell, at London, thou didst meete with foure

That, riflingthee, have rob'd at least ascore.""[111:A]

Under the next section of this chapter, including theModes of Living, it is our intention to give a short detail of thehousehold furniture,eating,drinking, anddomestic economyof our town-ancestors, during the close of the sixteenth, and beginning of the seventeenth century.

In that part of the first volume which is appropriated to the Modes of Living in the Country, we have seen Holinshed alluding to the increasing luxury of his age infurniture, the convenience, richness, and magnificence of which, as displayed in the upper and middle classes of society in the metropolis, we shall now endeavour briefly to illustrate.

That the palaces of Elizabeth were decorated with all the splendour that tapestry, embroidery, and cloths of gold and silver, and services of plate could effect, we have numberless proofs; but that they united with these the still higher luxuries of comfort and accommodation, too often wanting amid the most gorgeous scenes, we have the testimony of Sir John Harrington, who, in his "Treatise on Playe," circa 1597, thus describes the conveniences which the Queenhad provided for her courtiers:—"It is a great honor of the Queen's court, that no princes servants fare so well and so orderly:—to be short, the stately pallaces, goodly and many chambers, fayr gallerys, large gardens, sweet walkes, that princes with magnificent cost do make, (the xxth parte of which they use not themselves) all shew that they desire, the ease, content and pleasure of theyr followers, as well as themselves. Which matter, though it be more proper to another discourse, yet I colde not but towch it in this, agaynst theyr error rather than awsterytie, that say play becomes not the presence, and that it would not as well become the state of the chamber to haveeasye quilted and lyned forms and stools for the lords and ladyes to sit on, as great plank forms that two yeomen can scant remove out of their places, and waynscot stooles so hard, that since great breeches were layd asyde, men can skant indewr to sitt on."[112:A]

Hentzner, in his Travels, gives a still further display of the costly costume of the Queen's apartments. At Windsor Castle he tells us that Her Majesty had "two bathing-rooms cieled and wainscoted with glass;" and at Hampton Court he adds, "her closet in the chapel was most splendid, quite transparent, having its window of chrystal. We were led into two chambers, called the presence, or chambers of audience, which shone with tapestry of gold and silver, and silk of different colours.—Here is besides a small chapel richly hung with tapestry, where the Queen performs her devotions. In her bed-chamber the bed was covered with very costly cover lids of silk:—in one chamber were several excessively rich tapestries, which are hung up when the queen gives audience to foreign ambassadors; there were numbers of chusions ornamented with gold and silver; many counterpanes and coverlids of beds lined with ermine: in short, all the walls of the palace shine with gold and silver. Here is besides a certain cabinet called Paradise, where besides that every thing glitters so with silver, gold, and jewels, as to dazzle oneseyes, there is a musical instrument made all of glass, except the strings."[113:A]

The emulation of the nobility left them little behind their Queen in ornamental profusion of this kind; and the picture which Shakspeare has drawn of Imogen's chamber inCymbeline, may be quoted as an apposite instance, for he ever imparts the costume of his native island to that of every other country:—

"Her bed-chamber was hangedWith tapestry of silk and silver; the storyProud Cleopatra, when she met her Roman———————————— A piece of workSo bravely done, so rich, that it did striveIn workmanship, and value.——————————— The chimney-piece,Chaste Dian bathing.———————————— The roof o' the chamberWith golden cherubins is fretted: Her andirons(I had forgot them) were two winking CupidsOf silver, each on one foot standing."[113:B]

"Her bed-chamber was hanged

With tapestry of silk and silver; the story

Proud Cleopatra, when she met her Roman—

——————————— A piece of work

So bravely done, so rich, that it did strive

In workmanship, and value.

——————————— The chimney-piece,

Chaste Dian bathing.—

——————————— The roof o' the chamber

With golden cherubins is fretted: Her andirons

(I had forgot them) were two winking Cupids

Of silver, each on one foot standing."[113:B]

To this sketch we can add a few features from a little work entitled "The Mirrour of Madnes," anno 1576, where the house of the opulent man is thus described:—"My chaumbers, parloures, and other such romes, hanged wyth clothe of tyssue, arrace, and golde; my cupbordes heades set oute and adorned after the richest, costlieste, and most gloryous maner, wyth one cuppe cocke height upon an other, beside the greate basen and ewer both of silver and golde; filled at convenient tymes with sweete and pleasaunt waters, wherewith my delicate hands may be washed, my heade recreated, and my nose refreshed, &c."[113:C]

When Lævinius Lemnius, a celebrated physician and divine of Zealand, visited London, during the reign of Elizabeth, he was delighted with the houses and furniture of the middle classes:—"Theneate cleanliness," says he, "the exquisite finenesse, the pleasaunte and delightfull furniture in every point for household, wonderfully rejoyced mee; their chambers and parlours, strawed over with sweet herbes, refreshed mee; their nosegayes finelye entermingled wyth sondry sortes of fragaunte floures, in their bed chambers and privie roomes, with comfortable smell cheered mee up, and entierlye delighted all my sences."[114:A]

To these general descriptions, we shall subjoin some further remarks on a few of the articles which they contain; minutiæ which will render us more familiarly acquainted with the domestic arrangements of our forefathers.

Arras or tapestry, representing landscapes and figures, formed the almost universal hangings for rooms below, and chambers above. When first introduced, it was attached to the bare walls; but it was soon found necessary, in consequence of the damp arising from the brick work, to suspend it on wooden frames, placed at such a distance from the sides of the room, as would easily admit of any person being introduced behind it, a facility which soon converted these vacancies into common hiding-places. Thus Shakspeare, during his scenic developements, has very frequent recourse to this expedient. "I will ensconce me behind the arras[114:B];" "I whipt me behind the arras[114:C];" "Look thou stand within the arras[114:D]:" "Go hide thee behind the arras[114:E]:" "Behind the arras I'll convey myself[114:F]," &c. &c.

We have seen that in the Country, mottoes were often placed in halls and servants' chambers, for the instruction of the domestics; a custom which was also adopted on tapestry for the improvement oftheir superiors, and to which Shakspeare refers in hisRape of Lucrece,

"Who fears a sentence, or an old man's saw,Shall by apainted clothbe kept in awe;"[115:A]

"Who fears a sentence, or an old man's saw,

Shall by apainted clothbe kept in awe;"[115:A]

and is further confirmed by Dr. Bulleyne, who, in one of his productions, says,—"This is a comelie parlour,—andfaire clothes, with pleasaunte borders aboute the same, with manywise sayingspainted upon them."[115:B]

What thesewise sayingswere, we are taught by the following extract from a publication of 1601:—

"Read what is written on thepainted cloth:Do no man wrong; be good unto the poor;Beware the mouse, the maggot and the moth,And ever have an eye unto the door;Trust not a fool, a villain, nor a whore;Go neat, not gay, and spend but as you spare;And turn the colt to pasture with the mare; &c."[115:C]

"Read what is written on thepainted cloth:

Do no man wrong; be good unto the poor;

Beware the mouse, the maggot and the moth,

And ever have an eye unto the door;

Trust not a fool, a villain, nor a whore;

Go neat, not gay, and spend but as you spare;

And turn the colt to pasture with the mare; &c."[115:C]

proverbial wisdom, which Orlando, inAs You Like It, designates by the phrase "right painted cloth."[115:D]

That "the arras figures[115:E]," though in general coarsely executed, had strongly impressed the mind of Shakspeare, and furnished him with no small portion of imagery and allusion, has been very satisfactorily established by Mr. Whiter, who remarks, that their "effects may be perpetually traced by the observing critic," even "when the poet himself is totally unconscious of this predominating influence."[115:F]

The manner of illuminating the halls and banquetting rooms of the Great at this period, was truly classical. We find that Homer, describing the palace of Alcinous, says—

"Youths forged of gold, at every table there,Stood holding flaming torches;"[116:A]

"Youths forged of gold, at every table there,

Stood holding flaming torches;"[116:A]

and Lucretius, speaking of the Dome of the opulent, describes its walls with

"A thousand lamps irradiate, propt sublimeBy frolic forms of youths in massy gold,Flinging their splendours o'er the midnight feast."[116:B]

"A thousand lamps irradiate, propt sublime

By frolic forms of youths in massy gold,

Flinging their splendours o'er the midnight feast."[116:B]

Similar to these were the

—————————— "fixed candlesticks,With torch-staves in their hands,"[116:C]

—————————— "fixed candlesticks,

With torch-staves in their hands,"[116:C]

of our ancestors, which generally represented a man in armour with his hands extended, in which were placed the sockets for the lights; and we may easily conceive how splendid these might be rendered by the arts of the goldsmith and jeweller.

Where these antique candelabras were not adopted,living candle-holderssupplied their place, and were, indeed, always present, when a central or perambulatory light was required: "Give me a torch," says Romeo,

"I'll be a candle-holder and look on."[116:D]

The gentlemen-pensioners of Queen Elizabeth usually held her torches; and Shakspeare represents Henry the Eighth going to Wolsey's palace, preceded by sixteen torch-bearers.[116:E]At great entertainments, beside candelabras fixed against the sides of the room,torch-bearers stood by the tables, supplying the light which we now receive from chandeliers.[117:A]

Watch-lights, which were divided into equal portions by marks, each of which burnt a limited time, were common in the bed-chambers of the wealthy; they are alluded to in Tomkis's Albumazar, 1614, where Sulpitia says, "Why should I sit up all night like awatching-candle?"[117:B]

Everybed-chamberwas furnished withtwobeds, astanding-bed, and atruckle-bed; in the former slept the master, and in the latter his page. The Host, inMerry Wives of Windsor, directing Simple where to find Sir John Falstaff, says,—"There's his chamber, his house, his castle, hisstanding-bed, andtruckle-bed[117:C];" and Decker, and Middleton, further illustrate the custom, when the first, alluding to a page, says, he is "so dear to his lordship, as for the excellency of his fooling to be admitted both to ride in coach with him, andto lie at his very feet on a truckle-bed[117:D];" and the second, addressing a similar personage, exclaims,—"Well, go thy ways, for as sweet a breastedpage as ever lay at his master's feet in a truckle-bed."[117:E]It may be added that thestanding-bedhad frequently on it acounterpoint, orcounterpane, so rich and costly as, according to Stowe, to be worth sometimes a thousand marks. This piece of luxury forms one of Gremio's articles, when enumerating the furniture of hiscity-house, a catalogue which throws much curious light upon our present subject:—

———————— "My house within the city,Is richly furnished with plate and gold;Basons and ewers, to lave her dainty hands;My hangings all of Tyrian tapestry:Inivory coffersI have stuffed my crowns;Incypress chestsmy arras,counter points,Costly apparel, tents, and canopies,Fine linen,Turky cushions boss'd with pearl,Valence of Venice goldin needle-work,Pewterand brass, and all things that belongTo house, or housekeeping."[118:A]

———————— "My house within the city,

Is richly furnished with plate and gold;

Basons and ewers, to lave her dainty hands;

My hangings all of Tyrian tapestry:

Inivory coffersI have stuffed my crowns;

Incypress chestsmy arras,counter points,

Costly apparel, tents, and canopies,

Fine linen,Turky cushions boss'd with pearl,

Valence of Venice goldin needle-work,

Pewterand brass, and all things that belong

To house, or housekeeping."[118:A]

Pewter, during the reign of Elizabeth, was considered as a very costly material, and, at the commencement of the sixteenth century, had been so rare, as to be hired by the year, even for the use of noblemen's houses.[118:B]

Theivory coffers, andcypress chests, mentioned in Gremio's list, were esteemed, at this period, highly ornamental pieces of furniture for apartments designed for the reception of visitors. "I have seen," relates Mr. Steevens, "more than one of these, as old as the time of our poet. They were richly ornamented on the tops and sides with scroll-work, emblematical devices, &c. and were elevated on feet."[118:C]Shakspeare has an allusion to this custom inTwelfth Night, where he speaks of

"Empty trunks, o'er flourished by the Devil."[118:D]

Thetablesin these apartments, and in the halls of the nobility, were so constructed as toturn up; being flat leaves, united by hinges, and resting on tressels, so as to fold into a small compass. Thus Capulet, wanting room for the dancers in his hall, calls out

"A hall! a hall! give room, and foot it, girls,More light, ye knaves; andturn the tables up."[118:E]

"A hall! a hall! give room, and foot it, girls,

More light, ye knaves; andturn the tables up."[118:E]

When dinner, or supper, was served up, these tables were covered withcarpets; hence Gremio exclaims, "Where's the cook? Is supper ready?—Be the carpets laid?"[118:F]

Picturesconstituted a frequent decoration in the rooms of the wealthy; and there are numerous instances to prove that those which were estimated as valuable, were protected bycurtains. Olivia, addressing Viola inTwelfth Night, says,—"We will draw the curtain, and shew you the picture[119:A];" the same imagery occurs inTroilus and Cressida, where Pandarus, unveiling Cressida, uses almost the same words: "Come draw this curtain, and let us see your picture[119:B]." The passage, however, which Mr. Douce has quoted in illustration of this subject, as it decides the point, will supersede all further reference:—"In Deloney'sPleasant history of Jack of Newbery, printed before 1597, it is recorded," he remarks, "that 'in a faire large parlour which was wainscotted round about, Jacke of Newbery had fifteene faire pictures hanging,which were covered with curtaines of greene silke, fringed with gold, which he would often shew to his friends.'"[119:C]

The practice ofstrewing floors with rusheswas general before the introduction of carpets for this purpose, and the first mansions in the kingdom could boast of nothing superior in this respect. Shakspeare has many lines in reference to the custom; Glendower, for instance, interpreting Lady Mortimer's address to her husband, says,

———————— "She bids youUpon the wantonrusheslay you down."[119:D]

———————— "She bids you

Upon the wantonrusheslay you down."[119:D]

Again Iachimo, rising from the Trunk in Imogen's chamber, exclaims:—

——————————— "Our Tarquin thusDid softly press therushes, ere he waken'dThe chastity he wounded;"[119:E]

——————————— "Our Tarquin thus

Did softly press therushes, ere he waken'd

The chastity he wounded;"[119:E]

and lastly, Romeo calls out

"A torch for me: let wantons light of heart,Tickle the senseless rushes with their heels."[120:A]

"A torch for me: let wantons light of heart,

Tickle the senseless rushes with their heels."[120:A]

Similar allusions abound in our old dramatic poets, one of which we shall give for the singularity of its comparison: "All the ladies and gallants," says Jonson, in hisCynthia's Revels, "lye languishingupon the rushes, like so many pounded cattle i' the midst of harvest.[120:B]"

The utility of the rush, and the species used for this purpose, will be illustrated by the following passages:—"Rushes that grow upon dry groundes," observes Dr. Bulleyne, "be good to strew in halles, chambers, and galleries, to walke upon, defending apparell, as traynes of gownes and kertles from dust[120:C];" and Decker tells us of "windowes spread with hearbs, the chimney drest up with greene boughs, and thefloore strewed with bulrushes."[120:D]

Of thehospitalityof the English, and of the style ofeatinganddrinkingin the upper ranks of society, Harrison has given us the following curious, though general, detail.

"In number of dishes and change of meat," he remarks, "the nobilitie of England (whose cookes are for the most part musicall headed Frenchmen and strangers) doo most exceed, sith there is no daie in maner that passeth over their heads, wherein they have not onelie béefe, mutton, veale, lambe, kid, porke, conie, capon, pig, or so manie of these as the season yeeldeth: but also some portion of the red or fallow déere, beside great varietie of fish and wild foule, and thereto sundrie other delicates wherein the sweet hand of the seafaring Portingale is not wanting: so that for a man to dine with one of them,and to tast of everie dish that standeth before him (which few use to doo, but ech one feedeth upon that meat him best liketh for the time, the beginning of everie dish notwithstanding being reserved unto the greatest personage that sitteth at the table, to whome it is drawen up still by the waiters as order requireth, and from whence it descendeth againe even to the lower end, whereby each one may tast thereof) is rather to yield unto a conspiracie with a greate deale of meat for the spéedie suppression of naturall health, then the use of a necessarie meane to satisfie himselfe with a competent repast, to susteine his bodie withall.—

"The chiefe part likewise of their dailie provision is brought in before them (commonlie in silver vessell, if they be of the degree of barons, bishops and upwards) and placed on their tables, whereof when they have taken what it pleaseth them, the rest is reserved, and afterward sent downe to their serving men and waiters, who féed thereon in like sort with convenient moderation, their reversion also being bestowed upon the poore, which lie readie at their gates in great numbers to receive the same. This is spoken of the principall tables whereat the nobleman, his ladie and guestes are accustomed to sit, beside which they have a certeine ordinarie allowance daillie appointed for their hals, where the chiefe officers and household servants (for all are not permitted by custome to waite upon their master) and with them such inferiour guestes doo feed as are not of calling to associat the noble man himselfe (so that besides those afore mentioned, which are called to the principall table, there are commonlie fortie or three score persons fed in those hals,) to the great reliefe of such poore sutors and strangers also as oft be partakers thereof and otherwise like to dine hardlie. As for drinke it is usuallie filled in pots, gobblets, jugs, bols of silver in noble mens houses, also in fine Venice glasses of all formes, and for want of these elsewhere in pots of earth of sundrie colours and moulds (whereof manie are garnished with silver) or at the leastwise in pewter, all which notwithstanding are seldome set on the table, but each one as necessitie urgeth, calleth for a cup of such drinke as him listeth tohave: so that when he hath tasted of it he delivered the cup againe to some one of the standers by, who making it cleane by pouring out the drinke that remaineth, restoreth it to the cupbord from whence he fetched the same. By this devise,—much idle tippling is further more cut off, for if the full pots should continuallie stand at the elbow or neere the trencher, diverse would alwaies be dealing with them, whereas now they drinke seldome and onelie when necessitie urgeth, and so avoid the note of great drinking, or often troubling of the servitors with filling of their bols. Neverthelesse in the noble men's hals, this order is not used, neither in anie mans house commonlie under the degree of a knight or esquire of great revenues. It is a world to sée in these our daies, wherein gold and silver most aboundeth, how that our gentilitie as lothing those mettals (bicause of the plentie) do now generallie choose rather the Venice glasses both for our wine and béere, than anie of those mettals or stone wherein before time we have béene accustomed to drinke, but such is the nature of man generallie that it most coveteth things difficult to be atteined; and such is the estimation of this stuffe, that manie become rich onelie with their new trade unto Murana (a towne neere to Venice situat on the Adriatike sea) from whence the verie best are dailie to be had, and such as for beautie doo well neare match the christall or the ancient Murrhina vasa, whereof now no man hath knowledge. And as this is seene in the gentilitie, so in the wealthie communaltie the like desire of glasse is not neglected."[122:A]

To this interesting sketch a few particulars shall be added in order to render the picture more complete; and, in the first place, we shall give an account, from an eye-witness, of the ceremonies accompanying the dinner-table of Elizabeth. "While the Queen was still at prayers," relates Hentzner, "we saw her table set out with the following solemnity:

"A gentleman entered the room bearing a rod, and along withhim another who had a table-cloth, which, after they had both kneeled three times with the utmost veneration, he spread upon the table, and after kneeling again, they both retired. Then came two others, one with the rod again, the other with a salt-seller, a plate and bread; when they had kneeled, as the others had done, and placed what was brought upon the table, they too retired with the same ceremonies performed by the first. At last came an unmarried lady (we were told she was a countess) and along with her a married one, bearing a tasting knife; the former was dressed in white silk, who, when she had prostrated herself three times in the most graceful manner, approached the table, and rubbed the plates with bread and salt, with as much awe, as if the queen had been present: when they had waited there a little while, the yeoman of the guards entered, bareheaded, clothed in scarlet, with a golden rose upon their backs, bringing in at each turn a course of twenty-four dishes, served in plate, most of it gilt; these dishes were received by a gentleman in the same order they were brought, and placed upon the table, while the lady-taster gave to each of the guard a mouthful to eat, of the particular dish he had brought for fear of any poison. During the time that this guard, which consists of the tallest and stoutest men that can be found in all England, being carefully selected for this service, were bringing dinner, twelve trumpets and two kettle-drums made the hall ring for half an hour together. At the end of all this ceremonial a number of unmarried ladies appeared, who, with particular solemnity, lifted the meat off the table, and conveyed it into the queen's inner and more private chamber, where, after she had chosen for herself, the rest goes to the ladies of the court. The queen dines and sups alone with very few attendants."[123:A]

The strict regularity and temperance which prevailed in the court of Elizabeth, were by no means characteristic of that of her successor, who, in his convivial moments, too often grossly transgressedthe bounds of sobriety. When Christian IV., King of Denmark, visited England in July, 1606, the carousals at the palace were carried to a most extravagant height, and their influence on the higher ranks was such, that "our good English nobles," remarks Harrington, "whom I never could get to taste good liquor, now follow the fashion, and wallow in beastly delights. The ladies abandon their sobriety, and are seen to roll about in intoxication;" accusations which he fully substantiates whilst relating the following most ludicrous scene:—

"One day," says he, "a great feast was held, and, after dinner, the representation of Solomon his Temple, and the coming of the Queen of Sheba was made, or (as I may better say) was meant to have been made, before their Majesties, by device of the Earl of Salisbury and others.—But, alas! as all earthly thinges do fail to poor mortals in enjoyment, so did prove our presentment hereof. The Lady who did play the Queen's part, did carry most precious gifts to both their Majesties; but, forgetting the steppes arising to the canopy, overset her caskets into his Danish Majesties lap, and fell at his feet, tho I rather think it was in his face. Much was the hurry and confusion; cloths and napkins were at hand, to make all clean. His Majesty then got up and would dance with the Queen of Sheba; but he fell down and humbled himself before her, and was carried to an inner chamber and laid on a bed of state; which was not a little defiled with the presents of the Queen which had been bestowed on his garments; such as wine, cream, jelly, beverage, cakes, spices, and other good matters. The entertainment and show went forward, and most of the presenters went backward, or fell down; wine did so occupy their upper chambers. Now did appear, in rich dress, Hope, Faith, and Charity: Hope did assay to speak, but wine rendered her endeavours so feeble that she withdrew, and hoped the King would excuse her brevity: Faith was then all alone, for I am certain she was not joyned with good works, and left the court in a staggering condition: Charity came to the King's feet, and seemed to cover the multitude of sins her sisters had committed;in some sorte she made obeysance and brought giftes, but said she would return home again, as there was no gift which heaven had not already given his Majesty. She then returned to Hope and Faith, who were both sick and spewing in the lower hall. Next came Victory, in bright armour, and presented a rich sword to the King, who did not accept it, but put it by with his hand; and by a strange medley of versification, did endeavour to make suit to the King. But Victory did not triumph long; for, after much lamentable utterance, she was led away like a silly captive, and laid to sleep in the outer steps of the anti-chamber. Now did Peace make entry, and strive to get foremoste to the King; but I grieve to tell how great wrath she did discover unto those of her attendants; and much contrary to her semblance, most rudely made war with her olive branch, and laid on the pates of those who did oppose her coming." The facetious Knight concludes his story by declaring that "in our Queen's days—I neer did see such lack of good order, discretion, and sobriety, as I have now done."[125:A]

We have already mentioned in Part the First, Chapter the Fifth of this work, that the usual hour of dinner, among the upper classes, was eleven o'clock in the forenoon; and though Harrison, in the passage which we last quoted from him, describes the provisions as often brought to the tables of the nobility served on silver, yetwooden trenchersfor plates were still frequently to be found at the most sumptuous tables; thus Harrington in 1592, giving directions to his servants, orders, "that no man waite at the table without atrencherin his hand, except it be upon good cause, on pain of 1d."[125:B]

To the silver, gilt plate, and cut glass of Harrison, may be added the use ofchina, an article of luxury to which the Clown inMeasure for Measurethus alludes:—"Your honours have seen such dishes; they are notchina dishes, but very good dishes."[125:C]A considerable quantity ofchinaorporcelain, had been brought into this country,during the reign of Elizabeth, as part of the cargo of some captured Spanish carracks.[126:A]It appears, also, that carpet-cloth for tables was, towards the close of our period, dismissed for table-linen, and that of a quality so fine, that Mrs. Otter, in Ben Jonson'sSilent Woman, which was first acted in 1609, laments having "stained a damask table-cloth, cost me eighteen pound."[126:B]

With all these luxuries, the reader will be surprised to learn, thatforkswere not introduced into this country before 1611. Knives had been in general use since the year 1563, but for the former the fingers had been the sole substitute. The honour of this cleanly fashion, must be given to that singular traveller Thomas Coryat, who in hisCruditiesinforms us, that he foundforkscommon in Italy. "Hereupon," says he, "I myself thought good to imitate the Italian fashion, by thisforkedcutting of meate, not only while I was in Italy, but also in Germany, and oftentimes inEngland since Icame home; being once quipped for that frequent using of myforke, by a certaine learned gentleman, a familiar friend of mine, one M. Laurence Whitaker, who in his merry humour doubted not to call me at tableFurcifer, only for using aforkeat feeding, but for no other cause."[126:C]

The utility of the practice was soon acknowledged, for we find Jonson, in 1614, speaking of their adoption in his "Devil Is An Ass," where Meercraft, having mentioned his "project of the forks," Sledge exclaims—

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