Knowinghowtheartistictemperamentisalwaysfascinatedbybeauty
ofcostume，heconstantlyintroducesintohisplaysmasquesand
dances，purelyforthesakeofthepleasurewhichtheygivethe
eye；andwehavestillhisstage-directionsforthethreegreat
processionsinHENRYTHEEIGHTH，directionswhicharecharacterised
bythemostextraordinaryelaboratenessofdetaildowntothe
collarsofS。S。andthepearlsinAnneBoleyn’shair。Indeedit
wouldbequiteeasyforamodernmanagertoreproducethese
pageantsabsolutelyasShakespearehadthemdesigned；andso
accurateweretheythatoneofthecourtofficialsofthetime，
writinganaccountofthelastperformanceoftheplayattheGlobe
Theatretoafriend，actuallycomplainsoftheirrealistic
character，notablyoftheproductiononthestageoftheKnightsof
theGarterintherobesandinsigniaoftheorderasbeing
calculatedtobringridiculeontherealceremonies；muchinthe
samespiritinwhichtheFrenchGovernment，sometimeago，
prohibitedthatdelightfulactor，M。Christian，fromappearingin
uniform，onthepleathatitwasprejudicialtothegloryofthe
armythatacolonelshouldbecaricatured。Andelsewherethe
gorgeousnessofapparelwhichdistinguishedtheEnglishstageunder
Shakespeare’sinfluencewasattackedbythecontemporarycritics，
notasarule，however，onthegroundsofthedemocratictendencies
ofrealism，butusuallyonthosemoralgroundswhicharealwaysthe
lastrefugeofpeoplewhohavenosenseofbeauty。
Thepoint，however，whichIwishtoemphasiseis，notthat
Shakespeareappreciatedthevalueoflovelycostumesinadding
picturesquenesstopoetry，butthathesawhowimportantcostumeis
asameansofproducingcertaindramaticeffects。Manyofhis
plays，suchasMEASUREFORMEASURE，TWELFTHNIGHT，THETWO
GENTLEMANOFVERONA，ALL’SWELLTHATENDSWELL，CYMBELINE，and
others，dependfortheirillusiononthecharacterofthevarious
dresseswornbytheheroortheheroine；thedelightfulscenein
HENRYTHESIXTH，onthemodernmiraclesofhealingbyfaith，loses
allitspointunlessGlosterisinblackandscarlet；andthe
DENOUMENToftheMERRYWIVESOFWINDSORhingesonthecolourof
AnnePage’sgown。AsfortheusesShakespearemakesofdisguises
theinstancesarealmostnumberless。Posthumushideshispassion
underapeasant’sgarb，andEdgarhispridebeneathanidiot’s
rags；Portiawearstheapparelofalawyer，andRosalindisattired
in’allpointsasaman’；thecloak-bagofPisaniochangesImogen
totheYouthFidele；Jessicafleesfromherfather’shouseinboy’s
dress，andJuliatiesupheryellowhairinfantasticlove-knots，
anddonshoseanddoublet；HenrytheEighthwooshisladyasa
shepherd，andRomeohisasapilgrim；PrinceHalandPoinsappear
firstasfootpadsinbuckramsuits，andtheninwhiteapronsand
leatherjerkinsasthewaitersinatavern：andasforFalstaff，
doeshenotcomeonasahighwayman，asanoldwoman，asHernethe
Hunter，andastheclothesgoingtothelaundry？
Noraretheexamplesoftheemploymentofcostumeasamodeof
intensifyingdramaticsituationlessnumerous。Afterslaughterof
Duncan，Macbethappearsinhisnight-gownasifarousedfromsleep；
Timonendsinragstheplayhehadbeguninsplendour；Richard
flatterstheLondoncitizensinasuitofmeanandshabbyarmour，
and，assoonashehassteppedinbloodtothethrone，marches
throughthestreetsincrownandGeorgeandGarter；theclimaxof
THETEMPESTisreachedwhenProspero，throwingoffhisenchanter’s
robes，sendsArielforhishatandrapier，andrevealshimselfas
thegreatItalianDuke；theveryGhostinHAMLETchangeshis
mysticalappareltoproducedifferenteffects；andasforJuliet，a
modernplaywrightwouldprobablyhavelaidheroutinhershroud，
andmadethesceneasceneofhorrormerely，butShakespearearrays
herinrichandgorgeousraiment，whoselovelinessmakesthevault
’afeastingpresencefulloflight，’turnsthetombintoabridal
chamber，andgivesthecueandmotiveforRomeo’sspeechofthe
triumphofBeautyoverDeath。
Evensmalldetailsofdress，suchasthecolourofamajor-domo’s
stockings，thepatternonawife’shandkerchief，thesleeveofa
youngsoldier，andafashionablewoman’sbonnets，becomein
Shakespeare’shandspointsofactualdramaticimportance，andby
someofthemtheactionoftheplayinquestionisconditioned
absolutely。Manyotherdramatistshaveavailedthemselvesof
costumeasamethodofexpressingdirectlytotheaudiencethe
characterofapersononhisentrance，thoughhardlysobrilliantly
asShakespearehasdoneinthecaseofthedandyParolles，whose
dress，bytheway，onlyanarchaeologistcanunderstand；thefunof
amasterandservantexchangingcoatsinpresenceoftheaudience，
ofshipwreckedsailorssquabblingoverthedivisionofalotof
fineclothes，andofatinkerdresseduplikeadukewhileheisin
hiscups，mayberegardedaspartofthatgreatcareerwhich
costumehasalwaysplayedincomedyfromthetimeofAristophanes
downtoMr。Gilbert；butnobodyfromthemeredetailsofapparel
andadornmenthaseverdrawnsuchironyofcontrast，suchimmediate
andtragiceffect，suchpityandsuchpathos，asShakespeare
himself。Armedcap-e-pie，thedeadKingstalksonthebattlements
ofElsinorebecauseallisnotrightwithDenmark；Shylock’sJewish
gaberdineispartofthestigmaunderwhichthatwoundedand
embitterednaturewrithes；Arthurbeggingforhislifecanthinkof
nobetterpleathanthehandkerchiefhehadgivenHubert-
Haveyoutheheart？whenyourheaddidbutache，
Iknitmyhandkerchiefaboutyourbrows，
（ThebestIhad，aprincesswroughtitme）
AndIdidneveraskityouagain；
andOrlando’sblood-stainednapkinstrikesthefirstsombrenotein
thatexquisitewoodlandidyll，andshowsusthedepthoffeeling
thatunderliesRosalind’sfancifulwitandwilfuljesting。
Lastnight’twasonmyarm；Ikissedit；
Ihopeitbenotgonetotellmylord
ThatIkissaughtbuthe，
saysImogen，jestingonthelossofthebraceletwhichwasalready
onitswaytoRometorobherofherhusband’sfaith；thelittle
PrincepassingtotheTowerplayswiththedaggerinhisuncle’s
girdle；DuncansendsaringtoLadyMacbethonthenightofhisown
murder，andtheringofPortiaturnsthetragedyofthemerchant
intoawife’scomedy。ThegreatrebelYorkdieswithapapercrown
onhishead；Hamlet’sblacksuitisakindofcolour-motiveinthe
piece，likethemourningoftheChimeneintheCID；andtheclimax
ofAntony’sspeechistheproductionofCaesar’scloak：-
Iremember
ThefirsttimeeverCaesarputiton。
’Twasonasummer’sevening，inhistent，
ThedayheovercametheNervii：-
Look，inthisplaceranCassius’daggerthrough：
SeewhatarenttheenviousCascamade：
Throughthisthewell-belovedBrutusstabbed……
Kindsouls，what，weepyouwhenyoubutbehold
OurCaesar’svesturewounded？
TheflowerswhichOpheliacarrieswithherinhermadnessareas
patheticasthevioletsthatblossomonagrave；theeffectof
Lear’swanderingontheheathisintensifiedbeyondwordsbyhis
fantasticattire；andwhenCloten，stungbythetauntofthat
similewhichhissisterdrawsfromherhusband’sraiment，arrays
himselfinthathusband’sverygarbtoworkuponherthedeedof
shame，wefeelthatthereisnothinginthewholeofmodernFrench
realism，nothingeveninTHERESERAQUIN，thatmasterpieceof
horror，whichforterribleandtragicsignificancecancomparewith
thisstrangesceneinCYMBELINE。
Intheactualdialoguealsosomeofthemostvividpassagesare
thosesuggestedbycostume。Rosalind’s
Dostthouthink，thoughIamcaparisonedlikeaman，Ihavea
doubletandhoseinmydisposition？
Constance’s
Grieffillstheplaceofmyabsentchild，
Stuffsouthisvacantgarmentswithhisform；
andthequicksharpcryofElizabeth-
Ah！cutmylaceasunder！-
areonlyafewofthemanyexamplesonemightquote。Oneofthe
finesteffectsIhaveeverseenonthestagewasSalvini，inthe
lastactofLEAR，tearingtheplumefromKent’scapandapplyingit
toCordelia’slipswhenhecametotheline，
Thisfeatherstirs；shelives！
Mr。Booth，whoseLearhadmanynoblequalitiesofpassion，plucked，
Iremember，somefurfromhisarchaeologically-incorrecterminefor
thesamebusiness；butSalvini’swasthefinereffectofthetwo，
aswellasthetruer。AndthosewhosawMr。Irvinginthelastact
ofRICHARDTHETHIRDhavenot，Iamsure，forgottenhowmuchthe
agonyandterrorofhisdreamwasintensified，bycontrast，through
thecalmandquietthatprecededit，andthedeliveryofsuchlines
as
What，ismybeavereasierthanitwas？
Andallmyarmourlaidintomytent？
Lookthatmystavesbesoundandnottooheavy-
lineswhichhadadoublemeaningfortheaudience，rememberingthe
lastwordswhichRichard’smothercalledafterhimashewas
marchingtoBosworth：-
Thereforetakewiththeemymostgrievouscurse，
Whichinthedayofbattletiretheemore
Thanallthecompletearmourthatthouwear’st。
AsregardstheresourceswhichShakespearehadathisdisposal，it
istoberemarkedthat，whilehemorethanoncecomplainsofthe
smallnessofthestageonwhichhehastoproducebighistorical
plays，andofthewantofscenerywhichobligeshimtocutoutmany
effectiveopen-airincidents，healwayswritesasadramatistwho
hadathisdisposalamostelaboratetheatricalwardrobe，andwho
couldrelyontheactorstakingpainsabouttheirmake-up。Even
nowitisdifficulttoproducesuchaplayastheCOMEDYOFERRORS；
andtothepicturesqueaccidentofMissEllenTerry’sbrother
resemblingherselfweowetheopportunityofseeingTWELFTHNIGHT
adequatelyperformed。Indeed，toputanyplayofShakespeare’son
thestage，absolutelyashehimselfwishedittobedone，requires
theservicesofagoodproperty-man，acleverwig-maker，a
costumierwithasenseofcolourandaknowledgeoftextures，a
masterofthemethodsofmaking-up，afencing-master，adancing-
master，andanartisttodirectpersonallythewholeproduction。
Forheismostcarefultotellusthedressandappearanceofeach
character。’Racineabhorrelarealite，’saysAugusteVacquerie
somewhere；’ilnedaignepass’occuperdesoncostume。Sil’on
s’enrapportaitauxindicationsdupoete，Agamemnonseraitvetu
d’unsceptreetAchilled’uneepee。’ButwithShakespeareitis
verydifferent。Hegivesusdirectionsaboutthecostumesof
Perdita，Florizel，Autolycus，theWitchesinMACBETH，andthe
apothecaryinROMEOANDJULIET，severalelaboratedescriptionsof
hisfatknight，andadetailedaccountoftheextraordinarygarbin
whichPetruchioistobemarried。Rosalind，hetellsus，istall，
andistocarryaspearandalittledagger；Celiaissmaller，and
istopaintherfacebrownsoastolooksunburnt。Thechildren
whoplayatfairiesinWindsorForestaretobedressedinwhite
andgreen-acompliment，bytheway，toQueenElizabeth，whose
favouritecolourstheywere-andinwhite，withgreengarlandsand
gildedvizors，theangelsaretocometoKatherineinKimbolton。
Bottomisinhomespun，LysanderisdistinguishedfromOberonbyhis
wearinganAtheniandress，andLauncehasholesinhisboots。The
DuchessofGloucesterstandsinawhitesheetwithherhusbandin
mourningbesideher。ThemotleyoftheFool，thescarletofthe
Cardinal，andtheFrenchliliesbroideredontheEnglishcoats，are
allmadeoccasionforjestortauntinthedialogue。Weknowthe
patternsontheDauphin’sarmourandthePucelle’ssword，thecrest
onWarwick’shelmetandthecolourofBardolph’snose。Portiahas
goldenhair，Phoebeisblack-haired，Orlandohaschestnutcurls，
andSirAndrewAguecheek’shairhangslikeflaxonadistaff，and
won’tcurlatall。Someofthecharactersarestout，somelean，
somestraight，somehunchbacked，somefair，somedark，andsomeare
toblackentheirfaces。Learhasawhitebeard，Hamlet’sfathera
grizzled，andBenedickistoshavehisinthecourseoftheplay。
Indeed，onthesubjectofstagebeardsShakespeareisquite
elaborate；tellsusofthemanydifferentcoloursinuse，andgives
ahinttoactorsalwaystoseethattheirownareproperlytiedon。
Thereisadanceofreapersinrye-strawhats，andofrusticsin
hairycoatslikesatyrs；amasqueofAmazons，amasqueofRussians，
andaclassicalmasque；severalimmortalscenesoveraweaverinan
ass’shead，ariotoverthecolourofacoatwhichittakesthe
LordMayorofLondontoquell，andascenebetweenaninfuriated
husbandandhiswife’smillinerabouttheslashingofasleeve。
AsforthemetaphorsShakespearedrawsfromdress，andthe
aphorismshemakesonit，hishitsatthecostumeofhisage，
particularlyattheridiculoussizeoftheladies’bonnets，andthe
manydescriptionsoftheMUNDUSMULIEBRIS，fromthelongof
AutolycusintheWINTER’STALEdowntotheaccountoftheDuchess
ofMilan’sgowninMUCHADOABOUTNOTHING，theyarefartoo
numeroustoquote；thoughitmaybeworthwhiletoremindpeople
thatthewholeofthePhilosophyofClothesistobefoundin
Lear’sscenewithEdgar-apassagewhichhastheadvantageof
brevityandstyleoverthegrotesquewisdomandsomewhatmouthing
metaphysicsofSARTORRESARTUS。ButIthinkthatfromwhatIhave
alreadysaiditisquiteclearthatShakespearewasverymuch
interestedincostume。Idonotmeaninthatshallowsenseby
whichithasbeenconcludedfromhisknowledgeofdeedsand
daffodilsthathewastheBlackstoneandPaxtonoftheElizabethan
age；butthathesawthatcostumecouldbemadeatonceimpressive
ofacertaineffectontheaudienceandexpressiveofcertaintypes
ofcharacter，andisoneoftheessentialfactorsofthemeans
whichatrueillusionisthasathisdisposal。Indeedtohimthe
deformedfigureofRichardwasofasmuchvalueasJuliet’s
loveliness；hesetsthesergeoftheradicalbesidethesilksof
thelord，andseesthestageeffectstobegotfromeach：hehas
asmuchdelightinCalibanashehasinAriel，inragsashehasin
clothofgold，andrecognisestheartisticbeautyofugliness。
ThedifficultyDucisfeltabouttranslatingOTHELLOinconsequence
oftheimportancegiventosuchavulgarthingasahandkerchief，
andhisattempttosoftenitsgrossnessbymakingtheMoor
reiterate’Lebandeau！lebandeau！’maybetakenasanexampleof
thedifferencebetweenLATRAGEDIEPHILOSOPHIQUEandthedramaof
reallife；andtheintroductionforthefirsttimeoftheword
MOUCHOIRattheTheatreFrancaiswasanerainthatromantic-
realisticmovementofwhichHugoisthefatherandM。Zolathe
ENFANTTERRIBLE，justastheclassicismoftheearlierpartofthe
centurywasemphasisedbyTalma’srefusaltoplayGreekheroesany
longerinapowderedperiwig-oneofthemanyinstances，bythe
way，ofthatdesireforarchaeologicalaccuracyindresswhichhas
distinguishedthegreatactorsofourage。
IncriticisingtheimportancegiventomoneyinLACOMEDIEHUMAINE，
TheophileGautiersaysthatBalzacmayclaimtohaveinventedanew
heroinfiction，LEHEROSMETALLIQUE。OfShakespeareitmaybe
saidhewasthefirsttoseethedramaticvalueofdoublets，and
thataclimaxmaydependonacrinoline。
TheburningoftheGlobeTheatre-aneventdue，bytheway，tothe
resultsofthepassionforillusionthatdistinguished
Shakespeare’sstage-management-hasunfortunatelyrobbedusof
manyimportantdocuments；butintheinventory，stillinexistence，
ofthecostume-wardrobeofaLondontheatreinShakespeare’stime，
therearementionedparticularcostumesforcardinals，shepherds，
kings，clowns，friars，andfools；greencoatsforRobinHood’smen，
andagreengownforMaidMarian；awhiteandgolddoubletfor
HenrytheFifth，andarobeforLongshanks；besidessurplices，
copes，damaskgowns，gownsofclothofgoldandofclothofsilver，
taffetagowns，calicogowns，velvetcoats，satincoats，frieze
coats，jerkinsofyellowleatherandofblackleather，redsuits，
greysuits，FrenchPierrotsuits，arobe’fortogooinvisibell，’
whichseemsinexpensiveat3pounds，10s。，andfourincomparable
fardingales-allofwhichshowadesiretogiveeverycharacteran
appropriatedress。TherearealsoentriesofSpanish，Moorishand
Danishcostumes，ofhelmets，lances，paintedshields，imperial
crowns，andpapaltiaras，aswellasofcostumesforTurkish
Janissaries，RomanSenators，andallthegodsandgoddessesof
Olympus，whichevidenceagooddealofarchaeologicalresearchon
thepartofthemanagerofthetheatre。Itistruethatthereisa
mentionofabodiceforEve，butprobablytheDONNEEoftheplay
wasaftertheFall。
Indeed，anybodywhocarestoexaminetheageofShakespearewill
seethatarchaeologywasoneofitsspecialcharacteristics。After
thatrevivaloftheclassicalformsofarchitecturewhichwasone
ofthenotesoftheRenaissance，andtheprintingatVeniceand
elsewhereofthemasterpiecesofGreekandLatinliterature，had
comenaturallyaninterestintheornamentationandcostumeofthe
antiqueworld。Norwasitforthelearningthattheycould
acquire，butratherforthelovelinessthattheymightcreate，that
theartistsstudiedthesethings。Thecuriousobjectsthatwere
beingconstantlybroughttolightbyexcavationswerenotleftto
moulderinamuseum，forthecontemplationofacallouscurator，
andtheENNUIofapolicemanboredbytheabsenceofcrime。They
wereusedasmotivesfortheproductionofanewart，whichwasto
benotbeautifulmerely，butalsostrange。
Infessuratellsusthatin1485someworkmendiggingontheAppian
WaycameacrossanoldRomansarcophagusinscribedwiththename
’Julia，daughterofClaudius。’Onopeningthecoffertheyfound
withinitsmarblewombthebodyofabeautifulgirlofabout
fifteenyearsofage，preservedbytheembalmer’sskillfrom
corruptionandthedecayoftime。Hereyeswerehalfopen，her
hairrippledroundherincrispcurlinggold，andfromherlipsand
cheekthebloomofmaidenhoodhadnotyetdeparted。Bornebackto
theCapitol，shebecameatoncethecentreofanewcult，andfrom
allpartsofthecitycrowdedpilgrimstoworshipatthewonderful
shrine，tillthePope，fearinglestthosewhohadfoundthesecret
ofbeautyinaPagantombmightforgetwhatsecretsJudaea’srough
androck-hewnsepulchrecontained，hadthebodyconveyedawayby
night，andinsecretburied。Legendthoughitmaybe，yetthe
storyisnonethelessvaluableasshowingustheattitudeofthe
Renaissancetowardstheantiqueworld。Archaeologytothemwasnot
ameresciencefortheantiquarian；itwasameansbywhichthey
couldtouchthedrydustofantiquityintotheverybreathand
beautyoflife，andfillwiththenewwineofromanticismforms
thatelsehadbeenoldandoutworn。FromthepulpitofNiccola
PisanodowntoMantegna’s’TriumphofCaesar，’andtheservice
CellinidesignedforKingFrancis，theinfluenceofthisspiritcan
betraced；norwasitconfinedmerelytotheimmobilearts-the
artsofarrestedmovement-butitsinfluencewastobeseenalso
inthegreatGraeco-Romanmasqueswhichweretheconstantamusement
ofthegaycourtsofthetime，andinthepublicpompsand
processionswithwhichthecitizensofbigcommercialtownswere
wonttogreettheprincesthatchancedtovisitthem；pageants，by
theway，whichwereconsideredsoimportantthatlargeprintswere
madeofthemandpublished-afactwhichisaproofofthegeneral
interestatthetimeinmattersofsuchkind。
Andthisuseofarchaeologyinshows，sofarfrombeingabitof
priggishpedantry，isineverywaylegitimateandbeautiful。For
thestageisnotmerelythemeeting-placeofallthearts，butis
alsothereturnofarttolife。Sometimesinanarchaeological
noveltheuseofstrangeandobsoletetermsseemstohidethe
realitybeneaththelearning，andIdaresaythatmanyofthe
readersofNOTREDAMEDEPARIShavebeenmuchpuzzledoverthe
meaningofsuchexpressionsasLACASAQUEEMAHOITRES，LES
VOULGIERS，LEGALLIMARDTACHED’ENCRE，LESCRAAQUINIERS，andthe
like；butwiththestagehowdifferentitis！Theancientworld
wakesfromitssleep，andhistorymovesasapageantbeforeour
eyes，withoutobligingustohaverecoursetoadictionaryoran
encyclopaediafortheperfectionofourenjoyment。Indeed，there
isnottheslightestnecessitythatthepublicshouldknowthe
authoritiesforthemountingofanypiece。Fromsuchmaterials，
forinstance，asthediskofTheodosius，materialswithwhichthe
majorityofpeopleareprobablynotveryfamiliar，Mr。E。W。
Godwin，oneofthemostartisticspiritsofthiscenturyin
England，createdthemarvellouslovelinessofthefirstactof
CLAUDIAN，andshowedusthelifeofByzantiuminthefourth
century，notbyadrearylectureandasetofgrimycasts，notbya
novelwhichrequiresaglossarytoexplainit，butbythevisible
presentationbeforeusofallthegloryofthatgreattown。And
whilethecostumesweretruetothesmallestpointsofcolourand
design，yetthedetailswerenotassignedthatabnormalimportance
whichtheymustnecessarilybegiveninapiecemeallecture，but
weresubordinatedtotherulesofloftycompositionandtheunity
ofartisticeffect。Mr。Symonds，speakingofthatgreatpictureof
Mantegna’s，nowinHamptonCourt，saysthattheartisthas
convertedanantiquarianmotiveintoathemeformelodiesofline。
ThesamecouldhavebeensaidwithequaljusticeofMr。Godwin’s
scene。Onlythefoolishcalleditpedantry，onlythosewhowould
neitherlooknorlistenspokeofthepassionoftheplaybeing
killedbyitspaint。Itwasinrealityascenenotmerelyperfect
initspicturesqueness，butabsolutelydramaticalso，gettingrid
ofanynecessityfortediousdescriptions，andshowingus，bythe
colourandcharacterofClaudian’sdress，andthedressofhis
attendants，thewholenatureandlifeoftheman，fromwhatschool
ofphilosophyheaffected，downtowhathorseshebackedonthe
turf。
Andindeedarchaeologyisonlyreallydelightfulwhentransfused
intosomeformofart。Ihavenodesiretounderratetheservices
oflaboriousscholars，butIfeelthattheuseKeatsmadeof
Lempriere’sDictionaryisoffarmorevaluetousthanProfessor
MaxMuller’streatmentofthesamemythologyasadiseaseof
language。BetterENDYMIONthananytheory，howeversound，or，as
inthepresentinstance，unsound，ofanepidemicamongadjectives！
AndwhodoesnotfeelthatthechiefgloryofPiranesi’sbookon
VasesisthatitgaveKeatsthesuggestionforhis’Odeona
GrecianUrn’？Art，andartonly，canmakearchaeologybeautiful；
andthetheatricartcanuseitmostdirectlyandmostvividly，for
itcancombineinoneexquisitepresentationtheillusionofactual
lifewiththewonderoftheunrealworld。Butthesixteenth
centurywasnotmerelytheageofVitruvius；itwastheageof
Vecellioalso。Everynationseemssuddenlytohavebecome
interestedinthedressofitsneighbours。Europebeganto
investigateitsownclothes，andtheamountofbookspublishedon
nationalcostumesisquiteextraordinary。Atthebeginningofthe
centurytheNUREMBERGCHRONICLE，withitstwothousand
illustrations，reacheditsfifthedition，andbeforethecentury
wasoverseventeeneditionswerepublishedofMunster’s
COSMOGRAPHY。Besidesthesetwobookstherewerealsotheworksof
MichaelColyns，ofHansWeigel，ofAmman，andofVecelliohimself，
allofthemwellillustrated，someofthedrawingsinVecellio
beingprobablyfromthehandofTitian。
Norwasitmerelyfrombooksandtreatisesthattheyacquiredtheir
knowledge。Thedevelopmentofthehabitofforeigntravel，the
increasedcommercialintercoursebetweencountries，andthe
frequencyofdiplomaticmissions，gaveeverynationmany
opportunitiesofstudyingthevariousformsofcontemporarydress。
AfterthedeparturefromEngland，forinstance，oftheambassadors
fromtheCzar，theSultanandthePrinceofMorocco，Henrythe
Eighthandhisfriendsgaveseveralmasquesinthestrangeattire
oftheirvisitors。LateronLondonsaw，perhapstoooften，the
sombresplendouroftheSpanishCourt，andtoElizabethcameenvoys
fromalllands，whosedress，Shakespearetellsus，hadanimportant
influenceonEnglishcostume。
Andtheinterestwasnotconfinedmerelytoclassicaldress，orthe
dressofforeignnations；therewasalsoagooddealofresearch，
amongsttheatricalpeopleespecially，intotheancientcostumeof
Englanditself：andwhenShakespeare，intheprologuetooneof
hisplays，expresseshisregretatbeingunabletoproducehelmets
oftheperiod，heisspeakingasanElizabethanmanagerandnot
merelyasanElizabethanpoet。AtCambridge，forinstance，during
hisday，aplayofRICHARDTHETHIRDwasperformed，inwhichthe
actorswereattiredinrealdressesofthetime，procuredfromthe
greatcollectionofhistoricalcostumeintheTower，whichwas
alwaysopentotheinspectionofmanagers，andsometimesplacedat
theirdisposal。AndIcannothelpthinkingthatthisperformance
musthavebeenfarmoreartistic，asregardscostume，than
Garrick’smountingofShakespeare’sownplayonthesubject，in
whichhehimselfappearedinanondescriptfancydress，and
everybodyelseinthecostumeofthetimeofGeorgetheThird，
Richmondespeciallybeingmuchadmiredintheuniformofayoung
guardsman。