In the figure of the exquisite of 1670, after Mitelli (p. 129), the squareness of the toes is emphasised, the two corners even projecting from the flat edge. There are small bunches of ribbons at the toes, an abnormally large stiffened bow at the instep, and, by way of "piling Pelion upon Ossa," the bend of the stiffened bows is supplemented by smaller bows, representing the very acme of whimsical extravagance. Usually these bows or ribbons were allowed to fall loose, in which case, however, they never reached such extravagant proportions as in the before-mentioned instance. A square-toed shoe of a Dutch officer of the Guards, 1662, is given, having a loose bow, also a shoe of a musketeer with a small buckle on the instep and a large tongue or flap in front. [Illustration: DUTCH OFFICER OF GUARDS, 1662.] Buckles have been worn from quite an early period, an example of a circular buckle occurring on a brass of 1376. They formed the usual fastening of the shoe during the Commonwealth, and were worn until the close of the eighteenth century, when they fell into disuse. The buckle-makers of 1800, alarmed at their declining trade, petitioned the Prince of Wales to discard his new strings and adopt the buckle, but, although the Prince complied with the wishes of the petition, it was of no avail. Buckles were often richly jewelled, and consequently very costly. Those worn by the Hon. John Spencer on the occasion of his marriage were said to be worth £30,000. [Illustration: MOUSQUETAIRE, 1697.] In the anonymous portrait of Prince Henry, eldest son of James I. (p. 103), the shoes are of leather, slashed, showing the coloured stocking underneath, and otherwise ornamented, with the strap drawn over the instep, covered by a jewelled rosette, or "shoe-rose." These shoe-roses had a great vogue during the time of Elizabeth; they were usually of bunches of ribbons made to form a rose, and were occasionally ornamented with costly jewels. "With two Provencal roses on my razed shoes." _Hamlet_, Act III, sc. 2. In "Hæc-Vir, or the Womanish Man," 1621, is described a fashionable man, who "takes a full survey of himself, from the highest sprig in his feather to the lowest spangle that shines in his shoe-string." We now come to the period of high-topped boots, which continued with variations to the time of George II. In the portrait of Charles I. by Daniel Mytens in the National Portrait Gallery will be seen an example of the earlier form of top-boot. The tops fit close, and are turned down at the knee, and the edges again turned up half-way down the calf of the leg. A large flap with double edges protects the instep. [Illustration: LOUIS XIII., 1611.]