Had it been black, one would have spotted it at once; and this fact, when one comes to consider it, is a little singular, since, if one were to march down Piccadilly some fine afternoon crowned in a vermilion pot-hat, methinks one would not _altogether_ escape notice. There is, however, still another aspect of clothes which remains to be considered, _i.e._, their symbolism. It has been written, "Manners maketh man." It might also be written with even a still greater degree of truth, "_Clothes_ maketh man," since clothes contribute so much to man's dignity. Carlyle finds it difficult to imagine a naked Duke of Windlestraw addressing a naked House of Lords, and asks, very pertinently, "Who ever saw any Lord my-lorded in tattered blanket fastened with a wooden skewer?" His King Toom-tabard (empty gown) reigning over Scotland long after the man John Baliol had gone! His quaint conceit of a suit of cast clothes, meekly bearing its honours, without haughty looks or scornful gesture, has been imitated by Thackeray in his amusing illustration of "Ludovicus Rex"--the "silent dignity" of "Rex" as represented by the suit of clothes, the forlorn appearance of Ludovicus, the magnificence of "Ludovicus Rex," all testify to the great importance and value of costume, as contrasted with the relatively trivial character of the wearer. Who, then, shall dare to belittle the importance of costume? or to affirm that character can rise superior to its environment? Our subject is one of the most significant which can be presented to the reader's consideration. It provides one of the most curious and fascinating studies in the world. [Illustration: "LUDOVICUS REX." _From "Paris Sketches."_] The materials upon which we base our knowledge of the dress of the earlier periods of the world's history are necessarily scanty. For the Egyptian and Assyrian period we are dependent upon monumental inscriptions and carving, and the few papyri which have survived the ravages of time. For the Greek and Roman period, upon sculpture, pottery, and the written description of the more considerable authors. For the Byzantine, Frankish, and Gothic periods, upon mosaic, monumental effigies, and illuminated MSS. It is not until what may be called the age of the _painter_ that we may be said to emerge into the broad light of day, and the pencils of Holbein, Rubens, and Vandyke make things clearer for us. The sumptuary laws, however, enacted at various periods, against excess in apparel and extravagance in dress, let in a flood of light on the manners and customs of the times, and in them will be found many curious and interesting details. The principal Acts are the following: 2 Edw. II. c. 4; 37 Edw. III. cc. 8, 14; 3 Edw. IV. c. 1; 22 Edw. IV. c. 1; 1 Hen. VIII. c. 14; 6 Hen. VIII. c. 1; 7 Hen. VIII. c. 6; 24 Hen. VIII. c. 13; 1 and 2 Phil. and Mary, c. 2; 8 Eliz. c. 11. All these laws were repealed by an Act of 1 Jac. I.