There is one new thing you must be prepared to meet in this reign, and that will best be described by quoting the title of a book written at this time: 'A Wonder of Wonders, or a Metamorphosis of Fair Faces into Foul Visages; an invective against black-spotted faces.' By this you may see at once that every humour was let loose in the shapes of stars, and moons, crowns, slashes, lozenges, and even a coach and horses, cut in black silk, ready to be gummed to the faces of the fair. Knowing from other histories of such fads that the germ of the matter lies in a royal indisposition, we look in vain for the conceited history of the Princess and the Pimple, but no doubt some more earnest enquirer after truth will hit upon the story--this toy tragedy of the dressing-table. For the dress we can do no better than look at the 'Ornatus Muliebris Anglicanus,' that wonderfully careful compilation by Hollar of all the dresses in every class of society. It is interesting to see how the Jacobean costume lost, by degrees, its formal stiffness, and first fardingale and then ruff vanished. Early in the reign the high-dressed hair was abandoned, and to take its place the hair was dressed so that it was gathered up by the ears, left parted on the crown, and twisted at the back to hold a plume or feather. Time went on, and hair-dressing again altered; the hair was now taken in four parts: first the hair was drawn well back off the forehead, then the two side divisions were curled neatly and dressed to fall over the ears, the fourth group of hair was neatly twisted and so made into a small knot holding the front hair in its place. Later on came the fringe of small curls, as in the portrait of Queen Henrietta at Windsor by Vandyck. We see at first that while the ruff, or rather the rebatoe--that starched lace high collar--remained, the fardingale having disappeared, left, for the upper gown, an enormous quantity of waste loose material that had previously been stretched over the fardingale and parted in front to show the satin petticoat. From this there sprung, firstly, a wide, loose gown, open all the way down and tied about the middle with a narrow sash, the opening showing the boned bodice of the under-dress with its pointed protruding stomacher, the woman's fashion having retained the form of the man's jerkin. Below this showed the satin petticoat with its centre strip or band of embroidery, and the wide border of the same. In many cases the long hanging sleeves were kept. Then there came the fall of the rebatoe and the decline of the protruding figure, and with this the notion of tying back the full upper skirt to show more plainly the satin petticoat, which was now losing the centre band of ornament and the border.