Oddly enough, even in those days, which we are somehow inclined to clothe in idyllic simplicity, women dressed like men, as far as they could. Budgell notes this: 'They already appear in Hats and Feathers, Coats and Perriwigs.'[221] And Addison points out to them[222] that if their design in so doing is to 'smite more effectually their Male Beholders,' they are mistaken, for 'how would they be affected should they meet a Man on Horseback, in his Breeches and Jack Boots, and at the same time dressed up in a Commode and a Night raile?' [Footnote 221: _Spectator_, 331.] [Footnote 222: _Ibid._ 435.] The same little feminine vanities existed then as now. We had a glance at the cosmetics and scents, so will only just give one more illustration which supplies some then missing scents. 'I have choice good Gloves, Amber, Orangery, Gensa, Romane, Frangipand, Nerol, Tuberose, Jessimine and Marshal. All manner of Tires for the Head, Locks, Frowzes and so forth;'[223] so that they were not altogether independent of the barber's art as regards false hair. [Footnote 223: _The Virtuoso._] [Illustration: Coiffure.] There stands the _Toilette_, Nursery of Charms, Compleatly furnish'd with bright Beauty's Arms; The Patch, the Powder Box, Pulville, Perfumes, Pins, Paint, a flatt'ring Glass, and Black lead Combs. ............................................... So Love with fatal Airs the Nymph supplies Her Dress disposes, and directs her Eyes. The Bosom now its naked Beauty Shows, Th' experienced Eye resistless Glances throws; Now vary'd Patches wander o'er the Face, And Strike each Gazer with a borrow'd Grace; The fickle Head dress sinks and now aspires, And rear's it's tow'ry Front on rising Wires: The Curling Hair in tortured Ringlets flows, Or round the Face in labour'd Order grows.[224] [Footnote 224: _The Fan._] The mode of coiffure was far less pretentious than in succeeding reigns. When a cap or commode was worn, the hair, except in front, was almost entirely concealed. When worn without a cap, as in the house--especially for dress occasions--it was rolled, as in the accompanying illustration, in a style both elegant and informal. [Illustration: Patching.] That curious practice of patching the face was in force, but was used in greater moderation than either in the reign of Charles I., when suns, moons, stars, and even coaches and four were cut out of sticking plaister, and stuck on the face, and even the mercers patched, to show the effect to their customers--or in the Georgian era, when the face was covered with a sooty eruption. The effect on a pretty face, as shown in the accompanying illustration, is far from unpleasant. But it was an art, and required judgment.