Not many years ago no really refined gentlewoman would have worn pinchbeck. False jewelry and imitation lace were touchstones with the sex, and the woman who would condescend to either was assumed, perhaps not quite without reason, to have lost something more than the mere niceness of technical taste. This feeling ran through the whole of society, and pinchbeck was considered as at once despicable and disreputable. The successful speculator, sprung from nothing, who had made his fortune during the war, might buy land, build himself a mansion and set up a magnificent establishment, but he was never looked on by the aboriginal gentry of the place as more than a lucky adventurer; and the blue blood, perhaps nourishing itself on thin beer, turned up its nose disdainfully at the claret and Madeira which had been personally earned and not lineally inherited. This exclusiveness was narrow in spirit and hard in individual working; and yet there was a wholesome sentiment underlying its pride which made it valuable in social ethics, if immoral on the score of natural equality and human charity. It was the rejection of pretentiousness, however gilded and glittering, in favour of reality, however poor and barren; it was the condemnation of make-believe--the repudiation of pinchbeck. It is not a generation since this was the normal attitude of society towards its _nouveaux riches_ and Brummagem jewelry; but time moves fast in these later days, and national sentiments change as quickly as national fashions.