Throughout the Middle Ages, and, indeed, up to the middle of the seventeenth century, great complaint was made by the clergy of the indecency of the dress of the people of France. About the thirteenth century it became fashionable to adorn the toe of the shoe or boot with an ornament in metal; either a lion's claw, or an eagle's beak, or something of that kind. Some immodest person ventured to substitute a sexual image in bronze for the usual appendage, and the fashion soon became general. Women even adopted it, and all the best society of Paris soon exhibited the indecency on their feet. The king forbade their use by royal edicts,[193] and a special bull was fulminated against them by Pope Urban V.,[194] but the monstrous shoes held their ground against both, and were only disused when fashion set in a different direction. The _Braguette_ was another enormity of the same character. Originally, it is said, the working-classes invented the idea of a small bag hanging between the knees in which a knife or other utensil could be carried. The fashion was adopted about the beginning of the fifteenth century by men of rank, and became immediately of an immodest nature. All the arts of fashion were called into requisition to give the _braguettes_ the most novel and remarkable appearance, and every possible means was used to render them at once disgustingly indecent and extravagantly rich. They were attached to the dress with gay-colored ribbons, and, when the wearer was a rich man, were adorned with jewels and lace. At the time Montaigne wrote, _braguettes_ had almost gone out of vogue: they were worn only by old men, who, in the language of the essayist, "make public parade of what can not decently be mentioned." Women, on their side, invented hoops, bustles, and low-necked dresses. The libraries contain a large collection of works written by moralists and preachers of the time against these "indecent abuses" of the ladies. As they are all in use at the present time, we may perhaps conclude that the old French moralists were unnecessarily alarmed; but it is likely that the form of the bustle was by no means as modest as that of modern crinoline skirts, and that the fashion of ladies' drawers had not yet come in. Such, at least, is the inference from some of the criticisms they provoked. The exposure of the breasts was checked for a time under Louis XIV., but the reform was evanescent, and the custom against which churchmen thundered in the sixteenth century survives to-day.