This is only one of many instances in which royalty8 has been responsible for inaugurating silly and eccentric fashions from some circumstance of an untoward9 nature. Thus when Francis I., owing to a wound he received in his head, was obliged to wear his hair short, this became a Court fashion. Charles V. suffered so intensely from headache that he had his hair cut close, and thence arose the mode of wearing it short. Charles VII. of France{289} introduced long coats to hide his ill-made legs, and full-bottomed wigs10 were invented by a French barber, named Duviller, to conceal12 an elevation13 in the shoulder of the Dauphin. Tradition, too, tells how Queen Blanche provided her consort14, Louis IX., with a wig11 to hide his baldness, for, said she, “our bald kings have never been lucky, and it ill befits a sovereign that he should not be better provided with flowing locks than a mendicant16 at the gates of Notre Dame17. It shall never be said that Louis, our well-beloved consort, went about with as little hair on his crown as a monarch18 retired19 from his vocation20, and shut up in a cloister21.” By this incident the perruque was popularised in France, and Louis became the patron of “artists in hair.”
When Louis XIII. succeeded Henry IV. at the age of nine years, the courtiers, because “the new king could have no beard, resolved that they would have none themselves; and every wrinkled face appeared at Court as beardless as possible,” with the exception of the honest Sully, who, although jeered22 at for his old-fashioned appearance, made no change.
Shoes with very long points were invented by Henry Plantagenet, Duke of Anjou, to conceal a large excrescence on one of his feet, whereas the charming Isabella of Bavaria introduced the fashion of leaving the shoulders and part of the neck uncovered to show off her beautiful skin. The reign15 of Charles II., it has been remarked, “was the dominion23 of French fashions,” and the custom{290} of baring the bosom24 was made the subject of frequent comment by the moralists of the day. Catherine of Braganza, it is said, “exposed her breast and shoulders without even the gloss25 of the lightest gauze,” and in one of her portraits “the tucker instead of standing26 up on her bosom, is with licentious27 boldness turned down, and lies upon her stays.”[117] Anne Boleyn is said to have had on her throat a large mole28, which she carefully concealed29 with an ornamental31 collar-band, a fashion which was imitated by the ladies of the Court, who had never thought of wearing anything of the kind before. Nor was this her Majesty32’s only defect, for it appears she had a malformation of the little finger of her left hand, on which there was a double nail, with something like an indication of a sixth finger. “But that,” says Wyatt, “which in others might be regarded as a defect, was to her an occasion of additional grace, by the skilful33 manner in which she concealed it from observation.” On account of this peculiarity34 she wore the hanging sleeves mentioned as her peculiar fashion when in France, a practice which was quickly followed by the ladies of the Court in this country. It may be mentioned, too, that Anne Boleyn had great taste and skill in dress, and we are told that “she was unrivalled in the gracefulness36 of her attire37 and the fertility of her invention in devising new patterns, which were imitated by all the Court belles38, by whom she was regarded as the glass of fashion.{291}”
Some sovereigns attended to the dress of their subjects, as the Emperor Paul of Russia, whose instructions were regulated by the police. It was ordered that ordinary dress should consist of a cocked hat, or for want of one a round hat pinned up with three corners, a single-breasted coat and waistcoat, knee-buckles39 instead of strings40, and buckles in the shoes. A lady at Court, it is said, wearing her hair rather lower in her neck than was consistent with the decree, was ordered into close confinement41, to be fed on bread and water.
Similarly, it seems that James regulated the dress of his subjects in Scotland, for in 1621 he enacted42 that the fashion of clothes in use be not changed by man or woman “under the pain of forfeiture43 of the cloths, and an hundred pounds to be paid by the wearer, and as much by the maker44 of the said cloths.” According to the fashion in use, no person could wear lawns or cambrics, or cloth trimmed with gold, or feathers on their heads, or pearls and precious stones, &c. But, to make this law more arbitrary and invidious, it exempted45 from its operation “noblemen, prelates, lords of session, barons46 of quality, their wives, sons, and daughters, as also heralds47, trumpeters, and minstrels.” And, it may be remembered, short and tight breeches were so much the rage in France that Charles V. was compelled to banish48 this fashion by edict.
Louis XI. greatly disliked finery, and on one occasion dismissed a gendarme49 from his service for appearing before him in a velvet50 doublet; and his Majesty had an open quarrel with the Duke of{292} Cleves by showing his disapprobation of his extravagance in dress. Similarly, Ferdinand V., the Catholic, is reported one day to have turned to a gallant51 of the Court noted52 for his finery, and, laying his hand on his own doublet, to have exclaimed, “Excellent stuff this; it has lasted me three pair of sleeves!” But this spirit of economy was carried so far as to bring on him the reproach of parsimony53.[118] Henry IV. of France curtailed54 as much as possible his wardrobe expenses, usually wearing a plain grey habit, with a doublet of either satin or taffeta, without any ornament30. Oftentimes, when he saw a courtier in his costly55 apparel, he would humorously remark that he “carried his castle and his wood on his shoulders.”
During the closing years of his life Charles V. was singularly indifferent to his apparel, and, according to a contemporary account, “when he rode into the towns, amidst a brilliant escort of courtiers and cavaliers, the Emperor’s person was easy to be distinguished56 among the crowd by the plainness of his attire.” In the latter part of his reign he dressed wholly in black. Roger Ascham, who was admitted to an audience by him some years before his abdication57, says that his Majesty “had on a gown of black taffety, and looked somewhat like the parson of Epurstone.” His natural parsimony came in aid of his taste. It is told of him that once being overtaken by a storm in the neighbourhood of Naumburg, he took off his new velvet{293} cap and remained uncovered whilst he sent into the town for an old one. “Poor Emperor,” thought one of the company, who tells the anecdote58, “spending tons of gold on his wars and standing bareheaded in the rain for the sake of his velvet bonnet59.” But his Majesty had not always shown this disregard of dress, having been inordinately60 fond of finery, especially of jewellery. At one time, writes Dr. Doran, “his toilet-table was covered with miscellaneous articles, like that of Charles of Burgundy, and there was as much variety in its drawers.”
Frederick William I. in his early life ignored fashion, and showed a great aversion to regal pomp and luxury. One day he threw a dressing61-gown of gold brocade into the fire, and, it is said, he would often lie for hours in the sun with his face greased to give it a tanned, soldier-like appearance. Frederick the Great was slovenly62 in his person, a defect that increased as he grew older; for he so far disregarded fashion as to wear ragged63 linen64, dirty shirts, old clothes, and cracked boots.
Similarly, James I. of England was quite indifferent to his dress, and is said to have worn his clothes as long as they would hang together. On one occasion, when a pair of shoes adorned65 with rosettes were brought to him, he inquired whether it was intended to make “a ruffe-footed dove” of him; and at another time when a new-fashioned Spanish hat was shown him, he pushed it contemptuously away, remarking that he neither liked the Spanish, nor their fashions. It is even said that on one occasion he went so far as to borrow a pair of scarlet66 stockings{294} with gold clocks from one of his courtiers when he was anxious to make a special impression on the French Ambassador. According to Walpole, James hunted “in the most cumbrous and inconvenient67 of all dresses, a ruff and trouser breeches,” which must have presented a somewhat quaint68 appearance.
Perhaps one of the greatest sensations made by royalty in the matter of dress was that of Christina of Sweden, who on passing through France on her visit to Louis XIV., in her strange dress and uncurled wig, looked, according to public criticism, “very like a half-tipsy gipsy.” Her coat has been described as a garment neither of man nor woman, and it fitted so ill that her higher shoulder appeared above the neck of the dress. Mesdames de Montpensier and de Motteville describe her chemise, which was made according to the fashion of a man’s shirt, as appearing and disappearing through, under, or over, other parts of the royal costume in a very puzzling way; but what most astonished and horrified69 the ladies of fashion, “who wore trains from the moment they rose in bed, were the short petticoats worn by Christina, which left her ankles exposed to the sight and criticism of all who chose to look at them.”[119]
But if some sovereigns have been naturally parsimonious70 in their dress, some were so from force of circumstances, as in the case of Isabella of Angoulême, consort of King John, for, although his Majesty never{295} spared his own personal expenses, he was mean to his queen. Thus we find in one of his wardrobe rolls an order for a grey cloth pelisson for Isabella, guarded with nine bars of grey fur. There is another order for cloth to make two robes for the Queen, each to consist of five ells, one of green cloth, the other of brunet; also cloth for a pair of purple sandals and four pairs of women’s boots, one pair to be embroidered71 round the ankles. The richness, however, of his own dress and the costly splendour of his jewellery partly occasioned the demands he made on the purses of his people.
Edward I., on the other hand, disliked show, and, according to his chronicler, “he went about in the plain garments of a citizen, excepting on days of festival.” When remonstrated72 with by a bishop73 on his unkingly attire, his Majesty answered: “What could I do more in royal robes, father, than in this plain gabardine?” And Catherine of Aragon apparently74 was much of the same opinion, for she was accustomed to say that she considered no part of her time so much wasted as that passed in dressing and adorning75 herself. Henry VIII. was fond of show in dress, and Queen Elizabeth’s excessive love of fashion and finery, like that of her namesake, queen of Philip II. of Spain, has long been proverbial. Indeed, it has been said that “her toilet was an altar of devotion, of which she was the idol76, and all her ministers were her votaries77: it was the reign of coquetry and the golden age of milliners.” The list of her Majesty’s wardrobe in 1600 shows us that she had at that time 99 robes,{296} 126 kirtles, 269 gowns, 136 foreparts, 125 petticoats, and 27 fans, in addition to 96 cloaks, 83 save-guards, 85 doublets, and 18 lap mantles78. As Elizabeth grew older she tried more and more to hide the dilapidations of nature by the resources of art; and, if we are to believe all that has been said of her, “she was the mistress of many million hearts and full a thousand dresses.” She inaugurated a reign of extravagance; and, as Mr. Thornbury has remarked, “she seems to have lost her jewels upon public occasions almost as frequently as Prince Esterhazy, who used to shake off so many pounds’ worth of diamonds every time he went to the opera. At Westminster, on one occasion, the Queen drops a golden acorn79 and oak leaf; on another, two gold buttons shaped like tortoises; on another, a diamond clasp given her by the Earl of Leicester, and which fastened a gown of purple cloth of silver.” Her Majesty, it is said, was never seen en déshabille by the male sex but on two occasions. The first time was on “a fair May morning when Gilbert Talbot, the Earl of Shrewsbury’s son, walking in the tilt-yard about eight o’clock, chanced to look up, and saw her at the window in her night-cap. ‘My eye,’ said he, ‘was full towards her, and she showed to be greatly ashamed thereof, for that she was unready and in her nightstuff. So when she saw me after dinner as she went to walk, she gave me a great fillip on the forehead, and told my lord chamberlain, who was the next to see her, how I had seen her that morning, and how much she was ashamed thereof.’” Twenty years later the luckless Essex surprised her{297} in the hands of her tire-woman, and he paid severely81 for his blunder.
With the wardrobe of Elizabeth may be compared in size that of Augustus III., second Saxon King of Poland, which filled two halls of the palace, there having been for each dress a special watch, snuff-box, sword, and cane82. Every dress was painted in miniature in a book, which every morning was presented to “his most serene83 Excellency,” as he caused himself to be called. He had as many as 1500 wigs, so that when his palace was occupied by Frederick the Great during the Seven Years’ War, he exclaimed contemptuously, “So many perrukes for a man who has no head.”
The portraits of Anne of Denmark, queen of James I., indicate, it is said, a masculine character, and “display a tawdry and tasteless style of dress.” And it was at this period that the enormous fardingale was worn at Court, concerning which “unnatural disguisement” Lord Lytton, in his pedigree of the English gallant, tells the following amusing story: “When Sir Peter Wych was sent ambassador to the Grand Seignor from James I., his lady accompanied him to Constantinople, and the Sultaness, having heard much of her, desired to see her; whereupon Lady Wych, attended by her waiting-women, all of them dressed in their great fardingales, which was the Court dress of the English ladies at that time, waited upon her Highness. The Sultaness received her visitors with great respect, but, struck with the extraordinary extension of the hips84 of the whole party, seriously{298} inquired if that shape was peculiar to the natural formation of English women, and Lady Wych was obliged to explain the whole mystery of the dress in order to convince her that she and her companions were not really so deformed85 as they appeared to be.”
A pleasant little anecdote would lead us to imply that Henrietta Maria, consort of Charles I., relied on her own natural charms; for on her arrival in this country, when Charles seemed surprised to find her taller than he had expected, and cast his eyes upon her feet, as it suspecting that she had made use of artificial means to improve her stature86, she immediately raised one of her feet, and pointed87 to the shoe. “Sir,” she said, “I stand upon my own feet. I have no helps of art. Thus high I am, and I am neither higher nor lower.”[120]
This incident reminds us of Catherine of Braganza, who tried to introduce short skirts, being desirous, as Lady Carteret told Pepys, “to have the feet seen,” probably, it is said, owing to her having, like most of her countrywomen, small, well-turned feet; but, despite her exhibiting herself in this new fashion, she found few imitators, the ladies of the Court adhering to their long-flowing draperies.
Another queen who had a strong aversion to artificial adjuncts was Mary Beatrice of Modena, wife of James II. It was the fashion for the ladies of the Court to paint, and, when the King told her that he wished her to do the same, she refused not only as a matter of taste, but from a religious scruple88.{299} But at last she consented and put on rouge89, which, when Father Seraphin, a Capuchin friar of great sanctity, to his grief and surprise saw, he exclaimed, “Madame, I would rather see your Majesty yellow, or even green, than rouged”—a remark which much amused the Queen.
William III. one day asked Peter the Great what he thought of London, to which he replied “that he had been particularly pleased to see a simplicity90, meekness91, and modesty92 of dress in the richest nation of Europe.” The Czar was always very plain in his own dress, and a diplomatic agent who resided many years at his Court says: “I saw him in 1721 give a public audience to the ambassadors of Persia, when he entered the hall of audience in nothing more that a surtout of coarse brown cloth. When he was seated on the throne, the attendants brought him a coat of blue gros de Naples, embroidered with silver, which he discarded as soon as the ambassadors were gone. Catherine, who was present, was much amused at seeing the Czar in his spangled silk vest. He introduced the dress of Western Europe among his courtiers, but his subjects generally, it is said, were not so easily reconciled to the new fashion, which necessitated93 his laying tax on long coats, as he had already done on long beards.
Queen Anne was extremely particular in all matters of dress; and, it may be remembered, the wig costume of the Court was a source of much discomfort94 to Eugene of Savoy, in 1712. When Lord Bolingbroke once appeared before her in a simple tie-wig instead of a full-bottomed one{300}—having been summoned in the utmost haste—she exclaimed, “I suppose that the next time his lordship appears at Court he will come in his night-cap.” Addison speaks in high praise of the coiffure then in fashion, which, as may be seen by the later portraits of Queen Anne, was elegant, the hair clustering in graceful35 curls down the back of the neck, “and though hair-powder was worn by some, her Majesty’s chestnut95 ringlets are unsullied by that composition.”[121]
An amusing anecdote is told of George I., who was somewhat indifferent to the fashions of dress. During the war of 1743, a victory gained over the French was celebrated96 by an ode written and set to music for the occasion, and performed several nights before his Majesty in the great council chamber80. On these occasions George appeared in a hat, coat, sword, and scarf which he had worn at the battle of Oudenarde, and as after forty years fashion had much changed, it can be easily understood that the company assembled could with difficulty restrain from laughing on seeing their King attired97 in these “antiquated habiliments. And when the following couplet proclaimed that—
“‘Sure such a day was never known,
Such a king, and such a throne!’
there was a general titter, which soon exceeded all the bounds of Court decorum,” at which one of the lords of the bedchamber clapped his hands.{301} The company took the hint and joined in a general plaudit, at which the old king was highly pleased, without knowing the real cause of the compliment.
“Our tars,” writes Mr. Planché, “are too gallant to feel annoyed by the fact that their uniform was first worn by a lady. In 1748 George II. accidentally met the Duchess of Bedford on horseback in a riding-habit of blue faced with white, and was so pleased with the effect of it, that a question having been raised as to the propriety98 of deciding upon some general dress for the royal navy, he immediately commanded the adoption99 of those colours.”[122]
Caroline Matilda, the posthumous100 child of Frederick, Prince of Wales—who at the age of fifteen became the wife of Christian101 VII., King of Denmark—gave great offence to the graver Danish matrons by riding in that costume astride like a man. “An abominable102 riding-habit,” writes Sir Robert Keith, “with a black slouched hat has been almost universally introduced here, which gives every woman the air of an awkward postillion. In all the time I have been in Denmark I have never seen the Queen out in any other garb103.”[123] Her horsemanship, however, was the admiration104 of the ladies of Denmark.
When Queen Charlotte arrived in England, out{302} of respect for the women of her adopted country, she appeared in the dress which was then most in vogue105 among the English ladies. She was attired in a gold brocade with a white ground, “had a stomacher ornamented106 with diamonds, and a fly cap with richly laced lappets”—a mode of dress which was much appreciated.
As D’Israeli has remarked in his “Anecdotes107 of Fashion,” “the Court in all ages and in every country are the modellers of fashions;” but occasionally, it must be acknowledged, they have incurred108 their own ridicule109, or discomfort. When Louis VII., for instance—to obey his bishops—cropped his hair and shaved his beard, his consort, Eleanor, revenged herself as she thought proper, disgusted at his unusual and ridiculous appearance. His Majesty obtained a divorce, after which Eleanor married the Count of Anjou, afterwards our Henry II.
The chief majesty of Louis XIV. lay in his wig, a fact which he recognised. Every night he allowed his valets to undress his body, but not his head, and when the disrobing was completed—save the head—he retired behind the curtains, which were carefully closed. With his own royal hand he then removed his wig, and thrusting it between the curtains gave it to a valet. Before the curtains were opened in the morning the wig was passed back to the monarch, who was never seen without his wig.
Similarly, Catherine II. of Russia kept her perruquier for more than three years in an iron{303} cage in her bedchamber, to prevent his telling people that she wore a wig.[124]
In the reign of Louis XVI. dress was carried to an height, and the story goes that when M. Roland, on his appointment as Minister for the Home Department, was presented to his Majesty, the simplicity of his apparel excited the ridicule of the Court satellites, who derived110 from etiquette111 their sole importance. “Oh dear, sir,” said the master of the ceremonies, whispering to Dumourier and glancing at Roland, “he has no buckles in his shoes.” “Oh, shocking,” re-echoed Dumourier, “we shall be ruined and undone112.”
The mention of shoes reminds us that, according to one authority, silk stockings were first worn by Henry II. of France at the marriage of his sister in 1559, but before that time Edward VI. had secured a pair from Sir Thomas Gresham, who imported them from Spain, where they were first manufactured. The story goes that a loyal-minded grandee113 thought he could not do better than present a pair of silk stockings to his queen, and to that end placed them in the hands of the first minister of the Crown, who astonished him by returning them, bidding him remember that the “Queen of Spain had no legs.” Another version tells us how when Maria Anne, mother of Charles II., was on her way across Spain as the bride of Philip IV., she stopped at a town famous for the manufacture of stockings, some of which the Alcáide of the place offered her, when he was thrust out by the{304} Mayordom with the words, “You must know the Queen of Spain has no legs.” Upon hearing which the young Queen began to cry, saying, “I must go back to Vienna; if I had known before I set out that they would have cut my legs off, I would have died rather than come here.” This remark made even Philip smile, although he is said to have laughed only three times in his life.
Before Mademoiselle Bertin became so celebrated as Marie Antoinette’s milliner, she was not only very plain in her attire, but very economical, a circumstance which she was wont114 to say gave great umbrage115 to the other princesses of the Court of Versailles, who never showed themselves from the moment they rose till they returned to bed, except in full dress, while she herself made all her morning visits in a simple white cambric gown and straw hat.
Many amusing anecdotes have been recorded in connection with her Majesty’s toilette. It appears that Mademoiselle Bertin had invented a new head ornament of gauze, ribbons, flowers, beads116, and feathers for her Majesty; but when the royal hairdresser, according to custom, attended on her, he had with him some steps of which she did not perceive the use. “What are these steps for?” exclaimed she to the tire-woman. The knight117 of the comb advanced, and making a most profound bow, humbly118 represented to her Majesty that Mademoiselle Bertin, having so enormously increased the height of the head ornaments119, it would be impossible for him to establish them{305} upon a firm foundation unless he could have a complete command of the head they were to be fixed120 upon; and being but of the middle size and her Majesty very tall, he could not achieve the duty of his office without mounting three or four steps, which he did to the great amusement of the Queen and the party present.[125]
According to another anecdote, on the day of the great fête of the Cordon121 Bleu, when it was the etiquette to wear diamonds and pearls, her Majesty had omitted putting them on. As there had been a greater affluence122 of visitors than usual that morning, writes Princess Lamballe, and her Majesty’s toilette du chambre was overthronged by princes and princesses, “I fancied that the omission123 proceeded from forgetfulness. Consequently, I sent the tire-woman in the Queen’s hearing to order the jewels to be brought in. Smilingly her Majesty replied, ‘No, no! I have not forgotten these gaudy124 things, but I do not intend that the lustre125 of my eyes should be out-done by the one, or the whiteness of my teeth by the other; however, as you wish art to eclipse nature, I’ll wear them to satisfy you, ma belle2 dame!’”
Alas126! as it has been often remarked, who would have dared on such an occasion, and among those smiles, to have prognosticated the cruel fate of the head which then attracted such general admiration.
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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belle
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| n.靓女 | |
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vow
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| n.誓(言)，誓约；v.起誓，立誓 | |
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countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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expedient
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| adj.有用的，有利的；n.紧急的办法，权宜之计 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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obstinacy
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| n.顽固；（病痛等）难治 | |
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royalty
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| n.皇家，皇族 | |
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untoward
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| adj.不利的，不幸的，困难重重的 | |
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wigs
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| n.假发，法官帽( wig的名词复数 ) | |
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wig
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| n.假发 | |
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conceal
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| v.隐藏，隐瞒，隐蔽 | |
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elevation
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| n.高度；海拔；高地；上升；提高 | |
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consort
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| v.相伴；结交 | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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mendicant
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| n.乞丐；adj.行乞的 | |
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dame
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| n.女士 | |
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monarch
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| n.帝王，君主，最高统治者 | |
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retired
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| adj.隐退的，退休的，退役的 | |
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vocation
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| n.职业，行业 | |
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cloister
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| n.修道院；v.隐退，使与世隔绝 | |
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jeered
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| v.嘲笑( jeer的过去式和过去分词 ) | |
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dominion
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| n.统治，管辖，支配权；领土，版图 | |
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bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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gloss
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| n.光泽，光滑；虚饰；注释；vt.加光泽于；掩饰 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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licentious
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| adj.放纵的，淫乱的 | |
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mole
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| n.胎块；痣；克分子 | |
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concealed
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| a.隐藏的，隐蔽的 | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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ornamental
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| adj.装饰的；作装饰用的；n.装饰品；观赏植物 | |
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majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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peculiarity
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| n.独特性，特色；特殊的东西；怪癖 | |
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35
graceful
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| adj.优美的，优雅的；得体的 | |
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36
gracefulness
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37
attire
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| v.穿衣，装扮[同]array；n.衣着；盛装 | |
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38
belles
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| n.美女( belle的名词复数 )；最美的美女 | |
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39
buckles
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| 搭扣，扣环( buckle的名词复数 ) | |
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40
strings
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| n.弦 | |
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41
confinement
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| n.幽禁，拘留，监禁；分娩；限制，局限 | |
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42
enacted
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| 制定（法律），通过（法案）( enact的过去式和过去分词 ) | |
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43
forfeiture
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| n.（名誉等）丧失 | |
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44
maker
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| n.制造者，制造商 | |
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45
exempted
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| 使免除[豁免]( exempt的过去式和过去分词 ) | |
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46
barons
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| 男爵( baron的名词复数 )； 巨头； 大王； 大亨 | |
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47
heralds
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| n.使者( herald的名词复数 )；预报者；预兆；传令官v.预示( herald的第三人称单数 )；宣布（好或重要） | |
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48
banish
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| vt.放逐，驱逐；消除，排除 | |
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49
gendarme
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| n.宪兵 | |
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50
velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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51
gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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52
noted
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| adj.著名的，知名的 | |
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53
parsimony
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| n.过度节俭，吝啬 | |
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54
curtailed
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| v.截断，缩短( curtail的过去式和过去分词 ) | |
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55
costly
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| adj.昂贵的，价值高的，豪华的 | |
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56
distinguished
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| adj.卓越的，杰出的，著名的 | |
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57
abdication
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| n.辞职；退位 | |
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58
anecdote
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| n.轶事，趣闻，短故事 | |
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59
bonnet
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| n.无边女帽；童帽 | |
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60
inordinately
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| adv.无度地，非常地 | |
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61
dressing
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| n.(食物)调料；包扎伤口的用品，敷料 | |
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62
slovenly
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| adj.懒散的，不整齐的，邋遢的 | |
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63
ragged
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| adj.衣衫褴褛的，粗糙的，刺耳的 | |
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64
linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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65
adorned
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| [计]被修饰的 | |
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66
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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67
inconvenient
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| adj.不方便的，令人感到麻烦的 | |
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68
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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69
horrified
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| a.(表现出)恐惧的 | |
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70
parsimonious
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| adj.吝啬的，质量低劣的 | |
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71
embroidered
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| adj．绣花的 | |
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72
remonstrated
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| v.抗议( remonstrate的过去式和过去分词 )；告诫 | |
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73
bishop
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| n.主教，（国际象棋）象 | |
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74
apparently
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| adv.显然地；表面上，似乎 | |
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75
adorning
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| 修饰，装饰物 | |
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76
idol
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| n.偶像，红人，宠儿 | |
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77
votaries
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| n.信徒( votary的名词复数 )；追随者；（天主教）修士；修女 | |
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78
mantles
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| vt.&vi.覆盖（mantle的第三人称单数形式） | |
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acorn
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| n.橡实，橡子 | |
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80
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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severely
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| adv.严格地；严厉地；非常恶劣地 | |
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82
cane
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| n.手杖，细长的茎，藤条；v.以杖击，以藤编制的 | |
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83
serene
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| adj. 安详的，宁静的，平静的 | |
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84
hips
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| abbr.high impact polystyrene 高冲击强度聚苯乙烯，耐冲性聚苯乙烯n.臀部( hip的名词复数 )；[建筑学]屋脊；臀围（尺寸）；臀部…的 | |
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85
deformed
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| adj.畸形的；变形的；丑的，破相了的 | |
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86
stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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87
pointed
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| adj.尖的，直截了当的 | |
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88
scruple
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| n./v.顾忌，迟疑 | |
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89
rouge
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| n.胭脂，口红唇膏；v.(在…上)擦口红 | |
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90
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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91
meekness
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| n.温顺，柔和 | |
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92
modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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93
necessitated
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| 使…成为必要，需要( necessitate的过去式和过去分词 ) | |
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94
discomfort
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| n.不舒服，不安，难过，困难，不方便 | |
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95
chestnut
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| n.栗树，栗子 | |
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96
celebrated
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| adj.有名的，声誉卓著的 | |
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97
attired
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| adj.穿着整齐的v.使穿上衣服，使穿上盛装( attire的过去式和过去分词 ) | |
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98
propriety
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| n.正当行为；正当；适当 | |
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99
adoption
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| n.采用，采纳，通过；收养 | |
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100
posthumous
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| adj.遗腹的；父亡后出生的；死后的，身后的 | |
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101
Christian
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| adj.基督教徒的；n.基督教徒 | |
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102
abominable
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| adj.可厌的，令人憎恶的 | |
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103
garb
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| n.服装，装束 | |
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104
admiration
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| n.钦佩，赞美，羡慕 | |
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105
Vogue
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| n.时髦，时尚；adj.流行的 | |
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106
ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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107
anecdotes
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| n.掌故，趣闻，轶事( anecdote的名词复数 ) | |
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108
incurred
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| [医]招致的，遭受的； incur的过去式 | |
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109
ridicule
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| v.讥讽，挖苦；n.嘲弄 | |
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110
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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111
etiquette
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| n.礼仪，礼节；规矩 | |
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112
undone
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| a.未做完的，未完成的 | |
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113
grandee
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| n.贵族；大公 | |
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114
wont
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| adj.习惯于；v.习惯；n.习惯 | |
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115
umbrage
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| n.不快；树荫 | |
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116
beads
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| n.（空心）小珠子( bead的名词复数 )；水珠；珠子项链 | |
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117
knight
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| n.骑士，武士；爵士 | |
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118
humbly
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| adv. 恭顺地，谦卑地 | |
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119
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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120
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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121
cordon
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| n.警戒线，哨兵线 | |
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122
affluence
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| n.充裕，富足 | |
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123
omission
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| n.省略，删节；遗漏或省略的事物，冗长 | |
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124
gaudy
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| adj.华而不实的；俗丽的 | |
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125
lustre
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| n.光亮，光泽；荣誉 | |
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126
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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