THE BEAUX AND THE DANDIES T HE BEAUX AND THE DANDIES WASH, 3WJMMELL, ANT UO%SAY WITH THEI71 COUNTS BY CLARE JERROLD Author of Victoria the Good," " Picturesque Sussex," etc. WITH FRONTISPIECE AND SIXTEEN ILLUSTRATIONS NEW YORK JOHN LANE COMPANY MCMX PRINTED BY HAZELL, WATSON AND VINEY, LD. LONDON AND AYLESBURY, ENGLAND. Gift Publisher WAR* 19H PREFACE A DESERVEDLY popular sentiment allows a careless neglect of dress only to the eccentric genius or to the very poor. The one is regarded on that point with an amused tolerance, the other is pitied. There is no doubt that humanity in general considers becoming dress to be essential ; and every normal person takes, according to leisure and opportunity, thought as to what is suitable and becoming. But the standard of beauty for one person is the standard of ugliness for another. A man clothes his legs in pipes, wears a pipe with a curly brim on his head, and binds his neck with a hard white band which gives the effect of semi-strangu- lation. Then he goes abroad pleased with and proud of himself as a well-dressed, fine-looking gentleman. A woman places a bee-hive or an inverted flower-pot on her head, puffs out her chest like a pouter-pigeon, wears a yard-wide skirt tied round her ankles or her knees with a piece of ribbon, and totters along the pavement with a sickly show of self-content. Both man and woman believe that they touch the point of beauty, and if Beau Brummell, Beau Nash, or Count D'Orsay were mentioned, both would probably inveigh against the idle, useless fools of a bygone time, who gave so much care to dress. 5 6 Preface Yet the balance of good sense is with the Beaux, who were strong-minded enough to lead the modes, while the well-dressed (?) man and woman of to-day follow ser- vilely any foolish and ugly fashion that may be presented by some professional dressmaker or tailor, presumably with the desire to prove the depths to which humanity will go in sartorial folly. Since beginning to write this book I have heard such unqualified scorn poured upon the Beaux by my friends, who carry their chins high because of the stiffness of their collars, and seem so unhappy about their knees when they sit down, evidently fearing lest the straightness of their nether garments will not be maintained when they once more rise to their feet, that I ardently wish some new Beau would burst upon the world in sufficient glory and strength to induce men to dress comfortably and beautifully. To pass to another subject, I would acknowledge with gratitude the kindness of Mr. Lewis Melville, who has helped me out of more than one difficulty which arose when preparing my manuscript. Clare Jerrold. Hampton-on-Thames, September 1910. LIST OF ILLUSTRATIONS I GEORGE BRYAN BRUMMELL, OF THE PRINCE'S OWN . Frontispiece By James Holmes. PAGE GEORGE VILLIERS, DUKE OF BUCKINGHAM 29 By Verelst. CHARLES, LORD BUCKHURST, EARL OF DORSET 55 By Kneller. I ROBERT FEILDING 77 By Wissing. ■ RICHARD NASH, THE " KING " OF BATH 99 By T. Hudson. PHILIP DORMER STANHOPE, EARL OF CHESTERFIELD . . . 125 By W. Hoare. • THE DUKE OF QUEENSBERRY, " OLD Q " I43 From a contemporary print. GEORGE SELWYN, THE HONOURABLE RICHARD EDGCUMBE, AND "GILLY" WILLIAMS 165 Painted by Reynolds for Horace Walpole. THE WIG IN ENGLAND '. A MACARONI READY FOR THE PANTHEON . 187 From a contemporary print. CHARLES JAMES FOX IN HIS ANTI-DANDY DAYS .... 205 By Karl Anton Hickel. BEAU BRUMMELL 223 By John Cooke. A BALL AT ALMACK'S 245 A Sketch sold with Brummell's effects. BEAU BRUMMELL AS AN OLD MAN AT CAEN ..... 267 From a contemporary print. A SUGGESTED STATUE TO BRUMMELL AND GEORGE IV. . . . 285 From " Punch." KING GEORGE IV 3II By Hoppner. COUNT ALFRED D'ORSAY 333 Drawn on stone from life by R. J. Lade. THE DUKE OF WELLINGTON 355 By Count D'Orsay. 7 The Beaux and the Dandies CHAPTER I We all owe much to our tailors in one sense, many of us in more senses than one. How shall society repay its tailor ? — Punch, 1845. THE Beau has been with us through all the ages, for the quality which makes the beau is first self- consciousness and then vanity, the vanity which seeks its expression in clothes. Literature gives us stories from East and West, North and South, of individuals who have bestowed such extreme care upon their appearance that they are marked out from their nation or tribe as people of especial note. Such during their day make more stir than the men of intellect or force, for that which pleases the eye has the most vivid effect upon the imagination. There are, besides, so many men of brains, so many who can rule or organise, and but few who, being content to let their reputation rest solely upon their outside show, have also the power to make that show of such a quality that it stamps a deep impression upon others. Naturally there are beaux of various degrees. There is the real beau, he who is first and last a beau and nothing but a beau ; he whose intellect is given chiefly to clothes ; who is, by accident, by circumstance, or by choice, freed from any profession or occupation, who 9 io The Beaux and the Dandies can do but one thing well, and has secured the chance of doing that thing. Of such an one Carlyle says in his chapter in Sartor Resartus upon " The Dandiacal Body " that he is " a clothes-wearing Man, a Man whose trade, office and existence consists in the wearing of Clothes. Every faculty of his soul, spirit, purse and person is heroically consecrated to this one object, the wearing of Clothes wisely and well ; so that as others dress to live he lives to dress. The all-importance of Clothes, which a German professor, of unequalled learning and acumen, writes his enormous Volume to demonstrate, has sprung up in the intellect of the Dandy without effort, like an instinct of genius ; he is inspired with Cloth, a Poet of Cloth. What Teufelsdrockh would call ' a Divine Idea of Cloth ' is born with him, and this, like other such ideas, will express itself outwardly, or wring his heart asunder with unutterable throes." It will be noticed that Carlyle uses the word Dandy rather than Beau, but in the eighty years or so which have elapsed since his famous book upon clothes was written, these words have come to designate somewhat different ideas. Carlyle's Dandy is the ideal Beau, whom only two or three men have approached in practice. The most notable was George Bryan Brummell, he whose devotion to appearance was such that it is impossible to conceive of him doing any work in the world dissociated from it. He was the living example of the debr.ted philosophical theory that Appearance is Reality, and it was only when his intellect gave way that he lost his pre-eminence over other men in this respect. Of all beaux, Brummell was the chief; certainly not in England nor in Europe has there been another to equal him. It is more than probable that many, on reading this, A Born Artist n will say it is well that it should be so — that neither England nor any other country wants or ever will want such a man again. This judgment, justifiable only from short-sightedness, is an extreme one. It is certain that there are many people whom we think we can do with- out, the criminal and evil-doer, for instance. If we go farther, and wish to wipe Brummell from our history, we might also dispense with a great multitude of people in every generation — people who live solely for their own pleasure, to which they minister chiefly by their clothes, striving to outdo each other in dress and social matters. Indeed the idlers who make no mark upon their day can better be spared than that extreme idler who, by his very thoroughness, did society a great service in reforming its taste and laying down hygienic laws which had been too long ignored. The Dandy, as we read him now, is a fine gentleman with a great regard for his appearance, but he may have other strong qualities and powers. He may be a poet, a politician, a merchant, a lord, an artist — indeed, he may be anything, with an added desire to be noteworthy in appearance. Such an one will copy eagerly the newest fashion, or will set a new fashion himself ; and if he be rash enough to do the latter, he must stand or fall by it. That is to say, that if his novelty be acclaimed by his comrades, if they copy it and talk of it, then has he gone a step higher in the peculiar rank of Dandy. On the other hand, if he be simply stared at but not imitated, if people laugh at and talk of him, but ignore his new design, in so far as imitation goes, then he is but a freak, a poor foolish Dandy, of whom people speak with tolerant or contemptuous pity. And herein lies the real difference between the Beau and the Dandy. The Beau is a born artist in clothes, the whole subject of dress comes naturally to him, his clothes are 12 The Beaux and the Dandies the expression of himself. With the Dandy, however, the science of clothes has to be instilled into him ; he must take anxious care and thought as to what to wear and how to wear it. In fact, there is as much difference between the Beau and the Dandy as there is between a Wit and a man who labours at his jokes until at last he produces a bright idea, and then has to guide the con- versation until he can get the chance of fitting the jeu cT esprit into it. Henry Cope, who, during the Regent's wildest days at the Pavilion on the coast of Sussex, was known as " The Green Man of Brighton," may be mentioned as an example of the unsuccessful Dandy. cc He is dressed in green pantaloons, green waistcoat, green frock, green cravat ; and though his ears, whiskers, eyebrows, and chin are better powdered than his head, which is however covered with flour, his countenance, no doubt from the reflection of his clothes, is also green. He eats nothing but greens, fruits and vegetables ; has his rooms painted green and furnished with green sofas, green chairs, green tables, green bed, and green curtains. His gig, his livery, his portmanteau, his gloves, and his whip are all green. With a green silk handkerchief in his hand, and a large watch chain with green seals, fastened to the green buttons of his green waistcoat, he parades every day on the Steyne." Of course Henry Cope failed as much by his extremity as by his artificiality, but it is that very inability to know what will be acceptable, and the striving not to be superior to his fellows but to be different, which marks the unsuccessful Dandy. Those who hold an intermediate position between the genuine Beau and the false Dandy, those who follow a fashion and contrive to look well, to catch attention as extremely well-dressed people — I use The Hour — and the Beau 1 3 the word in its narrow sense, as used by the votaries of fashion — are the successful Dandies. England has counted among its celebrities but three men who are Beaux par excellence, Nash, Brummell, and D'Orsay, and of these Nash's name lives more by the character of the work that he did than by his elegance in dress, though that gave him his reputation. There are some people who would deny that he filled any real place in the world, but fortunately this is not the opinion of the majority, for the organiser and the ruler is in constant demand. D'Orsay did not influence society as much as Brummell, though he was quite as elegant a figure. He was not an Englishman, he had not the same opportunity of attracting royalty, his career was weighted by scandal, and he lacked both the ultra-cool assurance of Brummell and the capacity for organisation which made of Nash an autocrat. In fact, much as he was admired, he lived at a time of transition in social views, a transition which eventually put the Beau out of fashion. For the existence of the Beau depends upon the character of society. Beaux, fops, dandies, whatever name we may give them, will always be with us, but their position, their prominence, and their effectiveness will depend upon the conditions of the society in which they live. As M. Barbey d'Aurevilly says : " For a rare Beau to develop himself it is necessary that he should have the advantage of a very aristocratic, complicated society." Had there been no Prince Regent there would have been no Beau Brummell as we know him ; had there been no Bath we should have heard little of Beau Nash ; had there been no Charles II. we should have heard nothing of the elaborate fineness of such men as Rochester, Sedley, and Feilding. The Court, after the Restoration, was a veritable hot- 14 The Beaux and the Dandies house in which Beaux attained to their highest develop- ment, and yet it must be borne in mind that that development was, by the very nature of the Court itself, but a coarse, sensual excellence, which expressed itself in an extravagance of colour and adornment, and an extravagance of thought and habit which was manifested in extravagant action. The Beaux of the Regency were in some cases no less immoral, no less coarse and foolish than those of the earlier time, yet superficially they showed a quieter elegance, and were slightly subdued by the weight of a disapproving King in the background. They were also the product of a staid social order and so were, on the whole, devoid of the talent and wit which came to the fore in Charles's time, as the result of the clash of ideas and forces, the reaction against Puritanism. Though D'Orsay equalled Brummell in his love of appearance, he was not, in the first place, so assertive ; and secondly, the Court of Queen Victoria offered no opportunities for the display of his particular qualities. Thus, if I may pervert Browning's well-known line, Brummell had the time, the place, and the circumstance all together, and he stands now, and perhaps for all history, as the most perfect example of a Beau that ever lived. But as has been said, there are many others who deserve notice besides these three best known of the Beaux. Before Nash made his entry into Bath, again in the interval before Brummell captured the Prince of Wales, also in that period which divided Brummell's departure for Calais in 1816, from the rise of D'Orsay in cc smart society," there were a number of smaller men renowned for their dress, their wit, and their idleness. From the date when the gorgeous James Hay, Earl of Carlisle, went on a splendid embassy with a message to the French king, down to the The Beau as Wit 15 middle of the twentieth century, we have had Dandies, who by their pranks, their misdeeds, and saving qualities, have run a gaudy pattern into the fringe of history. In my experience, to speak of Beaux and Dandies is to raise a certain amused, half-tolerant scorn of the subject. A Beau is looked upon much in the same light as the tailor in the nursery rhyme — as only part of a man, and this puts me, as it were, upon the defensive. For I am in no mind to apologise for my subject ; amusement is as necessary to our health as high thinking, and if I offer frivolity for your consideration rather than saintly virtue, I am not the less offering a good thing. A person who can appreciate wit and laugh at humour is as healthy as he who says long prayers and strives after good actions ; and on the score of wit and humour the Beaux are well worthy of attention. As wit is born in a man and cannot be educated into him, some of the Dandies were greater in this respect than those they followed. Nash was sponta- neously witty sometimes, but sometimes, especially in old age, he mistook rudeness for wit. D'Orsay showed a great sense of humour, and BrummeH's tongue, if not the sharpest of his day, was certainly one of the readiest. Lord Alvanley, who in some ways succeeded the last named in the favour of the Prince Regent, is more often quoted for his wit than for his dress, and the remembered mots of Selwyn would fill pages. It is unfortunate that of those Wits and Beaux of the Stuart period so few creditable sayings remain. There were Villiers, second Duke of Buckingham, Etherege, Sedley, Killigrew, Rochester, and later, Congreve, whose wit is now to be found only in their published plays, and when found it is to us not keenly pointed, for we know little of the topics of their day. One writer talks of Congreve "as a horrible nightmare, and may the fates 1 6 The Beaux and the Dandies forbid that I should go through his plays again ! " "My recollection of his plays is like that of a vile nightmare, which I would not for anything have return to me ! " That is putting the case extravagantly, for we look no more for delicate sentiment and fine distinctions in morals among men suffering from a violent reaction against aggressive repression and vandalism, than we expect lilies to bloom on a recently burnt hill-side. On the other hand, there were a number of Dandies who did not profess wit, whose lives were made up of very small things indeed, and these Addison immor- talised by sarcasm in one of his Spectator essays with which this chapter may fittingly conclude : " A head no hellebore can reach," is the introductory line to this amusing account of the dissection in a dream of a Beau's head. " An imaginary operator opened the first (a Beau's head) with a great deal of nicety, which upon a cursory and superficial view, appeared like the head of another man ; but upon applying our glasses to it, we made a very odd discovery, namely, that what we looked upon as brains, were not such in reality, but an heap of strange materials wound up in that shape and texture, and packed together with wonderful art in the several cavities of the skull. For, as Homer tells us, that the blood of the Gods is not real blood, but only something like it ; so we found that the brain of the Beau is not a real brain, but only something like it. " The pineal-gland, which many of our modern philo- sophers suppose to be the seat of the soul, smelt very strong of essence and orange-flower water, and was encompassed with a kind of horny substance, cut into a thousand little faces or mirrors, which were imperceptible to the naked eye, insomuch that the soul, if there had been In Lieu of Brains 17 any here, must have been always taken up in contemplating her own beauties. " We observed a large antrum or cavity in the sinciput, that was filled with ribbons, lace, and embroidery, wrought together in a most curious piece of network, the parts of which were likewise imperceptible to the naked eye. Another of these antrums or cavities was stuffed with invisible billets-doux, love-letters, pricked dances, and other trumpery of the same nature. In another we found a kind of powder, which set the whole company a-sneezing, and by the scent discovered itself to be right Spanish. The several other cells were stored with commodities of the same kind, of which it would be tedious to give the reader an exact inventory. u There was a large cavity on each side the head which I must not omit. That on the right side was filled with fictions, flatteries, and falsehoods, vows, promises, and protestations ; that on the left with oaths and imprecations. There issued out a duct from each of these cells, which ran into the root of the tongue, where both joined together, and passed forward in one common duct to the tip of it. We discovered several little roads or canals running from the ear into the brain, and took particular care to trace them out through their several passages. One of them extended itself to a bundle of sonnets and little musical instruments. Others ended in several bladders, which were filled either with wind or froth. But the large canal entered into a great cavity of the skull, from whence there went another canal into the tongue. This great cavity was filled with a kind of spungy substance, which the French anatomists call galimatias, and the English nonsense. " The skins of the forehead were extremely tough and thick, and what very much surprised us, had not in them 2 1 8 The Beaux and the Dandies any single blood vessel that we were able to discover, either with or without our glasses ; from whence we con- cluded, that the party when alive must have been entirely deprived of the faculty of blushing. " The os cribriforme was exceedingly stuffed, and in some places damaged with snuff. We could not but take notice in particular of that small muscle which is not often discovered in dissections, and draws the nose upwards, when it expresses the contempt which the owner of it has upon seeing anything he does not like, or hear- ing anything he does not understand. I need not tell my learned reader, this is that muscle which performs the motion so often mentioned by the Latin poets, when they talk of a man's cocking his nose, or playing the rhinoceros. " We did not find anything very remarkable in the eye, saving only, that the muscali amatorii, or, as we may translate it into English, the ogling muscles, were very much worn and decayed with use ; whereas, on the contrary, the elevator, or the muscle which turns the eye towards heaven, did not appear to have been used at all. " I have only mentioned in this dissection such new discoveries as we were able to make, and have not taken any notice of those parts which seem to be met with in common heads. As for the skull, the face, and indeed the whole outward shape and figure of the head, we could not discover any difference from what we observe in the heads of other men. We were informed that the person to whom this head belonged, had passed for a man above five and thirty years; during which time he ate and drank like other people, dressed well, talked loud, laughed frequently, and on particular occasions had acquitted himself tolerably at a ball or an assembly ; to which one of the company added, that a certain knot of ladies took him for a wit. He was cut off in the flower of his age by the blow of a The Head Mercurial 19 paring-shovel, having been surprised by an eminent citizen, as he was tendering some civilities to his wife. " When we had thoroughly examined this head, with all its apartments, and its several kinds of furniture, we put up the brain, such as it was, into its proper place, and laid it aside under a broad piece of scarlet cloth, in order to be prepared, and kept in a great repository of dissections ; our operator telling us that the preparation would not be so difficult as that of another brain, for that he had observed several of the little pipes and tubes which ran through the brain were already filled with a kind of mercurial substance, which he looked upon to be true quicksilver." CHAPTER II Lady Town. He's very fine. Emil. Extreme proper. Sir Fop. A slight suit I made to appear in at my first arrival, not worthy your consideration, ladies. Dor. The pantaloon is very well mounted. Sir Fop. The tassels are new and pretty. Med. I never saw a coat better cut. Sir Fop. It makes me show long-waisted, and, I think, slender. Dor. That's the shape our ladies dote on. Med. Your breech, though, is a handful too high in my eye, Sir Fopling. Sir Fop. Peace, Medley : I have wished it lower a thousand times, but a pox on't, 'twill not be. Lady Town. His gloves are well fringed, large and graceful. Sir Fop. I was always eminent for being bien-gante\ Emil. He wears nothing but what are originals of the most famous hands in Paris. Sir Fop. You are in the right, madam. Lady Town. The suit ? Sir Fop. Barroy. 1 Emil. The garniture ? Sir Fop. Le Gras. Med. The shoes? Sir Fop. Piccat. Dor. The periwig ? Sir Fop. Chedreux. Lady Town and Emil. The gloves ? Sir Fop. Orangerie : you know the smell, ladies. Dorimont, I could find it in my heart for an amusement to have a gallantry with some of our English ladies. Dor. 'Tis a thing no less necessary to confirm the reputation of your wit than a duel will be to satisfy the town of your courage. Etherege, The Man of Mode. I DO not find the word Beau, to designate a man of fashion, used before the time of Charles II., and it is very probable that he brought it home with him when he returned from his exile. There were of course many men who filled the character before that ; the Earl of Leicester, the Earl of Surrey, and Sir Walter Raleigh, to name but 1 Probably Barri. The " drap du Barri " became very fashionable. A Scottish Beau 21 three, all of whom were keen on dress. Is there not an anecdote about Leicester which shows the great Bess, " herself helping to put on his robes, he sitting on his knees before her, and keeping a great gravity and discreet behaviour ; but as for the queen she could not refrain from putting her hand in his neck to tickle him, smilingly, the French ambassador and I [Sir James Melville] standing beside her ! " The Earl of Surrey was wit, poet, soldier, and dandy ; he loved silks and velvets, gold embroidery, ribbons and pearls ; but he was not a fop in the general acceptation of the word, and his position as poet would alone mark him off from those whose only claim to fame is that they are Beaux. We all know the story, true or otherwise, of the courtier Raleigh laying his gorgeous cloak upon the ground for his sovereign to step upon. And there is that other picture of him as a man of middle life, a giant in size, with curling beard and hair and bronze-tinted skin, dressed " in scarf and band of the richest colour and costliest stuff, in cap and plume worth a ransom, in jacket powdered with gems ; his whole attire, from cap to shoe- strings, blazing with rubies, emeralds, and pearls. Thus he walked daily on the terrace at the top of the wall of the Tower, and crowds came to the outer court to see him." There was one man who was better deserving the name of Beau at the time of James I. than many who assumed it later, and this was James Hay, the Earl of Carlisle. Educated in France, he belonged to the Scottish Guard maintained by the French monarch, and came over to England intent on winning position and wealth from King James. He showed no great talent or capacity ; indeed, if we except his lack of wit, he was a Beau pure and simple, depending for his success upon his dress, his 12 The Beaux and the Dandies magnificence, and his manners. He possessed a natural elegance, taste, and sweetness of disposition, which made him attractive not only to the eyes but to the minds of those with whom he came in contact, and he also pos- sessed a tact which was more valuable than genius. It is said that no one has ever surpassed the Earl in the splendour of his entertainments and the costliness of his dress. In 1616, when he was sent to France to con- gratulate the King upon his marriage with the Infanta of Spain, the whole of Paris turned out to see him enter the city, his magnificence was so great, one illustration of this being that the horse he rode was lightly shod with silver shoes, and that it, " prancing and curvetting, in humble reverence, flung his shoes away, which the greedy bystanders scrambled for " ; and the Earl was content to be gazed on and admired till the farrier, or rather the argentier, in one of his rich liveries, came from among his train of footmen, and, taking other shoes out of a tawny velvet bag, put them on — to last until the Earl came to the next troop of grandees ; and thus he reached the Louvre. " One of the meanest of his suits was so fine as to look like romance," says Arthur Wilson, who describes it as made of white beaver embroidered all over in gold and silver. As for his hospitality, it was as fantastic as that of Heliogabalus, and, I should imagine, scarcely less murderous. For we read of a pie devoured by one man, the making of which had cost ^10, it being composed of ambergrease, magisterial of pearl, musk, and other strange but costly ingredients. It is not to be wondered at that the consumer was sick all the night afterwards. Of one of his marvellous banquets it is told that it had to be postponed until dishes were made large enough to hold the immense fishes — probably sturgeon — " which had The Coming of the Beaux 23 been brought out of Muscovy," and we have a hint that the fish were not quite so fresh as they might have been. In his last illness in 1636, he had