les, including "Blue Beard," "The Sleeping Beauty,"
"Little Red Riding-Hood," "Cinderella," and "Puss in Boots"; and the
Countess d'Aulnoy (died 1720), whose "Yellow Dwarf" and "White Cat"
belong to the same department of nursery tales.[24]

A curious feature of French romanticism was the way in which the
new-found liberty of art asserted itself in manners, costume, and
personal habits. Victor Hugo himself was scrupulously correct and
subdued in dress, but his young disciples affected bright colours and
rich stuffs. They wore Spanish mantillas, coats with large velvet
lapels, pointed doublets or jerkins of satin or damask velvet in place of
the usual waistcoat, long hair after the Merovingian fashion, and pointed
beards. We have seen that Shenstone was regarded as an eccentric, and
perhaps somewhat dangerous, person when at the university, because he
wore his own hair instead of a wig. In France, half a century later, not
only the _perruque_, but the _menton glabre_ was regarded as symptomatic
of the classicist and the academician; while the beard became a badge of
romanticism. At the beginning of the movement, Gautier informs us,
"there were only two full beards in France, the beard of Eugene Deveria
and the beard of Petrus Borel. To wear them required a courage, a
coolness, and a contempt for the crowd truly heroic. . . . It was the
fashion then is the romantic school to be pale, livid, greenish, a trifle
cadaverous, if possible. It gave one an air of doom, Byronic,
_giaourish_, devoured by passion and remorse." It will be remembered
that the rolling Byronic collar, open at the throat, was much affected at
one time by young persons of romantic temperament in England; and that
the conservative classes, who adhered to the old-fashioned stock and high
collar, looked askance upon these youthful innovators as certainly
atheists and libertines, and probably enemies to society--would-be
corsairs or banditti. It is interesting, therefore, to discover that in
France, too, the final touch of elegance among the romantics was not to
have any white linen in evidence; the shirt collar, in particular, being
"considered as a mark of the grocer, the bourgeois, the philistine." A
certain _gilet rouge_ which Gautier wore when he led the _claque_ at the
first performance of "Hernani" has become historic. This flamboyant
garment--a defiance and a challenge to the academicians who had come to
hiss Hugo's play--was, in fact, a _p