, had been hung in this make of breeches.

In number four we see the development of the tail-coat and the
high-buttoned waistcoat. The tail-coat is, of course, son to the
frock-coat, the skirts of which, being inconvenient for riding, had
first been buttoned back and then cut back to give more play.

[Illustration: A WOMAN OF THE TIME OF GEORGE III. (1760-1820)

In the earlier half of the reign. Notice her sack dress over a satin
dress, and the white, elaborately made skirt. Also the big cap and
the curls of white wig.]

In the fifth drawing we see the double-breasted cut-away coat.

Number six is but a further tail-coat design.

Number seven shows how different were the styles at one time. Indeed,
except for the Macaroni and other extreme fashions, the entire budget
of men as shown might have formed a crowd in the Park on one day about
twenty years before the end of the reign. There would not be much
powdered hair after 1795, but a few examples would remain.

A distinct change is shown in the eighth drawing of the long-tailed,
full coat, the broad hat, the hair powdered, but not tied.

Number nine is another example of the same style.

The tenth drawing shows the kind of hat we associate with Napoleon,
and, in fact, very Napoleonic garments.

In eleven we have a distinct change in the appearance of English
dress. The gentleman is a Zebra, and is so-called from his striped
clothes. He is, of course, in the extreme of fashion, which did not
last for long; but it shows a tendency towards later Georgian
appearance--the top-hat, the shorter hair, the larger neckcloth,
the pantaloons--forerunners of Brummell's invention--the open sleeve.

[Illustration: {Fourteen styles of hair and hats for men}]

[Illustration: A MAN OF THE TIME OF GEORGE III. (1760-1820)

The cuffs have gone, and now the sleeve is left unbuttoned at the
wrist. The coat is long and full-skirted, but not stiffened. The
cravat is loosely tied, and the frilled ends stick out. These frills
were, in the end, made on the shirt, and were called chitterlings.]

Number twelve shows us an ordinary gentleman in a coat and waistcoat,
with square flaps, called dog's ears.

As the drawings continue you can see that the dress became more and
more simple, more like modern evening dress as to the coats, more like
modern stiff fashion about the neck.

The drawings of the women's dresses should also speak for themselves.
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