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Roger Sherman, 147.--Daniel Sheffey, 155.--Gideon Lee, 156.--Samuel Drew, 163.--Robert Bloomfield, 176.--Nathaniel Bloomfield, 181.--William Gifford, 183.--Noah Worcester, 192.--James Lackington, 196.--Joseph Pendrell, 198.--Thomas Holcroft, 199.--Rev. William Carey, D. D., 200.--George Fox, 202.--Rev. James Nichol, 202.--Rev. William Huntington, 203.

Patron Saints of Shoemakers.--St. Crispin's Day.--Cordwainers' Hall.--Incorporated Shoemakers.--Proverbs.--Anecdotes.

HISTORY OF BOOTS AND SHOES.

ON THE MOST ANCIENT COVERINGS FOR THE FEET.

If we investigate the monuments of the remotest nations of antiquity, we shall find that the earliest form of protection for the feet, partook of the nature of sandals. The most ancient representations we possess of scenes in ordinary life, are the sculptures and paintings of early Egypt, and these the investigations of travelled scholars from most modern civilized countries have, by their descriptions and delineations, made familiar to us, so that the habits and manners, as well as the costume of this ancient people, have been handed down to the present time, by the work of their own hands, with so vivid a truthfulness, that we feel as conversant with their domestic manners and customs, as with those of any modern nation to which the book of the traveller would introduce us. Not only do their pictured relics remain to give us an insight into their mode of life, but a vast quantity of articles of all kinds, from the tools of the workmen, to the elegant fabrics which once decorated the boudoir of the fair ladies of Memphis and Carnac three thousand years ago, are treasured up in the museums, both public and private, of this and other countries.

With these materials, it is in no wise difficult to carry our history of shoemaking back to the earliest times, and even to look upon the shoemaker at his work, in the early days of Thothmes the third, who ascended the throne of Egypt, according to Wilkinson, 1495 years before Christ, and during whose reign, the Exodus of the Israelites occurred. The first of our plates contains a copy of this very curious painting, as it existed upon the walls of Thebes, when the Italian scholar Rossellini copied it for his great work on Egypt. The shoemakers are both seated upon low stools , and are both busily employed, in the formation of the sandals then usually worn in Egypt, the first workman is piercing with his awl the leather thong, at the side of the sole, through which the straps were passed, which secured the sandal to the foot;

before him is a low sloping bench, one end of which rests upon the ground; his fellow-workman is equally busy, sewing a shoe, and tightening the thong with his teeth, a primitive mode of working which is occasionally indulged in at the present day. Above their heads is a goodly row of sandals, probably so placed, to attract a passing customer; the shops in the East being then, as now, entirely open and exposed to every one who passed. As the ancient Egyptian artists knew nothing of perspective, the tools of the workmen that lie around, are here represented above them: they bear, in some instances, a resemblance to those used in the present day; the central instrument, above the man who pierces the tie of the sandal, having the precise shape of the shoemaker's awl still in use, so very unchanging are articles of utility. In the same manner, the semicircular knife used by the ancient Egyptians three or four thousand years ago, is precisely similar to that of our modern curriers, and is thus represented in a painting at Thebes, of that remote antiquity. The workman, it will be noticed, cuts the leather upon a sloping bench, exactly like that of the shoemaker already engraved.

The warmth and mildness of the East, rendered a close, warm shoe unnecessary; and, indeed, in the present day, they partake there more of the character of slippers; and the foot, thus unconfined by tight shoes, and always free in its motion, retained its full power and pliability: and the custom, still retained in the East, of holding a strap of leather, or other substance, between the toes, is represented in the Theban paintings; the foot thus becoming a useful second to the hand.

Many specimens of the shoes and sandals of the ancient Egyptians, may be seen in our national museum. Wilkinson, in his work on the "Manners and Customs" of this people says, "Ladies and men of rank paid great attention to the beauty of their sandals: but on some occasions, those of the middle classes who were in the habit of wearing them, preferred walking barefooted; and in religious ceremonies, the priests frequently took them off while performing their duties in the temple."

The sandals varied slightly in form; those worn by the upper classes, and by women, were usually pointed and turned up at the end, like our skates, and the Eastern slippers of the present day. Some had a sharp flat point, others were nearly round. They were made of a sort of woven or interlaced work, of palm leaves and papyrus stalks, or other similar materials; sometimes of leather, and were frequently lined within with cloth, on which the figure of a captive was painted; that humiliating position being thought suitable to the enemies of their country, whom they hated and despised, an idea agreeing perfectly with the expression which so often occurs in the hieroglyphic legends, accompanying a king's name, where his valor and virtues are recorded on the sculptures: "you have trodden the impure Gentiles under your powerful feet."

Upon the same plate, figs. 3 and 4 delineate two fine examples of sandals formed as above described, of the leaf of the palm. They were brought from Egypt by the late Mr. Salt, consul-general, and formed part of the collection sold in London, after his death, and are now in the British Museum. They are very different to each other in their construction, and are of that kind worn by the poorer classes; flat slices of the palm leaf, which lap over each other in the centre, form the sole of fig. 2, and a double band of twisted leaves secures and strengthens the edge; a thong of the strong fibres of the same plant is affixed to each side of the instep, and was secured round the foot. The other is more elaborately platted, and has a softer look; it must in fact have been as a pad to the foot, exceedingly light and agreeable in the arid climate inhabited by the people for whom such sandals were constructed; the knot at each side to which the thong was affixed, still remains.

Wilkinson says that "shoes or low boots, were also common in Egypt, but these I believe to have been of late date, and to have belonged to Greeks; for since no persons are represented in the paintings wearing them, except foreigners, we may conclude they were not adopted by the Egyptians, at least in a Pharaonic age. They were of leather, generally of green color, laced in front by thongs, which passed through small loops on either side; and were principally used, as in Greece and Etruria, by women."

The elegantly-ornamented boot here given, is copied from a Theban painting, and is worn by a gayly-dressed youth from one of the countries bordering on Egypt: it reaches very high, and is a remarkable specimen of the taste for decoration, which thus early began to be displayed upon this article of apparel.

From all these instances, it would appear that this employment of the shoe, may, in some respects, be considered analogous to that which prevailed in the middle ages, of giving a glove as a token of investiture, when bestowing lands and dignities.

It should be observed that the same Hebrew word , signifies both a sandal and a shoe, although always rendered shoe in our translation of the Old Testament. Although the shoe is mentioned in Genesis and other books of the Bible, little concerning its form or manufacture can be gleaned--that it was an article of common use among the ancient Israelites, we may infer from the passage in Genesis, chap. xiv., verse 23, the first mention we have of this article, where Abraham makes oath to the king of Sodom "that he will not take from a thread even to a shoe-latchet," thus assuming its common character.

The Gibeonites "came with old shoes and clouted upon their feet"--the better to practise their deceit; and therefore they said, "Our shoes are become old by reason of the very long journey."

Isaiah "walked three years naked and barefoot:" he went for this long period without shoes, contrary to the custom of the people, and as "a wonder unto Egypt and Ethiopia."

That it became an article of refinement and luxury, is evident from the many other notices given; and the Jewish ladies seem to have been very particular about their sandals: thus we are told, in the Apocryphal book of Judith, although Holofernes was attracted by the general richness of her dress and personal ornaments, yet it was "her sandals ravished his eyes:" and the bride in Solomon's Song is met with the exclamation, "How beautiful are thy feet with sandals, O prince's daughter!"

The ancient bas-reliefs at Persepolis, and the neighborhood of Babylon, second only in their antiquity and interest to those of Egypt, furnish us with examples of the boots and shoes of the Persian kings, their nobles, and attendants; and they were executed, as appears from historical, as well as internal evidence, in the days of Xerxes and Darius.

From these sources, we here select the three following specimens. No. 1 is a half-boot, reaching considerably above the ankle; and it is worn by

the attendant who has charge of a chariot, upon a bas-relief now in the British museum, brought from Persepolis by Sir R. Ker Porter, by whom it was first engraved and described in his interesting volumes of travels in that district. No. 2, also from Persepolis, and engraved in the work just quoted, delineates another kind of boot, or high shoe, reaching only to the ankle, round which it is secured by a band, and tied in front in a knot, the two ends of the band hanging beneath it. This shoe is very common upon the feet of these figures, and is generally worn by soldiers or the upper classes: the attendants or councillors round the throne of these early sovereigns, frequently wear such shoes. No. 3, seen upon the feet of personages in the same rank of life, is here copied from a Persepolitan bas-relief, representing a soldier in full costume. It is a remarkably interesting example, as it very clearly shows the transition state of this article of dress, being something between a shoe and a sandal: in fact, a shoe may be considered as a covered sandal; and, in the instance before us, the part we now term "upper leather" consists of little more than the lacings of the sandals, rendered much broader than usual, and fastened by buttons along the top of the foot. The shoe is thus rendered peculiarly flexible, as the openings over the instep allow of the freest movement. Such were the forms of the earliest shoes.

Close boots reaching nearly to the knee where they are met by a wide trowser, are not uncommon upon these sculptures, being precisely the same in shape and appearance as those worn by the modern Cossacks. Indeed, there is nothing in the way of boots that may not be found upon the existing monuments of early nations, precisely resembling the modern ones. The little figure here given might pass for a copy of the boots worn by one of the soldiers of King William the Third's army, and would not be unworthy of uncle Toby himself, yet it is carefully copied from a most ancient specimen of Etruscan sculpture, in the possession of Inghirami, who has engraved it in his learned work the "Monumenti Etruschi;" the original represents an augur, or priest, whose chief duty was to report and explain supernatural signs.

The solea were generally worn by the higher classes only, for lightness and convenience, in the house; the shoes being worn out of doors. The soccus was the intermediate covering for the foot, being something between the solea and the calceus; it was, in fact, precisely like the modern slipper, and could be cast off at pleasure, as it did not fit closely, and was secured by no tie. This, like the solea and crepida, was worn by the lower classes and country people; and hence, the comedians wore such cheap and common coverings for the feet, to contrast with the cothurnus or buskin of the tragedians, which they assumed, as it was adapted to be part of a grand and stately attire. Hence the term applied to theatrical performers--"brethren of the sock and buskin," and as this distinction is both ancient and curious, specimens of both are here given from antique authorities. The side and front views of the sock are copied from a painting of a buffoon, who is dancing in loose yellow slippers, one of the commonest colors in which the leather used for their construction was dyed. Such slippers were made to

fit both feet indifferently, but the more finished boots and shoes were made for one foot only from the earliest period. The cothurnus was a boot of the highest kind, reaching above the calf of the leg, and sometimes as far as the knee. It was laced as the boots of the ancients always were, down the front, the object of such an arrangement being to make them fit the leg as closely as possible, and the skin of which they were made was dyed purple, and other gay colors; the head and paws of the wild animal were sometimes allowed to hang around the leg from the upper part of the cothurnus, to which it formed a graceful addition; an example is given upon our 2d plate, fig. 1, which is a side-view of such an ornamented boot, decorated all over with a pattern like the Grecian volute.

The sole of the cothurnus was of the ordinary thickness in general, but it was occasionally made much thicker by the insertion of slices of cork when the wearer wished to add to his height, and thus the Athenian tragedians, who assumed this boot as the most dignified of coverings for the feet, had the soles made unusually thick, in order that it might add to the magnitude and dignity of their whole appearance.

leather thongs. They were the simplest and warmest kind of foot-covering to be obtained, when every man was his own shoemaker.

None but such as had served the office of edile were allowed to wear shoes of a red color, which we may therefore infer to have been a favorite color for shoes, as it appears to have been among the Hebrews, and as it is still in western Asia. The Roman senators wore shoes or buskins of a black color, with a crescent of gold or silver on the top of the foot. The emperor Aurelian forbade men to wear red, yellow, white, or green shoes, permitting them to be worn by women only, and Heliogabalus forbade women to wear gold or precious stones in their shoes, a fact which will aid us in understanding the sort of decoration indulged in by the earliest Hebrew women, of whose example Judith may be quoted as an instance, to which we have already referred.

The Roman shoes then had various names, and were distinct badges of the position in society held by the wearer. The solea, crepida, pero, and soccus, belonged to the lower classes, the laborers and rustics, the caliga was principally worn by soldiers, and the cothurnus by tragedians, hunters, and horsemen, as well as by the nobles of the country.

The latter kind of boot, in form and color, as we have already hinted, was indicative of rank or office. Those worn by senators we have noticed, and it was a joke in ancient Rome against a man who owed respect solely to the accident of birth or fortune, that his nobility was in his heels. The boots of the emperors were frequently richly decorated, and the patterns still existing upon marble statues, show that they were ornamented in the most elaborate manner. A specimen from the noble statue of Hadrian in the British museum, forms fig. 8, of our plate, and it is impossible to conceive anything of the kind more elegant and tasteful in its decorations. Real gems and gold were employed by some of the Roman emperors to decorate their boots, and Heliogabalus wore exquisite cameos on his boots and shoes. Fig. 9, is a lower kind of boot, of the same make as fig. 3, but beautifully ornamented.

The Grecian ladies, according to Hope, wore shoes or half-boots, laced before and lined with the fur of animals of the cat tribe, whose muzzles or claws hung down from the top.

The barbarous nations with whom the Romans held war, are upon the bas-reliefs of their conquerors, represented in close shoes or half-boots. Thus the Dacians wear the shoe represented in fig. 10, which laced across the instep, and was secured around the ankle with a band and ornamental button or stud. The Gauls wear the shoe given below, of the same form as that worn by our native ancestors when Julius Caesar made his descent upon the British islands.

THE HISTORY OF BOOTS AND SHOES IN ENGLAND.

Before the arrival of the Saxons, who have transmitted to us many valuable manuscripts abounding in various delineations of their dress and manners, we shall not find much to engage the attention where it is our present object to direct it, the history of the coverings for the feet. There is, however, little doubt that the rude skin-shoes, worn by the native Irish and the country people of Rome, was the simple protection adopted in this country in the earliest times. Shoes of this material are found in all nations half-civilized, and the ease with which they are formed by merely covering the sole with the hide of an animal, and securing it by a thong, must have had the effect of insuring its general use. Naked feet would, however, be preferred in fine weather, and when shoes were worn, they were generally of a close, warm kind, adapted to our climate; the most antique representations of the Gaulish native chiefs, as given on Roman sculpture, and which may be taken as general representations of British chiefs, may be received as good authorities, their resemblance to each other being so striking as to draw from Caesar a remark to that effect.

The Saxon figures, as given in the drawings by their own hands, to be seen in manuscripts in most of our public libraries, display the costume of this people, from the ninth century downward; and the minute way in which every portion of the dress is given, affords us clear examples of their boots and shoes. According to Strutt, high shoes, reaching nearly to the middle of the legs, and fastened by lacing in the front, and which may also be properly considered as a species of half-boots, were in use in this country as early as the tenth century; and the only apparent difference between the high shoes of the ancients and the moderns, seems to have been that the former laced close down to the toes, and the latter to the instep only. They appear in general to have been made of leather, and were usually fastened beneath the ankles with a thong, which passed through a fold upon the upper part of the leather, encompassing the heel, and which was tied upon the instep. This method of securing the shoe upon the foot, was certainly well contrived both for ease and convenience. Three specimens of shoes are here given from Saxon drawings. The first is the most ancient and curious; it is copied from "the Durham Book," or book of St. Cuthbert, now preserved among the Cottonian manuscripts in the British museum, and is believed to have been executed as early as the seventh century, by the hands of Eadfreid, afterward bishop of Lindisfarne, who died in 721. It partakes of the nature of shoe and sandal, and with the exception of the buttons down the front, is precisely like the Persepolitan sandal already engraved and described, as well as like the Roman ones constructed on the same model, and it is curious to see how all are formed after this one fashion.

Strutt remarks that wooden shoes are mentioned in the records of this era, but considers it probable that they were so called because the soles were formed of wood, while the upper parts were formed with some more pliant material: shoes with wooden soles were at this time worn by persons of the most exalted rank; thus, the shoes of Bernard, king of Italy the grandson of Charlemagne, are thus described by an Italian writer, as they were found in his tomb.

"The shoes," says he, "which covered his feet are remaining to this day, the soles of wood and the upper parts of red leather, laced together with thongs: they were so closely fitted to the feet that the order of the toes, terminating in a point at the great toe, might easily be discovered; so that the shoe belonging to the right foot could not be put upon the left, nor that of the left upon the right." It was not uncommon to gild and otherwise ornament the shoes of the nobility. Eginhart describes the shoes worn by Charlemagne on great occasions, as set with jewels.

The Normans wore boots and shoes of equal simplicity, rustics are frequently represented with a half-boot plain in form, fitting close to the foot, but wide at the ankle, like fig. 1, of the group here given, only that in this instance, an ornament consisting of a studded band surrounds the upper part. Such boots were much used by the Normans, and are frequently mentioned by the ancient historians; they do not appear to have been confined to any particular classes of the people, but were worn by persons of all ranks and conditions, as well of the clergy as of the laity, especially when they rode on horseback. The boots delineated in their drawings are very short, rarely reaching higher than the middle of the legs; they were sometimes slightly ornamented, but the boots and shoes of all personages represented in the famous tapestry of Bayeux, are of the same simple form of construction; and this celebrated early piece of needlework was believed to have been worked by the wife of the conqueror, to commemorate his invasion of England and the battle of Hastings. Another form of Norman shoes may be seen in fig. 2, which is more enriched than the last, and it is curious that the ornament adopted is in the form of the straps of a sandal, studded with dots throughout. In the original, the shoe is colored with a thin tint of black, these bands being a solid black, with white or gilded lines and dots. Another example of a decorated shoe, fig. 3, is given from a MS. of the eleventh century, in the British museum, and shows the kind which became fashionable when the Normans, firmly settled in England, began to indulge in luxurious clothing. These shoes were most probably embroidered.

A specimen of the shoes that were worn at this period, and which so excited the ire of the monkish writers, is here given from the seal of Richard, constable of Chester, in the reign of Stephen; in the original the knight is on horseback, the stirrup and spur are therefore seen in our cut.

The shape of the sole of the shoes at this time, may be seen from the cut here given of one found in a tomb of the period, and called that of St. Swithin, in Winchester cathedral. The shoe is engraved in "Gough's Sepulchral Monuments," and the person who discovered it in the tomb thus describes it: "The legs of the wearer were enclosed in leathern boots or gaiters sewed with neatness, the thread was still to be seen. The soles were small and round, rather worn, and of what would be called an elegant shape at present; pointed at the toe and very narrow, and were made and fitted to each foot. I have sent the pattern of one of the soles, drawn by tracing it with a pencil from the original itself, which I have in my possession." Gough engraves the shoe of the natural size in his work, the measurements being ten inches in length from toe to heel, and three inches across the broadest part of the instep. It will be seen that they are as perfectly "right and left," as any boots of the present day; but as we have already shown, this is a fashion of the most remote antiquity. As these boots are at least as old as the time of John, Shakspere's description in his dramatized history of that sovereign, of the tailor, who eager to acquaint his friend, the smith, of the prodigies the skies had just exhibited, and whom Hubert saw

"Standing in slippers which his nimble haste Had falsely thrust upon contrary feet,"

is strictly accurate: yet half a century ago, this passage was adjudged to be one of the many proofs of Shakspere's ignorance or carelessness. Dr. Johnson, ignorant himself of the truth in this point, but yet, like all critics, determined to pass his verdict, makes himself supremely absurd, by saying in a note to this passage, with ridiculous solemnity, "Shakspere seems to have confounded the man's shoes with his gloves. He that is frighted or hurried may put his hand into the wrong glove, but either shoe will equally admit either foot. The author seems to be disturbed by the disorder which he describes."

with a pointed toe was worn, not unlike the modern one. It was of velvet, generally, with the upper classes; of leather, with the poorer ones. The former indulged in a series of slashes over the upper leather, which the others had not. We give here two specimens of these shoes, from prints dated 1577 and 1588; and they will serve to show the sort of form adopted, as well as the varied way in which the slashes of the velvet appeared, and which altered with the wearer's taste. Philip Stubbes, the puritanical author of the "Anatomy of Abuses," 1588, declares that the fashionables then wore "corked shoes, puisnets, pantoffles, and slippers, some of them of black velvet, some of white, some of green, and some of yellow; some of Spanish leather, and some of English, stitched with silk and embroidered with gold and silver all over the foot with gewgaws innumerable." Rich and expensive shoe-ties were now brought into use, and large sums were lavished upon their decorations. John Taylor, the water poet, alludes to the extravagance of those who

"Wear a farm in shoe-strings edged with gold, And spangled garters worth a copy-hold."

The shoe-roses were made of lace, which was as beautiful, costly, and elaborate, as that which composed the ruff for the neck, or ruffles for the wrist. They were elaborately decorated with needlework and gold and silver thread.

During the reign of the first Charles, the boots became very large and wide at the top. Indeed, they were so wide at times, as to oblige the wearer to stride much in walking, a habit that was much ridiculed by the satirists of the day. There was a print published during this reign of a dandy in the height of fashion whose legs are "incased in boot-hose tops tied about the middle of the calf, as long as a pair of shirt-sleeves, double at the end like a ruff-band: the top of his boots very large, fringed with lace, and turned down as low as his spurs, which jingled like the bells of a morris-dancer as he walked." These boots were made very long in the toe, thus, of this exquisite we are told, "the feet of his boots were two inches too long."

The boot-tops at this time were made wide, and were capable of being turned over beneath the knee, which they completely covered when they were uplifted. They were of course made of pliant leather to allow of this--"Spanish leather," according to Ben Jonson.

During the whole of the Commonwealth large boot-tops of this kind were worn even by the puritans; they were, however, large only, and not decorated with costly lace. The shoes worn were generally particularly simple in their construction and form, and those who did not wish to be classed among the vain and frivolous, took care to have their toes sharp at the point, as a distinction between themselves and the "graceless gallants," who generally wore theirs very broad.

A boot of the end of this reign, forms fig. 7, of our third plate, and is copied from a pair which hang up in Shottesbrooke church, Berkshire, above a tomb, in accordance with the old custom, of burying a knight with his martial equipments over his grave, originally consisting of his shield, sword, gloves, and spurs, the boots being a later and more absurd introduction. The pair which we are now describing, are formed of fine buff leather, the tops are red, and so are the heels, which are very high, the toes being cut exceedingly square.

A boot was worn by civilians, less rigid than the one last described, the leg taking more of the natural shape, and the tops being smaller, of a more pliant kind, and sometimes slightly ornamented round the edges.

We have here two examples of ladies' shoes, as worn during the period of which we are discussing.

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