a filthy knave, a deformed quean, a crooked carkass, a maukin, a witch, a rotten post, an hedgstake may be so set out and tricked up, that it shall make as fair a shew, as much enamour as the rest: many a silly fellow is so taken. Primum luxuriæ aucupium, one calls it, the first snare of lust; Bossus aucupium animarum, lethalem arundinem, a fatal reed, the greatest bawd, forte lenocinium, sanguineis lachrymis deplorandum, saith Matenesius, and with tears of blood to be deplored.

Not that comeliness of clothes is therefore to be condemned, and those usual ornaments: there is a decency and decorum in this as well as in other things, fit to be used, becoming several persons, and befitting their estates; he is only phantastical, that is not in fashion, and like an old image in Arras hangings, when a manner of attire is generally received: but when they are so new fangled, so unstaid, so prodigious in their attires, beyond their means and fortunes, unbefitting their age, place, quality, condition, what should we otherwise think of them?

Why do they adorn themselves with so many colours of hearbs, fictitious flowers, curious needleworks, quaint devices, sweet smelling odours, with those inestimable riches of precious stones, pearls, rubies, diamonds, emeralds, &c. Why do they crown themselves with gold and silver, use coronets and tires of several fashions, deck themselves with pendants, bracelets, ear-rings, chains, girdles, rings, pins, spangles, embroydries, shadows, rebatoes, versicolor ribbands? why do they make such glorious shews with their scarfs, feathers, fans, masks, furs, laces, tiffanies, ruffs, falls, calls, cuffs, damasks, velvets, tinsels, cloth of gold, silver, tissue? with colours of heavens, stars, planets: the strength of mettals, stones, odours, flowers, birds, beasts, fishes, and whatsoever Africk, Asia, America, sea, land, art, and industry of man can afford?

Why do they use and covet such novelty of inventions, such new fangled tires, and spend such inestimable sums on them? To what end are those crisped, false hairs, painted faces, as the Satyrist observes, such a composed gate, not a step awry? Why are they like so many Sybarites, or Neroes Poppæa, Assuerus concubines, so costly, so long a dressing, as Cæsar was marshalling his army, or an hawk in pruning? Dum moliuntur, dum comuntur, annus est: A Gardner takes not so much delight and pains in his garden, an horse-man to dress his horse, scour his armour, a Mariner about his ship, a Merchant his shop and shop-book, as they do about their faces, and all those other parts: such setting up with corks, streightning with whale-bones; why is it but as a day-net catcheth Larks, to make yong men stoop unto them?

Philocharus a gallant in Aristenetus, advised his friend Polienus, to take heed of such enticements, for it was the sweet sound and motion of his Mistris spangles and bracelets, the smell of her oyntments, that captivated him first.

Illa fuit mentis prima ruina meæ.

Quid sibi vult pixidum turba, saith Lucian, To what use are pins, pots, glasses, ointments, irons, combs, bodkins, setting-sticks? why bestow they all their patrimonies and husbands yearly revenues on such fooleries? bina patrimonia singulis auribus; why use they dragons, wasps, snakes, for chains, inamelled jewels on their necks, ears? dignam potius foret ferro manus istas religari, atque utinam monilia verè dracones essent; they had more need some of them be tied in Bedlam with iron chains, have a whip for a fan, and hair-cloaths next to their skins, and instead of wrought smocks, have their cheeks stigmatised with a hot iron; I say, some of our Jesabels, instead of painting, if they were well served.

But why is all this labour, all this cost, preparation, riding, running, far fetched, and dear bought stuffe? Because forsooth they would be fair and fine, and where nature is defective, supply it by art.

Sanguine quæ vero non rubet, arte rubet, (Ovid.)

and to that purpose they annoint and paint their faces, to make Helen of Hecuba —— parvamque exortamque puellam —— Europen; To this intent they crush in their feet and bodies, hurt and crucifie themselves, sometimes in laxe clothes, an hundred yards I think in a gown, a sleeve: and sometimes again so close, ut nudos exprimant artus. Now long tails and trains, and then short, up, down, high, low, thick, thin, &c. now little or no bands, then as big as cart wheels; now loose bodies, then great fardingals and close girt, &c. Why is all this, but with the whore in the Proverbs, to intoxicate some or other? oculorum decipulam, one therefore calls it & Indicem libidinis, the trap of lust, and sure token, as an Ivy-bush is to a Tavern.

Quòd pulchros Glycere sumas de pixide vultus, Quòd tibi compositæ nec sine lege comæ: Quòd niteat digitis adamas, Beryllus in aure, Non sum divinus, sed scio quid cupias.

O Glycere in that you paint so much, Your hair is so bedeckt in order such, With rings on fingers, bracelets in your ear, Although no Prophet, tell I can, I fear.

To be admired, to be gazed on, to circumvent some novice; as many times they do, that instead of a Lady he loves a cap and a feather, instead of a maid that should have verum colorem, corpus solidum & succi plenum (as Chærea describes his mistriss in the Poet) a painted face, a ruffe-band, fair and fine linnen, a coronet, a flowre,

(Naturæque putat quod fuit artificis,)

a wrought wastcoate he dotes on, or a pied petticote, a pure die instead of a proper woman. For generally as with rich furred Conies, their cases are far better then their bodies, and like the bark of a Cinnamon tree which is dearer then the whole bulk, their outward accoutrements are far more pretious then their inward indowments. ’Tis too commonly so.