The body-coat is again divided into classes, according to their application, viz.—­the drawing-room, the ride, and the field.

The cut of the dress-coat is of paramount importance, that being the garment which decorates the gentleman at a time when he is naturally ambitious of going the entire D’Orsay.  There is great nicety required in cutting this article of dress, so that it may at one and the same moment display the figure and waistcoat of the wearer to the utmost advantage.  None but a John o’Groat’s goth would allow it to be imagined that the buttons and button-holes of this robe were ever intended to be anything but opposite neighbours, for a contrary conviction would imply the absence of a cloak in the hall or a cab at the door.  We do not intend to give a Schneiderian dissertation upon garments; we merely wish to trace outlines; but to those who are anxious for a more intimate acquaintance with the intricacies and mysteries of the delightful and civilising art of cutting, we can only say, Vide Stultz.[1]

    [1] Should any gentleman avail himself of this hint, we should feel
        obliged if he would mention the source from whence it was
        derived, having a small account standing in that quarter, for
        tailors have gratitude.

The riding-coat is the connecting link between the DRESS and the rest of the great family of coats, as one button, and one only of this garment, may be allowed to be applied to his apparent use.

It is so cut, that the waistcoat pockets may be easy of access.  Any gentleman who has attended races or other sporting meetings must have found the convenience of this arrangement; for where the course is well managed, as at Epsom, Ascot, Hampton, &c., by the judicious regulations of the stewards, the fingers are generally employed in the distribution of those miniature argentine medallions of her Majesty so particularly admired by ostlers, correct card-vendors, E.O. table-keepers, Mr. Jerry, and the toll-takers on the road and the course.  The original idea of these coats was accidentally given by John Day, who was describing, on Nugee’s cutting-board, the exact curvature of Tattenham Corner.

The shooting-jacket should be designed after a dovecot or a chest of drawers; and the great art in rendering this garment perfect, is to make the coat entirely of pockets, that part which covers the shoulders being only excepted, from the difficulty of carrying even a cigar-case in that peculiar situation.

The surtout (not regulation) admits of very little design.  It can only be varied by the length of the skirts, which may be either as long as a fireman’s, or as short as Duvernay’s petticoats.  This coat is, in fact, a cross between the dress and the driving, and may, perhaps, be described as a Benjamin junior.

Of the Benjamin senior, there are several kinds—­the Taglioni, the Pea, the Monkey, the Box, et sui generis.