Like Elizabeth, all her subjects were fond of the savage pastime of bear and bull baiting.  It cannot be denied that this people had a taste for blood, took delight in brutal encounters, and drew the sword and swung the cudgel with great promptitude; nor were they fastidious in the matter of public executions.  Kiechel says that when the criminal was driven in the cart under the gallows, and left hanging by the neck as the cart moved from under him, his friends and acquaintances pulled at his legs in order that he might be strangled the sooner.

When Shakespeare was managing his theatres and writing his plays London was full of foreigners, settled in the city, who no doubt formed part of his audience, for they thought that English players had attained great perfection.  In 1621 there were as many as ten thousand strangers in London, engaged in one hundred and twenty-one different trades.  The poet need not go far from Blackfriars to pick up scraps of German and folk-lore, for the Hanse merchants were located in great numbers in the neighborhood of the steel-yard in Lower Thames Street.

Foreigners as well as contemporary chronicles and the printed diatribes against luxury bear witness to the profusion in all ranks of society and the variety and richness in apparel.  There was a rage for the display of fine clothes.  Elizabeth left hanging in her wardrobe above three thousand dresses when she was called to take that unseemly voyage down the stream, on which the clown’s brogan jostles the queen’s slipper.  The plays of Shakespeare, Jonson, Beaumont and Fletcher, and of all the dramatists, are a perfect commentary on the fashions of the day, but a knowledge of the fashions is necessary to a perfect enjoyment of the plays.  We see the fine lady in a gown of velvet (the foreigners thought it odd that velvet should be worn in the street), or cloth of gold and silver tissue, her hair eccentrically dressed, and perhaps dyed, a great hat with waving feathers, sometimes a painted face, maybe a mask or a muffler hiding all the features except the eyes, with a muff, silk stockings, high-heeled shoes, imitated from the “chopine” of Venice, perfumed bracelets, necklaces, and gloves—­“gloves sweet as damask roses”—­a pocket-handkerchief wrought in gold and silver, a small looking-glass pendant at the girdle, and a love-lock hanging wantonly over the shoulder, artificial flowers at the corsage, and a mincing step.  “These fashionable women, when they are disappointed, dissolve into tears, weep with one eye, laugh with the other, or, like children, laugh and cry they can both together, and as much pity is to be taken of a woman weeping as of a goose going barefoot,” says old Burton.