noble art are instituted at the different universities, the same
barbarisms of style will be displayed even by those of gentle blood, as
now too frequently detract from the Augustan character of the age.

To take as comprehensive a view of this subject as our space will
admit, we have divided it into the quality, the cut, the ornaments, and
the pathology.

THE QUALITY

comprises _the texture, colour, and age of the materials_.

Of the texture there are only two kinds compatible with the reputation
of a gentleman--the very fine and the very coarse; or, to speak
figuratively--the Cachmere and the Witney blanket.

The latter is an emanation from the refinement of the nineteenth
century, for a prejudice in favour of "extra-superfine" formerly
existed, as the coarser textures, now prevalent, were confined
exclusively to common sailors, hackney-coachmen, and bum-bailiffs.
These frivolous distinctions are happily exploded, and the true
gentleman may now show in Saxony, or figure in Flushing--the one being
suggestive of his property, and the other indicative of his taste.
These remarks apply exclusively to woollens, whether for coats or
trousers.

It is incumbent on every gentleman to have a perfect library of
waistcoats, the selection of which must be regulated by the cost of the
material, as it would be derogatory, in the highest degree, to a man
aspiring to the character of a _distingué_, to decorate his bosom with