sudden increase of wealth, affected even the apprentices of the city.
The Lord Mayor and Common Council, in 1582, found it necessary to
direct apprentices; "to wear no hat with any silk in or about the
same. To wear no ruffles, cuffs, loose collar, nor other thing than
a ruff at the collar, and that only a yard and a half long. To wear
no doublets * * * enriched with any manner of silver or silke. * * * To
wear no sword, dagger, nor other weapon but a knife; nor a ring, jewel
of gold, nor silver, nor silke in any part of his apparel."[49]

It was, however, at Elizabeth's court, and among the nobility, that the
tendencies of the time were most marked. The literature of this
era--never surpassed in brilliancy and power--was the work of poets and
dramatists. It was the outcome of a poetical and dramatic life. Even
the fiction which belongs to the period was colored by the same
fondness for dramatic incident and poetic treatment. The enthusiasm
which had animated the nobility in their martial life went with them to
the court of Elizabeth. There it showed itself in gallantry, in love of
show, and in a devotion to amusement and to self-cultivation which
internal peace had at length made possible. Men of whom any age might
be proud crowded the scene. Cecil and Walsingham among statesmen, Drake
among discoverers, Bacon and Hooker among thinkers, Raleigh and Sidney
at once among courtiers, soldiers, and scholars. The prevailing
extravagance and variety of dress was simply the outward sign of a love
of whatever was brilliant and new. The fashions of France, of Spain, of
Turkey, even of the Moors contributed to the wardrobe of the English
gallant. "And, as these fashions are diverse, so likewise it is a
world to see the costlinesse and the curiositie: the excesse and the
vanitie: the pomp and the braverie; the change and the varietie: and
finallie the ficklenesse and the follie that is in all degrees:
insomuch that nothing is more constant in England than inconstancie of