The Girl of the Period, and Other Social Essays (Vol. 1&2). E. Lynn Linton
would have worn pinchbeck. False jewelry and imitation lace were touchstones with the sex, and the woman who would condescend to either was assumed, perhaps not quite without reason, to have lost something more than the mere niceness of technical taste. This feeling ran through the whole of society, and pinchbeck was considered as at once despicable and disreputable. The successful speculator, sprung from nothing, who had made his fortune during the war, might buy land, build himself a mansion and set up a magnificent establishment, but he was never looked on by the aboriginal gentry of the place as more than a lucky adventurer; and the blue blood, perhaps nourishing itself on thin beer, turned up its nose disdainfully at the claret and Madeira which had been personally earned and not lineally inherited. This exclusiveness was narrow in spirit and hard in individual working; and yet there was a wholesome sentiment underlying its pride which made it valuable in social ethics, if immoral on the score of natural equality and human charity. It was the rejection of pretentiousness, however gilded and glittering, in favour of reality, however poor and barren; it was the condemnation of make-believe—the repudiation of pinchbeck. It is not a generation since this was the normal attitude of society towards its nouveaux riches and Brummagem jewelry; but time moves fast in these later days, and national sentiments change as quickly as national fashions.
We are in the humour to rehabilitate all things, and pinchbeck has now its turn with the rest. The lady of slender means who would refuse to wear imitation lace and false jewelry is as rare as the country society which would exclude the nouveau riche because of his newness, and not adopt him because of his riches. The whole anxiety now is, not what a thing is, but how it looks—not its quality, but its appearance. Every part of social and domestic life is dedicated to the apotheosis of pinchbeck. It meets us at the hall-door, where miserable stuccoed pillars are supposed to confer a quasi-palatial dignity on a wretched jerry-built little villa run up without regard to one essential of home comfort or of architectural truth. It goes with us into the cold, conventional drawing-room, where all is for show and nothing for use, in which no one lives, and which is just the mere pretence of a dwelling-room, set out to deceive the world into the belief that its cheap finery is the expression of the every-day life and circumstances of the family. It sits with us at the table, which a confectioner out of a back street has furnished and where everything, down to the very flowers, is hired for the occasion. It glitters in the brooches and bracelets of the women, in the studs and signet-rings of the men. It is in the hired broughams, the hired waiters, the pigmy page-boys, the faded paper flowers, the cheap champagne, and the affectation of social consideration that meet us at every turn. The whole of the lower section of the middle-classes is penetrated through and through with the worship of pinchbeck; and for one family that holds itself in the honour and simplicity of truth, ten thousand lie, to the world and to themselves, in frippery and pretence.
The greatest sinners in this are women. Men are often ostentatious, often extravagant, and not unfrequently dishonest in that broad way of dishonesty which is called living beyond their means—sometimes making up the deficit by practices which end in the dock of the Old Bailey; but, as a rule, they go in for the real thing in details, and their pinchbeck is at the core rather than on the surface. Women, on the contrary, give themselves up to a more general pretentiousness, and, provided they can make a show, care very little about the means; provided they can ring their metal on the counter, they ignore the want of the hall-stamp underneath. Locality, dress, their visiting-list and domestic appearances are the four things which they demand shall be in accord with their neighbours'; and for these four surfaces they will sacrifice the whole internal fabric. They will have a showy-looking house, encrusted with base ornamentation and false grandeur, though it lets in wind, rain and noise almost as if it were made of mud or canvas, rather than a plain and substantial dwelling-place, with comfort instead of stucco, and moderately thick walls instead of porches and pilasters. Most of their time is necessarily passed at home, but they will undergo all manner of house discomfort resulting from this preference of cheap finery over solid structure, rather than forego their 'genteel locality' and stereotyped ornamentation. A family of daughters on the one side, diligent over the 'Battle of Prague;' a nursery full of crying babies on the other; more Battles of Prague opposite, diversified by a future Lind practising her scales unweariedly; water-pipes bursting in the frost; walls streaming in the thaw; the lower offices reeking and green with damp; the upper rooms too insecure for unrestricted movement—all these, and more miseries of the same kind, a woman given over to the worship of pinchbeck willingly encounters rather than shift into a locality relatively unfashionable to her sphere, but where she could have substantiality and comfort for the same rent that she pays now for flash and show.
In dress it is the same thing. She must look like her neighbours, no matter whether they can spend pounds to her shillings, so runs up a milliner's bill beyond what she ought to afford for the whole family expenses. If others can buy gold, she can manage pinchbeck. Glass that looks like jet, like filagree work, like anything else she fancies, is every bit to her as good as the real thing; and if she cannot compass Valenciennes and Mechlin, she can go to Nottingham and buy machine-made imitations that will make quite as fine a show. How poor soever she may be, she must hang herself about with ornaments made of painted wood, of glass, of vulcanite; she must break out into spangles and beads and chains and benoîtons, which are cheap luxuries and, as she thinks, effective decorations. Flimsy silks make as rich a rustle to her ear as the stateliest brocade; and cotton velvet delights the soul that cannot aspire to Genoa. The love of pinchbeck is so deeply ingrained in her that even if, in a momentary fit of aberration into good taste, she condescends to a simple material about which there can be neither disguise nor pretence, she must load it with that detestable cheap finery of hers till she makes herself as vulgar in a muslin as she was in a cotton velvet. The simplex munditiis, which used to be held as a canon of feminine good taste, is now abandoned altogether, and the more she can bedizen herself according to the pattern of a Sandwich islander the more beautiful she thinks herself—the more certain the fascination of the men and the greater the jealousy of the women. This is the cause of all the tags and streamers, the bits of ribbon here and flying ends of laces there, the puffed-out chignons, and the trailing curls cut off some dead girl's head, wherewith the modern Englishwoman delights to make herself hideous. It is pinchbeck throughout.
But we fear woman is past praying for in the matter of fashion; and that she is too far given over to the abomination of pretence to be called back to truth for any ethical reason whatsoever, or indeed by anything short of high examples. And then, if simplicity became the fashion, we should have our pinchbeck votaries translating that into extremes as they do now with ornamentation; if my lady took to plainness, they would go to nakedness.
Another bit of pinchbeck is the visiting-list—the cards of invitation stuck against the drawing-room glass—with the grandest names and largest fortunes put forward, irrespective of dates or tenses. The chance contact with the people represented may be quite out of the ordinary circumstances of life, but their names are paraded as if an accident, which has happened once and may never occur again, were in the daily order of events. They are brought to the front to make others believe that the whole social substance is of the same quality; that generals and admirals and lords and ladies are the common elements of the special circle in which the family habitually moves; that pinchbeck is good gold, and that 'composition' means marble. Women are exceedingly tenacious of these pasteboard appearances. In a house with its couple of female servants, where formal visitors are very rare and invitations, save by friendly word of mouth, rarer still, you may see a cracked china bowl or cheap mock patera on the hall table, to receive the cards which are assumed to come in the thick showers usual with high people who have hall-porters and a thousand names or more on their books. The pile gets horribly dusty to be sure, and the upper layer turns by degrees from cream-colour to brown; but antiquity is not held to weaken the force of grandeur. The titled card left on a chance occasion more than a year ago still keeps the uppermost place, still represents a perpetual renewal of aristocratic visits and an unbroken succession of social triumphs. Yellowed and soiled, it is none the less the trump-card of the list; and while the outside world laughs and ridicules, the lady at home thinks that no one sees through this puerile pretence, and that the visiting-list is accepted according to the status of the fugleman at the head. She is very happy if she can say that the pattern of her dress, her cap, her bonnet, was taken from that of Lady So and So's; and we may be quite sure that all personal contact with grand