ingrained into our habits of thought in matters of dress that any other than expensive apparel is instinctively odious to us. Without reflection or analysis, we feel that what is inexpensive is unworthy. "A cheap coat makes a cheap man." "Cheap and nasty" is recognised to hold true in dress with even less mitigation than in other lines of consumption. On the ground both of taste and of serviceability, an inexpensive article of apparel is held to be inferior, under the maxim "cheap and nasty." We find things beautiful, as well as serviceable, somewhat in proportion as they are costly. With few and inconsequential exceptions, we all find a costly hand-wrought article of apparel much preferable, in point of beauty and of serviceability, to a less expensive imitation of it, however cleverly the spurious article may imitate the costly original; and what offends our sensibilities in the spurious article is not that it falls short in form or colour, or, indeed, in visual effect in any way. The offensive object may be so close an imitation as to defy any but the closest scrutiny; and yet so soon as the counterfeit is detected, its æsthetic value, and its commercial value as well, declines precipitately. Not only that, but it may be asserted with but small risk of contradiction that the æsthetic value of a detected counterfeit in dress declines somewhat in the same proportion as the counterfeit is cheaper than its original. It loses caste æsthetically because it falls to a lower pecuniary grade.
But the function of dress as an evidence of ability to pay does not end with simply showing that the wearer consumes valuable goods in excess of what is required
