[Illustration: THE POET'S PAGE.]

There are three kinds of coats--the body, the surtout, and the great.

The body-coat is again divided into classes, according to their
application, viz.--the drawing-room, the ride, and the field.

The cut of the dress-coat is of paramount importance, that being the
garment which decorates the gentleman at a time when he is naturally
ambitious of going the entire D'Orsay. There is great nicety required in
cutting this article of dress, so that it may at one and the same moment
display the figure and waistcoat of the wearer to the utmost advantage.
None but a John o'Groat's goth would allow it to be imagined that the
buttons and button-holes of this _robe_ were ever intended to be anything
but opposite neighbours, for a contrary conviction would imply the absence
of a cloak in the hall or a cab at the door. We do not intend to give a
Schneiderian dissertation upon garments; we merely wish to trace outlines;
but to those who are anxious for a more intimate acquaintance with the
intricacies and mysteries of the delightful and civilising art of cutting,
we can only say, _Vide_ Stultz.[1]

[1] Should any gentleman avail himself of this hint, we should feel
obliged if he would mention the source from whence it was
derived, having a small account standing in that quarter, for
tailors have gratitude.

The riding-coat is the connecting link between the DRESS and the rest of
the great family of coats, as _one_ button, and one only of this garment,
may be allowed to be applied to his apparent use.