British Resentment or the French fairly Coopt at Louisbourg, 1755

British Resentment or the French fairly Coopt at Louisbourg, Louis Pierre Boitard, 1755, Colonial Williamsburg.

British Resentment or the French fairly Coopt at Louisbourg, Louis Pierre Boitard, 1755, John Carter Brown Library of Early American Images.

Copies of this cartoon can be found at Williamsburg, the Walpole Library, the John Carter Brown Early American Images collection, the Library of Congress, the William L. Clements Library at the University of Michigan, and other major institutions.

Louisbourg had long been a target of the British in their wars against French Canada. This political cartoon by Boitard was counting chickens before they hatched. It would be another three years of war between the American and French colonies of North America.

There are a good number of sailors in this print, so we'll get right into it!

Starting from the left, there is a sailor at the base of the pyramid brandishing his curved cutlass and, in the words of Boitard, "pointing to the eclipse, & leering at a French Politician trapt by his own Schemes." This sailor wears a reversed cocked hat with narrow brim, held up by a skinny loop. His blue single breasted jacket has mariners cuffs with matching buttons. The waistcoat beneath is white with narrow vertical red stripes over a white shirt. A pair of white petticoat trousers and white stockings leading to pointed toe shoes with rectangular buckles complete his appearance. Peeking from beneath the petticoat trousers on his right leg is the tie that binds the breeches beneath.

In the foreground on the far right, conversing with a soldier, another tar sits by a cannon where he "Squeezes the Gallic Cock by the throat, & makes him disgorge the French usurpations in America." He also wears a blue jacket, with its mariners' cuff open so we can see the white shirt beneath. Trousers or petticoat trousers run down to the top of his calf when he site. He wears a yellow neckcloth which is spotted, and may have red spots in the Williamsburg version, but the resolution is too low to be certain. It appears that this sailor, too, wears his cocked hat reversed.

Behind the cannon "A Gang of brave Saylors [are] exulting at the Starving French coopt up." All of them wear petticoat trousers and carry or wear cocked hats, many of them bare bob wigs as they raise their hats in rejoicing. Most of them brandish long sticks. The mariner up front wears a striped waistcoat just like that of the sailor by the pyramid. Among them, the least uniform is only differentiated from his mates by the brown jacket he wears. Interestingly, most have flap pockets on their waistcoats and jackets, and at least one on his jacket.

The Press Gang, c.1760

The Press Gang, John Collet, c.1760's, from The Foundling Museum.

I was directed to this image by The 18th Century Material Cultural Resource Center. Among their many excellent slideshows are a few focused on naval material culture.

Unfortunately, the Foundling Museum does not have a date for this piece. The 18th Century Material Culture Resource center gives this an approximate dating of c.1760's. Based on the clothing worn by men and women throughout this painting, I would agree with that approximation. As with many tavern scenes of the time, this is a chaotic piece with a lot going on.

Starting at the far left is a tar sharing a word with a woman, possibly his wife. He gestures toward a boy who holds what appears to be a British flag. The sailor wears the familiar reversed cocked hat, perhaps with the brim bound in tape. The tar's blue jacket ends about the middle of the thigh, with slash cuffs. His neckcloth and waistcoat are both red, and his white petticoat trousers that end just below the knee. Gray stockings lead to round toe shoes, but the quality of this copy does not allow us to see the buckles. The boy also wears the dress of a sailor: a round hat with cylindrical crown bound in white tape, blue jacket, and plain white trousers.

In the right of the frame, a pair of sailors drag a poor chap before woman on her knee, pleading for his release. The jack on the left is wearing a  cocked hat, red neckcloth, blue short jacket, petticoat trousers, and plain white or gray stockings. His mate on the right is wearing precisely the same slop clothes, though he might be holding a walking stick.

In the foreground at the right is a sailor lounging on a bench and lifting a lidded tankard. His cocked hat is turned with the point forward, and he wears a red jacket. The petticoat trousers hang long, but we can still see the gray or white stockings about his legs.

In the background a mess of tars play cards and carouse with women. They wear cocked hats and cocked hats, and the bareheaded mariners on the right wear bob wigs. Though the image is faded, they appear to be wearing red neckcloths and waistcoats.

The True British Tar, 1785

The True British Tar, Carington Bowles, 1785, British Museum.

Beyond the window lies a ship at anchor, but clearly our sailor is a bit more focused on the sacks of Spanish dollars he's procured. His table is scattered with coins and bedecked with bottles of Madeira. Lying against the box on which he sits is a neglected pipe, spilling its flames and smoking worryingly.

Our mariner wears a round hat lined with gold tape, and decorated with a blue bow (typical of works by Carington Bowles). Flowing from beneath is a wig with a long, tightly bound queue. Sailors of the eighteenth century wore their hair short, until just about this period when long and tightly bound queues begin to appear alongside should length and shorter hair styles. This is the earliest image I'm aware of that clearly shows a common sailor with a long, tightly bound pigtail or 'rattail.' His neckcloth is a sort of burgundy color, and fringed at the edges.

The jacket itself is blue, but it is impossible to tell if it is single or double breasted. Either way, it has brass buttons on both the front and the slash cuffs. Out of the jacket pocket, or perhaps spilling out through a rear vent, a burgundy handkerchief spotted in yellow hangs loose. His red waistcoat has white metal buttons, and a colorful blue ribbon and fob extends from beneath it.

Red striped trousers lead down to clocked stockings, pointed toe shoes, and yellow metal oval shaped buckles. The straps of his shoes are trained "sailor fashion."

Fortune's Favourites: or Happiness in every Situation, 1786

Fortune's Favourites: or Happiness in every Situation, Robert Dighton, printed by Bowles & Carver, 1786, British Museum.

Dighton's cartoon shows all classes of society smiling and enjoying their day beneath a blindfolded Fortune, with one hand on a wheel (perhaps a spinning wheel?) and the other holding an overflowing cornucopia. A cobbler, butcher, shoeblack, and carpenter join the sailor in representing the lower classes. They are comingled with a decorated peer, a rich miser, and (according to the curators of the British Museum) 'a fat alderman eating from a bowl of soup inscribed "Turtle."'

The image is crowded, so the sailor is obscured by the miser.

Over his loose and flowing locks, our tar wears a cocked hat with the point forward and a large blue cockade on the left side. Around his neck is a red neckcloth, draped over his shirt and jacket. The blue jackets is fitted with open mariner's cuffs with white or silver buttons. Beneath his plain petticoat trousers is a wooden leg.

Bostonians Paying the Excise-Man, or Tarring and Feathering, 1774

The Bostonian's Paying the Excise-Man, or Tarring & Feathering, attributed to Philip Dawe, published by Sayer and Bennett, 1774, John Carter Brown Library.

The Bostonian's Paying the Excise-Man, or Tarring & Feathering, attributed to Philip Dawe, published by Sayer and Bennett, 1774, Gilder Lehrman Institute of American History.

The Bostonian's Paying the Excise-Man, or Tarring & Feathering, attributed to Philip Dawe, published by Sayer and Bennett, 1774, Library of Congress via Lapham's Quarterly.

Philip Dawe's image, as printed by Sayer and Bennett, is a popular one. Original copies exist in many museum and private collections. The image of an American mob attacking a government official with a noose around his neck, a club by his side, tarred and feathered, with tea poured into his mouth is a shocking one.

While this image has endured, it is only half of the story. Sayer and Bennett published it as 'Plate I.' An accompanying piece, The Bostonians in Distress, was meant to accompany it. Plate I depicts Americans behaving badly, Plate II shows the consequences of their actions.

In March of 1774, the Boston Port Act was passed in Parliament. Created as a punitive measure in response to the Boston Tea Party, Parliament decalred with the Port Act that Britain would 'discontinue, in such manner, and for such time as are therein mentioned, the landing and discharging, shipping of goods, wares, and merchandise, at the town, and within the harbour, of Boston.'

Dawe was answering critics of the Port Act by demonstrating that the mobs of America had this coming. For his central subject he chose to portray John Malcolm. A known informant, he was targeted in 1773 by a large mob of sailors for a tar and feathering.

Newport Mercury, November 29, 1774, page 2

Undeterred, Malcolm became a customs commissioner. After an altercation with a shoemaker, Malcolm was tarred and feathered again in January of 1774, mere weeks after the Boston Tea Party. Obstinate, he refused to give into the mob's wish that he renounce his position, even after they strapped a noose around his neck (as Dawe depicts).

Malcolm's posture, pleading while being restrained with a kettle of tea poured into his throat, is a direct answer to the unidentified English artist of The Able Doctor, or America Swallowing the Bitter Draught. Published in October, Dawe's Bostonians Paying the Excise-Man came fully six months after The Able Doctor.

The able Doctor; or America Swallowing the Bitter Draught, artist unknown,
1774, American Antiquarian Society.

Given that sailors gave Malcolm his first drubbing, and that (in the words of John Adams) 'outlandish jack tarrs' formed the center of America's 'motley rabble,' it was natural for Dawe to put a sailor in the foreground. The inclusion of a sailor, standing prominently on the right edge of the frame and wielding a weapon, also appears to be an answer to The Able Doctor. 'Sure,' he says 'our sailors shut down the port, but your sailors made us do it.'

Gilder Lehrman Copy

John Carter Brown Library Copy

Library of Congress Copy

The colorists for these prints are fairly consistent. All portray him as wearing a blue jacket (white metal buttons, except the John Carter Brown copy with cloth covered buttons), white petticoat trousers, and white stockings. His cap is a shade of brown, except for the John Carter Brown copy where it is a sort of purple, matching the breeches that peak from beneath his petticoat trousers. The sailor in the Library of Congress copy wears white breeches that match the shade of his petticoat trousers, which might be the same as the Gilder Lehrman copy. The neckcloth is different between all three versions, vacillating between striped and patterned, spotted or perhaps floral, orange and yellow or blue and red.

Death of Captain James Cook, 1783

Death of Captain James Cook, George Carter, 1783, Wikimedia Commons.

Death of Captain James Cook, George Carter, 1783, National Library of Australia.

Captain James Cook is arguably the most prominent naval figure of the late eighteenth century. His explorations dramatically expanded Britain's understanding of the world and enabled its dramatic imperial expansion. It is therefore easy to see why his unfortunate end was the subject of numerous artistic depictions in the years following his death. Thanks again to the 18th Century Material Culture Resource Center for pointing me in this direction.

So far as I can tell, there are two separate original pieces done by George Carter in 1783. This was the year the American Revolutionary War ended in favor of the former colonists, and Britain was reeling from the national humiliation. Some of that feeling of despair and helplessness comes through in the worried and distressed expressions of nearly all concerned in these paintings.

At the center of the boat and stepping in is a tar with a black cap, though I can't be certain if it is felt or knit. About his neck is an orange and red neckcloth which hangs over his white jacket. His trousers are of an interesting pattern of blue stripes running vertically along white. What makes them interesting is that the stripes are not of a universal width. In the Wikimedia copy, he wears dark blue stockings, while the NLA copy shows him bare legged.

Near the stern (to the far right beside the naval officer the detail) and clenching his fists is a sailor in a white shirt with narrow blue vertical stripes and natural color trousers that are perhaps canvas. His neckcloth is purple with white dots, and atop his head is a dark cap lined with fur.

Behind him and slightly to the right is a fellow with short hair and a green jacket without a waistcoat. Pushing off with an oar, his mate wears a shirt without neckcloth, waistcoat, or jacket. Cowering in the background is a fellow who is depicted with a white shirt and blue jacket, or a blue shirt. Further forward and reaching out to help a fellow clinging to the bow is a man in a black cap and a brown or blue jacket. Interestingly, the hat style changes from a shovel hat to a round hat between the different paintings. At last, a man reaches over the gunwales to help another sailor. He sports a bald spot and curly hair over a white shirt and orange or purple neckcloth.

One of the more interesting differences between these paintings is the changing of the shooting men from marines to naval officers. the cut of their uniforms is identical, but the color and therefore their role changes. In the details I have just examined, there is a firing line (far less ragged than this) of marines in red coats, so it should not be assumed that these are marines in variant uniforms. This change raises the question as to the artist's original intent for these men, and his decision to change them.

In any case, there's another sailor holding his boat with an oar in the water. In one version, he sports a blue jacket with striped shirt, purple neckcloth, and plain trousers. In the next, he wears a red jacket over a plain shirt with a black neckcloth and plain trousers.

A wealth of details abound in each of these paintings, and I'm sure I've missed a few. Let me know what you spot in the comments below!

House and Plantation of a Chief of the Island of Otaheite, 1773

"House and Plantation of a chief of the Island of Otaheite," drawn in 1769 by Sydney Parkinson, engraved in 1773 for A Journal of a Voyage to the South Seas, in His Majesty's Ship, the Endeavour by R. B. Godfrey, National Library of Australia.

"House and Plantation of a chief of the Island of Otaheite," drawn in 1769 by Sydney Parkinson, engraved in 1773 for A Journal of a Voyage to the South Seas, in His Majesty's Ship, the Endeavour by R. B. Godfrey, State Library of New South Wales.

A quick shout out to The 18th Century Material Culture Resource Center. It was through the recent slideshow on Captain James Cook and his first exploration expedition that I stumbled across this image. Be sure to swing by there for a lot more.

Holding a bottle to his chest and a glass in his hand, a sailor converses with a Tahitian man who reclines against a palm tree. They are remarkably dissimilar in appearance: the sailor in his slop clothes and the Tahitian in his cloth.

The sailor wears a blue short jacket that is not illustrated with buttons, pockets, or distinct cuffs. His black cocked hat is pointed forward and sits back a bit on his short blond hair. Our mariner is without a waistcoat, but wears a plain red neckcloth over his shirt. Jack's plain white trousers end about the bottom of the calf, revealing white stockings.

Sea Captains Carousing in Surinam, c.1752-1758

"Sea Captains Carousing in Surinam," John Greenwood, c. 1752-1758, Saint Louis Art Museum.

Located on the Northern coast of South America between Guyana and French Guyana, Suriname is now an independent nation. At the time this painting was done, Suriname (spelled Surinam during the colonial period) was a slave economy that exported a number of goods, the most important of which was coffee.

Prominent Rhode Island sea captains who had arrived in the Dutch colony in the 1750's met the Bostonian portraitist John Greenwood there, and commissioned him to paint the above scene. Gathered around the table are two future governors of Rhode Island, and the future commodore of the Continental Navy Esek Hopkins. In the doorway, holding up a light for a man who couldn't quite hold his liquor, is John Greenwood himself. These identifications are attributed by the National Humanities Center, and you can read a very brief treatment of the painting here.

I have a copy of this painting hanging on my wall. The jovial nature of the white men, juxtaposed against the suffering and naked slaves on the far left, is striking. It is fascinating the see the relatively rich and powerful so vulnerable: puking catching on fire, being spilled on; broken bottles, pipes, and chairs scattered about. Add in to that the tiny details of material culture and the maritime aspect of the piece, and Greenwood has won me over with a painting I could stare at all day.

It is somewhat surprising then, that I hadn't really paid a mind to the dancing sailor on the far right.

It may be that this is no common sailor. Despite my efforts, I could not find an identification for anybody in this detail, save for John Greenwood in the back. After all, sea captains of the 1750's could and did dress in clothing that was at least inspired by the common tar.

Whoever this mariner is, he has been painted into a tradition of mid-eighteenth century dancing sailors.

The dancing figure, unlike his counterparts, is not wearing a full frock coat, but a triple vented brown jacket with what appear to be narrow horizontal stripes of a darker hue. He wears an untrimmed cocked hat with the point forward over a white bob wig. His neckcloth is red and dotted with white. Blue breeches run down to white stockings beneath round toed shoes with rectangular white metal buckles. As with the better dressed man dancing across from him, our sailor carries a long thin walking stick.

Another sign of the maritime nature of this piece is in the man falling asleep in the detail above. His cocked hat, fitted with a single button, is worn reversed.

Governor's House and St. Mather's Meeting House on Hollis Street, also looking up George Street, 1762

Governor's House and St. Mather's Meeting House on Hollis Street, also looking up George Street, Dominic Serres, 1762, Art Gallery of Nova Scotia via Wikimedia Commons.

Though French by birth, Dominic Serres was just as thrilled as anyone else with the British victories in Canada. A key component to these victories was Halifax. Established in 1749 in violation of treaties signed with the local native people, Halifax served as a jumping off point for British operations in Canada throughout the French and Indian War. It would continue to be an important base of naval operations in the American Revolutionary War and War of 1812.

Dominic Serres joins other British based artists of the early 1760's in relating the scenes of distant war to their audience. I want to give a special thanks to Troy Wagner, Assistant Registrar at the Art Gallery of Nova Scotia, for giving me more information about this piece: 'The work is based on a 1758-1759 drawing by Richard Short, British naval officer and topographical draughtsman. A print was made of this painting in 1764 (restrike in 1777). You can find more information about these works, and see images, by using our online catalogue.'

The three clustered on the left of this details wear black stockings and petticoat trousers/slops. Their jackets are of uniform length, but one wears red while the other two wear blue. All three of them wear cocked hats: two of them with the point forward, and the man in red with his reversed. The fellow in red also carried a walking stick, and wears a grey or brown waistcoat. On the far right of this detail is a sailor with slops/petticoat trousers that end right at the knee, a red neckcloth, and blue jacket. The resolution is too low to confidently say anything else about him.

By the cart, a small mess of tars are gathered around what appears to be a naval officer. They too wear blue jackets, cocked hats, and slops/petticoat trousers. It appears that all of them wear red neckcloths. At least two of them carry sticks.

If any of you are aware of higher resolution versions of this image, I would be very grateful!

Mr. Beard and Miss Brent in Thomas and Sally, c.1760

© Victoria and Albert Museum

"Mr. Beard and Miss Brent in Thomas and Sally," J. June after Louis Philippe Boitard, c.1765, Victoria and Albert Museum.

What we have here is a watch paper. These could be purchased from print shops (like the Hogarth's Head) and inserted into watch cases to protect against dust. Our example today is a copy of one engraved by Louis Philippe Boitard.

There is some disagreement over when this piece was made. The Victoria and Albert Museum curators date it to circa 1770, while the British Museum dates it to circa 1760. This date is also agreed to by the authors of the British Museum exhibition catalog London 1753, who attribute it to Louis Philippe Boitard.

John Smith sold this print at Hogarth's Head in Cheapside, where he was advertising printed goods for sale certainly as early as 1759. Mr. Beard, who plays the sailor Thomas in this piece, went deaf in 1767, and was forced to retire from his career of singing. That same year, the original engraver Boitard died. Add to this that the play itself was performed in 1760, and it would appear that the British Museum is closer to the date on this piece.

Having said that, the comic opera that is "Thomas and Sally" was a fairly popular one. Certainly they were still producing prints in 1770.

© Victoria and Albert Museum

Mr. Beard's costume consists of a cocked hat worn reverse with just the suggestion of white tape around the brim. Thomas wears a sailor's bob style hair or wig. His jacket is a sort of greenish blue, with brass buttons, underneath which is a yellow single breasted waistcoat with cloth covered buttons. At his neck is a red neckcloth. White slops/petticoat trousers are hanging down over white breeches (of which we only get the slightest peek at one knee). In his left hand is the ever present sailor's stick.

Rochester, Kent: From the North, c.1790

Rochester, Kent, From the North, Thomas Girtin, c.1790, Yale Center for British Art via Google Art Project.

I am reluctant to include this piece. Thomas Girtin was a wonderful watercolorist who helped to elevate the medium to profound respect. At the ripe age of 19 he exhibited at the Royal Academy. As a boy, Girtin apprenticed to Edward Dayes, who was about ten years his senior. This gives a narrow window into which this piece could fit within the dates explored in this blog. The curators at the Yale Center for British Art give this piece an approximate date of 1790. Girtin was most active from 1790-1810. If "Rochester, Kent: From the North" dates to 1790, it is one of Girtin's earliest pieces.

Rochester is an ancient city, with settlement dating to as early as the Neolithic period. Near the center of the frame, we see Rochester Castle which was originally constructed in the 12th century. To the left is Rochester Cathedral, which is even older, with construction beginning about 1080. Beside these medieval structures are the trades of the 18th century. Behind the trees between Rochester Castle and Rochester Cathedral are a pair of windwills. Down at the waterfront is the skeleton of a large vessel.

Where there are ships, there are sailors. These tars rest, smoke, and chat by the Thames. Three of them gather in a semicircle, while a fourth man (perhaps a farmer) gestures to the right.

Sitting atop short gray barrel, our first jack wears a short blue jacket without cuffs. A black neckcloth fits about his neck, and his gray hair lays about should length. In his hand is a round hat with a conical crown. He also wears white trousers with narrow blue vertical stripes, gray or white stockings, and pointed toe shoes with oval buckles.

At center, a sailor stands tall with a long clay pipe between his fingers. His jacket is brown, resting over a blue waistcoat with significant cutaway. There is a black neckcloth tied against a blue and white shirt. Whether the shirt is check or striped is unclear. His black round hat is rather rumpled, but appears to have a roughly conical crown. Slops/petticoat trousers hand down to his knees, where we see blue stockings and black pointed toe shoes.

Sitting beside him and gesturing in his conversation is our third jack. He wears a wide brimmed round hat with a rounded crown. His blue jacket, striped trousers, and shoes all match those of his mate. At his neck is an orange and white striped neckcloth.

The fourth figure is a bit enigmatic. He wears a short brimmed brown round hat with a rounded crown, a blue neckcloth or shirt, a plain smock, and plain trousers. The stick over his shoulder appears to be a tool of some sort; perhaps a hoe or axe. It might be a sailor's stick, but the way he holds it is quite different from any posture I've seen sailors use. At that, he appears to be outside the conversation of the three sailors, and only just now striding up to them. It may be that he is an agricultural laborer. Or, I could be entirely wrong and he could indeed be a sailor. His clothes are not unlike those of a central figure in "Watson and the Shark."

A New Way to Pay the National-Debt, 1786

A new way to pay the National-Debt, James Gillray, 1786, British Museum.

King George III, accompanied by Queen Charlotte, smiles broadly as money pours from his breeches. He is heralded by musicians who are likewise festooned with gold guineas, and a gentleman who offers a fat sack of cash. This is juxtaposed against a quadriplegic sailor who sits with his empty round hat between wooden legs.

Unlike virtually every other sailor featured on this blog, this poor tarpaulin wears a beard. Beards were generally frowned upon in the eighteenth century, with the English in particular being opposed to any facial hair. The fact that this destitute man sports a full white beard is a testament to his helplessness.

The sailors wears a yellow and red plaid neckcloth over his double breasted blue jacket, which ends at his waist and sits over the plain pair of slops/petticoat trousers that cover his thighs. Blue breeches run down to his wooden legs.

Crossing the Line Ceremony on Board the Ship, "Vestal," c.1788

"Crossing the Line Ceremony on Board the Ship, 'Vestal,'" Julius Caesar Ibbetson, c.1788, Yale Center for British Art.

Professor Gregory Urwin's excellent Redcoat Images series explores the uniforms of British soldiers throughout the eighteenth century. This particular piece was featured about a year and a half ago in his study. In that examination, Urwin did some legwork to settle a more definitive date to this piece than the Yale Center for British Art offered:

In 1787, Ibbetson was appointed draughtsman to Colonel the Honorable Charles Allan Cathcart, who had been named Great Britain’s first ambassador to China...When Cathcart received his ambassadorship to China, he was vested with full powers from George III and the Honorable East India Company to negotiate a commercial pact with that vast realm’s emperor. Cathcart and his party boarded the twenty-eight gun frigate, HMS Vestal, in 1788, and set out for East Asia. Unfortunately, Cathcart died while as the Vestal passed through the Straits of Banca on June 10, 1788. He was only twenty-nine.

The scene depicted here is the time honored Crossing the Line Ceremony. Even today, when a sailor passes the equator he is transformed into a "shellback." The coming of age ceremony is presided over by a sailor playing the part of Neptune (joined by the Royal Concubine), and often involves humiliating and even dangerous activities like dunking or forcible shaving. As Captain Fitzroy of the Beagle would later write in the nineteenth century, "The disagreeable practice alluded to has been permitted in most ships, because sanctioned by time; and though many condemn it as an absurd and dangerous piece of folly, it has also many advocates."

Watching with interest, a group of tars are gathered at the rail. Not a one wears a waistcoat, but all wear blue jackets and white shirts. One at the center wears a pair of shoes, but most are barefoot. One wears a round hat in the style of the late 1780s: a tall cylindrical crown bordering on a top hat. All of the sailors wear white trousers, at least two of which have a broad fall fly.

Arm in arm with the Royal Concubine, Neptune stands tall and proud. The sailor appears to have a painted on mustache and perhaps a genuine goatee. Though bare chested, he has still chosen to wear his orange/red neckcloth. Like the tars to the left, he wears a pair of white trousers with a broad fall fly, just like his Concubine. Both of them wear black shoes, though the detail is too scant to draw any conclusions about the style of buckles they wear.