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The sleeveless surcoat was very popular, the upper portion tapering to a small point upon the shoulders, showing the gown worn beneath, and the skirts of these surcoats were decked with ermine and emblazoned with the family arms. The art of embroidery was cultivated assiduously by the rich, whose leisured moments were spent in plying the needle and silk, to accomplish devices which should honour and grace their attire.

Veils of white linen enwrapped the head, and unbound hair was rarely seen except on young girls. A richly embroidered cap that received some attention was so shaped that it partly covered the cheeks, and below it were two ear-cages of metallic tissue in plaited design. A very curious head-dress in France was composed of a closely-fitting cap with a jewelled border, surmounted by a long flat piece of material placed over the forehead and hanging down behind, this being elaborately trimmed and jewelled, and completely hiding the hair.

A QUAINT WIMPLE.

It is written to the honour of Isabella of Bavaria that she encouraged the ladies of her Court in a great love for dress, and she would seem to have made a study of the subject, if one judges from a picture of her robed in regal array, with a horned head-dress surmounted by a crown, an elaborate robe profusely adorned with jewels, a mantle bordered with ermine, and a train of prodigal extent.

The surcoat received the honour of sleeves in the latter part of the century, and these hung almost to the hem of the skirt, while the côte hardie took unto itself another shape, the shoulders being broader, the bodice cut low, and edged with fur, with folds of white silk to form a collar, a short waist being simulated by the wearing of the girdle high. The last twenty years of the century saw the introduction of high coverchiefs, mostly crescent-shaped or horned, one of the former being contrived of two heart-shaped pieces of silk with rolled edges, the spaces between the two sides being occupied with a veil of cloth.

THE HEAD-DRESS OF HENRY IV.