most devastating poverty induces the possessor to part with.
The practice of weaving a wedding-veil is an old one, dating from the times of ancient Greece. A bride of Attica is immortalised in a long flowing robe of clinging rose colour, with a girdle of gold cord knotted and tasselled. Her hair is closely curled round the nape of her neck, and drawn up at the back into a wide meshed net, the front banded with a golden fillet engraved with a Grecian key pattern, whence floats a transparent white veil to the ground.
The donning of a bridal crown is a fashion which traces its origin to the far North, and in Scandinavia it is the most significant feature of the bridal attire, each parish being possessed of its special crown, the property of the church, the pastor of which sanctions the use of the crown only when the bride is of irreproachable character. Such a custom should act as a powerful incentive to virtue, since to stand before the altar uncrowned must be conclusive evidence of unworthiness. Of copper-gilt, the bridal crown differs slightly according to the district. In the diocese of Drontheim it is round in shape, tapering up to spire-like points, the rim encircled with a double garland of flowers emblematic of innocence, while from beneath it at either side dangle streamers of gaily coloured ribbon and black lace over luxuriant tresses, real or false, either of hair or straw. The dress consists of a close-fitting bodice with long tight sleeves, and a plain skirt to the ankles, of the same dark material, the short narrow apron being of white muslin. The corsage is almost hidden beneath a pelerine made of wool covered
