encircling the neck; the puffed sleeves and the back of the dress were slashed. A semicircular cloak was thrown over the shoulders and fastened in front, and left open or buttoned from throat to hem. The married women chose a sleeveless over-dress, and a long red or blue cloak, capacious and enveloping, and the widow wore this in black, surmounted by a long white veil. Caps, veils, and fillets found equal favour in the eyes of the Italian, whose pretty hair was as frequently seen bound with satin ribbons as with gold or silver paillettes, or arranged spirally, or confined in a caul; and the horseshoe shape of head-dress common in England was also to be seen in Italy, who borrowed it from France, where the skirts were now gradually becoming narrower and the dresses buttoning straight down the front, the skirt and bodice being cut in one, and the sleeves invested with much diversity, being worn tight or loose, buttoned or hanging open, displaying in some cases the forearm and in others a close under-sleeve.
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
