degrees, useful for the study of the history of this subject.
It may be noted here, e.g. that the illuminators and painters of the
middle ages did not affect historical accuracy in their presentment of
biblical or secular subjects, but clothed their patriarchs, apostles
or Roman warriors in the dress of their own ages, their pictures thus
becoming invaluable records of the costume of their time. In this
respect the knowledge of classical antiquity revived during the
Renaissance introduced a certain confusion. Artists began to realize
the incongruity of representing antique figures in modern garb, but,
in the absence of exact knowledge, fancy began to play a greater part
than research in the dressing of their characters. Portraits and
representations of contemporary scenes (e.g. Rembrandt's "Night
Watch") continue to be first-hand authorities for the costume of the
period in which they were produced; but representations of biblical or
historical scenes have little or no value from this point of view.
Thus in Rubens's famous picture of St Ambrose repelling Theodosius
from the door of his cathedral, the bishop is vested in the mitre and
cope which only came into vogue centuries later, while the emperor
wears a military costume modelled on that of Roman imperators of an
earlier day. Even in portraiture, however, a certain conservatism
tends to make the record untrustworthy; thus, great men continued to
be painted in full armour long after it had in fact ceased to be worn.

Of authorities for English costume the following may be selected as
especially useful: J. C. Bruce, _The Bayeux Tapestry Elucidated_
(London, 1856), with 17 plates; F. W. Fairholt, _Costume in England to
the end of the 18th Century_ (2nd ed., ib., 1860); William Fowler,
_Examples of Medieval Art_ (1796-1829), 116 plates; Froissart's
_Chronicles_, translated by T. Johnes (4 vols., 1844), 72 plates and
many woodcuts; R. N. Humphrey, _Illuminated Books of the Middle Ages_
(ib., 1849); _Facsimiles of Original Drawings by Holbein, in the
Collection of His Majesty, for Portraits of Persons of the Court of
Henry VIII._, engraved by F. Bartolozzi, &c. (London, 1884); John
Nichols, _Progresses, Pageants, &c., of Queen Elizabeth_ (3 vols.,
1823), and _of James I._ (4 vols., 1828), with numerous plates;
Hogarth's _Works_, engraved by himself, with descriptions by J.
Nichols (1822), 153 plates; Edm