rless neck was cut round and
a trifle low; the lines of gown were long and followed each other; the
trimming followed the hem of neck and sleeves and skirt; the hair, while
artificially curled and sometimes intertwined with pearls and other
gems, after being gilded, was so arranged as to show the contour of the
head, then gathered into a Psyche knot. Gold bands, plain or jewelled,
clasped and held the hair in place.

In the Gold Room of the Metropolitan Museum; in noted collections in
Europe; in portraits and costume plates, one sees that the earrings worn
at that period were great heavy discs, or half discs, of gold; large
gold flowers, in the Etruscan style; large rings with groups of
pendants,--usually three on each ring, and the drop earrings so much in
vogue to-day.

Necklaces were broad, like collars, round and made of hand-wrought links
and beads, with pendants. These filled in the neck of the dress and were
evidently regarded as a necessary part of the costume.

The simple cord which confined the Greek woman's draperies at the waist,
in Egypt and Byzantium, became a sash; a broad strip of material which
was passed across the front of body at the waist, crossed behind and
then brought tight over the hips to tie in front, low down, the ends
hanging square to knees or below.

In Egypt a shoulder cape, with kerchief effect in front, broadened
behind to a square, and reached to the waist line.

We would call attention to the fact that when the classic type of
furniture and costume were revived by Napoleon I and the Empress
Josephine, it was the Egyptian version, as well as the Greek. One sees
Egyptian and Etruscan styles in the straight, narrow garment of the
First Empire reaching to ankles, with parallel rows of trimming at the
bottom of skirt.

The Empire style of parted hair, with cascade of curls each side,
riotous curling locks outlining face, with one or two ringlets brought
in front of ears, and the Psyche knot (which later in Victorian days
lent itself to caricature, in a feather-duster effect at crown of head),
were inspired by those curled and gilded creations such as Thais wore.

Hats, as we use the term to-day, were worn by the ancients. Some will
remember the Greek hat Sibyl Sanderson wore with her classic robes when
she sang Massenet's "Phedre," in Paris. It was Chinese in type. One sees
this type of hat on Tanagra Statuettes in our museums.

Apropos of hats, designers to-day are constantly res