ury gowns, with necks cut out round, to admit a
necklace with pendants, are still popular. The gowns are long on the
ground, and the most beautiful of the characteristic head-dresses--the
long, pointed one, with veil covering it, and floating down from point
of cap to hem of flowing skirt behind, continues the movement of
costume--the long lines which follow one another.

When correctly posed, this pointed head-dress is a delight to the eye.
We recently saw a photograph of some fair young women in this type of
Mediaeval or Gothic costume worn by them at a costume ball. Failing to
realise that the _pose_ of any head-dress (this means hats as well) is
all-important, they had placed the quaint, long, pointed caps on the
very tops of their heads, like fools' caps!

The angle at which this head-dress is worn is half the battle.

The importance of every woman's cultivating an eye for line cannot be
overstated.

In the fifteenth century we first see puffs at the elbow, otherwise the
outlines of gown are the same. The garment in one piece, the body of it
outlining the form, its skirts sweeping the ground; a girdle about the
hips, and long, close or flowing sleeves, wide at the hem.

Despite the fourteenth century innovation of necks cut low and off the
shoulders (berated by the Church), most necks in the fifteenth century
are still cut round at the throat, and the necklace worn instead of
collar. Some of the gowns cut low off the shoulders are filled in with a
puffed tucker of muslin. The pointed cap with a floating veil is still
seen.

Notice that the restraint in line, colour and detail, gradually
disappears, with the abnormal circulation of wealth, in those
departments of Church and State to which the current of material things
was diverted. We now see humanity tricked out in rich attire and
staggering to its doom through general debaucheries.

Rich brocades, once from Damascus, are now made in Venice; and so are
wonderful satins, velvets and silks, with jewels many and massive.

Sometimes a broad jewelled band crossed the breast from shoulder
diagonally to under arm, at waist.

The development of the petticoat begins now. At first we get only a
glimpse of it, when our lady of the pointed cap lifts her long skirts,
lined with another shade. It is of a rich contrasting colour and is
gradually elaborated.

The waist-line, when indicated, is high.

A new note is the hair, with throat and neck completely concealed b