our own day, though differing, of course, in material. You find the gown fitting close to the bust, of the natural length of waist, and cut square at the chest,
Arras in Knowle House.
is edged with narrow lace. The sleeves, tight at the shoulder, widened to the elbow, where they hung deep, showing an under-sleeve of fine lawn or lace extending to the wrist, and terminated by lace ruffles. On the neck was generally worn a pearl necklace, with a jewelled cross. The skirts wore full, the train long, according to rank. Seven yards of purple cloth of damask gold were allowed for a kirtle for Queen Catherine, in a wardrobe account of the eighth year of Henry's reign. The sleeves of the ladies, like those of the gentlemen, could be changed at pleasure, being separate, and attached at will. They were extremely rich; and we find in one lady's inventory three pair of purple satin sleeves, one of linen paned with gold over the arms, quilted with black silk, and wrought with flounces between the panes and at the hands; one pair of purple gold tissue damask wire, each sleeve tied with aglets of gold; one pair of crimson satin, four buttons of gold on each sleeve, and in every button nine pearls.
Fire Dogs.
The coif was of various materials, from simple linen to rich velvet and cloth of gold; either with the round where it front, as in Mary and Elizabeth as princesses, in Catherine Parr and Catherine Howard, or dipping in front, which came to be called the Queen of Scots bonnet; but most frequently the five-cornered one. This last was indeed the hood of the time of Henry VII., in which we have a portrait of his queen, Elizabeth of York; the lappets of
Nursery Chair of James VI. of Scotland.
the hood depending on the bosom, embroidered and edged with pearls; the scarf behind hanging on the shoulders. In Catherine of Arragon, the front, embroidered and jewelled, had become shorter, touching the neck
