Year: 1879



 the veil was the principal feature in the cultures of the French women. It was worn attached to small crown, from which it fell in neat folds, or thrown over the head and shoulders, or tied across the forehead and under the chin. The use of the veil was adopted alike by those who had given up the vanities of the world, among the foremost of which long hair was chased, and retired to nunnery, and by those who looked for pleasure in the present and hoped in the future. It is likely that the style of dress affected by the religious order differed very little, if 1t differed at all, from the fashions which prevailed at that period. Their costume, no doubt, became peculiar to themselves in the course of time, from the fact that they continued to veil themselves, and clothe themselves in garments of primitive simplicity, although the fashions had changed and much improved in taste. In the ninth century the veil was worn in three colors white. purple, and blue. An illustrated Bible of the time of Charles the Bald, which may be seen at the British Museum, gives us very good idea of the cO!ftt7'e of that period. The book, which is under glass case or we might have learned more by turn ing its pages-is open on a painting representing young lady with scar let face, who wears thick veil, which strives

 To cover what it could not hide,

 for beneath its ample folds the hair may be plainly distinguished. It is taste fully dressed in the most simple style. The hair is brushed down over the fore head, and curls hang in heavy clusters down the back, falling from the ugly little silver crown to which the veil Is attached. In the cOif'1re of the tenth century the portrait of a red faced lady in an old manuscript-there is nothing worthy of remark, except the improvement in the quality of the veil, which is now of exquisite texture, and the severe workmanship of the crown. The hair is dressed very much the same as in the ninth century. In fact, no important change in the col fatre of the French women IS to be noticed till the eleventh century. The portrait of Blanche, the vain and i'm perious queen of King Robert, presents an arrangement, to use word just now coming into currency, in plaits and coils.

 Her hair was rolled in many curious fret,

 Much like rich and curious coronet

 The veil covers less of the hair than it did formerly. It is thrown off the orehead-indeed, 1t might have been advantageously thrown off the head al together, for 1t adds nothing to the at tractiveness of the coif0re. As we be- gin to feel interested in the course of the two long plaits which fall meander ing behind the ears, we lose sight of them, as they travel under tunnel of white linen, and we see nothing more of them till they come out at the other end, so to speak, at the back of the head, where they spin themselves into coil. The veil did its best-that is to say its worst-to disfgure the cOif'tere of the twelfth century, making elegance hideous with knots and beaus and frip pery. About this time the French ladies, following the dictates of a re- hgious passion, or fashion, cut their hair short and tied up their heads, as 1t were, in veil. A seal date, 127O, upon which is stamped the figure of lady, gives an idee-of this peculiar headdress. It gives a vague idea that the lady is suffering from Q sore head. It is tight ly bandaged, for the veil is worn like plaster, close-ftting, and showing the shape of the head. It is certain that the women of the thirteenth century did not all follow this execrable fashion, for there is extant statue of a distinguished lady of that period who persisted in wearing her hair be witchingly dressed, albeit half hidden beneath tantalizing veil. Long plaits and curls are dis continued, the crown Is cast aside, and the veil begins to disappear about this time. In the last years of the thirteenth century very short veil is worn, with turban c la Txrque; but Is of little con sequence in the coifure. The turban, which superseded the crown, is worn in the Jewish style. A wide band, falling from either side and passing around the chin, covers the sides of the face. A portrait of Marguerite of Provence shows us the same coifure with the bandage united. In front

 Her sunny locks

 Hang on her temples like golden fleece. The turban is ornamented with small blue bows, but the simple, almost re- ligious character of the c0ifetre Is still | preserved. At the back.

 The hair,

 Untied and ignorant of artful aid,

 Adown her shoulders loosely was displayed.

 Till the end of the thirteenth century

  ,he French fashions show more ingenu ty than art The women dressed their hair unpretentiously, as became their owly condition in life. Shut up in the castles of their lords and masters, they could hardly be called creatures of world with which they held no inter course. Male companions they had lone now and then there came a visitor O the castle, and then the ladies would wrap themselves in their veils, in order o hide from profane eyes that beauty which was given only for their lords to dmire, and thus they would listen to he tale of passing pilgrim or the song f wandering minstrel. With the Ourteenth century and the house of Talois there came a change, the social ondition of the women was improved, 1 nd the fashion in their costume and ( he coifure frightened with their lives. 1e .