Cranmer by Flick, the original painting being in the British Museum. Also a most interesting one of the gallant and accomplished Henry Earl of Surrey, by Titian, who has represented him in a magnificent suit of armour, and thereby given us a splendid specimen of the military costume of the period. In addition to the information conveyed to the eye by this collection of authentic portraits, it will be sufficient to quote, from the sumptuary law passed in the 24th year of Henry's reign, such passages as will describe the materials of which the dresses were made, and which were, indeed, at this time of the most costly kind.* The royal family alone were permitted to use the fur of the black jennet; and sables could only be worn by noblemen above the rank of a viscount. Crimson or blue velvet, embroidered apparel, or garments bordered "with gold sunken work," were forbidden to any person beneath the quality of a baron or knight's son or heir; and velvet dresses of any colour, furs of martens, chains, bracelets, and collars of gold, were prohibited to all persons possessing less than two hundred marks per annum. The sons and heirs of such persons were, however, permitted the use of black velvet or damask, and tawnycoloured russet or camlet. Satin and damask gowns were confined to the use of persons possessing at least one hundred marks per annum; and the wearing of plaited shirts, garnished with gold, silver or silk, was permitted to none below the rank of knighthood. The hair was cut remarkably close, a peremptory order having been issued by Henry to all his attendants and courtiers to 'poll their heads." Beards and moustaches were worn at pleasure.

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The portraits of Anne Bullen and Queen Katharine will convey a sufficient idea of the costume of ladies of rank at this period. The jewelled cap and feather with which Holbein has represented Anne in the portraits engraved in Cavendish's 'Life of Wolsey' are exceedingly picturesque and becoming. The other head-dress, which was probably the often-talked-of "French hood," is better known, nearly all Henry's wives being represented in it. The gown was cut square at the bosom, as in the preceding reign; but instead of the neck being bare, it was covered almost to the throat by the partlet, a sort of habit-shirt, much like the modern ono, embroidered with gold and silk. The sleeves of the gowns were frequently of a different material from that which composed the rest of the dress, and generally of a richer stuff. The gown was open in front to the waist, showing the kirtle or petticoat, and with or without a train, according to the prevailing fashion of France or Holland. Anne of Cleves is described as wearing a gown made round without any train, after the Dutch fashion; while the train of Catherine Parr is stated to have been more than two yards long. Anne Bullen, while Countess of Pembroke, danced at Calais with Francis I. in a masque consisting of seven ladies besides herself, who were attired in masking apparel of strange fashion, made of cloth of gold compassed with crimson tinsel satin, formed with cloth of silver, lying loose and knit with laces of gold. They were brought into the chamber with four damsels in crimson satin, with tabards of fine cypress. Cavendish, in his 'Life of Wolsey,' says—“I have seen the king suddenly come thither (i. e. to the cardinal's) in a mask, with a dozen other maskers in garments like shepherds, made of fine cloth of gold and crimson satin; their hairs and beards, of fine gold wire, or silver, or some of black silk, with sixteen torchbearers and drums all in satin." A minute account is given by Hall of the coronation of Queen Anne Bullen; and also by Cavendish, who has described the procession and the ceremony. We must be careful, however, not to confound the procession from the Tower to Westminster, on the day previous to the coronation, with that introduced in the play, which is the procession from the palace to the Abbey. On the first occasion she wore a surcoat of white cloth of tissue, and a mantle of the same, furred with ermine, her hair hanging down from under a coif, with a circlet about it full of rich stones. On the second (that in the play) she wore a surcoat and robe of purple velvet, furred with ermine, the coif and circlet as before. The barons of the Cinque Ports, who carried the canopy over her, were "all in crimson, with points of blue and red hanging on their sleeves." The ladies, "being lords' wives," that followed her, "had surcoats of scarlet with narrow sleeves, the breast all lettice (fur), with bars of borders (i. c. rows of ermine) according to their degrees, and over that they had mantles of scarlet furred, and every mantle had lettice about the neck, like a neckercher, likewise powdered (with ermine), so that by the powderings their degree was known. Then followed ladies, being knights' wives, in gowns of scarlet with narrow sleeves, without trains, only edged with lettice." The queen's gentlewomen were similarly attired with the last. The lord chancellor wore a robe of scar* For some fine specimens of the costume of the early portion of this reign we refer our readers to the Introductory Notice

to The Two Gentlemen of Verona

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let, open before, and bordered with lettice.

The dukes were in crimson velvet, furred with ermine, and powdered according to their degrees. The Duke of Suffolk's doublet and jacket were set with orient pearl; his gown of crimson velvet, richly embroidered; and he carried a white rod in his hand, being that day high steward of England. The knights of the Bath wore with hoods purfled with miniver, like doctors."

"violet gowns,

Wolsey and his Suite.]

'Think you see them great, And follow'd with the general throng.

PROLOGUE.'