and for these "justs and triumphs" Aumerle has prepared his "gay apparel." There is one more passage which appears to us conclusive as to the use of the word Triumphs. The passage is in 'Pericles: Simonides asks, "Are the knights ready to begin the triumph? " And when answered that they are, he says"Return then, we are ready; and our daughter, In honour of whose birth these triumphs are, Sits here, like beauty's child."

The triumph, then, meant the "joustes of peace."

The Duke of Milan, in this play, desires to "include all jars," not only with "triumphs," but with "mirth and rare solemnity." The "mirth" and the "solemnity" would include the "pageant "-the favourite show of the days of Elizabeth. The "masque" (in its highest signification) was a more refined and elaborate device than the pageant; and, therefore, we shall confine the remainder of this Illustration to some few general observations on the subject of "pageants."

We may infer, from the expression of Julia in the fourth act,

"At Pentecost,

When all our pageants of delight were play'd," that the pageant was a religious ceremonial, connected with the festivals of the church. And so it originally was. (See 'Studies,' page 3.)

It is clear, from the passage in which Julia describes her own part in the "pageants of delight,"

"Ariadne passioning

For Theseus' perjury and unjust flight,"

IN the folio of 1623, there are no indications of the localities of the several SCENES. The notices, such as "An open place in Verona, The Garden of Julia's House, A Room in the Duke's Palace, A Forest near Mantua," are additions that have been usefully made, from time to time. The text, either specially or by allusion, of course furnishes the authority for these directions.

Cesare Vecellio, the brother of Titian, in his curious work, 'Habiti Antiche e Moderni di tutto il mondo,' completed in 1589, presents us with the general costume of the noblemen and

gentlemen of Italy, which has been made familiar to us by the well-known portraits of the contemporary monarchs, Francis I. and our own Henry VIII. He tells us that they wore a sort of diadem surmounted by a turban-like cap of gold tissue, or embroidered silk, a plaited shirt low in the neck with a small band or ruff, a coat or cassock of the German fashion, short in the waist and reaching to the knee, having sleeves down to the elbow, and from thence showing the arm covered only by the shirt with wristbands or ruffles. The cassock was ornamented with stripes or borders of cloth,

silk, or velvet of different colours, or of gold lace or embroidery, according to the wealth or taste of the wearer. With this dress they sometimes wore doublets and stomachers, or placards, as they were called, of different colours, their shoes being of velvet, like those of the Germans, that is, very broad at the toes. Over these cassocks again were occasionally worn cloaks or mantles of silk, velvet, or cloth of gold, with ample turn-over collars of fur or velvet, having large arm-holes through which the full puffed sleeves of the cassock passed, and sometimes loose hanging sleeves of their own, which could either be worn over the others or thrown behind at pleasure.

Nicholas Hoghenberg, in his curious series of prints exhibiting the triumphal processions and other ceremonies attending the entry of Charles V. into Bologna, A.D. 1530, affords us some fine specimens of the costume at this period, worn by the German and Italian nobles in the train of the Emperor. Some are in the cassocks described by Vecellio, others in doublets with slashed hose; confined both above and below the knee by garters of silk or gold. The turban head-dress is worn by the principal herald; but the nobles generally have caps or bonnets of cloth or velvet placed on the side of the head, sometimes over a caul of gold, and ornamented with feathers, in some instances profusely. These are most probably the Milan

caps or bonnets of which we hear so much in wardrobe accounts and other records of the time. They were sometimes slashed and puffed round the edges, and adorned with "points" or "agletts," i. e. tags or aiguillettes. The feathers in them, also, were occasionally ornamented with drops or spangles of gold, and jewelled up the quills.

Milan was likewise celebrated for its silk hose. In the inventory of the wardrobe of Henry VIII., Harleian MSS., Nos 1419 and 1420, mention is made of "a pair of hose of purple silk, and Venice gold, woven like unto a caul, lined with blue silver sarcenet, edged with a passemain of purple silk and gold, wrought at Milan, and one pair of hose of white silk and gold knits, bought of Christopher Millener." Our readers need scarcely be told that the present term milliner is derived from Milan, in consequence of the reputation of that city for its fabrication as well "of weeds of peace" as of "harness for war;" but it may be necessary to inform them that by hose at this period is invariably meant breeches or upper stocks, the stockings, or nether stocks, beginning now to form a separate portion of male attire.

The ladies, we learn from Vecellio, wore the same sort of turbaned head-dress as the men, resplendent with various colours, and embroidered with gold and silk in the form of rose leaves, and other devices. Their neck-chains and girdles were of gold and of great value. To the latter were attached fans of feathers, with richly-ornamented gold handles. Instead of a veil they wore a sort of collar or neckerchief (bavaro) of lawn or cambric pinched or plaited. The skirts of their gowns were usually of damask, either crimson or purple, with a border lace or trimming round the bottom a quarter of a yard in depth. The sleeves were of velvet or other stuff, large and slashed, so as to show the lining or under garment, terminating with a small band or ruffle like that round the edge of the collar. The body of the dress was of gold stuff or embroidery. Some of the dresses were made with trains, which were either held up with the hand when walking, or attached to the girdle. The head-dress of gold brocade given in one of the plates of Vecellio is not unlike the beretta of the Doge of Venice; and caps very similar in form and material are still worn in the neighbourhood of Linz in Upper Austria.

SOLINUS, Duke of Ephesus.

Appears, Act I. sc. 1. Act V. sc. 1.

ÆGEON, a merchant of Syracuse.
Appears, Act I. sc. 1. Act V. sc. 1.

ANTIPHOLUS OF EPHESUS, twin-brother to Antipholus of Syracuse, but unknown to him, and son to Ægeon and Emilia.

Appears, Act III. sc. 1. Act IV. sc. 1. Act V. sc. 1. ANTIPHOLUS OF SYRACUSE, twin-brother to Antipholus of Ephesus, but unknown to him, and son to Ægeon and Emilia. Appears, Act I. sc. 2. Act II. sc. 2. Act III. sc. 2. Act IV. sc. 3; sc. 4. Act V. sc. 1.

DROMIO OF EPHESUS, twin-brother to Dromio of Syracuse, and an attendant on Antipholus of Ephesus.

Appears, Act I. sc. 2. Act II. sc. 1. Act III. sc. 1. Act IV. sc. 1; sc. 4. Act V. sc. 1.

DROMIO OF SYRACUSE, twin-brother to Dromio of Ephesus, and an attendant on Antipholus of Syracuse.

Appeurs, Act I. sc. 2. Act II. sc. 2. Act III. sc. 1; sc. 2. Act IV. sc. 1; sc. 2; sc. 3; sc. 4. Act V. sc. 1.

ADRIANA, wife to Antipholus of Ephesus. Appears, Act II. sc. 1; sc. 2. Act IV. sc. 2; sc. 4. Act V. sc. 1.

LUCIANA, sister to Adriana.

Appears, Act II. sc. 1; sc. 2. Act III. sc. 2.
Act IV. sc. 2; sc. 4. Act V. sc. 1.

LUCE, her servant.
Appears, Act III. sc. 1.

A Courtezan.
Appears, Act IV. sc. 3; sc. 4. Act V. sc. 1.