Like other innovations in similar matters, this new costume, we are told, gave much offence to the more austere among those who never in their own day had enjoyed any such opportunity of displaying their charms, and who were now too old to profit by it.[73] For, instead of being made to fit close round the throat, the "Cyprian" was contrived to show the entire neck. These dresses were cut square on the bust, were extremely full around the feet, close-fitting from the waist upwards, and had very long and large sleeves. Some ladies would have even three of these celebrated robes: one of blue, one of crimson, and one of watered camblet—"zambellotto undato"—lined with silk or with mixed furs. Beautifully thin and fine veils of white cotton were worn; and the hair was drawn back over hair-cushions, and tied with strings of silk ornamented with gold or with pearls. A girdle of silver gilt or of pearls confined the dress at the waist. [Sidenote: HER ROMAN RESIDENCE.] We may be perfectly sure, that the daughter of Sforza and bride of Riario displayed whatever was most costly and most superb, as she passed from the Porta del Popolo to the princely residence of her husband on the Lungara, that long street which runs along the farther bank of the river from St. Peter's to the Porta Settimana. There the Riarii inhabited the spot now marked on the maps as the Palazzo Corsini. Two hundred and fifty years further down on the roll of pontiffs the latter name is met with;[74] the place of the magnificent Riarii knows them no more; and the change of masters, which those delicious terraces, looking down on the Farnese palaces and gardens,—the creations of another Papal[75] family intermediate in time between the Riarii and the Corsini—have undergone, is a quite normal illustration of the working of a system, which is the leading fact of Rome's modern history.