"I will ruffle it with the best of them" was distinctly the determination of the valiant queen who smiles upon you on page 56. Lace forms her huge collar and her pendent lappets, and tightly round her throat sits a lace ruffle; an audacious feather stands rampant on top of her crown, and beneath this is a cap bordered with jewels, curved at one side to allow a good view of her curled head, where the flat cap of jewels holds a golden pendant in the centre of her forehead. Far more demure are the ruffle and cap which appear on page 55 beneath the closely-hooded mantle, and severity marks the net and lace of the dame whose hair is entwined with pearls; and a typical Medici collar of lace is elaborately wired to form a frame to the fair head, upon which jewels and feathers alike disport themselves. In this century fashion was playing the woman who often varies, and La Bruyère in reviewing the situation says: "A fashion has no sooner supplanted some other fashion than its place is taken by a new one, which in turn makes way for the next, and so on; such is the feebleness of our character. While these changes are taking place a century has rolled away, relegating all this finery to the dominion of the past." And writing in the twentieth century, I can see some satisfaction in that. CHAPTER VII IN THE SEVENTEENTH CENTURY Familiarity has bred respect, even affection, for the typical costume of Charles I.'s reign, and that unfortunate monarch himself, depicted by Van Dyck in sombre coat and lace collar, is amongst the dear intimacies of our daily life. Sir Peter Lely, who followed on the footsteps of Van Dyck, left many modish records of his time, and though he has been rated for dressing his nymphs in inappropriate extravagances of fringes and embroidery, he undoubtedly clothed lovely woman with an excellent fantasy, bestowing height and grace by the length and simple disposition of his drapery. Mignard, the French artist, also wrote a page in fashion's history in his paintings of the Court ladies as Madonnas; covering the vanities of the sinner with the mantle of the saint, he was much sought after for his pains. The main features of feminine costume in Charles I.'s reign may be realised in recalling the dresses which have so often appeared to delight us in the various presentations of stage plays of his period; the bodice is tight, the basque square and tabbed, and round the waist are a few folds of silk fastened into a rosette in the front; the lace collar falls from the neck to the shoulders in deep points, and the ringleted hair bears a ribbon rosette, or is surmounted by a plumed hat. [Illustration: A FEATHER AND A CHICKEN-SKIN FAN.]