This curious head-gear, the caul, after a modest appearance, as a mere close, gold-work cap, in the time of Edward III., grew into a stiffer affair in the time of Richard II., but still was little more than a stiff sponge-bag of gold wire and stuff and a little padding; grew still more in the time of Henry IV., and took squarer shapes and stiffer padding; and in the reign of Henry V. it became like a great orange, with a hole cut in it for the face--an orange which covered the ears, was cut straight across the forehead, and bound all round with a stiff jewelled band. Then came the idea of the horn. Whether some superstitious lady thought that the wearing of horns would keep away the evil eye, or whether it was a mere frivol of some vain Duchess, I do not know. As this fashion came most vividly into prominence in the following reign, I shall leave a more detailed description of it until that time, letting myself give but a short notice of its more simple forms. We see the caul grow from its circular shape into two box forms on either side of the head; the uppermost points of the boxes are arranged in horns, whose points are of any length from 4 to 14 inches. The top of this head-dress is covered with a wimple, which is sometimes stiffened with wires. [Illustration: A WOMAN OF THE TIME OF HENRY V. (1413-1422) Her surcoat is stiffened in front with fur and shaped with a band of metal. Her belt is low on the hips of the under-dress. The horns on her head carry the large linen wimple.] There is also a shape something like a fez or a flower-pot, over which a heavy wimple is hung, attached to this shape; outside the wimple are two horns of silk, linen, or stuff--that is, silk bags stuffed to the likeness of horns. I should say that a true picture of this time would give but few of these very elaborate horn head-dresses, and the mass of women would be wearing the round caul. [Illustration: {A woman of the time of Henry V.}] The surcoat over the cotehardie is the general wear, but it has more fit about it than formerly; the form of the waist and bust are accentuated by means of a band of heavy gold embroidery, shaped to the figure. The edges of the surcoat are furred somewhat heavily, and the skirt often has a deep border of fur. Sometimes a band of metal ornament runs across the top of the breast and down the centre of the surcoat, coming below the fur edging. The belt over the hips of the cotehardie holds the purse, and often a ballade or a rondel. You will see a few of the old houppelandes, with their varieties of sleeve, and in particular that long, loose double sleeve, or, rather, the very long under-sleeve, falling over the hand. This under-sleeve is part of the houppelande. All the dresses have trains, very full trains, which sweep the ground, and those readers who wish to make such garments must remember to be very generous over the material.