The plain coif, or close-fitting linen cap, was the most general wear for the poor and middle classes. The hair was worn long and naturally over the shoulders by young girls, and plainly parted in the centre and dressed close to the head by women wearing the large head-dress. Another form of head-dress, less common, was the turban--a loose bag of silk, gold and pearl embroidered, fitting over the hair and forehead tightly, and loose above. The gowns of the women were very simply cut, having either a long train or no train at all, these last cut to show the under-skirt of some fine material, the bodice of which showed above the over gown at the shoulders. The ladies who wore the long gown generally had it lined with some fine fur, and to prevent this dragging in the mud, as also to show the elegance of their furs, they fastened the train to a button or brooch placed at the back of the waistband. This, in time, developed into the looped skirts of Elizabethan times. [Illustration: {Three women of the time of Henry VII.}] The bodice of the gown was square cut and not very low, having an ornamental border of fur, embroidery, or other rich coloured material sewn on to it. This border went sometimes round the shoulders and down the front of the dress to below the knees. Above the bodice was nearly always seen the V-shaped opening of the under petticoat bodice, and across and above that, the white embroidered or crimped chemise. The sleeves were as the men's--tight all the way down from the shoulder to the wrist, the cuffs coming well over the first joints of the fingers (sometimes these cuffs are turned back to show elaborate linings), or they were made tight at the shoulder and gradually looser until they became very full over the lower arm, edged or lined with fur or soft silk, or loose and baggy all the way from shoulder to hand. [Illustration: {A woman of the time of Henry VII.}] At this time Bruges became world-famed for her silken texture; her satins were used in England for church garments and other clothes. The damask silks were greatly in use, and were nearly always covered with the peculiar semi-Spanish pattern, the base of which was some contortion of the pomegranate. Some of these patterns were small and wonderfully fine, depending on their wealth of detail for their magnificent appearance, others were huge, so that but few repeats of the design appeared on the dress. Block-printed linens were also in use, and the samples in South Kensington will show how beautiful and artistic they were, for all their simple design. As Bruges supplied us with silks, satins, and velvets, the last also beautifully damasked, Ypres sent her linen to us, and the whole of Flanders sent us painters and illuminators who worked in England at the last of the great illuminated books, but this art died as printing and illustrating by wood-blocks came in to take its place.