Many of the Croat women’s girdles are almost identical in pattern with those I have seen among the Lapps of Lake Enare. In the Museum is to be seen a large and curious collection of Croatian needlework, all of this angular pattern—crosses, and lines, and zigzags. Here are also to be seen carpets of rude character wrought by the homely looms of Slavonia, which are curious illustrations of the perfection of the old style—complex as the patterns are, they are all square or angled, and might any of them be models for a mosaic pavement; their colours are green, red, yellow, and white, less usually purple, and dark blue. But what is strange, is to find side by side with these rude shapes the secondary form of decoration in a highly developed state. The curved style of embroidery, as it appears on some of the men’s mantles—and it is noteworthy that it is confined almost exclusively to the men’s attire—is often a real work of art, and the elaborate pear-shaped forms which it frequently takes suggest the rich tendrillings of a Cashmere shawl. So abrupt is the leap from the ruder kind of ornament generally used, that these _chefs-d’œuvre_ of curvature seem to be rather importations from without, than flowers of home growth. Nor does it seem difficult to trace their origin, for they are very often reproductions of the decorations which appear on the costly vests and jackets of the Turks. They are seedlings from Stamboul—less directly, from Byzantium. As in ornament so in general character, the Croatian dress resembles that of all the Southern Sclaves, including the Roumans of Transylvania and Wallachia, who, for ethnological purposes, may be looked on as a Latinized branch of the family. In parts, indeed, it has been Orientalized by the Turks; and it is noteworthy that just as the men’s costume in Croatia shows the Oriental influence in ornament, so in Serbia, Dalmatia, and the lands beyond the Save and Danube, it is the men’s costume that makes the chief advances towards the Turkish. It is possibly a symptom of the almost Oriental seclusion of those who have to dread Oriental license. Often, when the husbands dress in completely Turkish fashion, the wives preserve almost unaltered the old national costumes; and it is owing to this, that throughout the whole South Sclavonic area, enough of the original dress has survived to show the common sisterhood of all. And of all, the Croat costume seems to be the best representative of the old Serb—of the Sclavonic costume as it existed in the days of the great Czar, Stephen Dūshan. Almost everywhere else the men’s costume, at least, has suffered from Turkish influences. Here, far better than in free Serbia, is the description applied to the Serb laity in the old laws—the ‘dressers in white,’ still applicable to the Croat men. At Belgrade it would be a meaningless epithet; at Agram it is still true. The Croats, too, with their fine mantles and flowing