The dress of these five children is of the same rich materials that would be worn by their mothers. The Padishal child wears black velvet like her mother’s gown; but her frock is brightened with scarlet points of color. The linings of the velvet hanging sleeves, the ribbon knots of the white virago-sleeve, the shoe-tip, the curious cap-tassel, are of bright scarlet. We have noted the dominance of scarlet in old English costumes. It was evidently the only color favored for children. The lace cap, the rich lace stomacher, the lace-edged apron, all are of Flemish lace. Margaret Gibbes wears a frock of similar shape, and equally rich and dark in color; it is a heavy brocade of blue and red, with a bit of yellow. Her fine apron, stomacher, and full sleeves are rich in needlework. Robert Gibbes’s “coat,” as a boy’s dress at that age then was called, is a striking costume. The inmost sleeves are of white lawn, over them are sleeves made of strips of galloon of a pattern in yellow, white, scarlet, and black, with a rolled cuff of red velvet. There is a similar roll around the hem of the coat. Still further sleeves are hanging sleeves of velvet trimmed with the galloon. It will be noted that his hanging sleeve is cut square and trimmed squarely across the end. It is similar to the sleeves worn at the same time by citizens of London in their formal “liveryman’s” dress, which had bands like pockets, that sometimes really were pockets. His plain, white, hemstitched band would indicate that he was a boy, did not the swing of his petticoats plainly serve to show it, as do also his brothers’ “coats.” That child knew well what it was to tread and trip on those hated petticoats as he went upstairs. I know how he begged for breeches. The apron of John Quincy varies slightly in shape from that of the other boy, but the general dress is like, save his pretty, gay, scarlet hood, worn over a white lace cap. One unique detail of these Gibbes portraits, and the Quincy portrait, is the shoes. In all four, the shoes are of buff leather, with absolutely square toes, with a thick, scarlet sole to which the buff-leather upper seems tacked with a row either of long, thick, white stitches or of heavy metal-headed nails; these white dots are very ornamental. One pair of the shoes has great scarlet roses on the instep. The square toe was distinctly a Cavalier fashion. It is in Miss Campion’s portrait, facing this page, and in the print of the Prince of Orange here, and is found in many portraits of the day. But these American shoes are in the minor details entirely unlike any English shoes I have seen in any collection elsewhere, and are most interesting. They were doubtless English in make.