Sumptuous turn-of-the-century gown and a wonderful Fontanges headdress. Fashion prints were becoming available to chronicle this period of dress. Baker and Pullen in "A Handbook of Costume Drawing: A Guide for Drawing the Period Figure," (http://books.google.com/books?id=IBYBZA 3R6CYC&pg=PA94&lpg=PA94&dq), p. 94 describes the Fontanges headdress as "...A series of wired ruffles or ribbons stand straight upright 6" or 8" or may angle forward on the head. Streamers or ribbons from the back of the cap fall to the middle of the back. The hair is worn high and formal, with the curls dressed over a wire frame and symmetrical curls on each side of the forehead. The back section of the hair is a bun, with long finger curls falling on each side of the shoulder. According to Bradley, "Western World Costume: An Outline History" (http://books.google.com/books?id=xUmH6p SJw00C&pg=PA205&lpg=), p. 205, these were made using lawn or lace and were also called towers or commodes. According to Wilcox, "The Mode in Costume," p. 179 (1958), "In 1680, the Duchesse de Fontanges, having her hat blown off at a royal hunting party, tied her curls in place with her garter, arranging a bow with ends in front. From that incident, fastened to a cap, grew tier upon tier of upstanding, wired, pleated ruffles of lawn, lace, and ribbons..."*** The whole seventeenth century was dominated by puffed sleeves. Her sleeves are not tight-fitting, but no longer puffed. This makes the cuffs and engageantes more prominent, a feature that became prominent in 1700s dress.*** She appears to be wearing a plain chemise, perhaps trimmed with lace, that provides engageantes and a modesty piece. It is hard to discern her bodice ornament, but it looks spectacular, possibly jeweled clasps accross the middle running from neckline to the point of the vee beneath. The skirt is adorned with three flounces that may be made of lace, but could also be made of brocade or some other material.