Page:Fancy dresses described, or, What to wear at fancy balls (1887).djvu/267

 coloured stockings and black shoes; and gold necklaces. Segovia, silk skirts, black velvet bodices embroidered in gold, with long sleeves; coral and gold necklaces, and black satin shoes; on their heads a small velvet cap worked with gold. Caceres, silk handkerchiefs on the head, velvet bodices with silver buttons, and plaited skirts; black stockings, and shoes with silver buttons. Ciudad Real, black bodices, silk handkerchiefs crossed over the chest, and coloured skirts. Jaen, silk handkerchiefs tied round the head, and coloured skirts and black bodices. A Castilian at Fancy Balls wears bright pink satin skirts, trimmed with gold; black velvet bodices cut in tabs, laced across the front with gold cord; black lace aprons, pink satin shoes; small hats of black velvet, worn on one side of the head. A Catalonian, black velvet skirt, upper-skirt of yellow cashmere; black velvet jacket; floral head-dress. A Toledo Woman, blue satin skirt, trimmed with gold and silver braid; crimson velvet apron trimmed to match the skirt; black velvet bodice over white lawn chemisette; velvet shoes, red stockings; coral ornaments. A Spanish Mandolin Girl wears a short red silk skirt, bordered with white silk, with arabesque designs upon it; a low loose cambric bodice, with a black velvet Spanish jacket, trimmed with gold fringe and braid; long scarf sash of black and gold silk, fringed with gold; as much gold jewellery as possible. An Andalusian, white silk short skirt, trimmed with pink and black velvet; pink silk tunic, with silver and black velvet; black velvet bodice; silver comb; spangled vest and pelisse; large black fan. The "Saya y Manta" is of Andalusian origin, and was formally worn by the ladies of Lima at processions, bull-fights, and when they went out to shop, but never in church, where the mantilla is de rigueur. The "saya," or skirt, is made of rich black satin, lined throughout, and formed into innumerable small plaits from the waist to the edge of the skirt by strong waxed threads. It is then slipped over a board of its own length and from twenty to thirty inches wide, on which it remains for three weeks, so that the satin may retain the creases when the threads are cut to within a quarter of a yard from the waist. A richly-embroidered Chinese scarf, the deeply fringed edges of which fall over the "saya" in front, is fastened at the throat by a jewel. The "manta" consists of a shawl-shaped piece of black Chinese crape, the triangular part of which is tied tightly