No loose flowing robes, no shoon half a yard long, no flaunting tawdriness of fringe and aiglet, characterized the appearance of the baron, who, even in peace, gave his address a half-martial fashion.
But Edward, who, in common with all the princes of the House of York, carried dress to a passion, had not only reintroduced many of the most effeminate modes in vogue under William the Red King, but added to them whatever could tend to impart an almost oriental character to the old Norman garb.

His gown (a womanly garment which had greatly superseded, with men of the highest rank, not only the mantle but the surcoat) flowed to his heels, trimmed with ermine, and broidered with large flowers of crimson wrought upon cloth-of-gold.

Over this he wore a tippet of ermine, and a collar or necklace of uncut jewels set in filigree gold; the nether limbs were, it is true, clad in the more manly fashion of tight-fitting hosen, but the folds of the gown, as the day was somewhat fresh, were drawn around so as to conceal the only part of the dress which really betokened the male sex.

To add to this unwarlike attire, Edward's locks of a rich golden colour, and perfuming the whole air with odours, flowed not in curls, but straight to his shoulders, and the cheek of the fairest lady in his court might have seemed less fair beside the dazzling clearness of a complexion at once radiant with health and delicate with youth.

Yet, in spite of all this effeminacy, the appearance of Edward IV.