An article by Stella Mary Pearce on how costume evidence exposes a forged Italian Renaissance painting, the Portrait Group in the National Gallery, London, once taken for a 15th-century work and possibly linked to the Montefeltro family. She argues that the sleeves, caps, bonnet, gloves and checker-pattern trim are misunderstood copies of 1490s fashion, and that they instead reflect 1913 fashions influenced by Jugendstil and Leon Bakst's gowns for Paris couture. The article is illustrated with plates of Carpaccio, Crivelli and Klimt paintings and with Gazette du Bon Ton fashion plates.

An essay by Stella Mary Pearce (Mrs. Eric Newton) arguing that the study of costume can date Italian Renaissance paintings to within about five to ten years. She maintains that fashions in clothing and hairdressing changed quickly, that no painter escaped contemporary fashion, and that no painted figure is unaffected by it, even when dressed in classical or archaic garb. Examples come from Giotto, Mantegna, Carpaccio, Raphael, Lippi, Crivelli and others, with sixteen plates of painting details and comments on how Christ, the Apostles, the Madonna, angels and saints were dressed.