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23 ORNAMENT 38.1.2015 solely for the purpose of selling mourning textiles, bonnets, shawls, veils, and gloves. The simplicity, starkness really, of the exhibition's environment actually stimulated a lean-in experience. Closer examination revealed the variety and detail that black could bring to fabric, texture and patterning. It was a valuable lesson in how a severe limitation can be a guide leading to creative diversity. Exhilarating in its own way, it helped to sharpen and focus the senses, just as observing ritual, in this instance the expression of public and personal grief, was meant to achieve in practice. Communicating their sorrow without speaking of it, the silent mannequins eloquently demonstrated this profound emotion. Somehow cathartic, one leaves behind the somber basement gallery, its poignant symbols of mortality, and takes the stairway to the Met's main floor, feeling happy to be alive and eager to meet a new day. HALF-MOURNING ENSEMBLES. Upper right: This dress shows the introduction of white and the use of fringe as design motifs. The beautiful gown signals this woman, perhaps a widow, might be available for remarriage. Right: Gray silk wool poplin, black silk faille, black and white silk cording and fringe make up an American wedding ensemble from 1868. Lower right: The emergence from deep black to glossy black to browns and grays is another indication of leaving mourning. Lower left: A stunning dress from 1894-1896 is made of purple wool twill and silk velvet, black silk velvet and silk satin, white silk satin and silk faille, with gold metallic thread. The dress is boldly accented with black and white trimming and a full gigot sleeve fashionable in the mid-1890s. It was purchased from James McCreery & Co., a New York department store with a mourning goods section that offered ready-made and custom garments.