Michel Pastoureau's lively study of stripes offers a unique and engaging perspective on the evolution of fashion, taste, and visual codes in Western culture. The Devil's Cloth begins with a medieval scandal. When the first Carmelites arrived in France from the Holy Land, the religious order required its members to wear striped habits, prompting turmoil and denunciations in the West that lasted fifty years until the order was forced to accept a quiet, solid color. The medieval eye found any surface in which a background could not be distinguished from a foreground disturbing. Thus, striped clothing was relegated to those on the margins or outside the social order-jugglers and prostitutes, for example-and in medieval paintings the devil himself is often depicted wearing stripes. The West has long continued to dress its slaves and servants, its crewmen and convicts in stripes. But in the last two centuries, stripes have also taken on new, positive meanings, connoting freedom, youth,