Costume 17, Cleopatra's entrance into Rome
Irene Sharaff with, undoubtedly, her most famous creation.

Costume18, Caesarion's nursery
One of the actual seamstresses for Taylor's costumes can be seen in the middle photo, below.

Costume 19, Cleopatra poses for her statue, Titus begs to be released

Costume 20, Cleopatra hosts the Roman Senate

Costume 21, "Take a little, then a little more"

Costume 22, the Ides of March, Caesar's assassination

Costume 23, Cleopatra leaves Rome

Costume 24, an offering to Caesar, building Cleopatra's mausoleum

Costume? Water!

Costume 25, Cleopatra enters Tarsus (not used)
The wig below, intended for this unused costume, was used
instead in "The Argument" scene for costume 33 lower on this page.

Costume 26, Cleopatra enters Tarsus

Costume 27, Banquet on the barge

Costume 28, Antony's angst

Caesarion's duel, "Tickle me" (not used)

Costume 29, Caesarion's duel, "Tickle me"

Costume 30, Antony's procrastination, Cleopatra sends Antony to Rome

Costume 31, Cleopatra learns of Antony's marriage, Cleopatra's heartbreak

Costume 32, Cleopatra receives Antony after his marriage, "On your knees!"

Costume 33, in Cleopatra's mausoleum

Costume 34, the argument

Costume 35, "Love is my Master"
Here is another example of a design intended for a scene that was never written for the version of
the film that was shot. And, another example that indicates Sharaff must have used the Pinewood script
as a basis for at least some of her designs. There is a "strip dice" sequence in the Pinewood script, but it
takes place in the dining hall of the palace - not a "brothel" as indicated by the notations. But, there were
many versions of the Pinewood script. The version in the Trivette Collection, written by Nigel Balchin,
and dated June 10, 1959,  may have been an earlier version than the one available to Sharaff.

Cinecittà Costumes page 3