"This fellow would turn rake and maccaroni if he was to stay here a week longer--bless me, what dangers are in this town at every step! O, that I were once settled safe again at Trotley-place!--nothing to save my country would bring me back again: my niece, Lucretia, is so be-fashioned and be-devilled, that nothing, I fear, can save her; however, to ease my conscience, I must try; but what can be expected from the young women of these times, but sallow looks, wild schemes, saucy words, and loose morals!--they lie a-bed all day, sit up all night; if they are silent they are gaming; and if they talk, 'tis either scandal or infidelity; and that they may look what they are, their heads are all feather, and round their necks are twisted rattlesnake tippets--O tempora, O mores!" In the _Lady's Magazine_ for April, 1782, the following announcement of fashionable dress at Paris is given:-- "The Queen of France has appeared at Versailles in a morning dress that has totally eclipsed the levée robe, and is said to be the universal rage. The robe is made of plain sattin, chiefly white, worn without a hoop, round, and a long train. It is drawn up in the front, on one side, and fastened with tassels of silver, gold, or silk, according to the taste of the wearer; and this discloses a puckered petticoat of gauze or sarsenet, of a different colour. The sleeves are wide and short, drawn up near the shoulder with small tassels, or knots of diamonds; under sleeves of the finest cambrick, full plaited, and trimmed at the elbow with Brussels or point, give infinite charms to the whole. The fastening of the waist is not straight down the stays, but gently swerved, and trimmed with narrow fur, as is the bottom of the robe. A round pasteboard hat, covered with the same sattin, and without any other ornaments than a diamond buckle, or an embroidered one, finishes the dress, which, it is said, will be worn through the summer, made of lighter materials." The French Revolution was productive of many things--not the least of which was the change it brought in the matter of dress. The revival of classicism in costume during the Empire, which was to a great extent due to the influence of the painter David, was an echo of the earlier classic revival in architecture, mainly represented in this country by the work of the brothers Adam, who designed, as well as architecture, carriages, furniture, plate, and even a sedan chair for Queen Charlotte. With the advent of the Revolution the fashion suddenly changes. The oft-quoted couplet-- "Shepherds, I have lost my waist; Have ye seen my body?"