The old Duke of Lauraguais said that the first English frock worn in France had been the death-blow of the French nobility, one of the most numerous of the grades of which had been the first to adopt it. The Marquises, with their proverbial love of change, began from that time to transform their _modes_, and effected it so rapidly that their brocade garments were soon only found on the stage, or in the _bals-costumés_. This frock, (fr. froc,) which had so disadvantageous an influence, was a kind of loose gown, with pockets on the inside, and without any tightness at the waist. It was cut lengthwise with the cloth, and though first without a collar, ultimately acquired one. The dress of the age in other respects remained long unaltered, though its accessories, such as buttons, plaits, _etc._, were constantly changing. The coats first were made to button all the way up, and then only from the pockets up: finally buttons were not used at all. After some lapse of time loops were used, which clasped the narrow coat over the often portly _tournure_ in the most ridiculous manner. Waistcoats then were waistcoats, not _gilets_, but substantial coats without sleeves. The wardrobe of a gentleman also contained another garment called a _veston_, covered with lace and _broderie_, a _volant_, which was always single-breasted, various kinds of redingotes, such as the _roquelaure_, the _houppelande_, etc., all of which were made of every conceivable material and color. The above are the general characteristics of costume, all the variations of which we cannot be expected to describe any more than the botanist is to count every leaf on a tree. Black, now the _ne plus ultra_ of dress, was then worn only by _procureurs_, authors, small landholders, and, in a word, all persons who were negligent in their toilette. It was the index of restricted means, and of mourning, when the most obscure bourgeois dressed himself like a count or marquis. The greatest variety of colors were worn, and contrasts which now would seem most repulsive were every day met with. A scarlet velvet coat, with a black collar and steel buttons, sulphur-colored breeches and blue-striped hose were considered in very good taste about 1785. _Boue de Paris_ (brick-dust color) and London smoke were worn in both London and Paris in 1786, and in 1788, a color known by the repulsive name of beef' s-blood was the extremity of fashion. Waistcoats had all kinds of names, taken from operas, such as Figaro, Cœur-de-Lion, etc. Handkerchiefs _aux adieux de Fontainebleu_ were worn; neither of these, however, seem to have differed materially from other waistcoats and handkerchiefs. This was the age of _cravats_, made of fine lawn or baptiste richly laced, with hanging ends; peruques _à la Grecque_, with three buckles; the sword and plumed hat. Some persons also wore the stockinet breeches, by the side of which Adam’s fig-leaf was decent.