The various kinds of mother-of-pearl used in the manufacture of fans are as follows:—The Burgan or Burgandine pearl obtained from Japan; the white pearl, ‘poulette,’ from Madagascar; a black mother-of-pearl from the East. The shells being relatively small, it becomes necessary to piece them together by a system of splicing. This is done so skilfully that none but a practised eye is able to detect it. For the process of inlay and incrustation, the splendid Eastern pearl called ‘gold fish’ is used. This, upon its introduction, caused a complete revolution in the ‘éventail de luxe’; the magnificent rainbow tints of this pearl are said to be further enhanced by a process invented by M. Meyer. [Illustration: Bacchus & Ariadne, after Guido, c.1830. 20-1/2 x 11-1/2 Lady Northcliffe.] [Illustration: The Triumph of Bacchus, after Annibale Carracci, 19-3/4 x 11. Lady Northcliffe.] Tortoise-shell follows the same principle of decorative development, and when piqué is employed, it is usually gold, as being more in harmony with the colour of the shell. The ‘éventail brisé’ dates from the period of the first introduction of the folded fan into Europe. This is so named because it has no mount, but is entirely made up of a number of blades, which may be of any material—ivory, mother-of-pearl, the various woods, etc., and are painted, carved, or otherwise decorated, fastened at the head by means of a pin or rivet, and further connected with a ribbon running through each blade, at or near the circumference of the fan. The earliest are those which were imported in such large quantities from the East, from the latter part of the sixteenth century onwards. The Western modification of these is seen in that class of fans produced in Italy and elsewhere during the latter part of the seventeenth and early eighteenth centuries, which consisted of a system of flat, pierced scroll-work, of a somewhat severe and reticent character. This was supplemented by panels _en cartouche_ painted and gilt, with portions of the ornament enriched with gold and colour; these usually opened out to rather less than a third of a circle. Miss Moss of Fleet possesses an interesting example with a painted ‘pastorale’ of three figures in the centre of the fan, together with lesser subjects _en cartouche_, the floral portion of the scroll ornament being emphasised with colour. In the Wyatt collection is an interesting example of about 1730, in which the ornament forms a large cartouche in the centre, enclosing a subject of two Cupids holding a wreath over a heart with a canopy above. The cartouche is gilt and the figures painted; the lower portion of the fan is painted and gilt with flowers in the Chinese taste. The guards are carved, painted, and gilt; the connecting ribbon of green silk ornamented with a pattern in gold. This system was practised later, with the addition of carving in low relief, the ornament having developed a rococo character.