After the representation of _Esther_ in 1689, the fashions suddenly changed. The Ninon and Montespan styles had lasted until the year of the famous jubilee of 1676. “In the early and doubtful dawn of Mme. de Maintenon’s career,” says J. Michelet, “and especially in those equivocal years preceding her marriage, she had adopted a head-dress which was at once coquettish and devout, which in part concealed, and in part displayed, the scarf she had bestowed on the ladies of St. Cyr, and which had been imitated by all. After _Esther_, the scarf was put aside, and the face boldly exposed. The head-dress was raised higher and higher in various ways, and resembled a mitre or a Persian tiara. Gigantic combs were worn, or towers or spires of lace, and, later, a scaffolding of hair; or the diadem-cap adopted by Mme. de Maintenon, the helmet cap, or dragoon’s crest, with which the more audacious beauties (like Mme. la Duchesse) adorned their bolder charms. Her portraits, and those of De Caylus, are the prettiest of the time, and seem to be the types of Fashion.” The battle of Steinkirk, in which the Prince of Orange was defeated, was commemorated in women’s dress. They wore “Steinkirk” ties, or kerchiefs, twisted round the throat with studied and graceful negligence. This was in honour of the French officers, who, taken by surprise, had only time to throw their cravats about their necks, rush out on the English, and defeat them. Mdlle. Marthe le Rochois, a singer of the day, had set the fashion by loosely tying on a cravat over her stage dress in the opera of _Thétis et Pelée_. This was a delicate compliment, and it was appreciated and copied. All novelties in jewellery were “à la Steinkirk.” The fashion of the cravats did not last long, but was revived later in the shape of “fichus,” or three-cornered silk neckerchiefs, trimmed with lace, gold fringe, or gold and silver thread. Another fashion was derived from war. “Crémonas,” or light trimmings either puffed or plaited, and sewn to both edges of a ribbon, made their appearance in 1702. They were intended to commemorate Prince Eugène’s entry into Cremona, where the Maréchal de Villeroi was made prisoner. In 1684, women still wore under-skirts trimmed with “falbalas” or bands of plaitings, or puffs either placed high up or low down on the skirt—and upper gowns with long trains, like those of 1668; but the bodice of the same colour as the train, was made with a small basque cut away in front. It was half open, and disclosed a braided stomacher, above which was a chemisette of fine muslin or lace, or a “follette,” a very light kind of fichu. Sleeves were no longer puffed, but were worn close fitting, with a lace frill.