Rosettes in satin ribbon were out of fashion. “Amadis” sleeves were seen for the first time in the stage dresses of _Amadis des Gaules_, an opera, of which the music was by Lulli, and the words were by Quinault. They had been designed by the Chevalier Bernin for Mdlle. le Rochois, in order to conceal the ugliness of her arms. Half dress, or “négligé,” consisted of a black gown, black adjuncts, and a white apron. Widows dressed in white. Another kind of sleeve, covering the arm, was called the “Jansenist,” in allusion to the severe morals of the Port Royalists, who were always warring against insufficient or light clothing. The hair was dressed in artistically arranged curls, beneath a coif of moderate height, not unlike a hollow toque, generally speaking goffered, and made either of starched muslin or magnificent lace. There were many sorts of caps, with hanging lappets, or one lappet or “jardinière.” Wasps or butterflies made of brilliants, says Boursault,— “Paraissaient voltiger dans les cheveux des dames.”[40] There was also a fashionable head-dress, placed at the back of the head, and showing the ear; this was called the “effrontée,” or “barefaced.” The costume was completed by a necklace, the inevitable fan, and the high-heeled shoes that are characteristic of a whole epoch in dress. On the occasion of the betrothal of the daughter of Monsieur with the Duc de Lorraine, the Duchesse de Bourgogne wore on the first day a gown of silver tissue, with gold flowers, touched with a little flame-colour and green, and in her hair the finest of the crown diamonds. The next day her gown was of grey damask, with silver flowers, and she wore diamonds and emeralds. Mademoiselle wore a coat of gros de Tours richly embroidered in gold; her skirt, of silver tissue, was embroidered in gold touched with flame-colour. She wore a splendid set of diamonds, and a mantle of gold point d’Espagne, six yards and a half long, and her train was carried by the Grand Duchess. Another time her coat and skirt were both of cloth of silver, all laced with silver. Her jewels were diamonds and rubies. “Towards 1700,” says Michelet, “the women of the time no longer show the classic features of a Ninon, or a Montespan, nor the rich development that they so freely displayed. But the devil was no loser. If backs and shoulders are concealed from our gaze, the small portion that we are permitted to admire, and that is, as it were, offered to our inspection, is but the more attractive. There is a sort of audacity about the uncovered brow, the hair drawn back so as to show its every root, the high comb, or diadem-cap, that seems little in harmony with the soft and childish features of the day. This childishness, so devoid of innocence, combined with the masculine Steinkirk, gives them the appearance of pets of the seraglio, or of impudent pages who have stolen women’s garments.”