Thereupon women wore the bodice of their gowns tightly drawn in at the waist, and with busks that bruised the chest of the wearer. Then again, as in 1694, sleeves were made flat, and trimmed with frills. A new material was used for gowns, little bouquets printed or brocaded on a ground of silk, marcelline, or satin. The arms were protected from the cold by a miniature muff and warm furs. “Robes volantes,” or loose gowns without a belt, came into general use about 1730. For the most part they were made of white or rose-coloured silk, especially for young girls, who also often wore gauze or embroidered muslin frocks over a coloured silk slip. A few years later, Christophe Philippe Oberkampf introduced “indiennes,” or coloured prints, into France. On their first appearance, such jealousy was excited in the various guilds, that not only were those who manufactured them sent to the galleys, but women who ventured to wear these prints were liable to a fine on a mere accusation. The examiners at the custom stations were directed to remove by force the gown of any delinquent, or even to tear it in pieces while on her back. It is difficult in our day to understand such severe treatment. Before Oberkampf’s time, coloured cambrics from India, called “Perses” or “Persiennes,” because they came by way of Persia, were much worn. A beautiful persienne was of more value than a silk gown. The most brilliant woman, perhaps, of the period entreated the French ambassador in Russia to procure her a set of furs and some “perse.” Yet a while, and the purchase of a gown would have become an affair of state; or the king might have declared war in order to obtain a costume desired by the queen. The hair was dressed “en dorlotte” (or pamper-fashion), “en papillon” (or butterfly-like), “en vergette” (or whisk-fashion), and “en désespoir” (despair), “équivoque” (suspicious-wise), and “en tête de mouton” (sheep’s head). A kind of curtainless hood was worn, called a “bagnolette.” In summer, women wore the mantilla, a variety of the scarf, and in winter, furred pelisses, buttoned from top to bottom. They wore embroidered stockings and white shoes with high heels, as previously. The ambition of all was to have the smallest possible shoes; and women contrived, as it were, to manufacture feet for their shoes, in imitation of Camargo, the dancer, whose shoemaker amassed a large fortune. Parasols, or sunshades, were not made to close; umbrellas, on the contrary, were made to fold and shut.