In 1765, caps were worn “à la Gertrude,” so called from the opera-comique _Isabelle et Gertrude_, by Favart and Blaise; and in 1768, caps “à la moissonneuse” (the reaper) and “à la glaneuse” (the gleaner) came into fashion, copied from those worn in the opera of the _Moissonneurs_, by Favart and Duni. Head-dresses named “d’apparat” (or state head-dresses) or “loges d’opéra” (opera-box head-dresses) were seventy-two inches in height; they came in in 1772. Gluck’s _Iphigénie en Aulide_ was performed in 1774. The singer who took the part of Iphigenia wore, when about to be sacrificed, a wreath of black flowers, surmounted by a silver crescent, and a long white veil flowing behind. Every lady immediately adopted the lugubrious coiffure “à l’Iphigénie.” Now that we are on the subject of theatricals, I may mention that in 1778, Devismes, the director of the opera, made it a rule that only head-dresses of moderate height might be worn in the amphitheatre. The comet of 1773 gave its name to certain head-dresses, in which flame-coloured ribbons played a striking part; in 1774 a “quésaco” head-dress was invented,[46] consisting in part of a large bunch of plumes behind the head. At court the “pouf au sentiment” was much in favour; it was composed of various ornaments fastened in the hair, viz. birds, butterflies, cardboard Cupids, branches of trees, and even vegetables. Louis Philippe’s mother wore a “pouf” in which every one might admire the Duc de Beaujolais, her eldest son, in the arms of his nurse, a parrot pecking at a cherry, a little negro, and various designs worked with the hair of the Dukes of Orléans, Chartres, and Penthièvre. The “coiffure à la Belle Poule” consisted of a ship in full sail, reposing on a sea of thick curls. In the “Jeu des Costumes et des Coiffures des Dames,” an imitation of the “Royal Game of Goose,” the winning number, sixty-three, was assigned to the “Belle Poule.” The scaffolding of gauze, flowers, and feathers was raised to such a height that no carriages could be found lofty enough for ladies’ use. The occupants were obliged either to put their heads out of the windows, or to kneel on the carriage floor, so as to protect the fragile structures. This seems like a return to the reign of Louis XV. In a letter addressed to the actors of the Italian Theatre, in January 1784, by Lenoir, the lieutenant of police, we read as follows: “There are constant complaints of the size of head-dresses and hats, which, being loaded with plumes, ribbons, and flowers, intercept the view of spectators in the pit....” A number of caricatures, of which some—to the horror of all monarchists—actually reproduced the features of Marie Antoinette, were brought out in ridicule of the fashionable head-dresses.