Carle Vernet has given us admirable types of the “merveilleuses,” who were the feminine exaggerations of the time of the Directory; of the “incroyables” it is not within our province to speak. However, amid all their exaggeration, the chief types of fashion under Barras and La Réveillère-Lepeaux are plainly discernible. Anglomania was the rage. “Everything that is untouched by Anglomania,” says “Le Messager des Dames” in 1797, “is declared, by our merveilleuses, to be ‘bourgeois’ to a frightful degree; to be in hideously bad taste.” This somewhat singular predilection, at a time when we were at war with the English, is explained by the fact that Mdlle. Rose Bertin’s workwomen had left France in order to take up their residence in London. The Anglomania of the “merveilleuses,” however, soon faded before a more serious passion—“anticomania.” Every woman wished to dress in the antique style, and painters provided models for ladies “de grand genre.” Head-dresses were various. The hair was sometimes cut short and curled, and sometimes powdered and drawn back from the face, after a fashion that recalls to some extent the reign of Louis XVI. Gowns were short waisted, with long tight sleeves or short ones, the arms bare, or covered with long kid gloves; the skirt rather trailing, and trimmed with gimp, put on in Greek patterns. The foot and white stocking of the “merveilleuse” was scarcely visible beneath her dress “à la Flore” or “à la Diane.” She also affected tunics “à la Cérès” and “à la Minerve,” and coats “à la Galatée.” A simple kerchief, or a small shawl of plain cashmere, was worn on the neck. Felt hats, not unlike those worn by men, were occasionally trimmed with flame-coloured ribbons. But the more fashionable “merveilleuses” preferred a toque trimmed with ribbon in like manner, and very effectively ornamented with a couple of white aigrettes. “What confusion, and what fickleness!” observe the brothers De Goncourt. “Caps à la paysanne, à la Despaze, and Pierrot caps! Caps à la folle, à la Minette, à la Délie, à la frivole, à l’Esclavonne, à la Nelson! There a simple bit of muslin, and an unpretending gauze lappet; here a turban turned up with five blue feathers! A turban, made by La Despaux, ‘that Michael Angelo of milliners,’ will be formed of a pink handkerchief; another will be of lilac crape, two rows of beads, and above them a rose and a heartsease! And as for hats! hats ‘à la Primrose,’ negligently covered with a half handkerchief; turban hats, round hats ‘à l’Anglaise,’ gleaner’s hats, Spencer hats, and beaver hats, owe their names to Saulgeot! Does Mme. Saint-Aubin take the part of _Lisbeth_? Mdlle. Bertrand flings a large bunch of roses on straw, and it becomes a hat ‘à la Lisbeth.’ The assembly of the Norman electors is nicknamed ‘the chess-board of Normandy,’ and a ‘chess-board hat’ immediately makes its appearance.”