We must also mention wigs “à l’Aspasie,” “à la Vénus,” “à la Turque,” Greek and Roman wigs, art head-dresses in the style of Sappho; “Doisy” nets, linked tiaras formed of the glittering links of a threefold chain of gold; and “les cheveux baignés,” that is, the real hair, worn with a diamond crescent. By way of ornament, dressmakers frequently made use of small pieces of gold, silver, copper, or steel, very thin, and with a hole in the middle; they were generally of circular shape, were sewed on to the material, and called spangles. Thence the popular song:— “Paillette aux bonnets, Aux toquets, Aux petits corsets! Paillette Aux fins bandeaux, Aux grands chapeaux! Paillette Aux noirs colliers, Aux blancs souliers! Paillette, Paillette aux rubans, Aux turbans. On ne voit rien sans Paillette!”[50] All the adjuncts of dress remind us of antique times; we may note the shape of shoes in particular—when, indeed, women were not satisfied with wearing gold rings on their feet. It is curious to remark how greatly shoes resembled sandals, only partially covering the upper part of the foot. They consisted of a light sole, fastened to the leg by ribbons. Coppe was the principal “cothurnus” maker, and was said to lend to that class of foot-covering “inconceivable colouring, freshness, eloquence, and poetry!” Dresses called “Athenian” were made of diaphanous material. They were open at the sides, from the waist to the lower edge of the tunic. Gowns made with trains were worn for walking. The celebrated Eulalie was particularly clever at drawing the long trains of gowns “à l’Omphale” through the sash. If any one presumed to assert that from their feet to their heads women were too little clothed, they would reply,— “Le diamant seul doit parer Des attraits que blesse la laine.”[51] Their light attire exposed them to diseases of the chest, nay, to death itself, but they braved all dangers for the sake of Fashion. The gold rings shining on their feet could not protect them from the cold of winter, and yet they remained faithful to gauze-veiled nudity. A fashion of wearing no chemise lasted only one week. In consequence of the depreciation of the paper currency, sixty-four francs in assignats was charged for the making of two caps; gauze for three caps cost 100 francs; two dozen cambric-muslin pocket-handkerchiefs cost 2400 francs; a brown silk gown, 1040 francs; and a batiste gown edged with silk, 2500 francs. This was in 1795. A year later an embroidered tarlatan mantle cost 7000 francs; the making of a cap cost 300 francs; a gown and a fan, 20,000 francs; and the silk for a mantle, 3000 francs. These extraordinary prices rose higher still as the value of the paper currency diminished.