This departure from the ways of the eighteenth century did not prevent Frenchwomen from continuing to borrow some few fashions from foreign countries and other times, viz. Palatines from the north, Falbalas from the reign of Louis XV., and some minor accessories from Spain, Italy, Turkey, and England. For the most part women wore fronts instead of their own hair, and diamonds in place of flowers. They were above all anxious to show off their wealth. Many of them were parvenues who sought to do honour to their husbands’ position. Yet the white gowns with spiral trimming of pink satin, and a wreath of brightly coloured flowers round the bottom of the skirt, must have been pretty. The bodice was fastened on the shoulders by many-coloured ribbons, and trimmed at the neck with Valenciennes lace of great cost. The bare arms were covered with long white gloves; round the throat was a necklace of real pearls, and on the hair, worn in curls, a wreath of roses. Such a dress as the above was for ball-room wear; the skirt was short, revealing the ankle and foot in a white satin shoe. Walking costumes were much the same as to shape, with the exception of the skirt, which was very long. They were much heavier by reason of the kerchief round the neck, and the shawl covering the shoulders. Dresses were worn “à la Jean de Paris,” an opera by Boïeldieu; the hair was dressed “à la Chinoise,” with gold pins, from which hung little gold balls. With the same style of hair, the “cap-bonnet,” trimmed with feathers, was fastened under the chin with silk strings. There were toquets of embroidered tulle, and hats “à la Polonaise,” of a somewhat ungraceful square shape; turbans also in clear muslin spotted with gold, and turban-caps, both souvenirs of the Napoleonic victories in Egypt. How many fine ladies resembled Mamelukes! Some women wore cloth, merino, or velvet coats; and almost all excessively short waists. Their gowns were indecently low. High gowns made without fulness were frequently trimmed with many rows of flounces or falbalas. From the beginning of the century, the manufacture of muslin, which is said to be so named from the town of Mossoul, had been greatly developed at Tarare and St. Quentin. In addition to this, the principal innovation of the period was the definitive introduction of artificial flowers, which, until then, had only been occasionally employed in feminine attire. The Italians had long possessed the art of producing artificial flowers, and had practised it with great success; but in France this branch of industry had only been introduced in the year 1738. A man named Séguin, a native of Mende, and a very clever chemist and botanist, succeeded in manufacturing artificial flowers quite equal to those of Italy. He also made them after the Chinese method, from the pith of the elder-tree; and he was the first to invent a sort of flower made of silver-leaf, which has been much used to ornament feminine attire.