This sort of passing enthusiasm recurred very frequently; and no sooner had a book or a circumstance obtained the notice of the public, than it received consecration, as it were, from the fashionable world. From 1822 to 1830 the following colours were in fashion: “Ipsiboé,” “Trocadéro,” “bronze,” “smoke,” “Nile-water,” “solitary,” “reed,” “mignonette-seed,” “amorous toad,” “frightened mouse,” “spider meditating crime,” &c. The eighteenth century seemed to have come back, in the matter of designations at any rate. A paroxysm of splendid extravagance was occasioned by the coronation of Charles X. Hair-dressers travelled post to Rheims for the ceremony, and were besieged by their fair clients. During the night preceding the coronation, one of them dressed the hair of more than five and twenty ladies, at a charge of forty francs apiece. We must not content ourselves with a mere mention of leg-of-mutton sleeves, they deserve a longer notice, by reason of their own long and absolute reign. Leg-of-mutton sleeves first appeared in 1820, and attained by degrees to such enormous size, that a woman of fashion could not pass through a door of ordinary dimensions. They were kept in shape by whalebones, or by a sort of balloon stuffed with down. Such a sleeve exactly resembled the joint of meat from which it took its name. An extraordinary fashion, indeed! It is hard to understand the “good taste” that presided at its invention. And yet the whole dress of woman soon became centred, as it were, in the leg-of-mutton sleeve. There could be nothing to harmonize in the rest of a costume, with sleeves that preponderated as much as the paniers of old, and the steel crinolines of twenty-five years ago. We can but laugh when we examine some portraits of the period. There were some slight changes in the fashions in the reign of Charles X., from 1824 to 1830, attributable generally to incidents of the day, or to popular plays or novels. Colours, crape, head-dresses, and turbans were named after “Ipsiboé,” a romance of passion by the Vicomte d’Arlincourt; there were Trocadéro ribbons, in honour of the Duc d’Angoulême’s campaign in Spain; “Elodie” blue, and Scotch plaids “à la Dame Blanche,” after Boïeldieu’s fine opera; and extraordinary whimsicalities, “à la wonderful lamp,” “à l’Emma,” “à la Marie Stuart,” and “à la Clochette.” Bonnets with large hollow brims, feathers and ribbons, Sultana turbans, “berêts,” and caps of Chantilly blond, were still worn. Numbers of fashionable women wore a “sentiment” round their throats, or a “carcan necklace” of velvet, or bows either of fur or curled feathers. Gowns barely reached to the ankles; they were trimmed with gauze, blond, bows of ribbon, bands of velvet, twists of satin; feather-fringe and ornaments were sewn on to the material. The short skirts of 1828 caused the boots we had copied from the English to be appreciated; they were both comfortable and sightly.