The Revolution of July, 1830—Fashions in Louis Philippe’s reign—Microscopical bonnets, called “bibis,” “cabriolets”—Variety of caps—Fashions of the Middle Ages and of the Renaissance—The stage—Historic costumes—Influence of Rachel, the actress—Greek and Roman fashions—Colours—Various designations of materials—Bedouin sleeves—Bonnets and head-dresses—Pamela bonnets—Novel eccentricities—Taglioni gowns, gathered “à la Vierge,” laced “à la Niobé,” &c.—The “Sylvestrine”—Costumes to be worn on occasions of attempts on the king’s life—Bouquets for balls. The Revolution of July 1830 did not produce nearly so much effect on dress as that of 1789. In the reign of Louis Philippe, as in that of Charles X., feminine costume changed but little. Fanciful adjuncts of dress succeeded one another without interruption, but the basis of dress in general remained the same. Microscopical “bibis” took the place of the enormous bonnets that under the name of “cabriolets” had been the delight of Parisian ladies in 1835; and dress-caps were manufactured in a variety of shapes, and under a variety of names, viz. the Charlotte Corday, the peasant, the nun, the Elizabeth, the châtelaine, the Marie Antoinette, the polka, &c. But the only striking novelties were the nets “à la Napolitaine,” the “steeple-chase” rosettes placed below the ears, the Armenian toques “à pentes” (or sloping), the Catalan half-caps, the fringed Algerian head-dresses, and the white and gold Jewish turbans with strings “à la Rachel.” These turbans were taken from Mdlle. Falcon’s stage dress in Halévy’s opera of “La Juive.” The greatest novelty consisted in the colours chosen for dress. The “Snow” head-dress was named after Auber’s work; gowns “à la Dame Blanche,” after that of Boïeldieu; and caps “à la Fiancée,” also after Auber. To these succeeded various colours, called “Solitaire,” from Carafa, or the “Petites Danaïdes,” and “Robin des Bois.” Dark and sober tints were worn in preference to brighter hues, for no other reason than the romantic ideas of a period in which both men and women delighted in appearing melancholy, Byronic, and sickly. The effect of the Romantic School on Fashion may be easily imagined. The early works of Victor Hugo and Lamartine had kindled the popular imagination, while Scott’s novels and Byron’s poems had everywhere fostered ideal sentiments. Reveries, suffering, sacrifice, and boundless self-devotion were the themes of the day, and fair ladies voluntarily shed tears, because to weep was fashionable.