Almost all family portraits of that date represent the hair arranged thus, and adorned either with feathers or more frequently with artificial flowers, such as are still worn. Great perfection had been attained in the manufacture of roses, geraniums, nympheas, chrysanthemums, camelias, and many other lovely flowers, to enliven the attire of women. The most fashionable style of dress in 1830 was as follows:—Gowns either high or low, with or without capes; long sleeves with wristbands, or short sleeves and long gloves; bodice with or without a waist-band, and generally worn with an embroidered collar; scarf and parasol of some dark tint; black prunella or Turkish satin shoes; no trimmings to the gown, but red or flame-coloured ribbon bows scattered here and there; and necklaces composed of two rows of pearls. But we must not imagine that this was all, and that capriciousness and the love of change can ever abdicate their throne. The “leg-of-mutton,” the “berêt,” the “imbecile,” and the “elephant” sleeves were succeeded by others not quite so eccentric, but still, for the most part, sufficiently extraordinary. Such were the “Venetian,” the “Louis XIII.,” the “nun’s,” the “Turkish,” the “Bedouin,” the “Persian,” the “gardener’s,” the “Sévigné,” the “Dubarry” sleeves, &c. I omit some of the strangest. Henry the Second’s narrow-brimmed hats with curled feathers came again into fashion, and the ladies adopted enthusiastically collars and “guimpes” à la Médicis, and mandes “à la vieille”[60] or “à la paysanne.”[61] It would be an endless task to enumerate the slight but very various developments of fashion. Yet I must mention the “Taglioni gowns,” consisting of four skirts; nor can I omit speaking of “berthes” of blond, “Célimènes,” Pompadour bodices, Niobe lacings, plaitings “à la Vierge,” Grecian and pointed bodices, &c. Numberless new materials were produced; among them were “droguet catalan,” “lampas burgrave,” “Polar star,” “blossoming chameleon,” “casimirienne,” “palmyrienne”—a blue ground brocaded with gold, “Benvenuto Cellini” blue velvet, “Medici” and “Louis XV.” satins, “tulle illusion,” “Rachel” crape, “cameline” silk, a tissue called “fil de la Vierge,” “polka” gauze, and, lastly, “Duchess” and “Fleur de Marie” pocket-handkerchiefs. In 1839 a manufacturer invented “sylvestrine,” a material composed of the thinnest possible layers of wood; these formed the surface of a light and flexible sheet of pasteboard. Another invented a material of spun glass. Great ladies delighted in lace. The wedding gown of the Princess Hélène, Duchesse d’Orléans, was of Alençon point, and cost thirty thousand francs. How many different names have since then appeared in the Calendar of Fashion! Each recurring season has witnessed the birth and death of something new in head-dresses or dress materials, or some fanciful caprice or new shape in garments.