During the prevalence of skirts resembling balloons, ladies wore very large collars, to which they gave historic names of the time of Louis XIII. and Louis XIV., evoking reminiscences of Anne of Austria, Cinq-Mars, Mdlle. de Mancini, and the Musketeers. An immense crinoline and an enormous collar constituted the principal part of a costume. The rest was merely accessory, and was unnoticed on the moving mass for which the pavement of the capital was far too narrow, and which offered a large surface to splashes of mud. At the same period, Marie Antoinette fichus, either black or white, and trimmed with two rows of lace, were very fashionable; they were crossed over the chest, and tied behind the waist. Black lace bodices were equally popular. Both looked very well over a low dress. Beautiful lace, long hidden in old cupboards, was now brought out and turned to account. Several articles of dress were revived in remembrance of Marie-Antoinette. Besides the fichu, our great ladies wore Marie Antoinette canezous and mantillas. The ends of the canezou finished at the waist, while those of the mantilla were crossed under the arms. Nothing could be lighter or more graceful. Both fichu and canezou found fanatical admirers. The Empress demi-veils were also a lasting success. Some were made of tulle “point d’esprit,” and edged with a deep blond lace, frilled on; others were of open network, and hardly concealed the face at all. The year following the Paris International Exhibition of 1855, cashmere shawls generally formed a portion of handsome winter costumes. Shawls, even in Ternaux’ time, had not been so universally worn. In addition to those of India, shawls of excellent quality were manufactured in Paris, Lyons, and Nîmes, and in textures not inferior to those of the East. The pure cashmere shawls were entirely composed of cashmere wool; the “Hindoo” cashmere shawls were the same as the pure cashmere, with the exception of the warp, which was in fancy silk twisted at the ends; “Hindoo” woollen shawls had the same warp as the Indian cashmere, but the woof was of wool, more or less fine in quality. Towards the end of the summer, as the evenings became cooler, mantillas and basquines were succeeded by “Mouzaia” or “Tunisian” shawls, manufactured from silk refuse, and generally striped in two colours. Some blue and white ones were very pretty, resembling African shawls. Algerian burnouses with Thibet tassels were greatly used for wraps at theatres, concerts, and balls. French ladies, seen from a distance, looked much like Arabs; but at least their shoulders were protected from the cold, and that was the essential point. Burnouses with slightly pointed capes, called “Empress mantles,” were made in plush, Siberian fur, and plaid velvet. These mantles were universally popular; they were worn in France, and throughout Europe, being most comfortable as well as elegant, when gracefully put on.