To these we must add slippers, shoes with large bows or buckles, and even modern sandals, which, although very elegantly arranged, were only worn by a small minority. At the time of which we speak, a singular novelty was produced, called the “several,” from the English word meaning _many_. A “several” contained within itself seven different garments, and could be worn either as a burnous, a shawl, a shawl-mantle, a scarf, a “Ristori,” or a half-length basquine. Although patented and of moderate price, “severals” did not long remain in fashion. “Ristoris,” in particular, ceased to be worn so soon as the celebrated Italian tragedian whose name they bore, and who had been thoroughly appreciated in France, had left our country. Pocket-handkerchiefs were round, printed in colours, or with chess-board borders, or hem-stitched, or trimmed with Valenciennes insertion and stitched bias bands. The fashion of expensive handkerchiefs was by no means new, yet never before had they been made with such exceeding care, trimmed with such valuable lace, or so delicately embroidered. It was usual for ladies to embroider their own handkerchiefs, a task on which they bestowed extreme pains, achieving perfect marvels of patience and art. In 1859, waists were almost on a sudden perceptibly shortened, and a considerable number of women seemed to fear that fashion was returning to the ungraceful waists of the First Empire—a period which they looked upon as the Iron Age of dress. The style of costume most generally worn that year consisted of a dark green gown with pagoda sleeves, very full, much trimmed, and a wide ribbon sash tied in front. The bonnet would be white and green, with white curtain and strings edged with green, and pretty artificial flowers—particularly daisies, that look like pearls, notwithstanding their golden centres. The apprehension of a return to short waists was not realized. Good taste triumphed over the incomprehensible whim of wishing to resume former fashions, which had given rise to the adverse and well-founded criticism under which they had previously succumbed. During 1859 and the following years there was a rage for Zouave, Turkish, and Greek jackets, for “Figaros” and “Ristoris.” Ladies considered them, and still consider them, very comfortable and becoming. They were made in muslin for summer wear, and for the autumn in cashmere or cloth. Some were black, and braided in various colours in the Algerian style, others of different bright shades were braided in black, and some in gold. These jackets were very much worn in the country. Now it is next to impossible that a jacket should go well with a very short waist, and as jackets were particularly graceful, they certainly helped to maintain the reign of long waists still in fashion at the present day.