“Pouf” petticoats, or narrow dress-improvers, were made long enough to support the heavy folds of the gown. In conclusion, it may be said that the long trains, the ornamented sleeves, and the tight bodices that combined reminiscences of the Middle Ages with the requirements of modern fashion, were principally remarkable for their details of all sorts—twists, fanciful arrangements, knots, bows, fringes, gold and silver braid, artistically carved buttons, and beautiful fur. From the commencement of the year 1876, fashion became more and more of the composite order. Styles of every period were successfully blended. That of the reign of Henri II. was resorted to first. Gowns were made of sumptuous materials trimmed with Venice point, and with long trains. Figured silks, satin brocades in Arabesque designs, or flowers and foliage, were used for feminine attire, and looked to the full as splendid as the dresses of former times. Among head-dresses, the “Armenian toque” was very fashionable; then came the “Ophelia” bonnet in black lace, with two wreaths of rose-buds; and the “Danichef,” in beaded black net, taken from the bonnet worn by one of the actresses in a play of that name, which was performed at the Odéon for more than a hundred successive nights. The fashionable world was at that time greatly interested in the splendid wedding of Mdlle. Bettina Rothschild, which was described at length in all the newspapers. The trousseau included under-garments worth 200,000 francs. The pocket-handkerchiefs were perfect marvels of needlework and Alençon and Mechlin lace. There were several magnificent cashmere shawls. Among the dozen and a half parasols, there was one deserving of particular mention. It was made of rose-coloured silk, shaded with white gauze, and again covered with point lace; the point was a cluster of emeralds and brilliants, and the handle was of jade, thickly encrusted with similar precious stones. A gold ring set with emeralds and brilliants was used to close this truly Oriental toy. The numerous fans comprised in the trousseau had been painted by our best artists. I should need several pages for the bare enumeration of the contents of this young lady’s jewel-case. I shall therefore content myself with naming a microscopic watch set in a solid piece of coral, with a châtelaine hook, and a triple gold chain, the hook bearing a baron’s coronet, marvellously carved, surmounting the combined initials of the wealth-laden young couple. I have digressed, I admit; but the digression is not out of place in a History of Fashion, for it proves that magnificent dress is as much appreciated under a Republic as under a Monarchy.