Moreover, at the period of Mdlle. Bettina Rothschild’s marriage, luxury had reached the highest possible development. Never had more splendid textures been seen, and never had dressmaking been more ruinously expensive. A few young matrons belonging to the aristocracy announced their intention of opposing such excess in dress, but their project of returning to simpler fashions failed of realization, and they soon found themselves obliged, willingly or unwillingly, to float with the stream that was bearing them away. At the Grand Prix de Paris, the leaders of fashion carried large carob-coloured sunshades, either plain or trimmed with cream lace, and shortly afterwards “caroubier” was quite the favourite colour. This deep red was worn in neckties, bonnets, and costumes, and combined with black, white, grey, or blue. But this fancy, like so many others, soon passed away. Even in summer ladies wore large quantities of hair, stuffed into a wide-meshed net called a “Gondolier,” which hung over their neck and shoulders. This net was made of silk braid, and ornamented with two “Catogan” bows, one in front and one behind. A novelty of this period deserves special notice. It consisted of long gloves of open-work China silk in all colours, of extraordinary fineness and elasticity, fitting to perfection. Another novelty, the “Baby” sash, worn round the waist and tied behind, was a fashion borrowed from little girls, whose “Baby” drawn bonnets and low shoes had already been copied by their elders. The hair was dressed “à la Récamier,” that is, curled all round; or in small rough curls like a poodle dog’s; or hanging over the forehead in a fringe as far as the eyes, with a large chignon behind, and heavy Catogan bows. Veils, whose real use is to protect the complexion from the sun, were worn tightly clinging to the face. They were stretched in folds over the forehead; this was to use the veil Egyptian-fashion. Fans, which were in greater demand than ever, were suspended to one end of a silk girdle that was fastened with a slip knot round the waist, at the other end was a large silk tassel. “Fontanges” fichus in chenille fringe were an improvement on the small knitted shawls that had been loosely thrown over the shoulders. No change of any importance took place in costume. Gowns were still made to fit closely over the front and sides of the figure, and to drag at the knees, and even lower down. They resembled sheaths of the exact shape of the body. Flat braid trimmings were still much used, and were wittily called “platitudes.” Skirts were trimmed with wreaths of leaves and flowers, many bodices were made of brocade, and many sleeves in the “Louis XV.” style, with under-sleeves of crape lisse. Among accessories I must not forget “dog-collars” in ribbon or quilled velvet, the edges bordered with narrow tulle illusion or blond.