To bring this short review of the year 1876 to a conclusion, I must state that the type of costume was little altered; the only change was in trimmings, or in the greater or less length of trains. Costumes consisted principally of a scaffolding of flounces, fringes, and kiltings, without the great trailing mass that had long been a result of wide skirts. Trains became positive tails; but they no longer interfered with the free action of the limbs, and developed into what might be termed a majestic appendage. Morning caps were made of white or coloured foulard handkerchiefs twisted like a Mamamouchi turban, and ornamented with a little bunch of mignonette, with a pale rose in the centre. There was something both sentimental and artistic about these caps. But even when the same style of dress lasts from one year to another, or for several years, there is an absolute necessity for many variations of type; otherwise we should cease to be ruled by caprice, which, as we know, will never abdicate its power. In January, 1877, princess gowns were still in fashion, the princess shape being preferred to all others, both for morning and evening wear. In the latter case, they were made high behind, and either cut low and square, or in a V shape in front, and with sleeves to the elbow only. The bodice and skirt of princess gowns were cut from one piece, but the skirt was ornamented with fringes, sashes, and bows, or it was worn over another and longer skirt. Many mantles were made of the same material as the dress, and many were black. Bouquets of small delicate roses were worn on the bodice, one at the breast, and the other just below the shoulder. Bonnets were chosen, as far as possible, to match the rest of the dress. Some women wore their hair in the Greek fashion, bound with three blue fillets, and a little fringe of loose curls on the forehead. Towards March a decided change took place in the shape of costumes, and women looked like walking statues, clad in drapery that adhered as closely to the front and sides of the figure as a wet bathing-gown, while it was gathered into a bunch at the back. The portion of the skirt that formed the apron hung flat, but the rest was gathered in soft folds towards the back of the train. The bodice, whether cuirassed or not, assumed reasonable proportions. The ungraceful costumes copied from those of the First Empire were at length about to disappear! Muslin kiltings were once more restored to favour. The hair was dressed in the “thousand curls” of which Mme. de Sévigné speaks, giving the head a round shape, which admitted of no ornament save a flower on one side. This was a becoming style in many instances.