For ordinary wear, costumes in the Breton style were largely adopted; and also a costume in fawn-coloured Scotch cashmere, with a plain, short skirt, a tunic flat in front, but not drawn tight; the plastron, or stomacher, consisted of a wide embroidered band. With this costume two square pockets, one on either side, trimmed at two-thirds of their depth with three rows of narrow braid, were worn. The attire was completed by embroidered or open-worked linen collars and cuffs, and a cravat-bow of foulard, embroidered muslin, or plush ribbon, placed at the opening of the collar. Some of our “élégantes” seemed determined to rival Henri Regnault’s “Salome,” on the pretext that yellow was a fashionable colour. Large turn-down collars were revived; some were plainly stitched, and were wide and rounded in the back; others, for instance, the “Artagnan” and “Richelieu,” were made of antique guipure; and others, again, of Renaissance lace—but all of them were very wide in the back. Cuffs were worn on the sleeve itself, instead of on the arm. The “blouse” gown, with full bodice and belt and buckle, was revived, with the addition of a second skirt. This costume was made in Oxford cloth, or light woollen textures, in foulard, or in Irish cambric. Tussore also became fashionable again on account of the delicacy of its folds. A new way of wearing a watch, fastened on the breast like a decoration, was adopted by ladies of fashion. This only applied, of course, to the smallest watches, those of the diameter of a twenty-franc piece, and which were usually emblazoned with the coat of arms. Sunshades in plaid silk succeeded to red or yellow ones. Coloured glass beads were manufactured for trimming costumes; “Périchole” and “Fleur de Thé” bonnets were much worn; also Japanese hats lined with red silk, and trimmed with flowers or fruit on the brim. Dust-coloured fans were used. China crape was no longer despised, and Indian shawls remained in favour; lace was worn in profusion on every article of attire. “Louis XIII.,” “Louis XIV.,” and “Louis XV.” costumes, “Charles IX.” collars, “Henri IV.” ruffs, Marie-Antoinette, and “Directory” fichus, “Adelaide” collars of worked organdy muslin, trimmed with valenciennes,—all these things were adopted by Fashion, which, while it progressed with the times, made use of every style of dress belonging to the past. I must not omit to mention tulle-ruchings called “organ-pipes,” placed on the front of the skirt; white satin shoes with “Louis XV.” heels; “Rubens” hats copied from those which we see in the portraits of that great master of the Flemish school, and some few hats in Russia leather; “Gabrielle” cuffs, and “Mousquetaire” collars, large cloaks lined and edged with fur; and lastly the “Pierrot” collars and cuffs, in plaited muslin, trimmed with Valenciennes, and fastened with bows of ribbon alike on both sides.