Many bonnets were entirely composed of leaves, flowers, or fruits. There were infinite varieties of bonnets and hats, some close, others with wide brims, some very small, and some very large. “Frondeuse” hats, were of black straw, with long black and ruby plumes, the brim turned up, and lined with puckered ruby satin, trimmed with gold lace. “Niniche” and “Directory” bonnets were lasting favourites, and more generally popular than their merits would appear to warrant. During the summer, round bell-shaped hats were at first preferred. Then close bonnets without strings, cottage bonnets in smooth straw, coming down very much on the forehead; “Nérine” hats of coarse white straw, and with wide brims lined with red satin; and many others, differing little from those I have just named. Plush was worn as trimming on gowns and mantles. Short dresses were much worn; they were invariably trimmed with cascades of lace. Silk stockings were indispensable. Bows and cravats of muslin, or Breton lace, or valenciennes, or point, were greatly used. Gloves with four buttons, and “dowager” sunshades—so called because they were rather large and made with long sticks—were quite a rage for several months. “Bonhomme,” “Jardinier Galant,” “Louis XIV.,” and “Louis XV.” vests, formed a part of nearly every costume. “Charles IX.,” “Marion Delorme,” and “Richelieu” shoes were made with high heels like boots. In order to give some idea of the cost of certain materials, it will suffice to state that an actress at the Vaudeville theatre wore a gown at a hundred francs the yard, and the rest in proportion. Gowns were made of gold tissue and trimmed with lace, embroidered in colours. Scarfs or drapery were fashionable for trimming dresses, and skirts were plaited “à la réligieuse.” The scarfs were sometimes crossed so as to form a tunic. Many “casaques” were made with waistcoats. Bodices were made full, something like the old-fashioned bodices “à la Vierge.” There was quite a rage for knotted fringes with beads, and natural flowers for ball-dresses; but double tunics were gradually abandoned, though square-cut bodices and “Louis XV.” sleeves were still worn. Handkerchief-dresses, consisting entirely of Madras handkerchiefs, were very artistically composed. I saw one in which seventy-two handkerchiefs had been employed; another, in a simpler style, consisted of forty-eight only. The plainest gown required four dozen. This was a whimsical fashion, and was followed only by the most elegant women of society. Frills and plaitings of lawn or muslin were much worn. Luxury was carried to a great height in “lingerie” (underclothing). The “Mireille” was a high chemisette of muslin and Valenciennes, with a double frill; the “Yvonne” was of crape and Breton lace; the “Médicis,” a still more elegant chemisette; the “Lamballe,” a fichu of surah trimmed with plaits of black or white Breton lace, and the “Marie Thérèse” of “point d’esprit” tulle with frills of Breton lace.