Nordenskiold, the Swedish Navigator, and the discoverer of the north-east passage, came to Paris, where he was received with all the honours due to him. Gauze travelling veils, called “Nordenskiolds,” two yards long, and trimmed with fringe, were worn in honour of the illustrious foreigner, and all but supplanted the “merveilleux” tulle veils spangled with gold, and the “odalisques,” of red tulle. The latter were very striking, but were only becoming to dark women. For mountain-climbing expeditions, very fine, small-meshed hair-nets called “arachnéens” or cobweb nets, which kept the hair perfectly neat, were very useful. Dust-cloaks in grey cashmere, or alpaca, called “capucins,” were lined with red or striped surah, and were made with peaked hoods lined in the same way. The Art Exhibition in 1880 led to a complete revolution in buttons; they were manufactured according to all the antique models. Those called “Buffon,” were remarkable for elegance. Others consisted of real flowers, or insects enclosed in glass; and lastly the “Wedgwood” buttons offered the most exquisite miniature paintings to our delighted gaze, i.e. copies of paintings on china by that celebrated English artist and manufacturer of the eighteenth century. During 1880, Fashion frequently borrowed her inspiration from Art, and sought to imitate the works of the old masters. Antique designs, stuffs, and lace of every kind, were constantly reproduced. More than one duchess was the image of some figure of the Middle Ages, more than one “bourgeoise” dressed herself like Margaret, in _Faust_, or draped her shoulders in the “camail Régence.” In wet weather women of all ranks put on Ulsters, or Derbys, a cloak made of flannel, or light cloth. They resigned themselves to wearing hoods, when at, the seaside or in the country. “Savoyard” and “Trianon” costumes were alternately fashionable. Feathers were much used on bonnets, and flowers on the bodices of dresses, and even on shoes and sunshades. A wreath of flowers was sometimes worn as a necklace by young girls. Canadian otter fur was in such request that the supply was exhausted, and plush of the same colour was used as a substitute. An ugly trinket, euphemistically designated a “porte-veine” (luck-bringer), was introduced from Austria. This represented in fact, St. Anthony’s companion, the pig, and its rivals were the wild boar, the hippopotamus, and the elephant. It was hung on bracelets, mounted on pins, and worn on the watch-chain. For my own part, I should certainly have preferred the commonest field flower to such an ornament, even if made of diamonds. Nor am I singular in my opinion; but, as I have said before, opposition is powerless against the stream of Fashion, when it bears along the majority of our “élégantes,” who are resolved not to be daunted by any absurdity. The “porte-veine” is still in existence, in spite of the disappearance of St. Anthony’s companion.