In the Charvet Collection there is an earring of the fifteenth century, ornamented with a polyedrus in incrusted purple glass. We still possess framed rings (_bagues chevalières_) and other ornaments of that period, and, in particular, one silver-gilt medal in the shape of a heart; on the reverse the Virgin and St. Catherine are represented in mother-of-pearl. Enamelled gems were much in vogue among the nobility during the reign of Charles VI. There were also enamels of flowers, insects, domestic animals, and small ornamented human figures, initials, and mottoes. A little instrument was invented for parting the hair. It was a sort of stiletto or bodkin called a “gravouère,” generally made of ivory or crystal, and sometimes mounted in gold. It remained in use as an article of the toilet during the whole of the Middle Ages. The custom of wearing bracelets and necklaces dates so far back as the reign of Charles VI., when Isabeau de Bavière introduced the fashion of trinkets. They were called “gorgiasetés” in the language of the day, and it used to be said of persons whose dress exceeded the limits of decorum, that they dressed “gorgiasement.” Isabeau also patronized very long trained gowns, and mantles with trains, carried by ladies’-maids or pages. This custom still prevails at court; likewise liveries of certain colours to distinguish all the household of great nobles. Liveries, which had already existed for several centuries, became much more prevalent in the reign of Charles VI. The “cotte hardie” was long and flowing, but was confined at the waist, partially revealing the outline of the figure. It was lined with rich fur. As the surcoat concealed the cotte everywhere except at the sleeves, the latter were tucked up very high by the wearers so as to display the valuable material of the “cotte hardie.” They also made an opening in the surcoat in order to show the girdle. Sermons were vainly preached against the latter fashion. Isabeau de Bavière, the sovereign arbiter of dress, had fanciful tastes which became law to other ladies, both in the matter of head-gear and of toilet generally. There appeared successively the “tripe,” a sort of light jockey cap made of knitted silk; the “atour,” stuffed with tow; and, lastly, head-dresses of such towering height that the ceilings in the Castle of Vincennes, then a royal abode, were raised to enable the ladies to move about in comfort and safety. It was of course absolutely necessary to be beautiful, to attract admiration, to dazzle the crowd, to make use of every device to prove that universal homage was both deserved and obtained. To this end therefore the French ladies heaped ornament upon ornament. Beautiful prayer-books were in general use, and indeed formed an integral portion of fashionable attire:—