It was on this account, perhaps, that many of the most refined women of fashion preferred female hair-dressers, some of whom were widely celebrated, viz. “Mesdemoiselles Canillat, Place du Palais Royal; D’Angerville, in the same neighbourhood; De Gomberville, Rue des Bons-Enfants; Le Brun, at the Palais; and Poitier, near the Hospice des Quinze-Vingts.” They were all wives of wig-makers. The hair was dressed “à la Ninon,” carefully parted in front and flowing in loose ringlets, and partly concealed at the back by a white gauze veil. An “appretador,” consisting of a row of diamonds or string of pearls, was sometimes mixed with the hair; or twists of hair of various colours, and “postiches” or false hair. At the time of the marriage of the Duke of Orleans with the Princesse Palatine (1671), the fashionable style of hair was called “hurlupée” or “hurluberlu.” Mme. de Sévigné thought it most extraordinary. “I was greatly amused at the head-dresses,” she says, “and felt inclined to give a slap to some of them.” The word “hurluberlu” meant inconsiderate, brusque, thoughtless. Certain ladies were blamed for being “hurluberlu.”[32] Mme. de Sévigné afterwards changed her mind. A female hair-dresser named Martin, who succeeded to the favour accorded to Champagne, introduced a fashion that was very becoming to some faces. The hair on each side was cut in graduated lengths, and hung in thick curls, the longest not falling much lower than the ear. Ribbons were fixed into it in the usual way, and a large curl drooped on the neck. The “hurluberlu” developed into many varieties, among others into “paresseuses,” the false wigs or long ringlets that fine ladies put on in their dressing-rooms on rising. When Mme. de Montespan was at the height of favour, “she wore point de France, and her hair in numberless curls, one on each side of the temples, falling low on her cheeks. Black ribbons in her hair, pearls which had belonged to the Maréchale de l’Hôpital, and buckles and ear-drops of magnificent diamonds. Three or four hair-bodkins; no coif....” On the whole the seventeenth century was prolific in pretty head-dresses. When the head was dressed “à la garçon,” a parting was made horizontally along the forehead, a few little curls waving loose, while all the rest of the hair was drawn up, and cut short on the neck. Mme. de Sévigné advised Mme. de Grignan to adopt the above style, somewhat modified: “the hair knotted low at the back of the head, so as not to conceal either its purity of outline or its harmonious proportions; the short undergrowth of hair in light curls on the forehead gives piquancy to the physiognomy, while showers of filmy ringlets on the temples add softness to the expression.”