And Regnard:— “Lise veut être grande en dépit de nature.”[36] While Voltaire adds, more recently:— “Vous aurez maussades actrices, Moitié femme et moitié patin.”[37] Among the best shoemakers for ladies were Raveneau, Rue des Cordeliers; Vernon, Couteaux, Gaborry, Rue des Fossés-St.-Germain; Bisbot, Rue Dauphine; Sulphour, Rue St. Sévérin. The shoemaker Des Noyers, Rue St. Anne, only made “very neat shoes,” and charged a gold louis for them, from which we may conclude that those of a more elegant sort were excessively dear. The tight stays, so injurious to health, were adopted by the ladies of the seventeenth century, and to conceal the discomfort occasioned by them, fans were in constant use; these were beautifully painted and mounted in wood, mother-of-pearl, ivory, steel, or gold. In 1656, Christina of Sweden, while journeying through France, astonished everybody by her eccentricities and the strangeness of her dress. Some French ladies asked her opinion as to whether they should use fans in summer as well as in winter. The Queen of Sweden replied, somewhat coarsely,— “I think not; you are windy enough as you are.” But they used their fans in summer, Christina’s advice notwithstanding. They also carried a sweet lemon in the left hand, and occasionally set their teeth in it, so as to redden their lips. From 1660 to 1680 there was little material alteration in feminine attire. There were, however, a few changes in minor details. The long pointed bodices, the short sleeves, and the full skirts tucked up over narrower petticoats, remained in fashion. Scarfs reappeared frequently. Masks had not been given up; and muffs, that were very generally worn, often served to carry about little dogs. “Dog-muffs” were sold in the shops. An unexpected variation took place in head-dresses. The Duchesse de Fontanges was present at one of the royal hunting parties, when a gust of wind blew her head-dress aside; she tied it in its place with her ribbon-garters, the ends falling over her forehead. Louis XIV. was delighted with this curious, improvised, and, so to speak, historical invention, which was due to a mere chance. It was consequently adopted by the ladies of the court, in the first instance, and afterwards by the Parisian bourgeoises, under the name of “coiffure à la Fontanges.” Imagine a framework of cap-wire, at least half a yard in height, divided into several tiers, and covered with bands of muslin, ribbons, chenille, pearls, flowers, aigrettes, &c. Each separate part of the wondrous structure had its own appellation, viz. the solitary one, the duke, the duchess, the Capuchin, the cabbage, the asparagus, the cat, the organ-pipe, the first or second sky, and the mouse. The last named was a little bow of nonpareil, fixed in the mass of frizzed hair that was arranged below the curled “fontange.”