Everywhere, in the pictures and engravings of the century we catch a glimpse of these same light Sunshades or Umbrellas which approach so nearly those of the present day. We see the one or the other in the /Prints of Moreau the Younger intended to serve as a Companion to the History of Fashions and Customs in France/, in the /Crossing the River/, after Gamier, in public festivals, as well as amidst the hubbub of the crowds, which Moreau shows us in the /Great Court Carriages in/ 1782, as in the minor popular rejoicings, like /The Ascension of a Fire-balloon/, after the engravings of the period. The Sunshade introduces also a little touch of gaiety into the large pictures of Joseph Vernet; in his /View of Antibes/ and his /Port of Marseille/ the painter has placed in the hands of pretty promenaders adorable little pink Sunshades, through which the light seems to filtrate, in the silk's transparency. Later on, lastly, before the royal sitting of 23d June, 1789, the Umbrella plays its historic part in the Revolution, by protecting the gentlemen of the Third Estate, left at the door of the Assembly under a pelting rain, not very well disposed to receive the King's order, "Gentlemen, I command you to disperse yourselves at once!" Strange! at a time when the Parasol was generally adopted in France, it was yet very little known in England and among the peoples of the North. At Venice even, where we have made our researches, the first person who used a Sunshade, about the middle of the eighteenth century, was Michel Morosini, "a senator of high rank," who, braving all prejudices, appeared one day in his gondola, bearing a small green Sunshade, unarched, of a quadrangular form, surmounted by a tiny copper spire, of very delicate workmanship. The fair ladies of Venice adopted this "indispensable" after this manifestation of the noble Michel Morosini, but the Sunshade, nevertheless, appeared not in all patrician hands in the gondolas of the Great Canal, and on the Piazza of Saint Mark, till about the year 1760. In England, in the first half of the last century, the Parasol and the Umbrella were hardly ever used; however, in a passage of the /Tatler/, Swift alludes to one of them in 1760, when he describes for us a little sempstress, with her petticoats tucked up, and walking along in a great hurry, whilst the rain trickles down from the Umbrella: The tucked-up sempstress walks with hasty strides, While streams run down her oiled Umbrella's sides. Again, there is at Woburn Abbey an admirable portrait, painted about 1730, of the Duchess of Bedford, followed by a little negro, who holds above her head a sumptuously decorated state Parasol.