Under Louis Philippe, the Umbrella or Riflard became /patriarchal/ and /constitutional/; it represented manners austere and citizenlike, and symbolised the domestic virtues of order and economy. It might be set in the royal trophy in saltier with the sceptre, and it became a part in some sort of the national militia, with the attributes of angling, culinary laurels, and other symbols of Philistine life. All the independents of Paris, Bohemians, literary men with flowing manes, and artists chanted in the /Rapinéide/, all the hirsute folk of the years 1830 to 1850 rose in insurrection against the "Pépin" of the burgess. This word /Pépin/ was then an epigram against Louis Philippe, whose pear-shaped head was caricatured, and who never left his home without his Umbrella. Anglomania had not yet penetrated, as in the present day, into French manners; and the dandyism of 1830, which pretended that the carrying of a walking-stick required a particular skill, repelled the Umbrella as contrary to veritable elegance. The Umbrella was countrified, the property of gaffer and gammer; it was tolerable only in the hands of one who had long renounced all pretensions to any charm, and dreamed no more of setting off in the promenade the haughty profile of a conqueror. In the cross ways, in every public place in Paris, the large Parasol, red, or the colour of wine-lees, had become, as it were, the ensign of the strolling singer who retailed Béranger to the crowd; it served as a shelter for acrobats in the open air; it surmounted the improvised trestles of the sellers of tripoli, of an universal ointment; it ascended even the chariot of the quacks; later on it served as a set-off for the plumed helmet of Mangin, the pencil merchant; and it is still under a copper Parasol, commonly called /Chinese bells/, that the man-orchestra causes an excitement in the court-yards by ringing his little bells. In the provinces, on market or great fair days, the Umbrellas opened in picturesque confusion above the flat baskets and provisional establishments of the country women; there were red, faded blue or chestnut ones, inexpressible green or old family Umbrellas, heirlooms descended from generation to generation, which protected the little rural tradeswomen, and added a particular character full of colour to these primitive markets of little towns.