Friday, January 31, 2014

Cabinet des Modes, 5e Cahier, 3e Planche


It represents another bed in Preacher's Pulpit shape, à la d'Artois, seen in profile.

The Wood, the curtains, the panaches are the same.

In place of the iron Curves, there are rising columns which support the dome.

The Cap is surmounted by a vase.

The Cornice, together with the headboard, is sculpted in another fashion.

The background of the headboard is grey, with a medallion in the middle, in the shape of a cartouche, decorated by sculpture, surrounded by a garland to which is attached a ribbon which supports a basket of flowers.

Fans could choose between the two Beds, which are of the newest taste.

The Curtains, Draperies, Testers can be made not-only in mottled gros de Florence, but in French or Indian damask, in satin, lampas, and taffeta of all sorts of colors.

The wood of the bed, the headboards, the columns, the cornice of the Preacher's Pulpit Bed, could be made also in beech wood, but walnut is preferred as the most proper for the sculpture and thrust of the molding, all these objects being sculpted or molded.

It is at the shop of M. Bouché the younger, Master Upholsterer, rue de la Verrerie, at the crowned Eagle, no. 73, in Paris, where Beds are found matching those that we just described, together with many others of the newest taste. His Shop is known to be one of the best-stocked with Furniture of every type, lights, mirrors, works of cabinetry, etc.

If one desires some particular or fanciful piece of Furniture, he would make it for them in the workspace at his shop. He can be contacted with confidence, and one is sure of the choice of materials, of the elegance of the forms, of the solidity of the workmanship, and of a moderate price. He undertakes the furnishing of the Palace, the Hôtels de Grands, in France or in Other countries, some considerable ones that they are, and some rich ones that one could desire. He also makes dispatches to the Provinces, and never neglects to promptly satisfy the people who contact him.

Note. One will find seen at the Shop of the Little Dunkirk, quai de Conti, near the Pont-Neuf, in Paris, several articles of Jewelry of a new taste and a precious finish. People of the Provinces or foreign Countries, who make him the honor of contacting him directly, can be assured that they will be served with exactitude, and that they will have no reproach for him, for the quality nor the price.

Thursday, January 30, 2014

Cabinet des Modes, 5e Cahier, 2e Figure

January 15, 1786


It represents a Bed in Preacher's Pulpit shape, seen from the front.

Of all the Furnishings of a chamber, the Bed is the one which decorates it further; also one must, at all times, to give it the most comfortable and agreeable form, to surround it with the richest and most brilliantly-colored stuff, to lavish it with gold, silk, and embroidery. It is a throne, that in the homes of different ancient and modern Nations, has been raised, with pomp, to Hymen and Love. They are applauded sometimes; the only need of rest, more easy to satisfy, had not been found.

The Voluptué seems to have presided at the forming of those of today. They are found for all tastes. The most fashionable are à la Polonaise, à la Duchesse, with Columns, with two Headboards à la Romaine, à la d'Artois, and Preacher's Pulpit.


The base of the Bed is a fixable base.

The plastered Sections, that is to say, that there are mortises taken in the thickness of the wood, to receive the fixable base.

The Wood of the bed is in walnut wood, better than beech for molding and sculpture.

The two gilded walnut wood headboards are sculpted. The two columns, also of sculpted and gilded walnut wood, are surmounted with a pineapple.

The Curves in gilded iron cover the columns, to support the dome.

The Cornice is also of sculpted and gilded walnut wood. It is accompanied by two large white panaches.

The Cap of thin wood; recovered with pink cardboard, and tacked down in bands with front nails. In the middle is a basket of cardboard, from which leaves a white panache.

The Drapery, which is held to the cornice, is of chiné gros de Florance, green, decorated with fringe and cords of white, pink, and green silk, in guipure.

The Curtains, pulled up in drapery, are also of chiné gros de Florance, green, decorated around with fringe in three guipures, white, pink, and green.

The Short-edge, of the same stuff, also decorated with cords and fringe in three guipures, white, pink, and green.

Wednesday, January 29, 2014

Cabinet des Modes, 5e Cahier, 1ere Planche

January 15, 1786


Woman in Robe à la Turque.

In the Orient, where one enjoys a sweet climate, pure air, a cloudless sky, men wear long garments, which have fullness and nobility. An almost continual winter, a bitter and dry cold, permit the same practice in some Inhabitants of the North, like the Poles and the Russians, who once displayed an oriental luxury. In the temperate Zones to the contrary, where the atmosphere is nearly always humid, the City cobbles covered with mud, the men, to protect them from impropriety, wear short and narrow coats; but women are above the inconveniences of the climate and the intemperacy of the seasons. Frenchwomen, principally in the capital, which is the center of taste, know how to imitate and appropriate even the Costumes of all the Nations. The robes Françaises have been succeeded by the Polonaises, the Polonaises by the Lévites, the Lévites by the robes à l'Anglaise and à la Turque.  In this latter fashion a pretty woman, whether in a Show or in the Seats, wins triumphs surer and more agreeable than those of a Georgian or Circassian woman in the Harems of Constantinople.  Even the Sultana was jealous of her elegance, her grace, and the homages that were made to her.

Description of the Coiffure and Dress of the Woman represented in the first Plate.

Hat of nakara satin (a type of dark red verging on the poppy), with a high crown, trimmed with lilac ribbon bows edged with white. Around the crown of the Hat is a ribbon of the same color. It is surmounted by a tuft of white plumes; an aigrette in the middle.

Linen kerchief, trimmed.

The bow which ties the kerchief is of lilac ribbon.

The Corset and Petticoat are of white satin spotted with soft lilac flowers, and green leaves embroidered in silk.

The ribbons which form the Flounce at the bottom of the Petticoat are nakara, as are the cuffs on the Corset.

Gown of nakara satin, edged with a white ribbon. The linen is a light white satin, trimmed with a garland of lilac flowers.

The trimming of the Gown is, to match, a garland of lilac flowers and green leaves. It is four to five inches wide at the bottom, and diminishes while climbing, to the waist.

For the grande parure, Robes à la Turque are also made, of velvets of different colors, lined with satin; the petticoat of satin in a contrasting color.


The new ones are lilac edged with white.

Nakara, with retreating points, black, white, violet, soft sulfur, and dark green.

Tuesday, January 28, 2014

Cabinet des Modes, 4e Cahier, 3e Planche

January 1, 1786


It represents a Cabinet pendulum clock, accompanied by two Candlesticks, the whole of porcelaine de la Reine.*

This Clock has the shape of a vase dotted with flowers, in which movement is contained. From the top of the vase blooms a bouquet.

At the bottom of the vase are two seated children, of matte ormolu, holding a garland.

The pedestal is also of porcelain dotted with flowers.

The two Candlesticks which accompany the Clock are two truncated columns, of porcelain, on their base. The barrel is surmounted by a little porcelain vase, trimmed with matte ormolu.

This Clock is found at the shop of M. Grancher, at the Little Dunkirk.**
The newest and most tasteful jewels.

Rings in the form of ancient pyramids, engraved with Hebrew hieroglyphs.

Sleeve buttons, idem.

Gold watch keys, containing a stamp with two sides.

Candy boxes, tobacco boxes, étuis, watches, and gold chains enameled with peacock tails.

Idem, in faux enamels.

Kit in Spanish leather, with fittings and edgings of chased gold.

Idem, completely in russet.

Clock representing the Temple of Diana, in marble and matte ormolu. For an accompaniment, two Girandoles carried by Zephyr and Love, in antique green, on the marble base.

Several other Chimney ornaments in the new models.

Tobacco boxes in false tortoiseshell, with relief pictures of the new Monuments of Paris.

Idem, with a Barometer with an enamel dial.

Watch chains with steel spangles.

Bracelets embroidered with steel pearls on velvet.

Fire tongs, in steel canes cut with diamond patterns.
Note. At present many Works of this type are made, in steel, imitating the English, who make the most beautiful polish, and a precious finish.
Mechanical toys, Christmas jewels for children.
All these Jewels and many others newly invented are found at the shop of M. Grancher, at the Little Dunkirk, quai de Conti, near the Pont-Neuf, in Paris.
New Hat Fabrics from M. Troussier, rue Planche-Mibray, at the corner of the rue St. Jacques of the Boucherie, at the end of that of the Arches, in Paris (1).

(1) The manner of making these hats is found in the first volume of the Physico-Economic Library, Year 1786, Vol. 1, p. 375. This Work is sold at the shop of BUISSON, bookstore, in Paris.

M. Troussier is rising up, through his researches, to establish a new Manufacture of different quality of Otter Hats, whose fur being much more fine than that of the Beaver, in the form of the supplest, lightest Hats, the most susceptible to different reshapings, and of a better practice than the ordinary Beavers. He has also invented a new manipulation to make Beavers, half-Beavers, and others, which give them much more solidity; they are made waterproof.

All the different Hats are of a fixed price.

We add here, for the instruction of Messieurs our Subscribers, the Report of the Commissaries charged, by the King's Council, with examining the Hats of this new Fabric:

"The Commissaries charged with following the operations of M. Troussier in the different manipulations that he has invented, report that he has achieved the formation of a precious stuff, of a material much finer than Beaver, the labor of which is more difficult; it is announced that M. Troussier has a great intelligence in the Art of Hatmaking; thus we have the obligation to his having defeated all difficulties, in composing Hats of a very beautiful material, which promises to us a good usage.

"The Royal Academy of Science has been able to judge, by itself, the beauty of these Hats.

"M. Troussier has expressed to us at the same time a new method which he has follwed in the composition of the three-quarter-beavers, half-beavers, and the other hats where mixed are used: he has very-sensibly shown us the good effects; and in comparing his composition with those of the ordinary composition, we have been convinced that the new method of M. Troussier contributes to giving much more solidity to the body of the stuff."


Certified that the present extract conforms to the original, and to the judgement of the Academy. Signed the Marquis DE CONDORCET.

* The Rue Thiroux porcelain factory in Paris was under Marie Antoinette's protection, and the products were known as "Queen's porcelain". Other Parisian factories had other royal patrons. (source)

** The sign for M. Grancher's shop (at 3, Quai de Conti) was a metal ship known as the Little Dunkirk.

Monday, January 27, 2014

Cabinet des Modes, 4e Cahier, 2e Planche

January 1, 1786


It represents a Man in an Overcoat.
Hat à l'Androsmane.
Overcoat of wool, bottle colored.
Buttons of mother of pearl.
Gilet of black silk fabric, dotted with green flowers; buttonholes embroidered in white silk scallops.
Breeches of sulfur-colored wool. Buttons of white metal.
White stockings striped with blue.
Shoes with slightly squared toes.
Oval silver buckles.
In the hand a cane of Bamboo.


They are still worn in scarlet with a collar of black velvet.
In blue wool, with smooth buttons of mohair in the same color.
In striped wool, sky blue, grey, or green ground, with a black stripe across.


The lightest and warmest are those in the shape of pelisses, descending to the heels.
They are of grey, puce, or any other color taffeta, padded and quilted.
They are also made in padded and quilted camlet, with a taffeta lining.

Of long silk plush, flesh-colored, canary's-tail, blue, red, dark green, gold, violet, and canary's-tail mixed.

Friday, January 24, 2014

Cabinet des Modes, 4e Cahier, 1ere Planche


It represents a Woman in Ball dress.

Hat surmounted with a Pouf of Italian gauze, trimmed with a pink ribbon and a garland of laurel leaves.

The earrings are pearl Rings.

Kerchief of Italian gauze.

Corset à l'Anglaise, of pink English taffeta. On each sleeve, a bow of dark green ribbon. These sleeves are blue taffeta, and end in an amadis of white taffeta, trimmed with gauze.

In the hand, a mask of black card, with beard of pink taffeta.

Petticoat of blue taffeta, trimmed, at the bottom, with a pink ribbon.

Shoes of silk drugget, sulfur-colored, trimmed with a black ribbon, à la Jeannette.

The freshest colors of the Déshabillés called Pierrots.

1st. Caraco of puce satin, edged all around with white fox fur, or white angora rabbit fur.
Petticoat of puce satin.

2nd. Caraco of canary's-tail satin with violet spots.
Matching petticoat.

3rd. Caraco of violet satin. The split parement, en amadis, of dark green satin, closing in front, with three violet buttons.
Petticoat of white satin.

4th. Caraco of dark green satin. Violet parement, closing as above.
Petticoat of soft sulfur satin.

5th. Caraco of bronze-colored satin. Canary's-tail parements.
Petticoat of canary's-tail satin.

6th. Caraco of flesh-colored satin, edged with white fur, as above.
Matching petticoat.

Since the frost came, Women wear Palatines of marten, or squirrel.

The Déshabillés, or Pierrots, of the colors above, serve as ball dress, when they are made of taffeta instead of satin.

Many other ball dresses are prepared for Carnaval; we will have concern for choosing those which will be known in order to be of better taste, and we will give their details in the next issue.

Thursday, January 23, 2014

Cabinet des Modes, 3e Cahier, 3e Planche


It represents a Woman coiffed in a cap à la Laitiere, trimmed with a dark green ribbon. Accommodage with two curls, the chignon underneath.

Earrings, as plaquettes.

Plain kerchief, of Italian gauze.

Fourreau with collar, à l'Anglaise, of the color King's eye, edged with white ribbon à la Jannette. The Fourreau is tied in front with a dark green ribbon.

Gloves of the color soft sulfur, or canary's tail.

Apron of plain muslin, with three pleats.

Pink shoes.
Choice Jewelry.

Earrings, and necklaces in gold pearls, lined and cut with facets, bestoned and polished in a stone-mill.

Idem. Bracelets, Purse drawstrings, Pins, Gold watch chains, cut and bestoned the same way.
Note. Decorations like these are never made in steel; they have the greatest effect in gold.
Men's Buckles, with a double row of gold pearls, interlaced with silver brilliants.

Watch cords, in silk, with buckles and a large gold key, or a seal à la Talisman.

Pendulum clock and Torches in Queen's porcelain, trimmed with matte ormolu.

Coat buttons, in eight sections, called au Firmament,  blue ground dotted with white stones.

Rings surrounded with brilliants: the middle filled with stones of diverse colors.

Women's Buckles, with stones, long square, composed of broken stones, without overlapping; sewn on the shoe, they take the form of the ankle, without hurting it.

Rings with bouquets of fine pearls; without crystal, surrounded with colored stones.

Women's Buckles, à Lantilles, of blue composition, with Childbirth* of Cayenne stones.

Idem. For the belt, with fringes.

Silver swords, with inlaid gold pearls.

Watch chains, with links of arborized agate, mounted in gold.

Silver spurs, cut in diamond points, like steel.

All these articles of jewelry are found at the shop of M. Grancher, Jeweler to the Queen, at the Little Dunkirk, quai de Conty, in Paris.

* I suspect the figurative meaning is either "a center" or "a border"

Wednesday, January 22, 2014

Cabinet des Modes, 3e Cahier, 2e Planche

No. 1
It represents a Bust of a man, coiffed with an ordinary Wig, with three straight curls en marron.*  Squared top, in little curls.  The hair in a queue.

No. 2
It represents a Bust of a Magistrate, coiffed with an ordinary squared Wig, with curls en marron.  Top squared in little curls.

No. 3
It represents a Bust of a Man, coiffed with a Wig without a ribbon, having, for body, only a type of fashionable filet.  Top squared in vergettes** in front, and in a hérisson in the back.  Dressing with two curls, one on the other.

No. 4
It represents a Bust of a Man, coiffed in a Wig without fabric, up-to-date. Squared top in front, with a simple natural crinkle. Three curls at the bottom, one above, losing itself in the hérisson. The back hair, in a tied-up braid.

One finds Wigs like these four that we just described, at the shop of M. ADAM DEFFAUX, Master Wigmaker, rue de la Vielle Draperie, near the Palais, in Paris.

The talents of M. Deffaux are not confined to that; he replenishes heads, hair, without using sticky pomade, or such other means that to hold them together. This up-to-date retrimming covers the top of the head, the back, the temples, and imitates nature, to make one believe that this is real hair. He has the art also of only redoing the back of a bald head, an accident to which an infinity of people are subjected.

His fabricless and up-to-date wigs perfectly imitate the natural, and unite all the possible conveniences. They never prevent perspiration, and never produce any effect injurious to the health; one can even sleep with these Wigs; they have neither spring nor  curl which can be incommoded. Moreover, they are susceptible to all types of accommodage:*** one can have three curls to make four of them, five, unite them into one, and give them varied forms.

These ribbonless wigs that of a fabric of hair, and for a body an up-to-date thread, uniting the same advantages as the preceding.

M. Adam has also invented diverse sorts of Toupets, without fabric and without ribbon, fashionable, this that one could not imitate again in the present. One observed that the practice of these ribbons produces a thickness and a stripe on the forehead; M. Adam is coming up to only make to appear two or three hairs which flutter inequally, with an address which renders perfectly well the truth; in a word, his Wigs comb the same as natural hair; one can put pins in the curls, not using horsehair, not strong hairs for the frisure.

What M. Adam makes for men's Wigs, he also does for women's, Chignons, Toupets, Switches, etc.

New gilets.

Fabrics à la d'Estaing, embroidered in silk.
Glazed black and gold.
Glazed black and green.
Glazed violet and gold.
Glazed blue and green.
Glazed violet and green.

* "a buckle of the hair over the ear, tied up with a ribband"
** "little iron rods"
*** arrangement of the hair

Tuesday, January 21, 2014

Cabinet des Modes, 3e Cahier, 1ere Planche

December 15, 1785

It represents a Women in a Pierrot.

Cap en Pouf, trimmed with a garland of roses; and a dark green ribbon.

Ordinary coiffure with two curls, chignon on top.

Trimmed kerchief, of Italian gauze.

Violet caraco, edged with white; the stomacher matching, with a bow of dark green ribbon.

Apple-green petticoat, trimmed with two white ribbons.

Chinese sabots, carmelite color, trimmed with white ribbons, à la Jeannette.

Monday, January 20, 2014

Cabinet des Modes, 2e Cahier, 3e Planche

At the top of the Plate, on the left, a Bust of a Woman.
Gauze cap, à la Jannette.*
Kerchief of Italian gauze, à la Henri IV, knotted with a pink ribbon.
Gown of dark green satin.
The earrings are plaquettes.

On the right, another Bust of a Woman.
Cane hat, à la Marlborough, surmounted by two white plumes and a violet one; trimmed with blue ribbons.
Kerchief of Italian gauze, à la Henri IV.
Gown of pink satin.

At the bottom of the Plate, on the left, a Bust of a Woman.
Cap à la Figaro, of Italian gauze, surmounted by two plumes, one white, and the other violet.  In the middle of the cap, a barrière of black velvet, trimmed with white pearls.  Two pearl tassels hanging on the left side.
The earrings are plain hoops.
Gauze kerchief, plain.
Gown of blue satin, tied with a dark violet ribbon edged with white.

On the right, another Bust of a Woman.
Cane hat, with a high crown, edged with a dark violet ribbon, and trimmed with two bows of dark violet ribbon edged with white, whose ends hang in the back for 3 to 4 inches.
Kerchief of plain linen, à la Henri IV.
Gown of dark violet satin.
The earrings are hoops with pearls.
Rich fabric for Gowns.

Satined velvet, striped with equal stripes of velvet and satin; violet and dark green, Royal blue and marigold, violet and marigold, green and marigold.

Women's Hats for Déshabillé.

Jocquay en ourson, that is to say, nap on top and beneath together with the skullcap.  The brim is 5 to 6 inches wide.  The crown high and squared, trimmed with a black ribbon.  A large bow on the side, held by a little steel buckle with diamond points.

Another jocquay, of the same size as the previous, trimmed with nap only on the brim.

Another jocquay en ourson, in the natural color of the beaver; of the same size as the first, trimmed with two bows of canary's tail ribbon edged with green, or violet edged in which, whose ends hang in the back for 3 to 4 inches.

Women's Shoes for dressing.

A la Jannette,* without buckles or bouffettes,** trimmed with a wide ribbon as a flounce.

Chinese Sabots.

Of satin in all colors.  The opening is trimmed with a wide ribbon in the form of a flounce.  The toe is very turned up.  The heel low and wide.

Squared ring à l'Anglaise, forming the buckle, with a stone en enfantement† held on a plaque of enamelled gold.
Long, in eight sections.
En enfantement simple.
To the sky

Simple mirzas, in gold.
Mirza in enamelled gold.
Large trembling hoops.
Rings with pearls.
Plain rings.

In feuillage.‡
In a simple circle of diamonds.

Of bezels.
In feuillages.

Watch Chains.
In gold, with two pr three branches, with the plaque enameled.
In brilliants, with two or three branches, with diamond tassels.
Enameled in blue, with diamond stars on the plaques and on the branches.

* Jannette, ou Les battus ne paient pas toujours l'amende (Jannette, or the Beaten Do Not Always Pay the Fine) seems to have been published around 1781 and reprinted throughout the decade.  The titular Jannette was the simple but sweet servant of a Mme Duhazard, a retailer of "friperie".
** "ear-knots", probably a tie holding the shoe closed
† "in childbirth"
‡ Either "branched work" or foil

Saturday, January 18, 2014

New Types of Coiffures for Ladies and Young Girls, 1908

[This was typed months ago, but somehow it never got posted. Oops!]

Once again, with the help of Lauren of Wearing History, I bring you a something a bit more modern: a discussion of hairstyles from Le Miroir des Modes, 1908.

The Greek style has invaded the domain of evening and at-home city toilettes; but it still makes its influence felt on the coiffure, so well that those of the evening overall have become low, with full, waved bandeaux, the Greek knot or chignon rolled softly on the nape.

This new type of coiffure necessarily calls for new ornament, thus we see the bandalettes, the ribbon ties, the gold and silver braids, the crowns or foliage complete the classical aspect of our elegant women.

To be more fitting in profile and in the whole shape the chignon is placed higher or lower; but the front and sides of the coiffure remain vague, and forming a light halo around the face.

For any type of coiffure the hair is generally divided in three parts: the back is attached with a cord or held with shell pins, the two front parts, forming bandeaux or a bouffant, will be pulled up on a crêpé [a braided switch ending with curls, pictured in the second page] or simply held by combs.  In certain cases when the front is arranged, the back part is left down, mixed with other parts and the whole used in the formation of the Greek knot, as our illustrations show.

The low coiffure should only be worn with certain face shapes while the high coiffure is universally flattering and that is the secret of its persevering vogue.  The illustrations give some charming examples obtained by means of crêpés placed at the top of the head or encircling it entirely.; a fashion very recommended for the slightly strong figures and for hats with large brims.

In this case it is good to separate a section of hair from the top of the head, to braid it, and to make it a solid and fixed point which will serve as the backbone for the whole edifice.  When the crêpé is attached at this point, one raises the hair all around it and their ends, rolled in coques, in a knot, in a twist or braided, will finish the coiffure.

The new crêpés and artificial bouffants are of a lightness such that they are used without danger to the hair; they do not heat the head, do not noticeably increase the weight, and as they add much solidity, permit the composition of flattering coiffures, it is best to resign oneself to wearing crêpés, to make them be waved repetitively.

Thursday, January 16, 2014

A Most Belated Promotion

You've likely already heard about it, but if you haven't: you should know that Kendra Van Cleave's book, 18th Century Hair & Wig Styling, is available for pre-order through Indiegogo! Probably the best advertising is the American Duchess's fabulous test-wig - check it out, it looks amazing, so you know that book's good. The detailed table of contents is also available for previewing, so you can really see what you're getting: 22 women's styles and three men's, as well as a whole lot of general techniques.

Right now, Kendra's still about $4,000 away from her goal. Fortunately the book will still go to print even if the goal isn't met, but she'll have to cut a style, some history, or page quality, so let's get to it!

I am absolutely terrible at hair - really, I can make a very good bun, but that is the limit - so I'm very excited to improve my game. I'm also (somewhat selfishly) happy to see how well the community is supporting its own through independent publishing. What a great group of people! This book looks fantastic, and it's wonderful that the information and skills are going to be disseminated to everyone. Especially me, because, as I said, I am really bad at doing hair.

Cabinet des Modes, 2e Cahier, 1ere Planche

It represents a Woman in full Dress.

Puffed cap of gauze, à la Figaro, surmounted by two white plumes supported by a garland of flowers.

A kerchief à la Henri IV.

Pelisse of white satin, edged with marten's tail.

Gown of blue satin.

Petticoat of white satin.

White muff of Angora goat.

White shoes.

Wednesday, January 15, 2014

Cabinet des Modes, 1er Cahier, 3e Planche

It presents two Women's Busts.  The first is coiffed à l'Ingénue.  A straw hat, whose edge is trimmed with a violet ribbon.  The crown is high, à l'Anglaise, trimmed with violet gauze.  A pearl pin on the front.  A bow or cockade on the back, whose edges, about two or three inches long, are hanging.  On the hat, on the left, is a tuft of four white plumes, surmounted by a large violet plume called the Follette.  On the neck, a cord in the form of a necklace, at the end of which hangs a medallion.
The earrings are large trembling rings.
Trimmed linen kerchief.
Blue satin fourreau.

The second woman is coiffed en Hérisson with hooks.
A cap à la Paresseuse, of Italian gauze.
A bouquet of flowers on the right side on top of a Toupet à temperament.
On the neck, a simple ribbon necklace.
Earrings en Mirza.
Linen kerchief, trimmed.
Fourreau of green satin.

The Articles described in this Book were found at the Palais Royal.