the tragedies of 1870, if he had known, as has been asserted, that they
portended deliverance from the thraldom. France, so we are told, purged
and purified by the baptism of fire, shook off its tasteless frippery,
and sought a chaster and purer mode.... Thus elevated and touched to
higher issues, the _modistes_ of France, when once the Third Republic
had settled down, made quite nice and simple dresses for a few years,
and were imitated by the slavish islanders across the Channel, who had
no such lofty motives to inspire them. The latest developments of this
philosophy of clothes are not yet worked out in detail...."

A multitude of the _emigre_ nobles returned with Louis XVIII, bringing
with them the manners and customs of the _ancien regime_, which the
Parisians found singularly antiquated and absurd, and gave these
reactionaries the title of _Voltigeurs de Louis XVI_. The science of
good cooking, however, which had been somewhat neglected by society
during the Empire, suddenly took on a much greater importance--as was
its due. The lady of the higher aristocracy, taking her dejeuner so
comfortably with her lapdog, in the plate which we have reproduced from
the _Bon Genre_, is supposed to be the Princesse de Vaudemont. A curious
detail of the social life of the Romantic period of the Restoration was
the fashion of _keepsakes_ and _annuaires illustres_, which came from
England, and which flourished from 1825 to 1845. These costly little
books intended for presentation, richly bound, and illustrated with
small steel engravings, generally taken from the English "keepsakes,"
bore various titles: _L'Album brittanique_, _L'Amaranthe, Annales
romantiques_, _Le Camee_, _La Corbeille d'or_, _L'Eglantine_, _L'Elite_,
_Livre des salons_, etc. The greatest names among the writers of the
_Romantisme_ may be found among the contributors to these
publications,--Chateaubriand, Victor Hugo, Lamartine, Alfred de Musset,
A. de Vigny, Mery, Gozlan, and others.

The _bourgeois_ monarchy of Louis-Philippe was made the object of a
storm of ridicule on the part of the Parisian wits and caricaturists
from which it has never entirely recovered. The "umbrella" of the
Orleans family, which the ribald press of that day made the emblem of
their royalty, still figures in the lampoons addressed to the present
pretender. The caricature of the royal physiognomy as a pear is one of
the most famous in history. Louis-Philippe wore his hair piled in a