Cabinet des Modes, 15e Cahier, 3e Figure

June 15, 1786

PLATE III.

THIS Plate represents a wood Boudoir, painted in grey-white, and decorated with mirrors.

In the most convenient place a rather deep niche is made, at the top of which is attached a drapery of blue Pekin, trimmed with fringe and tassels, and which falls rather low; the outer sides are decorated with draperies, tied at intervals with tassels. Under these draperies are curtains, which are pulled up with tassels.

The bottom of the niche is decorated with a mirror which rises to the ceiling, and which reflects the draperies.

Under the mirror, which descends very low, is a seat with three backrests, that is called a Turquoise. This seat is decorated with a square [cushion?] and two cushions covered with the same fabric as the draperies.

On two sides of the niche is a lyre Chair in rosewood, and whose seat is also covered with the same fabric.

The Bed à la Turque and the Boudoir Decoration are drawn from the Shop of M. Bouché, Merchant Upholsterer, at the gold Eagle, rue de la Verrerie. His Furniture Shop is well-known in Paris; but he has some fabrics of the most beautiful Manufactures, which do not merit less than being known as that. One finds there the richest and best made objects. There are some which compose almost a dozen pieces.
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Two bizarre tastes have been struggling with the reigning Fashion for centuries: one is the taste for squared buttons for Men's Coats and Hats; and the other is the taste for Tufts of Ribbons in place of garter Buckles. But these always reappearing tastes are always repelled, and we do not believe that we should ever announce them as reigning Fashions. That for Ribbons is already relegated to men who wear boots. This taste for Boots is a third one which is beginning to be reborn since the more than fifteen years that it passed, and we do not believe that it will have more luck than the first two.

There is a Fashion which is strongly taking today: it is that of wearing on Hats, on the left side, a steel Buckle as long as the crown of the Hat, and which holds a large bow of black ribbon of the same length.
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Today Ribbons are subject to such variation, that it is good for Women to have a Furnisher who procures the newest ones for them.  M. Morlière, Merchant of Ribbons, residing in the rue St. Honoré, near that of l'Echelle, has in his Shop all the most modern and the most brilliant. One will find in his shop Ribbons à la Cagliostro (pink ground and green edge, with pyramids on the ground, which go from the bottom to the top); au Diadême Arc-en-Ciel (pink, green, white, and purple: the purple stripe in the middle is wide, and cut with three white zig-zags); au Laurier with a pink ground, and Au Laurier Arc-en-Ciel (white ground, blue stripe, clouded, and purple stripes, with laurel leaves), all Made in Paris. He holds a Store of them for wholesale and retail. He offers to send samples to those who will make him the honor of asking him for them. He also has a Store of Ribbons, Made in Lyons, plain and striped; Kerchiefs and Gauzes of Lyons, Crêpes in all colors, and other Silks.
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Our Women now care no longer for competing with Men for size, as we believe that they tended to at other times. They concede them this advantage today, so that that one could say they are very indifferent, up to a certain point. They have abandoned these Shoes with raised heels, which raised them nearly two inches. Who wouldn't think that they acquired a solidity that was lost at other times? We don't want to make an epigram here: we only want to say that they are no longer exposed to spinning as they had been, carried on weak heels, so narrowed at the bottom, that they seemed to be balancing. The heels of their Shoes are hardly higher, nor narrower than those of Men, proportionally. They can henceforth walk quickly, walk firmly, walk boldly; they no longer fear catching their heels in the smallest hole or in the smallest cracks between paving stones, making a false step, giving themselves sprains, and even twisting a foot. Why must it be that they had to wait so long to feel this advantage, which they are actually in possession of? If ever a Fashion had a useful goal, it must be this one. One could call that the only reason it was born, without joining with caprice. God forbid that this Fashion had the lightness and inconstancy of all the others! and that all the centuries could come to feel a good of which it seems that nobody, before us, had had the least idea!

It is not in the feet only that Women approach Men's dress. For some days, we have seen at the Palais Royal an elegant Petite-Maîtresse, superb, dressed in a Redingote and a different-colored Gilet, like Men's, with a Cravat at the neck in place of a Handkerchief, to replace the Corset and the Gown. We do not doubt that Fashion would take soon, if three or four Women adopted this dress. Whether for novelty, for elegance, for grace, or for taste, we freely confess that this new manner of dressing pleased us infinitely. Still some time, and surely we will announce it to our Subscribers as the current Fashion.

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Cabinet es Modes, 15e Cahier, 2e Figure

June 15, 1786

PLATE II.

A Daybed à la Turque, to put in a little Apartment.

This Bed is only three feet wide, and six feet long; it is very-slightly elevated, and it is scarcely above the ground. The seat is trimmed with a well furnished mattress and two cushions. Above is raised, more than eight feet high, a canopy cap, which can be adapted in two manners: 1st, in placing two iron beams, attached to the back of the backrest, and which holds the cap; 2nd, in attaching the cap to the wall. The cap is crowned with a basket of plumes or sculpture.

The edge of the cap is decorated with a double drapery, trimmed with fringe and tassels.

To the cap are attached the curtains, which come to half-hide under a sedentary drapery, attached to the wall, made of the same fabric, and lined with a light white taffeta. These curtains are pulled up, and tied to the iron beams. If the cap is attached to the wall, the curtains must be pulled up with the hands which hold it to the wall.

The curtains are decorated with adapted fringe. The flat band or the base on which the seat is held, is trimmed all around with a drapery, decorated with fringe, which nearly touches the ground.

The fabric of which the curtains and draperies are made is a Sky blue Pekin.

The wood of the Bed and the cap is decorated with a light carving.

These Beds are also made in Indienne, in Perse, or in any other fabric; they are made or decorated with fringe and tassels, or more simply, without tassels or fringe.

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Cabinet des Modes, 14e Cahier, 3e Figure

June 1, 1787

 PLATE III.

WE have drawn in this Plate a silver Oille* Pot, that could also be called a Soupière. This Oille Pot has two handles, decorated on each side with large parsley leaves.

Its Cover is surmounted with an artichoke whose leaves spread rather far over the Cover.

This Piece of silverwork is taken from the Workshop of M. Bouty, Merchant Silversmith, rue S. Eloi.

* A type of ragout with beans and meat.

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The four Coiffures that we give here, have been designed in the Shop of Mlle. Roussaud, Mde. de Modes, rue du Thèâtre François.

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Cabinet des Modes, 13e Cahier, 3e Planche

May 15, 1786

PLATE III.

AS we propose to give the different Pieces of silverwork which are put on Tables for Meals, we have shown in this 3rd Plate an End of Table in silver. Ordinarily one puts divided Pepper and Salt Cellars in the middle of Tables, and at the ends united Pepper and Salt Cellars, which are called Ends of Table. These are two little fashionably worked silver Pots, in which are two crystal vases, one for salt, and the other for pepper. These two Pots are united by a silver table, which serves as a base of an obelisk, also fashionably worked, and surmounted by a globe.

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The Woman's Chapeau-Bonnette, and the Trimming for the Gown, are the composition of Mlle Roussand, Marchande de Modes, rue de Théâtre François.

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Cabinet des Modes, 12e Cahier, 2e Planche

May 1, 1786

PLATE II.

"Flee, go away; you are not far enough. I am, you say, under the other Tropic; pass under the Pole and into the other Hemisphere; climb to the stars, if you can. - Here I am. - Very good, you are secure: I discover on the earth a greedy, insatiable, inexorable man, who wants, at the expense of all who will be found in his path and at his meeting, and what it may cost to others, to provide for himself alone, to increase his fortune, and to abound with goods." This was said, in all the dolor of his soul, by the Philosopher whom we have cited as the authority. This turn and these sublime words, could they not be repeated today, in a very suitable manner, because of these young people who, mounted in light cabriolets, fly rather than roll on the cobblestones, and never examine what is before them, nor at their sides, how many people they are going to drive over? They may run in the roads, if there is no man in danger; they may fly in the plain, but they walk in the streets! What glory can they thus take in having killed or injured some unfortunates who have difficulty in dragging their legs, and who couldn't save themselves from peril when they have been thrown by these accursed cabriolets? They may do better, these young people, if they find so much honor in contests of speed; they may go to the racetrack, and compete in the Tourney. They may give this new spectacle, if they are permitted; they may expose only themselves to danger. Their chariots are as light as those of the Greeks; if the shape is not the same as those, their triumph will be as glorious.

Can there be any lighter and more nimble than the Cabriolet that we have drawn in the 2nd Plate? On a rather long, rather thin, and very narrow Shaft, where a narrow Box is suspended, capable of holding, at most, one person. This Box, made of a very-thin wood, is painted with wide red and yellow stripes. The Dome of a very-glossy black leather, folds by means of four silver springs, and settles in the back on the Box. Two very light Wheels carry the Shaft. The Springs are gilded. The Wheels, Shaft, and Footboard are painted green. The inside of the Box is trimmed with a Louvier wool or another white cloth, and the underside is of a very-glossy black leather.

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Cabinet des Modes, 11e Cahier, 3e Planche

PLATE III.

A silver Candlestick, with girandoles, with two arms; it is in the newest taste; it is extremely rich in chasing and engraving.

This Candlestick is the work of M. Bouty, Merchant Silversmith, that we have already introduced.

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We must advise our Subscribers, before finishing, that the Ribbons au Diadème are already passé, and that the Ribbons au Arc-en-Ciel have taken their place.

These Ribbons are striped in different colors, blended, that is to say, one into the next.

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Cabinet des Modes, 11e Cahier, 2e Planche

15 April 1786

 Let us compare the times when our Queens themselves went out only in a litter or on horseback, with ours, when they are drawn about in well-enclosed and well-suspended carriages, and with well-bound springs; it will not be difficult to figure out which has the advantage.

Only two coaches were counted under François I: one for the Queen, and the other for Diane, the natural daughter of Henri II. The most qualified Ladies were not long in procuring them. That did not make the number of equipages very considerable (1); but the pomp there was carried so far, that in 1563, at the time of the registering of Charles IX's Letters Patent, for the reformation of luxury, Parliament stopped that the King would be begged to defend coaches through the City. In effect, the Counselors of the Court, no more than the Presidents, never followed this practice in its novelty; they continued to go to the Palace on mules, until the beginning of the seventeenth century. The First President de Thou* had one made, because he had gout; his wife went to Paris on horseback, riding pillion behind a Servant.

(1) Henri IV only had one coach for himself and for the Queen. He wrote to M. de Sully: "I counted on going to see you; but I could not, because my wife went out in my coach".

* Christophe de Thou (1508-1582)



It was only in these times that carriages began to multiply; previously there were hardly any Ladies who used them. It is said that the first of the Lords of the Court who had one, was Jean de Laval de Bois-Dauphin, whose excessive girth prevented him from walking and mounting a horse.

Carriages had the fate of all new inventions, which only rise successively to their perfection. The first ones made were round, and only held two people; they were given later a greater capacity, they were made square, and they sat four people. They were closed with large leather doors, that were lowered for entry; only curtains were used. Bassompière, in the reign of Louis XIII, was the first who had made a little carriage with windows. Nothing is lacking today, whether in comfort or magnificence. They are decorated on the outside with very-well finished paintings, and protected by precious varnish; they are covered within with velvet or wool.

The woodworked parts are elegantly sculpted; the wheels are of molding and gilding. The Locksmith has displayed all his knowledge in the invention of gentle, pliant, and solid springs. The Saddler has neglected nothing in the leather parts. Some Sumptuary Laws have been passed to moderate the excessive expenditure on these coaches: it has been forbidden to use gold and silver; but it may be only today that these prohibitions are observed. Taste, which has also formed the laws, has banished the actual gold and silver coaches. Painting and varnish only decorate them. If some particles of gold or silver are used here or there, it is to throw in more variety, and extinguish this monotony that presented to the eye a too-uniform surface. The best would still be cut only in a rather large expanse, such as that of the sides or bottom, by a little medallion in the middle, and would be varnished over the rest with the same color. However, as the wheels and undercarriage are of a different color, together with the straps and the box, from the support points to the dome, which must be a very glossy black.

The Coach that we represent in the SECOND PLATE, is composed in the manner that we indicate that others must be, with the exception of a light ornament that is charged on the paneling and the doors.

This type is called a Vis-à-vis à l'Anglaise. It is incredible how quickly English Coaches are taken in Paris. They are hardly ever seen anymore in the French style. It must be admitted that those actually made are much lighter, and of a much more elegant form. But an homage that we must give to the French taste, is to confess that when they copy Foreigners, they copy the masters. They reform, they correct what they adopt. The first English Coaches, which were brought into France, were the great, slow, and heavy Berlines, capable of holding all of a numerous family. We French, while taking their form, have made them light, agile, and fit for daily usage, that is to say, to hold two or four people, at most.

That which we represented can only hold two; that is why it was given the name Vis-à-vis.

On an iron Shaft, where are fixed four large springs, a narrow Box is mounted very high, made in a long-square. On the front of the Shaft a Seat for the Coachman is also mounted very high. It is almost as high as the dome. Already it is necessary to make a long apprenticeship to drive coaches, and even to keep on the seat. We do not see a single one in which we feared that at only the slightest shock, the Coachman be thrown to the ground twenty feet from the coach, and be smashed. Our Readers may pardon us for these fears.

Four Wheels hold the Shaft, two large ones in the back and two little ones in front. Sometimes these Wheels are covered with iron all around, in such a manner that in rolling they threw a very monotonous and very fretful rattle, yet they were adopted to give them shoes like those of saddle horses; but this queerness, whose grotesqueness it is not difficult to feel, was reformed. Today these Wheels are covered with a well attached, well fixed iron which no longer gives disagreeable and fatiguing sounds to the ear.

The Box is held to the Shaft by winching straps, which suspend it securely and with little wavering.

The Straps are attached to the Box with curled hooks, and to the Shaft with strong iron rings.

The Box, from the support points to the dome, is decorated on each side with two iron compasses à l'Anglaise, which descend from the top of the doors to the bottom of the bases of the support points, and with six clamps, made of silvered copper, which are attached to the dome, and descend for the length of four inches.

On each side of the Box is a door, fully of wood to the support points, and closed with glass from these points to the dome; and on the front of the Box is an oeil de boeuf which is always closed with glass, and which holds the place of the doors that are otherwise put on the front.

The Footboard for getting into the Coach, is folded and kept inside.

The inside is upholstered in a pearl grey Louviers cloth, and decorated with draperies and fringes attached to the top of the dome, and falling a little below.

The Coachman's Seat is covered with a slipcover of a matching cloth, trimmed with three guipure crépines.*

* Knotted and openworked fringes.

The Shafts and Undercarriages of the front and back are painted pearl grey. The Wheels and Footboards are painted green. The back Footboard for Valets, and that in front for the Coachman, are covered with a very glossy black leather, and are gilded around.

The Paneling and Coach Doors, from the support points to the bottom, are painted in dark lilac. In the middle of the Doors and Paneling in the front and back, are little medallions with an unbleached linen colored ground, representing three little children in each. One represents there, if one wants, little Greek chariots harnessed to three horses, and driven by a Horseman, or a Child on a lion, or some other subject.

The top of the Box, above the support points, is covered with very glossy black leather. The dome and the underside of the Coach outside and in, are also very glossy black leather. Of the same are the Straps, where large buckles of gilded copper are attached, which hold the suspended Box.

The Coach that we have drawn, is taken from the Workshop of M. Hervé, Master Saddler, Harness-maker, and Carriage-maker, residing in Paris, rue Feydeau, at the corner of the rue de Richelieu. He makes, sells, loans, and buys all sorts of fashionable Coaches. He delivers to the Provinces and in all foreign Kingdoms.

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Cabinet des Modes, 10e Cahier, 3e Planche

PLATE III.

ONE of our Poets, to mark the fashion of Pendulum clocks, which reigned twenty-five years ago, said, in a Play, which has been thus played:

One crowns with flowers the interpreter of time.

On a little gilded copper pedestal, or a colorized tin one, were raised little cartels,* in the form of barrels, wrapped with garlands of tin flowers, also colorized. What a difference! and as taste embellishes those of today! It is on the frontispiece of a Temple that one reads now the march of hours. It is Love, it is the God of Pleasure which traces it with one of the arrows. Happy Lovers, hasten to enjoy! If this God indicates the moments to you, with an impatient finger he presses them, he chases them, so to speak.

Approach this Temple, that we could name justly the Palace of time. See its structure. It is simple, it is beautiful. There rises by degrees a marble white as snow. Four columns of a marble as white, positioned on matte ormolu bases, support a Dome composed of four semi-circles of marble, decorated with matte ormolu garlands. This Dome is held also on a superbly decorated cornice.

On top of the Dome is raised a white marble globe, around which turns horizontally the circle of hours, that Love, armed with a torch, marks with one of his shafts.

Look into the enclosure of the Temple. See in the middle the chaste Diana, made in antique green, and placed on a base of white marble, decorated with garlands of matte ormolu. Mortals, respect! she bears on her head a basket full of flowers; happy symbol of the pleasures that a wifely-employed time produces. Behind her, on the floor of the Temple, is a column of white marble, matching the four which form the façade, and which serves to round out the enclosure of the Temple.

We ask you: a Temple this rich and elegant, must it not well decorate the mantel of a salon? could it be more to your delicate taste? of torches which light the Temple? On the two sides, put the girandoles. They hold two branches of matte ormolu, with oak leaves. The two figures which carry these branches are in antique green, and they are posed on two white marble plinths, decorated with matte ormolu garlands.

If this is not enough decoration, (in fact, it is not complete) add the two censers of Turquin blue marble,** trimmed with matte ormolu, and posed on two plinths of white marble.

This Temple and this beautiful mantel Decoration are sold at the Little Dunkirk, at the bottom of the Pont-Neuf, in the shop of M. Grancher, who has a very great quantity of Decorations as beautiful as this. Everyone knows his rich Shop.

* decorations around the face of a clock
** a dark blue marble exported from Mauritania
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If we have the right to take Verses on Fashion, wherever we find them, because they justly belong to us; we have no less right to take them on Novelty, and to let our Subscribers enjoy them. It is a true gift that the pretty Fable we present to them! It is extracted from the Miscellany of M. Hoffman, a young Poet full of talent.

NOVELTY, Fable.

In the place where Folly reigns,
One day Novelty appeared:
Immediately each man ran;
Each said: How pretty she is!

Ah! Madame Novelty,
Stay in our Homeland;
More than Spirit and Beauty,
You were always dear here.

So the Goddess, to all these Fools,
Responded: Sirs, I will stay here;
And gave them rendez-vous,
For the next day, at the same time.

The day came. She showed herself
As brilliant as before:
The first who met her,
Cried: Gods! how old she is!

---

A Fashion which just disappeared, to the regrets of many young People, is that of large black Plumes for men's hats. Time has destroyed them. People of quality, when they dress, no longer wear their hat with white feathers.

The Hats à l'Androsmane are still fashionable. M. Donnet, Merchant Hatmaker, rue Saint-Honoré, near that of l'Echelle, continues to furnish them to the satisfaction of the Public.

More about → Cabinet des Modes, 10e Cahier, 3e Planche

Cabinet des Modes, 9e Cahier, 3e Planche

March 15, 1786

PLATE III.

After having seized on the entirety of a Table decoration, the eyes occupy themselves with the details, and taking them piece by piece, in examining their execution. Each Guest praises or critiques its work, and more or less flatters the pride of the sumptuous Host. It seems to us, therefore, useful to everyone to introduce objects of Fashion which, by their universality, can justify our choice.

The Soupière drawn in the Third plate, though of a simple and easy to execute type, is in current use: its beautiful simplicity has been adopted.

This Soupière has scallops and two handles, which end in laurel branches which embrace the Soupière.

The Cover is a dome and has scallops.

It is served on an oval silver plate.

The two pieces of silverwork that we have already given, together with those which we will give, are from the Workshop of M. Boury-Milleran, Master and Merchant Silversmith, rue Saint-Eloi, near the Palace. At his shop is found everything that can be desired in Silversmithy. He makes Deliveries to the Provinces and Foreign countries.
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A Man of very-great merit, who perfectly knew the character of the French, and whose vigorous pen has often drawn their diverse affections with great traits, has not failed to trace their particular taste for Fashion, and the sort of empire that, by it, they love to exercise on all the other Nations. As the picture must belong to us by right, we do not make difficulty over sending a copy to our Subscribers.
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Verse on Fashion.

Fashion is a Tyrant of respected Mortals,
Worthy Child of Distaste and Novelty,
Who of the French State, in which she has votes,
Beyond the two seas disperses her works,
Augmented with success their immense cost,
According to their little practice or fragility.

Her Throne is a mirror in which the unfaithful glass
Gives to the same objects a new form.
The inconstant French admire in her hands
Despised treasures of the rest of humans.
Seated at her sides, the brilliant Parure
Tries, by art, to change Nature.
Beauty consults her, and our purest gold
Doesn't buy expensively her red and blue.

Fashion subjects the Sage to her formula;
To follow her is required, to flee her ridiculous.
From our Ornaments to our Writings,
She attaches to her will esteem or contempt;
And ruling alternately all the ranks where we are,
Puts the Fools in their place, and names the Great Men.

By M. de B ...

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Ladies wear, in their grand parure, glazed Gloves, of Grenoble, laced and frilled.

They are found in the first quality in the shop of M. Buisson (of Grenoble), Merchant Glover-Perfumer, rue de Fauxbourg S. Honoré, near the rue Royale. One also finds at his shop all sorts of Gloves for men and women, as well as all sorts of Perfumes, Sultan, Rouge, Almond paste, and generally all that is used in the Toilette: the whole of the first quality, and at a fair price. He makes Deliveries to the Provinces and to Foreign countries.

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Cabinet des Modes, 9e Cahier, 2e Planche

March 15, 1786

PLATE II.

Fashion, which, in a Kingdom where the Arts are cultivated with much success, takes over all Crafts, and enslaves them to its laws, gives shape to the Furniture of our Apartments, as to the Coats that decorate us. It corrects them when they are vicious, changes them when they are old, embellishes them when they are too simple for the age of luxury, simplifies them when, too full of ornaments, they only show the work, and there becomes the mother of industry and the soul of commerce. Happy, when good taste has presided over those who actually reign!

The Chairs that we represent in the Second plate, enjoy this advantage.

The one, that we have drawn with a green fabric, is called a Hat Chair.

The back and the seat, painted in grey, are squared . The upper part of the back has a Hat, and flattened arches. The two vertical sections are molded and pearled. The fabric is attached at the edges of the molding with gilded nails, and best with a crest that matches the fabric. The feet which carry the seat, are in the form of channeled shafts.

The other, that we have drawn with a tapestry with a grey ground, flowered, in gilded wood, is called a Projection Chair or a Detached medallion Chair.

The two vertical sections of the backrest are two Corinthian columns (channeled and with capitals); the top, which is curved in a vault, is Projected. In the middle is a medallion, sculpted with pearls, which is separated into four corners. The seat is square, and it is carried by four feet in the form of channeled shafts.

Observe that one can load the wood with as much sculpture as one desires; but a simple design gives to the Furniture a much lighter air.

The Fashion was at other times to wear coats of velvet with colored flowers, or of other decorated velvets: one was even more adorned than if one wore a more beautiful tapestry on the body. Today our Fashion has proscribed these more rich than elegant fabrics. Those who have retained their old coats, can use them to make armchairs and chairs. With a coat, a waistcoat, and breeches, if they have a certain fullness, they can make six chairs, or five cabriolet armchairs.

M. Bouché the younger, Tapestry Merchant-Mirrorer, at the crowned Eagle, no. 73, rue de la Verrerie, has already made a very great quantity, and he is engaged to make them for all who order them from him. He has one of the most handsome Shops in Paris. He is furnished with the newest and most fashionable Furnitures. One finds a number of Bed à la Polonaise, the best made and the most elegant; Seats and Armchairs for sleeping Chambers; others for Company Salons, and others for little Apartments. He has and sells everything that concerns Cabinetry, such as Commodes, Consoles, Secretaries, etc. ... everything that concerns Gilding, such as Lamps, Chimney arms, Candlesticks, Chandeliers, etc. ... He also has a large Shop of Mirrors. He continually makes considerable Shipments of Furnitures, Gildings, Cabinetry, and Mirrors in the Provinces and in foreign Kingdoms. One can write to him for everything that concerns Furnishing, which is a type of it. Finally, he leases Furniture by the year or month, and dresses Apartments.

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Cabinet des Modes, 8e Cahier, 3e Planche

As we have just received from Montendre, in Saintonge, a Letter by one of our Subscribers, and that the extent of this Book does not permit us today of longer details, we will not extend ourselves here on more than an agreeable and satisfying glance that can give a Table set with its diverse decorations; we will confine ourselves to describe one of the objects which stands out more, and very-often fixes the attention and curiosity of Guests; we mean a cruet. (See THIRD PLATE.)

This is composed of a platter held on four feet, with a handle at each of the two ends of the platter. In the middle is raised a base holding an obelisk surmounted with a globe.

On two sides are placed two fashionable holders, in which are held two crystal oil bottles cut with facets, and which are each closed with a chased stopper.

The platter, the platter handles, the base, the obelisk, the globe on the obelisk, the fashionable holders, and the stoppers which cover the bottles, are all of well-worked silver.
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Response to the Letter in the Journal de Paris on February 9, 1786, on the occasion of new Fashions.

To the Editors of the Cabinet des Modes.

From Montendre in Saintonge, February 9, 1786

The cause of the despair, Messieurs, of Madame D*** P.D.G.A.S. of Brive la Gaillarde, must have touched you in a very lively way. For me, I confess that the pleasant jeremiad that she had printed in the Journal de Paris on the 9th of this month, diverted me very much.

I am this woman that Madame Elect complained about, and that she regards as so beneath her, though I am her cousin, and the widow of a Receiver of Taxes. As I know that she has just subscribed to your Cabinet des Modes, I pray you put in my Letter in one of your next Numbers, for revenge on the pretentions and hauteur of my dear cousin.

What will be her surprise! what will be her chagrin! that she will have! and how long will her migraine and insomnia last! when she learns that the young Officer that gave me his hand, when I appeared in one of the most brilliant Assemblies of the pretty City I live in, will be my spouse in three days!

I owe this victory, Messieurs, to your charming Cabinet. I had put on that day a robe à la Turque, and my coiffure was a hat à la Captif: my Lover swung still between the gold of my Rival and my weak charms; but aided by my galant costume, I finished by defeating him and making him decide in my favor.

This is the true cause of the despair and insomnia of the old Madame D.*** P.D.G.A.S. of Brive-la-Gaillarde. Do not allow her, Messieurs, to cool your zeal, and continue to go into your details of Fashion. I feel very disposed to never love my husband; but if he should do the same, it is good that I follow the counsel of Count Almaviva, in the Marriage of Figaro, that is, that I try to keep him. And which means is surer than that of seeming new every day  to his eyes, in varying my outfits?

In the name of Heaven, Messieurs, stay away from Metaphysics, Morals, and even the Maxims of wisdom, that the superannuated Coquette of Brive-la-Gaillarde demands; it is not from those that we want to borrow from the Capital. Regarding Literature and History, we other Provincials, busy with less important affairs that the Ladies of Court and the City, we have time to read; and we receive, with gratitude, all that you want to put into your Issues, on these two subjects.

I have the honor of being, etc.

D.L.T.

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SECOND PASSE-PARTOUT,

Where one finds almost the same words as in the first, but arranged for a different Tune. ... No, no, Colette is not deceitful.

First line.
1. Yes, yes, a hundred times I repeat it to you,
2. .............. I tell you what I think,
3. .............. I say to you with frankness,
4. .............. I say it without flattery,
5. .............. I tell it to you without scruple,
6. .............. I am like a furnace,
7. No, no, I am not deceitful,
8. Yes, yes, each guesses it of you,
9. .............. you are my sovereign,
10. ............ I lost the Tramontane;

Second line.
---------- Love reigns in my heart.

Third line.
1. It's when I see Colinette, etc.
2. ..................... my Hortense, etc.
3. ..................... my Louise, etc.
4. ..................... Rosalie, -- my Julie, etc.
5. ..................... my Ursule, etc.
6. ..................... my Thérèse,
7. It is for you, Adelaide,
8. It's when I see Justine, -- Christine, etc.
9. It's when I see Madeleine, etc.
10. .................... Marianne, etc.

Fourth line. ---- That I taste happiness.
Yes, yes, etc.

Example of this couplet.
Yes, yes, a hundred times I repeat to you,
Love reigns in my heart;
It's when I see Colinette
That I taste happiness.
Yes, yes, etc.
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THIRD PASSE-PARTOUT

To the tune: Sad reason, etc.

First line.
1. You know the faithful Bastienne;
2. ................................ Bathilde,
3. ................................ Artemise,
4. ................................ Nanette, etc.

Second line. ------- Who for (1. Bastien, 2. Colin, 3. Mausole, 4. Lubin)* had a tormented heart:

Third line. --------- Thus today my love for (1. Hélène, 2. Clothilde, 3. Louise, 4. Fancherre)

Fourth line. ------- Will be known for my fidelity.

Example.

You know the faithful Bastienne,
Who for Bastien had a tormented heart:
Thus today my love for Hélène
Will be known for my fidelity.

A Suite of Passe-Partouts, in the next No.

* Couples from operas and history: Les Amours de Bastien et Bastienne (Justine Favart and Harny de Guerville, 1753); possibly L'Union de l'Amour et des Arts (Floquet, 1773); Artemisia II of Caria and her husband/brother Mausolus (d. 350 and 353 BCE, respectively); "a scandalous Belgian couple ... in the late eighteenth century"

More about → Cabinet des Modes, 8e Cahier, 3e Planche

Cabinet des Modes, 7e Cahier, 3e Planche

PLATE III.

It represents two Bergères of the most agreeable form.

The first, on the left, is in cannelé, chiné, and striped silk.
The wood, walnut, sculpted and gilded.

The second, on the right, is in cannelé, striped silk.
The wood, also walnut, sculpted and gilded.

 It is at the shop of M. BOUCHE the younger, no. 73, at the Gold eagle, rue de la Verrerie, in Paris, that the objects described in the two last Plates are found, as well as all the Furniture of the newest taste.
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Jewels of the most distinguished taste, which are found at the shop of M. Grancher, at the Shop of the Little Dunkirk, quai de Conti, near the Pont-Neuf, in Paris.

Ring, with a bouquet composed of little diamonds on blue composition.
Bracelets with gold plaquettes, fashionable, with little caskets.
Candy boxes in artificial crystal, decorated with gold and enamel.
Flat watch, in gold, enameled in the style of a Peacock's tail: face two inches in diameter, Arabic numerals ranged regularly.
Arrows in diamond to fasten kerchiefs: monograms are made for the same purpose.
Silver sword, inlaid with gold, trimmed with stones from Cayenne.
Scissors with steel arms, decorated with gold, silver, and the same stones.
Large Seal with two faces, trimmed with fine pearls.
Workbags, in boat shape, called à l'Anglaise.
Embroidered garters, with springs, imitating the English.
Purse of silk net, very fine, spotted with tamboured flowers, trimmed with drawstrings and fringe in steel beads. There are some trimmed with drawstrings and gold fringe.
False Watch with two enameled faces; one side serving as a barometer, and the other as a compass, very-accurate.
Punchbowl, in painted and varnished metal, silvered inside.
Polished steel button, with monograms, engraved.
Other of steel encrusted with gold in relief, of diverse colors; a type of very-precious jewels, which produces the greatest effect: the steel being hardened, it is protected from rust.
This Novelty, which is adopted in all sorts of Works of Jewelry, is made in the Workshop of M. Grancher, in Clignancourt.
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A very fashionable amusement of society is to make impromptu Songs. Many people think that to possess this talent, one must be nothing less than a Poet; however almost everyone can acquire it, and even exercise it with success; it suffices to know the rules of versifying, which take two or three hours of study; to have then in one's memory a certain number of Passe-partouts, that is to say, general Couplets, which agree, so to speak, through addition or subtraction of some words, with all names and all states.

With this provision, one tries to give rise, in Company, to the occasion of speaking of the art of improvisation, and to be asked for some couplets. It is not necessary to anticipate, nor to fear letting some little negligences in one's songs escape; they lead to the belief in Listeners, that one is really improvising: with assurance, one can even persuade them that one has received from Nature this marvellous talent to a supreme degree.

We will give next, as objects of fashion, some samples of Passe-partout which are the subject here.
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PASSE-PARTOUT,

Serving to extemporize an erotic Song for such a young Person that one judges to be relevant, on the tune: Play my Musette.

First line. It varies according to the necessity of the rhyme:
1. One hundred times I repeat it,
2. For a long time I have burned,
3. I say what I think,
4. I say without flattery,
5. I speak with frankness,
6. Hot as a furnace,
7. I am never false,
8. Everyone guesses,
9. My heart loves its chain,
10. I lose the Tramontane,

Second line, which varies according to the name of the Person.
1. I adore my Annette, - my Suzette, etc.
2. I adore my Ursule,
3. I cherish my Hortense, - my Constance, etc.
4. How I love Rosalie, - my Julie, etc.
5. And I love my Louise, - Denise, etc.
6. I adore my Thérèse,
7. I adore Adelaide,
8. How I cherish Justine, - Christine, etc.
9. And I love Madeleine, - my Hélène, etc.
10. When I see Marianne, - my Suzanne, etc.

The 3rd and 4th lines never vary.
In reining over my heart,
She makes my well-being.

(This is the first Couplet.)

The other Couplets can be sung in the following manner, according to whether the Person is blonde or brunette.

Second Couplet.

Let's celebrate this Blonde/Let's sing of this Brunette,

And the Echo responds/repeats.

Without a doubt it is infatuated

With the name I cherish.

Third Couplet.

My Song, beautiful Blonde/my Brunette,

Will please everyone/Will never be made,

If I celebrate in verse,

All your diverse talents.

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Note. One sees that each first line of the first Couplet, corresponds, by its number, with each second line of the same Couplet.

Example.

1. A hundred times I repeat,

1. I adore my Annette.

In reigning over my heart,

She makes my well-being.

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More Passe-Partouts, in the next No.
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The Cabinet des Modes being expanded into all the Provinces, as well as in foreign Countries, we invite Admirers, Artists, Artisans, Makers, and Manufacturers, to give notice to M. ALLEMAND, the house of M. Piot, Wine Merchant, rue Saint Marguerite, in the suburb of Saint Germain, in Paris, of everything they invent or perfect, in both Dress and Parures for one or the other sex, and in the Furniture of every type, Decorations, Embellishments for rooms, Carriage shape, Jewels, Works of Goldsmithy, and generally in all objects of use, convenience, Fashion, or agreeableness.

In having care to frank Letters and Packets, one can also send Notices and exact Descriptions to the same address, with Designs and Plans which could be necessary for publishing them, to make known their merit or agreeableness, and to facilitate all the advantages that are wanted to explain them.

More about → Cabinet des Modes, 7e Cahier, 3e Planche