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+*** START OF THE PROJECT GUTENBERG EBOOK 44570 ***
+
+THE SUNSHADE
+
+THE GLOVE--THE MUFF
+
+
+
+
+ THE SUNSHADE
+
+ THE GLOVE--THE MUFF
+
+ BY
+
+ OCTAVE UZANNE
+
+ /ILLUSTRATED BY PAUL AVRIL/
+
+ LONDON
+ J. C. NIMMO AND BAIN
+ 14, KING WILLIAM STREET, STRAND, W.C.
+ 1883
+
+
+
+
+PREFACE
+
+
+After /the brilliant success which attended, in the spring of last
+year, our volume on/ The Fan--/a success which was the result, as
+I cannot conceal from myself, much more of the original conception
+and decorative execution of that work of luxe than of its literary
+interest--I have determined to close this series of/ Woman's
+Ornaments /by a last little work on the protective adornments of
+that delicate being, as graceful as she is gracious/: The Sunshade,
+the Glove, the Muff. /This collection, therefore, of feminine toys
+will be limited to two volumes, a collection which at first sight
+appeared to us so complex and heavy that a dozen volumes at least
+would have been required to contain its principal elements. This,
+doubtless, on the one hand, would have tried our own constancy, and
+on the other, would have failed in fixing more surely the inconstancy
+of our female readers. The spirit has its freaks of independence, and
+the unforeseen of life ought to be carefully economised. Moreover,
+to tell the whole truth, the decorative elegance of a book like
+the present hides very often beneath its prints the torture of an
+intellectual thumbscrew. The unhappy author is obliged to confine his
+exuberant ideas in a sort of strait-jacket in order to slip them more
+easily through the varied combinations of pictorial design, which
+here rules, an inexorable Mentor, over the text./
+
+/In a work printed in this manner, just as in a theatre, the/ mise
+en scène /is often detrimental to the piece; the one murders the
+other--it cannot be otherwise--the public applauds, but the writer
+who has the worship of his art sorrowfully resigns himself, and
+inwardly protests against the condescension of which he has had
+experience/.
+
+/Two volumes, then, under a form which thus imprisons the strolling,
+sauntering, inventive, and paradoxical spirit, will be sufficient for
+my lady readers. Very soon we shall meet again in books with vaster
+horizons, and "ceilings not so low," to employ an expression which
+well describes the moral imprisonment in which I am enveloped by the
+graces and exquisite talent of my collaborateur, Paul Avril/.
+
+/Let it be understood, then, that I have no personal literary
+pretensions in this work. As the sage Montaigne says in his/ Essays,
+"/I have here but collected a heap of foreign flowers, and brought of
+my own only the string which binds them together./"
+
+ /OCTAVE UZANNE./
+
+
+
+
+THE SUNSHADE
+
+/THE PARASOL ---- THE UMBRELLA/
+
+
+The author of a /Dictionary of Inventions/, after having proved the
+use of the Parasol in France about 1680, openly gives up any attempt
+to determine its precise original conception, which indeed seems to
+be completely concealed in the night of time.
+
+It would evidently be childish to attempt to assign a date to the
+invention of Parasols; it would be better to go back to Genesis at
+once. A biblical expression, /the shelter which defends from the
+sun/, would almost suffice to demonstrate the Oriental origin of
+the Parasol, if it did not appear everywhere in the most remote
+antiquity--as well in the Nineveh sculptures, discovered and
+described by M. Layard; as on the bas-reliefs of the palaces or
+frescoes of the tombs of Thebes and Memphis.
+
+In China they used the Parasol more than two thousand years before
+Christ. There is mention of it in the /Thong-sou-wen/, under the
+denomination of /San-Kaï/, in the time of the first dynasties, and a
+Chinese legend attributes the invention of it to the wife of Lou-pan,
+a celebrated carpenter of antiquity. "Sir," said this incomparable
+spouse to her husband, "you make with extreme cleverness houses for
+men, but it is impossible to make them move, whilst the object which
+I am framing for their private use can be carried to any distance,
+beyond even a thousand leagues."
+
+And Lou-pan, stupefied by his wife's genius, then saw the unfolding
+of the first Parasol.
+
+Interesting as these legends may be, handed down by tradition to the
+peoples of the East, they have no more historical credit than our
+delicate fables of mythology: they preserve in themselves less of
+the poetic quintessence, and above all seem less connected with that
+mysterious charm with which Greek paganism drowned that charming
+Olympus wherefrom the very origins of art appear to descend.
+
+Let the three Graces be represented burned by Apollo, tired of
+flying through the shadows, where Fauns and Ægipans lie in ambush,
+or let these three fair ones be painted in despair at the fiery
+sensation of sunburning which brands their epidermis; let them invoke
+Venus, and let the Loves appear immediately, bearers of unknown
+instruments, busily occupied in working the little hidden springs,
+ingeniously showing their different uses and salutary effects; let
+a poet--a Voltaire, a Dorat, a Meunier de Querlon, or an Imbert
+of the time--be kind enough to forge some rhymes of gold on this
+fable; let him, in fine, inspired by these goddesses, compose an
+incontestable master-piece, and behold /the Origin of the Sunshade/!
+graven in pretty legendary letters on the temple of Memory, not to be
+contradicted by any spectacled /savant/ in the world.
+
+But if no poet, in smart affected style, has told us in rhyme /the
+Story of the Parasol/, many poets of all times have recalled the use
+of it in precious verses, which appear to serve as landmarks for
+history, and as references to discoveries of archæology. In ancient
+Greece, in the time of the festivals of Bacchus, it was the custom,
+not then confounded with fashion, to carry a Sunshade, not so much
+to extenuate the ardour of the sun, but as a sort of religious
+ceremonial. Paciaudi, in his treatise /De Umbellæ Gestatione/,
+shows us on the carriage on which the statue of Bacchus is placed a
+youth seated, the bearer of a Sunshade, a sign of divine majesty.
+Pausanias, in his /Arcadics/, mentions the Sunshade in describing the
+festivals of Alea in Argolis, whilst later on, in the /Eleutheria/,
+we see the Parasol also. Lastly, after having painted for us, in a
+marvellous description of Alexandria on a holiday, the hierophants,
+bearers of emblems and the mystic vase, the Monads covered with ivy,
+the Bassarids with scattered hair wielding their thyrsus, Athenæus
+suddenly shows us the magnificent chariot of Bacchus, where the
+statue of the god, six cubits high, all in gold, with a purple robe
+falling to his heels, had over his head a Sunshade ornamented with
+gold. Bacchus alone, of all the gods, had the privilege of the
+Sunshade, if we rely on the evidence of ancient monuments, earthen
+vases, and graven stones drawn from the museums of Stosch and other
+archæologists.
+
+As a result of their frequent relations with the Greeks after the
+death of Alexander the Great, the Jews appear to have borrowed from
+the Gentiles, in the celebration of their Feast of Tabernacles,
+the use of the Sunshade. The subjoined medal of Agrippa the Old,
+struck by the Hellenised Jews, in some sort supports this, although
+Spanheim, in a passage relating to this medal, says he has hesitated
+a long while as to the signification of the symbols which it
+represents. Do the ears of corn mark the fertility of the governed
+provinces, or do they refer to the Feast of Tabernacles? As for
+the tent on the obverse, it is little probable that it represents
+a tabernacle according to Moses' rite, since the roofs of these
+tabernacles, far from being pointed, were flat and cloven in the
+midst, so as to allow rain, sun, and starlight to pass through. It
+must then be the Sunshade, the emblem of royalty; this at least seems
+probable.
+
+The Parasol played among the Greeks a very important part, as well in
+the sacred and funeral ceremonies as in the great holidays of nature,
+and even in the private life of the noble ladies of Athens.
+
+The Parasol in its elegant form may be seen drawn on the majority of
+Greek vases, either painted with straight or arched branches, concave
+or convex, or in the shape of a hemisphere or a tortoise's back. But
+the Sunshade with movable rods, opening or shutting, existed at that
+time, as is sufficiently indicated by the phrase of Aristophanes in
+the /Knights/ (Act v. Scene 2)--"His ears opened and shut something
+like a sunshade."
+
+An archæologist might amuse himself with writing a special work on
+the rôle of the Sunshade in Greece; documents would not fail him;
+nay, the book would soon grow big, and might bristle with notes from
+all quarters, abounding in the margins, after the example of those
+good solid volumes of the sixteenth century, which none but a hermit
+would have the leisure to read conscientiously to-day. Such is not
+our business in this light chapter.
+
+One cannot exactly say for what motive the Sunshade was carried
+by young virgins in all the processions in the Thesmophoria, the
+festivals of Eleusis, and the Panathenæa. Aristophanes calls the
+baskets and the white Sunshades "symbolic instruments, destined to
+recall to human beings the acts of Ceres and Proserpine."
+
+Perhaps it is not necessary to search beyond this Aristophanic
+definition, which may on the whole entirely satisfy us. Moreover,
+these Sunshades were white, not, say they, because the statue erected
+by Theseus to Minerva was of that colour, but because white marked
+the liveliest joy and pomp according to Ovid, who recommends very
+carefully in his /Fasti/ the wearing in sign of rejoicings white
+tunics worthy of pleasing Ceres, in whose cult both the priestesses
+and the things they used ought to be entirely white.
+
+In a man, according to Anacreon, the carrying a Parasol was the mark
+of a libertine and effeminate life; one might draw an analogous
+conclusion from a scene in the /Birds/ of Aristophanes, in which
+Prometheus, through fear of Jupiter, cries to his slave, before
+abandoning himself to a sweet passion for Venus only, "Quick, take
+this sunshade, and hold it over me, in order that the gods may not
+see me."
+
+It is also doubtless for the same reason, which virtually interdicted
+the use of the Parasol to men, that the daughters of the Metœci,
+or strangers domiciled at Athens, carried, according to Ælian,
+the sunshade of the Athenian women in the spectacles and public
+ceremonies, whilst the fathers carried the vases destined for the
+sacrifices.
+
+The Θολἱα, or "Sunshade Hat," succeeded the Parasol properly so
+called. It is of these Θολἱα that Theocritus speaks in several
+places; it is also this hat, and not a Sunshade, which we must see in
+the curious medal above, stamped by the Ætolians, which represents
+Apollo bearing this strange hat, in the style of Yokohama, hanging on
+his back.
+
+From the most distant epochs the Sunshade has been considered, so
+far as it is the attribute of gods and sovereigns, as the ensign
+of omnipotence. We see it playing this supreme rôle, not only by
+right of an emblem of blazonry, in the curious dissertation of the
+Chevalier Beatianus /On a Sunshade of vermeil on a field argent,
+symbol of power, sovereign authority and true friendship/, but also
+we see it universally adopted as a sign of the highest distinction by
+Oriental peoples, to be displayed over the head of the king in time
+of peace, and occasionally in time of war.
+
+It is thus that it may be contemplated on the sculptures of ancient
+Egypt, where its usage was not exclusively indeed reserved to the
+Pharaohs, but sometimes also to the great dignitaries, but to
+these only. There is to be seen in Wilkinson a strange engraving
+representing an Æthiopian princess seated on a /plaustrum/ or
+carriage drawn by oxen, and having behind her a vague personage armed
+with a large Parasol of an undecided form, something between the
+screen and the /flabellum/ in the segment of a circle. Is it not also
+in sign of adoration that it was the custom to put above the heads of
+divine statues crescents, Sunshades, little spheres, which served not
+only to guarantee these august heads against the injuries of time and
+the ordures of birds, but also to set their physiognomy in relief as
+by a nimbus or crown of paganism?
+
+The kings or satraps of Persia of the oldest dynasties were sheltered
+by the sovereign Parasol. Chardin, in his /Voyages/, describes
+bas-reliefs of a time long before that of Alexander the Great,
+in which the king of Persia is frequently represented sometimes
+just about to mount his horse, at others surrounded by young
+slave-girls--beautiful as day, as a poet might write for sake of
+a simile--among whom one inclines a Sunshade, while another uses
+a flyflap made of a horse's silky tail. Other bas-reliefs, again,
+represent the Persian monarch on a throne, at the conclusion of a
+victorious battle, whilst the rebels are being crucified, and writhe
+under the punishment, and prisoners brought up, one after the other,
+make humble submission. Here the Sunshade has the floating appearance
+of a glorious standard. It symbolised also the power of life and
+death, vested in the savage conqueror over the unfortunate conquered,
+delivered up wholly to his mercy.
+
+In ancient India, the cradle of the human race, as it is said, the
+Parasol in every time, and more than anywhere else, is unfolded in
+its splendour and the grace of its contexture, as an immutable symbol
+of royal majesty. It seems really that it was under the deep azure
+of the admirable Indian sky that the coquettish instrument, of which
+we are exposing here by literary zigzags the historic summary, was
+invented. It must have been born there first as a fragile buckler to
+oppose the ardour of the sun; afterwards, doubtless, it developed,
+little by little, into a large dome, carried in the arms of slaves,
+or on the back of an elephant, showing the sparkle of its colours,
+the originality of its form, the richness of its tissues, all
+overloaded with fine gold and silver filigree, making its spangles
+and jewels scintillate in the full leaping light, in the slow
+oscillation given to it by the march of its bearers, or the swayings
+of a heavy pachyderm, in the midst of magic powers, of dancers and
+enchantments without number among the most bizarre palaces of the
+world.
+
+In Hindostan the large Parasol is commonly called /Tch'hâtâ/, the
+small ordinary Parasol /Tch'hâtry/, and the bearer of the Parasol for
+dignitaries /tch'hâtâ-wâlâ/.
+
+The Parasol /of seven stages/ (/savetraxat/) is the first ensign of
+royalty: it is found graven on the royal seal. The mythology and
+literature of the Hindoos are, so to speak, confusedly peopled with
+Parasols. In his fifth incarnation, Vishnu descends to Hades with a
+Parasol in his hand. On the other hand, from the seventh century,
+Hiouen Thsang has remarked, according to the rites of the kingdom of
+Kapitha, Brâhma and Indra were represented holding in their hand, one
+a flyflap, the other a Parasol. In the /Râmayana/ (ch. xxvi. /scloka/
+12), Sitâ, speaking of Râma, whose beautiful eyes resemble the petals
+of the lotus, expresses herself thus--"Covered with the Parasol
+striped with a hundred rays, and such as the entire orb of the moon,
+why do I not see thy most charming face shining beneath it?"
+
+We read also in the /Mahâbârata/ (/sclokas/ 4941-4943)--"The litter
+on which was placed the inanimate body of the monarch Pândou was
+adorned with a flyflap, a fan, and a white /Sunshade/; at the sound
+of all the instruments of music, men by hundreds offered, in honour
+of the extinguished shoot of Kourou, a crowd of flyflaps, /white
+Sunshades/, and splendid robes."
+
+The Mahratta princes who reigned in Punah and Sattara held the title
+of /Tch'hâtâ pati/, "Lord of the Parasol;" and we are told that one
+of the most esteemed titles of the monarch of Ava was also that
+of "King of the White Elephant, and Lord of the Four-and-twenty
+Parasols."
+
+When, in 1877, the Prince of Wales, future inheritor of the throne of
+England, undertook his famous voyage into India, it was absolutely
+necessary--says Dr. W. H. Russell, the scrupulous historian of that
+princely expedition--in order to make him known to the natives, to
+set the Prince upon an elephant, and to hold over his head the golden
+Sunshade, symbol of his sovereignty.
+
+There may be seen to-day in the South Kensington Museum, in the
+admirable Indian gallery which has just been installed, some score
+of the Parasols brought back by the Prince from his voyage, of which
+each particular type deserves a description which cannot, alas! to
+our sincere regret, find its place here. One may admire there the
+state Umbrella of Indore, in the form of a mushroom; the Sunshade of
+the Queen of Lucknow, in blue satin stitched with gold and covered
+with fine pearls; next the Parasols of gilt paper, others woven of
+different materials, some entirely covered with ravishing feathers of
+rare birds, all with long handles in gold or silver, damascened, in
+painted wood, in carved ivory, of a richness and an execution not to
+be forgotten.
+
+Let us tear ourselves away, as in duty bound, from Hindustan, to meet
+again with the Parasol on more classic ground in ancient Rome, in the
+middle of the Forum and of the games of the Circus. The Sunshade is
+found very frequently in the most ancient paintings, on stones and
+vases of Etruria, a long while even before the Roman era. According
+to Pliny and Valerius Maximus, it is from Campania that the Velarium
+comes, which is destined to defend the spectators from the sun. The
+use of /the private Sunshade for each person/ established itself by
+degrees on those days when, on account of the wind, the Velarium
+could not be used. Martial says in his /Epigrams/ (Book IV.):
+
+    /Accipe quæ nimios vincant umbracula soles
+      Sit licet et ventus, te tua vela tegent./
+
+People used the Sunshade not only at theatres, but also at battles,
+and above all in the promenade. Ovid, in his /Fasti/, shows us
+Hercules protecting his well-beloved Omphale by means of a Sunshade
+from the sun's rays:
+
+    /Aurea pellebant tepidos umbracula soles
+      Quæ tamen Herculeæ sustinuere manus./
+
+This image of Hercules carrying a light Parasol would surely be
+worthy to replace the used-up theme of the distaff?
+
+The ancient Romans brought to the decoration of their Parasols a
+magnificence unknown in our days. They borrowed from the East its
+stuffs, its jewels, its ornamental style, to enrich in the best
+manner possible these pretty portable tents. When Heliogabalus,
+forgetting his sex, after the example of the priests of Atys,
+appeared on his car clothed with the long dress and all the gewgaws
+that women wear; when he caused himself to be drawn along surrounded
+by legions of nude slave-girls, he carried a fan in the guise of a
+sceptre; and not only was there a golden Parasol in the form of a
+dais stretched over his head, but also at each side two /umbelliferæ/
+held light Sunshades of silk, covered with diamonds, mounted on
+Indian bamboo, or on a stem of gold carved and encrusted with the
+most wondrous jewels.
+
+In the train which accompanied a matron on the Appian Way, if we can
+believe the historian of /Rome in the age of Augustus/, two slaves
+were obligatory: the fan-bearer (/flabellifera/) and the follower
+(/pedis sequa/). The latter carried an elegant Parasol of linen
+stretched over light rods at the extremity of a very long reed, so
+that, at the least sign of her mistress, she might direct over her
+the shadow of this movable defence.
+
+The Roman Umbrella seems to have been nothing but a simple morsel of
+leather, according to these verses, which Martial wrote by way of
+advice:
+
+    /Ingrediare viam cœlo licet usque sereno;
+      Ad subitas nunquam scortea desit aquas./
+
+This "leather cloth" was assuredly an Umbrella, which, except perhaps
+in weight, need have envied nothing of our own.
+
+At Rome, as at Athens, the Sunshade appears to have hidden people
+from the looks of the gods, for, according to Montfauçon, even the
+Triclinia were covered with a sort of Sunshade, that folk might
+deliver themselves more mysteriously to orgies of every kind and to
+the pleasures of Venus.
+
+The material used in the manufacture of Sunshades was originally,
+according to Pliny, leaves of palm divided into two, or the tresses
+of the osier; afterwards they were made in silk, in purple, in
+Eastern stuffs, in gold, in silver; they were adorned with Indian
+ivory; they were starred with trinkets and jewels. One author tells
+us even of Sunshades made out of women's hair--/the hair of women so
+arranged as to supply the place of a Sunshade/.
+
+Singular headdress or singular Parasol!
+
+Juvenal speaks of a green Sunshade sent with some yellow amber to a
+friend to celebrate her birthday and the return of spring.
+
+    /En cui tu viridem umbellam, cui succina mittas
+    Grandia, natalis quoties redit, aut madidum ver
+    Incipit./
+
+And with regard to this /green/ Sunshade, apropos of the /viridem/,
+all the commentators enter into the field, and make a deafening noise
+to explain that the epithet had no reference to the colour of the
+Sunshade, but to the spring.
+
+Let us, if you please, leave Rome, without entering into these idle
+dissertations.
+
+It would be difficult for us to find in the Middle Ages numerous
+manifestations of the Sunshade in private life; it was evidently
+adopted in the ceremonies of the Christian Church and in the royal
+/entrées/; but it was especially the privilege of the great, and
+never appeared save on solemn days in the processions, as later on
+the dais, reserved for kings and ecclesiastical nobles.
+
+At Venice the Doge had already his celebrated Sunshade in 1176.
+The Pope Alexander III. had accorded to the Venetian chiefs the
+right to carry the Sunshade in the processions. Under the reign of
+the Doge Giovanni Dandolo (1288) it was ordered that the pretty
+golden statuette of the Annunciation should be added, which is seen
+represented at the top of the Sunshade of the Venetian dogate.
+
+One can get some idea of this marvellous Sunshade, all of gold
+brocade, and of a pompous and original shape, by looking at most of
+the prints of the time, and particularly at the celebrated engraving
+of the /Procession of the Doge/, as well as at the pictures of
+Canaletto, Francesco Guardi, Tiepolo, and the greater number of the
+charming Venetian painters of the eighteenth century.
+
+It seems evident that the Roman Gauls knew the use of the Parasol,
+but it would not be easy to demonstrate its existence logically in
+the martial and Gothic epochs. One can scarcely imagine these men
+of arms, these gentle pages, and these noble damsels, with their
+lofty head-gear and long dress, defended by a frail silken /encas/
+(in case). They feared not then assuredly either sun or rain; they
+dreamed of nought but /batailloles/ (little battles), according
+to the language of that day; everything was done in honour of the
+ladies, after the laws of the good King René, and the ladies would
+certainly never have wished at the hour of the glorious tournaments
+to shelter themselves at the approaches of the lists, against a sun
+which sparkled on the breastplate of their brave knights with as much
+brightness as the hope which shone in their eyes.
+
+Let us come now to China, to find there Parasols and Umbrellas in
+great honour, since the beginning of the dynasty /Tchéou/ (eleventh
+century before Christ).
+
+"The Umbrellas of that time," says M. Natalis Rondot, "resembled
+ours; the mounting was composed of twenty-eight curved branches, and
+covered with silken stuff. The Parasols were of feathers.
+
+"After the /Thong-ya/, it is only under the first Wei (A.D. 220-264)
+that gentlemen began the use of Parasols; these Parasols were most
+frequently made of little rods of bamboo and oiled paper; pedestrians
+never made use of them before the second Wei (386-554). Parasols
+figure ordinarily in processions and funerals since the seventh
+century. Thus, in 648, at the time of the inauguration of the
+Convent of the Grand Beneficence, at Si-ngan-Fou, one counted--says
+the historian of the /Life of Hiouen thsang/--only in the procession
+three hundred Parasols of precious stuffs. The Parasol in China, as
+in India, has always been a sign of elevated rank, although it has
+not been exclusively used by emperors and mandarins. Formerly, it
+seems, four-and-twenty Parasols were carried before the Emperor when
+his Majesty went to the chase.
+
+"A Chinese of a rank at all elevated, such as a mandarin, a bonze,
+or a priest, never goes out without a Parasol, according to M.
+Marie Cazal, a Sunshade manufacturer, who, about the year 1844,
+wrote a small /Essay on the Umbrella, the Walking-stick, and their
+Manufacture/.--'Every Chinese of a superior order is followed by his
+slave, who carries his Parasol extended over him.'
+
+"The Umbrella in China is destined to the same use as the Parasol,
+says M. Cazal: it belongs to all. Never, when the weather is the
+least degree doubtful, does a Chinese go out of doors without his
+Umbrella. Even horses are sheltered, as well as elephants, by
+Parasols or Umbrellas fastened to branches of bamboo. Their drivers
+take very good care not to illtreat them; imbued as they are, like
+every good Chinaman, with the doctrines of metempsychosis, they
+fear to torture the soul of their father or their grandfather,
+reduced, in order to expiate his faults, to animate the body of these
+quadrupeds."
+
+The Umbrellas and Parasols which are most common in China resemble
+very much those which are imported into Europe; they are made
+entirely of stalks of bamboo, disposed with enormous art, and covered
+with oiled, tarred, or lacquered paper. Some are coloured, and have
+printed on them religious allegories or sentences of Confucius.
+
+All the voyages in China and around the world are filled with details
+of the Chinese Parasol. "The Chinese women, whose feet have been
+compressed from infancy," remarks M. Charles Lavollée, "can scarcely
+walk, and are obliged to support themselves on the handle of their
+Parasol, which serves them for a walking-stick."
+
+The Parasol and the Fan in China play a rôle so considerable, that it
+would be necessary to write a special monograph on each of these two
+objects in order to consider properly their importance in the history
+of the country and its current manners. In a general and summary
+sketch like the present, must we not skim through, rather than sew
+together documents collected with difficulty, or found within reach,
+and leave aside the more bulky bundles, under pain of foundering in
+the folio form of heavy dictionaries?
+
+Everywhere on the exquisite decorative combinations of Japan,
+we see a large Parasol opened amidst delicate peach-blossoms,
+gracious flights of strange birds, indented leaves, and rosy
+ibises. Sometimes, on the inimitable paintings of the enamelled
+vases, the Japanese Sunshade shelters a king's daughter, escorted
+by her followers, who makes her chaste preparations for entering
+the bath; sometimes, on a thin gauze, the Parasol half hides women,
+promenading on the margin of some vast blue lake, full of ideal
+dreams. Sometimes, in fine, in a fantastic sketch of an album, which
+one reads as a riot of the imagination, is perceived some human
+being excited to a singular degree, with hair tossed by the wind,
+and haggard eye, floating at the will of the tumultuous waves on a
+Parasol turned upside down, to the handle of which he clings with
+the energy of despair. The plates of the /Voyage de Ricord/, and
+especially the old Japanese albums, are useful to consult in order
+to understand better the varieties of forms of the Sunshade in
+Japan. We gain a bizarre notion of the effects and services which a
+Japanese can obtain from a common Parasol of his country by looking
+at the games of the acrobats who come to us occasionally from Tokio,
+Yedo, or Yokohama. Théophile Gautier, who was highly astonished, and
+not without reason, at the quickness, grace, and daring of these
+marvellous equilibrists, has left us on this matter the fairest
+pages, perhaps, of his /Feuilletons de Lundiste/. The worthy Théo,
+that Gallic Rajah borrowed from these clowns, astonishing in their
+lightness, an enthusiasm which put on his palette as a colourist
+the most vibrating tones and the finest shades. The Sunshade and
+the Fan are in fact presented by these magicians of the East with
+particular graces in the jugglery of the most varied exercises. Here
+it is a ball of ivory which rolls with the bickering of a babbling
+stream over the lamels or ribs of the Sunshade; there it is a Parasol
+held in equilibrium on the blade of a dagger, and a thousand other
+astonishing inventions. All these fascinating feats of skill cannot
+be described save in the manner of Gautier, in other words, by
+veritable pen-pictures. Admirable interpretation of things glimpsed
+at!
+
+In the tea-houses of Tokio, the pretty /Geishas/ often employ, to
+mimic an expressive dance, the Fan and the little paper Parasol.
+
+One of the most usual of their dances, managed something like our
+ballets, is called the Rain-dance. This is the way in which a
+/Globe-trotter/ gives an account of its leading idea and character:--
+
+"Some young girls prepare to leave their homes, and to pose as
+beauties in the streets of Yedo. They admire each other in playing
+their fans, they are dressed in superb toilets--they are sure of
+turning the heads of all the young /samouraï/ of the town.
+
+"Scarcely have they got out of doors when a thick cloud appears.
+Great disquietude! They open their Parasol, and make a thousand
+pretty grimaces, to show how sadly they fear the ruin of their
+charming dresses. . . . A few drops of rain begin to fall: they
+quicken their steps on their way home again.
+
+"A burst of thunder occasioned by the /Samisen/ and the drums, is
+heard, which announces a terrible downpour. Then our four dancers
+catch their robes with both hands, and throw them with one sweep
+under their arms, and suddenly turning, take to their heels, showing
+us a row of little . . . . frightened faces, saving themselves at the
+full speed of their legs."
+
+What a series of pantomimes, in which the Sunshade must assume in the
+hands of the charming /Geishas/ the most seductive positions!
+
+"Among the Arabs the Parasol was a mark of distinction" (as we learn
+from M. O. S., the English reporter of a commission which published a
+small notice on /Umbrellas, Parasols, and Walking-sticks/ in London
+about 1871). There is the same importance attached to it among
+certain blacks of Western Africa, who have probably borrowed it from
+the Arabs. Niebuhr, in the description of the procession of the Imam
+of Sanah, tells us that the Imam, and every one of the princes of
+his numerous family, had carried by their side a /Madalla/ or large
+Parasol. It is in that country a privilege of princes of the blood.
+The same writer relates that many independent chiefs of Yemen bear
+/Madallas/ as a mark of their independence. In Morocco the Emperor
+alone and his family have the privilege of the Parasol. In the
+/Voyages of Aly Bey/ we read in fact:--"The retinue of the Sultan
+was composed of a troop of from fifteen to twenty gentlemen as the
+vanguard; behind them, some hundred paces, came the Sultan, mounted
+on a mule, having beside him, also mounted on a mule, an officer
+carrying the Imperial Parasol. The Parasol is the distinctive sign of
+the sovereign of Morocco. No one but he would dare to use it."
+
+In certain tribes of central Africa explorers speak of having
+encountered, amidst the tribes of the desert, kings half-dressed in
+European old clothes, taken or exchanged no one knows where; and,
+strangely enough, on the top of an old silk hat, half-knocked in, one
+of these negro kings, says a traveller, held with a sort of grotesque
+majesty an old torn Umbrella of which the whalebone appeared to be
+half-broken. This Robert Macaire of the desert, does he not recall
+that pleasant equatorial fantasy of the /Parnassiculet Contemporain/,
+a sonnet terminating with the verses:--
+
+    What then is strange about this desert's pride,
+    Who in the desert without thee had died?
+    Bétani answered, "Child of open mien,
+
+    Where on board ship he comes, I tell you that
+    For full court-dress, this half-blood wears a hat
+    Of an old shako, trimmed with tufts of green!"
+
+This fantasy might serve as a theme for a dissertation on the
+subject, "Whither do worn-out things go?--what becomes of the old
+umbrellas?" It would be a ballad full of colour for a Villon of the
+present time.
+
+To return to France, many writers, romancists or dramatic authors,
+having greater care of the splendour of the /mise-en-scène/ than
+of absolute historic truth, have presented us with some hunting
+parties of the time of Henri II. and Henri III., in which the noble
+huntresses followed the deer on horses magnificently harnessed,
+holding in their hands hexagonal Sunshades fringed with gold and
+enriched with pearls.
+
+We found truly a mention of the Parasol in the /Description of the
+Isle of the Hermaphrodites/; but it was then very rare in France,
+and what is more, very heavy, and handled with such ceremonies that
+a strong lackey must have had considerable difficulty in holding it
+up. From this to place light Sunshades of silk between the dainty
+fingers of "fair and gentle dames" of that time, especially for a
+hunt through the woods, there is, it seems to us, a departure which
+good sense alone, not to mention historic science, is quite enough to
+point out.
+
+The Parasol was still very little known in France, even in the second
+half of the sixteenth century. It is fairly certain that, like the
+/Fan/, and other objects so much in favour with Catherine de Medici,
+it was brought into France out of Italy. Henri Estienne, in his
+/Dialogues of the new French Language Italianised/, 1578, makes one
+of his interlocutors called Celtophile say: " . . . . and /à propos/
+of pavilion, have you ever seen what some of the lords in Spain or
+Italy carry or cause to be carried about in the country, to defend
+themselves, not so much from the flies, as from the sun? It is
+supported by a stick, and so made that being folded up and occupying
+very little space, it can when necessary be opened immediately and
+stretched out in a circle so as to cover three or four persons." And
+Philausone answers: "I have never seen one; but I have heard talk of
+them often; and if our ladies were to see them carrying these things,
+they would perhaps tax them with too great delicacy."
+
+In Italy it is little probable that since the Romans the inhabitants
+of the higher classes have ever unlearned the pleasant use of
+Parasols. The majority of travellers notice them in all epochs, and
+in the /Italian Mysteries/, played in the fourteenth and fifteenth
+centuries, it is nearly certain that at the moment of their naïve
+representation of the Deluge, the Deity appeared on the stage with an
+Umbrella in his hand.
+
+In the /Journal and Voyage of Montaigne/ in Italy, the good
+philosopher, who teaches us so few matters beyond his own personal
+sufferings, deigns, nevertheless, to aver that the supreme good taste
+of the women of Lucca was to have incessantly a Parasol in their
+hands.
+
+"No season," says also elsewhere this charming epicurean essayist,
+"is so much my enemy as the sharp heat of sunshine, for the
+/Sunshades/, which are used in Italy since the time of the ancient
+Romans, charge the arms more than they discharge from the head."
+
+So, too, Thomas Coryat, an English tourist of that time, in his
+/Crudities/ (1611), speaks of the Italian Parasols, after having
+noticed the presence of Fans in the towns through which he had
+travelled: "Many Italians," he says, "do carry other fine things of a
+far greater price, that will cost at the least a ducat (about seven
+francs), which they commonly call in the Italian tongue /Umbrellæs/,
+that is, things that minister shadow unto them for shelter against
+the scorching heat of the sun. These are made of leather, something
+answerable to the form of a little canopy, and hooped in the inside
+with divers little wooden hoops, that extend the /Umbrella/ in a
+pretty large compass. They are used especially by horsemen, who carry
+them in their hands when they ride, fastening the end of the handle
+upon one of their thighs, and they impart so large a shadow unto them
+that it keepeth the heat of the sun from the upper parts of their
+body."
+
+Fabri, in his useful and remarkable work, /Diversarum Nationum
+Ornatus/ (additio) confirms this fact from 1593, in taking care to
+represent a noble Italian, travelling on horseback with a Parasol in
+his hand: "/Nobilis Italus ruri ambulans tempore æstatis/."
+
+What variety this simple detail, more propagated or rather better
+vulgarised among our romancists, would have thrown into the great
+romances of adventure! We should have seen the protecting Sunshade
+marking from a distance, by its colour and elevated shape, the
+presence of the rich traveller to be robbed, in the mountains of
+Tuscany, while the brigands of the time kept their watch in the
+folds of the rocks; then, too, we should surely have witnessed,
+in passionate recitals of heroic combats, the buckler Parasol,
+already full of holes, torn into shreds, yet still serving to
+parry victoriously the blows of the ferocious cut-throats and
+cloak-snatchers.
+
+And how many sonorous and unforeseen titles are there of which we
+have been deprived by this fact of our ignorance: /The Knights of
+the Sunshade/--/The Heroic Parasol/--/The State Courier/, or /the
+Sunshade Recovered/! . . . . and who can say how many more!
+
+The Arsenal, the old Hotel de Sully, preserved for a long time one
+of those Parasols, which librarians named the /Pepin/ (seed-fruit)
+/of Henri IV./ It was very big, and entirely covered with blue
+silk, with long and distinctly precious flowers of the golden lily
+scattered over it. This Parasol, ministerial or royal, is doubtless
+lost, and we speak of it only after the description which the learned
+bibliophile Jacob has given us.
+
+Daniel Defoe, who published his /Robinson Crusoe/ in 1719, was
+one of the first to mention to any extent the Parasol in England.
+Before him, as we shall see farther on, it had been named only very
+summarily in literary works. So firmly fixed in our imaginations as
+men, the children of yesterday, is the great Umbrella of Crusoe, and
+his dreadful alarm on seeing the print of a man's foot on the shore,
+as well as his walks with his dog and /Friday/ the good Caribbee;
+it presents itself, moreover, so clearly in our first literary
+remembrances, that we will reproduce the passage of the journal where
+it is mentioned:
+
+"After this," says Crusoe, "I spent a deal of time and pains to make
+me an Umbrella. I was indeed in great want of one, and had a great
+mind to make one. I had seen them made in the Brazils, where they
+are very useful in the great heats which are there; and I felt the
+heats every jot as great here, and greater too...; besides, as I was
+obliged to be much abroad, it was a most useful thing to me, as well
+for the rains as the heats. I took a world of pains at it, and was a
+great while before I could make anything likely to hold; nay, after I
+thought I had hit the way, I spoiled two or three before I made one
+to my mind; but at last I made one that answered indifferently well;
+the main difficulty, I found, was to make it to let down: I could
+make it to spread, but if it did not let down too, and draw in, it
+would not be portable for me any way, but just over my head, which
+would not do. However, at last, as I said, I made one to answer; I
+covered it with skins, the hair upward, so that it cast off the rain
+like a pent-house, and kept off the sun so effectually, that I could
+walk out in the hottest of the weather, with greater advantage than
+I could before in the coolest; and when I had no need of it, I could
+close it and carry it under my arm."
+
+And this Parasol, for a century and a half, has been popularised by
+the engraver, with its dome of hair and rude manufacture; and so all
+the poor little prisoners at school invoke it, and dream often that
+they carry it in some desert isle, for it represents to their eyes a
+life of open air and liberty.
+
+       *       *       *       *       *
+
+Before Daniel Defoe, Ben Jonson had already mentioned the Parasol in
+England in a comedy played in 1616; and Drayton, sending some doves
+to his mistress in 1620--a delicious lover's fancy--formulated in his
+passioned verses the following desire: "/May they, these white turtle
+doves I send you, shelter you like Parasols under their wings in
+every sort of weather./"
+
+In the relation of his /Voyage in France/ in 1675, Locke, speaking
+of Sunshades, says: "These are little articles and very light, which
+women use here, to defend themselves from the sun, and they seem
+to us very convenient." Afterwards the English ladies desired to
+possess these pretty Parasols, although, by reason of their climate,
+such things could hardly be of any use to them. It was not, however,
+till the eighteenth century that a London manufacturer bethought
+himself of inventing the Sunshade-Fan, compared with which it appears
+the French folding /marquises/ were as nothing. This ingenious
+fabricator made a considerable fortune; but if we are to believe the
+/Improvisateur François/, his invention was rapidly imitated and much
+improved in Paris. Why has it not been preserved to our own days?
+
+But let us linger in this seventeenth century, and remain awhile
+in France, where the Parasol was not in use, save at court among
+the great ladies. Men never used it to shelter themselves from the
+rain--the cloak and sword were still alone in fashion.
+
+Ménage tells us in his /Ménagiana/, that being with M. de Beautru,
+about 1685, in the midst of a pouring rain at the door of the Hôtel
+de Bourgogne, up came a Gascon gentleman, without a cloak, and nearly
+wet through; the Gascon, seeing himself stared at, cried out, "I
+would lay a wager now my people have forgotten to give me my cloak."
+To which M. de Beautru quickly replied, "I go halves with you."
+
+The silk Sunshade, however, properly so called, appeared in the hands
+of women of quality, at the promenade, on the race-course, or in the
+vast alleys of the royal park of Versailles, towards the middle of
+the reign of Louis XIV. The Umbrella of that time was an instrument
+astonishingly heavy and very coarse in appearance, which it seemed
+almost ridiculous to hold in the hand. In 1622 it was in some measure
+a novelty in Paris, since in the /Questions Tabariniques/, cited by
+that useful author, the late M. Édouard Fournier, in /The Old and the
+New/, we read these lines about the famous felt hat of Tabarin:--
+
+"It was from this hat that the invention of Parasols was drawn, which
+are now so common in France that they are no longer called Parasols,
+but /Parapluyes/ (Umbrellas) and /Garde-Collet/ (collar guards), for
+they are used as much in winter against the rain as in summer against
+the sun."
+
+The most ancient engraving or /documentary/ image of French manners
+in which we see a Parasol is dated 1620. It is the frontispiece of a
+Collection of Saint Igny, /The French Nobility at Church/.
+
+Parasols, however, were still very little used in the seventeenth
+century; the /Précieuses/ who, instead of saying "It rains," cried
+out, "/The third element falls!/" would never have missed finding
+some amiable qualificative to designate this necessary article
+invented against Phœbus and Saint Swithin. But Saumaise reveals to us
+nought on this subject, and one would be almost tempted to believe
+that the /Philamintes/ and /Calpurnies/ attached no importance to
+this "rustic and movable Pavilion." What, however, is clearly shown
+by the ancient prints is the employment of the Parasol in the form
+of a small round canopy which ladies of quality had borne by their
+valets when walking in the primly arranged gardens of their lordly
+residences, whilst the gentlemen marched before, wrapt in their
+cloaks, with the felt hat inclined over one eye.
+
+Parasols were then of so coarse a form, and their weight made them so
+difficult to be carried, that they could not be easily utilised by
+ordinary people; they are never found in any of those very curious
+engravings which give a confused idea of the rumblings and mobs of
+the streets under Louis XIV. Boileau and François Colletet have not
+mentioned them amidst the /Obstacles and Bustle of Paris/; and the
+/Cries of the Town/ which have come down to us do not indicate that
+in the seventeenth century any man with "/'Brella-a-a-a-s to sell!/"
+had contributed his mournful melopæa to the lagging cries of the
+street.
+
+That is easily understood. We see that a Parasol, in the middle of
+the grand century, weighed 1600 grammes, that its whalebones had
+a length of 80 centimetres, that its handle was of heavy oak, and
+that its massive carcass was covered with oilcloth, with barracan,
+or with coloured grogram. The whole was held by a copper ring fixed
+at the extremity of the whalebones; it was the labour of a porter
+to preserve oneself, with an instrument like this, from the pelting
+shower! Better still: often these Parasols were made of straw, and,
+if we believe the /Diary and Correspondence of Evelyn/, about 1650,
+they affected in some degree the form of metal dish-covers.
+
+However, it is something very like a Sunshade which we find about
+1688 in the hands of a woman of quality, dressed in a summer habit
+/à la Grecque/, of which N. Arnoult has preserved faithfully for us
+the pleasing outline, in a pretty design made common by engravings.
+This Parasol has the appearance of a mushroom, well developed and
+slightly flattened at its borders; the red velvet which covers it is
+divided into ribs or rays, by light girdles of gold, and the handle,
+very curiously worked, is like that of a distaff, with swellings and
+grooves executed by the turner. Altogether, this coquette's Sunshade
+is very graceful, and of great richness.
+
+In the most varied literary works of the seventeenth century,
+memoirs, romances, varieties, dissertations, poems, enigmas, carols,
+and songs, there is not a word of allusion to the Parasol, there
+is an entire penury of anecdote, nothing whatever on the subject.
+It is useless to torture your understanding, to look through a
+miserable needle's eye, at the /Letters/ of Madame de Sévigné, the
+gossip of Tallemant, the /Conversations/ of Mademoiselle de Scudéry,
+the /Anecdotes/ of Ménage, the poetical collections, the different
+/Chats/, the /Medleys/--it is but a library overturned to no purpose,
+a headache gained without the slightest profit.
+
+In a MS. collection, written about 1676, which relates the memoirs
+of Nicolas Barillon, a comedian, this phrase alone attracts our
+attention: "The days being very hot, the lady carried either a mask
+or a Parasol of the most precious leather."
+
+From this mask or Parasol of precious leather no conclusion can be
+drawn better than that of the Dictionaries of the Anti-Academician,
+Antoine Furetière, or of the learned Richelet, where we find a résumé
+of the ideas of the time. Here, then, is the definition of the
+first:--
+
+ /Parasol/, s. m., a small portable piece of furniture, or round
+ covering, carried in the hand, to defend the head from the great
+ heats of the sun; it is made of a circle of leather, of taffety, of
+ oilcloth, &c. It is suspended to the end of a stick; it is folded
+ or extended by means of some ribs of whalebone which sustain it. It
+ serves also to defend one from the rain, and then it is called by
+ some /parapluie/ (umbrella).
+
+The definition of Richelet is almost the same. He adds, however,
+these words: "Only women carry Parasols, and they only in spring,
+summer, and autumn." Richelet, it is true, borders upon the
+eighteenth century, since he died but a little before the end of
+the reign of Louis the Great. This brings us to the aurora of the
+Regency, and a renaissance then occurs in feminine coquetry. We are
+now about to find our Sunshade in gallant parties, supported by
+little turbaned negroes; already we see it decorated with fringes of
+gold and trimmings of silk, enhanced with plumes of feathers, mounted
+on Indian bamboos, covered with changing silks, embellished in a
+thousand and one ways, worthy, in a word, of casting a discreet shade
+on those rosy and delicate faces which Pater, Vanloo, Lancret, La
+Rosalba, and Latour did their best to reproduce in luminous paintings
+or fresh pastels, those enchanting pictures where the coquetry of the
+past smiles still.
+
+Like all objects of adornment in the hands of women, the Sunshade in
+the last century became, like the Fan, almost a light and graceful
+plaything, serving to punctuate an expression, to round a gesture,
+to arm an attitude of charming reverie, in which, guided by pretty
+indolent fingers, its point traces vague designs upon the sand.
+Before the burning breath of amorous declarations, often the frail
+Sunshade escapes from the hands of a beauty, in sign of armistice,
+and as an avowal of abandonment.
+
+Be it open, and daintily held over powdered hair, or shut, and
+brushing the brocaded petticoat, it is always the "balancing pole
+of the Graces." It gives a value to listlessness on the rustic seat
+of the parks, under the vaulted roofs of grottoes, and it adds a
+piquancy to the frowardness of the feminine chatterers, who defend
+themselves by making fun of libertine attacks. In a word, in the
+light amorous allegories of the century, it is worthy to appear in
+those love-duets of /Leanders/ and /Isabellas/, which Watteau often
+composed with so rare an art of refinement.
+
+From the middle of the last century the Umbrella of taffety became
+the fashion at Paris. Caraccioli, in his /Picturesque and Sententious
+Dictionary/, gives us evidence of this: "It has long been the
+custom," he says, "not to go out save with one's Umbrella, and to
+trouble oneself by carrying it under one's arm. Those who wish not to
+be confounded with the vulgar, prefer to run the risk of getting wet
+to being regarded as people who walk on foot, for the Umbrella is the
+sign of having no carriage."
+
+The Parasols were made by the purse-makers, and when, by an edict of
+August 1776, the manufacturers of gloves, purses, and girdles were
+united in one community, an article thus conceived may be read in
+their statutes: "They alone also still have the right to make and
+manufacture all sorts of Umbrellas and Parasols, in whalebone and in
+copper, folding and non-folding, to garnish them atop with stuffs of
+silk and linen, to make Umbrellas of oilcloth, and Parasols adorned
+and ornamented in all sorts of fashions." According to the /Journal
+of a Citizen/, published at the Hague in 1754, the price of folding
+Parasols was then from 15 to 22 livres a piece, and the Parasol for
+the country from 9 to 14 livres.
+
+We must, however, believe that the common folk of Paris did not yet
+dare to purchase Parasols, since Bachaumont, in the /Secret Memoirs/,
+dated 6th September 1769, records the following enterprise:--
+
+"A company has lately formed an establishment worthy of the town of
+Sybaris. It has obtained an exclusive privilege to have Parasols,
+and to furnish them to such as fear being incommoded by the sun
+during the crossing of the Pont-Neuf. There are to be offices at
+each extremity of the bridge, where the voluptuous dandies who are
+unwilling to spoil their complexion, can obtain this useful machine;
+they will return it at the office on the other side, so alternately,
+at the price of two farthings for each person. This project has
+already been put in execution. It is announced that if this invention
+succeeds, there is authority to establish like offices in other
+places in Paris, where skulls might be affected, such as the Place
+Louis XV., &c. It is probable that these profound speculators will
+obtain the exclusive privilege of Umbrellas."
+
+Did this enterprise succeed? We cannot tell. All that is certain is,
+that it was tried many times in our own epoch by innovators, who had
+no idea that even the letting out of Parasols was not absolutely new
+under the sun.
+
+       *       *       *       *       *
+
+A great progress was realised in the eighteenth century in the
+manufacture of Sunshades for ladies. The small ordinary Parasols
+became exceedingly light, and charmingly decorated. In a picture of
+Bonaventure Delord, in the Louvre, we find the exact type of these
+coquettish Sunshades of the last century. One, which is held by a
+laughing beauty in the midst of a picnic, is mounted on a long stem,
+and the top, made of yellow buckskin, appears to have four sides; a
+cap of turned copper, and of a very pretty shape, profiles its tiny
+Chinese gable on the grass.
+
+So, too, may be seen in the collection of Madame la Baronne Gustave
+de Rothschild, a very curious Sunshade which belonged to Madame de
+Pompadour. It is of blue silk superbly decorated with wonderful
+Chinese miniatures in mica, and ornaments in paper very finely
+cut and affixed to the background. Fortified probably with such a
+Sunshade as this, the pretty favourite, at the time of the rage for
+pastorals, which followed the appearance of Bouffier's story of
+/Aline/, betook herself to the shady walks of the Petit Trianon at
+Versailles, with her female friends, to see the white sheep milked,
+and to steep the carnation of her lips in the warm milk, of which
+the young Abbé De Bernis--who gathered so willingly madrigals and
+bouquets for Chloris--compared the whiteness to that of her peerless
+bosom.
+
+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.
+
+It is right to say that during the first years of the last century
+people could not procure Umbrellas in London except in the
+coffee-houses, where they were placed in reserve to be let out to
+customers during heavy showers of rain. The first English citizen
+who really introduced absolutely and unconditionally the Umbrella to
+the nation was Jonas Hanway, the founder of the Magdalen Hospital.
+This audacious man--for audacious he must have been thus to brave
+the prejudices of a people the most prejudiced in the world--this
+rash person had the courage never to go out into the streets of
+London without his Umbrella from the year of our Lord 1750. Like
+the majority of innovators, he was scoffed at, reviled, derided,
+caricatured; he had to bear in his daily walks the quips and insults
+of the mob, the stones and jostlings of the vagabond boys; but he had
+also the honour of triumphing, and of seeing by degrees, after twenty
+years of perseverance, his example followed to such an extent that
+at the time of his death in 1786 he could declare with pride that,
+thanks to him, the Umbrella was for ever implanted in England, an
+imperishable institution.
+
+To-day, our neighbours across the Channel talk of erecting a statue
+to Jonas Hanway, as a homage publicly paid to a philanthropist. It
+might be asked in what attitude this peaceable humanitarian is to be
+represented, whether the Parasol of bronze is to remain shut up in
+his right hand, or if it will be opened in all its amplitude over the
+head of its protector, thus become its /protégé/.
+
+About the time when Jonas Hanway died, Roland de la Platière made,
+in his /Manufactures, Arts, and Trades/, this curious observation:
+"The use of Parasols is to such an extent established in Lyons, that
+not only all the women, but even the men, would not cross the street
+without their little Parasol in red, white, or some other colour,
+garnished with blonde lace, an article which, owing to its lightness,
+can be carried with ease."
+
+At the approach of the Revolution, the Umbrella became popular, and
+served as a tent for the fishwomen and other feminine hucksters.
+Then first appeared the enormous Umbrella of red serge among the
+people of the markets, and the ordinary Umbrella in the hands of
+the "Sans-Jupons" (the unpetticoated). Amidst the enthusiasms and
+revolts of the streets the Umbrella was frantically waved by the
+hands of the women of the people, and when, on the 31st May 1793,
+Théroigne de Méricourt undertook her ill-starred defence of Brissot,
+in the midst of a multitude of old hags, who cried "Down with the
+Brissotins!" Umbrellas were lifted like so many improvised swords
+over the /Liégeoise/, smote her in the face, lashed her everywhere,
+scanning as it were with their strokes the odious cries of "/Ah! the
+Brissotine!/" and provoking in the unhappy revolutionary Amazon the
+madness of which she died so sadly at the Salpêtrière.
+
+The Parasol of the Jacobins for a time made a show of severity,
+in opposition to the knotty sticks and coquettish Parasols of the
+Muscadins (dandies) and Incroyables (beaux); the Merveilleuses
+(feminine exquisites), on the other hand, hoisted vaporous Sunshades
+like their vestments of nymphs. Then it was that fashion gave their
+due to the rights even of this frail protector of the Graces; every
+kind of extravagance was allowed, every stuff accepted, however
+dazzling and however precious. In the public gardens of Paris, all
+the fashionable beauties displayed unusual luxury in the decoration
+of their Sunshades; there were tender greens, figured gold stuffs,
+flesh-coloured tints with scarlet fretworks, tender blues trimmed
+with silver, Indian cashmeres or tissues, the whole mounted on
+handles of affected roughness or of exquisitely delicate work. /Ma
+paole supême/, as the exquisite used to say, it must be seen to be
+believed. Nothing could be more coquettish than these Parasols,
+streaked, striped, pied, fretted, as the complement of a dress /à
+l'Omphale/, /à la Flore/, /à la Diane/, appearing in a swiftly driven
+carriage, above a jacket /à la Galatée/, or a tunic /au Lever de
+l'aurore/, amidst egrets, plumes, tufts of ribbons, and every kind of
+feminine adornment.
+
+Towards the close of the eighteenth century, the Sunshade was always
+covered with the most fashionable tints and with stuff of the latest
+taste of the time. Parasols were to be seen dressed in /stifled
+sighs/, and garnished with /useless regrets/, others adorned with
+ribbons /aux soupirs de Vénus/ (Venus' sighs), whilst the fashion
+exacted by turns such colours as /coxcombs' bowels/, /Paris mud/,
+/Carmelite/, /flea's thigh/, /king's eye/, /queen's hair/, /goose
+dung/, /dauphin's dirt/, /opera flame/, /agitated nymph's thigh/,
+and other names which were the singular qualificatives of particular
+shades, the rage and infatuation of the hour.
+
+The young priests carried a light violet or lilac Parasol, to remain
+in the tone of their general dress--perhaps by episcopal orders. In
+the same way, the Roman Cardinals are still followed in their walks
+by a deacon, carrying a red Parasol, which makes part--like the
+hat--of the ordinary luggage of the "Monsignori."
+
+This word "luggage," which has just fallen from our pen, would seem
+to call the attention to the rôle of the Sunshade or the Umbrella
+in the Travels of the last century. Was the Parasol considered as
+indispensable luggage before going on any expedition? We cannot
+affirm this. The author of /A Journey from Paris to Saint-Cloud by
+Sea and by Land/ writes, before embarking at Pont-Royal: "I kept
+for my personal carriage only my repeater, my pocket-flask full of
+/sans pareille/ water, my gloves, my boots, a whip, my riding-coat,
+my pocket pistols, my fox-skin muff, my green taffety Umbrella, and
+my big varnished walking-stick." But here we have more of a pretty
+conceit of the eighteenth century, a sort of cotquean traveller,
+who encumbers himself with useless objects. We have consulted many
+/Almanacks serving as Guides for Travellers/, and containing "a
+detail of everything which is necessary to travel comfortably,
+usefully, and agreeably," from 1760 to 1765: nowhere, however, was
+the Umbrella prescribed, either for foot passengers or for those on
+horseback; on the contrary, the anonymous editor of those guides
+seems sometimes to laugh at the simplicity of the tourist from Paris
+to Saint-Cloud, and he adds that a traveller in good health ought to
+content himself with strong boots and a cloak of good cloth. Even a
+walking-stick, he says, often consoles the walker only in imagination.
+
+The Umbrella-Walking-stick--who would believe it?--was, however,
+known from 1758, and very convenient Parasols were then made, of
+which the dimensions could be reduced so as to suit the pocket. A
+certain Reynard announced in 1761 Parasols "which fold on themselves
+triangularly, and become no thicker or more voluminous than a
+crush-hat." These Umbrellas were, it seems, very common about 1770:
+the stick was in two pieces, united by a screw, and the ribs were
+folded back several times.
+
+But let us not abandon the chronological order in returning thus
+upon our own steps, after the example of a romance writer of 1840.
+We have scarcely caught a glimpse of the Sunshade in our passage
+through the sixteenth, seventeenth, and eighteenth centuries, in the
+desultory speed of this free chat, in which our prose leaps as in a
+steeple-chase of charming designs. We have confounded occasionally
+the two denominations /Sunshade/ and /Umbrella/ in the more general
+word /Parasol/: but if we have travelled a little in every direction,
+we have not had the leisure to stop anywhere as a lounger or
+analyst. And here we are at the beginning of this century, at the
+Empire, but the nation is helmed, the sun of Austerlitz requires
+not a Sunshade; woman holds merely the second place in this hour in
+which France handles but the costly toys of glory, and if we find
+at all an Umbrella, it is in the field, with the general staff of
+the army, during some misty night, when it is used to shelter the
+commander-in-chief, who studies on his map the plan of battle of the
+morn.
+
+The Sunshade shows more favourably in the hour of peace, during the
+Restoration. All the journals of fashion of the time give us curious
+and varied specimens of it in their steel engravings, hand-coloured,
+which show us, during those days of a lull, languid ladies in the
+midst of amusing decorations, in winter amidst snowy country scenes,
+in summer in a park of profound distances, on some rustic bridge,
+where the mistresses of the manors of that time allowed their
+romantic reveries slowly to wander. We can follow in the innumerable
+Monitors of elegance, which appeared from 1815 to 1830, from year
+to year, from season to season, the variations introduced into the
+decoration of the little ladies' Parasols. Look for a moment: here
+are Sunshades, covered with coloured crape, or damasked satin, with
+checkered silk, streaked, striped, or figured; others enriched with
+blonde or lace, embroidered with glass-trinkets, or garnished with
+marabou feathers, with gold and silver lace, or silk trimming;
+the fashionable shade is then very light or very deep, without
+intermediate tones: white, straw yellow, pink or myrtle-green,
+chestnut and black, purple-red, or indigo. But a hundred pages would
+not suffice us to catalogue these fashions of the Sunshade: let us
+pass onward.
+
+The use of the Umbrella extends itself little by little through all
+classes; already in the slang of the people it is known under the
+names of the /Mauve/(?), the /Riflard/, the /Pépin/, the /Robinson/.
+Umbrella manufactories have, since the beginning of this century,
+propagated rapidly in France. Before 1815--this seems scarcely
+credible--Paris had no great manufactory of Parasols. But from 1808
+to 1851 alone, we can reckon more than 103 patents for inventions
+and improvements relating to Umbrellas and Sunshades. Among the most
+extravagant patents, we must quote, after M. Cazal:--
+
+ (1.) A patent for invention of an Umbrella walking-stick with a
+ field-glass;
+
+ (2.) A patent for invention of Umbrellas and Sunshades combined
+ with walking-sticks, shutting up in a copper case, in the form of a
+ telescope;
+
+ (3.) A patent for invention of an Umbrella walking-stick, containing
+ diverse objects for writing or other purposes, and called /Universal
+ Walking-stick/;
+
+ (4.) A patent for invention of methods of manufacturing Umbrellas
+ and Sunshades, opening of themselves, by means of a mechanism placed
+ inside the handle;
+
+ (5.) A patent for an Umbrella walking-stick, of which the sheath may
+ be folded at pleasure, and carried in the pocket.
+
+In spite of these genially grotesque inventions of
+Umbrella-Telescopes and of Parasol-Walking-sticks, we have always
+come back to the Umbrella simple, without mechanism, or to a light
+stick without any pretensions to defend us from the rain. There are
+so many complications in an object intended for many uses, that an
+educated mind will always refuse to adopt it.
+
+But without speaking further of the technology of the Umbrella, we
+will relate an anecdote which ran through all the minor journals of
+the Restoration, terminating like an apologue. We shall adopt the
+form and style of the time in our narrative of this little historic
+story, which should be entitled /The Sunshade and the Riflard/.
+
+One fair summer afternoon, the promenaders in the Parisian Champs
+Elysées might have seen, seated on a chair beside a pretty woman,
+whose interesting situation was plainly visible, a peaceable citizen
+making an inventory of all his pockets in their turn, without finding
+the purse from which he intended to draw the few halfpence which the
+chair-proprietress demanded.
+
+The search is useless; it is impossible for him to pay;--the
+proprietress indignant, almost rude, threatening to make a
+disturbance, is only satisfied by the gentleman taking from the hands
+of his companion a Sunshade of green silk, with fringes, mounted on
+a reed, and a yellow glove, and giving them to the irascible lady,
+saying to her, "Well, madam, keep this Sunshade as a pledge, and give
+it to no one unless he offer you a Glove the fellow of this."
+
+The pair departed, slowly arrived at the Place de la Révolution,
+then at the Boulevard de la Madeleine, when they were surprised
+by a violent shower; cabs were not to be had, the rain increased,
+they were forced to seek refuge underneath a carriage entrance. The
+peaceable citizen had already taken his companion to this shelter,
+when a "portier," with an otter-skin cap, came out, beseeching the
+lady and gentleman to accept the hospitality of his little room,
+where a leathern arm-chair and a stool were immediately, and with
+very good grace, offered to the invited pair. The rain still pouring
+down, the "portier," more and more affable, took from a corner of his
+small lodge a superb Umbrella of green serge, and offered it to his
+guests, declaring that all he had was at their service.
+
+The gentleman, in much confusion, accepted with many thanks the
+Umbrella, and sheltering with it the interesting young woman, who had
+tucked up her dress in the prettiest style, they both ventured out
+into the midst of the deluge.
+
+ . . . . An hour afterwards, a footman in very stylish livery
+returned to the honest "portier" cobbler his precious Umbrella,
+with four notes for a thousand francs, from the Duke de Berry; next
+directing his course to the Champs Elysées, that same footman sought
+out the chair-proprietress, and said to her:
+
+"You recognise this Glove, Madam? Here are four pence, which my lord,
+the Duke of Berry, has ordered me to remit to you, to redeem the
+Sunshade of the Princess Caroline."
+
+Touching and eternal legend of virtue, not without a recompense!
+
+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.
+
+The Umbrella! we behold it in the dreams of our school-days. Here
+is the severe and sombre Umbrella of the headmaster, symbol of his
+pedantic authority, when he passed us in review in the cold and damp
+playground. Here is the Riflard of the poor usher, a celebrated
+/Pépin/, covered with a mottled cotton-stuff, its bill-headed handle
+polished by his unctuous clasp. And here, above all, is an Umbrella
+greeted with loud acclaim, a festive Crusoe, which followed us when
+out walking, as the sutler follows the regiment on the march, the
+Umbrella of /Mother Sun/, as we used to call it: /Mother Sun!/ an
+honest jolly wench, with her head in a silk pocket-handkerchief tied
+under her chin, who installed herself beneath the shelter of her
+improvised tent about our playtime, to sell to her noisy /children/
+cooling lemonade, fruit, barley-sugar, and little white rolls stuffed
+with hot sausages.
+
+But let us leave these souvenirs, which carry us too far away, and
+return to the /Sunshade/ between 1830 and 1870. If we wished to show
+only its transformations during these forty years, we should have
+to write a volume quite full of coloured vignettes to give a feeble
+idea of the history which fashion creates in an object of coquetry.
+About 1834, in the journal called /Le Protée/, we see fashion
+personified under the traits of a young and pretty woman visiting
+the finest shops in Paris; she fails not to go to "Verdier, in the
+Rue Richelieu, for Sunshades," and chooses two--one a full-dress
+Sunshade, in unbleached silk casing, mounted on a stick of American
+bindweed, with a top of gold and carved coral; the other in striped
+wood, having a similar top with a fluted knob, and covered with
+myrtle green paduasoy, with a satin border.
+
+Let us skip over some hundreds of intermediate varieties to look a
+dozen years afterwards, under the Second Republic, at the Sunshade
+described by M. A. Challamel in his /History of Fashion/: "As soon,"
+says this writer, "as the first ray of sunshine appeared, ladies
+armed themselves for their walks or morning calls with little
+Sunshades, entirely white, or pink, or green. Sometimes the Sunshades
+called 'Marquises' were edged with lace, which gave them rather
+a ragged appearance; or having the shape of little Umbrellas, the
+Sunshades could serve at need against a sudden storm. Very soon we
+saw Sunshades /à dispositions/ bordered with a figured garland, or
+a satin stripe of the same colours, or blue or green on unbleached
+silk, or violet on white or sulphur."
+
+A fashion, not, it will be allowed, in the very best taste:--Up
+to 1853 or 1854, we find no innovation worthy of exciting our
+enthusiasm; it is only in the first days of the Second Empire that we
+can see a marked change. The straight Sunshades were then abandoned
+to introduce Sunshades with a folding stick, principally for those
+made in satin and in moire antique, bordered with trimmings or set
+off with streamers. These Sunshades were called "/à la Pompadour/,"
+and they were worthy, in a certain degree, of the beauty who
+personified grace and delicate elegance in the eighteenth century;
+they were embroidered after the old fashion with gold and silk, and
+on the richness of the stuffs was cast or "frilled in" Chantilly,
+point d'Alençon, guipure, or blonde. The folding-sticks were of
+sculptured ivory, of carved mother-of-pearl, of rhinoceros horn, or
+of tortoise-shell. It is with this light Sunshade that the Parisian
+ladies saluted the Empress, caracoling by the side of the Emperor, at
+the commencement of his reign, on their return from the Wood, in the
+Champs Elysées, which began to look beautiful, as everything looks
+beautiful at the spring-tide of years, as well as at the springtime
+of governments. All in nature has surely its fall of the leaf, after
+having had the verdure of its blossom!--all tires, all passes, all
+breaks: men, kings, fashions, and peoples!
+
+The Sunshade is found to-day in the hands of every one, as it
+should be in this practical and utilitarian age. There is not, at
+the present hour, any woman or girl of the people, who has not her
+sunshade or her satin /en-tout-cas/--it seems to be the indispensable
+complement of the toilet for the promenade; and our modern painters
+have so well understood this gracious adjunct of feminine costume,
+that they take very good heed not to forget, in a study of a
+woman made in a full light, a rosy head with dishevelled hair, on
+the transparent ground of a Japanese Sunshade, thus producing an
+exquisite work with all freshness of colouring, and discreet shadows
+sifted upon sparkling eyes or a laughing mouth. On Sundays and
+holidays, in the jostlings of the crowd at suburban fêtes, it is like
+an eddy of Sunshades; such the spectacle of ancient besiegers, who
+covered themselves with their bucklers and made the "tortoise," so in
+the shimmer of the summer sun in the great Parisian parish festivals:
+gingerbread fairs of Saint-Cloud or Vaugirard, the Sunshade is on
+the trestles and among the promenaders; it protects equally the girl
+dancing on the tight-rope and the respectable citizen's wife in her
+Sunday best, who rumples the flounce of her petticoats in these
+popular gatherings.
+
+Surely the Sunshade adds new graces to woman! It is her outside
+weapon, which she bears boldly as a volunteer, either at her side,
+or inclined over her shoulder. It protects her head-dress, in
+supporting her carriage, it surrounds as with a halo the charms of
+her face.
+
+"The Sunshade," writes M. Cazal--or rather Marchal, as the so-called
+Charles de Bussy, who edited, in the name of the manufacturer, the
+little work already quoted,--"the Sunshade, like a rosy vapour,
+attenuates and softens the contour of the features, revives the
+vanished tints, surrounds the physiognomy with its diaphanous
+reflections. There is the Sunshade of the great lady, of the young
+person, of the tradesman's wife, of the pretty lorette, of the little
+workwoman, just as there is the Sunshade of the town, of the country,
+of the garden, of the bath, of the barouche, and the Sunshade-whip."
+
+"How many volumes," continues the same writer with animation, "would
+be required to describe in its thousand fantasies the kaleidoscope of
+feminine thought in the use of the Sunshade? Under its rosy or azure
+dome, sentiment buds, passion broods or blossoms; at a distance the
+Sunshade calls and rallies to its colours, near at hand it edifies
+the curious eye, and disconcerts and repels presumption. How many
+sweet smiles have played under its corolla! How many charming signs
+of the head, how many intoxicating and magic looks, has the Sunshade
+protected from jealousy and indiscretion! How many emotions, how many
+dramas, has it hidden with its cloud of silk!"
+
+M. Charles Blanc, less dithyrambic, in his /Art in Dress and
+Ornament/, commences his chapter on the Sunshade--"Do you imagine
+that women have invented it to preserve their complexion from the
+heats of the sun? . . . . Certainly, without doubt; but how many
+resources are furnished them by this need of casting a penumbra over
+their face, and what a grudge they would have against the sun, if it
+gave them no pretext for defending themselves against his rays! In
+that work of art called a woman's toilet, the Sunshade sustains the
+part of the chiaro-oscuro.
+
+"In the play of colours it is as a glazing. In the play of light it
+is as a blind."
+
+For the last dozen years, fashion has varied, with every new season,
+the mode and covering of Sunshades. To-day they have become artistic
+in all points, and after having been in turns in spotted foulard,
+and set off with ribbons or lace, after the Parasol walking-stick,
+the maroon or cardinal-red Parasol, have succeeded the checkered
+taffetas, the Madras cretonnes, the Pompadour satins, the figured
+silks. Their handles are adorned with porcelain of Dresden, of
+Sèvres, or of Longwy, with various precious stones, and with jewels
+of all sorts; and lately, among some wedding presents, amidst a dozen
+Sunshades, one remarkable specimen was entirely covered with point
+lace, on a pink ground clouded with white gauze, having a jade handle
+with incrustations of precious stones up to its extreme point. A
+golden ring gemmed with emeralds and brilliants, attached to a gold
+chain, served as a clasp for this inestimable jewel.
+
+But in this style of hasty conference in which we are running from
+the Sunshade to the Umbrella, let us not neglect the latter, whose
+last name is /paratrombe/ and /paradéluge/, which M. de Balzac, in
+the /Père Goriot/, calls "a bastard descended from a cane and a
+walking-stick." The Umbrella has inspired many writers--writers of
+vaudevilles, romances, poetry, and humorous pieces; on it little
+ingenious monographs have been composed, little sparkling verses,
+articles in reviews, very serious from the trade point of view; many
+couplets have been rhymed at the Caveau and elsewhere on the Pépin
+and the Riflard; on the stage has been interpreted /My Wife and
+My Umbrella/, /Oscar's Umbrella/, /The Umbrella of Damocles/, and
+/the Umbrella/ of the poet D'Hervilly. This useful article has also
+inspired the realist Champfleury in a joyous tale, entitled--/Above
+all, don't forget your Umbrella!/ Everywhere, with variations and
+unheard-of paraphrases, has the social part of the Umbrella been
+shown to us; the meetings occasioned by it on stormy days; the
+/Pépin/ gallantly offered to young girls eating apples in distress
+whilst it is raining on the Boulevards; we have had described to us
+the gentleman who follows the ladies fortified with his Umbrella,
+the weapon of his fight, and many tales and novels begin with one
+of these Parisian meetings at a street corner on a wet evening.
+The utility of the Umbrella in different ways has been insisted
+on, of the painter's Umbrella, of the Umbrella for men called /sea
+bath/; and the sad melopæa of the French seller of Umbrellas in the
+street, whose prolonged cry of /parrrphluie/ has been carefully
+annotated. Lastly, there have been too many pictures representing a
+coquettish workwoman, whose petticoats have been turned up by the
+wind, and whose Parasol has been turned inside out; but that which
+has never been written with the humour which such a subject allows,
+the master-piece which has never yet been accomplished, is the
+/Physiology of the Umbrella/.
+
+There is no doubt that bibliographers will put under our eyes a thin
+book of the lowest character which affects this title, and is edited
+by /Two Hackney Coachmen/, but it is nought but the "humbug" of the
+Umbrella--its /Physiology/ in its entirety is yet unaccomplished.
+Balzac would have found therein matter for an immortal work, for
+there is a dash of truth in that fantastic aphorism uttered by some
+journalist in distress, "The Umbrella is the man."
+
+Eugène Scribe has left us a modest quatrain on the Umbrella, worthy
+of his operatic muse--
+
+    A friend of mine, new, true, and rare,
+      And all unlike the common form;
+    Who leaves me when my sky is fair,
+      And reappears in days of storm.
+
+This almost equals that other quatrain, more ancient still, signed by
+the good abbé Delille--
+
+    This precious, supple instrument, confect
+      Of the whale's bone, and of the silkworm's grave,
+    With outstretched wing, my brow will oft protect
+      From the wet onslaught of the pluvial wave.
+
+Have we not here Academic verse well made for the Umbrellas of the
+Academicians!
+
+To come to extremes: among the popular songs, we hear the song of
+/the Umbrella/, "a ditty found in a whale"--
+
+    The good Umbrella may be sung
+      In many airs and ways;
+    The Umbrella, be we old or young,
+      Will serve us all our days.
+    It keeps true love from getting wet,
+      And catching cold at night;
+    It hides the thief, to business set,
+      From the policeman's sight.
+            Umbrella!
+    Then buy yourself, for fear of rain,
+    A solid, useful, good, and plain
+            Umbrella!
+    In fact, for rain we cannot sell a
+    Much better thing than our Umbrella!
+
+This funny song is well worth the tiresome verse sung at present--
+
+    He has not an Umbrella, well
+      It is no matter, while it's fine;
+    But when the rain comes down pell-mell,
+      Why, then he's wetted to the spine! . . . .
+
+Certainly one ought to write a physiological monograph of these black
+mushrooms, which to-day protect humanity, just as one ought to rhyme
+a poem of the dainty Sunshade, that pretty rosy cupola, which is one
+of the most charming coquetries of a Frenchwoman.
+
+We write this /one ought/ with a vague sadness, with the
+discouragement which makes us wish for the future, what we should
+have been so glad to bury in the past. In beginning our work, we
+experienced a careless joy, we thought the end was near on our very
+entry into the field, and that we should quickly attain it, with
+the satisfaction of having created a little work, both complete
+and altogether graceful; but once on our way, ferreting without
+relaxation in all the literary thickets where some Parasol might lie
+buried, in the fold of a phrase, in the middle of a story, of an
+anecdote, or of a dissertation, of some fact, we have gathered so
+ample a harvest, our sheaf has become so large, so very large, that
+it was impossible for us to bind our arms about it, after having
+co-ordinated its various parts. It is but a few poor strays then
+which lie stranded here, the flotsam and jetsam of our hope, sole
+vestiges of a project which, like all projects, became Homeric as it
+grew great in the workshop of the imagination.
+
+We end this essay, therefore, with a sentiment of ridicule, in which
+we laugh at our own selves, that of having dreamed of making a
+perfect monograph, and of having produced nothing more than a little
+tumbled fantasy, which ironically steals away out of sight, like
+that minuscular mouse, of which the mountain was once upon a time
+delivered in much moaning.
+
+What matter! We must end. Let us hide our melancholy retreat
+by humming this last lovely burden of a poet of the school of
+Clairville--
+
+    'Tis called a /Pépin/, a /Riflard/,
+    And other viler names there are;
+    Not one of all the Umbrella moves.
+    Wisely it counts them no disgrace;
+    Since--child of April's art--the loves
+    Oft make their quivers of its case!
+
+
+
+
+ THE GLOVE
+
+ THE MITTEN
+
+
+
+
+THE GLOVE
+
+/THE MITTEN/
+
+/To M^{me.} H. de N./
+
+
+Well, my dear friend, here I am, faithful as you see to my
+appointment; I am come deliberately to fulfil my promise, which I so
+imprudently gave on a certain day last season, upon a Breton strand,
+you remember, while contemplating one of your rosy little hands,
+which was whipping its sister with a long Swedish glove, in a sort
+of angry pet, and gave to you an appearance of wild and exquisite
+bluster?
+
+How did you manage, O Enchantress, to induce me to give my loyal word
+that I would write for you the /History of the Glove/? How! . . . who
+can ever say? When a pair of pretty eyes envelop you, and bathe you
+with their radiance, when a smile puts honey into your heart, and a
+tiny little hand is stretched out with open palm, seeming to say,
+"Take me," every kind of will melts quickly away, consent mounts
+delightedly to the lips, and we promise at once everything, before we
+know well what we are asked.
+
+Ah, unhappy me! it is the Glove of Nessus which you have placed upon
+my hand! The History of the Glove! why, it is the history of the
+world; and I should be very ill-advised if I pretended /avoir les
+Gants/ to be the first to tell that history, as ancient as it is
+universal.
+
+Haunted by this debt of honour, contracted to please you, I
+went lately to see a learned old friend of mine, a venerable
+Benedictine--better than a well of science; an ocean of
+indulgence--to whom I exposed my foolish enterprise of the Glove and
+the Mitten.
+
+Ah, my friend, I only wish you could have seen him all at once leap
+from his seat, look at me with compassion, examine me profoundly with
+his eye, and murmur three times in a tone of ineffable astonishment
+and sadness, as though he believed me mad--
+
+"The Glove!--the Glove!!--the Glove!!!--
+
+" . . . And so it is the Glove," he went on, when he had become a
+little calmer, "it is the history of this offensive and defensive
+ornament, of this object so complex, of which the origin is so
+obscure and so troublesome, it is a monograph of the Glove that you
+desire to write! . . . My dear child, allow me to believe that you
+have not reflected on what you have engaged yourself to do, let
+me think that you have brought more lightness than reason to the
+conception of this enterprise. The Glove!--Why, with the history of
+the Shoe, it is the most formidable work that a learned man could
+dare to dream of executing. Look," he sighed, dragging forth a
+voluminous manuscript, "in the /Bibliography of Words/, a colossal
+work, which I have commenced, but, alas! shall never end, I see at
+the word GLOVE more than fifteen hundred different works, Latin,
+Greek, Italian, German, Spanish, English, and French, which treat of
+this matter, and even this is but the rudest sketch. We must consider
+the use of the Glove amongst the ancient Hebrews, the Babylonians,
+the Armenians, the Syrians, the Phœnicians, the Sidonians, the
+Parthians, the Lydians, the Persians, the Greeks, the Romans, &c.
+
+"It would be necessary to divide the work into different Books,
+subdivided into innumerable Chapters; thus for the etymology alone of
+/the word Glove/, in the different dialects, must be reserved a long
+notice of comparative philology; it would be necessary to determine
+if the Glove which was used by the young nude girls, who wrestled
+together in Lacedæmon, after Lycurgus had installed there his Lyceums
+and public games--if this Glove, I say, ought to be classed among the
+fighting mufflers or the leathern gauntlets--and how many matters
+besides!" And my dear old friend became still more and more excited,
+ever widening the question, as if, it seemed to me, it were a case of
+establishing a complete Encyclopedia. Diderot and d'Alembert would
+have grown pale before that imperturbable science, which showed
+mountains of folios to be cleared away, and unknown precipices to be
+sounded.
+
+"But," I hazarded in a little confusion, "I only think of writing a
+light treatise, a thin volume of a few pages, one of those nothings
+carried off by the wind, which pass for a second, like an anecdote or
+tale, into a pretty feminine cerebellum; I wish to give hardly a line
+to other countries than France, just to graze incidentally the Glove
+of challenge, to speak only from memory of the pontifical Gloves,
+to neglect the side of manufacture, the art of preparing the skins,
+of removing the outside skin, and so on. I only desire in one word
+to chat for a few instants, disconnectedly and in fits and starts,
+on that portion of clothing which the ancients called /Chirothecæ/,
+/Gannus/, /Gantus/, /Guantus/, /Wanto/, and /Wantus/, if I may trust
+the /Glossary/ of Du Cange."
+
+"Alas, that is true," cried my old friend, in a sadly modulated tone;
+"I am doting, eh? We, of the old school, it is we who are the wet
+blankets, the tedious savants. At the present day, when journalism is
+to literature what the piano is to music, an instrument upon which
+every one strums without any conviction, is it not necessary to cut
+matters short, and quickly create eternal /à peu près/ (pretty much
+the sames), little light dissertations, notices made on the spur of
+the moment, and superficial passion? We were in our time egotists,
+fervent solitaries, unreadable and unread, if you will; what does it
+matter? When a work had fastened on our mind, we espoused it, after
+a legitimate love, with all the joys of generation and paternity. We
+wished to endow our labour with all the qualities which it seemed
+able to bear, to such an extent, that it became dry, rugged, and
+severe. But how many were the delights not to be forgotten, in those
+traces followed for whole days, before our utterance of the joyous
+/Eureka!/--how many inward intoxications in that slow-brooding
+season, in that patient labour!--how many minute investigations
+before resolving a historic doubt! We were the exclusives of national
+erudition, and thought one work sufficed for one man, when he had fed
+it with his life, with his watchings, with his very heart, with all
+the tenderness of the creative workman.
+
+"I should like," he continued, "to have twenty years to ride a
+hobby-horse, which would make me rest at stopping-places for ten,
+fifteen, twenty years, on a thorny work, and offer me splendid runs,
+full of adventure, across the highways and secret paths of science.
+I would commit the follies of Doctor Faustus, to return to the age
+of those first bibliographic loves, which have the future brilliant
+and open before them--and this Glove which you disdain, my dear young
+friend--this Glove which you dwarf to the ideal of a doll--this
+Glove, I would pick it up, hold it carefully, clear off with it like
+a cat, and ensconce myself with it in my savant's den, to take a good
+long sniff at it, to study it, and to analyse it every day more and
+more, until at last I drew from it a serious and lasting work.
+
+"This Glove should not be thrown at the public, like one of those
+challenges which recall too distinctly the celebrated Glove which
+Charles V. sent to Westminster by a mere scullion--an accentuation
+of the insult offered to the King of England--it should be cast more
+lovingly, as in our old romances of chivalry, /the Romance of the
+Rose/, of /Rou/, or of /Perceforet/. If I were but twenty years old,
+I would do with the reader as Petrarch did with Laura, in demanding
+of her nothing more than the favour of picking up her Glove; and I
+would say to him later on, after the fashion of Marot, poetically, in
+offering my work:--
+
+   'Deign to receive these Gloves with goodly cheer,
+    My true heart's present of the coming year.'
+
+"And then I would speak of those Mittens with which Xenophon
+reproaches the degenerate Persians, of those Roman finger-stalls
+employed in the olive crop, and even of that glutton named Pithyllus,
+who carried delicacy so far as to make a Glove of a sheath of skin
+for his tongue."
+
+The good old man, kindled by his enthusiasm, became transformed; he
+seemed desirous to take upon himself the whole history of the Glove,
+which he embroidered at once with fancy and the most varied anecdote
+that his wonderful memory could supply. After having distinguished,
+in the Middle Ages, many sorts of Gloves, such as the /usual/ Glove,
+the /falconer's/ Glove, the /workman's/ Glove, the /feminine/ Glove,
+the /military/ Glove, the /seignorial/ Glove, and the /liturgical/
+Glove, he attacked with a zest bordering on frenzy the part of the
+Glove of the knights and men in armour of the heroic battles of the
+past, at a time when individual prowess could still display itself;
+he quoted the Chronicles of Du Guesclin and De Guigneville:--
+
+   "Rich basinets he ordered to be brought,
+    And Gloves with iron spikes with horror fraught."
+
+He showed me, without recourse to aught but his own erudition, the
+transformation of these iron gauntlets, first into mail, like the
+coat, then into movable plates of flat iron, adapted to the movements
+of the hand; he explained to me the lining, where the palm was of
+leather or stuff, and at last, exhuming the ordinances of 1311, he
+made me penetrate into the details of the manufacture:--
+
+"That no one should make Gloves of plates, except the plates are
+tinned or varnished, or beaten, or covered with black leather, red
+leather, or samite, and that under the head of every nail should be
+set a rivet of gold."
+
+Ah, my fair friend, if you could have seen this strange man so
+suddenly taken by my subject, you would have regarded me with pity,
+for I could not help pouting a little at this old dean, and felt
+myself attacked by a sudden cowardice, at the mere announcement of
+the formidable researches which were to be undergone.
+
+I took my humble leave of my most learned master, humiliated, floored
+by the extent of his knowledge, his laborious zeal, his powerful
+faith, his stubborn will. I saw that in giving you my word for a poor
+Glove, I had given it to a demon, who showed me a Glove of an immense
+shagreen skin, containing the world and its history--fantastic as a
+nightmare, which weighed me down. Then I swore to sacrifice a part
+for the rest, and not to build a cathedral when a simple cushion
+at your feet would suffice me for my heedless chatter. Accept then
+favourably this act of contrition, and let me be fully pardoned,
+if, /à propos/ of the Glove, I bound along madly like a young kid,
+without pity for the history of costume and historic documents, which
+I trample under my feet, rather than see myself buried under their
+pyramidal bundles.
+
+That which my old friend had probably neglected is the Legend, and to
+that I run.
+
+A charming poet and a charmer, Jean Godard, a Parisian, the worthy
+rival of Ronsard, published towards 1580 a piece entitled /The
+Glove/. This witty nursling of the Muses pretends to show us the
+origin of the Glove in the burning passion which Venus cherished for
+Adonis. According to our poet--
+
+    "The young Adonis ever loved the field,
+    Now hunting the swift stag with branching head,
+    And now the tusked wild boar, just cause of dread.
+    Venus, fierce burning with his love alway,
+    Would never leave him neither night nor day,
+    But running after his sweet eyes and face,
+    Sought young Adonis, when he sought the chase:
+    Deep into forests full of gloomy fear,
+    The goddess followed him she held so dear.
+    One day, as she pursued him, bursting through
+    A bramble thicket, which by ill chance grew
+    Athwart her path, a cruel, hardy thorn
+    Pierced her white hand, and lo! the rose was born
+    From her red blood. But Venus, vexed with pain,
+    Lest any hurt should touch her hand again,
+    Bade all at once her unclad Graces sew
+    A leathern shelter for her hand of snow.
+    The lovely Graces, draped in floating hair,
+    No longer left their own hands free and bare,
+    But bound and covered them as Venus did.
+    And now the Glove's true origin is hid
+    No longer. This is it. Fair girls alone
+    Wore on their hands what now is common grown.
+    Then came the Emperor, and then his court,
+    And then at last the folk of every sort."
+
+Charming in its /naïveté/, is it not, my dear friend, this fable
+which gives the Glove the same origin as the rose!
+
+The use of Gloves was widely spread in the Middle Ages. They covered
+the wrist entirely, even with women. "The Gloves of the common
+people," says M. Charles Louandre, "were of sheep-skin, of doe skin,
+or of fur; those of bishops were made in chain-stitch of silk with
+gold thread; those of simple priests were of black leather." But what
+will surprise you is that, contrary to the present custom, it was
+absolutely forbidden to appear gloved before great personages.
+
+In a manuscript lately published, /The Sayings of the Merchants/, a
+merchant cries, with an engaging air--
+
+    "I have pretty little bands,
+      And for damsels dainty Gloves,
+    Furred to warm their snowy hands,
+      These I sell to those sweet loves."
+
+But what were the furred Gloves of sweet loves or gentle ladies
+compared to those which the fair Venetians showed on the grand days
+of ceremonies, when the Doge prepared to mount the Bucentaur for
+the purpose of espousing the sea? These, according to M. Feuillet
+de Conches, were Gloves of silk marvellously embroidered, embossed
+with gold and pearls; some of them were of lace of an incomparable
+richness, well worthy to be offered as a present, and to figure in
+the budget of handsome acknowledgments. But the most wonderful were
+the Gloves of painted skin, like the water-colours on Fans.
+
+Here were country scenes, sheepfolds, pictures of ravishing
+gallantry, miniatures beyond price. "And even," observes M. Feuillet
+de Conches, "the heels of the shoes of dandies were decorated by
+Watteau or by Parrocel."
+
+The Valois doted, you know, on perfumed Gloves; this taste was fatal
+to Jeanne d'Albret, who found her death in trying a pair of Gloves
+dexterously prepared by some Italian quack, a friend of the sombre
+Catherine. Consider, my friend, that with my romantic instinct, and
+my temperament full of love for the drama, I might find here an easy
+transition, and tell you, in long excited phrases, of the exploits of
+the Marchioness of Brinvilliers, and the grim Gaudin de Sainte-Croix;
+show you these sinister poisoners preparing by night their infamous
+Glove stock; then in a tale fantastic as the /Olivier Brusson/ of
+Hoffmann, evoke the famous trial of the Marchioness, the torture,
+the various punishments, the burning chamber, up to the final stake.
+All this /à propos/ of the Glove--who can say if such simple history
+would not be worth more than all the cock-and-bull stories which I
+am about to tell you, by compulsion, concerning the Glove and the
+Mittens? In very truth, I would prefer, as your /vis-à-vis/, to
+show myself a romancist, not an historian, for I should be sure of
+being less of a bore, more personal, and, above all--shall I avow
+it?--not in any degree common-place. But, as Miguel de Cervantes
+said, "Our desires are extremely seditious servants." I will be then
+reactionary, and will close the door against these socialists of
+sentiment.
+
+All this fine rigmarole has made me think of presenting you with a
+letter of Antonio Perez to Lady Rich, sister of Lord Essex, who had
+asked him for some dogskin Gloves:--
+
+"I have experienced," he writes, "so much affliction in not having by
+me the dogskin Gloves desired by your ladyship, that, waiting their
+arrival, I have resolved to flay a little skin on the most delicate
+part of my own body--if, indeed, any delicate part can be found upon
+my rude self. Love and devotion to a lady's service may surely make
+a man flay himself for her, and cut her a pair of Gloves out of his
+own skin. But how can I pride myself on this with your ladyship, when
+it is my custom to flay even my very soul for those I love? Could
+mine be seen as clearly as my body, it would appear full of tatters,
+the most lamentable sort of soul in the world;--the Gloves are of
+dog's skin, madam, and yet of my own, for I hold myself as a dog, and
+supplicate your ladyship to hold me in like regard, in requital of my
+faith and my passion in your service."
+
+What think you of this out-and-out gallant, of this "dying"
+passionate lover? Here it seems to me, /à propos/ of scented Gloves,
+we have a Castilian gentleman exceedingly well skilled in the
+delicate art of offering them to ladies.
+
+Spanish Gloves are reproached with too strong a smell; the French
+ladies suffer strangely from their too heady odour: Antonio Perez
+would certainly have been an excellent manufacturer of perfumed
+Gloves--discreet in his scents, distinguished in his form.
+
+The Gloves most in vogue after the time of La Fronde were the
+Gloves of Rome, of Grenoble, of Blois, of Esla, and of Paris. M. de
+Chanteloup charged Poussin to buy him Roman Gloves, and the latter
+wrote back on 7th October, 1646: "Here are a dozen pairs of Gloves,
+half men's, half women's. They cost half-a-pistole a pair, which
+makes eighteen crowns for the whole." The 18th October, 1649, another
+purchase; but this time they are Gloves scented with Frangipane,
+with which Poussin provided himself for M. de Chanteloup; and
+these he bought at la Signora Maddelena's, "a woman famous for her
+perfumes." In Paris, according to /The Convenient Address Book/ of
+Nicolas de Blegny--the Bottin of 1692--there were a certain number of
+manufacturers of perfumed Gloves in the Rue de l'Arbre-Sec and the
+Rue Saint-Honoré. "There are," says the editor of this commercial
+almanac, "Glove-merchants very well stocked; for instance, M. Remy,
+opposite Saint-Méderic, who is famous for his excellent buck-skin
+Gloves; Arsan, hard by the Abbey Saint-Germain; Richard, Rue
+Saint-Denis, /at the little St. John/, well known for his Gloves of
+/Fowl-skin/; and Richard, Rue Galande, at /the Great King/, whose
+commerce is in doeskin Gloves."
+
+The name of fowl-skin Glove doubtless astonishes you--another name
+was outer lamb skin; they were made for the use of ladies during
+the summer. The pretended fowl-skin was nothing but the epidermis of
+kid-skin, and the preparation of this epidermis was the real triumph
+of the Glove-merchants of Paris and Rome. Gloves of /Canepin/, or
+outer lamb's-skin, were made, it is said, so delicate and thin, that
+a pair of them could be easily enclosed in a walnut shell.
+
+The buck-skin or buffalo-skin Glove was specially made for falconers;
+it covered the right hand half up the arm, thus completely protecting
+it against the claws, or rather the talons, of the bird, falcon,
+gerfalcon, or sparrow-hawk, when it came to settle on their fist.
+
+Hawking existed even under Louis XIII., but it was no longer the
+grand and splendid epoch of this aristocratic sport, so profoundly
+interesting. In one of his ancient legends, André le Chapelain,
+of whom Stendhal wrote a short biographical notice, speaks of a
+sparrow-hawk, to gain which the magic Glove was necessary. This Glove
+could only be obtained by a victory in the lists over two of the most
+formidable champions of Christendom. It was suspended to a golden
+column, and very carefully guarded. But when the knight had by his
+skill gained the Glove, he saw the beautiful sparrow-hawk so much
+desired swoop down immediately upon his fist.
+
+Up to the age of Louis XIV., the skin Glove was destined rather
+for the use of men, and it was only under this Prince that Gloves
+mounting a long way up the arm, and long Mittens of silk netting to
+set off the hands of women, were generally adopted by them.
+
+Gloves /à l'occasion/, /à la Cadenet/, /à la Phyllis/, /à la
+Frangipane/, /à la Néroli/, Gloves /of the last cut/ worn awhile by
+the /Précieuses/, ceased to be fashionable about 1680. The custom, of
+which Tallemant speaks, of presenting ladies, after the banquet, with
+basins of Spanish Gloves, was only vulgarised in passing from the
+Court to the town.
+
+Dangeau, in his /Memoirs/, has written a chapter on the /Etiquette
+of Gloves and the Ceremonial of Mittens/. I refer you to it without
+ceremony.
+
+Under Louis XV., in the eighteenth century, so full of the rustle
+of silk, so enchanting that I fear to stop on it in your company,
+lest I should never leave it, the wearing of Gloves quickly became
+an enormous luxury. All those fair coquettes, whom you have seen
+at their toilets, or their /petit lever/, after Nattier, Pater, or
+Moreau, surrounded by their "/filles de modes/," caused a greater
+massacre of Gloves at the time of trying them on, than our richest
+worldlings of to-day. These Gloves were of kid, of thread, and
+of silk; the most celebrated came from Vendôme, from Blois, from
+Grenoble, and from Paris; they were generally made of white skin,
+wretchedly sewn, but the cut was extremely graceful, with its cuff
+falling from the wrist over the hand, and small ribbons and fine
+rosettes of carnation interlaced on this cuff.
+
+Gloves sewn after the English fashion were highly appreciated. It
+became a proverb, that for a Glove to be good, three realms must have
+contributed to it: "Spain to prepare the skin and make it supple,
+France to cut it, and England to sew it."
+
+Caraccioli maintains that a woman of fashion, about the middle of the
+eighteenth century, would not dispense with changing her Gloves four
+or five times a day. "The /petits-maîtres/," he adds, "never fail to
+put on, in the morning, Gloves of rose or /jonquil/, perfumed by the
+celebrated Dulac." As to Mittens, the same observer of the century
+notices them as specially belonging to women. "Nevertheless," he
+says, "in winter the manufacturers make furred Mittens, and men now
+wear them when they travel."
+
+Madame de Genlis has this curious observation in her /Dictionary of
+Etiquette/: "If you have anything to present to a princess, and have
+your Glove on, you must needs take it off."
+
+How many anecdotes, how many literary souvenirs, the Glove of the
+eighteenth century summons to the thought!
+
+You remember, I am quite sure, that pretty chapter consecrated by
+Sterne, in his /Sentimental Journey/, to the beautiful Grisette who
+sold Gloves, into whose shop he entered to ask his way. The pretty
+Glove-seller coquets with the stranger, shows herself extremely
+complaisant, and the sentimental traveller, to prove his gratitude
+for her kindness, asks for some Gloves, and tries on several pairs
+without finding one to suit him. But he takes two or three pairs all
+the same before he goes.
+
+The story leaves a fresh feature in the mind: an English artist has
+fixed it with much delicacy on a remarkable canvas, which figures in
+the National Gallery. The authors of the /Vie Parisienne/ were surely
+inspired by it a little later in their joyous libretto, when they
+wrote the well-known couplets of the lady who sold Gloves and the
+Brazilian.
+
+Permit me also to relate to you an anecdote, rather slight in
+texture, of which Duclos is the hero, and which has all the flavour
+of his roguish age:--
+
+The author of /Manners/ was bathing on the flowery borders of the
+Seine, and giving himself up to skilled /hand-over-hand/, when
+he suddenly heard piercing cries of distress. He rushes out of
+the water, runs up the bank without taking time to slip on his
+"indispensables," and finds a young and charming woman, whose
+carriage had just been overturned in a rut. He hastens to beauty
+in tears, lying on the ground, and making a gracious bow, in his
+academic nudity, "Madam," says he, in offering her his hand to assist
+her to rise, "pardon my want of Gloves."
+
+Here we have at once the expression of a scoffing sceptic, and a
+giddy philosopher, full of a particular charm. Do not believe, my
+gentle friend, that if I remain in your company so short a time in
+the beginning of the eighteenth century--the only one which has,
+you cannot deny it, all its perfumed quintessence--do not believe
+that I intend to linger in the Revolution, and conduct you to the
+house of Mademoiselle Lange, Madame Talien, Madame Récamier, and all
+the fashionable drawing-rooms of the First Republic, the Directory,
+the Consulate, and the Empire; to take ceremoniously the hand of
+the marvellous Beauties, the Nymphs, and Muses of those troubled
+times, in order the better to show you what extravagant Gloves, what
+prodigious Mittens, were then worn. The /Ladies' Journal/, and all
+the small journals of fashion, will surely teach you more about the
+Gloves worn by these worldly Calypsos and Eucharises than six hundred
+monotonous pages of varied descriptions. There is no Museum, however,
+preserving the objects of art which the Revolution marked deeply with
+its seal; and this fact will make me insist on a model of a special
+Glove, destined for a representative of the people despatched to the
+army, of which an erudite archæologist of the Revolution, and at the
+same time a remarkable humourist, Champfleury, has been good enough
+to communicate to me a design. This Glove of doe-skin, manufactured
+according to order, and broidered with arabesques about the slopings
+of the thumb, bears on the back of the hand a vignette in the form
+of a seal, which represents Liberty holding in her hand the pike,
+the Phrygian cap, and the scales of justice--a Liberty, you will
+say, by no means at liberty . . . . in her movements:--on the right
+is crouched a lion, the sign of force; on the left a cat, a sign of
+independence.
+
+I will not lose my time in paraphrasing for you this symbolic
+vignette; and, with a long historic stride, I will conduct you
+into the quietude of some chateau, under the Restoration, and, in
+the evening twilight, to the terrace before a great park. I will
+there show you two lovers warbling a serenade--the timid young girl
+touching a guitar, the young man deeply moved, putting a world of
+passion into his baritone voice. On the hands of the singer, behold,
+pearly grey gloves fastening with a single button; on the dainty
+little fingers supporting the guitar, examine those Mittens of black
+silk lace, open worked, like those which, according to tradition, are
+worn by the heroine of that charming comedy, the /Marriageable Maid/.
+
+There rises on my lips a song of the time which the /Almanac of
+the Muses/ has bequeathed us, to the air of /The Little Sailor/. It
+will perhaps add a spice of interest to my story. "Now, listen, my
+friend," as they used to say in the noble ages of chivalry. Title of
+the song: /The Gloves/.
+
+    I love the Glove, that covers quite
+      The rounded arm it rests upon;
+    I take it off, with what delight,
+      With what delight I put it on!
+    If true it is through mystery,
+      A lover's bliss will higher move,
+    How dear that little hand should be
+      Which hides itself beneath a Glove!
+
+    But there's another Glove, whose use
+      Will every swaggerer displease;
+    A Glove correcting all abuse,
+      Which brings the braggart to his knees;
+    How many boasting folk I've known,
+      Who would, and wisely, rather prove
+    A flight from out the window thrown,
+      Than see before them that same Glove!
+
+    The Gloves are useful when we seek
+      The fair, the great ones, as we know;
+    When unto those with Gloves we speak,
+      Easy at once their favours grow.
+    They for intriguers wealth have won,
+      No fools their uses are above;
+    Of what another man has done
+      They boast, and give themselves the Glove.
+
+One last couplet, I pray you, and the authoress, Madame Perrier, will
+bow herself out:--
+
+    The Gloveless man can ne'er afford
+      To dance, no step he makes with grace;
+    The servant wishes that his lord
+      Should put on Gloves in many a case.
+    When the police are wide awake,
+      To cheat those eyes they hardly love,
+    How many thieves will wisely take
+      The greatest care to wear the Glove?
+
+The song is not so bad, truly; and if the Muse gloves the author a
+little tightly, the tone of his strophes is none the less strictly
+respectable and proper.
+
+Under Louis XVIII. and Charles X. long Gloves were very costly;
+still, no coquette hesitated to change them every day, for it was
+necessary for them to be of extreme freshness of colour, which was
+either buff, gridelin, or white. Some years later, the fashion
+tended to maize, straw, or nut colour for the evening and morning
+toilet, and to palisander, burnt bread, cedar, fawn, for afternoon
+visits. Yellow Gloves had an infinite scale of tones, from a soft
+and delicate unbleached lawn colour to the glaring yellow of a
+stage-coach. White doe-skin was only used by men when riding.
+
+It was about this epoch, if I mistake not, that the denunciation of
+/Gant jaune/ (yellow glove) became synonymous with /petit-maître/
+(dandy). In London, the disciples of Brummel--of the most refined
+elegance--constituted a society, and formed the Club of the /Fringed
+Glove/. This club no longer existed doubtless in 1839, when d'Orsay
+established thus despotically the rules of the perfect gentleman:
+
+"An English gentleman of fashion," said he, "ought to use six pair of
+Gloves a day:
+
+"In the morning to drive a britzska to the hunt: Gloves of reindeer.
+
+"At the hunt, to follow a fox: Gloves of shammy leather.
+
+"To return to London in a Tilbury, after a drive at Richmond in the
+morning: Gloves of beaver.
+
+"To go later for a walk in Hyde Park, or to conduct a lady to pay her
+visits or make her purchases in London, and /to offer her your hand
+in descending from the carriage/: coloured kid Gloves braided.
+
+"To go to a dinner-party: yellow dog's skin Gloves--and in the
+evening for a ball or rout: Gloves of white lamb-skin embroidered
+with silk."
+
+
+What odious tyranny is so exacting a fashion! And how sensible was
+Balzac when he wrote: "Dandyism is a heresy of fashion; in making
+himself a dandy, a man becomes a piece of furniture of the boudoir,
+an extremely ingenious puppet, which can pose on a horse, or on
+a sofa, which sucks habitually the end of a walking-stick, but a
+reasonable being--never!"
+
+It is, however, with some dandy of the school of Rubempré and
+Rastignac, that often, on quitting the ball, an author shows us a
+romantic young lady in love, whose jealousy gnaws at her heart, who
+re-reads the letters of old times, and with wandering looks, like
+one overwhelmed, nervously tearing with her teeth a finger of her
+Glove, sadly dreams that the lover who is no longer all, is nothing,
+and that the moralist much deceived himself who wrote: "Woman is a
+charming creature, who puts off her love as easily as her Glove."
+
+How many things are there, look you, in a Glove!
+
+In the novel /The Lion in Love/ of Frédéric Soulié, Léonce signs the
+register of marriages at the mayoralty with a gloved hand; and when
+Lise's turn comes, the young girl stops, saying in a voice tinged
+with just a touch of mockery, "Pardon me, let me remove my Glove."
+
+"Léonce understood," then says the author, "that he had signed
+with his gloved hand." Sign an act of marriage with a Glove!
+Léonce meditated a little, and said to himself: "These people have
+certain delicacies. What difference makes a Glove more or less to
+the holiness of an oath, or the signature of a document? Nothing
+assuredly; and yet it seems that there is more sincerity in a naked
+hand, which affixes the signature of a man in testimony of the truth.
+It is one of those imperceptible sentiments of which we are unable to
+give an exact account, but which nevertheless exist."
+
+The fact is, that the Glove is not really, as has been said, a
+tyrant of which the hand is the slave, but quite the contrary--it
+is the hand's servant; and with the hand, as Montaigne wrote, "We
+request, promise, call, dismiss, menace, pray, supplicate, deny,
+refuse, interrogate, admire, number, confess, repent, fear, shame,
+double, instruct, command, incite, encourage, swear, witness, accuse,
+condemn, absolve, injure, contemn, distrust, track, flatter, applaud,
+bless, humiliate, mock, reconcile, recommend, exalt, feast, rejoice,
+complain, sadden, discomfort, despair, astonish, write, suppress," &c.
+
+I stop out of breath: verbs of every kind may pass into the list.
+
+With the Egyptians, the hand was a symbol of force; with the Romans,
+a symbol of fidelity. We please ourselves in clothing the occult
+powers, such as Time, Nature, Destiny, with a human hand: the hand
+of Time overthrows empires, and impresses wrinkles on our brows; the
+hand of Nature is prodigal to us of gifts, which are ravished from us
+by the hand of Death; the hand of Destiny or of Providence, in fine,
+conducts us across the paths of life.
+
+Old stereotyped language, which we use, and shall use always. Are
+we not, as Saint Evremond said, in the hands of love, as the balls
+in the hands of tennis-players--and the first happiness which love
+can give, is it not, according to Stendhal--and all the truly
+sensitive--the first pressure of the hand of the woman we love?
+
+Our ancestors swore by the hand, and read in the hand the mysteries
+of the future. On the day of coronation, the hand of justice was
+borne before the kings; the hand is used in salutation; we ask for
+the /hand/ of the lady we wish to espouse in lawful marriage; we
+wash our hands, like Pontius Pilate, of faults which we could not
+help committing; and if I were to have to make for you the panegyric
+of this organ, I should have, like Scheherazade, to put off the end
+of my discourse every day till the morrow. Sir Charles Bell, in
+his book, /The Hand: Its Mechanism, etc./, has given a synthesis
+of all I could possibly add, and has proved that the human hand is
+so admirably formed, possesses a sensibility so exquisite, that
+sensibility governs with so much precision all its movements, it
+answers so instantaneously to the impulses of the will, that one
+might be tempted to believe that it is itself its seat. All its
+actions are so energetic, so free, and withal so delicate, that it
+appears to have an instinct apart; and neither its complication as
+an instrument is ever dreamt of, nor the relations which subject it
+to the mind. We avail ourselves of the service of the hand, as we
+perform the act of respiration, without thinking of it; and we have
+lost all remembrance of its first feeble efforts, as of the slow
+exercise which has brought it to perfection.
+
+The hand, in a word, is the most perfect instrument given by God to
+man; but I ought not to forget, my fair friend, that poets seldom
+wear gloves, and philosophers never; and that, philosophising as I
+am, I remain outside the Glove, and, above all, appear to forget that
+axiom of Fontenelle: Had we our hand full of authenticated facts or
+truths, we should but half open it, and that after a feeble fashion.
+
+The Glove is worthy of entering into the legend of a fairy tale, and
+remaining there always, as the slipper has entered into the poetry
+even of fable, with the theme of /Cinderella/. An ancient King of
+France was indeed in love all his life with an unknown woman, only
+from having seen her Glove in the midst of a masked ball given
+to his court. Could it not easily be conceived according to the
+approximative aphorism, "Show me your Glove, I will tell you who you
+are." At the opera ball, in the surge of masks and of dominoes, in
+the midst of the comings and goings on that staircase so exalted,
+it needs but a Glove imprisoning a little hand to allure at once
+the passion of a man of delicacy--a long white Glove lovingly glued
+to a hand divinely small, a fine delicate wrist, and the exquisite
+roundness of the forearm. This is enough to transport a lover of the
+fair sex. The Glove appears not only in all festivals where grace and
+beauty preside; it is found in all the rudeness and clumsiness of its
+origin at the Poles, among the Norwegians, the Laps, and the Fins,
+who wear huge Gloves of wool in summer, and thick Gloves of reindeer
+skin, with the hair outside, in winter.
+
+Defended by these Gloves, they sometimes sally bravely from their
+huts, in spite of the cruel frosts, to kill the white bear and the
+seal, just as the dramatic engravings which illustrate our stories of
+voyages to the North Pole represent them to us.
+
+But methinks your eye is asking me in disquietude about two little
+bound books which I have in my reach. Reassure yourself, these are
+not recitals of tourists, which are for painting us the manners of
+the inhabitants of Karasjok or of the Lofoten Isles: I will read
+to you at once, without allowing you to languish any longer, their
+titles. Upon one of these works, see for yourself /Collection of the
+Best Riddles of the Time/, composed on divers serious and sprightly
+subjects by Colletet; on the other, /Collection of Riddles of the
+Time/, by the Abbé Cotin. You already divine that I intend to act no
+traitor's part towards you, and that I am going to read you some old
+charades in verse upon Gloves:
+
+The first riddle--/énigme/ has been masculine in French at least
+since the seventeenth century, in despite of its profound
+femininity--the first riddle, in obscure and ambiguous terms,
+indicates that the Glove, after having been the natural covering of a
+rustic animal, serves to-day as an artificial covering for an animal
+more refined: man!
+
+    We're two or ten, and to a body wed,
+      We once a thing of breathing life were over;
+    Like it we lived, and now, although we're dead,
+      Another life more excellent we cover.
+
+This quatrain riddle is by François Colletet, that poor poet up to
+his neck in mud. Listen now to Cotin--the Trissotin of Molière--in
+this singular sextain:--
+
+    With mortal flesh our five soft mouths we fill,
+    And in the winter to repletion feed;
+    If one of us be lost, the world's agreed
+    To treat the rest of us exceeding ill;
+    But if we all remain together, then
+    We do almost all that is done by men.
+
+Mediocre, isn't it; tortured, bombastic, gross, all at once? There is
+nothing here to make us fall into an ecstasy, and repeat to satiety,
+as some highly refined courtiers used to do, "Ah, with what congruity
+of terms are these thoughts expressed!"
+
+I shall abandon the riddles at once. These two specimens are enough.
+Another point:
+
+Many physiologists affirm that great warriors have been remarkable
+for a beautiful hand, which they loved perhaps to adorn with the most
+delicate gloves. They instance Cyrus, Alexander, Cæsar, Charlemagne,
+and Napoleon.
+
+According to an historian of the First Empire, some generals
+attending Bonaparte one day in his private room, found his big
+military Gloves and his little hat on a side-table. Actuated by
+curiosity, each one of them tried in turn the Glove and the hat; but
+it appears there was not a single hand which could force its entrance
+into those big Gloves, and upon those giants' shoulders not a single
+head which could fill up the little hat.
+
+Napoleon was, it is weil known, no less proud of his hand than Byron,
+who, his biographer tells us, had a hand so small, that it was out of
+all proportion with his face. Byron thought and wrote that nothing
+characterised birth more than the hand; it was, according to him,
+almost the sole index of aristocracy of blood.
+
+Since the fifteenth century, we can trace in the museums of France,
+Holland, Italy, Spain, and Germany, the interest which painters of
+all schools have taken in the study of the hand, and, indeed, of
+the Glove. Van Dyck and Rubens were passed masters in this art, and
+Titian has left an admirable masterpiece in his /Young Man with
+the Glove/. Velasquez almost always makes his powerful models hold
+Gloves, nobly folded in their right hand. In Venetian paintings we
+see the Glove on the hands of the Doge, of his wife, of ambassadors,
+of senators, of residents, and even of merchants. The mere study
+of the Gloves in these portraits and these costumes would suffice
+for a long pamphlet, for we must consider the Glove in all classes
+of society and in all epochs, from the embroidered Gloves of the
+Doges to the special Gloves of the merchants, of the rectors of the
+university of Padua, and even of the monks of the brotherhood of the
+Cross, which were violet on a white ground, &c.
+
+But it would be madness to endeavour to omit nothing in this
+monograph of the Glove, a tentative work, and an unpremeditated
+sketch of little pretension.
+
+Have we not still to consider the stuffed fencing Glove, with the
+short shield of red leather, and the giant Glove which swells the
+fist of the boxers?--the ordinance Glove of the good Dumanet; that
+white cotton Glove which the brave trooper puts on so willingly on
+Sunday, coming out of barracks like a conquering hero? Is there
+not besides the Glove of the Cuirassier, with its large shield of
+buckskin, which this last man of iron places so gallantly on his hip
+when he is on express service?
+
+The history of Gauntlets and of military Gloves from the time of the
+Middle Ages would make a mighty volume, like the ladies' Glove and
+the work-people's Mitten. The liturgical Glove, yet more important,
+is of three kinds: the /pontifical Glove/, which was worn by bishops
+and abbés; the Glove which simple priests had adopted for particular
+occasions; and lastly, the /prelatic/ /Glove/. On /pontifical
+Gloves/ alone Monseigneur X. Barbier de Montault has found means
+to write in the /Bulletin Monumental/, 1876-1877, nearly two
+hundred pages of closely packed text, in 8vo: /Ab uno disce omnes/.
+See, my amiable friend, I repeat it--see in what an inextricable
+archæological labyrinth I might have set you to wander, /à propos/
+of all these dear little Gloves, of which I had promised you a
+history, but about which it appears to me I am making only a lively
+chatter of whipped Glove. I should not have set on the table aught
+beyond that which lends grace to woman: Gloves on a champagne glass
+or in a shepherdess's hat, roses and a love-letter half opened; such
+simple still life had assuredly better inspired my Muse than all the
+documents brought together and packed one on another, well calculated
+to frighten a mind which is by no means pleased with such barricades
+of notes and annotations. Ah, my fair friend, how right was Balzac,
+in his brilliant and profound /Traité de la vie élégante/, when he
+wrote the following lines, which I had not sufficiently considered
+before pledging my word in your society!
+
+"The learned man, or the elegant man of the world, who would search
+out in every epoch the costumes of a people, would compile the most
+interesting history and the most rationally true. . . . . To ask
+the origin of shoes, of alms-purses, of hoods, of the cockade, of
+hoop-petticoats, of farthingales, of /Gloves/, of masks, is to drag
+a /modilogist/ into the frightful maze of sumptuary laws, and upon
+all the battlefields, where civilisation has triumphed over the gross
+manners imported into Europe by the barbarism of the Middle Ages.
+
+"Things futile in appearance," continues the author of the /Théorie
+de la démarche/, "represent either ideas or interests--whether
+it be bust, or foot, or head"--he might have said, above all, or
+hand--"you will ever see a social progress, a retrograde system, or
+some desperate struggle formulating itself by the assistance of some
+part or other of the dress. Now the shoe announces a privilege, now
+the hat signals a revolution--a piece of embroidery, a scarf, or some
+ornament of straw, is the sign of a party. Why should the toilet be
+then always the most eloquent of styles, if it was not really the
+whole man, the man with his political opinions, the man with the
+text of his existence, the hieroglyphic man? To-day /Vestignomy/ has
+become almost a branch of the art created by Gall and Lavater."
+
+I am overwhelmed, O my indulgent friend! I feel that I have been far
+inferior to my task, and I fear I have not had that charming art of
+saying nothing which often says so many things. I have neglected to
+show you the Glove in princely /Inventaires/, in the old chronicles,
+and in the delightful tales of Boccaccio, of the Queen of Navarre, of
+Straparole, of Bonaventure Desperriers, and even in Brantôme, who has
+written a little story, full of old French /esprit/, on a Glove found
+in the bed of a fashionable lady. I had a good opportunity of showing
+you the anecdotic Glove of ever so many romances and memoirs from /Le
+Petit Jehan de Saintre/ up to Casanova the Venetian, going through
+/l' Histoire amoureuse des Gaules/.
+
+But the natural and the unpremeditated is also a French quality,
+of which we must sometimes allow the grace, even in recognising
+its defects. I left the history of the Glove, I believe, in 1840;
+and I do not suppose that I have painted for you all the little
+cuffs, festoons, ruches, notchings, indentations, which adorned the
+fastenings of the town Gloves of our elegant ladies, nor the long
+black mittens which accompanied the blonde bodices, of which in those
+modest times people were madly fond. It is of little consequence for
+me to follow the fashions from 1840 to the present day: one cannot
+be a woman and remain ignorant of these different variations of a
+fashion of which all the specimens return periodically to reconquer
+a second of celebrity. Open-worked Gloves of Chinese silk, Spanish
+Gloves, Beaver Gloves, Swedish Gloves, glacé kid Gloves, musketeers'
+Gloves, Colombine, with cuffs--what do I say?--the qualifications are
+innumerable; they change still more than the fashion, for the epithet
+gives a springtide and deceives the customer--/a fortiori/ would
+it deceive the /Gantuographer/, if you will allow me this hideous
+neologism.
+
+That which I have not been able to accomplish, that which you have
+not demanded of me, that which nevertheless would have interested you
+far more than this sleepy talk, is the /Physiology of the Glove/,
+with this epigraph taken from an anonymous but witty author--"The
+style is the man; the Glove is the woman; the style sometimes
+deceives, but the Glove never."
+
+I am launched, don't you see, into theories historic, philosophic,
+and, above all, physiognomic, in a study altogether beside the mark?
+
+Allow, my sweet and somnolent one, that if you had permitted me at
+first to take this part (which for my slight notice was assuredly
+better), I should have been less clumsily stiff, less dull above all,
+less pretentious besides; albeit I make no other pretension here than
+to do your pleasure. You have thrown me the Glove on the confines of
+history; it is thence that I have raised it with more effeminancy
+than swagger.
+
+I could have wished that fancy might have dictated to history; but,
+in the present case, it is the most that has been done, if history
+has succeeded in warming the amiable fancy, which has not taken
+Gloves to make us villainously sulky with each other.
+
+Pardon!--indulgent interlocutress!
+
+Excuse also, amiable lady readers, ye who read this congealed babble,
+and who have yet less reason to be favourable to me, in this sense,
+that to you all, alas! I cannot say, as was once said in the polite
+world--/Friendship allows the Glove./
+
+
+
+
+THE MUFF
+
+/THE FUR./
+
+
+The Muff! The very name has something about it delicate, downy, and
+voluptuous. From that little warm satin nest, where pretty chilly
+little hands ensconce themselves in silk, carrying with them a lace
+handkerchief, a box of lozenges, a bouquet of Parma violets, or a
+tender loving /billet-doux/, a thousand trifles spring up to please
+us, like a swarm of souvenirs and caressing thoughts of our first
+years passed at home, and of our first roving loves.
+
+In childhood, we delight to play with the large maternal Muff, to
+pass our hands over it the wrong way to excite the electricity of
+the long hair, to plunge our faces in the pungent heady odour of its
+down, and to make use of this furred sack in inconceivable tricks, in
+playing at hide-and-seek with small objects, or in burying therein
+the familiar cat, who becomes lazy in its warmth.
+
+Then, later on, at the hour of the first rendezvous, during one of
+those icy winters which Ronsard dreaded for his darling, when we see
+our so much desired mistress appear veiled and all imprisoned in
+furs, we become almost jealous of the pretty and coquettish Muff, in
+which she buries her roguish little nose, which the glacial breeze
+has lashed and reddened, and we plunge then with a sweet brutality
+our own hands into the silky cylinder, there to find, and there
+passionately to press the pretty idle fingers, which we are for so
+generously thawing, by covering them with long kisses like gloves.
+
+When the Muff returns from exile with the first hoar frosts of
+November, it causes, as soon as it appears on the boulevards, a
+sensation, intimate and delicious, to all true /feminists/, to the
+Dilettanti of woman--to all those who perceive in their most delicate
+shades the graces of which a naive or coquettish woman can avail
+herself, whether in handling the Fan or the Sunshade, or in tucking
+up a corner of a spring petticoat, or in passing along radiant in
+a long furry pelisse, or more passive in letting herself glide
+languishingly in a sledge over the ice of the lake, making eyes at
+her darling who skates by her side, and pushes forward her coquettish
+equipage. It seems that woman, that exquisite and delicate flower,
+blossoms in fur, as those white gardenias of the conservatory which
+half open and develop themselves in a nest of perfumed wadding.
+
+The more she hides, muffles up, deadens, so to speak, her beauty, the
+more woman--a creature of Hades who makes us dream of paradise--is
+bewitching in the diabolicity of her graces. When Love, who is
+represented blind, sets a mask on Venus-coquette, one might think the
+trickster boy was for burning the universe, for behind those yawning
+apertures of the black velvet mask, behind those murderous loopholes,
+two woman's eyes are lying in ambush, pitiless, turn by turn
+laughing, burning, blazing, drowned in pleasure, charged, in a word,
+as with grape-shot, with all the shafts of the Cupidonian quiver.
+
+Thus, out of the midst of furs, woman, that mignonette plant, that
+/mimosa pudica/, throws off beauty more mysterious, more warm, more
+full of promise, more enveloped and more enveloping, as if from the
+electricity of that peltry, there was spread in the ambient air of
+the provoking daughter of Eve an attractive sensuality, like a subtle
+caress, which rustles against our senses in its passage.
+
+The ancients had perhaps great reason to attach, as they did, certain
+excellences and prerogatives to fur: a master furrier, Charrier,
+wrote on this subject, in 1634, remarks and moral considerations as
+naïve as curious: "Our kings, whether they are consecrated, crowned,
+or married, divest themselves of the splendour of embroideries and
+of diamonds, to take their royal mantle hedged about with lilies and
+lined with ermine.
+
+"The mantles of the chevaliers, dukes, and peers of France are lined
+with lynx, marten, and ermine; the chancellors, keepers of the seals,
+who are the guardians of our laws, wear the most exquisite furs.
+
+"Bachelors and doctors, emperors and physicians clothe themselves
+with furs which represent the mysteries of theology, the maxims of
+politics, the secrets of medicine. Furs cure people of headaches and
+disordered stomachs; attacks of gout which triumph over the most
+potent remedies, are vanquished by the skins of cats, lambs, and
+hares."
+
+In fine, the good Charrier proves with pride that of all the
+ornaments which luxury has invented there is none so glorious, so
+august, so precious, as furs, and that the privileges of peltry
+merchants rightly surpass those of all others.
+
+The masters and wardens of the peltry merchandise had for their arms
+a paschal lamb on an azure field. Two ermines supported the shield
+crested with the ducal crown, with this device in exergue--very like
+that of Brittany--/Malo mori quam fœdari/.
+
+The use of furs dates back to the origin of the world. Plutarch, in
+his /Table Talk/, relates that people dressed themselves in skins
+before they became acquainted with stuffs. Tacitus assures us it was
+the same with the Teutons, Propertius with the Romans.
+
+    Robed in rich silk, the Court you now behold
+    Was once a folk fur-clad against the cold,
+
+says a poet of the sixteenth century. But without stopping at the
+conquest of the Golden Fleece, at Rebekah ordering Jacob to put on
+his hands and neck kids' skins, at all the examples of the Bible and
+of history, we will only remark that the four noble furs consecrated
+by feudality were the ermine, the vair, the sable, and the miniver.
+The colours of furs admitted into coats of arms were those of the
+sable, the ermine, and the vair.
+
+Charlemagne, who loved, they say, simplicity in his apparel, had,
+according to Eginhard, the habit of wearing in summer a mantle of
+otter's skin; but in winter he covered himself with a mantle of which
+the sleeves were lined with vair and foxes' fur. This is corroborated
+by the four following verses of Philippe Mousnes, the poet biographer
+of this Emperor:--
+
+    But in the days of fallen leaves,
+    He wore a new surcoat with sleeves
+    Of furs of foxes and of vair
+    To shield him from the nipping air.
+
+At the epoch of the Crusades, the luxury of furs was carried to the
+highest degree in Western Europe; but to remain absolutely fixed to
+the Muff, we must register the first apparition of this little fur
+about the end of the sixteenth century. In the inventory of goods
+left by the widow of the President Nicolai we read: Item, a Muff of
+velvet lined with marten.
+
+In Venice, however, we have in our researches found a vestige of the
+Muff at the end of the fifteenth century; celebrated courtezans and
+noble ladies at that time carried Muffs, which served for niches to
+minuscular dogs; and an engraving represents a scene of an interior,
+in which a fair Venetian seems to be showing her lover the infinite
+games of her lap-dogs in her Muff.
+
+There were at that time in Venice delicious Muffs made after the
+primitive fashion of a single band of velvet, brocade, or silk, lined
+with fine fur, rounded in a cylinder, of which the extremities were
+closed in different widths by buttons of orient crystal, pearls or
+gold.
+
+D'Aubigné, in his /Universal History/, says in the course of a story
+of a besieged town:--"The inhabitants descended thirty paces from the
+breach, and among the foremost was noticed a woman /with Muffs/, a
+halberd in her hand, who mixed with and distinguished herself in this
+combat." Under the designation of /Muffs/ we must understand here
+spare half-sleeves like those mentioned in the Library of Vauprivas
+/à propos/ of Louise Labé. Under Charles IX. the simple citizen
+folk were only allowed to wear black Muffs; ladies of the highest
+condition had alone a right to sumptuous Muffs of various colours.
+
+In a satiric print of 1634, signed Jaspar Isac, and entitled /The
+Squire à la Mode/, we see carried by a woman, who is accompanied on
+foot by a Gascon cavalier, the first French Muff having a direct
+relation with that which is still in use at the present day. It is a
+sheath of stuff or silk bordered on both sides by a thick white fur,
+which grows into an enormous roll at the ends.
+
+But it is amongst the precious engravings of Hollar, Abraham Bosse,
+Arnoult, Sandrart, Bonnard, and Trouvain that we see the authentic
+Muff really born, and find it in the hands of the Parisian matron,
+of the lady of quality in her winter dress, of the /Précieuse/, and
+the coquetting flirt. An engraving of Bonnard shows us a great lady
+with her head dressed à la Fontange, and in court dress, on the point
+of going out; a waiting-maid adjusts her mantle, and a gentleman
+attends the beauty's good pleasure; the Muff she carries was then
+of a moderate size, with a bow in the middle. The Muff was worn for
+style, "for grace," and was made of sable-marten for ladies of the
+Court, and simply of dogskin or catskin for the small citizens'
+wives who could not devote more than fifteen to twenty francs to the
+acquisition of this light hand-warmer.
+
+Antoine Furetière, in his /Dictionary/, has condensed in a few lines
+all the materials of a Dissertation on the Muff of the seventeenth
+century. At the word /Muff/ we read:--
+
+ A fur worn in winter, in which to put the hands, to keep them warm.
+ /Muffs/ were formerly only for women: at the present day they are
+ carried by men. The finest /Muffs/ are made of marten, . . . . the
+ common of miniver; . . . . the country /Muffs/ of the cavaliers are
+ made of otter and of tiger. A woman puts her nose in her /Muff/ to
+ hide herself. A little /Muff/-dog is a little dog which ladies can
+ carry in their /Muff/.
+
+Everything we see is summed up in this. Saint-Jean and Bonnard have
+preserved for us types of French gentlemen bearing the Muff under
+Louis XIV. One, in court dress, carries with much grace a small
+spotted Muff, which he holds in one hand, showing a glimpse at
+the unoccupied end of the cuff of a fur glove; another, in winter
+court-dress, holds with the languor of a /petit-maître/ a pretty
+plump otter Muff falling to the hips, giving a gracious curve to the
+arm; in the middle of this Muff a vast bow of ribbons or /Galants/,
+something like the old trimming called /petite oie/, is displayed
+with an excellent effect. In 1680, nothing, according to the /Mercure
+Galant/, was to be seen but ribbons purfled with gold, laced,
+fringed, wreathed, purled, or embroidered, which were gathered in a
+bow in front, of the Muff.
+
+La Fontaine alludes doubtless to the country Muff spoken of by
+Furetière when, in the fable of the /Monkey and the Leopard/, he
+makes the latter say:--
+
+    The king desires me at his Court,
+    And must have--if I die for't--
+    A /Muff/, made of my skin, so full of blots
+    Of colour, and of lines, and dots,
+    And dappled stains, and chequered spots.
+
+As to the Muff-dog--to finish the registration of the definition
+of Furetière--not only has Hollar left us an engraving of it, and
+presented it to us under the form of a small Spaniel, but Father du
+Cerceau makes his /upholsterer poet/ say--Even the lady's lapdog
+barked at me, that ingrate
+
+    Cadet, for whom I used to stuff
+    So many sweets inside my Muff.
+
+The chief hall of the peltry merchants and furriers of the 17th
+century, in Paris, was in the Rue de la Tabletterie or Rue des
+Fourreurs, which led into the cross-way of the Place aux Chats. The
+shops of the retail peltry merchants were nearly all situated in the
+City, Rue Saint-Jacques de la Boucherie, and Rue de la Juiverie.
+
+"In these places," says Léger, "are to be found very beautiful Muffs
+for men and for women, and very fashionable ones . . . there are to
+be sold also very beautiful amices of miniver." He adds a word about
+the Palatines properly got up, composed of skins of animals, foreign
+and native. The /Livre commode des adresses de Paris/ contains some
+designations of peltry merchants and furriers towards the end of the
+seventeenth century.
+
+Fashion altered the shape of the Muff considerably under Louis XIV.
+From the rare documents which we have been able to catalogue, we
+have easily found numerous modifications in both form and volume.
+Sometimes narrow and long, sometimes broad and short, it would be
+impossible to assign to this little chattel an exact type for all
+that epoch.
+
+The Muff triumphed already, under Louis XIII., in the empire of
+oglings and at the Place Royale, as it reigned later at Versailles,
+and showed itself in sedan chairs in the midst of the alleys of
+the park at the visiting hour, lending always to woman a charming
+countenance and exquisite graces.
+
+Scarron, in his /Poésies Diverses/, has left us in four verses a
+pretty picture of manners for any one who could morally develop it.
+The poor cripple Scarron certainly had no need of a Muff in his
+arm-chair!--
+
+    My wife then leaves at once, though she
+    All perils should divide with me;
+        She takes her Muff and goes
+        To see some one she knows. . . .
+
+But let us leave the age of big wigs and Fontange head-dresses,
+and penetrate into the age of powder and patches, into the age of
+Voltaire, who, /à propos/ of one of his characters in /Micromégas/,
+wrote:
+
+"Imagine a very small Muff-dog following a captain of the Guards of
+the King of Prussia."
+
+An engraving of the /Encyclopédie/ presents us in the nick of time
+with a faithful reproduction of a shop of a furrier of the last
+century. Day penetrates through a large glass bow window; all round,
+on shelves, are ranged Muffs and different furs; two pleasing
+shopwomen offer their customers enormous Muffs of miniver, and a
+shop-boy beats with a rod one of those furred mantles which were sent
+"to be kept" during the summer, to preserve them from the mites. This
+engraving, a precious document which may be attributed to Cochin,
+recalls two charming little stories of Restif de la Bretonne in his
+/Contemporaines du Commun/: one entitled /La Jolie Fourreuse/, the
+other /La Jolie Pelletière/. Professions passed out of sight!
+
+"Furs"--MM. de Goncourt wrote in a note of much study to their book
+/La Femme au XVIII^e Siècle/--"were a great luxury of Parisian
+ladies, at the time when the fashion was to arrive at the opera
+wrapt in the most superb and rarest, and to take them off little
+by little with coquettish art." The reputation of the sable, the
+ermine, the miniver, the lynx, the otter, is indicated in the
+/Étrennes Fourrées dédiées aux jolies Frileuses/, Geneva, 1770.
+Muffs have quite a history, from those on which the furrier brought
+discredit, in causing one to be worn by the hangman on the execution
+day--these were probably Muffs /à la Jésuite/, muffs which were not
+of fur, and against which a pleasantry at the commencement of the
+century, /A petition presented to the Pope by the master furriers/,
+solicits excommunication--up to those of Angora goats' hair, immense
+Muffs which reached to the ground, and to the little Muffs at the
+end of the century, baptized /little barrels/, as the Palatine was
+called /cat/. The fashion of sledges, then very widely spread, added
+to the fashion of furs. An etching of Caylus, after a drawing of
+Coypel, about the middle of the century, shows us in a sledge set
+on dolphins--one of those sledges which cost ten thousand crowns--a
+pretty woman dressed entirely in fur, her head-dress a small bonnet
+of fur with an egret, carried along in a sledge, which is driven by
+a coachman dressed like a Muscovite, and standing at the back. /À
+propos/ of furs, the /Palatine/ owes its fortune and its name to the
+Duchess of Orléans, mother of the Regent, known under the name of the
+Princess Palatine.
+
+Palatines--which were made of fox, of marten, of miniver--were worn
+for a long time with /Polonaises/ and /Hongrelines/. Roy, a French
+poet of the 18th century, who made acquaintance with the stick
+at different intervals--sent some bad verses to a lady on the
+subject of her /blue palatine/. The /Almanach des Muses/ of 1772 has
+preserved them for us. Here they are:--
+
+            That charming colour wear,
+    The colour of the summer sky above,
+    The colour Venus sets on every Love,
+      Which makes the fairest faces yet more fair,
+    As Venus in her own sweet self can prove:
+    But the white place where falls the tufted bow
+      Is nought indeed but lovely nakedness;
+      Why hide it then? The beauty which men bless
+    Gains on the whole by losing, don't you know?
+
+Caraccioli remarks that people used Muffs in winter just as much for
+elegance as for need. "The form varies continually," he says; "to-day
+(1768) men carry small Muffs lined with down, and trimmed with black
+or grey satin."
+
+In 1720, women's Muffs were very narrow and long; the crossed hands
+filled it exactly; afterwards they became wider, like those we may
+see on the hands of the pretty skaters of Lancret. A typical Muff of
+the epoch was the ermine Muff, fearfully large, which we find carried
+by the Venetian masks of the delicious Pietro Longhi, who seems to
+have wished to illustrate by his pictures the /Memoires/ of Jacques
+Casanova of Seingalt. In the small engravings of the century relating
+to travelling, which show us the stoppages at the inn, or the
+packings in the public vehicles, we see everywhere the feminine Muff
+delicately pressed against their waists by the pretty adventuresses.
+Boucher's skater, who passes like a gracious Parisian little figure
+over a background of a Dutch landscape, doubled up but valiant,
+appears to make a prow of her Muff, the better to cleave the sharp
+cold air. But in the intimacy of private life, in the eighteenth
+century as now, the Muff could lend a charm to genre paintings, and
+the manufacturers of prints might have composed many /Little posts/
+and /Nests for love-letters/, interpreting by their drawing what the
+author of the /Dictionnaire des Amoureux/ wished to express, when at
+the word /Muff/ he gives this piquant definition: /A Letter-box,
+lined with white satin./
+
+The most celebrated and the most delicious picture in which a Muff
+figures is assuredly that adorable painting known by the name of /The
+Young Girl with the Muff/, by Joshua Reynolds, which formed part of
+the beautiful collection of the Marquis of Hertford. Nothing is more
+delicate than this painting. That young English-woman seems rather to
+walk through the picture than remain fixed in it, so great, one might
+say, was the quickness with which the painter has caught that image
+in its passage with its movement of walking--the body is inclined a
+little forward, the head on one side; the woman's bust, which stops
+at the Muff, is so fresh in its composition, so fine in its tonality,
+so radiant in its originality of design, that it would be enough
+almost by itself to establish the immortal reputation of Reynolds,
+who has put into his work a very quintessence of femininity, as an
+ideal of the most exquisite English loveliness, and also as a type,
+delicate and never to be forgotten, of a chilly beauty.
+
+Nor must we forget the /Portrait of Mrs. Siddons/, painted by
+Gainsborough, in the charm of her twenty-ninth year, in 1784. This
+picture, which was exhibited at Manchester in 1857, is now in the
+/National Gallery/. The charming lady, dressed in a fresh striped
+blue and white robe, with a fawn-coloured shawl half falling from
+her shoulders, has on her head a large black felt hat, ornamented
+with feathers--one of those hats which have done more for the
+vulgarisation of the glory of Gainsborough than all his studies
+and portraits. Mrs. Siddons is seated, holding on her lap with her
+left hand a comfortable Muff of fox or Siberian wolf, of which she
+appears to caress the fur with her right hand, as if to show off the
+beauty and whiteness of her spindle-shaped fingers. The mistress of
+the works of a master who had, it is only right to say, the most
+ravishing face in the world to portray. But, without needing to have
+further recourse to the English school, have we not that luminous
+portrait of Madame Vigée Lebrun, in which the Muff, raised almost
+level with the head, spreads the shine of its hair of tawny gold
+like the head of a courtezan of Venice? That astonishing painting
+of the end of the eighteenth century appeared in its dazzling
+splendour, in the midst of the square saloon of the Museum of the
+Louvre, killing, by mere force of freshness and light, the magistral
+bituminous pictures of the beginning of the century, which are its
+near neighbours.
+
+Under Louis XVI. the frenzy of the toilette reached its most acute
+crisis: fashions succeeded one another in a few years with so much
+rapidity that we can scarcely follow them; people sought to outstrip
+in everything rather than to refine, and the Muffs, carried by men
+and women alike, became enormous and exaggerated. Hurtaut, in his
+/Dictionnaire de la Ville de Paris/, article /Modes/, makes this
+strange remark in the year 1784, "A lady has been seen at the opera
+with a /Muff of momentaneous agitation/."
+
+The intellect loses itself in seeking the exact definition of this
+qualificative of /momentaneous agitation/!
+
+In 1788 a fashion was Muffs of Siberian wolf. According to the
+/Magasin des Modes Nouvelles Françaises et Anglaises/, the young
+folks no longer carried their Muff after the peaceable and good
+citizen-like fashion /à la papa/ level with the bottom of the
+waistcoat; they used it, on the contrary, like a plaything or an
+opera hat; they held it in their hand while gesticulating in their
+promenades, or carried it under their arms like a portfolio strangled
+and crumpled between the elbow and the chest.
+
+The little dogs, the Muff-toy-terriers, which had continued in favour
+since the Regency, were more in request now than ever; every woman of
+fashion had her pug and her King Charles' pet, like those small dogs
+that now come from Havanna.
+
+In the celebrated coloured engraving of Debucourt, /La Galerie de
+Bois au Palais-Royal/, in 1787, we see circulating in the midst of
+that strange crowd which was called the medley of the Palais-Royal,
+extravagant types, among them women holding in their hand beside
+their furred cloak those incredible Muffs of an immense size, which
+figure also under the arms of the masked gallants of the time, with a
+small bow of satin attached to the fur.
+
+Under the Revolution and the Directory the fashion of Muffs was
+extremes, either broad as little barrels, or narrow and minuscular;
+in other respects the fashion varied infinitely, and we must come to
+the Restoration to find the first chinchilla Muffs which harmonised
+with the velvet witchouras. Absurd fashions to study! What Muff
+would the painter choose who wished, by way of allegory, to show
+a grasshopper shivering in the hoar frost and the snow, to whom
+charitable Love brings a downy Muff? A pretty subject for a concourse
+of an Academy which claimed to be /précieuse/ and refined.
+
+In 1835, Muffs, boas, palatines, cloaks lined with marten or fox,
+affected odious and indescribable forms: they used to make for a time
+Glove-Muffs, a sort of mittens of marten, which were soldered on to
+one another where the hands crossed. The Muff, that accessory of the
+toilet, ought to be in harmony with the general tonality and style of
+costume. Therefore, to undertake to describe it at that epoch would
+be only possible in sketching a complete history of Fashion.
+
+The picturesque Muff of 1830 to 1850, is assuredly the big Muff
+of the Parisian or provincial tradeswomen, those Muffs, larders
+and lumber-rooms, which we meet in the deobstruent tales of Paul
+de Kock, and see figuring in the primitive tilted spring-carts
+driven by the master, in which are packed the mistress and all the
+assistant clerks, with a view to exploring some suburban corner on
+Sunday, there to laugh with their muffs pressed before their mouths,
+and to act a thousand follies of a doubtful taste, and to banquet
+plentifully, and to sing during the dessert some free-and-easy ditty,
+very jovial, after the fashion of those pleasant couplets of Laujon
+on /The Muff/, which I will quote here, with the more confidence,
+since they figure in the /Chansons de Parades/ collected by that boon
+companion, who was at the same time member of the Caveau and of the
+Institute:--
+
+    See what it is to be too good!
+      One morning, leaving the warm fold
+    Of home, Simon I saw, who stood
+      And shivered in the nipping cold;
+    He cried, "Come here, you little pearl,
+    I feel so very cold, my girl!"
+          Now warm yourself!
+    Simon, good sir, ensconce yourself!
+    I'll lend you, sir, my bran-new Muff!
+                    My dear!
+    I'll lend you, sir, my bran-new Muff!
+
+    "I feel so very cold, my girl!"
+      Ay me! I had my new Muff on.
+    My head was surely in a whirl
+      To lend it to the good Simon.
+    That day my kindness cost me dear;
+    My Muff is spoilt for all the year!
+          Now warm yourself!
+    I'll lend you, sir, my bran-new Muff!
+                    My dear!
+
+    My Muff is spoilt for all the year,
+      For Simon's ways are rather rough;
+    And he knows nought of doubt or fear,
+      He quite destroyed my poor new Muff!
+    Simon, you've ruffled all its fur,
+    Made it too large, you careless sir!
+          Now warm yourself!
+    I'll lend you, sir, my bran-new Muff!
+                    My dear!
+
+    Made it too large, you careless sir!
+      See: it has been entirely spoiled,
+    'Tis metamorphosed, I aver;
+      And seems all rumpled up and soiled.
+    'Tis like my aunt's Muff, all agape,
+    Quite out of countenance and shape!
+          Now warm yourself!
+    Simon, good sir, ensconce yourself!
+    I'll lend you, sir, my bran-new Muff!
+                  My dear!
+    I'll lend you, sir, my bran-new Muff!
+
+What laughter, what shouts, what chokings, in those parties /à la/
+Paul de Kock, when an artless maiden--at the time when pleasant
+digestion had set its bloom on all faces--sang, one by one, these
+ancient couplets, with an air at once of a whimpering girl and of a
+woman full of coquettish intelligence.
+
+The Muff has not always brought tears of laughter to the eyes, and
+a physiologist might draw from it many a curious deduction; only to
+cite a single instance, in the middle of the /Scènes de la Vie de
+Bohème/, in the episode of Francine's Muff, which should remain in
+every reader's memory--the tears come into all our eyes resultant
+from an emotion at once sincere and profound.
+
+Francine has been condemned by her doctor, and /hears with her eyes/
+the terrible sentence of the physician.
+
+"Don't listen to him," says she to her love, "don't listen to him,
+Jacques, he is telling stories; we will go out to-morrow, it is All
+Hallows Day, it will be cold, . . . go and buy me a Muff, . . . mind
+it is a good one, . . . and will last a long while; I am afraid of
+having chilblains this winter."
+
+Then, when Jacques has brought the Muff: "It is very pretty," said
+Francine; "I will carry it in our walk."
+
+The morrow, All Hallows Day, about the time of the Angelus of noon,
+she was seized with the death-struggle, and all her body began to
+tremble. "My hands are cold, cold," she murmured, "give me my Muff,
+dear"--and she plunged her poor little fingers into the fur.
+
+"It is over," said the doctor to Jacques, "give her a last kiss;" and
+Jacques glued his lips to those of his darling. At the last moment,
+they wished to take away her Muff, but her hands still clung to it.
+
+"No, no," she cried, "let it be--we are in winter, it is cold. Ah my
+poor Jacques!"
+
+And so Francine dies, without quitting her Muff. A poignant and
+lugubrious story, like the work of Murger in general; the /Muff of
+Francine/ will perhaps be the most durable chapter in the /Vie de
+Bohème/. We have not been able to set this realistic scene upon
+the stage, but a painter, M. Haquette, has displayed it after an
+admirable manner in one of his best pictures exhibited in one of the
+Paris annual Salons.
+
+Truly the Muff calls up many sad thoughts for sentimental and
+charitable souls; this winter chattel reminds them of the sorrows
+of those who are without fire and home and comfortable clothing,
+and when the north wind blows without, and the snow falls softly
+in sombre silence, more than one dreaming girl, with her elbow
+leaning on the window-sill, lets her Muff fall while thinking of
+those unfortunates who suffer, of the careless grasshoppers and the
+laborious ants, of whom an adverse fortune has deceived the foresight.
+
+The Muff, the mysterious Muff, hides many distresses: we see it at
+the present day on the hands of all the working girls and milliners,
+who set out early in the winter mornings from their homes for the
+distant workshops; and it is a load upon one's heart to see all these
+miserable little Muffs made of rabbit or black cat, out of which
+peeps often the golden point of a penny roll and a greasy paper which
+envelops a chlorotic piece of pork or an /Arlequin/ (bits of broken
+meat) bought in the early market. The Muff which warms so many pretty
+hands brave and toiling, seems in winter to be the refuge of virtue,
+shivering but victorious.
+
+How much luxury is there, on the other hand, in the Muffs of the fine
+world during the last twenty years! They have been made very small,
+of sable tails, and very expensive; but there have been also some
+more modest, made with that marten of Australia which took the place
+of the Astrakhan, which passed out of fashion in 1860. They have been
+manufactured also in velvet plush or in cloth, with borders of fur
+or feathers, and a large bow of ribbons in the centre. Some became
+veritable scent-bags, perfumed with heliotrope, rose, gardenia,
+verbena, violet, or they were powdered inside with orris root or
+/poudre à la Maréchale/.
+
+An elegant and witty lady-correspondent of fashion, who signs with
+the word /Étincelle/ the notes full of charming confusion in her
+/Carnet d'un Mondain/, lately gave the nomenclature of the Muffs of
+the day, painted in water-colours:
+
+"The Nest-Muff, in satin /coulissé/, lined with black and white lace,
+with a whole company of little Indian birds and frightened paroquets
+hiding themselves in the satin folds.
+
+"The Flower-Muff, very small, of ivory plush, rouge cardinal or
+marine blue, with bunches of roses, marigolds, camellias, and violets
+blossoming in the midst of a great deal of lace.
+
+"The Watteau-Muff for the evening: a round of Loves painted on white
+satin. The Coppée-Muff: sparrows sunk in a sky of black satin. The
+Figaro-Muff, in black velvet, entirely covered with a net of black
+and gold chenille: three humming-birds in a nest of black lace. The
+Duchess Muff: all of Marabout, imitating fur, shaded with little bows
+of dead satin. The Castilian, in plush, covered with point noir: an
+orange parroquet in the middle standing out in relief on a fan of
+black lace. The Minerva, in skunk or sable, with a black satin bow
+and the head of a barn-door owl."
+
+All these fashions of to-day are already fashions of yesterday, so
+perpetual is the inconstancy of /la Mode/! To-day the monkey, blue
+fox, beaver, swan, and ermine are metamorphosed into Muffs; to-morrow
+will come the furs of sable, of otter, of chinchilla, of squirrel, of
+marten, of wolf, &c. Women and furs change, and will change, soon and
+often.
+
+Fashion is the everlasting Fairy; whether she take the Sunshade as
+a rod at the end of her gloved hand, or the Muff as a surprise-box
+or a cornucopia, she is never short of inventions, of prodigies, of
+follies, and of ruins; she seems to avenge herself on the moderns
+because the ancients gave her not divine honours, nor placed her upon
+the summit of their Olympus. Let, then, the head of this new and
+great goddess be adorned with a weathercock helmet, of which Love
+will furnish the magnetic arrow, and let a statue be raised to that
+great first French citizeness, who from Paris governs the world with
+so formidable a despotism, against whom none ever dreams of raising a
+revolt.
+
+For us, who, /à propos/ of the Sunshade, the Glove, and the Muff,
+have just cast a glance upon the museum of this female ruler, we
+are in a state of dread from the inconceivable variety of objects
+which were for an hour a woman's pleasure, and, if we have not
+conducted our readers before all the glass cases of this national
+museum, great as the universe, or "the vastest in the world," as all
+large milliners' shops entitle themselves, it is because around the
+ornaments of women the fickle Loves will always dance their frenzied
+round, which only a madman can ever hope and wish to stop. It has
+been said that Fashion is woman's only literature; if, however, our
+elegant ladies were condemned to study the special archæology of this
+literature, very soon--as in love--would they desert History for
+Romance.
+
+
+
+
+APPENDIX
+
+
+We see sometimes appearing certain light little works connected
+either with literary history or ancient poetry, or manners and
+customs, which would be nothing but pretty and curious pamphlets,
+if the Appendix which follows them were not swelled out of all
+proportion with proofs and illustrations, annotated notes, documents
+with sidenotes, bibliographic bibliography, considerations and
+commentaries of all sorts, which put the reader to the torture. By
+this proceeding of an exaggerated literary conscience, an opuscule of
+thirty pages arrives sometimes at three hundred: it is in some sense
+a case of erudite exaltation, sometimes also a vain-glory of the
+investigator, who has a mind to climb up the pyramid of books he has
+examined, proudly there to set up his silhouette, as we plant a flag
+on a building as soon as it is complete.
+
+As an epilogue to another volume of this series, /The Fan/, we
+published a sketch of documentary bibliography to indicate the
+principal works which we had searched for the little materials
+necessary for that monograph. You will find there six or eight pages
+of titles placed without order, and ending with this phrase of a man
+out of breath, and expressing extreme fatigue--/et cœtera/.
+
+And in this /et cœtera/ we have set now a hundred library shelves in
+the shadow--sparing thus our most fastidious readers an extremely
+bitter pill, and sparing ourselves also the fatigues of an
+interminable catalogue of no great profit to any one, considering
+the nature of the work in question, and the fashion in which we have
+treated it.
+
+At the conclusion of the three unpretending pieces of chit-chat which
+we have just engaged in about /The Sunshade, the Glove, and the
+Muff/, people may expect to see figuring here the lineaments or first
+matters of the canvas on which we embroidered our bold arabesques.
+People will be deceived. It will please us for this time to hide the
+innumerable instruments of our thefts; they are still there by our
+sides, making walls and barricades upon our tables and the seats
+round about us. But if, on the termination of a task, we love usually
+to put back regularly in order a library turned upside down by the
+fever of researches, happy in being nourished by the intellectual
+juice of old books, sometimes also we are prostrated by that intense
+discouragement which "dumfounds a man," according to an every-day
+expression. In fact, the result has not answered so great a working
+up of material, a picture has been dreamed of too big for the frame,
+the artist has been obliged to reduce himself, to resign himself,
+and to put in nothing of his own essence; in short, the Mosaic
+/littérateur/ looks at the Little Thing he has just finished beside
+the Great Matter which he had conceived.
+
+In like conditions, the /meâ culpâ/ is the sole preventive parade
+that can be made in his retreat to questions which become twisted
+into a note of interrogation on the smiling lips of the reader.
+
+To make an inventory of the books we have consulted would be a
+torture worse than that of Tantalus, for desire, far from looking
+forward with eagerness, would look sadly back, like an old man who
+sees again in memory the women of his twentieth year, whom he has
+let fly under the willows without profiting in their pursuit by the
+vigour of his legs.
+
+These books--which we serve not up here--are full of documents which
+we have not been able to enshrine, and it seems that the crumbs which
+fall from the table make a larger volume than the repast which has
+just been taken.
+
+For the rest, a truce to sadness and superfluous regrets! Who knows
+whether we are not odiously unjust to ourselves? Who knows whether
+the little schoolboy path which we have chosen is not the prettiest,
+the least rugged, the most unforeseen--that is to say, the least
+painful and the most verdant, and at the same time the shortest?
+
+Every work, however small it may be, requires distance, a time
+of calm and oblivion. The eye of the painter wanders in distress
+before one and the same picture for entire days; the brain of an
+investigator becomes anchylosed and petrified by dreaming in one and
+the same atmosphere of small ideas which remain attached to dress.
+
+When we shall have unfurnished our skull of those delicate things,
+/the Sunshade, Glove, and Muff/, to carry thither a current of more
+serious conceptions, we shall perhaps have leisure to read again our
+little work as strangers, and not as producers, and thus, doubtless,
+we shall reflect with a satisfied smile, that there was much more in
+us of wisdom than carelessness in not tarrying too long amongst such
+charming trifles!
+
+
+
+
+ /LONDON/,
+ 14, KING WILLIAM STREET, STRAND, W.C.
+ /May 1883./
+
+ IN TWELVE VOLUMES, CROWN 8VO, PARCHMENT BOARDS OR
+ CLOTH, PER VOLUME, 7S. 6D.
+
+ THE
+ OLD SPANISH ROMANCES
+
+ /ILLUSTRATED WITH ETCHINGS./
+
+
+ THE HISTORY OF DON QUIXOTE DE LA MANCHA. Translated from the
+ Spanish of MIGUEL DE CERVANTES SAAVEDRA by MOTTEUX. With copious
+ Notes (including the Spanish Ballads), and an Essay on the Life
+ and Writings of CERVANTES by JOHN G. LOCKHART. Preceded by a Short
+ Notice of the Life and Works of PETER ANTHONY MOTTEUX by HENRI VAN
+ LAUN. Illustrated with Sixteen Original Etchings by R. DE LOS RIOS.
+ Four Volumes.
+
+ LAZARILLO DE TORMES. By DON DIEGO MENDOZA. Translated by THOMAS
+ ROSCOE. And GUZMAN D'ALFARACHE. By MATEO ALEMAN. Translated by
+ BRADY. Illustrated with Eight Original Etchings by R. DE LOS RIOS.
+ Two Volumes.
+
+ ASMODEUS. By LE SAGE. Translated from the French. Illustrated with
+ Four Original Etchings by R. DE LOS RIOS.
+
+ THE BACHELOR OF SALAMANCA. By LE SAGE. Translated from the French by
+ JAMES TOWNSEND. Illustrated with Four Original Etchings by R. DE LOS
+ RIOS.
+
+ VANILLO GONZALES; or, The Merry Bachelor. By LE SAGE. Translated
+ from the French. Illustrated with Four Original Etchings by R. DE
+ LOS RIOS.
+
+ THE ADVENTURES OF GIL BLAS OF SANTILLANE. Translated from the French
+ of LE SAGE by TOBIAS SMOLLETT. With Biographical and Critical Notice
+ of LE SAGE by GEORGE SAINTSBURY. New Edition, carefully revised.
+ Illustrated with Twelve Original Etchings by R. DE LOS RIOS. Three
+ Volumes.
+
+
+
+
+ IN TWELVE VOLUMES, CROWN 8VO, PARCHMENT BOARDS OR
+ CLOTH, PER VOLUME, 7S. 6D.
+
+ OLD ENGLISH ROMANCES
+
+ /ILLUSTRATED WITH ETCHINGS./
+
+
+ THE LIFE AND OPINIONS OF TRISTRAM SHANDY, GENTLEMAN. By LAURENCE
+ STERNE. In Two Vols. With Eight Etchings by DAMMAN from Original
+ Drawings by HARRY FURNISS.
+
+ THE OLD ENGLISH BARON: A GOTHIC STORY. By CLARA REEVE.
+
+ ALSO
+
+ THE CASTLE OF OTRANTO: A GOTHIC STORY. By HORACE WALPOLE. In
+ One Vol. With Two Portraits and Four Original Drawings by A. H.
+ TOURRIER, Etched by DAMMAN.
+
+ THE ARABIAN NIGHTS ENTERTAINMENTS. In Four Vols. Carefully Revised
+ and Corrected from the Arabic by JONATHAN SCOTT, LL.D., Oxford. With
+ Nineteen Original Etchings by AD. LALAUZE.
+
+ THE HISTORY OF THE CALIPH VATHEK. By WM. BECKFORD. With Notes,
+ Critical and Explanatory.
+
+ ALSO
+
+ RASSELAS, PRINCE OF ABYSSINIA. By SAMUEL JOHNSON. In One Vol. With
+ Portrait of BECKFORD, and Four Original Etchings, designed by A. H.
+ TOURRIER, and Etched by DAMMAN.
+
+ ROBINSON CRUSOE. By DANIEL DEFOE. In Two Vols. With Biographical
+ Memoir, Illustrative Notes, and Eight Etchings by M. MOUILLERON, and
+ Portrait by L. FLAMENG.
+
+ GULLIVER'S TRAVELS. By JONATHAN SWIFT. With Five Etchings and
+ Portrait by AD. LALAUZE.
+
+ A SENTIMENTAL JOURNEY. By LAURENCE STERNE.
+
+ ALSO
+
+ A TALE OF A TUB. By JONATHAN SWIFT. In One Vol. With Five Etchings
+ and Portrait by ED. HEDOUIN.
+
+
+
+
+/SOME PRESS NOTICES./
+
+
+Daily Telegraph.
+
+"These editions are noteworthy as containing original etchings by
+artists of high repute. Thus nineteen exquisite plates by the French
+etcher, M. Lalauze, gives especial attractiveness to the 'Thousand
+and One Nights;' and the two fanciful histories of the Caliph Vathek
+and Prince Rasselas are illustrated by designs of Mr. A. H. Tourrier,
+etched by M. Damman. It is a pleasure to hold a 'Robinson Crusoe' or
+the 'Tale of a Tub' in one's hands; it is a positive luxury to read
+those masterpieces in a luxurious shape, large print, on good paper,
+accompanied by exquisite illustrations."
+
+
+The Scotsman.
+
+"These volumes will take rank, for beauty of typography and general
+excellence of appearance, with any books of the kind that have
+recently been published; while the etchings by M. Lalauze are among
+some of the finest of his productions. They are full of vigour
+and striking originality, and are what they profess to be--good
+illustrations of the story to which they relate. There are not many
+men of wholesome minds who do not find enjoyment in 'Robinson Crusoe'
+whenever they can lay hands on it; and assuredly there is no one
+possessing anything in the shape of a library who would not desire to
+have a good edition of the work among his books; in short, nothing
+but praise can be given to this edition of these books. No one can
+pretend to be acquainted with English literature who is ignorant of
+any of the works here published."
+
+
+Glasgow Herald.
+
+"The merits of this new issue lie in exquisite clearness of type,
+completeness; notes and biographical notices, short and pithy, and
+a number of very fine etchings and portraits. The illustrations of
+Gulliver are particularly effective, such as the 'Academy of Laputa'
+and the 'Visions of Glubbdubdrib.'"
+
+
+London Figaro.
+
+"We congratulate the publishers upon the issue of a capital series of
+Old English Romances. They will form a most delightful collection."
+
+
+Magazine of Art.
+
+"The text of the new four volume edition of the 'Thousand and One
+Nights' is that revised by Jonathan Scott from the French of Galland.
+It is, in fact, the text in which the incomparable 'Arabian Nights'
+became in England the classic it is. The etchings are uncommonly
+skilful and finished work; they contain some charming figures; they
+constitute a true attraction. In another volume of this series
+Beckford's wild and gloomy 'Vathek' appears side by side with
+Johnson's admirable 'Rasselas.'"
+
+
+The Literary World.
+
+"A publishers' notice prefixed to each volume states that 'one
+thousand copies of this edition have been printed and the type
+distributed. No more will be published.' Although some of these works
+are now easily obtainable in a cheap form, good editions are rare and
+eagerly sought by those who make any pretence of making a library.
+Here is an opportunity of securing as choice an edition as can be
+desired at a comparatively low price, the value of which will be
+enhanced before long by its scarcity."
+
+
+The Times.
+
+"Prettily printed and prettily illustrated, these attractive volumes
+deserve their welcome from all students of seventeenth century
+literature."
+
+
+The Daily News.
+
+"The merit for modern readers of these old stories lies partly in
+their inexhaustible wit, their knowledge of human nature, which
+never grows stale, and partly in their pictures of the old reckless
+life of Spain. A typical example of these novels is the fictitious
+autobiography of Guzman d'Alfarache, the Spanish rogue, written by
+Matthew Aleman at the beginning of the seventeenth century."
+
+
+Daily Telegraph.
+
+"A handy and beautiful edition, in twelve volumes, of the works of
+the Spanish masters of romance calls for a word of acknowledgment
+from all who desire to see the lights of foreign literature fitly
+presented to the notice of English readers. We may say of this
+edition of the immortal work of Cervantes, that it is most tastefully
+and admirably executed, and that it is embellished with a series
+of striking etchings from the pen of the Spanish artist, De Los
+Rios. . . . Those who have already made acquaintance with these
+masterpieces of exotic humour will need no encouragement to send them
+once again to a fountain from which such pure enjoyment is to be
+derived, and in so acceptable a shape as Messrs. Nimmo & Bain have
+provided."
+
+
+The Scotsman.
+
+"What man of middle age is there, who has been a reader of books, who
+does not look back with pleasure to his first acquaintance with 'Don
+Quixote' or the 'Adventures of Gil Blas'? If he has been a wise man
+of equal mind, he has gone further afield in these romances, and has
+made acquaintance with 'Asmodeus,' 'The Bachelor of Salamanca,' and
+other works of a like kind. They have been read by many thousands of
+British readers, and they will be read by many thousands more. . . .
+What the reading public have reason to congratulate themselves
+upon is, that so neat, compact, and well-arranged an edition of
+romances that can never die is put within their reach. The publishers
+have spared no pains with them. It has already been said that Mr.
+Saintsbury has written a prefatorial notice of Le Sage; a similar
+work has been done by other hands in the case of Cervantes. It is
+satisfactory to find publishers turning their attention to the
+reproduction, in worthy form, of classic fiction; and the hope may be
+entertained that in this case the enterprise will meet with merited
+reward."
+
+
+Westminster Review.
+
+"We notice with warm welcome a new and very handsome illustrated
+edition of the original 'Arabian Nights Entertainment,' the 'real
+Simon pure,' and never have we seen the fascinating companion of our
+youth more 'daintily dight.' Type and paper are both of the finest
+quality, while M. Lalauze's graceful and delicate etchings lend
+an additional charm to the text. 'The Thousand and One Nights of
+Schéhérézade' occupy four goodly volumes, and uniform with them is
+Beckford's 'Vathek' and Dr. Johnson's 'Rasselas' in one volume."
+
+
+ J. C. NIMMO & BAIN,
+ 14, KING WILLIAM STREET, STRAND, LONDON, W.C.
+
+
+
+
+TRANSCRIBER'S NOTE
+
+Original printed spelling and punctuation variations are mostly
+retained. This was a profusely illustrated book, but none had
+captions or titles, and are therefore not indicated herein. The html
+and mobile editions retain most of the illustrations. Small caps
+and bolded text have been converted to capital letters. Italics are
+indicated /like this/. The carat symbol indicates that the following
+phrase or character is superscript, as in "M^{me.}".
+
+Page 104: "villanously" changed to "villainously".
+
+
+
+
+
+End of the Project Gutenberg EBook of The Sunshade, by Octave Uzanne
+
+*** END OF THE PROJECT GUTENBERG EBOOK 44570 ***
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+ </head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 44570 ***</div>
+
+<div class="figcenter" style="width: 600px;">
+<img id="coverpage" src="images/cover.jpg" width="600"
+ height="800" alt="" />
+</div>
+
+<div id="toc">Transcriber’s Table of Contents
+<ul>
+<li><a href="#PREFACE">Preface</a></li>
+<li><a href="#The_sunshade">The Sunshade</a></li>
+<li><a href="#THE_GLOVE">The Glove</a></li>
+<li><a href="#THE_MUFF">The Muff</a></li>
+<li><a href="#APPENDIX">Appendix</a></li>
+<li><a href="#Advertisements">Advertisements</a></li>
+</ul>
+</div>
+
+<div class="front">
+
+<h1 title="The Sunshade, the Glove, the Muff.">
+ &#160;</h1>
+
+<div class="figcenter" style="width: 564px;"
+ title="The Sunshade">
+ <img src="images/i_003a.jpg" width="564" height="138" alt="" />
+</div>
+
+<div id="notop">
+ <span id="titlesunshade">THE SUNSHADE</span>
+ THE GLOVE—THE MUFF</div>
+
+<div class=""><span class="fsize3">BY</span></div>
+
+<div class=""><span class="fsize2">OCTAVE UZANNE</span></div>
+
+<div class=""><span class="fsize3"><em class="e000I2">ILLUSTRATED BY PAUL AVRIL</em></span></div>
+
+<div class="figcenter" style="width: 378px;">
+<img src="images/i_003b.jpg" width="378" height="378" alt="" />
+</div>
+
+<div class=""><span class="fsize3">LONDON</span><br />
+<span class="fsize2red">J. C. NIMMO AND BAIN</span><br />
+<span class="fsize3">14, KING WILLIAM STREET, STRAND, W.C.</span><br />
+<span class="fsize3">1883</span></div>
+</div>
+
+<h2 title="Preface"><a id="PREFACE"></a>
+ PREFACE</h2>
+
+<div class="sandbagbox" id="img007">
+ <div id="i007b1">&#160;</div>
+ <div id="i007b2">&#160;</div>
+ <div id="i007b3">&#160;</div>
+
+<div class="center">PREFACE</div>
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_007cap.jpg"
+ width="60" height="59" alt="" />
+AFTER <em class="e000I2">the brilliant success which attended,
+in the spring of last year, our volume on</em>
+The Fan—<em class="e000I2">a success which was the result,
+as I cannot conceal from myself, much more of the
+original conception and decorative execution of that
+work of luxe than of its literary interest—I have
+determined to close this series of</em> Woman’s Ornaments
+<em class="e000I2">by a last little work on the protective adornments of
+that delicate being, as graceful as she is gracious</em>:
+The Sunshade, the Glove, the Muff. <em class="e000I2">This collection,
+therefore, of feminine toys will be limited to
+two volumes, a collection which at first sight appeared
+to us so complex and heavy that a dozen
+volumes at least would have been required to contain
+its principal elements. This, doubtless, on the one
+hand, would have tried our own constancy, and on
+the other, would have failed in fixing more surely
+the inconstancy of our female readers. The spirit
+has its freaks of independence, and the unforeseen of
+life ought to be carefully economised. Moreover, to
+tell the whole truth, the decorative elegance of a book
+like the present hides very often beneath its prints
+the torture of an intellectual thumbscrew. The
+unhappy author is obliged to confine his exuberant
+ideas in a sort of strait-jacket in order to slip them
+more easily through the varied combinations of pictorial
+design, which here rules, an inexorable Mentor,
+over the text.</em></p>
+</div>
+
+<div class="HandHeld">
+<div class="figcenter" style="width: 450px;">
+<img src="images/i_007e.jpg" width="450" height="700" alt="" />
+</div>
+
+<div class="center">PREFACE</div>
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_007cap.jpg" width="60" height="59" alt="" />
+AFTER <em class="e000I2">the brilliant success which attended,
+in the spring of last year, our volume on</em>
+The Fan—<em class="e000I2">a success which was the result,
+as I cannot conceal from myself, much more of the
+original conception and decorative execution of that
+work of luxe than of its literary interest—I have
+determined to close this series of</em> Woman’s Ornaments
+<em class="e000I2">by a last little work on the protective adornments of
+that delicate being, as graceful as she is gracious</em>:
+The Sunshade, the Glove, the Muff. <em class="e000I2">This collection,
+therefore, of feminine toys will be limited to
+two volumes, a collection which at first sight appeared
+to us so complex and heavy that a dozen
+volumes at least would have been required to contain
+its principal elements. This, doubtless, on the one
+hand, would have tried our own constancy, and on
+the other, would have failed in fixing more surely
+the inconstancy of our female readers. The spirit
+has its freaks of independence, and the unforeseen of
+life ought to be carefully economised. Moreover, to
+tell the whole truth, the decorative elegance of a book
+like the present hides very often beneath its prints
+the torture of an intellectual thumbscrew. The
+unhappy author is obliged to confine his exuberant
+ideas in a sort of strait-jacket in order to slip them
+more easily through the varied combinations of pictorial
+design, which here rules, an inexorable Mentor,
+over the text.</em></p>
+</div>
+
+<div class="sandbagbox" id="img008">
+ <div id="i008b1">&#160;</div>
+ <div id="i008b2">&#160;</div>
+ <div id="i008b3">&#160;</div>
+
+<p><em class="e000I2">In a work printed in this manner, just as in a
+theatre, the</em> mise en scène <em class="e000I2">is often detrimental to the
+piece; the one murders the other—it cannot be otherwise—the
+public applauds, but the writer who has
+the worship of his art sorrowfully resigns himself,
+and inwardly protests against the condescension of
+which he has had experience</em>.</p>
+
+<p><em class="e000I2">Two volumes, then, under a form which thus
+imprisons the strolling, sauntering, inventive, and
+paradoxical spirit, will be sufficient for my lady
+readers. Very soon we shall meet again in books
+with vaster horizons, and “ceilings not so low,” to
+employ an expression which well describes the moral
+imprisonment in which I am enveloped by the graces
+and exquisite talent of my collaborateur, Paul Avril.</em></p>
+
+<p><em class="e000I2">Let it be understood, then, that I have no personal
+literary pretensions in this work. As the sage Montaigne
+says in his</em> Essays, “<em class="e000I2">I have here but collected
+a heap of foreign flowers, and brought of my own
+only the string which binds them together.</em>”</p>
+
+<p class="right"><em class="e00SI2">Octave Uzanne.</em></p>
+</div>
+
+<!--**********-->
+<div class="HandHeld">
+<div class="figcenter" style="width: 415px;">
+<img src="images/i_008.jpg" width="415" height="700" alt="" />
+</div>
+<p><em class="e000I2">In a work printed in this manner, just as in a
+theatre, the</em> mise en scène <em class="e000I2">is often detrimental to the
+piece; the one murders the other—it cannot be otherwise—the
+public applauds, but the writer who has
+the worship of his art sorrowfully resigns himself,
+and inwardly protests against the condescension of
+which he has had experience</em>.</p>
+
+<p><em class="e000I2">Two volumes, then, under a form which thus
+imprisons the strolling, sauntering, inventive, and
+paradoxical spirit, will be sufficient for my lady
+readers. Very soon we shall meet again in books
+with vaster horizons, and “ceilings not so low,” to
+employ an expression which well describes the moral
+imprisonment in which I am enveloped by the graces
+and exquisite talent of my collaborateur, Paul Avril.</em></p>
+
+<p><em class="e000I2">Let it be understood, then, that I have no personal
+literary pretensions in this work. As the sage Montaigne
+says in his</em> Essays, “<em class="e000I2">I have here but collected
+a heap of foreign flowers, and brought of my own
+only the string which binds them together.</em>”</p>
+
+<p class="right"><em class="e00SI2">Octave Uzanne.</em></p>
+</div>
+<!--**********-->
+
+<div class="figcenter" style="width: 600px;">
+<a id="The_sunshade"></a>
+<img src="images/i_009.jpg" width="600" height="400" alt="THE
+ SUNSHADE THE PARASOL—THE UMBRELLA" /></div>
+
+<div class="figcenter" style="width: 460px;">
+<img src="images/i_010.jpg" width="460" height="460" alt="" />
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i_011a.jpg" width="400" height="258" alt="" />
+</div>
+
+<h2 title="The Sunshade—the Parasol—the Umbrella">
+ THE SUNSHADE<br />
+ <i>THE PARASOL —— THE UMBRELLA</i></h2>
+
+<p class="drop-cap"><img class="drop-cap" src="images/i_011b.jpg"
+width="52" height="52" alt="" />THE author of a <em
+class="e000I2">Dictionary of Inventions</em>, after having proved the
+use of the Parasol in France about 1680, openly gives up any attempt
+to determine its precise original conception, which indeed seems to
+be completely concealed in the night of time.</p>
+
+<p>It would evidently be childish to attempt to assign a date to the
+invention of Parasols; it would be better to go back to Genesis at
+once. A biblical expression, <em class="e000I2">the shelter which
+defends from the sun</em>, would almost suffice to demonstrate the
+Oriental origin of the Parasol, if it did not appear everywhere
+in the most remote antiquity—as well in the Nineveh sculptures,
+discovered and described by M. Layard; as on the bas-reliefs of the
+palaces or frescoes of the tombs of Thebes and Memphis.</p>
+
+<p>In China they used the Parasol more than two thousand
+years before Christ. There is mention of it in the <em
+class="e000I2">Thong-sou-wen</em>, under the denomination of <em
+class="e000I2">San-Kaï</em>, in the time of the first dynasties,
+and a Chinese legend attributes the invention of it to the wife
+of Lou-pan, a celebrated carpenter of antiquity. “Sir,” said this
+incomparable spouse to her husband, “you make with extreme cleverness
+houses for men, but it is impossible to make them move, whilst the
+object which I am framing for their private use can be carried to any
+distance, beyond even a thousand leagues.”</p>
+
+<p>And Lou-pan, stupefied by his wife’s genius,
+then saw the unfolding of the first Parasol.</p>
+
+<p>Interesting as these legends may be, handed
+down by tradition to the peoples of the East,
+they have no more historical credit than our delicate
+fables of mythology: they preserve in themselves
+less of the poetic quintessence, and above
+all seem less connected with that mysterious charm
+with which Greek paganism drowned that charming
+Olympus wherefrom the very origins of art appear
+to descend.</p>
+
+<div class="figcenter" style="width: 496px;">
+<img src="images/i_013.jpg" width="426" height="700" alt="" />
+</div>
+
+<p>Let the three Graces be represented burned
+by Apollo, tired of flying through the shadows,
+where Fauns and Ægipans lie in ambush, or let
+these three fair ones be painted in despair at the
+fiery sensation of sunburning which brands their
+epidermis; let them invoke Venus, and let the
+Loves appear immediately, bearers of unknown
+instruments, busily occupied in working the little
+hidden springs, ingeniously showing their different
+uses and salutary effects; let a poet—a Voltaire,
+a Dorat, a Meunier de Querlon, or an
+Imbert of the time—be kind enough to forge
+some rhymes of gold on this fable; let
+him, in fine, inspired by these goddesses,
+compose an incontestable master-piece,
+and behold <em class="e000I2">the Origin of the Sunshade</em>!
+graven in pretty legendary letters on the
+temple of Memory, not to be contradicted
+by any spectacled <em class="e000I2">savant</em> in the world.</p>
+
+<p>But if no poet, in smart affected style,
+has told us in rhyme <em class="e000I2">the Story of the Parasol</em>,
+many poets of all times have
+recalled the use of it in
+precious verses, which appear to serve as landmarks
+for history, and as references to discoveries
+of archæology. In ancient Greece, in the time of
+the festivals of Bacchus, it was the custom, not
+then confounded with fashion, to carry a Sunshade,
+not so much to extenuate the ardour of
+the sun, but as a sort of religious ceremonial. Paciaudi,
+in his treatise <em class="e000I2">De Umbellæ Gestatione</em>, shows
+us on the carriage on which the statue of Bacchus
+is placed a youth seated, the bearer of a Sunshade,
+a sign of divine majesty. Pausanias, in
+his <em class="e000I2">Arcadics</em>, mentions the Sunshade in describing
+the festivals of Alea in Argolis, whilst later on, in
+the <em class="e000I2">Eleutheria</em>, we see the Parasol also. Lastly,
+after having painted for us, in a marvellous description
+of Alexandria on a holiday, the hierophants,
+bearers of emblems and the mystic vase,
+the Monads covered with ivy, the Bassarids with
+scattered hair wielding their thyrsus, Athenæus
+suddenly shows us the magnificent chariot of
+Bacchus, where the statue of the god, six cubits
+high, all in gold, with a purple robe falling to
+his heels, had over his head a Sunshade ornamented
+with gold. Bacchus alone, of all the gods,
+had the privilege of the Sunshade, if we rely on
+the evidence of ancient monuments, earthen vases,
+and graven stones drawn from the museums of
+Stosch and other archæologists.</p>
+
+<div class="figright" style="width: 299px;">
+<img src="images/i_015.jpg" width="299" height="135" alt="" />
+</div>
+
+<p>As a result of their frequent relations with the
+Greeks after the death of Alexander the Great, the
+Jews appear to have borrowed from the Gentiles,
+in the celebration of their Feast of Tabernacles, the
+use of the Sunshade. The subjoined medal of
+Agrippa the Old,
+struck by the Hellenised
+Jews, in some
+sort supports this, although
+Spanheim, in a passage relating to this
+medal, says he has hesitated a long while as to the
+signification of the symbols which it represents. Do
+the ears of corn mark the fertility of the governed
+provinces, or do they refer to the Feast of Tabernacles?
+As for the tent on the obverse, it is little
+probable that it represents a tabernacle according
+to Moses’ rite, since the roofs of these tabernacles,
+far from being pointed, were flat and cloven in the
+midst, so as to allow rain, sun, and starlight to pass
+through. It must then be the Sunshade, the emblem
+of royalty; this at least seems probable.</p>
+
+<p>The Parasol played among the Greeks a very important
+part, as well in the sacred and funeral ceremonies
+as in the great holidays of nature, and even
+in the private life of the noble ladies of Athens.</p>
+
+<div class="figcenter" style="width: 486px;">
+<img src="images/i_016.jpg" width="426" height="700" alt="" />
+</div>
+
+<p>The Parasol in its elegant form may be seen
+drawn on the majority of Greek vases, either
+painted with straight or arched branches, concave
+or convex, or in the shape of a hemisphere
+or a tortoise’s back. But the
+Sunshade with movable rods, opening
+or shutting, existed at that time, as is
+sufficiently indicated by the phrase of
+Aristophanes in the <em class="e000I2">Knights</em> (Act v.
+Scene 2)—“His ears opened and shut
+something like a sunshade.”</p>
+
+<div class="sandbagbox" id="img017">
+ <div id="i017b1">&#160;</div>
+ <div id="i017b2">&#160;</div>
+ <div id="i017b3">&#160;</div>
+
+<p>An archæologist might amuse himself
+with writing a special work on the
+rôle of the Sunshade in Greece; documents
+would not fail him; nay, the
+book would soon grow big, and might
+bristle with notes from all quarters,
+abounding in the margins, after the
+example of those good solid volumes
+of the sixteenth century, which
+none but a hermit would have the leisure
+to read conscientiously to-day. Such is not
+our business in this light chapter.</p>
+
+<p>One cannot exactly say for what motive
+the Sunshade was carried by young virgins
+in all the processions in the Thesmophoria,
+the festivals of Eleusis, and the Panathenæa.
+Aristophanes calls the baskets and the
+white Sunshades “symbolic instruments,
+destined to recall to human beings the acts
+of Ceres and Proserpine.”</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"> <div class="figcenter" style="width: 571px;">
+<img src="images/i_017.jpg" width="571" height="700" alt="" />
+</div>
+
+<p>An archæologist might amuse himself
+with writing a special work on the
+rôle of the Sunshade in Greece; documents
+would not fail him; nay, the
+book would soon grow big, and might
+bristle with notes from all quarters,
+abounding in the margins, after the
+example of those good solid volumes
+of the sixteenth century, which
+none but a hermit would have the leisure
+to read conscientiously to-day. Such is not
+our business in this light chapter.</p>
+
+<p>One cannot exactly say for what motive
+the Sunshade was carried by young virgins
+in all the processions in the Thesmophoria,
+the festivals of Eleusis, and the Panathenæa.
+Aristophanes calls the baskets and the
+white Sunshades “symbolic instruments,
+destined to recall to human beings the acts
+of Ceres and Proserpine.”</p>
+</div>
+<!--**********-->
+
+<div class="figleft" id="i-017inset">
+<img src="images/i_017inset.jpg" width="129"
+ height="129" alt="" /></div>
+
+<p>Perhaps it is not necessary to search beyond this Aristophanic
+definition, which may on the whole entirely satisfy us. Moreover,
+these Sunshades were white, not, say they, because the statue erected
+by Theseus to Minerva was of that colour, but because white marked
+the liveliest joy and pomp according to Ovid, who recommends very
+carefully in his <em class="e000I2">Fasti</em> the wearing in sign
+of rejoicings white tunics worthy of pleasing Ceres, in whose cult
+both the priestesses and the things they used ought to be entirely
+white.</p>
+
+<p>In a man, according to Anacreon, the carrying a Parasol was the
+mark of a libertine and effeminate life; one might draw an analogous
+conclusion from a scene in the <em class="e000I2">Birds</em> of
+Aristophanes, in which Prometheus, through fear of Jupiter, cries to
+his slave, before abandoning himself to a sweet passion for Venus
+only, “Quick, take this sunshade, and hold it over me, in order that
+the gods may not see me.”</p>
+
+<p>It is also doubtless for the same reason, which
+virtually interdicted the use of the Parasol to men,
+that the daughters of the Metœci, or strangers
+domiciled at Athens, carried, according to Ælian,
+the sunshade of the Athenian women in the spectacles
+and public ceremonies, whilst the fathers
+carried the vases destined for the sacrifices.</p>
+
+<div class="figleft" style="width:200px;">
+<img src="images/i_018.jpg" width="200" height="200" alt="" />
+</div>
+
+<p>The <em class="e000I2">Θολἱα</em>, or “Sunshade Hat,”
+succeeded the Parasol properly so called. It is of these <em
+class="e000I2">Θολἱα</em> that Theocritus speaks in several places;
+it is also this hat, and not a Sunshade, which we must see in the
+curious medal above, stamped by the Ætolians, which represents Apollo
+bearing this strange hat, in the style of Yokohama, hanging on his
+back.</p>
+
+<p>From the most distant epochs the Sunshade has been considered,
+so far as it is the attribute of gods and sovereigns, as the ensign
+of omnipotence. We see it playing this supreme rôle, not only by
+right of an emblem of blazonry, in the curious dissertation of the
+Chevalier Beatianus <em class="e000I2">On a Sunshade of vermeil
+on a field argent, symbol of power, sovereign authority and true
+friendship</em>, but also we see it universally adopted as a sign of
+the highest distinction by Oriental peoples, to be displayed over
+the head of the king in time of peace, and occasionally in time of
+war.</p>
+
+<p>It is thus that it may be contemplated on the sculptures of
+ancient Egypt, where its usage was not exclusively indeed reserved
+to the Pharaohs, but sometimes also to the great dignitaries,
+but to these only. There is to be seen in Wilkinson a strange
+engraving representing an Æthiopian princess seated on a <em
+class="e000I2">plaustrum</em> or carriage drawn by oxen, and
+having behind her a vague personage armed with a large Parasol
+of an undecided form, something between the screen and the <em
+class="e000I2">flabellum</em> in the segment of a circle. Is it not
+also in sign of adoration that it was the custom to put above the
+heads of divine statues crescents, Sunshades, little spheres, which
+served not only to guarantee these august heads against the injuries
+of time and the ordures of birds, but also to set their physiognomy
+in relief as by a nimbus or crown of paganism?</p>
+
+<div class="figcenter" style="width:250px;">
+  <img src="images/i_020a.jpg" width="250" height="250" alt="" />
+  </div>
+
+<div class="sandbagbox" id="img020">
+ <div id="i020b0">&#160;</div>
+ <div id="i020b1">&#160;</div>
+ <div id="i020b2">&#160;</div>
+ <div id="i020b3">&#160;</div>
+ <div id="i020b4">&#160;</div>
+ <div id="i020b5">&#160;</div>
+ <div id="i020b6">&#160;</div>
+ <div id="i020b7">&#160;</div>
+
+<p>The kings or satraps of Persia of the oldest dynasties
+were sheltered by the sovereign Parasol. Chardin, in his <em
+class="e000I2">Voyages</em>, describes bas-reliefs of a time long
+before that of Alexander the Great, in which the king of Persia is
+frequently represented sometimes just about to mount his horse, at
+others surrounded by young slave-girls—beautiful as day, as a poet
+might write for sake of a simile—among whom one inclines a Sunshade,
+while another uses a flyflap made of a horse’s silky tail. Other
+bas-reliefs, again, represent the Persian monarch on a throne, at
+the conclusion of a victorious battle, whilst the rebels are being
+crucified, and writhe under the punishment, and prisoners brought up,
+one after the other, make humble submission. Here the Sunshade has
+the floating appearance of a glorious standard. It symbolised also
+the power of life and death, vested in the savage conqueror over the
+unfortunate conquered, delivered up wholly to his mercy.</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 567px;">
+<img src="images/i_020b.jpg" width="567" height="700" alt="" />
+</div>
+
+<p>The kings or satraps of Persia of the oldest dynasties
+were sheltered by the sovereign Parasol. Chardin, in his <em
+class="e000I2">Voyages</em>, describes bas-reliefs of a time long
+before that of Alexander the Great, in which the king of Persia is
+frequently represented sometimes just about to mount his horse, at
+others surrounded by young slave-girls—beautiful as day, as a poet
+might write for sake of a simile—among whom one inclines a Sunshade,
+while another uses a flyflap made of a horse’s silky tail. Other
+bas-reliefs, again, represent the Persian monarch on a throne, at
+the conclusion of a victorious battle, whilst the rebels are being
+crucified, and writhe under the punishment, and prisoners brought up,
+one after the other, make humble submission. Here the Sunshade has
+the floating appearance of a glorious standard. It symbolised also
+the power of life and death, vested in the savage conqueror over the
+unfortunate conquered, delivered up wholly to his mercy.</p>
+</div>
+<!--**********-->
+
+<p>In ancient India, the cradle of the human race, as it is
+said, the Parasol in every time, and more than anywhere
+else, is unfolded in its splendour and the grace of its contexture,
+as an immutable symbol of royal majesty. It
+seems really that it was under the deep azure of the admirable
+Indian sky that the coquettish instrument, of which
+we are exposing here by literary zigzags the historic summary,
+was invented. It must have been born there first as
+a fragile buckler to oppose the ardour of the sun; afterwards,
+doubtless, it developed, little by little, into a large
+dome, carried in the arms of slaves, or on the back of an
+elephant, showing the sparkle of its colours, the originality
+of its form, the richness of its tissues, all overloaded with
+fine gold and silver filigree, making its spangles and jewels
+scintillate in the full leaping light, in the slow oscillation
+given to it by the march of its bearers, or the swayings of a
+heavy pachyderm, in the midst of magic powers, of dancers
+and enchantments without number among the
+most bizarre palaces of the world.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_021.jpg" width="600" height="537" alt="" />
+</div>
+
+<p>In Hindostan the large Parasol is commonly called <em
+class="e000I2">Tch’hâtâ</em>, the small ordinary Parasol <em
+class="e000I2">Tch’hâtry</em>, and the bearer of the Parasol for
+dignitaries <em class="e000I2">tch’hâtâ-wâlâ</em>.</p>
+
+<p>The Parasol <em class="e000I2">of seven stages</em> (<em
+class="e000I2">savetraxat</em>) is the first ensign of royalty: it
+is found graven on the royal seal. The mythology and literature of
+the Hindoos are, so to speak, confusedly peopled with Parasols. In
+his fifth incarnation, Vishnu descends to Hades with a Parasol in his
+hand. On the other hand, from the seventh century, Hiouen Thsang has
+remarked, according to the rites of the kingdom of Kapitha, Brâhma
+and Indra were represented holding in their hand, one a flyflap, the
+other a Parasol. In the <em class="e000I2">Râmayana</em> (ch. xxvi.
+<em class="e000I2">scloka</em> 12), Sitâ, speaking of Râma, whose
+beautiful eyes resemble the petals of the lotus, expresses herself
+thus—“Covered with the Parasol striped with a hundred rays, and such
+as the entire orb of the moon, why do I not see thy most charming
+face shining beneath it?”</p>
+
+<p>We read also in the <em class="e000I2">Mahâbârata</em> (<em
+class="e000I2">sclokas</em> 4941-4943)—“The litter on which was
+placed the inanimate body of the monarch Pândou was adorned with a
+flyflap, a fan, and a white <em class="e000I2">Sunshade</em>; at the
+sound of all the instruments of music, men by hundreds offered, in
+honour of the extinguished shoot of Kourou, a crowd of flyflaps, <em
+class="e000I2">white Sunshades</em>, and splendid robes.”</p>
+
+<p>The Mahratta princes who reigned in Punah
+and Sattara held the title of <em class="e000I2">Tch’hâtâ pati</em>, “Lord
+of the Parasol;” and we are told that one of the
+most esteemed titles of the monarch of Ava was
+also that of “King of the White Elephant, and
+Lord of the Four-and-twenty Parasols.”</p>
+
+<p>When, in 1877, the Prince of Wales, future inheritor
+of the throne of England, undertook his
+famous voyage into India, it was absolutely necessary—says
+Dr. W. H. Russell, the scrupulous historian
+of that princely expedition—in order to make
+him known to the natives, to set the Prince upon an
+elephant, and to hold over his head the golden Sunshade,
+symbol of his sovereignty.</p>
+
+<div class="sandbagbox" id="img024">
+ <div id="i024b1">&#160;</div>
+ <div id="i024b2">&#160;</div>
+ <div id="i024b3">&#160;</div>
+ <div id="i024b4">&#160;</div>
+ <div id="i024b5">&#160;</div>
+ <div id="i024b6">&#160;</div>
+
+<p>There may be seen to-day in the South Kensington
+Museum, in the admirable Indian gallery which
+has just been installed, some score of the Parasols
+brought back by the Prince from his voyage, of
+which each particular type deserves a description
+which cannot, alas! to our sincere regret, find its
+place here. One may admire there the state Umbrella
+of Indore, in the form of a mushroom; the
+Sunshade of the Queen of Lucknow, in blue satin
+stitched with gold and covered with fine pearls;
+next the Parasols of gilt paper, others woven of different
+materials, some entirely covered with ravishing
+feathers of rare birds, all with long handles in gold
+or silver, damascened, in painted wood, in carved
+ivory, of a richness and an
+execution not to be forgotten.</p>
+
+<p>Let us tear ourselves away, as in duty bound, from Hindustan,
+to meet again with the Parasol on more classic ground in ancient
+Rome, in the middle of the Forum and of the games of the Circus. The
+Sunshade is found very frequently in the most ancient paintings, on
+stones and vases of Etruria, a long while even before the Roman era.
+According to Pliny and Valerius Maximus, it is from Campania that
+the Velarium comes, which is destined to defend the spectators from
+the sun. The use of <em class="e000I2">the private Sunshade for each
+person</em> established itself by degrees on those days when, on
+account of the wind, the Velarium could not be used. Martial says in
+his <em class="e000I2">Epigrams</em> (Book IV.):</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 424px;">
+<img src="images/i_024.jpg" width="424" height="700" alt="" />
+</div>
+<p>There may be seen to-day in the South Kensington
+Museum, in the admirable Indian gallery which
+has just been installed, some score of the Parasols
+brought back by the Prince from his voyage, of
+which each particular type deserves a description
+which cannot, alas! to our sincere regret, find its
+place here. One may admire there the state Umbrella
+of Indore, in the form of a mushroom; the
+Sunshade of the Queen of Lucknow, in blue satin
+stitched with gold and covered with fine pearls;
+next the Parasols of gilt paper, others woven of different
+materials, some entirely covered with ravishing
+feathers of rare birds, all with long handles in gold
+or silver, damascened, in painted wood, in carved
+ivory, of a richness and an
+execution not to be forgotten.</p>
+
+<p>Let us tear ourselves away, as in duty bound, from Hindustan,
+to meet again with the Parasol on more classic ground in ancient
+Rome, in the middle of the Forum and of the games of the Circus. The
+Sunshade is found very frequently in the most ancient paintings, on
+stones and vases of Etruria, a long while even before the Roman era.
+According to Pliny and Valerius Maximus, it is from Campania that
+the Velarium comes, which is destined to defend the spectators from
+the sun. The use of <em class="e000I2">the private Sunshade for each
+person</em> established itself by degrees on those days when, on
+account of the wind, the Velarium could not be used. Martial says in
+his <em class="e000I2">Epigrams</em> (Book IV.):</p>
+</div>
+<!--**********-->
+
+<div class="poembox">
+<p class="pi0"><em class="e000I2">Accipe quæ nimios vincant umbracula
+ soles</em></p>
+<p class="pi1"><em class="e000I2">Sit licet et ventus, te tua vela
+ tegent.</em></p></div>
+
+<p>People used the Sunshade not only at theatres,
+but also at battles, and above all in the promenade.
+Ovid, in his <em class="e000I2">Fasti</em>, shows us Hercules
+protecting his well-beloved Omphale by means
+of a Sunshade from the sun’s rays:</p>
+
+<div class="poembox">
+<p class="pi0"><em class="e000I2">Aurea pellebant tepidos umbracula
+soles</em></p>
+<p class="pi1"><em class="e000I2">Quæ tamen Herculeæ sustinuere
+manus.</em></p>
+</div>
+
+<p>This image of Hercules carrying a light Parasol would surely
+be worthy to replace the used-up theme of the distaff?</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_025.jpg" width="600" height="560" alt="" />
+</div>
+
+<p>The ancient Romans brought to the decoration
+of their Parasols a magnificence unknown in our
+days. They borrowed from the East its stuffs, its
+jewels, its ornamental style, to enrich in the best
+manner possible these pretty portable tents. When
+Heliogabalus, forgetting his sex, after the example of
+the priests of Atys, appeared on his car clothed with
+the long dress and all the gewgaws that women wear;
+when he caused himself to be drawn along surrounded
+by legions of nude slave-girls, he carried a fan in the
+guise of a sceptre; and not only was there a golden Parasol
+in the form of a dais stretched over his head, but also at
+each side two <em class="e000I2">umbelliferæ</em> held light Sunshades of silk,
+covered with diamonds, mounted on Indian bamboo, or
+on a stem of gold carved and encrusted with the most
+wondrous jewels.</p>
+
+<p>In the train which accompanied a matron on the Appian
+Way, if we can believe the historian of <em class="e000I2">Rome in the age of
+Augustus</em>, two slaves were obligatory: the fan-bearer (<em class="e000I2">flabellifera</em>)
+and the follower (<em class="e000I2">pedis sequa</em>). The latter carried
+an elegant Parasol of linen stretched over light rods at the
+extremity of a very long reed, so that, at the least sign of
+her mistress, she might direct over her the shadow of this
+movable defence.</p>
+
+<p>The Roman Umbrella seems to have been nothing
+but a simple morsel of leather, according to
+these verses, which Martial wrote by way of advice:</p>
+
+<div class="poembox">
+<p class="pi0"><em class="e000I2">Ingrediare viam cœlo licet usque
+ sereno;</em></p>
+<p class="pi1"><em class="e000I2">Ad subitas nunquam scortea desit
+ aquas.</em></p>
+</div>
+
+<p>This “leather cloth” was assuredly an Umbrella,
+which, except perhaps in weight, need have envied
+nothing of our own.</p>
+
+<p>At Rome, as at Athens, the Sunshade appears to
+have hidden people from the looks of the gods, for,
+according to Montfauçon, even the Triclinia were
+covered with a sort of Sunshade, that folk might
+deliver themselves more mysteriously to orgies of
+every kind and to the pleasures of Venus.</p>
+
+<p>The material used in the manufacture of Sunshades
+was originally, according to Pliny, leaves of
+palm divided into two, or the tresses of the osier;
+afterwards they were made in silk, in purple, in
+Eastern stuffs, in gold, in silver; they were adorned
+with Indian ivory; they were starred with trinkets
+and jewels. One author tells us even of Sunshades
+made out of women’s hair—<em class="e000I2">the hair of women so
+arranged as to supply the place of a Sunshade</em>.</p>
+
+<p>Singular headdress or singular Parasol!</p>
+
+<p>Juvenal speaks of a green Sunshade sent with
+some yellow amber to a friend to celebrate her
+birthday and the return of spring.</p>
+
+<div class="poembox">
+<p class="pi0"><em class="e000I2">En cui tu viridem umbellam, cui succina mittas</em></p>
+<p class="pi0"><em class="e000I2">Grandia, natalis quoties redit, aut madidum ver</em>
+ <em class="e000I2">Incipit.</em></p></div>
+
+<p>And with regard to this <em class="e000I2">green</em> Sunshade, apropos
+of the <em class="e000I2">viridem</em>, all the commentators enter into the
+field, and make a deafening noise to explain that
+the epithet had no reference to the colour of the
+Sunshade, but to the spring.</p>
+
+<p>Let us, if you please, leave Rome, without entering
+into these idle dissertations.</p>
+
+<p>It would be difficult for us to find in the Middle
+Ages numerous manifestations of the Sunshade in
+private life; it was evidently adopted in the ceremonies
+of the Christian Church and in the royal
+<em class="e000I2">entrées</em>; but it was especially the privilege of the
+great, and never appeared save on solemn days in
+the processions, as later on the dais, reserved for
+kings and ecclesiastical nobles.</p>
+
+<p>At Venice the Doge had already his celebrated
+Sunshade in 1176. The Pope Alexander III. had
+accorded to the Venetian chiefs the right to carry
+the Sunshade in the processions. Under the reign
+of the Doge Giovanni Dandolo (1288) it was ordered
+that the pretty golden statuette of the Annunciation
+should be added, which is seen represented at the
+top of the Sunshade of the Venetian dogate.</p>
+
+<p>One can get some idea of this marvellous Sunshade,
+all of gold brocade, and of a pompous and
+original shape, by looking at most of the prints
+of the time, and particularly at the celebrated
+engraving of the <em class="e000I2">Procession of the Doge</em>, as well
+as at the pictures of Canaletto, Francesco Guardi,
+Tiepolo, and the greater number of the charming
+Venetian painters of the eighteenth century.</p>
+
+<p>It seems evident that the Roman Gauls
+knew the use of the Parasol, but it would
+not be easy to demonstrate its existence
+logically in the martial and Gothic epochs.
+One can scarcely imagine these men of
+arms, these gentle pages, and these noble
+damsels, with their lofty head-gear and
+long dress, defended by a frail silken <em class="e000I2">encas</em>
+(in case). They feared not then assuredly
+either sun or rain; they dreamed
+of nought but <em class="e000I2">batailloles</em> (little battles),
+according to the language of that day;
+everything was done in honour of the
+ladies, after the laws of the good King
+René, and the ladies would certainly never
+have wished at the hour of the glorious
+tournaments to shelter themselves at the
+approaches of the lists, against a sun
+which sparkled on the breastplate of
+their brave knights with as much
+brightness as the hope which
+shone in their eyes.</p>
+
+<div class="figcenter" style="width: 494px;">
+<img src="images/i_028.jpg" width="432" height="700" alt="" />
+</div>
+
+<div class="figcenter" style="width: 490px;">
+<img src="images/i_029.jpg" width="429" height="700" alt="" />
+</div>
+
+<p>Let us come now to China, to find
+there Parasols and Umbrellas in
+great honour, since the beginning of
+the dynasty <em class="e000I2">Tchéou</em> (eleventh century
+before Christ).</p>
+
+<p>“The Umbrellas of that time,”
+says M. Natalis Rondot, “resembled
+ours; the mounting was composed of twenty-eight
+curved branches, and covered with silken stuff.
+The Parasols were of feathers.</p>
+
+<p>“After the <em class="e000I2">Thong-ya</em>, it is only under
+the first Wei (<em class="e00S02">A.D.</em> 220-264) that gentlemen
+began the use of Parasols; these Parasols were most frequently made
+of little rods of bamboo and oiled paper; pedestrians never made use
+of them before the second Wei (386-554). Parasols figure ordinarily
+in processions and funerals since the seventh century. Thus, in
+648, at the time of the inauguration of the Convent of the Grand
+Beneficence, at Si-ngan-Fou, one counted—says the historian of the
+<em class="e000I2">Life of Hiouen thsang</em>—only in the procession
+three hundred Parasols of precious stuffs. The Parasol in China, as
+in India, has always been a sign of elevated rank, although it has
+not been exclusively used by emperors and mandarins. Formerly, it
+seems, four-and-twenty Parasols were carried before the Emperor when
+his Majesty went to the chase.</p>
+
+<p>“A Chinese of a rank at all elevated, such
+as a mandarin, a bonze, or a priest, never goes out
+without a Parasol,” according to M. Marie Cazal,
+a Sunshade manufacturer, who, about the year
+1844, wrote a small <em class="e000I2">Essay on the Umbrella, the
+Walking-stick, and their Manufacture</em>.—‘Every
+Chinese of a superior order is followed by his
+slave, who carries his Parasol extended over him.’</p>
+
+<p>“The Umbrella in China is destined to the
+same use as the Parasol, says M. Cazal: it belongs
+to all. Never, when the weather is the least degree
+doubtful, does a Chinese go out of doors without
+his Umbrella. Even horses are sheltered, as well
+as elephants, by Parasols or Umbrellas fastened
+to branches of bamboo. Their drivers take very
+good care not to illtreat them; imbued as they
+are, like every good Chinaman, with the doctrines
+of metempsychosis, they fear to torture the soul of
+their father or their grandfather, reduced, in order
+to expiate his faults, to animate the body of these
+quadrupeds.”</p>
+
+<p>The Umbrellas and Parasols which are most common
+in China resemble very much those which
+are imported into Europe; they are made entirely
+of stalks of bamboo, disposed with enormous art,
+and covered with oiled, tarred, or lacquered paper.
+Some are coloured, and have printed on them religious
+allegories or sentences of Confucius.</p>
+
+<div class="sandbagbox" id="img032">
+ <div id="i032b1">&#160;</div>
+ <div id="i032b2">&#160;</div>
+ <div id="i032b2a">&#160;</div>
+ <div id="i032b3">&#160;</div>
+ <div id="i032b4">&#160;</div>
+
+<p>All the voyages in China and around the world
+are filled with details of the Chinese Parasol.
+“The Chinese women, whose feet have been
+compressed from infancy,” remarks M. Charles
+Lavollée, “can scarcely walk, and are obliged
+to support themselves on the handle of their
+Parasol, which serves them for a walking-stick.”</p>
+
+<p>The Parasol and the Fan in China play a rôle
+so considerable, that it would be necessary to write
+a special monograph on each of these two objects
+in order to consider properly their importance in
+the history of the country and its current manners.
+In a general and summary sketch like the present,
+must we not skim through, rather than sew together
+documents collected with difficulty, or
+found within reach, and leave aside the more
+bulky bundles, under pain of foundering in the
+folio form of heavy dictionaries?</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 435px;">
+<img src="images/i_032.jpg" width="435" height="700" alt="" />
+</div>
+<p>All the voyages in China and around the world
+are filled with details of the Chinese Parasol.
+“The Chinese women, whose feet have been
+compressed from infancy,” remarks M. Charles
+Lavollée, “can scarcely walk, and are obliged
+to support themselves on the handle of their
+Parasol, which serves them for a walking-stick.”</p>
+
+<p>The Parasol and the Fan in China play a rôle
+so considerable, that it would be necessary to write
+a special monograph on each of these two objects
+in order to consider properly their importance in
+the history of the country and its current manners.
+In a general and summary sketch like the present,
+must we not skim through, rather than sew together
+documents collected with difficulty, or
+found within reach, and leave aside the more
+bulky bundles, under pain of foundering in the
+folio form of heavy dictionaries?</p>
+</div>
+<!--**********-->
+
+<div class="sandbagbox" id="img033">
+ <div id="i033b1">&#160;</div>
+ <div id="i033b2">&#160;</div>
+ <div id="i033b3">&#160;</div>
+ <div id="i033b4">&#160;</div>
+
+ <p>Everywhere on the exquisite decorative combinations of Japan,
+we see a large Parasol opened amidst delicate peach-blossoms,
+gracious flights of strange birds, indented leaves, and rosy
+ibises. Sometimes, on the inimitable paintings of the enamelled
+vases, the Japanese Sunshade shelters a king’s daughter, escorted
+by her followers, who makes her chaste preparations for entering
+the bath; sometimes, on a thin gauze, the Parasol half hides women,
+promenading on the margin of some vast blue lake, full of ideal
+dreams. Sometimes, in fine, in a fantastic sketch of an album, which
+one reads as a riot of the imagination, is perceived some human
+being excited to a singular degree, with hair tossed by the wind,
+and haggard eye, floating at the will of the tumultuous waves on a
+Parasol turned upside down, to the handle of which he clings with
+the energy of despair. The plates of the <em class="e000I2">Voyage
+de Ricord</em>, and especially the old Japanese albums, are useful
+to consult in order to understand better the varieties of forms
+of the Sunshade in Japan. We gain a bizarre notion of the effects
+and services which a Japanese can obtain from a common Parasol
+of his country by looking at the games of the acrobats who come
+to us occasionally from Tokio, Yedo, or Yokohama. Théophile
+Gautier, who was highly astonished, and not without reason, at the
+quickness, grace, and daring of these marvellous equilibrists,
+has left us on this matter the fairest pages, perhaps, of his <em
+class="e000I2">Feuilletons de Lundiste</em>. The worthy Théo, that
+Gallic Rajah borrowed from these clowns, astonishing in their
+lightness, an enthusiasm which put on his palette as a colourist
+the most vibrating tones and the finest shades. The Sunshade and
+the Fan are in fact presented by these magicians of the East with
+particular graces in the jugglery of the most varied exercises. Here
+it is a ball of ivory which rolls with the bickering of a babbling
+stream over the lamels or ribs of the Sunshade; there it is a Parasol
+held in equilibrium on the blade of a dagger, and a thousand other
+astonishing inventions. All these fascinating feats of skill cannot
+be described save in the manner of Gautier, in other words, by
+veritable pen-pictures. Admirable interpretation of things glimpsed
+at!</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 428px;">
+<img src="images/i_033.jpg" width="428" height="700" alt="" />
+</div>
+<p>Everywhere on the exquisite decorative combinations of Japan,
+we see a large Parasol opened amidst delicate peach-blossoms,
+gracious flights of strange birds, indented leaves, and rosy
+ibises. Sometimes, on the inimitable paintings of the enamelled
+vases, the Japanese Sunshade shelters a king’s daughter, escorted
+by her followers, who makes her chaste preparations for entering
+the bath; sometimes, on a thin gauze, the Parasol half hides women,
+promenading on the margin of some vast blue lake, full of ideal
+dreams. Sometimes, in fine, in a fantastic sketch of an album, which
+one reads as a riot of the imagination, is perceived some human
+being excited to a singular degree, with hair tossed by the wind,
+and haggard eye, floating at the will of the tumultuous waves on a
+Parasol turned upside down, to the handle of which he clings with
+the energy of despair. The plates of the <em class="e000I2">Voyage
+de Ricord</em>, and especially the old Japanese albums, are useful
+to consult in order to understand better the varieties of forms
+of the Sunshade in Japan. We gain a bizarre notion of the effects
+and services which a Japanese can obtain from a common Parasol
+of his country by looking at the games of the acrobats who come
+to us occasionally from Tokio, Yedo, or Yokohama. Théophile
+Gautier, who was highly astonished, and not without reason, at the
+quickness, grace, and daring of these marvellous equilibrists,
+has left us on this matter the fairest pages, perhaps, of his <em
+class="e000I2">Feuilletons de Lundiste</em>. The worthy Théo, that
+Gallic Rajah borrowed from these clowns, astonishing in their
+lightness, an enthusiasm which put on his palette as a colourist
+the most vibrating tones and the finest shades. The Sunshade and
+the Fan are in fact presented by these magicians of the East with
+particular graces in the jugglery of the most varied exercises. Here
+it is a ball of ivory which rolls with the bickering of a babbling
+stream over the lamels or ribs of the Sunshade; there it is a Parasol
+held in equilibrium on the blade of a dagger, and a thousand other
+astonishing inventions. All these fascinating feats of skill cannot
+be described save in the manner of Gautier, in other words, by
+veritable pen-pictures. Admirable interpretation of things glimpsed
+at!</p></div>
+<!--**********-->
+
+<p>In the tea-houses of Tokio, the pretty <em class="e000I2">Geishas</em>
+often employ, to mimic an expressive dance, the
+Fan and the little paper Parasol.</p>
+
+<p>One of the most usual of their dances, managed
+something like our ballets, is called the Rain-dance.
+This is the way in which a <em class="e000I2">Globe-trotter</em> gives an
+account of its leading idea and character:—</p>
+
+<p>“Some young girls prepare to leave their homes,
+and to pose as beauties in the streets of Yedo.
+They admire each other in playing their fans, they
+are dressed in superb toilets—they are sure of turning
+the heads of all the young <em class="e000I2">samouraï</em> of the
+town.</p>
+
+<p>“Scarcely have they got out of doors when a
+thick cloud appears. Great disquietude! They
+open their Parasol, and make a thousand pretty
+grimaces, to show how sadly they fear the ruin of
+their charming dresses. . . . A few drops of rain
+begin to fall: they quicken their steps on their way
+home again.</p>
+
+<p>“A burst of thunder occasioned by the <em class="e000I2">Samisen</em>
+and the drums, is heard, which announces a terrible
+downpour. Then our four dancers catch their
+robes with both hands, and throw them with one
+sweep under their arms, and suddenly turning, take
+to their heels, showing us a row of little . . . .
+frightened faces, saving themselves at the full
+speed of their legs.”</p>
+
+<p>What a series of pantomimes, in which the Sunshade
+must assume in the hands of the charming
+<em class="e000I2">Geishas</em> the most seductive positions!</p>
+
+<div class="sandbagbox" id="img036">
+ <div id="i036b1">&#160;</div>
+ <div id="i036b2">&#160;</div>
+ <div id="i036b3">&#160;</div>
+ <div id="i036b4">&#160;</div>
+ <div id="i036b5">&#160;</div>
+
+<p>“Among the Arabs the Parasol was a mark of distinction” (as we
+learn from M. O. S., the English reporter of a commission which
+published a small notice on <em class="e000I2">Umbrellas, Parasols,
+and Walking-sticks</em> in London about 1871). There is the same
+importance attached to it among certain blacks of Western Africa,
+who have probably borrowed it from the Arabs. Niebuhr, in the
+description of the procession of the Imam of Sanah, tells us that
+the Imam, and every one of the princes of his numerous family, had
+carried by their side a <em class="e000I2">Madalla</em> or large
+Parasol. It is in that country a privilege of princes of the blood.
+The same writer relates that many independent chiefs of Yemen bear
+<em class="e000I2">Madallas</em> as a mark of their independence.
+In Morocco the Emperor alone and his family have the privilege of
+the Parasol. In the <em class="e000I2">Voyages of Aly Bey</em> we
+read in fact:—“The retinue of the Sultan was composed of a troop of
+from fifteen to twenty gentlemen as the vanguard; behind them, some
+hundred paces, came the Sultan, mounted on a mule, having beside him,
+also mounted on a mule, an officer carrying the Imperial Parasol. The
+Parasol is the distinctive sign of the sovereign of Morocco. No one
+but he would dare to use it.”</p>
+
+<p>In certain tribes of central Africa explorers
+speak of having encountered,
+amidst the tribes of the desert, kings
+half-dressed in European old clothes,
+taken or exchanged no one knows
+where; and, strangely enough, on the
+top of an old silk hat, half-knocked
+in, one of these negro kings, says a
+traveller, held with a sort of grotesque
+majesty an old torn Umbrella
+of which the whalebone appeared
+to be half-broken. This
+Robert Macaire of the desert, does
+he not recall that pleasant equatorial
+fantasy of the <em class="e000I2">Parnassiculet Contemporain</em>,
+a sonnet terminating with
+the verses:—</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 488px;">
+<img src="images/i_036.jpg" width="488" height="700" alt="" />
+</div>
+<p>“Among the Arabs the Parasol was a mark of distinction” (as we
+learn from M. O. S., the English reporter of a commission which
+published a small notice on <em class="e000I2">Umbrellas, Parasols,
+and Walking-sticks</em> in London about 1871). There is the same
+importance attached to it among certain blacks of Western Africa,
+who have probably borrowed it from the Arabs. Niebuhr, in the
+description of the procession of the Imam of Sanah, tells us that
+the Imam, and every one of the princes of his numerous family, had
+carried by their side a <em class="e000I2">Madalla</em> or large
+Parasol. It is in that country a privilege of princes of the blood.
+The same writer relates that many independent chiefs of Yemen bear
+<em class="e000I2">Madallas</em> as a mark of their independence.
+In Morocco the Emperor alone and his family have the privilege of
+the Parasol. In the <em class="e000I2">Voyages of Aly Bey</em> we
+read in fact:—“The retinue of the Sultan was composed of a troop of
+from fifteen to twenty gentlemen as the vanguard; behind them, some
+hundred paces, came the Sultan, mounted on a mule, having beside him,
+also mounted on a mule, an officer carrying the Imperial Parasol. The
+Parasol is the distinctive sign of the sovereign of Morocco. No one
+but he would dare to use it.”</p>
+
+<p>In certain tribes of central Africa explorers
+speak of having encountered,
+amidst the tribes of the desert, kings
+half-dressed in European old clothes,
+taken or exchanged no one knows
+where; and, strangely enough, on the
+top of an old silk hat, half-knocked
+in, one of these negro kings, says a
+traveller, held with a sort of grotesque
+majesty an old torn Umbrella
+of which the whalebone appeared
+to be half-broken. This
+Robert Macaire of the desert, does
+he not recall that pleasant equatorial
+fantasy of the <em class="e000I2">Parnassiculet Contemporain</em>,
+a sonnet terminating with
+the verses:—</p>
+</div>
+<!--**********-->
+
+<div class="poembox">
+<p class="pi0">What then is strange about this desert’s pride,</p>
+<p class="pi0">Who in the desert without thee had died?</p>
+<p class="pi0">Bétani answered, “Child of open mien,</p>
+<p>&#160;</p>
+<p class="pi0">Where on board ship he comes, I tell you that</p>
+<p class="pi0">For full court-dress, this half-blood wears a hat</p>
+<p class="pi0">Of an old shako, trimmed with tufts of green!”</p>
+</div>
+
+<p>This fantasy might serve as a theme for a dissertation on the
+subject, “Whither do worn-out things go?—what becomes of the old
+umbrellas?” It would be a ballad full of colour for a Villon of the
+present time.</p>
+
+<div class="sandbagbox" id="img037">
+ <div id="i037b1">&#160;</div>
+ <div id="i037b2">&#160;</div>
+ <div id="i037b3">&#160;</div>
+ <div id="i037b4">&#160;</div>
+ <div id="i037b5">&#160;</div>
+ <div id="i037b6">&#160;</div>
+
+<p>To return to France, many writers, romancists or dramatic
+authors, having greater care of the splendour of the <em
+class="e000I2">mise-en-scène</em> than of absolute historic truth,
+have presented us with some hunting parties of the time of Henri
+II. and Henri III., in which the noble huntresses followed the deer
+on horses magnificently harnessed, holding in their hands hexagonal
+Sunshades fringed with gold and enriched with pearls.</p>
+
+<p>We found truly a mention of the Parasol in the <em
+class="e000I2">Description of the Isle of the Hermaphrodites</em>;
+but it was then very rare in France, and what is more, very heavy,
+and handled with such ceremonies that a strong lackey must have had
+considerable difficulty in holding it up. From this to place light
+Sunshades of silk between the dainty fingers of “fair and gentle
+dames” of that time, especially for a hunt through the woods, there
+is, it seems to us, a departure which good sense alone, not to
+mention historic science, is quite enough to point out.</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 534px;">
+<img src="images/i_037.jpg" width="534" height="700" alt="" />
+</div>
+<p>To return to France, many writers, romancists or dramatic
+authors, having greater care of the splendour of the <em
+class="e000I2">mise-en-scène</em> than of absolute historic truth,
+have presented us with some hunting parties of the time of Henri
+II. and Henri III., in which the noble huntresses followed the deer
+on horses magnificently harnessed, holding in their hands hexagonal
+Sunshades fringed with gold and enriched with pearls.</p>
+
+<p>We found truly a mention of the Parasol in the <em
+class="e000I2">Description of the Isle of the Hermaphrodites</em>;
+but it was then very rare in France, and what is more, very heavy,
+and handled with such ceremonies that a strong lackey must have had
+considerable difficulty in holding it up. From this to place light
+Sunshades of silk between the dainty fingers of “fair and gentle
+dames” of that time, especially for a hunt through the woods, there
+is, it seems to us, a departure which good sense alone, not to
+mention historic science, is quite enough to point out.</p>
+</div>
+<!--**********-->
+
+<p>The Parasol was still very little known in France, even in the
+second half of the sixteenth century. It is fairly certain that,
+like the <em class="e000I2">Fan</em>, and other objects so much in
+favour with Catherine de Medici, it was brought into France out
+of Italy. Henri Estienne, in his <em class="e000I2">Dialogues
+of the new French Language Italianised</em>, 1578, makes one
+of his interlocutors called Celtophile say: “ . . . . and <em
+class="e000I2">à propos</em> of pavilion, have you ever seen what
+some of the lords in Spain or Italy carry or cause to be carried
+about in the country, to defend themselves, not so much from the
+flies, as from the sun? It is supported by a stick, and so made
+that being folded up and occupying very little space, it can when
+necessary be opened immediately and stretched out in a circle so as
+to cover three or four persons.” And Philausone answers: “I have
+never seen one; but I have heard talk of them often; and if our
+ladies were to see them carrying these things, they would perhaps tax
+them with too great delicacy.”</p>
+
+<p>In Italy it is little probable that since the Romans
+the inhabitants of the higher classes have ever
+unlearned the pleasant use of Parasols. The majority
+of travellers notice them in all epochs, and in
+the <em class="e000I2">Italian Mysteries</em>, played in the fourteenth and
+fifteenth centuries, it is nearly certain that at the
+moment of their naïve representation of the Deluge,
+the Deity appeared on the stage with an Umbrella
+in his hand.</p>
+
+<p>In the <em class="e000I2">Journal and Voyage of Montaigne</em> in Italy,
+the good philosopher, who teaches us so few matters
+beyond his own personal sufferings, deigns, nevertheless,
+to aver that the supreme good taste of the
+women of Lucca was to have incessantly a Parasol
+in their hands.</p>
+
+<p>“No season,” says also elsewhere this charming
+epicurean essayist, “is so much my enemy as the
+sharp heat of sunshine, for the <em class="e000I2">Sunshades</em>, which are
+used in Italy since the time of the ancient Romans,
+charge the arms more than they discharge from the
+head.”</p>
+
+<p>So, too, Thomas Coryat, an English tourist of that time, in his
+<em class="e000I2">Crudities</em> (1611), speaks of the Italian
+Parasols, after having noticed the presence of Fans in the towns
+through which he had travelled: “Many Italians,” he says, “do carry
+other fine things of a far greater price, that will cost at the
+least a ducat (about seven francs), which they commonly call in the
+Italian tongue <em class="e000I2">Umbrellæs</em>, that is, things
+that minister shadow unto them for shelter against the scorching heat
+of the sun. These are made of leather, something answerable to the
+form of a little canopy, and hooped in the inside with divers little
+wooden hoops, that extend the <em class="e000I2">Umbrella</em> in a
+pretty large compass. They are used especially by horsemen, who carry
+them in their hands when they ride, fastening the end of the handle
+upon one of their thighs, and they impart so large a shadow unto them
+that it keepeth the heat of the sun from the upper parts of their
+body.”</p>
+
+<p>Fabri, in his useful and remarkable work, <em class="e000I2">Diversarum Nationum
+Ornatus</em> (additio) confirms this fact from 1593, in
+taking care to represent a noble Italian, travelling on horseback with
+a Parasol in his hand: “<em class="e000I2">Nobilis Italus ruri
+ambulans tempore æstatis</em>.”</p>
+
+<p>What variety this simple detail, more propagated or rather better
+vulgarised among our romancists, would have thrown into the
+great romances of adventure! We should have seen the protecting
+Sunshade marking from a distance, by its colour and elevated
+shape, the presence of the rich traveller to be robbed, in the
+mountains of Tuscany, while the brigands of the time kept their
+watch in the folds of the rocks; then, too, we should surely have
+witnessed, in passionate recitals of heroic combats, the buckler
+Parasol, already full of holes, torn into shreds, yet still serving to
+parry victoriously the blows of the ferocious cut-throats and cloak-snatchers.</p>
+
+<p>And how many sonorous and unforeseen titles are there of
+which we have been deprived by this fact of our ignorance:
+<em class="e000I2">The Knights of the Sunshade</em>—<em class="e000I2">The Heroic Parasol</em>—<em class="e000I2">The State
+Courier</em>, or <em class="e000I2">the Sunshade Recovered</em>! . . . . and who can say
+how many more!</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_040.jpg" width="600" height="623" alt="" />
+</div>
+
+<p>The Arsenal, the old Hotel de Sully, preserved for a
+long time one of those Parasols, which librarians named
+the <em class="e000I2">Pepin</em> (seed-fruit) <em class="e000I2">of Henri IV.</em> It was very big,
+and entirely covered with blue silk, with long and
+distinctly precious flowers of the golden lily scattered
+over it. This Parasol, ministerial or royal, is doubtless
+lost, and we speak of it only after the description which
+the learned bibliophile Jacob has given us.</p>
+
+<p>Daniel Defoe, who published his <em class="e000I2">Robinson Crusoe</em> in 1719,
+was one of the first to mention to any extent the Parasol in England.
+Before him, as we shall see farther on, it had been named
+only very summarily in literary works. So firmly fixed in our
+imaginations as men, the children of yesterday, is the great
+Umbrella of Crusoe, and his dreadful alarm on seeing the
+print of a man’s foot on the shore, as well as his walks with
+his dog and <em class="e000I2">Friday</em> the good Caribbee; it presents itself, moreover,
+so clearly in our first literary remembrances, that we will
+reproduce the passage of the journal where it is mentioned:</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_041.jpg" width="600" height="663" alt="" />
+</div>
+
+<p>“After this,” says Crusoe, “I spent a deal of time and
+pains to make me an Umbrella. I was indeed in great
+want of one, and had a great mind to make one. I had
+seen them made in the Brazils, where they are very
+useful in the great heats which are there; and I felt
+the heats every jot as great here, and greater too...;
+besides, as I was obliged to be much abroad, it
+was a most useful thing to me, as well for the
+rains as the heats. I took a world of pains at it,
+and was a great while before I could make anything
+likely to hold; nay, after I thought I had
+hit the way, I spoiled two or three before I made
+one to my mind; but at last I made one that
+answered indifferently well; the main difficulty, I
+found, was to make it to let down: I could make it
+to spread, but if it did not let down too, and draw
+in, it would not be portable for me any way, but just
+over my head, which would not do. However, at
+last, as I said, I made one to answer; I covered it
+with skins, the hair upward, so that it cast off the
+rain like a pent-house, and kept off the sun so
+effectually, that I could walk out in the hottest of
+the weather, with greater advantage than I could
+before in the coolest; and when I had no need of
+it, I could close it and carry it under my arm.”</p>
+
+<p>And this Parasol, for a century and a half, has
+been popularised by the engraver, with its dome of
+hair and rude manufacture; and so all the poor
+little prisoners at school invoke it, and dream
+often that they carry it in some desert isle, for
+it represents to their eyes a life of open air and
+liberty.</p>
+
+<p>Before Daniel Defoe, Ben Jonson had already
+mentioned the Parasol in England in a comedy
+played in 1616; and Drayton, sending some doves
+to his mistress in 1620—a delicious lover’s fancy—formulated
+in his passioned verses the following
+desire: “<em class="e000I2">May they, these white turtle doves I send
+you, shelter you like Parasols under their wings in
+every sort of weather.</em>”</p>
+
+<p>In the relation of his <em class="e000I2">Voyage in France</em> in 1675,
+Locke, speaking of Sunshades, says: “These are
+little articles and very light, which women use
+here, to defend themselves from the sun, and they
+seem to us very convenient.” Afterwards the English
+ladies desired to possess these pretty Parasols,
+although, by reason of their climate, such things
+could hardly be of any use to them. It was not,
+however, till the eighteenth century that a London
+manufacturer bethought himself of inventing the
+Sunshade-Fan, compared with which it appears the
+French folding <em class="e000I2">marquises</em> were as nothing. This
+ingenious fabricator made a considerable fortune;
+but if we are to believe the <em class="e000I2">Improvisateur François</em>,
+his invention was rapidly imitated and much improved
+in Paris. Why has it not been preserved
+to our own days?</p>
+
+<p>But let us linger in this seventeenth century, and
+remain awhile in France, where the Parasol was
+not in use, save at court among the great ladies.
+Men never used it to shelter themselves from
+the rain—the cloak and sword were still alone in
+fashion.</p>
+
+<p>Ménage tells us in his <em class="e000I2">Ménagiana</em>, that being
+with M. de Beautru, about 1685, in the midst of a
+pouring rain at the door of the Hôtel de Bourgogne,
+up came a Gascon gentleman, without a
+cloak, and nearly wet through; the Gascon, seeing
+himself stared at, cried out, “I would
+lay a wager now my people have forgotten
+to give me my cloak.” To which M. de Beautru
+quickly replied, “I go halves with you.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_044.jpg" width="600" height="436" alt="" />
+</div>
+
+<p>The silk Sunshade, however, properly so called, appeared in the
+hands of women of quality, at the promenade, on the race-course,
+or in the vast alleys of the royal park of Versailles, towards the
+middle of the reign of Louis XIV. The Umbrella of that time was
+an instrument astonishingly heavy and very coarse in appearance,
+which it seemed almost ridiculous to hold in the hand. In 1622
+it was in some measure a novelty in Paris, since in the <em
+class="e000I2">Questions Tabariniques</em>, cited by that useful
+author, the late M. Édouard Fournier, in <em class="e000I2">The Old
+and the New</em>, we read these lines about the famous felt hat of
+Tabarin:—</p>
+
+<p>“It was from this hat that the invention of Parasols was drawn,
+which are now so common in France that they are no longer called
+Parasols, but <em class="e000I2">Parapluyes</em> (Umbrellas) and <em
+class="e000I2">Garde-Collet</em> (collar guards), for they are used
+as much in winter against the rain as in summer against the sun.”</p>
+
+<p>The most ancient engraving or <em class="e000I2">documentary</em> image of
+French manners in which we see a Parasol is dated 1620.
+It is the frontispiece of a Collection of Saint Igny, <em class="e000I2">The
+French Nobility at Church</em>.</p>
+
+<p>Parasols, however, were still very little used in the seventeenth
+century; the <em class="e000I2">Précieuses</em> who, instead of saying “It
+rains,” cried out, “<em class="e000I2">The third element falls!</em>”
+would never
+have missed finding some amiable
+qualificative to designate this necessary
+article invented against Phœbus and Saint Swithin.
+But Saumaise reveals to us nought on this subject,
+and one would be almost tempted to believe that
+the <em class="e000I2">Philamintes</em> and <em class="e000I2">Calpurnies</em> attached no importance
+to this “rustic and movable Pavilion.” What,
+however, is clearly shown by the ancient prints is
+the employment of the Parasol in the form of a small round
+canopy which ladies of quality had borne by their valets
+when walking in the primly arranged gardens of their lordly
+residences, whilst the gentlemen marched before, wrapt in
+their cloaks, with the felt hat inclined over one eye.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_045.jpg" width="600" height="418" alt="" />
+</div>
+
+<p>Parasols were then of so coarse a form, and their weight
+made them so difficult to be carried, that they could not
+be easily utilised by ordinary people; they are never found
+in any of those very curious engravings which give a confused
+idea of the rumblings and mobs of the streets under
+Louis XIV. Boileau and François Colletet have not mentioned
+them amidst the <em class="e000I2">Obstacles and Bustle of Paris</em>; and
+the <em class="e000I2">Cries of the Town</em> which have come down to us do
+not indicate that in the seventeenth century any man with
+“<em class="e000I2">’Brella-a-a-a-s to sell!</em>” had contributed his mournful
+melopæa to the lagging cries of the street.</p>
+
+<p>That is easily understood. We see that a Parasol, in
+the middle of the grand century, weighed 1600 grammes,
+that its whalebones had a length of 80 centimetres,
+that its handle was of heavy oak, and that its massive
+carcass was covered with oilcloth, with barracan,
+or with coloured grogram. The whole was
+held by a copper ring fixed at the extremity of
+the whalebones; it was the labour of a porter to
+preserve oneself, with an instrument like this, from
+the pelting shower! Better still: often these Parasols
+were made of straw, and, if we believe the
+<em class="e000I2">Diary and Correspondence of Evelyn</em>, about 1650,
+they affected in some degree the form of metal
+dish-covers.</p>
+
+<p>However, it is something very like a Sunshade
+which we find about 1688 in the hands of a woman
+of quality, dressed in a summer habit <em class="e000I2">à la Grecque</em>,
+of which N. Arnoult has preserved faithfully for
+us the pleasing outline, in a pretty design made
+common by engravings. This Parasol has the
+appearance of a mushroom, well developed and
+slightly flattened at its borders; the red velvet
+which covers it is divided into ribs or rays, by
+light girdles of gold, and the handle, very curiously
+worked, is like that of a distaff, with swellings and
+grooves executed by the turner. Altogether, this
+coquette’s Sunshade is very graceful, and of great
+richness.</p>
+
+<p>In the most varied literary works of the seventeenth
+century, memoirs, romances, varieties, dissertations,
+poems, enigmas, carols, and songs, there
+is not a word of allusion to the Parasol, there is an
+entire penury of anecdote, nothing whatever on the
+subject. It is useless to torture your understanding,
+to look through a miserable needle’s eye, at
+the <em class="e000I2">Letters</em> of Madame de Sévigné, the gossip of
+Tallemant, the <em class="e000I2">Conversations</em> of Mademoiselle de
+Scudéry, the <em class="e000I2">Anecdotes</em> of Ménage, the poetical collections,
+the different <em class="e000I2">Chats</em>, the <em class="e000I2">Medleys</em>—it is but
+a library overturned to no purpose, a headache
+gained without the slightest profit.</p>
+
+<p>In a MS. collection, written about 1676, which
+relates the memoirs of Nicolas Barillon, a comedian,
+this phrase alone attracts our attention: “The days
+being very hot, the lady carried either a mask or a
+Parasol of the most precious leather.”</p>
+
+<p>From this mask or Parasol of precious leather
+no conclusion can be drawn better than that of the
+Dictionaries of the Anti-Academician, Antoine
+Furetière, or of the learned Richelet, where we find
+a résumé of the ideas of the time. Here, then, is
+the definition of the first:—</p>
+
+<div class="blockquot">
+
+<p><em class="e000I2">Parasol</em>, s. m., a small portable piece
+of furniture, or round covering, carried in the hand, to defend the
+head from the great heats of the sun; it is made of a circle of
+leather, of taffety, of oilcloth, &#38;c. It is suspended to the
+end of a stick; it is folded or extended by means of some ribs of
+whalebone which sustain it. It serves also to defend one from the
+rain, and then it is called by some <em class="e000I2">parapluie</em>
+(umbrella).</p></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_048.jpg" width="600" height="620" alt="" />
+</div>
+
+<p>The definition of Richelet is almost the same. He adds, however,
+these words: “Only women carry Parasols, and they only in spring,
+summer, and autumn.” Richelet, it is true, borders upon the
+eighteenth century, since he died but a little before the end of
+the reign of Louis the Great. This brings us to the aurora of the
+Regency, and a renaissance then occurs in feminine coquetry. We are
+now about to find our Sunshade in gallant parties, supported by
+little turbaned negroes; already we see it decorated with fringes of
+gold and trimmings of silk, enhanced with plumes of feathers, mounted
+on Indian bamboos, covered with changing silks, embellished in a
+thousand and one ways, worthy, in a word, of casting a discreet shade
+on those rosy and delicate faces which Pater, Vanloo, Lancret, La
+Rosalba, and Latour did their best to reproduce in luminous paintings
+or fresh pastels, those enchanting pictures where the coquetry of the
+past smiles still.</p>
+
+<p>Like all objects of adornment in the hands of women, the
+Sunshade in the last century became, like the Fan, almost a
+light and graceful plaything, serving to punctuate an expression,
+to round a gesture,
+to arm an attitude of
+charming reverie, in
+which, guided by pretty indolent
+fingers, its point traces
+vague designs upon the sand.
+Before the burning breath of amorous
+declarations, often the frail Sunshade
+escapes from the hands of a
+beauty, in sign of armistice, and as an
+avowal of abandonment.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_049.jpg" width="600" height="623" alt="" />
+</div>
+
+<p>Be it open, and daintily held over powdered
+hair, or shut, and brushing the brocaded petticoat, it is always
+the “balancing pole of the Graces.” It gives a value to listlessness
+on the rustic seat of the parks, under the vaulted roofs
+of grottoes, and it adds a piquancy to the frowardness of the
+feminine chatterers, who defend themselves by making fun of
+libertine attacks. In a word, in the light amorous allegories
+of the century, it is worthy to appear in those love-duets of
+<em class="e000I2">Leanders</em> and <em class="e000I2">Isabellas</em>, which Watteau often composed with so
+rare an art of refinement.</p>
+
+<p>From the middle of the last century the Umbrella of taffety
+became the fashion at Paris. Caraccioli, in his <em class="e000I2">Picturesque
+and Sententious Dictionary</em>, gives us evidence of this: “It has
+long been the custom,” he says, “not to go out
+save with one’s Umbrella, and to trouble oneself by
+carrying it under one’s arm. Those who wish not
+to be confounded with the vulgar, prefer to run the
+risk of getting wet to being regarded as people who
+walk on foot, for the Umbrella is the sign of having
+no carriage.”</p>
+
+<p>The Parasols were made by the purse-makers,
+and when, by an edict of August 1776, the manufacturers
+of gloves, purses, and girdles were united
+in one community, an article thus conceived may
+be read in their statutes: “They alone also still
+have the right to make and manufacture all sorts
+of Umbrellas and Parasols, in whalebone and in
+copper, folding and non-folding, to garnish them
+atop with stuffs of silk and linen, to make Umbrellas
+of oilcloth, and Parasols adorned and
+ornamented in all sorts of fashions.” According
+to the <em class="e000I2">Journal of a Citizen</em>, published at the
+Hague in 1754, the price of folding Parasols was
+then from 15 to 22 livres a piece, and the Parasol
+for the country from 9 to 14 livres.</p>
+
+<p>We must, however, believe that the common
+folk of Paris did not yet dare to purchase Parasols,
+since Bachaumont, in the <em class="e000I2">Secret Memoirs</em>, dated
+6th September 1769, records the following enterprise:—</p>
+
+<p>“A company has lately formed an establishment
+worthy of the town of Sybaris. It has obtained an
+exclusive privilege to have Parasols, and to furnish
+them to such as fear being incommoded by the
+sun during the crossing of the Pont-Neuf. There
+are to be offices at each extremity of the bridge,
+where the voluptuous dandies who are unwilling
+to spoil their complexion, can obtain this useful
+machine; they will return it at the office on the
+other side, so alternately, at the price of two farthings
+for each person. This project has already
+been put in execution. It is announced that if
+this invention succeeds, there is authority to establish
+like offices in other places in Paris, where
+skulls might be affected, such as the Place Louis
+XV., &#38;c. It is probable that these profound speculators
+will obtain the exclusive privilege of Umbrellas.”</p>
+
+<p>Did this enterprise succeed? We cannot tell.
+All that is certain is, that it was tried many times in
+our own epoch by innovators, who had no idea that
+even the letting out of Parasols was not absolutely
+new under the sun.</p>
+
+<div class="sandbagbox" id="img052">
+ <div id="i052b1">&#160;</div>
+ <div id="i052b2">&#160;</div>
+ <div id="i052b3">&#160;</div>
+ <div id="i052b4">&#160;</div>
+ <div id="i052b5">&#160;</div>
+ <div id="i052b6">&#160;</div>
+
+<p>A great progress was realised in the eighteenth century in the
+manufacture of Sunshades for ladies. The small ordinary Parasols
+became exceedingly light, and charmingly decorated. In a picture of
+Bonaventure Delord, in the Louvre, we find the exact type of these
+coquettish Sunshades of the last century. One, which is held by a
+laughing beauty in the midst of a picnic, is mounted on a long stem,
+and the top, made of yellow buckskin, appears to have four sides; a
+cap of turned copper, and of a very pretty shape, profiles its tiny
+Chinese gable on the grass.</p>
+
+<p>So, too, may be seen in the collection of Madame la Baronne
+Gustave de Rothschild, a very curious Sunshade which belonged to
+Madame de Pompadour. It is of blue silk superbly decorated with
+wonderful Chinese miniatures in mica, and ornaments in paper very
+finely cut and affixed to the background. Fortified probably with
+such a Sunshade as this, the pretty favourite, at the time of the
+rage for pastorals, which followed the appearance of Bouffier’s story
+of <em class="e000I2">Aline</em>, betook herself to the shady walks
+of the Petit Trianon at Versailles, with her female friends, to see
+the white sheep milked, and to steep the carnation of her lips in
+the warm milk, of which the young Abbé De Bernis—who gathered so
+willingly madrigals and bouquets for Chloris—compared the whiteness
+to that of her peerless bosom.</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 406px;">
+<img src="images/i_052.jpg" width="406" height="700" alt="" />
+</div>
+<p>A great progress was realised in the eighteenth century in the
+manufacture of Sunshades for ladies. The small ordinary Parasols
+became exceedingly light, and charmingly decorated. In a picture of
+Bonaventure Delord, in the Louvre, we find the exact type of these
+coquettish Sunshades of the last century. One, which is held by a
+laughing beauty in the midst of a picnic, is mounted on a long stem,
+and the top, made of yellow buckskin, appears to have four sides; a
+cap of turned copper, and of a very pretty shape, profiles its tiny
+Chinese gable on the grass.</p>
+
+<p>So, too, may be seen in the collection of Madame la Baronne
+Gustave de Rothschild, a very curious Sunshade which belonged to
+Madame de Pompadour. It is of blue silk superbly decorated with
+wonderful Chinese miniatures in mica, and ornaments in paper very
+finely cut and affixed to the background. Fortified probably with
+such a Sunshade as this, the pretty favourite, at the time of the
+rage for pastorals, which followed the appearance of Bouffier’s story
+of <em class="e000I2">Aline</em>, betook herself to the shady walks
+of the Petit Trianon at Versailles, with her female friends, to see
+the white sheep milked, and to steep the carnation of her lips in
+the warm milk, of which the young Abbé De Bernis—who gathered so
+willingly madrigals and bouquets for Chloris—compared the whiteness
+to that of her peerless bosom.</p></div>
+<!--**********-->
+
+<p>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 <em class="e000I2">Prints of Moreau the Younger
+intended to serve as a Companion to the History of Fashions and
+Customs in France</em>, in the <em class="e000I2">Crossing the River</em>, after Gamier, in
+public festivals, as well as amidst the hubbub of the crowds,
+which Moreau shows us in the <em class="e000I2">Great Court Carriages in</em> 1782,
+as in the minor popular rejoicings, like <em class="e000I2">The Ascension of a
+Fire-balloon</em>, after the engravings of the period. The Sunshade
+introduces also a little touch of gaiety into the large pictures
+of Joseph Vernet; in his <em class="e000I2">View of Antibes</em> and his <em class="e000I2">Port of
+Marseille</em> 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!”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_053.jpg" width="600" height="654" alt="" />
+</div>
+
+<p>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.</p>
+
+<p>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 <em class="e000I2">Tatler</em>, 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:</p>
+
+<div class="poembox">
+<p class="pi0">The tucked-up sempstress walks with hasty strides,</p>
+<p class="pi0">While streams run down her oiled Umbrella’s sides.</p>
+</div>
+
+<p>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.</p>
+
+<p>It is right to say that during the first years of the
+last century people could not procure Umbrellas in
+London except in the coffee-houses, where they
+were placed in reserve to be let out to customers
+during heavy showers of rain. The first English
+citizen who really introduced absolutely and unconditionally
+the Umbrella to the nation was Jonas
+Hanway, the founder of the Magdalen Hospital.
+This audacious man—for audacious he must have
+been thus to brave the prejudices of a people the
+most prejudiced in the world—this rash person
+had the courage never to go out into the streets of
+London without his Umbrella from the year of our
+Lord 1750. Like the majority of innovators, he
+was scoffed at, reviled, derided, caricatured; he had
+to bear in his daily walks the quips and insults of
+the mob, the stones and jostlings of the vagabond
+boys; but he had also the honour of triumphing,
+and of seeing by degrees, after twenty years of perseverance,
+his example followed to such an extent
+that at the time of his death in 1786 he could declare
+with pride that, thanks to him, the Umbrella
+was for ever implanted in England, an imperishable
+institution.</p>
+
+<p>To-day, our neighbours across the Channel talk
+of erecting a statue to Jonas Hanway, as a homage
+publicly paid to a philanthropist. It might be asked in
+what attitude this peaceable humanitarian is to be represented,
+whether the Parasol of bronze is to remain shut up
+in his right hand, or if it will be opened in all its amplitude
+over the head of its protector, thus become its <em class="e000I2">protégé</em>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_056.jpg" width="600" height="348" alt="" />
+</div>
+
+<p>About the time when Jonas Hanway died, Roland de la
+Platière made, in his <em class="e000I2">Manufactures, Arts, and Trades</em>, this
+curious observation: “The use of Parasols is to such an
+extent established in Lyons, that not only all the women,
+but even the men, would not cross the street without their
+little Parasol in red, white, or some other colour, garnished
+with blonde lace, an article which, owing to its lightness,
+can be carried with ease.”</p>
+
+<p>At the approach of the Revolution, the Umbrella became
+popular, and served as a tent for the fishwomen and other
+feminine hucksters. Then first appeared the enormous Umbrella
+of red serge among the people of the markets, and the
+ordinary Umbrella in the hands of the “Sans-Jupons” (the
+unpetticoated). Amidst the enthusiasms and revolts of the
+streets the Umbrella was frantically waved by the hands of
+the women of the people, and when, on the 31st May 1793,
+Théroigne de Méricourt undertook her ill-starred defence of
+Brissot, in the midst of a multitude of old hags, who cried
+“Down with the Brissotins!” Umbrellas were lifted like so
+many improvised swords over the <em class="e000I2">Liégeoise</em>, smote her in the
+face, lashed her everywhere, scanning as it were with their
+strokes the odious cries of “<em class="e000I2">Ah!
+the Brissotine!</em>” and
+provoking in the unhappy revolutionary Amazon the madness
+of which she died so sadly at the Salpêtrière.</p>
+
+<p>The Parasol of the Jacobins for a time made a show of severity,
+in opposition to the knotty sticks and coquettish Parasols of the
+Muscadins (dandies) and Incroyables (beaux); the Merveilleuses
+(feminine exquisites), on the other hand, hoisted vaporous Sunshades
+like their vestments of nymphs. Then it was that fashion gave their
+due to the rights even of this frail protector of the Graces; every
+kind of extravagance was allowed, every stuff accepted, however
+dazzling and however precious. In the public gardens of Paris, all
+the fashionable beauties displayed unusual luxury in the decoration
+of their Sunshades; there were tender greens, figured gold stuffs,
+flesh-coloured tints with scarlet fretworks, tender blues trimmed
+with silver, Indian cashmeres or tissues, the whole mounted on
+handles of affected roughness or of exquisitely delicate work. <em
+class="e000I2">Ma paole supême</em>, as the exquisite used to say, it
+must be seen to be believed. Nothing could be more coquettish than
+these Parasols, streaked, striped, pied, fretted, as the complement
+of a dress <em class="e000I2">à l’Omphale</em>, <em class="e000I2">à
+la Flore</em>, <em class="e000I2">à la Diane</em>, appearing in
+a swiftly driven carriage, above a jacket <em class="e000I2">à
+la Galatée</em>, or a tunic <em class="e000I2">au Lever de
+l’aurore</em>, amidst egrets, plumes, tufts of ribbons, and every
+kind of feminine adornment.</p>
+
+<div class="figcenter" style="width: 600px;"> <img
+src="images/i_057.jpg" width="600" height="331" alt="" /> </div>
+
+<p>Towards the close of the eighteenth century, the Sunshade was
+always covered with the most fashionable tints and with stuff of
+the latest taste of the time. Parasols were to be seen dressed
+in <em class="e000I2">stifled sighs</em>, and garnished with <em
+class="e000I2">useless regrets</em>, others adorned with ribbons <em
+class="e000I2">aux soupirs de Vénus</em> (Venus’ sighs), whilst the
+fashion exacted by turns such colours as <em class="e000I2">coxcombs’
+bowels</em>, <em class="e000I2">Paris mud</em>, <em
+class="e000I2">Carmelite</em>, <em class="e000I2">flea’s thigh</em>,
+<em class="e000I2">king’s eye</em>, <em class="e000I2">queen’s
+hair</em>, <em class="e000I2">goose dung</em>, <em
+class="e000I2">dauphin’s dirt</em>, <em class="e000I2">opera
+flame</em>, <em class="e000I2">agitated nymph’s thigh</em>, and other
+names which were the singular qualificatives of particular shades,
+the rage and infatuation of the hour.</p>
+
+<p>The young priests carried a light violet or lilac
+Parasol, to remain in the tone of their general
+dress—perhaps by episcopal orders. In the
+same way, the Roman Cardinals are still followed
+in their walks by a deacon, carrying a red Parasol,
+which makes part—like the hat—of the ordinary
+luggage of the “Monsignori.”</p>
+
+<p>This word “luggage,” which has just fallen from our pen, would
+seem to call the attention to the rôle of the Sunshade or the
+Umbrella in the Travels of the last century. Was the Parasol
+considered as indispensable luggage before going on any expedition?
+We cannot affirm this. The author of <em class="e000I2">A Journey
+from Paris to Saint-Cloud by Sea and by Land</em> writes, before
+embarking at Pont-Royal: “I kept for my personal carriage only
+my repeater, my pocket-flask full of <em class="e000I2">sans
+pareille</em> water, my gloves, my boots, a whip, my riding-coat,
+my pocket pistols, my fox-skin muff, my green taffety Umbrella, and
+my big varnished walking-stick.” But here we have more of a pretty
+conceit of the eighteenth century, a sort of cotquean traveller,
+who encumbers himself with useless objects. We have consulted many
+<em class="e000I2">Almanacks serving as Guides for Travellers</em>,
+and containing “a detail of everything which is necessary to travel
+comfortably, usefully, and agreeably,” from 1760 to 1765: nowhere,
+however, was the Umbrella prescribed, either for foot passengers
+or for those on horseback; on the contrary, the anonymous editor
+of those guides seems sometimes to laugh at the simplicity of the
+tourist from Paris to Saint-Cloud, and he adds that a traveller in
+good health ought to content himself with strong boots and a cloak of
+good cloth. Even a walking-stick, he says, often consoles the walker
+only in imagination.</p>
+
+<p>The Umbrella-Walking-stick—who would believe
+it?—was, however, known from 1758, and very
+convenient Parasols were then made, of which the
+dimensions could be reduced so as to suit the
+pocket. A certain Reynard announced in 1761
+Parasols “which fold on themselves triangularly,
+and become no thicker or more voluminous than
+a crush-hat.” These Umbrellas were, it seems,
+very common about 1770: the stick was in two
+pieces, united by a screw, and the ribs were folded
+back several times.</p>
+
+<p>But let us not abandon the chronological order in returning
+thus upon our own steps, after the example of a romance
+writer of 1840. We have scarcely caught a glimpse of the
+Sunshade in our passage through the sixteenth, seventeenth,
+and eighteenth centuries, in the desultory speed of this free
+chat, in which our prose leaps as in a steeple-chase of
+charming designs. We have confounded occasionally the
+two denominations <em class="e000I2">Sunshade</em> and <em class="e000I2">Umbrella</em> in the more
+general word <em class="e000I2">Parasol</em>: but if we have travelled a little in
+every direction, we have not had the leisure to stop anywhere
+as a lounger or analyst. And here we are at the
+beginning of this century, at the Empire, but the nation is
+helmed, the sun of Austerlitz requires not a Sunshade;
+woman holds merely the second place in this hour in which
+France handles but the costly toys of glory, and if
+we find at all an Umbrella, it is in the field, with
+the general staff of the army, during some
+misty night, when it is used to shelter the
+commander-in-chief, who studies on his map
+the plan of battle of the morn.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_060.jpg" width="600" height="673" alt="" />
+</div>
+
+<div class="figcenter" style="width: 599px;">
+<img src="images/i_061.jpg" width="599" height="305" alt="" />
+</div>
+
+<p>The Sunshade shows more favourably in the hour of
+peace, during the Restoration. All the journals of fashion
+of the time give us curious and varied specimens of it
+in their steel engravings, hand-coloured, which show us,
+during those days of a lull, languid ladies in the midst
+of amusing decorations, in winter amidst snowy country
+scenes, in summer in a park of profound distances, on
+some rustic bridge, where the mistresses of the manors
+of that time allowed their romantic reveries slowly to
+wander. We can follow in the innumerable Monitors of
+elegance, which appeared from 1815 to 1830, from year
+to year, from season to season, the variations introduced
+into the decoration of the little ladies’ Parasols. Look
+for a moment: here are Sunshades, covered with coloured
+crape, or damasked satin, with checkered silk, streaked,
+striped, or figured; others enriched with blonde or lace,
+embroidered with glass-trinkets, or garnished with marabou
+feathers, with gold and silver lace, or silk trimming; the
+fashionable shade is then very light or very deep, without
+intermediate tones: white, straw yellow, pink or myrtle-green,
+chestnut and black, purple-red, or indigo. But a
+hundred pages would not suffice us to catalogue these
+fashions of the Sunshade: let us pass onward.</p>
+
+<p>The use of the Umbrella extends itself little by little
+through all classes; already in the slang of the people it is
+known under the names of the <em class="e000I2">Mauve</em>(?), the <em class="e000I2">Riflard</em>, the
+<em class="e000I2">Pépin</em>, the <em class="e000I2">Robinson</em>. Umbrella manufactories have, since
+the beginning of this century, propagated rapidly in France.
+Before 1815—this seems scarcely credible—Paris had no
+great manufactory of Parasols. But from 1808
+to 1851 alone, we can reckon more than 103
+patents for inventions and improvements relating
+to Umbrellas and Sunshades. Among the most
+extravagant patents, we must quote, after M.
+Cazal:—</p>
+
+<div class="blockquot">
+
+<p>(1.) A patent for invention of an Umbrella walking-stick
+with a field-glass;</p>
+
+<p>(2.) A patent for invention of Umbrellas and Sunshades
+combined with walking-sticks, shutting up in a copper case,
+in the form of a telescope;</p>
+
+<p>(3.) A patent for invention of an Umbrella walking-stick,
+containing diverse objects for writing or other purposes, and
+called <em class="e000I2">Universal Walking-stick</em>;</p>
+
+<p>(4.) A patent for invention of methods of manufacturing
+Umbrellas and Sunshades, opening of themselves, by means
+of a mechanism placed inside the handle;</p>
+
+<p>(5.) A patent for an Umbrella walking-stick, of which
+the sheath may be folded at pleasure, and carried in the
+pocket.</p></div>
+
+<p>In spite of these genially grotesque inventions
+of Umbrella-Telescopes and of Parasol-Walking-sticks,
+we have always come back to the Umbrella
+simple, without mechanism, or to a light stick
+without any pretensions to defend us from the
+rain. There are so many complications in an
+object intended for many uses, that an educated
+mind will always refuse to adopt it.</p>
+
+<p>But without speaking further of the technology
+of the Umbrella, we will relate an anecdote which
+ran through all the minor journals of the Restoration,
+terminating like an apologue. We shall adopt
+the form and style of the time in our narrative of
+this little historic story, which should be entitled
+<em class="e000I2">The Sunshade and the Riflard</em>.</p>
+
+<p>One fair summer afternoon, the promenaders
+in the Parisian Champs Elysées might have seen,
+seated on a chair beside a pretty woman, whose
+interesting situation was plainly visible, a peaceable
+citizen making an inventory of all his pockets in
+their turn, without finding the purse from which
+he intended to draw the few halfpence which the
+chair-proprietress demanded.</p>
+
+<p>The search is useless; it is impossible for him
+to pay;—the proprietress indignant, almost rude,
+threatening to make a disturbance, is only satisfied
+by the gentleman taking from the hands of his
+companion a Sunshade of green silk, with fringes,
+mounted on a reed, and a yellow glove, and giving
+them to the irascible lady, saying to her, “Well,
+madam, keep this Sunshade as a pledge, and give
+it to no one unless he offer you a Glove the fellow
+of this.”</p>
+
+<div class="sandbagbox" id="img064">
+ <div id="i064b1">&#160;</div>
+ <div id="i064b2">&#160;</div>
+ <div id="i064b3">&#160;</div>
+ <div id="i064b4">&#160;</div>
+ <div id="i064b5">&#160;</div>
+ <div id="i064b6">&#160;</div>
+
+<p>The pair departed, slowly arrived at the Place de
+la Révolution, then at the Boulevard de la Madeleine,
+when they were surprised by a violent shower;
+cabs were not to be had, the rain increased, they
+were forced to seek refuge underneath a carriage
+entrance. The peaceable citizen had already taken
+his companion to this shelter, when a “portier,” with
+an otter-skin cap, came out, beseeching the lady and
+gentleman to accept the hospitality of his little room,
+where a leathern arm-chair and a stool were immediately,
+and with very good grace, offered to the invited pair.
+The rain still pouring down, the “portier,” more and more
+affable, took from a corner of his small lodge a superb
+Umbrella of green serge, and offered it to his guests,
+declaring that all he had was at their service.</p>
+
+<p>The gentleman, in much confusion, accepted with
+many thanks the Umbrella, and sheltering with it the
+interesting young woman, who had tucked up her dress
+in the prettiest style, they both ventured out into the
+midst of the deluge.</p>
+
+<p> . . . . An hour afterwards, a footman in very stylish
+livery returned to the honest “portier” cobbler his
+precious Umbrella, with four notes for a thousand
+francs, from the Duke de Berry; next directing his course
+to the Champs Elysées, that same footman sought out the
+chair-proprietress, and said to her:</p>
+
+<p>“You recognise this Glove, Madam? Here are four pence,
+which my lord, the Duke of Berry, has ordered me to remit
+to you, to redeem the Sunshade of the Princess Caroline.”</p>
+
+<p>Touching and eternal legend of virtue, not without a
+recompense!</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 445px;">
+<img src="images/i_064.jpg" width="445" height="700" alt="" />
+</div>
+<p>The pair departed, slowly arrived at the Place de
+la Révolution, then at the Boulevard de la Madeleine,
+when they were surprised by a violent shower;
+cabs were not to be had, the rain increased, they
+were forced to seek refuge underneath a carriage
+entrance. The peaceable citizen had already taken
+his companion to this shelter, when a “portier,” with
+an otter-skin cap, came out, beseeching the lady and
+gentleman to accept the hospitality of his little room,
+where a leathern arm-chair and a stool were immediately,
+and with very good grace, offered to the invited pair.
+The rain still pouring down, the “portier,” more and more
+affable, took from a corner of his small lodge a superb
+Umbrella of green serge, and offered it to his guests,
+declaring that all he had was at their service.</p>
+
+<p>The gentleman, in much confusion, accepted with
+many thanks the Umbrella, and sheltering with it the
+interesting young woman, who had tucked up her dress
+in the prettiest style, they both ventured out into the
+midst of the deluge.</p>
+
+<p> . . . . An hour afterwards, a footman in very stylish
+livery returned to the honest “portier” cobbler his
+precious Umbrella, with four notes for a thousand
+francs, from the Duke de Berry; next directing his course
+to the Champs Elysées, that same footman sought out the
+chair-proprietress, and said to her:</p>
+
+<p>“You recognise this Glove, Madam? Here are four pence,
+which my lord, the Duke of Berry, has ordered me to remit
+to you, to redeem the Sunshade of the Princess Caroline.”</p>
+
+<p>Touching and eternal legend of virtue, not without a
+recompense!</p></div>
+<!--**********-->
+
+<p>Under Louis Philippe, the Umbrella or Riflard became
+<em class="e000I2">patriarchal</em> and <em class="e000I2">constitutional</em>; 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.</p>
+
+<p>All the independents of Paris, Bohemians, literary men with
+flowing manes, and artists chanted in the <em class="e000I2">Rapinéide</em>, all the
+hirsute folk of the years 1830 to 1850 rose in insurrection
+against the “Pépin” of the burgess. This word <em class="e000I2">Pépin</em> was
+then an epigram against Louis Philippe, whose pear-shaped
+head was caricatured, and who never left his home without
+his Umbrella.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_065.jpg" width="600" height="546" alt="" />
+</div>
+
+<p>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 <em class="e000I2">Chinese bells</em>, that the man-orchestra
+causes an excitement in the court-yards by ringing
+his little bells.</p>
+
+<p>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.</p>
+
+<p>The Umbrella! we behold it in the dreams of
+our school-days. Here is the severe and sombre
+Umbrella of the headmaster, symbol of his pedantic
+authority, when he passed us in review in the cold
+and damp playground. Here is the Riflard of the
+poor usher, a celebrated <em class="e000I2">Pépin</em>, covered with a
+mottled cotton-stuff, its bill-headed handle polished
+by his unctuous clasp. And here, above all, is
+an Umbrella greeted with loud acclaim, a festive
+Crusoe, which followed us when out walking,
+as the sutler follows the regiment on the march,
+the Umbrella of <em class="e000I2">Mother Sun</em>, as we used to call
+it: <em class="e000I2">Mother Sun!</em> an honest jolly wench, with her
+head in a silk pocket-handkerchief tied under
+her chin, who installed herself beneath the
+shelter of her improvised tent about our playtime,
+to sell to her noisy <em class="e000I2">children</em> cooling lemonade,
+fruit, barley-sugar, and little white rolls stuffed with
+hot sausages.</p>
+
+<p>But let us leave these souvenirs, which carry us
+too far away, and return to the <em class="e000I2">Sunshade</em> between
+1830 and 1870. If we wished to show only its
+transformations during these forty years, we should
+have to write a volume quite full of coloured
+vignettes to give a feeble idea of the history which
+fashion creates in an object of coquetry. About
+1834, in the journal called <em class="e000I2">Le Protée</em>, we see
+fashion personified under the traits of a young
+and pretty woman visiting the finest shops in
+Paris; she fails not to go to “Verdier, in the
+Rue Richelieu, for Sunshades,” and chooses two—one
+a full-dress Sunshade, in unbleached silk
+casing, mounted on a stick of American bindweed,
+with a top of gold and carved coral; the
+other in striped wood, having a similar top with
+a fluted knob, and covered with myrtle green
+paduasoy, with a satin border.</p>
+
+<p>Let us skip over some hundreds of intermediate
+varieties to look a dozen years afterwards, under
+the Second Republic, at the Sunshade described
+by M. A. Challamel in his <em class="e000I2">History of Fashion</em>:
+“As soon,” says this writer, “as the first ray of
+sunshine appeared, ladies armed themselves for
+their walks or morning calls with little Sunshades,
+entirely white, or pink, or green. Sometimes the
+Sunshades called ‘Marquises’ were edged with
+lace, which gave them rather a ragged appearance;
+or having the shape of little Umbrellas,
+the Sunshades could serve at need against a sudden storm.
+Very soon we saw Sunshades <em class="e000I2">à dispositions</em> bordered with
+a figured garland, or a satin stripe of the same colours,
+or blue or green on unbleached silk, or violet on white
+or sulphur.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_068.jpg" width="600" height="284" alt="" />
+</div>
+
+<p>A fashion, not, it will be allowed, in the very best
+taste:—Up to 1853 or 1854, we find no innovation
+worthy of exciting our enthusiasm; it is only in the first
+days of the Second Empire that we can see a marked
+change. The straight Sunshades were then abandoned to
+introduce Sunshades with a folding stick, principally for
+those made in satin and in moire antique, bordered with
+trimmings or set off with streamers. These Sunshades
+were called “<em class="e000I2">à la Pompadour</em>,” and they were worthy, in
+a certain degree, of the beauty who personified grace and
+delicate elegance in the eighteenth century; they were
+embroidered after the old fashion with gold and silk, and
+on the richness of the stuffs was cast or “frilled in” Chantilly,
+point d’Alençon, guipure, or blonde. The folding-sticks
+were of sculptured ivory, of carved mother-of-pearl,
+of rhinoceros horn, or of tortoise-shell. It is with this
+light Sunshade that the Parisian ladies saluted the Empress,
+caracoling by the side of the Emperor, at the commencement
+of his reign, on their return from the Wood, in the Champs
+Elysées, which began to look beautiful, as everything looks
+beautiful at the spring-tide of years, as well as at the springtime
+of governments. All in nature has surely its fall of the
+leaf, after having had the verdure of its blossom!—all tires,
+all passes, all breaks: men, kings, fashions, and peoples!</p>
+
+<p>The Sunshade is found to-day in the hands of every one,
+as it should be in this practical and utilitarian age. There
+is not, at the present hour, any woman or girl of the people,
+who has not her sunshade or her satin <em class="e000I2">en-tout-cas</em>—it seems
+to be the indispensable complement of the toilet for the
+promenade; and our modern painters have so well understood
+this gracious adjunct of feminine costume, that they
+take very good heed not to forget, in a study of a woman
+made in a full light, a rosy head with dishevelled hair, on
+the transparent ground of a Japanese Sunshade, thus producing
+an exquisite work with all freshness of colouring,
+and discreet shadows sifted upon sparkling eyes or a
+laughing mouth. On Sundays and holidays, in the jostlings
+of the crowd at suburban fêtes, it is like an eddy
+of Sunshades; such the spectacle of ancient besiegers, who
+covered themselves with their bucklers and made the
+“tortoise,” so in the shimmer of the summer sun in the
+great Parisian parish festivals: gingerbread fairs of Saint-Cloud
+or Vaugirard, the Sunshade is on the trestles and
+among the promenaders; it protects equally the girl dancing
+on the tight-rope and the respectable citizen’s wife in her
+Sunday best, who rumples the flounce of her petticoats in
+these popular gatherings.</p>
+
+<p>Surely the Sunshade adds new graces to woman! It is
+her outside weapon, which she bears boldly as a volunteer,
+either at her side, or inclined over her shoulder. It
+protects her head-dress, in supporting her carriage,
+it surrounds as with a halo the charms of her face.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_069.jpg" width="600" height="464" alt="" />
+</div>
+
+<p>“The Sunshade,” writes M. Cazal—or rather
+Marchal, as the so-called Charles de Bussy, who
+edited, in the name of the manufacturer, the little
+work already quoted,—“the Sunshade, like a rosy
+vapour, attenuates and softens the contour of the
+features, revives the vanished tints, surrounds the
+physiognomy with its diaphanous reflections. There
+is the Sunshade of the great lady, of the young
+person, of the tradesman’s wife, of the pretty
+lorette, of the little workwoman, just as there
+is the Sunshade of the town, of the country, of
+the garden, of the bath, of the barouche, and the
+Sunshade-whip.”</p>
+
+<p>“How many volumes,” continues the same
+writer with animation, “would be required to
+describe in its thousand fantasies the kaleidoscope
+of feminine thought in the use of the Sunshade?
+Under its rosy or azure dome, sentiment
+buds, passion broods or blossoms; at a distance
+the Sunshade calls and rallies to its colours, near
+at hand it edifies the curious eye, and disconcerts
+and repels presumption. How many sweet smiles
+have played under its corolla! How many charming
+signs of the head, how many intoxicating and
+magic looks, has the Sunshade protected from
+jealousy and indiscretion! How many emotions,
+how many dramas, has it hidden with its cloud of silk!”</p>
+
+<p>M. Charles Blanc, less dithyrambic, in his <em class="e000I2">Art
+in Dress and Ornament</em>, commences his chapter
+on the Sunshade—“Do you imagine that women
+have invented it to preserve their complexion from
+the heats of the sun? . . . . Certainly, without doubt;
+but how many resources are furnished them by this
+need of casting a penumbra over their face, and
+what a grudge they would have against the sun,
+if it gave them no pretext for defending themselves
+against his rays! In that work of art called
+a woman’s toilet, the Sunshade sustains the part of
+the chiaro-oscuro.</p>
+
+<p>“In the play of colours it is as a glazing. In
+the play of light it is as a blind.”</p>
+
+<p>For the last dozen years, fashion has varied,
+with every new season, the mode and covering
+of Sunshades. To-day they have become artistic
+in all points, and after having been in turns in
+spotted foulard, and set off with ribbons or lace,
+after the Parasol walking-stick, the maroon or cardinal-red
+Parasol, have succeeded the checkered
+taffetas, the Madras cretonnes, the Pompadour
+satins, the figured silks. Their handles are
+adorned with porcelain of Dresden, of Sèvres, or
+of Longwy, with various precious stones, and with
+jewels of all sorts; and lately, among some wedding
+presents, amidst a dozen Sunshades, one
+remarkable specimen was entirely covered with
+point lace, on a pink ground clouded with white
+gauze, having a jade handle with incrustations of
+precious stones up to its extreme point. A golden ring
+gemmed with emeralds and brilliants, attached to a gold
+chain, served as a clasp for this inestimable jewel.</p>
+
+<p>But in this style of hasty conference in which we are
+running from the Sunshade to the Umbrella, let us not
+neglect the latter, whose last name is <em class="e000I2">paratrombe</em> and
+<em class="e000I2">paradéluge</em>, which M. de Balzac, in the <em class="e000I2">Père Goriot</em>, calls
+“a bastard descended from a cane and a walking-stick.”
+The Umbrella has inspired many writers—writers of vaudevilles,
+romances, poetry, and humorous pieces; on it little
+ingenious monographs have been composed, little sparkling
+verses, articles in reviews, very serious from the trade point
+of view; many couplets have been rhymed at the Caveau and
+elsewhere on the Pépin and the Riflard; on the stage has
+been interpreted <em class="e000I2">My Wife and My Umbrella</em>, <em class="e000I2">Oscar’s Umbrella</em>,
+<em class="e000I2">The Umbrella of Damocles</em>, and <em class="e000I2">the Umbrella</em>
+of the poet D’Hervilly. This useful article
+has also inspired the realist Champfleury in
+a joyous tale, entitled—<em class="e000I2">Above all, don’t forget
+your Umbrella!</em> Everywhere, with variations
+and unheard-of paraphrases, has the social part
+of the Umbrella been shown to us; the meetings
+occasioned by it on stormy days; the <em class="e000I2">Pépin</em>
+gallantly offered to young girls eating apples in
+distress whilst it is raining on the Boulevards; we
+have had described to us the gentleman who
+follows the ladies fortified with his Umbrella,
+the weapon of his fight, and
+many tales and novels begin
+with one of these Parisian
+meetings at a street corner on
+a wet evening. The utility
+of the Umbrella in different
+ways has been insisted on, of
+the painter’s Umbrella, of the
+Umbrella for men called <em class="e000I2">sea
+bath</em>; and the sad melopæa of
+the French seller of Umbrellas
+in the street, whose prolonged
+cry of <em class="e000I2">parrrphluie</em> has been
+carefully annotated. Lastly,
+there have been too many pictures
+representing a coquettish
+workwoman, whose petticoats
+have been turned up by the wind, and whose Parasol has
+been turned inside out; but that which has never been
+written with the humour which such a subject allows, the
+master-piece which has never yet been accomplished, is the
+<em class="e000I2">Physiology of the Umbrella</em>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_072.jpg" width="600" height="636" alt="" />
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_073.jpg" width="600" height="684" alt="" />
+</div>
+
+<p>There is no doubt that bibliographers will put under our
+eyes a thin book of the lowest character which affects this
+title, and is edited by <em class="e000I2">Two Hackney Coachmen</em>, but it is
+nought but the “humbug” of the Umbrella—its <em class="e000I2">Physiology</em>
+in its entirety is yet unaccomplished. Balzac would
+have found therein matter for an immortal work, for
+there is a dash of truth in that fantastic aphorism uttered
+by some journalist in distress, “The Umbrella is the
+man.”</p>
+
+<p>Eugène Scribe has left us a modest quatrain on
+the Umbrella, worthy of his operatic muse—</p>
+
+<div class="poembox">
+<p class="pi0">A friend of mine, new, true, and rare,</p>
+<p class="pi1">And all unlike the common form;</p>
+<p class="pi0">Who leaves me when my sky is fair,</p>
+<p class="pi1">And reappears in days of storm.</p></div>
+
+<p>This almost equals that other quatrain, more ancient still, signed by
+the good abbé Delille—</p>
+
+<div class="poembox">
+<p class="pi0">This precious, supple instrument, confect</p>
+<p class="pi1">Of the whale’s bone, and of the silkworm’s grave,</p>
+<p class="pi0">With outstretched wing, my brow will oft protect</p>
+<p class="pi1">From the wet onslaught of the pluvial wave.</p></div>
+
+<p>Have we not here Academic verse well made
+for the Umbrellas of the Academicians!</p>
+
+<p>To come to extremes: among the popular songs,
+we hear the song of <em class="e000I2">the Umbrella</em>, “a ditty found
+in a whale”—</p>
+
+<div class="poembox">
+<p class="pi0">The good Umbrella may be sung</p>
+<p class="pi1">In many airs and ways;</p>
+<p class="pi0">The Umbrella, be we old or young,</p>
+<p class="pi1">Will serve us all our days.</p>
+<p class="pi0">It keeps true love from getting wet,</p>
+<p class="pi1">And catching cold at night;</p>
+<p class="pi0">It hides the thief, to business set,</p>
+<p class="pi1">From the policeman’s sight.</p>
+<p class="pi4">Umbrella!</p>
+<p class="pi0">Then buy yourself, for fear of rain,</p>
+<p class="pi0">A solid, useful, good, and plain</p>
+<p class="pi4">Umbrella!</p>
+<p class="pi0">In fact, for rain we cannot sell a</p>
+<p class="pi0">Much better thing than our Umbrella!</p></div>
+
+<p>This funny song is well worth the tiresome verse
+sung at present—</p>
+
+<div class="poembox">
+<p class="pi0">He has not an Umbrella, well</p>
+<p class="pi1">It is no matter, while it’s fine;</p>
+<p class="pi0">But when the rain comes down pell-mell,</p>
+<p class="pi1">Why, then he’s wetted to the spine! . . . .</p></div>
+
+<p>Certainly one ought to write a physiological
+monograph of these black mushrooms, which
+to-day protect humanity, just as one ought to
+rhyme a poem of the dainty Sunshade, that
+pretty rosy cupola, which is one of the most
+charming coquetries of a Frenchwoman.</p>
+
+<p>We write this <em class="e000I2">one ought</em> with a vague sadness,
+with the discouragement which makes us wish
+for the future, what we should have been so
+glad to bury in the past. In beginning our
+work, we experienced a careless joy, we thought
+the end was near on our very entry into the field,
+and that we should quickly attain it, with the
+satisfaction of having created a little work, both
+complete and altogether graceful; but once on
+our way, ferreting without relaxation in all the
+literary thickets where some Parasol might lie
+buried, in the fold of a phrase, in the middle
+of a story, of an anecdote, or of a dissertation,
+of some fact, we have gathered so ample a harvest,
+our sheaf has become so large, so very large,
+that it was impossible for us to bind our arms
+about it, after having co-ordinated its various
+parts. It is but a few poor strays then which
+lie stranded here, the flotsam and jetsam of our hope,
+sole vestiges of a project which, like all projects, became
+Homeric as it grew great in the workshop of the imagination.</p>
+
+<p>We end this essay, therefore, with a sentiment of ridicule,
+in which we laugh at our own selves, that of having dreamed
+of making a perfect monograph, and of having produced
+nothing more than a little tumbled fantasy, which ironically
+steals away out of sight, like that minuscular mouse, of
+which the mountain was once upon a time delivered in
+much moaning.</p>
+
+<p>What matter! We must end. Let us hide our melancholy
+retreat by humming this last lovely burden of a poet
+of the school of Clairville—</p>
+
+<div class="poembox">
+<p class="pi0">’Tis called a <em class="e000I2">Pépin</em>,
+a <em class="e000I2">Riflard</em>,</p>
+<p class="pi0">And other viler names there are;</p>
+<p class="pi0">Not one of all the Umbrella moves.</p>
+<p class="pi0">Wisely it counts them no disgrace;</p>
+<p class="pi0">Since—child of April’s art—the loves</p>
+<p class="pi0">Oft make their quivers of its case!</p></div>
+
+<div class="figcenter" style="width: 438px;">
+<img src="images/i_076.jpg" width="438" height="438" alt="" />
+</div>
+
+<div class="figcenter" style="width: 599px;">
+<a id="THE_GLOVE"></a>
+<h2 title="The Glove—The Mitten">&#160;</h2>
+<p title="To Mademoiselle H. de N.">&#160;</p>
+<img src="images/i_077.jpg" width="599" height="446" alt="" />
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_078.jpg" width="600" height="421" alt="" />
+</div>
+
+<div class="sandbagbox" id="img079">
+ <div id="i079b1">&#160;</div>
+ <div id="i079b2">&#160;</div>
+ <div id="i079b3">&#160;</div>
+
+<p class="fsize2 center">THE GLOVE<br /> <em class="e000I2">The
+Mitten</em><br /><br /></p>
+
+<p class="right"> <em class="e000I2">To M<sup>me.</sup> H. de
+N.</em></p></div>
+
+<!--**********-->
+<div class="HandHeld">
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_079.jpg" width="600" height="469" alt="" />
+</div>
+
+<p class="fsize2 center">THE GLOVE<br /> <em class="e000I2">The
+Mitten</em><br /><br /></p>
+
+<p class="right"> <em class="e000I2">To M<sup>me.</sup> H. de
+N.</em></p></div>
+<!--**********-->
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_079cap.jpg"
+ width="59" height="60" alt="" />
+WELL, my dear friend, here I am, faithful
+as you see to my appointment; I am
+come deliberately to fulfil my promise,
+which I so imprudently gave on a certain day last
+season, upon a Breton strand, you remember, while
+contemplating one of your rosy little hands, which
+was whipping its sister with a long Swedish glove,
+in a sort of angry pet, and gave to you an appearance
+of wild and exquisite bluster?
+</p>
+
+<p>How did you manage, O Enchantress, to induce me to give my loyal
+word that I would write for you the <em class="e000I2">History of
+the Glove</em>? How! . . . who can ever say? When a pair of pretty
+eyes envelop you, and bathe you with their radiance, when a smile
+puts honey into your heart, and a tiny little hand is stretched out
+with open palm, seeming to say, “Take me,” every kind of will melts
+quickly away, consent mounts delightedly to the lips, and we promise
+at once everything, before we know well what we are asked.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_080.jpg" width="600" height="607" alt="" />
+</div>
+
+<p>Ah, unhappy me! it is the Glove of Nessus
+which you have placed upon my hand! The
+History of the Glove! why, it is the history
+of the world; and I should be very ill-advised
+if I pretended <em class="e000I2">avoir les Gants</em> to be the first to
+tell that history, as ancient as it is universal.</p>
+
+<p>Haunted by this debt of honour, contracted to please
+you, I went lately to see a learned old friend of mine, a
+venerable Benedictine—better than a well of science; an
+ocean of indulgence—to whom I exposed my foolish enterprise
+of the Glove and the Mitten.</p>
+
+<p>Ah, my friend, I only wish you could have seen him
+all at once leap from his seat, look at me with compassion,
+examine me profoundly with his eye, and murmur
+three times in a tone of ineffable astonishment and sadness,
+as though he believed me mad—</p>
+
+<p>“The Glove!—the Glove!!—the Glove!!!—</p>
+
+<p>“ . . . And so it is the Glove,” he went on, when he had
+become a little calmer, “it is the history of this offensive
+and defensive ornament, of this object so complex, of
+which the origin is so obscure and so troublesome, it is
+a monograph of the Glove that you desire to write! . . .
+My dear child, allow me to believe that you have not
+reflected on what you have engaged yourself to do, let me
+think that you have brought more lightness than reason to
+the conception of this enterprise. The Glove!—Why, with
+the history of the Shoe, it is the most formidable work that
+a learned man could dare to dream of executing. Look,”
+he sighed, dragging forth a voluminous manuscript, “in the
+<em class="e000I2">Bibliography of Words</em>, a colossal work, which I have commenced,
+but, alas! shall never end, I see at the word
+GLOVE more than fifteen hundred different works, Latin,
+Greek, Italian, German, Spanish, English, and French,
+which treat of this matter, and even this is but the rudest
+sketch. We must consider the use of the Glove amongst
+the ancient Hebrews, the Babylonians, the Armenians, the
+Syrians, the Phœnicians, the Sidonians, the Parthians, the
+Lydians, the Persians, the Greeks, the Romans, &#38;c.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_081.jpg" width="600" height="361" alt="" />
+</div>
+
+<p>“It would be necessary to divide the work into different Books,
+subdivided into innumerable Chapters; thus for the etymology alone of
+<em class="e000I2">the word Glove</em>, in the different dialects,
+must be reserved a long notice of comparative philology; it would
+be necessary to determine if the Glove which was used by the young
+nude girls, who wrestled together in Lacedæmon, after Lycurgus had
+installed there his Lyceums and public games—if this Glove, I say,
+ought to be classed among the fighting mufflers or the leathern
+gauntlets—and how many matters besides!” And my dear old friend
+became still more and more excited, ever widening the question,
+as if, it seemed to me, it were a case of establishing a complete
+Encyclopedia. Diderot and d’Alembert would have grown pale before
+that imperturbable science, which showed mountains of folios to be
+cleared away, and unknown precipices to be sounded.</p>
+
+<p>“But,” I hazarded in a little confusion, “I only think of writing
+a light treatise, a thin volume of a few pages, one of those nothings
+carried off by the wind, which pass for a second, like an anecdote
+or tale, into a pretty feminine cerebellum; I wish to give hardly
+a line to other countries than France, just to graze incidentally
+the Glove of challenge, to speak only from memory of the pontifical
+Gloves, to neglect the side of manufacture, the art of preparing
+the skins, of removing the outside skin, and so on. I only desire
+in one word to chat for a few instants, disconnectedly and in fits
+and starts, on that portion of clothing which the ancients called
+<em class="e000I2">Chirothecæ</em>, <em class="e000I2">Gannus</em>,
+<em class="e000I2">Gantus</em>, <em class="e000I2">Guantus</em>, <em
+class="e000I2">Wanto</em>, and <em class="e000I2">Wantus</em>, if I
+may trust the <em class="e000I2">Glossary</em> of Du Cange.”</p>
+
+<p>“Alas, that is true,” cried my old friend, in a
+sadly modulated tone; “I am doting, eh? We, of
+the old school, it is we who are the wet blankets,
+the tedious savants. At the present day, when
+journalism is to literature what the piano is to
+music, an instrument upon which every one strums
+without any conviction, is it not necessary to cut
+matters short, and quickly create eternal <em class="e000I2">à peu
+près</em> (pretty much the sames), little light dissertations,
+notices made on the spur of the moment,
+and superficial passion? We were in our time
+egotists, fervent solitaries, unreadable and unread,
+if you will; what does it matter? When a work
+had fastened on our mind, we espoused it, after
+a legitimate love, with all the joys of generation
+and paternity. We wished to endow our
+labour with all the qualities which it seemed able
+to bear, to such an extent, that it became dry,
+rugged, and severe. But how many were the delights
+not to be forgotten, in those traces followed
+for whole days, before our utterance of the joyous
+<em class="e000I2">Eureka!</em>—how many inward intoxications in that
+slow-brooding season, in that patient labour!—how
+many minute investigations before resolving a historic
+doubt! We were the exclusives of national
+erudition, and thought one work sufficed for one
+man, when he had fed it with his life, with his
+watchings, with his very heart, with all the tenderness
+of the creative workman.</p>
+
+<div class="sandbagbox" id="img084">
+ <div id="i084b1">&#160;</div>
+ <div id="i084b2">&#160;</div>
+ <div id="i084b3">&#160;</div>
+ <div id="i084b4">&#160;</div>
+ <div id="i084b5">&#160;</div>
+
+<p>“I should like,” he continued, “to have twenty years to ride a
+hobby-horse, which would make me rest at stopping-places for ten,
+fifteen, twenty years, on a thorny work, and offer me splendid runs,
+full of adventure, across the highways and secret paths of science.
+I would commit the follies of Doctor Faustus, to return to the age
+of those first bibliographic loves, which have the future brilliant
+and open before them—and this Glove which you disdain, my dear young
+friend—this Glove which you dwarf to the ideal of a doll—this Glove,
+I would pick it up, hold it carefully, clear off with it like a cat,
+and ensconce myself with it in my savant’s den, to take a good long
+sniff at it, to study it, and to analyse it every day more and more,
+until at last I drew from it a serious and lasting work.</p>
+
+<p>“This Glove should not be thrown at the public, like one of those
+challenges which recall too distinctly the celebrated Glove which
+Charles V. sent to Westminster by a mere scullion—an accentuation
+of the insult offered to the King of England—it should be cast more
+lovingly, as in our old romances of chivalry, <em class="e000I2">the
+Romance of the Rose</em>, of <em class="e000I2">Rou</em>, or of <em
+class="e000I2">Perceforet</em>. If I were but twenty years old, I
+would do with the reader as Petrarch did with Laura, in demanding
+of her nothing more than the favour of picking up her Glove; and I
+would say to him later on, after the fashion of Marot, poetically, in
+offering my work:—</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 483px;">
+<img src="images/i_084.jpg" width="483" height="700" alt="" />
+</div>
+<p>“I should like,” he continued, “to have twenty years to ride a
+hobby-horse, which would make me rest at stopping-places for ten,
+fifteen, twenty years, on a thorny work, and offer me splendid runs,
+full of adventure, across the highways and secret paths of science.
+I would commit the follies of Doctor Faustus, to return to the age
+of those first bibliographic loves, which have the future brilliant
+and open before them—and this Glove which you disdain, my dear young
+friend—this Glove which you dwarf to the ideal of a doll—this Glove,
+I would pick it up, hold it carefully, clear off with it like a cat,
+and ensconce myself with it in my savant’s den, to take a good long
+sniff at it, to study it, and to analyse it every day more and more,
+until at last I drew from it a serious and lasting work.</p>
+
+<p>“This Glove should not be thrown at the public, like one of those
+challenges which recall too distinctly the celebrated Glove which
+Charles V. sent to Westminster by a mere scullion—an accentuation
+of the insult offered to the King of England—it should be cast more
+lovingly, as in our old romances of chivalry, <em class="e000I2">the
+Romance of the Rose</em>, of <em class="e000I2">Rou</em>, or of <em
+class="e000I2">Perceforet</em>. If I were but twenty years old, I
+would do with the reader as Petrarch did with Laura, in demanding
+of her nothing more than the favour of picking up her Glove; and I
+would say to him later on, after the fashion of Marot, poetically, in
+offering my work:—</p></div>
+<!--**********-->
+
+<div class="poembox">
+<p class="pi00">‘Deign to receive these Gloves with goodly cheer,</p>
+<p class="pi0">My true heart’s present of the coming year.’</p>
+</div>
+
+<p>“And then I would speak of those Mittens with which Xenophon reproaches
+the degenerate Persians, of those Roman finger-stalls employed in
+the olive crop, and even of that glutton named Pithyllus, who carried delicacy
+so far as to make a Glove of a sheath of skin for his tongue.”</p>
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_085.jpg" width="600" height="676" alt="" />
+</div>
+
+<p>The good old man,
+kindled by his enthusiasm,
+became transformed;
+he seemed
+desirous to take upon himself the whole history
+of the Glove, which he embroidered at once
+with fancy and the most varied anecdote that his
+wonderful memory could supply. After having
+distinguished, in the Middle Ages, many sorts
+of Gloves, such as the <em class="e000I2">usual</em> Glove, the <em class="e000I2">falconer’s</em>
+Glove, the <em class="e000I2">workman’s</em> Glove, the <em class="e000I2">feminine</em> Glove,
+the <em class="e000I2">military</em> Glove, the <em class="e000I2">seignorial</em> Glove, and the
+<em class="e000I2">liturgical</em> Glove, he attacked with a zest bordering
+on frenzy the part of the Glove of the
+knights and men in armour of the heroic
+battles of the past, at a time when individual
+prowess could still display itself; he quoted
+the Chronicles of Du Guesclin and De Guigneville:—</p>
+
+<div class="poembox">
+<p class="pi00">“Rich basinets he ordered to be brought,</p>
+<p class="pi0">And Gloves with iron spikes with horror fraught.”</p>
+</div>
+
+<p>He showed me, without recourse to aught but his own
+erudition, the transformation of these iron gauntlets, first into
+mail, like the coat, then into movable plates of flat iron,
+adapted to the movements of the hand; he explained to me
+the lining, where the palm was of leather or stuff, and at last,
+exhuming the ordinances of 1311, he made me penetrate into
+the details of the manufacture:—</p>
+
+<p>“That no one should make Gloves of plates, except the
+plates are tinned or varnished, or beaten, or covered with
+black leather, red leather, or samite, and that under the
+head of every nail should be set a rivet of gold.”</p>
+
+<p>Ah, my fair friend, if you could have seen this
+strange man so suddenly taken by my subject, you
+would have regarded me with pity, for I could not
+help pouting a little at this old dean, and felt myself
+attacked by a sudden cowardice, at the mere announcement
+of the formidable researches which
+were to be undergone.</p>
+
+<p>I took my humble leave of my most learned
+master, humiliated, floored by the extent of his
+knowledge, his laborious zeal, his powerful faith,
+his stubborn will. I saw that in giving you my
+word for a poor Glove, I had given it to a demon,
+who showed me a Glove of an immense shagreen
+skin, containing the world and its history—fantastic
+as a nightmare, which weighed me down. Then I
+swore to sacrifice a part for the rest, and not to build
+a cathedral when a simple cushion at your feet
+would suffice me for my heedless chatter. Accept
+then favourably this act of contrition, and let me
+be fully pardoned, if, <em class="e000I2">à propos</em> of the Glove, I bound
+along madly like a young kid, without pity for the
+history of costume and historic documents, which
+I trample under my feet, rather than see myself
+buried under their pyramidal bundles.</p>
+
+<p>That which my old friend had probably neglected
+is the Legend, and to that I run.</p>
+
+<p>A charming poet and a charmer, Jean Godard,
+a Parisian, the worthy rival of Ronsard, published
+towards 1580 a piece entitled <em class="e000I2">The Glove</em>. This
+witty nursling of the Muses pretends to show us
+the origin of the Glove in the burning passion
+which Venus cherished for Adonis. According to
+our poet—</p>
+
+<div class="poembox">
+<p class="pi00">“The young Adonis ever loved the field,</p>
+<p class="pi0">Now hunting the swift stag with branching head,</p>
+<p class="pi0">And now the tusked wild boar, just cause of dread.</p>
+<p class="pi0">Venus, fierce burning with his love alway,</p>
+<p class="pi0">Would never leave him neither night nor day,</p>
+<p class="pi0">But running after his sweet eyes and face,</p>
+<p class="pi0">Sought young Adonis, when he sought the chase:</p>
+<p class="pi0">Deep into forests full of gloomy fear,</p>
+<p class="pi0">The goddess followed him she held so dear.</p>
+<p class="pi0">One day, as she pursued him, bursting through</p>
+<p class="pi0">A bramble thicket, which by ill chance grew</p>
+<p class="pi0">Athwart her path, a cruel, hardy thorn</p>
+<p class="pi0">Pierced her white hand, and lo! the rose was born</p>
+<p class="pi0">From her red blood. But Venus, vexed with pain,</p>
+<p class="pi0">Lest any hurt should touch her hand again,</p>
+<p class="pi0">Bade all at once her unclad Graces sew</p>
+<p class="pi0">A leathern shelter for her hand of snow.</p>
+<p class="pi0">The lovely Graces, draped in floating hair,</p>
+<p class="pi0">No longer left their own hands free and bare,</p>
+<p class="pi0">But bound and covered them as Venus did.</p>
+<p class="pi0">And now the Glove’s true origin is hid</p>
+<p class="pi0">No longer. This is it. Fair girls alone</p>
+<p class="pi0">Wore on their hands what now is common grown.</p>
+<p class="pi0">Then came the Emperor, and then his court,</p>
+<p class="pi0">And then at last the folk of every sort.”</p>
+</div>
+
+<p>Charming in its <em class="e000I2">naïveté</em>, is it not, my
+dear friend, this fable which gives the Glove the same origin as the
+rose!</p>
+
+<p>The use of Gloves was widely spread in the
+Middle Ages. They covered the wrist entirely,
+even with women. “The Gloves of the common
+people,” says M. Charles Louandre, “were of sheep-skin,
+of doe skin, or of fur; those of bishops were made in
+chain-stitch of silk with gold thread; those of simple
+priests were of black leather.” But what will surprise you
+is that, contrary to the present custom, it was absolutely
+forbidden to appear gloved before great personages.</p>
+
+<p>In a manuscript lately published, <em class="e000I2">The Sayings of the
+Merchants</em>, a merchant cries, with an engaging air—</p>
+
+<div class="poembox">
+<p class="pi00">“I have pretty little bands,</p>
+<p class="pi1">&#160;&#160;And for damsels dainty Gloves,</p>
+<p class="pi0">Furred to warm their snowy hands,</p>
+<p class="pi1">&#160;&#160;These I sell to those sweet loves.”</p>
+</div>
+
+<p>But what were the furred Gloves of sweet loves or gentle
+ladies compared to those which the fair Venetians showed
+on the grand days of ceremonies, when the Doge prepared
+to mount the Bucentaur for the purpose of espousing the
+sea? These, according to M. Feuillet de Conches, were
+Gloves of silk marvellously embroidered, embossed with
+gold and pearls; some of them were of lace of an incomparable
+richness, well worthy to be offered as a present,
+and to figure in the budget of handsome acknowledgments.
+But the most wonderful were the Gloves of
+painted skin, like the water-colours on
+Fans.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_088.jpg" width="600" height="472" alt="" />
+</div>
+
+<div class="figright" style="width: 358px;">
+<img src="images/i_089a.jpg" width="358" height="348" alt="" />
+</div>
+
+<p>Here were country scenes, sheepfolds,
+pictures of ravishing gallantry, miniatures
+beyond price. “And even,”
+observes M. Feuillet de Conches,
+“the heels of the shoes of
+dandies were decorated by
+Watteau or by Parrocel.”</p>
+
+<p>The Valois doted, you know,
+on perfumed Gloves; this taste was fatal
+to Jeanne d’Albret, who found her death in
+trying a pair of Gloves dexterously prepared by
+some Italian quack, a friend of the sombre Catherine.
+Consider, my friend, that with my romantic
+instinct, and my temperament full of love for the
+drama, I might find here an easy transition, and tell you,
+in long excited phrases, of the exploits of the Marchioness of
+Brinvilliers, and the grim Gaudin de Sainte-Croix; show you
+these sinister poisoners preparing by night their infamous
+Glove stock; then in a tale fantastic as the <em class="e000I2">Olivier Brusson</em>
+of Hoffmann, evoke the famous trial of the Marchioness, the
+torture, the various punishments, the burning chamber, up to
+the final stake. All this <em class="e000I2">à propos</em> of the Glove—who can say
+if such simple history would not be worth more than all the
+cock-and-bull stories which I am about to tell you, by compulsion,
+concerning the Glove and the Mittens? In very
+truth, I would prefer, as your <em class="e000I2">vis-à-vis</em>, to show myself a
+romancist, not an historian, for I should be sure of being
+less of a bore, more personal, and, above all—shall I avow
+it?—not in any degree common-place. But, as Miguel de
+Cervantes said, “Our desires are extremely seditious servants.”
+I will be then reactionary, and will close the door against these
+socialists of sentiment.</p>
+
+<div class="figleft" style="width: 260px;">
+<img src="images/i_089b.jpg" width="260" height="180" alt="" />
+</div>
+
+<p>All this fine rigmarole
+has made me think of presenting
+you with a letter
+of Antonio Perez to Lady
+Rich, sister of Lord Essex,
+who had asked him for
+some dogskin Gloves:—</p>
+
+<p>“I have experienced,” he writes, “so much
+affliction in not having by me the dogskin Gloves
+desired by your ladyship, that, waiting their arrival,
+I have resolved to flay a little skin on the most
+delicate part of my own body—if, indeed, any
+delicate part can be found upon my rude self.
+Love and devotion to a lady’s service may surely
+make a man flay himself for her, and cut her a
+pair of Gloves out of his own skin. But how can I
+pride myself on this with your ladyship, when it is
+my custom to flay even my very soul for those I
+love? Could mine be seen as clearly as my body,
+it would appear full of tatters, the most lamentable
+sort of soul in the world;—the Gloves are of dog’s
+skin, madam, and yet of my own, for I hold myself
+as a dog, and supplicate your ladyship to hold me
+in like regard, in requital of my faith and my passion
+in your service.”</p>
+
+<p>What think you of this out-and-out gallant, of
+this “dying” passionate lover? Here it seems to
+me, <em class="e000I2">à propos</em> of scented Gloves, we have a Castilian
+gentleman exceedingly well skilled in the delicate
+art of offering them to ladies.</p>
+
+<p>Spanish Gloves are reproached with too strong a
+smell; the French ladies suffer strangely from their
+too heady odour: Antonio Perez would certainly have
+been an excellent manufacturer of perfumed Gloves—discreet
+in his scents, distinguished in his form.</p>
+
+<p>The Gloves most in vogue after the time of La Fronde were the
+Gloves of Rome, of Grenoble, of Blois, of Esla, and of Paris. M.
+de Chanteloup charged Poussin to buy him Roman Gloves, and the
+latter wrote back on 7th October, 1646: “Here are a dozen pairs
+of Gloves, half men’s, half women’s. They cost half-a-pistole a
+pair, which makes eighteen crowns for the whole.” The 18th October,
+1649, another purchase; but this time they are Gloves scented with
+Frangipane, with which Poussin provided himself for M. de Chanteloup;
+and these he bought at la Signora Maddelena’s, “a woman famous
+for her perfumes.” In Paris, according to <em class="e000I2">The
+Convenient Address Book</em> of Nicolas de Blegny—the Bottin of
+1692—there were a certain number of manufacturers of perfumed Gloves
+in the Rue de l’Arbre-Sec and the Rue Saint-Honoré. “There are,”
+says the editor of this commercial almanac, “Glove-merchants very
+well stocked; for instance, M. Remy, opposite Saint-Méderic, who
+is famous for his excellent buck-skin Gloves; Arsan, hard by the
+Abbey Saint-Germain; Richard, Rue Saint-Denis, <em class="e000I2">at
+the little St. John</em>, well known for his Gloves of <em
+class="e000I2">Fowl-skin</em>; and Richard, Rue Galande, at <em
+class="e000I2">the Great King</em>, whose commerce is in doeskin
+Gloves.”</p>
+
+<p>The name of fowl-skin Glove doubtless astonishes
+you—another name was outer lamb skin; they were
+made for the use of ladies during the summer. The pretended
+fowl-skin was nothing but the epidermis of kid-skin, and the
+preparation of this epidermis was the real triumph of the Glove-merchants
+of Paris and Rome. Gloves of <em class="e000I2">Canepin</em>, or outer
+lamb’s-skin, were made, it is said, so delicate and thin, that
+a pair of them could be easily enclosed in a walnut shell.</p>
+
+<p>The buck-skin or buffalo-skin Glove was specially made for
+falconers; it covered the right hand half up the arm, thus completely
+protecting it against the claws, or rather the talons, of
+the bird, falcon, gerfalcon, or sparrow-hawk, when it came to
+settle on their fist.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_092.jpg" width="600" height="624" alt="" />
+</div>
+
+<p>Hawking existed even under Louis XIII., but it was no
+longer the grand and splendid epoch of this aristocratic sport,
+so profoundly interesting. In one of his ancient legends,
+André le Chapelain, of whom Stendhal wrote a short biographical
+notice, speaks of a sparrow-hawk,
+to gain which the magic Glove was necessary.
+This Glove could only be obtained
+by a victory in the lists
+over two of the most formidable
+champions of Christendom. It
+was suspended to a golden
+column, and very carefully
+guarded. But when
+the knight had by his
+skill gained the Glove, he
+saw the beautiful sparrow-hawk
+so much desired swoop down immediately upon his
+fist.</p>
+
+<p>Up to the age of Louis XIV., the skin Glove was destined
+rather for the use of men, and it was only under this Prince
+that Gloves mounting a long way up the arm, and long Mittens
+of silk netting to set off the hands of women, were generally
+adopted by them.</p>
+
+<p>Gloves <em class="e000I2">à l’occasion</em>, <em class="e000I2">à la Cadenet</em>, <em class="e000I2">à la Phyllis</em>, <em class="e000I2">à la Frangipane</em>,
+<em class="e000I2">à la Néroli</em>, Gloves <em class="e000I2">of the last cut</em> worn awhile by the <em class="e000I2">Précieuses</em>,
+ceased to be fashionable about 1680. The custom, of which
+Tallemant speaks, of presenting ladies, after the banquet, with
+basins of Spanish Gloves, was only vulgarised in passing from
+the Court to the town.</p>
+
+<p>Dangeau, in his <em class="e000I2">Memoirs</em>, has written a chapter on the <em class="e000I2">Etiquette
+of Gloves and the Ceremonial of Mittens</em>. I refer you to it without
+ceremony.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_093.jpg" width="600" height="601" alt="" />
+</div>
+
+<p>Under Louis XV., in the eighteenth century, so full
+of the rustle of silk, so enchanting that I fear
+to stop on it in your company, lest I should
+never leave it, the wearing of Gloves quickly
+became an enormous luxury. All those
+fair coquettes, whom
+you have seen at
+their toilets, or
+their <em class="e000I2">petit lever</em>,
+after Nattier,
+Pater, or
+Moreau,
+surrounded by their “<em class="e000I2">filles de modes</em>,” caused a
+greater massacre of Gloves at the time of trying
+them on, than our richest worldlings of to-day.
+These Gloves were of kid, of thread, and of silk;
+the most celebrated came from Vendôme, from
+Blois, from Grenoble, and from Paris; they were
+generally made of white skin, wretchedly sewn,
+but the cut was extremely graceful, with its cuff
+falling from the wrist over the hand, and small
+ribbons and fine rosettes of carnation interlaced
+on this cuff.</p>
+
+<p>Gloves sewn after the English fashion were
+highly appreciated. It became a proverb, that
+for a Glove to be good, three realms must have
+contributed to it: “Spain to prepare the skin and
+make it supple, France to cut it, and England
+to sew it.”</p>
+
+<p>Caraccioli maintains that a woman of fashion, about the
+middle of the eighteenth century, would not dispense with
+changing her Gloves four or five times a day. “The <em
+class="e000I2">petits-maîtres</em>,” he adds, “never fail to put on,
+in the morning, Gloves of rose or <em class="e000I2">jonquil</em>,
+perfumed by the celebrated Dulac.” As to Mittens, the same observer
+of the century notices them as specially belonging to women.
+“Nevertheless,” he says, “in winter the manufacturers make furred
+Mittens, and men now wear them when they travel.”</p>
+
+<p>Madame de Genlis has this curious observation
+in her <em class="e000I2">Dictionary of Etiquette</em>: “If you have anything
+to present to a princess, and have your Glove
+on, you must needs take it off.”</p>
+
+<p>How many anecdotes, how many literary souvenirs,
+the Glove of the eighteenth century summons
+to the thought!</p>
+
+<p>You remember, I am quite sure, that pretty
+chapter consecrated by Sterne, in his <em class="e000I2">Sentimental
+Journey</em>, to the beautiful Grisette who sold Gloves,
+into whose shop he entered to ask his way. The
+pretty Glove-seller coquets with the stranger, shows
+herself extremely complaisant, and the sentimental
+traveller, to prove his gratitude for her kindness,
+asks for some Gloves, and tries on several pairs
+without finding one to suit him. But he takes
+two or three pairs all the same before he goes.</p>
+
+<p>The story leaves a fresh feature in the mind:
+an English artist has fixed it with much delicacy
+on a remarkable canvas, which figures in the
+National Gallery. The authors of the <em class="e000I2">Vie Parisienne</em>
+were surely inspired by it a little later in their
+joyous libretto, when they wrote the well-known
+couplets of the lady who sold Gloves and the
+Brazilian.</p>
+
+<p>Permit me also to relate to you an anecdote,
+rather slight in texture, of which Duclos is the hero,
+and which has all the flavour of his roguish age:—</p>
+
+<p>The author of <em class="e000I2">Manners</em> was bathing on the
+flowery borders of the Seine, and giving himself
+up to skilled <em class="e000I2">hand-over-hand</em>, when he suddenly
+heard piercing cries of distress. He rushes out
+of the water, runs up
+the bank without taking time
+to slip on his “indispensables,”
+and finds a young and charming woman,
+whose carriage had just been overturned in
+a rut. He hastens to beauty in tears, lying on
+the ground, and making a gracious bow, in
+his academic nudity, “Madam,” says he, in
+offering her his hand to assist her to rise,
+“pardon my want of Gloves.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_096.jpg" width="600" height="482" alt="" />
+</div>
+
+<p>Here we have at once the expression of a scoffing sceptic,
+and a giddy philosopher, full of a particular charm. Do not
+believe, my gentle friend, that if I remain in your company
+so short a time in the beginning of the eighteenth century—the
+only one which has, you cannot deny it, all its perfumed
+quintessence—do not believe that I intend to linger
+in the Revolution, and conduct you to the house of Mademoiselle
+Lange, Madame Talien, Madame Récamier, and all
+the fashionable drawing-rooms of the First Republic, the Directory,
+the Consulate, and the Empire; to take ceremoniously
+the hand of the marvellous Beauties, the Nymphs, and Muses
+of those troubled times, in order the better to show you what
+extravagant Gloves, what prodigious Mittens, were then worn.
+The <em class="e000I2">Ladies’ Journal</em>, and all the small journals of fashion,
+will surely teach you more about the Gloves worn by these
+worldly Calypsos and Eucharises than six hundred monotonous
+pages of varied descriptions. There is no Museum, however,
+preserving the objects of art which the Revolution marked
+deeply with its seal; and this fact will make me insist on a
+model of a special Glove, destined for a representative of
+the people despatched to the army, of which an erudite
+archæologist of the Revolution, and at the same time a remarkable
+humourist, Champfleury, has been good enough
+to communicate to me a design. This Glove of doe-skin,
+manufactured according to order, and broidered with arabesques
+about the slopings of the thumb, bears on the back
+of the hand a vignette in the form of a seal, which represents
+Liberty holding in her hand the pike, the Phrygian
+cap, and the scales of justice—a Liberty, you will say, by
+no means at liberty . . . . in her movements:—on the right
+is crouched a lion, the sign of force; on the left a cat, a
+sign of independence.</p>
+
+<p>I will not lose my time in paraphrasing for you this
+symbolic vignette; and, with a long historic stride, I will
+conduct you into the quietude of some chateau, under
+the Restoration, and, in the evening twilight, to the terrace
+before a great park. I will there show you two lovers
+warbling a serenade—the timid young girl touching a
+guitar, the young man deeply moved, putting a world
+of passion into his baritone voice. On the hands
+of the singer, behold, pearly grey gloves fastening
+with a single button; on the dainty little fingers
+supporting the guitar, examine those Mittens of
+black silk lace, open worked, like those which,
+according to tradition, are worn by the heroine
+of that charming comedy, the <em class="e000I2">Marriageable Maid</em>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_097.jpg" width="600" height="609" alt="" />
+</div>
+
+<p>There rises on my lips
+a song of the time which
+the <em class="e000I2">Almanac of the Muses</em> has bequeathed us, to
+the air of <em class="e000I2">The Little Sailor</em>. It will perhaps add
+a spice of interest to my story. “Now, listen,
+my friend,” as they used to say in the noble ages
+of chivalry. Title of the song: <em class="e000I2">The Gloves</em>.</p>
+
+<div class="poembox">
+<p class="pi0">I love the Glove, that covers quite</p>
+<p class="pi1">The rounded arm it rests upon;</p>
+<p class="pi0">I take it off, with what delight,</p>
+<p class="pi1">With what delight I put it on!</p>
+<p class="pi0">If true it is through mystery,</p>
+<p class="pi1">A lover’s bliss will higher move,</p>
+<p class="pi0">How dear that little hand should be</p>
+<p class="pi1">Which hides itself beneath a Glove!</p>
+<p class="pi0">&#160;</p>
+<p class="pi0">But there’s another Glove, whose use</p>
+<p class="pi1">Will every swaggerer displease;</p>
+<p class="pi0">A Glove correcting all abuse,</p>
+<p class="pi1">Which brings the braggart to his knees;</p>
+<p class="pi0">How many boasting folk I’ve known,</p>
+<p class="pi1">Who would, and wisely, rather prove</p>
+<p class="pi0">A flight from out the window thrown,</p>
+<p class="pi1">Than see before them that same Glove!</p>
+<p class="pi0">&#160;</p>
+<p class="pi0">The Gloves are useful when we seek</p>
+<p class="pi1">The fair, the great ones, as we know;</p>
+<p class="pi0">When unto those with Gloves we speak,</p>
+<p class="pi1">Easy at once their favours grow.</p>
+<p class="pi0">They for intriguers wealth have won,</p>
+<p class="pi1">No fools their uses are above;</p>
+<p class="pi0">Of what another man has done</p>
+<p class="pi1">They boast, and give themselves the Glove.</p></div>
+
+<p>One last couplet, I pray you, and the authoress, Madame Perrier, will
+bow herself out:—</p>
+
+<div class="poembox">
+<p class="pi0">The Gloveless man can ne’er afford</p>
+<p class="pi1">To dance, no step he makes with grace;</p>
+<p class="pi0">The servant wishes that his lord</p>
+<p class="pi1">Should put on Gloves in many a case.</p>
+<p class="pi0">When the police are wide awake,</p>
+<p class="pi1">To cheat those eyes they hardly love,</p>
+<p class="pi0">How many thieves will wisely take</p>
+<p class="pi1">The greatest care to wear the Glove?</p></div>
+
+<p>The song is not so bad, truly; and if the Muse
+gloves the author a little tightly, the tone of his
+strophes is none the less strictly respectable and
+proper.</p>
+
+<p>Under Louis XVIII. and Charles X. long Gloves
+were very costly; still, no coquette hesitated to
+change them every day, for it was necessary for
+them to be of extreme freshness of colour, which
+was either buff, gridelin, or white. Some years
+later, the fashion tended to maize, straw, or nut
+colour for the evening and morning toilet, and
+to palisander, burnt bread, cedar, fawn, for afternoon
+visits. Yellow Gloves had an infinite scale
+of tones, from a soft and delicate unbleached lawn
+colour to the glaring yellow of a stage-coach. White
+doe-skin was only used by men when riding.</p>
+
+<p>It was about this epoch, if I mistake not, that
+the denunciation of <em class="e000I2">Gant jaune</em> (yellow glove)
+became synonymous with <em class="e000I2">petit-maître</em> (dandy).
+In London, the disciples of Brummel—of the
+most refined elegance—constituted a society, and
+formed the Club of the <em class="e000I2">Fringed Glove</em>. This
+club no longer existed doubtless in 1839, when
+d’Orsay established thus despotically the rules of
+the perfect gentleman:</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_100.jpg" width="600" height="428" alt="" />
+</div>
+
+<p>“An English gentleman of fashion,” said he, “ought to
+use six pair of Gloves a day:</p>
+
+<p>“In the morning to drive a britzska to the hunt: Gloves
+of reindeer.</p>
+
+<p>“At the hunt, to follow a fox: Gloves of shammy
+leather.</p>
+
+<p>“To return to London in a Tilbury, after a drive at
+Richmond in the morning: Gloves of beaver.</p>
+
+<p>“To go later for a walk in Hyde Park, or to conduct
+a lady to pay her visits or make her purchases in London,
+and <em class="e000I2">to offer her your hand in descending from the carriage</em>:
+coloured kid Gloves braided.</p>
+
+<p>“To go to a dinner-party: yellow dog’s skin Gloves—and
+in the evening for a ball or rout: Gloves of white lamb-skin
+embroidered with silk.”</p>
+
+<p>What odious tyranny is so exacting a fashion! And how
+sensible was Balzac when he wrote: “Dandyism is a heresy
+of fashion; in making himself a dandy, a man becomes a
+piece of furniture of the boudoir, an extremely ingenious
+puppet, which can pose on a horse, or on a sofa, which
+sucks habitually the end of a walking-stick, but a reasonable
+being—never!”</p>
+
+<p>It is, however, with some dandy of the school of Rubempré
+and Rastignac, that often, on quitting the ball, an
+author shows us a romantic young lady in love, whose
+jealousy gnaws at her heart, who re-reads the letters of old
+times, and with wandering looks, like one overwhelmed,
+nervously tearing with her teeth a finger of her Glove,
+sadly dreams that the lover who is no longer all, is nothing,
+and that the moralist much deceived himself who wrote:
+“Woman is a charming creature, who puts off her love
+as easily as her Glove.”</p>
+
+<div class="figcenter" style="width: 599px;">
+<img src="images/i_101.jpg" width="599" height="356" alt="" />
+</div>
+
+<p>How many things are there, look you, in a Glove!</p>
+
+<p>In the novel <em class="e000I2">The Lion in Love</em> of Frédéric Soulié, Léonce
+signs the register of marriages at the mayoralty with a gloved
+hand; and when Lise’s turn comes, the young girl stops,
+saying in a voice tinged with just a touch of mockery,
+“Pardon me, let me remove my Glove.”</p>
+
+<p>“Léonce understood,” then says the author, “that he
+had signed with his gloved hand.” Sign an act of marriage
+with a Glove! Léonce meditated a little, and said to himself:
+“These people have certain delicacies. What difference
+makes a Glove more or less to the holiness of an
+oath, or the signature of a document? Nothing assuredly;
+and yet it seems that there is more sincerity in a naked
+hand, which affixes the signature of a man in testimony of
+the truth. It is one of those imperceptible sentiments of
+which we are unable to give an exact account, but which
+nevertheless exist.”</p>
+
+<p>The fact is, that the Glove is not really, as has been
+said, a tyrant of which the hand is the slave, but quite
+the contrary—it is the hand’s servant; and with the hand,
+as Montaigne wrote, “We request, promise, call, dismiss,
+menace, pray, supplicate, deny, refuse, interrogate,
+admire, number, confess, repent, fear, shame,
+double, instruct, command, incite, encourage,
+swear, witness, accuse, condemn, absolve, injure,
+contemn, distrust, track, flatter, applaud, bless,
+humiliate, mock, reconcile, recommend, exalt,
+feast, rejoice, complain, sadden, discomfort, despair,
+astonish, write, suppress,” &#38;c.</p>
+
+<p>I stop out of breath: verbs of every kind may
+pass into the list.</p>
+
+<p>With the Egyptians, the hand was a symbol of
+force; with the Romans, a symbol of fidelity.
+We please ourselves in clothing the occult powers,
+such as Time, Nature, Destiny, with a human hand:
+the hand of Time overthrows empires, and impresses
+wrinkles on our brows; the hand of
+Nature is prodigal to us of gifts, which are
+ravished from us by the hand of Death; the
+hand of Destiny or of Providence, in fine, conducts
+us across the paths of life.</p>
+
+<p>Old stereotyped language, which we use, and
+shall use always. Are we not, as Saint Evremond
+said, in the hands of love, as the balls in the
+hands of tennis-players—and the first happiness
+which love can give, is it not, according to Stendhal—and
+all the truly sensitive—the first pressure
+of the hand of the woman we love?</p>
+
+<p>Our ancestors swore by the hand, and read in
+the hand the mysteries of the future. On the
+day of coronation, the hand of justice was borne
+before the kings; the hand is used in salutation;
+we ask for the <em class="e000I2">hand</em> of the lady we wish to
+espouse in lawful marriage; we wash our hands,
+like Pontius Pilate, of faults which we could not
+help committing; and if I were to have to make
+for you the panegyric of this organ, I should
+have, like Scheherazade, to put off the end of
+my discourse every day till the morrow. Sir
+Charles Bell, in his book, <em class="e000I2">The Hand: Its Mechanism,
+etc.</em>, has given a synthesis of all I could
+possibly add, and has proved that the human
+hand is so admirably formed, possesses a sensibility
+so exquisite, that sensibility governs with so
+much precision all its movements, it answers so
+instantaneously to the impulses of the will, that
+one might be tempted to believe that it is itself
+its seat. All its actions are so energetic, so free,
+and withal so delicate, that it appears to have
+an instinct apart; and neither its complication
+as an instrument is ever dreamt of, nor the
+relations which subject it to the mind. We avail
+ourselves of the service of the hand, as we perform
+the act of respiration, without thinking of
+it; and we have lost all remembrance of its first
+feeble efforts, as of the slow exercise which has
+brought it to perfection.</p>
+
+<p>The hand, in a word, is the most perfect instrument
+given by God to man; but I ought not to forget, my fair
+friend, that poets seldom wear gloves, and philosophers
+never; and that, philosophising as I am, I remain outside
+the Glove, and, above all, appear to forget that axiom of
+Fontenelle: Had we our hand full of authenticated facts
+or truths, we should but half open it, and that after a
+feeble fashion.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_104.jpg" width="600" height="718" alt="" />
+</div>
+
+<p>The Glove is worthy of entering into the legend of a
+fairy tale, and remaining there always, as the slipper has
+entered into the poetry even of fable, with the theme of
+<em class="e000I2">Cinderella</em>. An ancient King of France was indeed in
+love all his life with an unknown woman, only from
+having seen her Glove in the midst of a masked
+ball given to his court. Could it not easily be
+conceived according to the approximative aphorism,
+“Show me your Glove, I will tell you who
+you are.” At the opera ball, in the surge of
+masks and of dominoes, in the midst of the
+comings and goings on that staircase so exalted,
+it needs but a Glove imprisoning a little hand
+to allure at once the passion of a man of
+delicacy—a long white Glove lovingly glued
+to a hand divinely small, a fine delicate
+wrist, and the exquisite roundness of the
+forearm. This is enough to transport
+a lover of the fair sex.
+The Glove appears not only in all festivals
+where grace and beauty preside; it is
+found in all the rudeness and clumsiness
+of its origin at the Poles, among the Norwegians,
+the Laps, and the Fins, who wear
+huge Gloves of wool in summer, and thick
+Gloves of reindeer skin, with the hair
+outside, in winter.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_105.jpg" width="600" height="600" alt="" />
+</div>
+
+<p>Defended by these Gloves, they sometimes
+sally bravely from their huts, in spite
+of the cruel frosts, to kill the white bear
+and the seal, just as the dramatic engravings
+which illustrate our stories of voyages to the
+North Pole represent them to us.</p>
+
+<p>But methinks your eye is asking me in disquietude
+about two little bound books which I have in my reach.
+Reassure yourself, these are not recitals of tourists, which
+are for painting us the manners of the inhabitants of
+Karasjok or of the Lofoten Isles: I will read to you at
+once, without allowing you to languish any longer, their
+titles. Upon one of these works, see for yourself <em class="e000I2">Collection
+of the Best Riddles of the Time</em>, composed on divers serious
+and sprightly subjects by Colletet; on the other, <em class="e000I2">Collection
+of Riddles of the Time</em>, by the Abbé Cotin. You already
+divine that I intend to act no traitor’s part towards you,
+and that I am going to read you some old charades in
+verse upon Gloves:</p>
+
+<p>The first riddle—<em class="e000I2">énigme</em> has been masculine in French
+at least since the seventeenth century, in despite of its
+profound femininity—the first riddle, in obscure
+and ambiguous terms, indicates that the Glove,
+after having been the natural covering of a rustic
+animal, serves to-day as an artificial covering for
+an animal more refined: man!</p>
+
+<div class="poembox">
+<p class="pi0">We’re two or ten, and to a body wed,</p>
+<p class="pi1">We once a thing of breathing life were over;</p>
+<p class="pi0">Like it we lived, and now, although we’re dead,</p>
+<p class="pi1">Another life more excellent we cover.</p></div>
+
+<p>This quatrain riddle is by François Colletet, that poor poet up to
+his neck in mud. Listen now to Cotin—the Trissotin of Molière—in
+this singular sextain:—</p>
+
+<div class="poembox">
+<p class="pi0">With mortal flesh our five soft mouths we fill,</p>
+<p class="pi0">And in the winter to repletion feed;</p>
+<p class="pi0">If one of us be lost, the world’s agreed</p>
+<p class="pi0">To treat the rest of us exceeding ill;</p>
+<p class="pi0">But if we all remain together, then</p>
+<p class="pi0">We do almost all that is done by men.</p></div>
+
+<p>Mediocre, isn’t it; tortured, bombastic, gross, all
+at once? There is nothing here to make us fall
+into an ecstasy, and repeat to satiety, as some
+highly refined courtiers used to do, “Ah, with what
+congruity of terms are these thoughts expressed!”</p>
+
+<p>I shall abandon the riddles at once. These
+two specimens are enough. Another point:</p>
+
+<p>Many physiologists affirm that great warriors
+have been remarkable for a beautiful hand, which
+they loved perhaps to adorn with the most delicate
+gloves. They instance Cyrus, Alexander, Cæsar,
+Charlemagne, and Napoleon.</p>
+
+<div class="figright" style="width: 406px;">
+<img src="images/i_108b.jpg" width="406" height="222" alt="" />
+</div>
+
+<p>According to an historian of the First Empire,
+some generals attending Bonaparte one day in
+his private room, found his big military Gloves
+and his little hat on a side-table. Actuated by
+curiosity, each one of them tried in turn the
+Glove and the hat; but it appears there was not
+a single hand which could force its entrance into
+those big Gloves, and upon those giants’ shoulders
+not a single head which could fill up the little hat.</p>
+
+<div class="figleft" style="width: 191px;">
+<img src="images/i_108a.jpg" width="191" height="250" alt="" />
+</div>
+
+<div class="figleft" style="width:236px;">
+<img src="images/i_108d.jpg" width="236" height="236" alt="" />
+</div>
+
+<p>Napoleon was, it is weil known, no less proud
+of his hand than Byron, who, his biographer tells
+us, had a hand so small, that it was out of all proportion
+with his face. Byron thought and wrote
+that nothing characterised birth more than the
+hand; it was, according to him, almost the sole
+index of aristocracy of blood.</p>
+
+<div class="figright" style="width:261px;">
+<img src="images/i_108c.jpg" width="261" height="260" alt="" />
+</div>
+
+<p>Since the fifteenth century, we can trace in the
+museums of France, Holland, Italy, Spain, and
+Germany, the interest which painters of all schools
+have taken in the study of the hand, and, indeed,
+of the Glove. Van Dyck and Rubens were passed
+masters in this art, and Titian has left an admirable
+masterpiece in his <em class="e000I2">Young Man with the Glove</em>.
+Velasquez almost always makes his powerful
+models hold Gloves, nobly folded in their right
+hand. In Venetian paintings we see the Glove
+on the hands of the Doge, of his wife, of ambassadors,
+of senators, of residents, and even of
+merchants. The mere study of the Gloves in
+these portraits and these costumes would suffice
+for a long pamphlet, for we must consider the
+Glove in all classes of society and in all epochs,
+from the embroidered Gloves of the Doges to the special
+Gloves of the merchants, of the rectors of the university
+of Padua, and even of the monks of the
+brotherhood of the Cross, which were violet
+on a white ground, &#38;c.</p>
+
+<p>But it would be madness to endeavour to
+omit nothing in this monograph of the Glove,
+a tentative work, and an unpremeditated sketch
+of little pretension.</p>
+
+<p>Have we not still to consider the stuffed
+fencing Glove, with the short shield of red
+leather, and the giant Glove which swells the
+fist of the boxers?—the ordinance Glove of the good
+Dumanet; that white cotton Glove which the brave trooper
+puts on so willingly on Sunday, coming out of barracks like
+a conquering hero? Is there not besides the Glove of the
+Cuirassier, with its large shield of buckskin, which this last
+man of iron places so gallantly on his hip when he is on
+express service?</p>
+
+<div class="sandbagbox" id="img109">
+ <div id="i109b1">&#160;</div>
+ <div id="i109b2">&#160;</div>
+ <div id="i109b3">&#160;</div>
+ <div id="i109b4">&#160;</div>
+ <div id="i109b5">&#160;</div>
+ <div id="i109b6">&#160;</div>
+
+<p>The history of Gauntlets and of military Gloves from the time
+of the Middle Ages would make a mighty volume, like the ladies’
+Glove and the work-people’s Mitten. The liturgical Glove, yet more
+important, is of three kinds: the <em class="e000I2">pontifical
+Glove</em>, which was worn by bishops and abbés; the Glove which
+simple priests had adopted for particular occasions; and lastly, the
+<em class="e000I2">prelatic</em> <em class="e000I2">Glove</em>.
+On <em class="e000I2">pontifical Gloves</em> alone Monseigneur
+X. Barbier de Montault has found means to write in the <em
+class="e000I2">Bulletin Monumental</em>, 1876-1877, nearly two
+hundred pages of closely packed text, in 8vo: <em class="e000I2">Ab
+uno disce omnes</em>. See, my amiable friend, I repeat it—see in
+what an inextricable archæological labyrinth I might have set you to
+wander, <em class="e000I2">à propos</em> of all these dear little
+Gloves, of which I had promised you a history, but about which it
+appears to me I am making only a lively chatter of whipped Glove.
+I should not have set on the table aught beyond that which lends
+grace to woman: Gloves on a champagne glass or in a shepherdess’s
+hat, roses and a love-letter half opened; such simple still life had
+assuredly better inspired my Muse than all the documents brought
+together and packed one on another, well calculated to frighten a
+mind which is by no means pleased with such barricades of notes
+and annotations. Ah, my fair friend, how right was Balzac, in
+his brilliant and profound <em class="e000I2">Traité de la vie
+élégante</em>, when he wrote the following lines, which I had not
+sufficiently considered before pledging my word in your society!</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 600px;">
+<img src="images/i_109.jpg" width="600" height="681" alt="" />
+</div>
+<p>The history of Gauntlets and of military Gloves from the time
+of the Middle Ages would make a mighty volume, like the ladies’
+Glove and the work-people’s Mitten. The liturgical Glove, yet more
+important, is of three kinds: the <em class="e000I2">pontifical
+Glove</em>, which was worn by bishops and abbés; the Glove which
+simple priests had adopted for particular occasions; and lastly, the
+<em class="e000I2">prelatic</em> <em class="e000I2">Glove</em>.
+On <em class="e000I2">pontifical Gloves</em> alone Monseigneur
+X. Barbier de Montault has found means to write in the <em
+class="e000I2">Bulletin Monumental</em>, 1876-1877, nearly two
+hundred pages of closely packed text, in 8vo: <em class="e000I2">Ab
+uno disce omnes</em>. See, my amiable friend, I repeat it—see in
+what an inextricable archæological labyrinth I might have set you to
+wander, <em class="e000I2">à propos</em> of all these dear little
+Gloves, of which I had promised you a history, but about which it
+appears to me I am making only a lively chatter of whipped Glove.
+I should not have set on the table aught beyond that which lends
+grace to woman: Gloves on a champagne glass or in a shepherdess’s
+hat, roses and a love-letter half opened; such simple still life had
+assuredly better inspired my Muse than all the documents brought
+together and packed one on another, well calculated to frighten a
+mind which is by no means pleased with such barricades of notes
+and annotations. Ah, my fair friend, how right was Balzac, in
+his brilliant and profound <em class="e000I2">Traité de la vie
+élégante</em>, when he wrote the following lines, which I had not
+sufficiently considered before pledging my word in your society!</p>
+</div>
+<!--**********-->
+
+<p>“The learned man, or the elegant man of the world,
+who would search out in every epoch the costumes of a
+people, would compile the most interesting history and the
+most rationally true. . . . . To ask the origin of shoes, of
+alms-purses, of hoods, of the cockade, of hoop-petticoats,
+of farthingales, of <em class="e000I2">Gloves</em>, of masks, is to drag a <em class="e000I2">modilogist</em>
+into the frightful maze of sumptuary laws, and upon all the
+battlefields, where civilisation has triumphed over the gross
+manners imported into Europe by the barbarism of the
+Middle Ages.</p>
+
+<p>“Things futile in appearance,” continues the author of the <em
+class="e000I2">Théorie de la démarche</em>, “represent either ideas
+or interests—whether it be bust, or foot, or head”—he might have
+said, above all, or hand—“you will ever see a social progress, a
+retrograde system, or some desperate struggle formulating itself
+by the assistance of some part or other of the dress. Now the shoe
+announces a privilege, now the hat signals a revolution—a piece
+of embroidery, a scarf, or some ornament of straw, is the sign of
+a party. Why should the toilet be then always the most eloquent
+of styles, if it was not really the whole man, the man with his
+political opinions, the man with the text of his existence, the
+hieroglyphic man? To-day <em class="e000I2">Vestignomy</em> has
+become almost a branch of the art created by Gall and Lavater.”</p>
+
+<p>I am overwhelmed, O my indulgent friend! I
+feel that I have been far inferior to my task, and
+I fear I have not had that charming art of saying
+nothing which often says so many things. I have
+neglected to show you the Glove in princely <em class="e000I2">Inventaires</em>,
+in the old chronicles, and in the delightful
+tales of Boccaccio, of the Queen of Navarre, of
+Straparole, of Bonaventure Desperriers, and even
+in Brantôme, who has written a little story, full of
+old French <em class="e000I2">esprit</em>, on a Glove found in the bed of
+a fashionable lady. I had a good opportunity of
+showing you the anecdotic Glove of ever so many
+romances and memoirs from <em class="e000I2">Le Petit Jehan de
+Saintre</em> up to Casanova the Venetian, going
+through <em class="e000I2">l’ Histoire amoureuse des Gaules</em>.</p>
+
+<p>But the natural and the unpremeditated is
+also a French quality, of which we must sometimes
+allow the grace, even in recognising its
+defects. I left the history of the Glove, I believe,
+in 1840; and I do not suppose that I have
+painted for you all the little cuffs, festoons, ruches,
+notchings, indentations, which adorned the fastenings
+of the town Gloves of our elegant ladies, nor
+the long black mittens which accompanied the
+blonde bodices, of which in those modest times
+people were madly fond. It is of little consequence
+for me to follow the fashions from 1840 to the
+present day: one cannot be a woman and remain
+ignorant of these different variations of a fashion
+of which all the specimens return periodically to
+reconquer a second of celebrity. Open-worked
+Gloves of Chinese silk, Spanish Gloves, Beaver
+Gloves, Swedish Gloves, glacé kid Gloves, musketeers’
+Gloves, Colombine, with cuffs—what do
+I say?—the qualifications are innumerable; they
+change still more than the fashion, for the epithet
+gives a springtide and deceives the customer—<em class="e000I2">a
+fortiori</em> would it deceive the <em class="e000I2">Gantuographer</em>, if
+you will allow me this hideous neologism.</p>
+
+<p>That which I have not been able to accomplish,
+that which you have not demanded of me, that
+which nevertheless would have interested you far
+more than this sleepy talk, is the <em class="e000I2">Physiology of the
+Glove</em>, with this epigraph taken from an anonymous
+but witty author—“The style is the man; the
+Glove is the woman; the style sometimes deceives,
+but the Glove never.”</p>
+
+<p>I am launched, don’t you see, into theories historic,
+philosophic, and, above all, physiognomic, in a study altogether
+beside the mark?</p>
+
+<p>Allow, my sweet and somnolent one, that if you had
+permitted me at first to take this part (which for my slight
+notice was assuredly better), I should have been less
+clumsily stiff, less dull above all, less pretentious besides;
+albeit I make no other pretension here than to do your
+pleasure. You have thrown me the Glove on the confines
+of history; it is thence that I have raised it with more
+effeminancy than swagger.</p>
+
+<p>I could have wished that fancy might have dictated to
+history; but, in the present case, it is the most that has
+been done, if history has succeeded in warming the amiable
+fancy, which has not taken Gloves to make us villainously
+sulky with each other.</p>
+
+<p>Pardon!—indulgent interlocutress!</p>
+
+<p>Excuse also, amiable lady readers, ye who read this congealed
+babble, and who have yet less reason to be favourable
+to me, in this sense, that to you all, alas! I cannot say,
+as was once said in the polite world—<em class="e000I2">Friendship allows the
+Glove.</em></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i_112.jpg" width="400" height="400" alt="" />
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<a id="THE_MUFF"></a>
+<h2 title="The Muff">&#160;</h2>
+<img src="images/i_113.jpg" width="400" height="295"
+ alt="" />
+</div>
+
+<div class="figcenter" style="width: 333px;">
+<img src="images/i_114.jpg" width="333" height="250" alt="" />
+</div>
+
+<div class="sandbagbox" id="img115">
+ <div id="i115b1">&#160;</div>
+ <div id="i115b2">&#160;</div>
+ <div id="i115b3">&#160;</div>
+
+<div class="fsize2 center">THE MUFF
+<br /><small><em class="e000I2">THE FUR.</em></small></div>
+</div>
+
+<!--**********-->
+<div class="HandHeld">
+<div class="figcenter" style="width: 600px;">
+ <img src="images/i_115.jpg" width="600" height="417" alt="" />
+ </div>
+<div class="fsize2 center">THE MUFF
+ <br /><small><em class="e000I2">THE FUR.</em></small></div>
+</div>
+<!--**********-->
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_115cap.jpg" width="61"
+ height="62" alt="" />
+THE Muff! The very name has something
+about it delicate, downy, and voluptuous. From that little warm
+satin nest, where pretty chilly little hands ensconce themselves
+in silk, carrying with them a lace handkerchief, a box of
+lozenges, a bouquet of Parma violets, or a tender loving <em
+class="e000I2">billet-doux</em>, a thousand trifles spring up to
+please us, like a swarm of souvenirs and caressing thoughts of our
+first years passed at home, and of our first roving loves.</p>
+
+<div class="sandbagbox" id="img116">
+ <div id="i116b1">&#160;</div>
+ <div id="i116b2">&#160;</div>
+ <div id="i116b3">&#160;</div>
+ <div id="i116b4">&#160;</div>
+
+<p>In childhood, we delight to play with the large maternal Muff, to
+pass our hands over it the wrong way to excite the electricity of
+the long hair, to plunge our faces in the pungent heady odour of its
+down, and to make use of this furred sack in inconceivable tricks, in
+playing at hide-and-seek with small objects, or in burying therein
+the familiar cat, who becomes lazy in its warmth.</p>
+
+<p>Then, later on, at the hour of the first rendezvous, during one
+of those icy winters which Ronsard dreaded for his darling, when we
+see our so much desired mistress appear veiled and all imprisoned in
+furs, we become almost jealous of the pretty and coquettish Muff, in
+which she buries her roguish little nose, which the glacial breeze
+has lashed and reddened, and we plunge then with a sweet brutality
+our own hands into the silky cylinder, there to find, and there
+passionately to press the pretty idle fingers, which we are for so
+generously thawing, by covering them with long kisses like gloves.</p>
+
+<p>When the Muff returns from exile with the first hoar
+frosts of November, it causes, as soon as it appears on the
+boulevards, a sensation, intimate and delicious, to all true <em
+class="e000I2">feminists</em>, to the Dilettanti of woman—to all
+those who perceive in their most delicate shades the graces of which
+a naive or coquettish woman can avail herself, whether in handling
+the Fan or the Sunshade, or in tucking up a corner of a spring
+petticoat, or in passing along radiant in a long furry pelisse, or
+more passive in letting herself glide languishingly in a sledge
+over the ice of the lake, making eyes at her darling who skates by
+her side, and pushes forward her coquettish equipage. It seems that
+woman, that exquisite and delicate flower, blossoms in fur, as those
+white gardenias of the conservatory which half open and develop
+themselves in a nest of perfumed wadding.</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 394px;">
+<img src="images/i_116.jpg" width="394" height="700" alt="" />
+</div>
+<p>In childhood, we delight to play with the large maternal Muff, to
+pass our hands over it the wrong way to excite the electricity of
+the long hair, to plunge our faces in the pungent heady odour of its
+down, and to make use of this furred sack in inconceivable tricks, in
+playing at hide-and-seek with small objects, or in burying therein
+the familiar cat, who becomes lazy in its warmth.</p>
+
+<p>Then, later on, at the hour of the first rendezvous, during one
+of those icy winters which Ronsard dreaded for his darling, when we
+see our so much desired mistress appear veiled and all imprisoned in
+furs, we become almost jealous of the pretty and coquettish Muff, in
+which she buries her roguish little nose, which the glacial breeze
+has lashed and reddened, and we plunge then with a sweet brutality
+our own hands into the silky cylinder, there to find, and there
+passionately to press the pretty idle fingers, which we are for so
+generously thawing, by covering them with long kisses like gloves.</p>
+
+<p>When the Muff returns from exile with the first hoar
+frosts of November, it causes, as soon as it appears on the
+boulevards, a sensation, intimate and delicious, to all true <em
+class="e000I2">feminists</em>, to the Dilettanti of woman—to all
+those who perceive in their most delicate shades the graces of which
+a naive or coquettish woman can avail herself, whether in handling
+the Fan or the Sunshade, or in tucking up a corner of a spring
+petticoat, or in passing along radiant in a long furry pelisse, or
+more passive in letting herself glide languishingly in a sledge
+over the ice of the lake, making eyes at her darling who skates by
+her side, and pushes forward her coquettish equipage. It seems that
+woman, that exquisite and delicate flower, blossoms in fur, as those
+white gardenias of the conservatory which half open and develop
+themselves in a nest of perfumed wadding.</p></div>
+<!--**********-->
+
+<p>The more she hides, muffles up, deadens, so to speak, her beauty,
+the more woman—a creature of Hades who makes us dream of paradise—is
+bewitching in the diabolicity of her graces. When Love, who is
+represented blind, sets a mask on Venus-coquette, one might think the
+trickster boy was for burning the universe, for behind those yawning
+apertures of the black velvet mask, behind those murderous loopholes,
+two woman’s eyes are lying in ambush, pitiless, turn by turn
+laughing, burning, blazing, drowned in pleasure, charged, in a word,
+as with grape-shot, with all the shafts of the Cupidonian quiver.</p>
+
+<div class="sandbagbox" id="img117">
+ <div id="i117b1">&#160;</div>
+ <div id="i117b2">&#160;</div>
+ <div id="i117b3">&#160;</div>
+ <div id="i117b4">&#160;</div>
+ <div id="i117b5">&#160;</div>
+ <div id="i117b6">&#160;</div>
+ <div id="i117b7">&#160;</div>
+ <div id="i117b8">&#160;</div>
+ <div id="i117b9">&#160;</div>
+
+<p>Thus, out of the midst of furs, woman, that mignonette plant,
+that <em class="e000I2">mimosa pudica</em>, throws off beauty more
+mysterious, more warm, more full of promise, more enveloped and
+more enveloping, as if from the electricity of that peltry, there
+was spread in the ambient air of the provoking daughter of Eve an
+attractive sensuality, like a subtle caress, which rustles against
+our senses in its passage.</p>
+
+<p>The ancients had perhaps great reason to attach, as they did,
+certain excellences and prerogatives to fur: a master furrier,
+Charrier, wrote on this subject, in 1634, remarks and moral
+considerations as naïve as curious: “Our kings, whether they are
+consecrated, crowned, or married, divest themselves of the splendour
+of embroideries and of diamonds, to take their royal mantle hedged
+about with lilies and lined with ermine.</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 459px;">
+<img src="images/i_117.jpg" width="459" height="700" alt="" />
+</div>
+<p>Thus, out of the midst of furs, woman, that mignonette plant,
+that <em class="e000I2">mimosa pudica</em>, throws off beauty more
+mysterious, more warm, more full of promise, more enveloped and
+more enveloping, as if from the electricity of that peltry, there
+was spread in the ambient air of the provoking daughter of Eve an
+attractive sensuality, like a subtle caress, which rustles against
+our senses in its passage.</p>
+
+<p>The ancients had perhaps great reason to attach, as they did,
+certain excellences and prerogatives to fur: a master furrier,
+Charrier, wrote on this subject, in 1634, remarks and moral
+considerations as naïve as curious: “Our kings, whether they are
+consecrated, crowned, or married, divest themselves of the splendour
+of embroideries and of diamonds, to take their royal mantle hedged
+about with lilies and lined with ermine.</p></div>
+<!--**********-->
+
+<p>“The mantles of the chevaliers, dukes, and peers
+of France are lined with lynx, marten, and ermine;
+the chancellors, keepers of the seals, who are the
+guardians of our laws, wear the most exquisite furs.</p>
+
+<p>“Bachelors and doctors, emperors and physicians
+clothe themselves with furs which represent the
+mysteries of theology, the maxims of politics, the
+secrets of medicine. Furs cure people of headaches
+and disordered stomachs; attacks of gout
+which triumph over the most potent remedies, are
+vanquished by the skins of cats, lambs, and hares.”</p>
+
+<p>In fine, the good Charrier proves with pride that
+of all the ornaments which luxury has invented
+there is none so glorious, so august, so precious, as
+furs, and that the privileges of peltry merchants
+rightly surpass those of all others.</p>
+
+<p>The masters and wardens of the peltry merchandise
+had for their arms a paschal lamb on an
+azure field. Two ermines supported the shield
+crested with the ducal crown, with this device in
+exergue—very like that of Brittany—<em class="e000I2">Malo mori
+quam fœdari</em>.</p>
+
+<p>The use of furs dates back to the origin of the
+world. Plutarch, in his <em class="e000I2">Table Talk</em>, relates that
+people dressed themselves in skins before they became
+acquainted with stuffs. Tacitus assures us it
+was the same with the Teutons, Propertius with the
+Romans.</p>
+
+<div class="poembox">
+<p class="pi0">Robed in rich silk, the Court you now behold</p>
+<p class="pi0">Was once a folk fur-clad against the cold,</p>
+</div>
+
+<p class="continue">says a poet of the sixteenth century. But without
+stopping at the conquest of the Golden Fleece, at
+Rebekah ordering Jacob to put on his hands and
+neck kids’ skins, at all the examples of the Bible and
+of history, we will only remark that the four noble
+furs consecrated by feudality were the ermine, the
+vair, the sable, and the miniver. The colours of
+furs admitted into coats of arms were those of the
+sable, the ermine, and the vair.</p>
+
+<p>Charlemagne, who loved, they say, simplicity in
+his apparel, had, according to Eginhard, the habit of
+wearing in summer a mantle of otter’s skin; but in
+winter he covered himself with a mantle of which the
+sleeves were lined with vair and foxes’ fur. This is
+corroborated by the four following verses of Philippe
+Mousnes, the poet biographer of this Emperor:—</p>
+
+<div class="poembox">
+<p class="pi0">But in the days of fallen leaves,</p>
+<p class="pi0">He wore a new surcoat with sleeves</p>
+<p class="pi0">Of furs of foxes and of vair</p>
+<p class="pi0">To shield him from the nipping air.</p>
+</div>
+
+<p>At the epoch of the Crusades, the luxury of furs
+was carried to the highest degree in Western Europe;
+but to remain absolutely fixed to the Muff, we must
+register the first apparition of this little fur about
+the end of the sixteenth century. In the inventory
+of goods left by the widow of the President Nicolai
+we read: Item,
+a Muff of velvet
+lined with marten.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_120.jpg" width="600" height="600" alt="" />
+</div>
+
+<p>In Venice, however, we have
+in our researches found a vestige of
+the Muff at the end of the fifteenth
+century; celebrated courtezans and noble
+ladies at that time carried Muffs, which served for niches
+to minuscular dogs; and an engraving represents a scene of
+an interior, in which a fair Venetian seems to be showing
+her lover the infinite games of her lap-dogs in her Muff.</p>
+
+<p>There were at that time in Venice delicious Muffs made
+after the primitive fashion of a single band of velvet, brocade,
+or silk, lined with fine fur, rounded in a cylinder, of
+which the extremities were closed in different widths by
+buttons of orient crystal, pearls or gold.</p>
+
+<p>D’Aubigné, in his <em class="e000I2">Universal History</em>,
+says in the course of a story of a besieged town:—“The inhabitants
+descended thirty paces from the breach, and among the foremost was
+noticed a woman <em class="e000I2">with Muffs</em>, a halberd in her
+hand, who mixed with and distinguished herself in this combat.” Under
+the designation of <em class="e000I2">Muffs</em> we must understand
+here spare half-sleeves like those mentioned in the Library of
+Vauprivas <em class="e000I2">à propos</em> of Louise Labé. Under
+Charles IX. the simple citizen folk were only allowed to wear black
+Muffs; ladies of the highest condition had alone a right to sumptuous
+Muffs of various colours.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_121.jpg" width="600" height="272" alt="" />
+</div>
+
+<p>In a satiric print of 1634, signed Jaspar Isac, and entitled
+<em class="e000I2">The Squire à la Mode</em>, we see carried by a woman, who is
+accompanied on foot by a Gascon cavalier, the first French
+Muff having a direct relation with that which is still in use
+at the present day. It is a sheath of stuff or silk bordered
+on both sides by a thick white fur, which grows into an
+enormous roll at the ends.</p>
+
+<p>But it is amongst the precious engravings of Hollar,
+Abraham Bosse, Arnoult, Sandrart, Bonnard, and Trouvain
+that we see the authentic Muff really born, and find it in
+the hands of the Parisian matron, of the lady of quality
+in her winter dress, of the <em class="e000I2">Précieuse</em>, and the coquetting
+flirt. An engraving of Bonnard shows us a great lady
+with her head dressed à la Fontange, and in court dress, on
+the point of going out; a waiting-maid adjusts her mantle,
+and a gentleman attends the beauty’s good pleasure; the
+Muff she carries was then of a moderate size, with a bow in
+the middle. The Muff was worn for style, “for grace,”
+and was made of sable-marten for ladies of the Court, and
+simply of dogskin or catskin for the small citizens’ wives
+who could not devote more than fifteen to twenty francs
+to the acquisition of this light hand-warmer.</p>
+
+<p>Antoine Furetière, in his <em class="e000I2">Dictionary</em>, has condensed in a
+few lines all the materials of a Dissertation on the Muff
+of the seventeenth century. At the word <em class="e000I2">Muff</em> we
+read:—</p>
+
+<div class="blockquot">
+
+<p>A fur worn in winter, in which to put the hands, to keep
+them warm. <em class="e000I2">Muffs</em> were formerly only for women: at the
+present day they are carried by men. The finest <em class="e000I2">Muffs</em> are
+made of marten, . . . . the common of miniver; . . . .
+the country <em class="e000I2">Muffs</em> of the cavaliers are made of otter and of
+tiger. A woman puts her nose in her <em class="e000I2">Muff</em> to hide herself.
+A little <em class="e000I2">Muff</em>-dog is a little dog which ladies can carry in
+their <em class="e000I2">Muff</em>.</p></div>
+
+<p>Everything we see is summed up in this. Saint-Jean
+and Bonnard have preserved for us types of
+French gentlemen bearing the Muff under Louis
+XIV. One, in court dress, carries with much
+grace a small spotted Muff, which he holds in one
+hand, showing a glimpse at the unoccupied end of
+the cuff of a fur glove; another, in winter court-dress,
+holds with the languor of a <em class="e000I2">petit-maître</em> a
+pretty plump otter Muff falling to the hips, giving
+a gracious curve to the arm; in the middle of this
+Muff a vast bow of ribbons or <em class="e000I2">Galants</em>, something
+like the old trimming called <em class="e000I2">petite oie</em>, is displayed
+with an excellent effect. In 1680, nothing, according
+to the <em class="e000I2">Mercure Galant</em>, was to be seen
+but ribbons purfled with gold, laced, fringed,
+wreathed, purled, or embroidered, which were
+gathered in a bow in front, of the Muff.</p>
+
+<p>La Fontaine alludes doubtless to the country
+Muff spoken of by Furetière when, in the fable of
+the <em class="e000I2">Monkey and the Leopard</em>, he makes the latter
+say:—</p>
+
+<div class="poembox">
+<p class="pi0">The king desires me at his Court,</p>
+<p class="pi0">And must have—if I die for’t—</p>
+<p class="pi0">A <em class="e000I2">Muff</em>, made of my skin, so full of blots</p>
+<p class="pi0">Of colour, and of lines, and dots,</p>
+<p class="pi0">And dappled stains, and chequered spots.</p>
+</div>
+
+<p>As to the Muff-dog—to finish the registration of the definition
+of Furetière—not only has Hollar left us an engraving of it, and
+presented it to us under the form of a small Spaniel, but Father du
+Cerceau makes his <em class="e000I2">upholsterer poet</em> say—Even the lady’s lapdog
+barked at me, that ingrate</p>
+
+<div class="poembox">
+<p class="pi0">Cadet, for whom I used to stuff</p>
+<p class="pi0">So many sweets inside my Muff.</p>
+</div>
+
+<p>The chief hall of the peltry merchants and furriers
+of the 17th century, in Paris, was in the Rue
+de la Tabletterie or Rue des Fourreurs, which
+led into the cross-way of the Place aux Chats.
+The shops of the retail peltry merchants were
+nearly all situated in the City, Rue Saint-Jacques
+de la Boucherie, and Rue de la Juiverie.</p>
+
+<p>“In these places,” says Léger, “are to be found
+very beautiful Muffs for men and for women, and
+very fashionable ones . . . there are to be sold
+also very beautiful amices of miniver.” He adds
+a word about the Palatines properly got up, composed
+of skins of animals, foreign and native.
+The <em class="e000I2">Livre commode des adresses de Paris</em> contains some
+designations of peltry merchants and furriers towards the
+end of the seventeenth century.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_124.jpg" width="600" height="293" alt="" />
+</div>
+
+<p>Fashion altered the shape of the Muff considerably
+under Louis XIV. From the rare documents which we
+have been able to catalogue, we have easily found numerous
+modifications in both form and volume. Sometimes narrow
+and long, sometimes broad and short, it would be impossible
+to assign to this little chattel an exact type for all that
+epoch.</p>
+
+<p>The Muff triumphed already, under Louis XIII., in the
+empire of oglings and at the Place Royale, as it reigned
+later at Versailles, and showed itself in sedan chairs in the
+midst of the alleys of the park at the visiting hour, lending
+always to woman a charming countenance and exquisite
+graces.</p>
+
+<p>Scarron, in his <em class="e000I2">Poésies Diverses</em>, has left us in four verses
+a pretty picture of manners for any one who could morally
+develop it. The poor cripple Scarron certainly had no
+need of a Muff in his arm-chair!—</p>
+
+<div class="poembox">
+<p class="pi0">My wife then leaves at once, though she</p>
+<p class="pi0">All perils should divide with me;</p>
+<p class="pi2">She takes her Muff and goes</p>
+<p class="pi2">To see some one she knows. . . .</p>
+</div>
+
+<p>But let us leave the age of big wigs and Fontange head-dresses,
+and penetrate into the age of powder and patches,
+into the age of Voltaire, who, <em class="e000I2">à propos</em> of one of his
+characters in <em class="e000I2">Micromégas</em>, wrote:</p>
+
+<p>“Imagine a very small Muff-dog following a captain of
+the Guards of the King of Prussia.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_125.jpg" width="600" height="392" alt="" />
+</div>
+
+<p>An engraving of the <em class="e000I2">Encyclopédie</em> presents us in the nick
+of time with a faithful reproduction of a shop of a furrier of
+the last century. Day penetrates through a large glass bow
+window; all round, on shelves, are ranged Muffs and different
+furs; two pleasing shopwomen offer their customers
+enormous Muffs of miniver, and a shop-boy beats with a
+rod one of those furred mantles which were sent “to be
+kept” during the summer, to preserve them from the mites.
+This engraving, a precious document which may be attributed
+to Cochin, recalls two charming little stories of Restif
+de la Bretonne in his <em class="e000I2">Contemporaines du Commun</em>: one
+entitled <em class="e000I2">La Jolie Fourreuse</em>, the other <em class="e000I2">La Jolie Pelletière</em>.
+Professions passed out of sight!</p>
+
+<p>“Furs”—MM. de Goncourt wrote in a note of much study to their book
+<em class="e000I2">La Femme au XVIII<sup>e</sup> Siècle</em>—“were
+a great luxury of Parisian ladies, at the time when the fashion was
+to arrive at the opera wrapt in the most superb and rarest, and to
+take them off little by little with coquettish art.” The reputation
+of the sable, the ermine, the miniver, the lynx, the otter, is
+indicated in the <em class="e000I2">Étrennes Fourrées dédiées aux
+jolies Frileuses</em>, Geneva, 1770. Muffs have quite a history,
+from those on which the furrier brought discredit, in causing one to
+be worn by the hangman on the execution day—these were probably Muffs
+<em class="e000I2">à la Jésuite</em>, muffs which were not of fur,
+and against which a pleasantry at the commencement of the century,
+<em class="e000I2">A petition presented to the Pope by the master
+furriers</em>, solicits excommunication—up to those of Angora goats’
+hair, immense Muffs which reached to the ground, and to the little
+Muffs at the end of the century, baptized <em class="e000I2">little
+barrels</em>, as the Palatine was called <em class="e000I2">cat</em>.
+The fashion of sledges, then very widely spread, added to the fashion
+of furs. An etching of Caylus, after a drawing of Coypel, about the
+middle of the century, shows us in a sledge set on dolphins—one of
+those sledges which cost ten thousand crowns—a pretty woman dressed
+entirely in fur, her head-dress a small bonnet of fur with an egret,
+carried along in a sledge, which is driven by a coachman dressed
+like a Muscovite, and standing at the back. <em class="e000I2">À
+propos</em> of furs, the <em class="e000I2">Palatine</em> owes its
+fortune and its name to the Duchess of Orléans, mother of the Regent,
+known under the name of the Princess Palatine.</p>
+
+<p>Palatines—which were made of fox, of marten,
+of miniver—were worn for a long time with
+<em class="e000I2">Polonaises</em> and <em class="e000I2">Hongrelines</em>. Roy, a French poet
+of the 18th century, who made acquaintance with
+the stick at different intervals—sent some bad
+verses to a lady on the subject of her <em class="e000I2">blue palatine</em>.
+The <em class="e000I2">Almanach des Muses</em> of 1772 has preserved
+them for us. Here they are:—</p>
+
+<div class="poembox">
+<p class="pi4">That charming colour wear,</p>
+<p class="pi0">The colour of the summer sky above,</p>
+<p class="pi0">The colour Venus sets on every Love,</p>
+<p class="pi1">Which makes the fairest faces yet more fair,</p>
+<p class="pi0">As Venus in her own sweet self can prove:</p>
+<p class="pi0">But the white place where falls the tufted bow</p>
+<p class="pi1">Is nought indeed but lovely nakedness;</p>
+<p class="pi1">Why hide it then? The beauty which men bless</p>
+<p class="pi0">Gains on the whole by losing, don’t you know?</p>
+</div>
+
+<p>Caraccioli remarks that people used Muffs in
+winter just as much for elegance as for need.
+“The form varies continually,” he says; “to-day
+(1768) men carry small Muffs lined with down,
+and trimmed with black or grey satin.”</p>
+
+<p>In 1720, women’s Muffs were very narrow and long; the crossed
+hands filled it exactly; afterwards they became wider, like those
+we may see on the hands of the pretty skaters of Lancret. A typical
+Muff of the epoch was the ermine Muff, fearfully large, which we
+find carried by the Venetian masks of the delicious Pietro Longhi,
+who seems to have wished to illustrate by his pictures the <em
+class="e000I2">Memoires</em> of Jacques Casanova of Seingalt. In
+the small engravings of the century relating to travelling, which
+show us the stoppages at the inn, or the packings in the public
+vehicles, we see everywhere the feminine Muff delicately pressed
+against their waists by the pretty adventuresses. Boucher’s skater,
+who passes like a gracious Parisian little figure over a background
+of a Dutch landscape, doubled up but valiant, appears to make a
+prow of her Muff, the better to cleave the sharp cold air. But in
+the intimacy of private life, in the eighteenth century as now, the
+Muff could lend a charm to genre paintings, and the manufacturers of
+prints might have composed many <em class="e000I2">Little posts</em>
+and <em class="e000I2">Nests for love-letters</em>, interpreting by
+their drawing what the author of the <em class="e000I2">Dictionnaire
+des Amoureux</em> wished to express, when at the word <em
+class="e000I2">Muff</em> he gives this piquant definition: <em
+class="e000I2">A Letter-box, lined with white satin.</em></p>
+
+<div class="figcenter" style="width: 547px;">
+<img src="images/i_128.jpg" width="547" height="699" alt="" />
+</div>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/i_129.jpg" width="450" height="700" alt="" />
+</div>
+
+<p>The most celebrated and the most delicious picture in which a Muff
+figures is assuredly that adorable painting known by the name of <em
+class="e000I2">The Young Girl with the Muff</em>, by Joshua Reynolds,
+which formed part of the beautiful collection of the Marquis of
+Hertford. Nothing is more delicate than this painting. That young
+English-woman seems rather to walk through the picture than remain
+fixed in it, so great, one might say, was the quickness with which
+the painter has caught that image in its passage with its movement
+of walking—the body is inclined a little forward, the head on one
+side; the woman’s bust, which stops at the Muff, is so fresh in its
+composition, so fine in its tonality, so radiant in its originality
+of design, that it would be enough almost by itself to establish the
+immortal reputation of Reynolds, who has put into his work a very
+quintessence of femininity, as an ideal of the most exquisite English
+loveliness, and also as a type, delicate and never to be forgotten,
+of a chilly beauty.</p>
+
+<p>Nor must we forget the <em class="e000I2">Portrait of Mrs.
+Siddons</em>, painted by Gainsborough, in the charm of her
+twenty-ninth year, in 1784. This picture, which was exhibited at
+Manchester in 1857, is now in the <em class="e000I2">National
+Gallery</em>. The charming lady, dressed in a fresh striped blue
+and white robe, with a fawn-coloured shawl half falling from her
+shoulders, has on her head a large black felt hat, ornamented with
+feathers—one of those hats which have done more for the vulgarisation
+of the glory of Gainsborough than all his studies and portraits.
+Mrs. Siddons is seated, holding on her lap with her left hand a
+comfortable Muff of fox or Siberian wolf, of which she appears to
+caress the fur with her right hand, as if to show off the beauty and
+whiteness of her spindle-shaped fingers. The mistress of the works
+of a master who had, it is only right to say, the most ravishing
+face in the world to portray. But, without needing to have further
+recourse to the English school, have we not that luminous portrait
+of Madame Vigée Lebrun, in which the Muff, raised almost level with
+the head, spreads the shine of its hair of tawny gold like the head
+of a courtezan of Venice? That astonishing painting of the end of the
+eighteenth century appeared in its dazzling splendour, in the midst
+of the square saloon of the Museum of the Louvre, killing, by mere
+force of freshness and light, the magistral bituminous pictures of
+the beginning of the century, which are its near neighbours.</p>
+
+<p>Under Louis XVI. the frenzy of the toilette
+reached its most acute crisis: fashions succeeded
+one another in a few years with so much rapidity
+that we can scarcely follow them; people sought
+to outstrip in everything rather than to refine, and
+the Muffs, carried by men and women alike, became
+enormous and exaggerated. Hurtaut, in his
+<em class="e000I2">Dictionnaire de la Ville de Paris</em>, article <em class="e000I2">Modes</em>,
+makes this strange remark in the year 1784, “A
+lady has been seen at the opera with a <em class="e000I2">Muff of
+momentaneous agitation</em>.”</p>
+
+<p>The intellect loses itself in seeking the exact
+definition of this qualificative of <em class="e000I2">momentaneous
+agitation</em>!</p>
+
+<p>In 1788 a fashion was Muffs of Siberian wolf.
+According to the <em class="e000I2">Magasin des Modes Nouvelles
+Françaises et Anglaises</em>, the young folks no longer
+carried their Muff after the peaceable and good
+citizen-like fashion <em class="e000I2">à la papa</em> level with the bottom
+of the waistcoat; they used it, on the contrary,
+like a plaything or an opera hat; they held it
+in their hand while gesticulating in their promenades,
+or carried it under their arms like a portfolio
+strangled and crumpled between the elbow
+and the chest.</p>
+
+<p>The little dogs, the Muff-toy-terriers, which had
+continued in favour since the Regency, were more
+in request now than ever; every woman of fashion
+had her pug and her King Charles’ pet, like those
+small dogs that now come from Havanna.</p>
+
+<p>In the celebrated coloured engraving of Debucourt,
+<em class="e000I2">La Galerie de Bois au Palais-Royal</em>, in 1787, we see
+circulating in the midst of that strange crowd which was
+called the medley of the Palais-Royal, extravagant types,
+among them women holding in their hand beside their
+furred cloak those incredible Muffs of an immense
+size, which figure also under the arms of the masked
+gallants of the time, with a small bow of satin attached
+to the fur.</p>
+
+<div class="figcenter" style="width: 570px;">
+<img src="images/i_132.jpg" width="570" height="700" alt="" />
+</div>
+
+<p>Under the Revolution and the Directory the fashion of Muffs was
+extremes, either broad as little barrels, or narrow and minuscular;
+in other respects the fashion varied infinitely, and we must come to
+the Restoration to find the first chinchilla Muffs which harmonised
+with the velvet witchouras. Absurd fashions to study! What Muff
+would the painter choose who wished, by way of allegory, to show
+a grasshopper shivering in the hoar frost and the snow, to whom
+charitable Love brings a downy Muff? A pretty subject for a concourse
+of an Academy which claimed to be <em class="e000I2">précieuse</em>
+and refined.</p>
+
+<p>In 1835, Muffs, boas, palatines, cloaks lined with marten or fox,
+affected odious and indescribable forms: they used to make for a time
+Glove-Muffs, a sort of mittens of marten, which were soldered on to
+one another where the hands crossed. The Muff, that accessory of the
+toilet, ought to be in harmony with the general tonality and style of
+costume. Therefore, to undertake to describe it at that epoch would
+be only possible in sketching a complete history of Fashion.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_133.jpg" width="600" height="483" alt="" />
+</div>
+
+<p>The picturesque Muff of 1830 to 1850, is assuredly the big
+Muff of the Parisian or provincial tradeswomen, those Muffs,
+larders and lumber-rooms, which we meet in the deobstruent
+tales of Paul de Kock, and see figuring in the primitive
+tilted spring-carts driven by the master, in which are packed
+the mistress and all the assistant clerks, with a view to exploring
+some suburban corner on Sunday, there to laugh
+with their muffs pressed before their mouths, and to act a
+thousand follies of a doubtful taste, and to banquet plentifully,
+and to sing during the dessert some free-and-easy ditty,
+very jovial, after the fashion of those pleasant couplets of
+Laujon on <em class="e000I2">The Muff</em>, which I will quote here,
+with the more confidence, since they figure in
+the <em class="e000I2">Chansons de Parades</em> collected by that boon
+companion, who was at the same time member of
+the Caveau and of the Institute:—</p>
+
+<div class="poembox">
+<p class="pi0">See what it is to be too good!</p>
+<p class="pi1">One morning, leaving the warm fold</p>
+<p class="pi0">Of home, Simon I saw, who stood</p>
+<p class="pi1">And shivered in the nipping cold;</p>
+<p class="pi0">He cried, “Come here, you little pearl,</p>
+<p class="pi0">I feel so very cold, my girl!”</p>
+<p class="pi4">Now warm yourself!</p>
+<p class="pi0">Simon, good sir, ensconce yourself!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi8">My dear!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi0">&#160;</p>
+<p class="pi00">“I feel so very cold, my girl!”</p>
+<p class="pi1">Ay me! I had my new Muff on.</p>
+<p class="pi0">My head was surely in a whirl</p>
+<p class="pi1">To lend it to the good Simon.</p>
+<p class="pi0">That day my kindness cost me dear;</p>
+<p class="pi0">My Muff is spoilt for all the year!</p>
+<p class="pi4">Now warm yourself!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi8">My dear!</p>
+<p class="pi0">&#160;</p>
+<p class="pi0">My Muff is spoilt for all the year,</p>
+<p class="pi1">For Simon’s ways are rather rough;</p>
+<p class="pi0">And he knows nought of doubt or fear,</p>
+<p class="pi1">He quite destroyed my poor new Muff!</p>
+<p class="pi0">Simon, you’ve ruffled all its fur,</p>
+<p class="pi0">Made it too large, you careless sir!</p>
+<p class="pi4">Now warm yourself!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi8">My dear!</p>
+<p class="pi0">&#160;</p>
+<p class="pi0">Made it too large, you careless sir!</p>
+<p class="pi1">See: it has been entirely spoiled,</p>
+<p class="pi0">’Tis metamorphosed, I aver;</p>
+<p class="pi1">And seems all rumpled up and soiled.</p>
+<p class="pi0">’Tis like my aunt’s Muff, all agape,</p>
+<p class="pi0">Quite out of countenance and shape!</p>
+<p class="pi4">Now warm yourself!</p>
+<p class="pi0">Simon, good sir, ensconce yourself!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi8">My dear!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+</div>
+
+<p>What laughter, what shouts, what chokings, in those parties <em
+class="e000I2">à la</em> Paul de Kock, when an artless maiden—at the
+time when pleasant digestion had set its bloom on all faces—sang, one
+by one, these ancient couplets, with an air at once of a whimpering
+girl and of a woman full of coquettish intelligence.</p>
+
+<p>The Muff has not always brought tears of laughter to the eyes,
+and a physiologist might draw from it many a curious deduction;
+only to cite a single instance, in the middle of the <em
+class="e000I2">Scènes de la Vie de Bohème</em>, in the episode of
+Francine’s Muff, which should remain in every reader’s memory—the
+tears come into all our eyes resultant from an emotion at once
+sincere and profound.</p>
+
+<p>Francine has been condemned by her doctor,
+and <em class="e000I2">hears with her eyes</em> the terrible sentence of the
+physician.</p>
+
+<p>“Don’t listen to him,” says she to her love,
+“don’t listen to him, Jacques, he is telling stories;
+we will go out to-morrow, it is All Hallows Day,
+it will be cold, . . . go and buy me a Muff, . . . mind
+it is a good one, . . . and will last a long while; I am
+afraid of having chilblains this winter.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_136.jpg" width="600" height="431" alt="" />
+</div>
+
+<p>Then, when Jacques has brought the Muff: “It is very
+pretty,” said Francine; “I will carry it in our walk.”</p>
+
+<p>The morrow, All Hallows Day, about the time of the
+Angelus of noon, she was seized with the death-struggle,
+and all her body began to tremble. “My hands are
+cold, cold,” she murmured, “give me my Muff, dear”—and
+she plunged her poor little fingers into the fur.</p>
+
+<p>“It is over,” said the doctor to Jacques, “give her a
+last kiss;” and Jacques glued his lips to those of his
+darling. At the last moment, they wished to take away
+her Muff, but her hands still clung to it.</p>
+
+<p>“No, no,” she cried, “let it be—we are in winter, it is
+cold. Ah my poor Jacques!”</p>
+
+<p>And so Francine dies, without quitting her Muff. A
+poignant and lugubrious story, like the work of Murger
+in general; the <em class="e000I2">Muff of Francine</em> will perhaps be the
+most durable chapter in the <em class="e000I2">Vie de Bohème</em>. We have
+not been able to set this realistic scene upon the stage,
+but a painter, M. Haquette, has displayed it after an
+admirable manner in one of his best pictures exhibited
+in one of the Paris annual Salons.</p>
+
+<div class="figcenter" style="width: 422px;">
+<img src="images/i_137e.jpg" width="422" height="360" alt="" />
+</div>
+
+<p>Truly the Muff calls up many sad
+thoughts for sentimental and charitable
+souls; this winter chattel reminds them of the sorrows
+of those who are without fire and home and comfortable
+clothing, and when the north wind blows without, and the
+snow falls softly in sombre silence, more than one dreaming
+girl, with her elbow leaning on the window-sill, lets her
+Muff fall while thinking of those unfortunates who suffer, of
+the careless grasshoppers and the laborious ants, of whom
+an adverse fortune has deceived the foresight.</p>
+
+<div class="figright" style="width: 144px;">
+<img src="images/i_137e-2.jpg" width="144" height="195" alt="" />
+</div>
+
+<p>The Muff, the mysterious Muff, hides many distresses:
+we see it at the present day on the hands of all the working
+girls and milliners, who set out early in the winter mornings
+from their homes for the distant workshops; and it is a load
+upon one’s heart to see all these miserable little Muffs
+made of rabbit or black cat, out of which peeps
+often the golden point of a penny roll and a greasy
+paper which envelops a chlorotic piece of pork
+or an <em class="e000I2">Arlequin</em> (bits of broken meat) bought in
+the early market. The Muff which warms so
+many pretty hands brave and toiling, seems in
+winter to be the refuge of virtue, shivering but victorious.</p>
+
+<p>How much luxury is there, on the other hand, in
+the Muffs of the fine world during the last twenty years!
+They have been made very small, of sable tails,
+and very expensive; but there have been also
+some more modest, made with that marten of Australia
+which took the place of the Astrakhan,
+which passed out of fashion in 1860. They have
+been manufactured also in velvet plush or in cloth,
+with borders of fur or feathers, and a large bow of
+ribbons in the centre. Some became veritable
+scent-bags, perfumed with heliotrope, rose, gardenia,
+verbena, violet, or they were powdered
+inside with orris root or <em class="e000I2">poudre à la Maréchale</em>.</p>
+
+<p>An elegant and witty lady-correspondent of
+fashion, who signs with the word <em class="e000I2">Étincelle</em> the
+notes full of charming confusion in her <em class="e000I2">Carnet
+d’un Mondain</em>, lately gave the nomenclature of the
+Muffs of the day, painted in water-colours:</p>
+
+<p>“The Nest-Muff, in satin <em class="e000I2">coulissé</em>, lined with
+black and white lace, with a whole company of
+little Indian birds and frightened paroquets hiding
+themselves in the satin folds.”</p>
+
+<p>“The Flower-Muff, very small, of ivory plush,
+rouge cardinal or marine blue, with bunches of
+roses, marigolds, camellias, and violets blossoming
+in the midst of a great deal of lace.”</p>
+
+<p>“The Watteau-Muff for the evening: a round
+of Loves painted on white satin. The Coppée-Muff:
+sparrows sunk in a sky of black satin. The
+Figaro-Muff, in black velvet, entirely covered with
+a net of black and gold chenille: three humming-birds
+in a nest of black lace. The Duchess Muff:
+all of Marabout, imitating fur, shaded with little
+bows of dead satin. The Castilian, in plush,
+covered with point noir: an orange parroquet in
+the middle standing out in relief on a fan of
+black lace. The Minerva, in skunk or sable, with
+a black satin bow and the head of a barn-door
+owl.”</p>
+
+<p>All these fashions of to-day are already fashions
+of yesterday, so perpetual is the inconstancy of <em class="e000I2">la
+Mode</em>! To-day the monkey, blue fox, beaver,
+swan, and ermine are metamorphosed into Muffs;
+to-morrow will come the furs of sable, of otter, of
+chinchilla, of squirrel, of marten, of wolf, &#38;c.
+Women and furs change, and will change, soon
+and often.</p>
+
+<p>Fashion is the everlasting Fairy; whether she
+take the Sunshade as a rod at the end of her
+gloved hand, or the Muff as a surprise-box or a
+cornucopia, she is never short of inventions, of
+prodigies, of follies, and of ruins; she seems to
+avenge herself on the moderns because the ancients
+gave her not divine honours, nor placed her upon
+the summit of their Olympus. Let, then, the
+head of this new and great goddess be adorned
+with a weathercock helmet, of which Love will
+furnish the magnetic arrow, and let a statue be
+raised to that great first French citizeness, who from Paris
+governs the world with so formidable a despotism, against
+whom none ever dreams of raising a revolt.</p>
+
+<p>For us, who, <em class="e000I2">à propos</em> of the Sunshade, the Glove, and
+the Muff, have just cast a glance upon the museum of
+this female ruler, we are in a state of dread from the inconceivable
+variety of objects which were for an hour a
+woman’s pleasure, and, if we have not conducted our
+readers before all the glass cases of this national museum,
+great as the universe, or “the vastest in the world,” as all
+large milliners’ shops entitle themselves, it is because around
+the ornaments of women the fickle Loves will always dance
+their frenzied round, which only a madman can ever hope
+and wish to stop. It has been said that Fashion is woman’s
+only literature; if, however, our elegant ladies were condemned
+to study the special archæology of this literature,
+very soon—as in love—would they desert History for
+Romance.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i_140.jpg" width="500" height="564" alt="" />
+</div>
+
+<h2 title="Appendix">
+ <a id="APPENDIX"></a>APPENDIX</h2>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_143e.jpg" width="600" height="292" alt="" />
+</div>
+
+<p class="fsize2 center">APPENDIX</p>
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_143.jpg"
+ width="42" height="42" alt="" />
+WE see sometimes appearing certain light
+little works connected either with literary
+history or ancient poetry, or manners
+and customs, which would be nothing but
+pretty and curious pamphlets, if the Appendix
+which follows them were not swelled out of all
+proportion with proofs and illustrations, annotated
+notes, documents with sidenotes, bibliographic
+bibliography, considerations and commentaries
+of all sorts, which put the reader
+to the torture. By this proceeding of an exaggerated
+literary conscience, an opuscule of thirty
+pages arrives sometimes at three hundred: it is
+in some sense a case of erudite exaltation, sometimes
+also a vain-glory of the investigator, who
+has a mind to climb up the pyramid of books
+he has examined, proudly there to set up his
+silhouette, as we plant a flag on a building as
+soon as it is complete.</p>
+
+<p>As an epilogue to another volume of this series,
+<em class="e000I2">The Fan</em>, we published a sketch of documentary
+bibliography to indicate the principal works which
+we had searched for the little materials necessary
+for that monograph. You will find there
+six or eight pages of titles placed without order,
+and ending with this phrase of a man out of
+breath, and expressing extreme fatigue—<em class="e000I2">et cœtera</em>.</p>
+
+<p>And in this <em class="e000I2">et cœtera</em> we have set now a hundred
+library shelves in the shadow—sparing thus our
+most fastidious readers an extremely bitter pill,
+and sparing ourselves also the fatigues of an
+interminable catalogue of no great profit to any
+one, considering the nature of the work in question,
+and the fashion in which we have treated it.</p>
+
+<p>At the conclusion of the three unpretending
+pieces of chit-chat which we have just engaged in
+about <em class="e000I2">The Sunshade, the Glove, and the Muff</em>, people
+may expect to see figuring here the lineaments or
+first matters of the canvas on which we embroidered
+our bold arabesques. People will be deceived.
+It will please us for this time to hide the innumerable
+instruments of our thefts; they are still
+there by our sides, making walls and barricades
+upon our tables and the seats round about us.
+But if, on the termination of a task, we love
+usually to put back regularly in order a library
+turned upside down by the fever of researches,
+happy in being nourished by the intellectual juice
+of old books, sometimes also we are prostrated by
+that intense discouragement which “dumfounds
+a man,” according to an every-day expression.
+In fact, the result has not answered so great a
+working up of material, a picture has been dreamed
+of too big for the frame, the artist has been obliged
+to reduce himself, to resign himself, and to put in
+nothing of his own essence; in short, the Mosaic
+<em class="e000I2">littérateur</em> looks at the Little Thing he has just
+finished beside the Great Matter which he had
+conceived.</p>
+
+<p>In like conditions, the <em class="e000I2">meâ culpâ</em> is the sole
+preventive parade that can be made in his retreat
+to questions which become twisted into a note of
+interrogation on the smiling lips of the reader.</p>
+
+<p>To make an inventory of the books we have
+consulted would be a torture worse than that of
+Tantalus, for desire, far from looking forward with
+eagerness, would look sadly back, like an old
+man who sees again in memory the women of
+his twentieth year, whom he has let fly under
+the willows without profiting in their pursuit by
+the vigour of his legs.</p>
+
+<p>These books—which we serve not up here—are
+full of documents which we have not been
+able to enshrine, and it seems that the crumbs
+which fall from the table make a larger volume
+than the repast which has just been taken.</p>
+
+<p>For the rest, a truce to sadness and superfluous
+regrets! Who knows whether we are not odiously
+unjust to ourselves? Who knows whether the
+little schoolboy path which we have chosen is
+not the prettiest, the least rugged, the most unforeseen—that
+is to say, the least painful and the
+most verdant, and at the same time the shortest?</p>
+
+<p>Every work, however small it may be, requires
+distance, a time of calm and oblivion. The eye
+of the painter wanders in distress before one and
+the same picture for entire days; the brain of an
+investigator becomes anchylosed and petrified by
+dreaming in one and the same atmosphere of
+small ideas which remain attached to dress.</p>
+
+<p>When we shall have unfurnished our skull of
+those delicate things, <em class="e000I2">the Sunshade, Glove, and
+Muff</em>, to carry thither a current of more serious
+conceptions, we shall perhaps have leisure to
+read again our little work as strangers, and not
+as producers, and thus, doubtless, we shall reflect
+with a satisfied smile, that there was much more
+in us of wisdom than carelessness in not tarrying
+too long amongst such charming trifles!</p>
+
+<div class="figcenter" style="width: 120px;">
+<img src="images/i_146.jpg" width="120" height="134" alt="" />
+</div>
+
+<div id="endmatter">
+<h2 title="Advertisements">&#160;</h2>
+<div id="endmatter01"><a id="Advertisements"></a>
+<p class="center"><em class="e000I2">LONDON</em>,</p>
+<p class="center"><em class="e00S02">14, King William Street, Strand, W.C.</em></p>
+<p class="center"><em class="e000I2">May 1883.</em></p>
+</div>
+
+<div id="endmatter02">
+<div class="center"><em class="e00S02">In Twelve Volumes, Crown 8vo, Parchment Boards or
+Cloth, per Volume, 7s. 6d.</em><br /><br /></div>
+</div>
+
+<div id="endmatter03">
+<div class="fsize3 center">THE</div>
+<h3 title="The Old Spanish Romances">
+ OLD SPANISH ROMANCES</h3>
+
+<div class="fsize3 center">
+ <em class="e000I2">ILLUSTRATED WITH ETCHINGS.</em></div>
+</div>
+
+<p class="romance"><em class="eB0002">THE HISTORY OF DON
+QUIXOTE DE LA MANCHA.</em> Translated from the Spanish of
+<em class="e00S02">Miguel de Cervantes Saavedra</em> by <em
+class="e00S02">Motteux</em>. With copious Notes (including the
+Spanish Ballads), and an Essay on the Life and Writings of
+<em class="e00S02">Cervantes</em> by <em class="e00S02">John
+G. Lockhart</em>. Preceded by a Short Notice of the Life and
+Works of <em class="e00S02">Peter Anthony Motteux</em> by <em
+class="e00S02">Henri Van Laun</em>. Illustrated with Sixteen Original
+Etchings by <em class="e00S02">R. de Los Rios</em>. Four Volumes.</p>
+
+<p class="romance"><em class="eB0002">LAZARILLO DE TORMES.</em>
+By <em class="e00S02">Don Diego Mendoza</em>. Translated by <em
+class="e00S02">Thomas Roscoe</em>. And <em class="eB0002">GUZMAN
+D’ALFARACHE</em>. By <em class="e00S02">Mateo Aleman</em>. Translated
+by <em class="e00S02">Brady</em>. Illustrated with Eight Original
+Etchings by <em class="e00S02">R. de Los Rios</em>. Two Volumes.</p>
+
+<p class="romance"><em class="eB0002">ASMODEUS.</em> By <em
+class="e00S02">Le Sage</em>. Translated from the French. Illustrated
+with Four Original Etchings by <em class="e00S02">R. de Los
+Rios</em>.</p>
+
+<p class="romance"><em class="eB0002">THE BACHELOR OF SALAMANCA.</em>
+By <em class="e00S02">Le Sage</em>. Translated from the French by <em
+class="e00S02">James Townsend</em>. Illustrated with Four Original
+Etchings by <em class="e00S02">R. de Los Rios</em>.</p>
+
+<p class="romance"><em class="eB0002">VANILLO GONZALES</em>; or,
+The Merry Bachelor. By <em class="e00S02">Le Sage</em>. Translated
+from the French. Illustrated with Four Original Etchings by <em
+class="e00S02">R. de Los Rios</em>.</p>
+
+<p class="romance"><em class="eB0002">THE ADVENTURES OF GIL BLAS OF
+SANTILLANE.</em> Translated from the French of <em class="e00S02">Le
+Sage</em> by <em class="e00S02">Tobias Smollett</em>. With
+Biographical and Critical Notice of <em class="e00S02">Le Sage</em>
+by <em class="e00S02">George Saintsbury</em>. New Edition,
+carefully revised. Illustrated with Twelve Original Etchings by <em
+class="e00S02">R. de Los Rios</em>. Three Volumes.</p>
+
+<div id="endmatter04">
+<div class="center"><em class="e00S02">In Twelve Volumes, Crown 8vo,
+Parchment Boards or Cloth, per Volume, 7s. 6d.</em><br /><br /></div>
+
+<h3 title="Old English Romances">
+ OLD ENGLISH ROMANCES</h3>
+
+<div class="fsize3 center">
+ <em class="e000I2">ILLUSTRATED WITH ETCHINGS.</em></div>
+</div>
+
+<p class="romance"><em class="eB0002">THE LIFE AND OPINIONS OF
+TRISTRAM SHANDY</em>, <em class="e00S02">Gentleman</em>. By <em
+class="e00S02">Laurence Sterne</em>. In Two Vols. With Eight Etchings
+by <em class="e00S02">Damman</em> from Original Drawings by <em
+class="e00S02">Harry Furniss</em>.</p>
+
+<p class="romance"><em class="eB0002">THE OLD ENGLISH BARON</em>:
+<em class="e00S02">A Gothic Story</em>. By <em class="e00S02">Clara
+Reeve</em>.</p>
+
+<p class="center">ALSO</p>
+
+<p class="romance"><em class="eB0002">THE CASTLE OF OTRANTO</em>:
+<em class="e00S02">A Gothic Story</em>. By <em class="e00S02">Horace
+Walpole</em>. In One Vol. With Two Portraits and Four Original
+Drawings by <em class="e00S02">A. H. Tourrier</em>, Etched by <em
+class="e00S02">Damman</em>.</p>
+
+<p class="romance"><em class="eB0002">THE ARABIAN NIGHTS
+ENTERTAINMENTS.</em> In Four Vols. Carefully Revised and Corrected
+from the Arabic by <em class="e00S02">Jonathan Scott</em>, LL.D.,
+Oxford. With Nineteen Original Etchings by <em class="e00S02">Ad.
+Lalauze</em>.</p>
+
+<p class="romance"><em class="eB0002">THE HISTORY OF THE CALIPH
+VATHEK.</em> By <em class="e00S02">Wm. Beckford</em>. With Notes,
+Critical and Explanatory.</p>
+
+<p class="center">ALSO</p>
+
+<p class="romance"><em class="eB0002">RASSELAS, PRINCE OF
+ABYSSINIA.</em> By <em class="e00S02">Samuel Johnson</em>. In
+One Vol. With Portrait of <em class="e00S02">Beckford</em>, and
+Four Original Etchings, designed by <em class="e00S02">A. H.
+Tourrier</em>, and Etched by <em class="e00S02">Damman</em>.</p>
+
+<p class="romance"><em class="eB0002">ROBINSON CRUSOE.</em>
+By <em class="e00S02">Daniel Defoe</em>. In Two Vols. With
+Biographical Memoir, Illustrative Notes, and Eight Etchings
+by <em class="e00S02">M. Mouilleron</em>, and Portrait by <em
+class="e00S02">L. Flameng</em>.</p>
+
+<p class="romance"><em class="eB0002">GULLIVER’S TRAVELS.</em> By <em
+class="e00S02">Jonathan Swift</em>. With Five Etchings and Portrait
+by <em class="e00S02">Ad. Lalauze</em>.</p>
+
+<p class="romance"><em class="eB0002">A SENTIMENTAL JOURNEY.</em> By
+<em class="e00S02">Laurence Sterne</em>.</p>
+
+<p class="center">ALSO</p>
+
+<p class="romance"><em class="eB0002">A TALE OF A TUB.</em> By <em
+class="e00S02">Jonathan Swift</em>. In One Vol. With Five Etchings
+and Portrait by <em class="e00S02">Ed. Hedouin</em>.</p>
+
+<div id="endmatter05">
+ <h3 title="Some Press Notices">
+ <i>SOME PRESS NOTICES.</i></h3>
+</div>
+
+<p class="citation">Daily Telegraph.</p>
+
+<p>“These editions are noteworthy as containing original etchings by
+artists of high repute. Thus nineteen exquisite plates by the French
+etcher, M. Lalauze, gives especial attractiveness to the ‘Thousand
+and One Nights;’ and the two fanciful histories of the Caliph Vathek
+and Prince Rasselas are illustrated by designs of Mr. A. H. Tourrier,
+etched by M. Damman. It is a pleasure to hold a ‘Robinson Crusoe’ or
+the ‘Tale of a Tub’ in one’s hands; it is a positive luxury to read
+those masterpieces in a luxurious shape, large print, on good paper,
+accompanied by exquisite illustrations.”</p>
+
+<p class="citation">The Scotsman.</p>
+
+<p>“These volumes will take rank, for beauty of typography and
+general excellence of appearance, with any books of the kind that
+have recently been published; while the etchings by M. Lalauze are
+among some of the finest of his productions. They are full of vigour
+and striking originality, and are what they profess to be—good
+illustrations of the story to which they relate. There are not many
+men of wholesome minds who do not find enjoyment in ‘Robinson Crusoe’
+whenever they can lay hands on it; and assuredly there is no one
+possessing anything in the shape of a library who would not desire to
+have a good edition of the work among his books; in short, nothing
+but praise can be given to this edition of these books. No one can
+pretend to be acquainted with English literature who is ignorant of
+any of the works here published.”</p>
+
+<p class="citation">Glasgow Herald.</p>
+
+<p>“The merits of this new issue lie in exquisite clearness of type,
+completeness; notes and biographical notices, short and pithy, and
+a number of very fine etchings and portraits. The illustrations of
+Gulliver are particularly effective, such as the ‘Academy of Laputa’
+and the ‘Visions of Glubbdubdrib.’”</p>
+
+<p class="citation">London Figaro.</p>
+
+<p>“We congratulate the publishers upon the issue of a capital
+series of Old English Romances. They will form a most delightful
+collection.”</p>
+
+<p class="citation">Magazine of Art.</p>
+
+<p>“The text of the new four volume edition of the ‘Thousand and
+One Nights’ is that revised by Jonathan Scott from the French of
+Galland. It is, in fact, the text in which the incomparable ‘Arabian
+Nights’ became in England the classic it is. The etchings are
+uncommonly skilful and finished work; they contain some charming
+figures; they constitute a true attraction. In another volume of this
+series Beckford’s wild and gloomy ‘Vathek’ appears side by side with
+Johnson’s admirable ‘Rasselas.’”</p>
+
+<p class="citation">The Literary World.</p>
+
+<p>“A publishers’ notice prefixed to each volume states that ‘one
+thousand copies of this edition have been printed and the type
+distributed. No more will be published.’ Although some of these works
+are now easily obtainable in a cheap form, good editions are rare and
+eagerly sought by those who make any pretence of making a library.
+Here is an opportunity of securing as choice an edition as can be
+desired at a comparatively low price, the value of which will be
+enhanced before long by its scarcity.”</p>
+
+<p class="citation">The Times.</p>
+
+<p>“Prettily printed and prettily illustrated, these attractive
+volumes deserve their welcome from all students of seventeenth
+century literature.”</p>
+
+<p class="citation">The Daily News.</p>
+
+<p>“The merit for modern readers of these old stories lies partly
+in their inexhaustible wit, their knowledge of human nature, which
+never grows stale, and partly in their pictures of the old reckless
+life of Spain. A typical example of these novels is the fictitious
+autobiography of Guzman d’Alfarache, the Spanish rogue, written by
+Matthew Aleman at the beginning of the seventeenth century.”</p>
+
+
+<p class="citation">Daily Telegraph.</p>
+
+<p>“A handy and beautiful edition, in twelve volumes, of the works
+of the Spanish masters of romance calls for a word of acknowledgment
+from all who desire to see the lights of foreign literature fitly
+presented to the notice of English readers. We may say of this
+edition of the immortal work of Cervantes, that it is most tastefully
+and admirably executed, and that it is embellished with a series
+of striking etchings from the pen of the Spanish artist, De Los
+Rios. . . . Those who have already made acquaintance with these
+masterpieces of exotic humour will need no encouragement to send
+them once again to a fountain from which such pure enjoyment is to
+be derived, and in so acceptable a shape as Messrs. Nimmo &#38; Bain
+have provided.”</p>
+
+<p class="citation">The Scotsman.</p>
+
+<p>“What man of middle age is there, who has been a reader of books,
+who does not look back with pleasure to his first acquaintance with
+‘Don Quixote’ or the ‘Adventures of Gil Blas’? If he has been a wise
+man of equal mind, he has gone further afield in these romances, and
+has made acquaintance with ‘Asmodeus,’ ‘The Bachelor of Salamanca,’
+and other works of a like kind. They have been read by many thousands
+of British readers, and they will be read by many thousands
+more. . . . What the reading public have reason to congratulate
+themselves upon is, that so neat, compact, and well-arranged an
+edition of romances that can never die is put within their reach. The
+publishers have spared no pains with them. It has already been said
+that Mr. Saintsbury has written a prefatorial notice of Le Sage; a
+similar work has been done by other hands in the case of Cervantes.
+It is satisfactory to find publishers turning their attention to the
+reproduction, in worthy form, of classic fiction; and the hope may be
+entertained that in this case the enterprise will meet with merited
+reward.”</p>
+
+<p class="citation">Westminster Review.</p>
+
+<p>“We notice with warm welcome a new and very handsome illustrated
+edition of the original ‘Arabian Nights Entertainment,’ the ‘real
+Simon pure,’ and never have we seen the fascinating companion of our
+youth more ‘daintily dight.’ Type and paper are both of the finest
+quality, while M. Lalauze’s graceful and delicate etchings lend
+an additional charm to the text. ‘The Thousand and One Nights of
+Schéhérézade’ occupy four goodly volumes, and uniform with them is
+Beckford’s ‘Vathek’ and Dr. Johnson’s ‘Rasselas’ in one volume.”</p>
+
+<p class="center"><br /><br />J. C. NIMMO &#38; BAIN,<br />
+ 14, KING WILLIAM STREET, STRAND, LONDON, W.C.</p>
+</div> <!--end of div.endmatter-->
+
+<div class="transnote">
+TRANSCRIBER’S NOTE
+
+<p>Original printed spelling and punctuation variations are mostly
+retained. Since small caps are not well supported in mobile
+formats (e.g. epub), they have been <em class="e00S02">Reinforced
+Thus</em> with an underline.</p>
+
+<p>Page 104: “villanously” changed to “villainously”.</p>
+</div>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 44570 ***</div>
+</body>
+</html>
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #44570 (https://www.gutenberg.org/ebooks/44570)
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+The Project Gutenberg EBook of The Sunshade, by Octave Uzanne
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Sunshade
+       The Glove--The Muff
+
+Author: Octave Uzanne
+
+Illustrator: Paul Avril
+
+Release Date: January 3, 2014 [EBook #44570]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SUNSHADE ***
+
+
+
+
+Produced by Chris Curnow, RichardW and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+THE SUNSHADE
+
+THE GLOVE--THE MUFF
+
+
+
+
+ THE SUNSHADE
+
+ THE GLOVE--THE MUFF
+
+ BY
+
+ OCTAVE UZANNE
+
+ /ILLUSTRATED BY PAUL AVRIL/
+
+ LONDON
+ J. C. NIMMO AND BAIN
+ 14, KING WILLIAM STREET, STRAND, W.C.
+ 1883
+
+
+
+
+PREFACE
+
+
+After /the brilliant success which attended, in the spring of last
+year, our volume on/ The Fan--/a success which was the result, as
+I cannot conceal from myself, much more of the original conception
+and decorative execution of that work of luxe than of its literary
+interest--I have determined to close this series of/ Woman's
+Ornaments /by a last little work on the protective adornments of
+that delicate being, as graceful as she is gracious/: The Sunshade,
+the Glove, the Muff. /This collection, therefore, of feminine toys
+will be limited to two volumes, a collection which at first sight
+appeared to us so complex and heavy that a dozen volumes at least
+would have been required to contain its principal elements. This,
+doubtless, on the one hand, would have tried our own constancy, and
+on the other, would have failed in fixing more surely the inconstancy
+of our female readers. The spirit has its freaks of independence, and
+the unforeseen of life ought to be carefully economised. Moreover,
+to tell the whole truth, the decorative elegance of a book like
+the present hides very often beneath its prints the torture of an
+intellectual thumbscrew. The unhappy author is obliged to confine his
+exuberant ideas in a sort of strait-jacket in order to slip them more
+easily through the varied combinations of pictorial design, which
+here rules, an inexorable Mentor, over the text./
+
+/In a work printed in this manner, just as in a theatre, the/ mise
+en scène /is often detrimental to the piece; the one murders the
+other--it cannot be otherwise--the public applauds, but the writer
+who has the worship of his art sorrowfully resigns himself, and
+inwardly protests against the condescension of which he has had
+experience/.
+
+/Two volumes, then, under a form which thus imprisons the strolling,
+sauntering, inventive, and paradoxical spirit, will be sufficient for
+my lady readers. Very soon we shall meet again in books with vaster
+horizons, and "ceilings not so low," to employ an expression which
+well describes the moral imprisonment in which I am enveloped by the
+graces and exquisite talent of my collaborateur, Paul Avril/.
+
+/Let it be understood, then, that I have no personal literary
+pretensions in this work. As the sage Montaigne says in his/ Essays,
+"/I have here but collected a heap of foreign flowers, and brought of
+my own only the string which binds them together./"
+
+ /OCTAVE UZANNE./
+
+
+
+
+THE SUNSHADE
+
+/THE PARASOL ---- THE UMBRELLA/
+
+
+The author of a /Dictionary of Inventions/, after having proved the
+use of the Parasol in France about 1680, openly gives up any attempt
+to determine its precise original conception, which indeed seems to
+be completely concealed in the night of time.
+
+It would evidently be childish to attempt to assign a date to the
+invention of Parasols; it would be better to go back to Genesis at
+once. A biblical expression, /the shelter which defends from the
+sun/, would almost suffice to demonstrate the Oriental origin of
+the Parasol, if it did not appear everywhere in the most remote
+antiquity--as well in the Nineveh sculptures, discovered and
+described by M. Layard; as on the bas-reliefs of the palaces or
+frescoes of the tombs of Thebes and Memphis.
+
+In China they used the Parasol more than two thousand years before
+Christ. There is mention of it in the /Thong-sou-wen/, under the
+denomination of /San-Kaï/, in the time of the first dynasties, and a
+Chinese legend attributes the invention of it to the wife of Lou-pan,
+a celebrated carpenter of antiquity. "Sir," said this incomparable
+spouse to her husband, "you make with extreme cleverness houses for
+men, but it is impossible to make them move, whilst the object which
+I am framing for their private use can be carried to any distance,
+beyond even a thousand leagues."
+
+And Lou-pan, stupefied by his wife's genius, then saw the unfolding
+of the first Parasol.
+
+Interesting as these legends may be, handed down by tradition to the
+peoples of the East, they have no more historical credit than our
+delicate fables of mythology: they preserve in themselves less of
+the poetic quintessence, and above all seem less connected with that
+mysterious charm with which Greek paganism drowned that charming
+Olympus wherefrom the very origins of art appear to descend.
+
+Let the three Graces be represented burned by Apollo, tired of
+flying through the shadows, where Fauns and Ægipans lie in ambush,
+or let these three fair ones be painted in despair at the fiery
+sensation of sunburning which brands their epidermis; let them invoke
+Venus, and let the Loves appear immediately, bearers of unknown
+instruments, busily occupied in working the little hidden springs,
+ingeniously showing their different uses and salutary effects; let
+a poet--a Voltaire, a Dorat, a Meunier de Querlon, or an Imbert
+of the time--be kind enough to forge some rhymes of gold on this
+fable; let him, in fine, inspired by these goddesses, compose an
+incontestable master-piece, and behold /the Origin of the Sunshade/!
+graven in pretty legendary letters on the temple of Memory, not to be
+contradicted by any spectacled /savant/ in the world.
+
+But if no poet, in smart affected style, has told us in rhyme /the
+Story of the Parasol/, many poets of all times have recalled the use
+of it in precious verses, which appear to serve as landmarks for
+history, and as references to discoveries of archæology. In ancient
+Greece, in the time of the festivals of Bacchus, it was the custom,
+not then confounded with fashion, to carry a Sunshade, not so much
+to extenuate the ardour of the sun, but as a sort of religious
+ceremonial. Paciaudi, in his treatise /De Umbellæ Gestatione/,
+shows us on the carriage on which the statue of Bacchus is placed a
+youth seated, the bearer of a Sunshade, a sign of divine majesty.
+Pausanias, in his /Arcadics/, mentions the Sunshade in describing the
+festivals of Alea in Argolis, whilst later on, in the /Eleutheria/,
+we see the Parasol also. Lastly, after having painted for us, in a
+marvellous description of Alexandria on a holiday, the hierophants,
+bearers of emblems and the mystic vase, the Monads covered with ivy,
+the Bassarids with scattered hair wielding their thyrsus, Athenæus
+suddenly shows us the magnificent chariot of Bacchus, where the
+statue of the god, six cubits high, all in gold, with a purple robe
+falling to his heels, had over his head a Sunshade ornamented with
+gold. Bacchus alone, of all the gods, had the privilege of the
+Sunshade, if we rely on the evidence of ancient monuments, earthen
+vases, and graven stones drawn from the museums of Stosch and other
+archæologists.
+
+As a result of their frequent relations with the Greeks after the
+death of Alexander the Great, the Jews appear to have borrowed from
+the Gentiles, in the celebration of their Feast of Tabernacles,
+the use of the Sunshade. The subjoined medal of Agrippa the Old,
+struck by the Hellenised Jews, in some sort supports this, although
+Spanheim, in a passage relating to this medal, says he has hesitated
+a long while as to the signification of the symbols which it
+represents. Do the ears of corn mark the fertility of the governed
+provinces, or do they refer to the Feast of Tabernacles? As for
+the tent on the obverse, it is little probable that it represents
+a tabernacle according to Moses' rite, since the roofs of these
+tabernacles, far from being pointed, were flat and cloven in the
+midst, so as to allow rain, sun, and starlight to pass through. It
+must then be the Sunshade, the emblem of royalty; this at least seems
+probable.
+
+The Parasol played among the Greeks a very important part, as well in
+the sacred and funeral ceremonies as in the great holidays of nature,
+and even in the private life of the noble ladies of Athens.
+
+The Parasol in its elegant form may be seen drawn on the majority of
+Greek vases, either painted with straight or arched branches, concave
+or convex, or in the shape of a hemisphere or a tortoise's back. But
+the Sunshade with movable rods, opening or shutting, existed at that
+time, as is sufficiently indicated by the phrase of Aristophanes in
+the /Knights/ (Act v. Scene 2)--"His ears opened and shut something
+like a sunshade."
+
+An archæologist might amuse himself with writing a special work on
+the rôle of the Sunshade in Greece; documents would not fail him;
+nay, the book would soon grow big, and might bristle with notes from
+all quarters, abounding in the margins, after the example of those
+good solid volumes of the sixteenth century, which none but a hermit
+would have the leisure to read conscientiously to-day. Such is not
+our business in this light chapter.
+
+One cannot exactly say for what motive the Sunshade was carried
+by young virgins in all the processions in the Thesmophoria, the
+festivals of Eleusis, and the Panathenæa. Aristophanes calls the
+baskets and the white Sunshades "symbolic instruments, destined to
+recall to human beings the acts of Ceres and Proserpine."
+
+Perhaps it is not necessary to search beyond this Aristophanic
+definition, which may on the whole entirely satisfy us. Moreover,
+these Sunshades were white, not, say they, because the statue erected
+by Theseus to Minerva was of that colour, but because white marked
+the liveliest joy and pomp according to Ovid, who recommends very
+carefully in his /Fasti/ the wearing in sign of rejoicings white
+tunics worthy of pleasing Ceres, in whose cult both the priestesses
+and the things they used ought to be entirely white.
+
+In a man, according to Anacreon, the carrying a Parasol was the mark
+of a libertine and effeminate life; one might draw an analogous
+conclusion from a scene in the /Birds/ of Aristophanes, in which
+Prometheus, through fear of Jupiter, cries to his slave, before
+abandoning himself to a sweet passion for Venus only, "Quick, take
+this sunshade, and hold it over me, in order that the gods may not
+see me."
+
+It is also doubtless for the same reason, which virtually interdicted
+the use of the Parasol to men, that the daughters of the Metœci,
+or strangers domiciled at Athens, carried, according to Ælian,
+the sunshade of the Athenian women in the spectacles and public
+ceremonies, whilst the fathers carried the vases destined for the
+sacrifices.
+
+The Θολἱα, or "Sunshade Hat," succeeded the Parasol properly so
+called. It is of these Θολἱα that Theocritus speaks in several
+places; it is also this hat, and not a Sunshade, which we must see in
+the curious medal above, stamped by the Ætolians, which represents
+Apollo bearing this strange hat, in the style of Yokohama, hanging on
+his back.
+
+From the most distant epochs the Sunshade has been considered, so
+far as it is the attribute of gods and sovereigns, as the ensign
+of omnipotence. We see it playing this supreme rôle, not only by
+right of an emblem of blazonry, in the curious dissertation of the
+Chevalier Beatianus /On a Sunshade of vermeil on a field argent,
+symbol of power, sovereign authority and true friendship/, but also
+we see it universally adopted as a sign of the highest distinction by
+Oriental peoples, to be displayed over the head of the king in time
+of peace, and occasionally in time of war.
+
+It is thus that it may be contemplated on the sculptures of ancient
+Egypt, where its usage was not exclusively indeed reserved to the
+Pharaohs, but sometimes also to the great dignitaries, but to
+these only. There is to be seen in Wilkinson a strange engraving
+representing an Æthiopian princess seated on a /plaustrum/ or
+carriage drawn by oxen, and having behind her a vague personage armed
+with a large Parasol of an undecided form, something between the
+screen and the /flabellum/ in the segment of a circle. Is it not also
+in sign of adoration that it was the custom to put above the heads of
+divine statues crescents, Sunshades, little spheres, which served not
+only to guarantee these august heads against the injuries of time and
+the ordures of birds, but also to set their physiognomy in relief as
+by a nimbus or crown of paganism?
+
+The kings or satraps of Persia of the oldest dynasties were sheltered
+by the sovereign Parasol. Chardin, in his /Voyages/, describes
+bas-reliefs of a time long before that of Alexander the Great,
+in which the king of Persia is frequently represented sometimes
+just about to mount his horse, at others surrounded by young
+slave-girls--beautiful as day, as a poet might write for sake of
+a simile--among whom one inclines a Sunshade, while another uses
+a flyflap made of a horse's silky tail. Other bas-reliefs, again,
+represent the Persian monarch on a throne, at the conclusion of a
+victorious battle, whilst the rebels are being crucified, and writhe
+under the punishment, and prisoners brought up, one after the other,
+make humble submission. Here the Sunshade has the floating appearance
+of a glorious standard. It symbolised also the power of life and
+death, vested in the savage conqueror over the unfortunate conquered,
+delivered up wholly to his mercy.
+
+In ancient India, the cradle of the human race, as it is said, the
+Parasol in every time, and more than anywhere else, is unfolded in
+its splendour and the grace of its contexture, as an immutable symbol
+of royal majesty. It seems really that it was under the deep azure
+of the admirable Indian sky that the coquettish instrument, of which
+we are exposing here by literary zigzags the historic summary, was
+invented. It must have been born there first as a fragile buckler to
+oppose the ardour of the sun; afterwards, doubtless, it developed,
+little by little, into a large dome, carried in the arms of slaves,
+or on the back of an elephant, showing the sparkle of its colours,
+the originality of its form, the richness of its tissues, all
+overloaded with fine gold and silver filigree, making its spangles
+and jewels scintillate in the full leaping light, in the slow
+oscillation given to it by the march of its bearers, or the swayings
+of a heavy pachyderm, in the midst of magic powers, of dancers and
+enchantments without number among the most bizarre palaces of the
+world.
+
+In Hindostan the large Parasol is commonly called /Tch'hâtâ/, the
+small ordinary Parasol /Tch'hâtry/, and the bearer of the Parasol for
+dignitaries /tch'hâtâ-wâlâ/.
+
+The Parasol /of seven stages/ (/savetraxat/) is the first ensign of
+royalty: it is found graven on the royal seal. The mythology and
+literature of the Hindoos are, so to speak, confusedly peopled with
+Parasols. In his fifth incarnation, Vishnu descends to Hades with a
+Parasol in his hand. On the other hand, from the seventh century,
+Hiouen Thsang has remarked, according to the rites of the kingdom of
+Kapitha, Brâhma and Indra were represented holding in their hand, one
+a flyflap, the other a Parasol. In the /Râmayana/ (ch. xxvi. /scloka/
+12), Sitâ, speaking of Râma, whose beautiful eyes resemble the petals
+of the lotus, expresses herself thus--"Covered with the Parasol
+striped with a hundred rays, and such as the entire orb of the moon,
+why do I not see thy most charming face shining beneath it?"
+
+We read also in the /Mahâbârata/ (/sclokas/ 4941-4943)--"The litter
+on which was placed the inanimate body of the monarch Pândou was
+adorned with a flyflap, a fan, and a white /Sunshade/; at the sound
+of all the instruments of music, men by hundreds offered, in honour
+of the extinguished shoot of Kourou, a crowd of flyflaps, /white
+Sunshades/, and splendid robes."
+
+The Mahratta princes who reigned in Punah and Sattara held the title
+of /Tch'hâtâ pati/, "Lord of the Parasol;" and we are told that one
+of the most esteemed titles of the monarch of Ava was also that
+of "King of the White Elephant, and Lord of the Four-and-twenty
+Parasols."
+
+When, in 1877, the Prince of Wales, future inheritor of the throne of
+England, undertook his famous voyage into India, it was absolutely
+necessary--says Dr. W. H. Russell, the scrupulous historian of that
+princely expedition--in order to make him known to the natives, to
+set the Prince upon an elephant, and to hold over his head the golden
+Sunshade, symbol of his sovereignty.
+
+There may be seen to-day in the South Kensington Museum, in the
+admirable Indian gallery which has just been installed, some score
+of the Parasols brought back by the Prince from his voyage, of which
+each particular type deserves a description which cannot, alas! to
+our sincere regret, find its place here. One may admire there the
+state Umbrella of Indore, in the form of a mushroom; the Sunshade of
+the Queen of Lucknow, in blue satin stitched with gold and covered
+with fine pearls; next the Parasols of gilt paper, others woven of
+different materials, some entirely covered with ravishing feathers of
+rare birds, all with long handles in gold or silver, damascened, in
+painted wood, in carved ivory, of a richness and an execution not to
+be forgotten.
+
+Let us tear ourselves away, as in duty bound, from Hindustan, to meet
+again with the Parasol on more classic ground in ancient Rome, in the
+middle of the Forum and of the games of the Circus. The Sunshade is
+found very frequently in the most ancient paintings, on stones and
+vases of Etruria, a long while even before the Roman era. According
+to Pliny and Valerius Maximus, it is from Campania that the Velarium
+comes, which is destined to defend the spectators from the sun. The
+use of /the private Sunshade for each person/ established itself by
+degrees on those days when, on account of the wind, the Velarium
+could not be used. Martial says in his /Epigrams/ (Book IV.):
+
+    /Accipe quæ nimios vincant umbracula soles
+      Sit licet et ventus, te tua vela tegent./
+
+People used the Sunshade not only at theatres, but also at battles,
+and above all in the promenade. Ovid, in his /Fasti/, shows us
+Hercules protecting his well-beloved Omphale by means of a Sunshade
+from the sun's rays:
+
+    /Aurea pellebant tepidos umbracula soles
+      Quæ tamen Herculeæ sustinuere manus./
+
+This image of Hercules carrying a light Parasol would surely be
+worthy to replace the used-up theme of the distaff?
+
+The ancient Romans brought to the decoration of their Parasols a
+magnificence unknown in our days. They borrowed from the East its
+stuffs, its jewels, its ornamental style, to enrich in the best
+manner possible these pretty portable tents. When Heliogabalus,
+forgetting his sex, after the example of the priests of Atys,
+appeared on his car clothed with the long dress and all the gewgaws
+that women wear; when he caused himself to be drawn along surrounded
+by legions of nude slave-girls, he carried a fan in the guise of a
+sceptre; and not only was there a golden Parasol in the form of a
+dais stretched over his head, but also at each side two /umbelliferæ/
+held light Sunshades of silk, covered with diamonds, mounted on
+Indian bamboo, or on a stem of gold carved and encrusted with the
+most wondrous jewels.
+
+In the train which accompanied a matron on the Appian Way, if we can
+believe the historian of /Rome in the age of Augustus/, two slaves
+were obligatory: the fan-bearer (/flabellifera/) and the follower
+(/pedis sequa/). The latter carried an elegant Parasol of linen
+stretched over light rods at the extremity of a very long reed, so
+that, at the least sign of her mistress, she might direct over her
+the shadow of this movable defence.
+
+The Roman Umbrella seems to have been nothing but a simple morsel of
+leather, according to these verses, which Martial wrote by way of
+advice:
+
+    /Ingrediare viam cœlo licet usque sereno;
+      Ad subitas nunquam scortea desit aquas./
+
+This "leather cloth" was assuredly an Umbrella, which, except perhaps
+in weight, need have envied nothing of our own.
+
+At Rome, as at Athens, the Sunshade appears to have hidden people
+from the looks of the gods, for, according to Montfauçon, even the
+Triclinia were covered with a sort of Sunshade, that folk might
+deliver themselves more mysteriously to orgies of every kind and to
+the pleasures of Venus.
+
+The material used in the manufacture of Sunshades was originally,
+according to Pliny, leaves of palm divided into two, or the tresses
+of the osier; afterwards they were made in silk, in purple, in
+Eastern stuffs, in gold, in silver; they were adorned with Indian
+ivory; they were starred with trinkets and jewels. One author tells
+us even of Sunshades made out of women's hair--/the hair of women so
+arranged as to supply the place of a Sunshade/.
+
+Singular headdress or singular Parasol!
+
+Juvenal speaks of a green Sunshade sent with some yellow amber to a
+friend to celebrate her birthday and the return of spring.
+
+    /En cui tu viridem umbellam, cui succina mittas
+    Grandia, natalis quoties redit, aut madidum ver
+    Incipit./
+
+And with regard to this /green/ Sunshade, apropos of the /viridem/,
+all the commentators enter into the field, and make a deafening noise
+to explain that the epithet had no reference to the colour of the
+Sunshade, but to the spring.
+
+Let us, if you please, leave Rome, without entering into these idle
+dissertations.
+
+It would be difficult for us to find in the Middle Ages numerous
+manifestations of the Sunshade in private life; it was evidently
+adopted in the ceremonies of the Christian Church and in the royal
+/entrées/; but it was especially the privilege of the great, and
+never appeared save on solemn days in the processions, as later on
+the dais, reserved for kings and ecclesiastical nobles.
+
+At Venice the Doge had already his celebrated Sunshade in 1176.
+The Pope Alexander III. had accorded to the Venetian chiefs the
+right to carry the Sunshade in the processions. Under the reign of
+the Doge Giovanni Dandolo (1288) it was ordered that the pretty
+golden statuette of the Annunciation should be added, which is seen
+represented at the top of the Sunshade of the Venetian dogate.
+
+One can get some idea of this marvellous Sunshade, all of gold
+brocade, and of a pompous and original shape, by looking at most of
+the prints of the time, and particularly at the celebrated engraving
+of the /Procession of the Doge/, as well as at the pictures of
+Canaletto, Francesco Guardi, Tiepolo, and the greater number of the
+charming Venetian painters of the eighteenth century.
+
+It seems evident that the Roman Gauls knew the use of the Parasol,
+but it would not be easy to demonstrate its existence logically in
+the martial and Gothic epochs. One can scarcely imagine these men
+of arms, these gentle pages, and these noble damsels, with their
+lofty head-gear and long dress, defended by a frail silken /encas/
+(in case). They feared not then assuredly either sun or rain; they
+dreamed of nought but /batailloles/ (little battles), according
+to the language of that day; everything was done in honour of the
+ladies, after the laws of the good King René, and the ladies would
+certainly never have wished at the hour of the glorious tournaments
+to shelter themselves at the approaches of the lists, against a sun
+which sparkled on the breastplate of their brave knights with as much
+brightness as the hope which shone in their eyes.
+
+Let us come now to China, to find there Parasols and Umbrellas in
+great honour, since the beginning of the dynasty /Tchéou/ (eleventh
+century before Christ).
+
+"The Umbrellas of that time," says M. Natalis Rondot, "resembled
+ours; the mounting was composed of twenty-eight curved branches, and
+covered with silken stuff. The Parasols were of feathers.
+
+"After the /Thong-ya/, it is only under the first Wei (A.D. 220-264)
+that gentlemen began the use of Parasols; these Parasols were most
+frequently made of little rods of bamboo and oiled paper; pedestrians
+never made use of them before the second Wei (386-554). Parasols
+figure ordinarily in processions and funerals since the seventh
+century. Thus, in 648, at the time of the inauguration of the
+Convent of the Grand Beneficence, at Si-ngan-Fou, one counted--says
+the historian of the /Life of Hiouen thsang/--only in the procession
+three hundred Parasols of precious stuffs. The Parasol in China, as
+in India, has always been a sign of elevated rank, although it has
+not been exclusively used by emperors and mandarins. Formerly, it
+seems, four-and-twenty Parasols were carried before the Emperor when
+his Majesty went to the chase.
+
+"A Chinese of a rank at all elevated, such as a mandarin, a bonze,
+or a priest, never goes out without a Parasol, according to M.
+Marie Cazal, a Sunshade manufacturer, who, about the year 1844,
+wrote a small /Essay on the Umbrella, the Walking-stick, and their
+Manufacture/.--'Every Chinese of a superior order is followed by his
+slave, who carries his Parasol extended over him.'
+
+"The Umbrella in China is destined to the same use as the Parasol,
+says M. Cazal: it belongs to all. Never, when the weather is the
+least degree doubtful, does a Chinese go out of doors without his
+Umbrella. Even horses are sheltered, as well as elephants, by
+Parasols or Umbrellas fastened to branches of bamboo. Their drivers
+take very good care not to illtreat them; imbued as they are, like
+every good Chinaman, with the doctrines of metempsychosis, they
+fear to torture the soul of their father or their grandfather,
+reduced, in order to expiate his faults, to animate the body of these
+quadrupeds."
+
+The Umbrellas and Parasols which are most common in China resemble
+very much those which are imported into Europe; they are made
+entirely of stalks of bamboo, disposed with enormous art, and covered
+with oiled, tarred, or lacquered paper. Some are coloured, and have
+printed on them religious allegories or sentences of Confucius.
+
+All the voyages in China and around the world are filled with details
+of the Chinese Parasol. "The Chinese women, whose feet have been
+compressed from infancy," remarks M. Charles Lavollée, "can scarcely
+walk, and are obliged to support themselves on the handle of their
+Parasol, which serves them for a walking-stick."
+
+The Parasol and the Fan in China play a rôle so considerable, that it
+would be necessary to write a special monograph on each of these two
+objects in order to consider properly their importance in the history
+of the country and its current manners. In a general and summary
+sketch like the present, must we not skim through, rather than sew
+together documents collected with difficulty, or found within reach,
+and leave aside the more bulky bundles, under pain of foundering in
+the folio form of heavy dictionaries?
+
+Everywhere on the exquisite decorative combinations of Japan,
+we see a large Parasol opened amidst delicate peach-blossoms,
+gracious flights of strange birds, indented leaves, and rosy
+ibises. Sometimes, on the inimitable paintings of the enamelled
+vases, the Japanese Sunshade shelters a king's daughter, escorted
+by her followers, who makes her chaste preparations for entering
+the bath; sometimes, on a thin gauze, the Parasol half hides women,
+promenading on the margin of some vast blue lake, full of ideal
+dreams. Sometimes, in fine, in a fantastic sketch of an album, which
+one reads as a riot of the imagination, is perceived some human
+being excited to a singular degree, with hair tossed by the wind,
+and haggard eye, floating at the will of the tumultuous waves on a
+Parasol turned upside down, to the handle of which he clings with
+the energy of despair. The plates of the /Voyage de Ricord/, and
+especially the old Japanese albums, are useful to consult in order
+to understand better the varieties of forms of the Sunshade in
+Japan. We gain a bizarre notion of the effects and services which a
+Japanese can obtain from a common Parasol of his country by looking
+at the games of the acrobats who come to us occasionally from Tokio,
+Yedo, or Yokohama. Théophile Gautier, who was highly astonished, and
+not without reason, at the quickness, grace, and daring of these
+marvellous equilibrists, has left us on this matter the fairest
+pages, perhaps, of his /Feuilletons de Lundiste/. The worthy Théo,
+that Gallic Rajah borrowed from these clowns, astonishing in their
+lightness, an enthusiasm which put on his palette as a colourist
+the most vibrating tones and the finest shades. The Sunshade and
+the Fan are in fact presented by these magicians of the East with
+particular graces in the jugglery of the most varied exercises. Here
+it is a ball of ivory which rolls with the bickering of a babbling
+stream over the lamels or ribs of the Sunshade; there it is a Parasol
+held in equilibrium on the blade of a dagger, and a thousand other
+astonishing inventions. All these fascinating feats of skill cannot
+be described save in the manner of Gautier, in other words, by
+veritable pen-pictures. Admirable interpretation of things glimpsed
+at!
+
+In the tea-houses of Tokio, the pretty /Geishas/ often employ, to
+mimic an expressive dance, the Fan and the little paper Parasol.
+
+One of the most usual of their dances, managed something like our
+ballets, is called the Rain-dance. This is the way in which a
+/Globe-trotter/ gives an account of its leading idea and character:--
+
+"Some young girls prepare to leave their homes, and to pose as
+beauties in the streets of Yedo. They admire each other in playing
+their fans, they are dressed in superb toilets--they are sure of
+turning the heads of all the young /samouraï/ of the town.
+
+"Scarcely have they got out of doors when a thick cloud appears.
+Great disquietude! They open their Parasol, and make a thousand
+pretty grimaces, to show how sadly they fear the ruin of their
+charming dresses. . . . A few drops of rain begin to fall: they
+quicken their steps on their way home again.
+
+"A burst of thunder occasioned by the /Samisen/ and the drums, is
+heard, which announces a terrible downpour. Then our four dancers
+catch their robes with both hands, and throw them with one sweep
+under their arms, and suddenly turning, take to their heels, showing
+us a row of little . . . . frightened faces, saving themselves at the
+full speed of their legs."
+
+What a series of pantomimes, in which the Sunshade must assume in the
+hands of the charming /Geishas/ the most seductive positions!
+
+"Among the Arabs the Parasol was a mark of distinction" (as we learn
+from M. O. S., the English reporter of a commission which published a
+small notice on /Umbrellas, Parasols, and Walking-sticks/ in London
+about 1871). There is the same importance attached to it among
+certain blacks of Western Africa, who have probably borrowed it from
+the Arabs. Niebuhr, in the description of the procession of the Imam
+of Sanah, tells us that the Imam, and every one of the princes of
+his numerous family, had carried by their side a /Madalla/ or large
+Parasol. It is in that country a privilege of princes of the blood.
+The same writer relates that many independent chiefs of Yemen bear
+/Madallas/ as a mark of their independence. In Morocco the Emperor
+alone and his family have the privilege of the Parasol. In the
+/Voyages of Aly Bey/ we read in fact:--"The retinue of the Sultan
+was composed of a troop of from fifteen to twenty gentlemen as the
+vanguard; behind them, some hundred paces, came the Sultan, mounted
+on a mule, having beside him, also mounted on a mule, an officer
+carrying the Imperial Parasol. The Parasol is the distinctive sign of
+the sovereign of Morocco. No one but he would dare to use it."
+
+In certain tribes of central Africa explorers speak of having
+encountered, amidst the tribes of the desert, kings half-dressed in
+European old clothes, taken or exchanged no one knows where; and,
+strangely enough, on the top of an old silk hat, half-knocked in, one
+of these negro kings, says a traveller, held with a sort of grotesque
+majesty an old torn Umbrella of which the whalebone appeared to be
+half-broken. This Robert Macaire of the desert, does he not recall
+that pleasant equatorial fantasy of the /Parnassiculet Contemporain/,
+a sonnet terminating with the verses:--
+
+    What then is strange about this desert's pride,
+    Who in the desert without thee had died?
+    Bétani answered, "Child of open mien,
+
+    Where on board ship he comes, I tell you that
+    For full court-dress, this half-blood wears a hat
+    Of an old shako, trimmed with tufts of green!"
+
+This fantasy might serve as a theme for a dissertation on the
+subject, "Whither do worn-out things go?--what becomes of the old
+umbrellas?" It would be a ballad full of colour for a Villon of the
+present time.
+
+To return to France, many writers, romancists or dramatic authors,
+having greater care of the splendour of the /mise-en-scène/ than
+of absolute historic truth, have presented us with some hunting
+parties of the time of Henri II. and Henri III., in which the noble
+huntresses followed the deer on horses magnificently harnessed,
+holding in their hands hexagonal Sunshades fringed with gold and
+enriched with pearls.
+
+We found truly a mention of the Parasol in the /Description of the
+Isle of the Hermaphrodites/; but it was then very rare in France,
+and what is more, very heavy, and handled with such ceremonies that
+a strong lackey must have had considerable difficulty in holding it
+up. From this to place light Sunshades of silk between the dainty
+fingers of "fair and gentle dames" of that time, especially for a
+hunt through the woods, there is, it seems to us, a departure which
+good sense alone, not to mention historic science, is quite enough to
+point out.
+
+The Parasol was still very little known in France, even in the second
+half of the sixteenth century. It is fairly certain that, like the
+/Fan/, and other objects so much in favour with Catherine de Medici,
+it was brought into France out of Italy. Henri Estienne, in his
+/Dialogues of the new French Language Italianised/, 1578, makes one
+of his interlocutors called Celtophile say: " . . . . and /à propos/
+of pavilion, have you ever seen what some of the lords in Spain or
+Italy carry or cause to be carried about in the country, to defend
+themselves, not so much from the flies, as from the sun? It is
+supported by a stick, and so made that being folded up and occupying
+very little space, it can when necessary be opened immediately and
+stretched out in a circle so as to cover three or four persons." And
+Philausone answers: "I have never seen one; but I have heard talk of
+them often; and if our ladies were to see them carrying these things,
+they would perhaps tax them with too great delicacy."
+
+In Italy it is little probable that since the Romans the inhabitants
+of the higher classes have ever unlearned the pleasant use of
+Parasols. The majority of travellers notice them in all epochs, and
+in the /Italian Mysteries/, played in the fourteenth and fifteenth
+centuries, it is nearly certain that at the moment of their naïve
+representation of the Deluge, the Deity appeared on the stage with an
+Umbrella in his hand.
+
+In the /Journal and Voyage of Montaigne/ in Italy, the good
+philosopher, who teaches us so few matters beyond his own personal
+sufferings, deigns, nevertheless, to aver that the supreme good taste
+of the women of Lucca was to have incessantly a Parasol in their
+hands.
+
+"No season," says also elsewhere this charming epicurean essayist,
+"is so much my enemy as the sharp heat of sunshine, for the
+/Sunshades/, which are used in Italy since the time of the ancient
+Romans, charge the arms more than they discharge from the head."
+
+So, too, Thomas Coryat, an English tourist of that time, in his
+/Crudities/ (1611), speaks of the Italian Parasols, after having
+noticed the presence of Fans in the towns through which he had
+travelled: "Many Italians," he says, "do carry other fine things of a
+far greater price, that will cost at the least a ducat (about seven
+francs), which they commonly call in the Italian tongue /Umbrellæs/,
+that is, things that minister shadow unto them for shelter against
+the scorching heat of the sun. These are made of leather, something
+answerable to the form of a little canopy, and hooped in the inside
+with divers little wooden hoops, that extend the /Umbrella/ in a
+pretty large compass. They are used especially by horsemen, who carry
+them in their hands when they ride, fastening the end of the handle
+upon one of their thighs, and they impart so large a shadow unto them
+that it keepeth the heat of the sun from the upper parts of their
+body."
+
+Fabri, in his useful and remarkable work, /Diversarum Nationum
+Ornatus/ (additio) confirms this fact from 1593, in taking care to
+represent a noble Italian, travelling on horseback with a Parasol in
+his hand: "/Nobilis Italus ruri ambulans tempore æstatis/."
+
+What variety this simple detail, more propagated or rather better
+vulgarised among our romancists, would have thrown into the great
+romances of adventure! We should have seen the protecting Sunshade
+marking from a distance, by its colour and elevated shape, the
+presence of the rich traveller to be robbed, in the mountains of
+Tuscany, while the brigands of the time kept their watch in the
+folds of the rocks; then, too, we should surely have witnessed,
+in passionate recitals of heroic combats, the buckler Parasol,
+already full of holes, torn into shreds, yet still serving to
+parry victoriously the blows of the ferocious cut-throats and
+cloak-snatchers.
+
+And how many sonorous and unforeseen titles are there of which we
+have been deprived by this fact of our ignorance: /The Knights of
+the Sunshade/--/The Heroic Parasol/--/The State Courier/, or /the
+Sunshade Recovered/! . . . . and who can say how many more!
+
+The Arsenal, the old Hotel de Sully, preserved for a long time one
+of those Parasols, which librarians named the /Pepin/ (seed-fruit)
+/of Henri IV./ It was very big, and entirely covered with blue
+silk, with long and distinctly precious flowers of the golden lily
+scattered over it. This Parasol, ministerial or royal, is doubtless
+lost, and we speak of it only after the description which the learned
+bibliophile Jacob has given us.
+
+Daniel Defoe, who published his /Robinson Crusoe/ in 1719, was
+one of the first to mention to any extent the Parasol in England.
+Before him, as we shall see farther on, it had been named only very
+summarily in literary works. So firmly fixed in our imaginations as
+men, the children of yesterday, is the great Umbrella of Crusoe, and
+his dreadful alarm on seeing the print of a man's foot on the shore,
+as well as his walks with his dog and /Friday/ the good Caribbee;
+it presents itself, moreover, so clearly in our first literary
+remembrances, that we will reproduce the passage of the journal where
+it is mentioned:
+
+"After this," says Crusoe, "I spent a deal of time and pains to make
+me an Umbrella. I was indeed in great want of one, and had a great
+mind to make one. I had seen them made in the Brazils, where they
+are very useful in the great heats which are there; and I felt the
+heats every jot as great here, and greater too...; besides, as I was
+obliged to be much abroad, it was a most useful thing to me, as well
+for the rains as the heats. I took a world of pains at it, and was a
+great while before I could make anything likely to hold; nay, after I
+thought I had hit the way, I spoiled two or three before I made one
+to my mind; but at last I made one that answered indifferently well;
+the main difficulty, I found, was to make it to let down: I could
+make it to spread, but if it did not let down too, and draw in, it
+would not be portable for me any way, but just over my head, which
+would not do. However, at last, as I said, I made one to answer; I
+covered it with skins, the hair upward, so that it cast off the rain
+like a pent-house, and kept off the sun so effectually, that I could
+walk out in the hottest of the weather, with greater advantage than
+I could before in the coolest; and when I had no need of it, I could
+close it and carry it under my arm."
+
+And this Parasol, for a century and a half, has been popularised by
+the engraver, with its dome of hair and rude manufacture; and so all
+the poor little prisoners at school invoke it, and dream often that
+they carry it in some desert isle, for it represents to their eyes a
+life of open air and liberty.
+
+       *       *       *       *       *
+
+Before Daniel Defoe, Ben Jonson had already mentioned the Parasol in
+England in a comedy played in 1616; and Drayton, sending some doves
+to his mistress in 1620--a delicious lover's fancy--formulated in his
+passioned verses the following desire: "/May they, these white turtle
+doves I send you, shelter you like Parasols under their wings in
+every sort of weather./"
+
+In the relation of his /Voyage in France/ in 1675, Locke, speaking
+of Sunshades, says: "These are little articles and very light, which
+women use here, to defend themselves from the sun, and they seem
+to us very convenient." Afterwards the English ladies desired to
+possess these pretty Parasols, although, by reason of their climate,
+such things could hardly be of any use to them. It was not, however,
+till the eighteenth century that a London manufacturer bethought
+himself of inventing the Sunshade-Fan, compared with which it appears
+the French folding /marquises/ were as nothing. This ingenious
+fabricator made a considerable fortune; but if we are to believe the
+/Improvisateur François/, his invention was rapidly imitated and much
+improved in Paris. Why has it not been preserved to our own days?
+
+But let us linger in this seventeenth century, and remain awhile
+in France, where the Parasol was not in use, save at court among
+the great ladies. Men never used it to shelter themselves from the
+rain--the cloak and sword were still alone in fashion.
+
+Ménage tells us in his /Ménagiana/, that being with M. de Beautru,
+about 1685, in the midst of a pouring rain at the door of the Hôtel
+de Bourgogne, up came a Gascon gentleman, without a cloak, and nearly
+wet through; the Gascon, seeing himself stared at, cried out, "I
+would lay a wager now my people have forgotten to give me my cloak."
+To which M. de Beautru quickly replied, "I go halves with you."
+
+The silk Sunshade, however, properly so called, appeared in the hands
+of women of quality, at the promenade, on the race-course, or in the
+vast alleys of the royal park of Versailles, towards the middle of
+the reign of Louis XIV. The Umbrella of that time was an instrument
+astonishingly heavy and very coarse in appearance, which it seemed
+almost ridiculous to hold in the hand. In 1622 it was in some measure
+a novelty in Paris, since in the /Questions Tabariniques/, cited by
+that useful author, the late M. Édouard Fournier, in /The Old and the
+New/, we read these lines about the famous felt hat of Tabarin:--
+
+"It was from this hat that the invention of Parasols was drawn, which
+are now so common in France that they are no longer called Parasols,
+but /Parapluyes/ (Umbrellas) and /Garde-Collet/ (collar guards), for
+they are used as much in winter against the rain as in summer against
+the sun."
+
+The most ancient engraving or /documentary/ image of French manners
+in which we see a Parasol is dated 1620. It is the frontispiece of a
+Collection of Saint Igny, /The French Nobility at Church/.
+
+Parasols, however, were still very little used in the seventeenth
+century; the /Précieuses/ who, instead of saying "It rains," cried
+out, "/The third element falls!/" would never have missed finding
+some amiable qualificative to designate this necessary article
+invented against Phœbus and Saint Swithin. But Saumaise reveals to us
+nought on this subject, and one would be almost tempted to believe
+that the /Philamintes/ and /Calpurnies/ attached no importance to
+this "rustic and movable Pavilion." What, however, is clearly shown
+by the ancient prints is the employment of the Parasol in the form
+of a small round canopy which ladies of quality had borne by their
+valets when walking in the primly arranged gardens of their lordly
+residences, whilst the gentlemen marched before, wrapt in their
+cloaks, with the felt hat inclined over one eye.
+
+Parasols were then of so coarse a form, and their weight made them so
+difficult to be carried, that they could not be easily utilised by
+ordinary people; they are never found in any of those very curious
+engravings which give a confused idea of the rumblings and mobs of
+the streets under Louis XIV. Boileau and François Colletet have not
+mentioned them amidst the /Obstacles and Bustle of Paris/; and the
+/Cries of the Town/ which have come down to us do not indicate that
+in the seventeenth century any man with "/'Brella-a-a-a-s to sell!/"
+had contributed his mournful melopæa to the lagging cries of the
+street.
+
+That is easily understood. We see that a Parasol, in the middle of
+the grand century, weighed 1600 grammes, that its whalebones had
+a length of 80 centimetres, that its handle was of heavy oak, and
+that its massive carcass was covered with oilcloth, with barracan,
+or with coloured grogram. The whole was held by a copper ring fixed
+at the extremity of the whalebones; it was the labour of a porter
+to preserve oneself, with an instrument like this, from the pelting
+shower! Better still: often these Parasols were made of straw, and,
+if we believe the /Diary and Correspondence of Evelyn/, about 1650,
+they affected in some degree the form of metal dish-covers.
+
+However, it is something very like a Sunshade which we find about
+1688 in the hands of a woman of quality, dressed in a summer habit
+/à la Grecque/, of which N. Arnoult has preserved faithfully for us
+the pleasing outline, in a pretty design made common by engravings.
+This Parasol has the appearance of a mushroom, well developed and
+slightly flattened at its borders; the red velvet which covers it is
+divided into ribs or rays, by light girdles of gold, and the handle,
+very curiously worked, is like that of a distaff, with swellings and
+grooves executed by the turner. Altogether, this coquette's Sunshade
+is very graceful, and of great richness.
+
+In the most varied literary works of the seventeenth century,
+memoirs, romances, varieties, dissertations, poems, enigmas, carols,
+and songs, there is not a word of allusion to the Parasol, there
+is an entire penury of anecdote, nothing whatever on the subject.
+It is useless to torture your understanding, to look through a
+miserable needle's eye, at the /Letters/ of Madame de Sévigné, the
+gossip of Tallemant, the /Conversations/ of Mademoiselle de Scudéry,
+the /Anecdotes/ of Ménage, the poetical collections, the different
+/Chats/, the /Medleys/--it is but a library overturned to no purpose,
+a headache gained without the slightest profit.
+
+In a MS. collection, written about 1676, which relates the memoirs
+of Nicolas Barillon, a comedian, this phrase alone attracts our
+attention: "The days being very hot, the lady carried either a mask
+or a Parasol of the most precious leather."
+
+From this mask or Parasol of precious leather no conclusion can be
+drawn better than that of the Dictionaries of the Anti-Academician,
+Antoine Furetière, or of the learned Richelet, where we find a résumé
+of the ideas of the time. Here, then, is the definition of the
+first:--
+
+ /Parasol/, s. m., a small portable piece of furniture, or round
+ covering, carried in the hand, to defend the head from the great
+ heats of the sun; it is made of a circle of leather, of taffety, of
+ oilcloth, &c. It is suspended to the end of a stick; it is folded
+ or extended by means of some ribs of whalebone which sustain it. It
+ serves also to defend one from the rain, and then it is called by
+ some /parapluie/ (umbrella).
+
+The definition of Richelet is almost the same. He adds, however,
+these words: "Only women carry Parasols, and they only in spring,
+summer, and autumn." Richelet, it is true, borders upon the
+eighteenth century, since he died but a little before the end of
+the reign of Louis the Great. This brings us to the aurora of the
+Regency, and a renaissance then occurs in feminine coquetry. We are
+now about to find our Sunshade in gallant parties, supported by
+little turbaned negroes; already we see it decorated with fringes of
+gold and trimmings of silk, enhanced with plumes of feathers, mounted
+on Indian bamboos, covered with changing silks, embellished in a
+thousand and one ways, worthy, in a word, of casting a discreet shade
+on those rosy and delicate faces which Pater, Vanloo, Lancret, La
+Rosalba, and Latour did their best to reproduce in luminous paintings
+or fresh pastels, those enchanting pictures where the coquetry of the
+past smiles still.
+
+Like all objects of adornment in the hands of women, the Sunshade in
+the last century became, like the Fan, almost a light and graceful
+plaything, serving to punctuate an expression, to round a gesture,
+to arm an attitude of charming reverie, in which, guided by pretty
+indolent fingers, its point traces vague designs upon the sand.
+Before the burning breath of amorous declarations, often the frail
+Sunshade escapes from the hands of a beauty, in sign of armistice,
+and as an avowal of abandonment.
+
+Be it open, and daintily held over powdered hair, or shut, and
+brushing the brocaded petticoat, it is always the "balancing pole
+of the Graces." It gives a value to listlessness on the rustic seat
+of the parks, under the vaulted roofs of grottoes, and it adds a
+piquancy to the frowardness of the feminine chatterers, who defend
+themselves by making fun of libertine attacks. In a word, in the
+light amorous allegories of the century, it is worthy to appear in
+those love-duets of /Leanders/ and /Isabellas/, which Watteau often
+composed with so rare an art of refinement.
+
+From the middle of the last century the Umbrella of taffety became
+the fashion at Paris. Caraccioli, in his /Picturesque and Sententious
+Dictionary/, gives us evidence of this: "It has long been the
+custom," he says, "not to go out save with one's Umbrella, and to
+trouble oneself by carrying it under one's arm. Those who wish not to
+be confounded with the vulgar, prefer to run the risk of getting wet
+to being regarded as people who walk on foot, for the Umbrella is the
+sign of having no carriage."
+
+The Parasols were made by the purse-makers, and when, by an edict of
+August 1776, the manufacturers of gloves, purses, and girdles were
+united in one community, an article thus conceived may be read in
+their statutes: "They alone also still have the right to make and
+manufacture all sorts of Umbrellas and Parasols, in whalebone and in
+copper, folding and non-folding, to garnish them atop with stuffs of
+silk and linen, to make Umbrellas of oilcloth, and Parasols adorned
+and ornamented in all sorts of fashions." According to the /Journal
+of a Citizen/, published at the Hague in 1754, the price of folding
+Parasols was then from 15 to 22 livres a piece, and the Parasol for
+the country from 9 to 14 livres.
+
+We must, however, believe that the common folk of Paris did not yet
+dare to purchase Parasols, since Bachaumont, in the /Secret Memoirs/,
+dated 6th September 1769, records the following enterprise:--
+
+"A company has lately formed an establishment worthy of the town of
+Sybaris. It has obtained an exclusive privilege to have Parasols,
+and to furnish them to such as fear being incommoded by the sun
+during the crossing of the Pont-Neuf. There are to be offices at
+each extremity of the bridge, where the voluptuous dandies who are
+unwilling to spoil their complexion, can obtain this useful machine;
+they will return it at the office on the other side, so alternately,
+at the price of two farthings for each person. This project has
+already been put in execution. It is announced that if this invention
+succeeds, there is authority to establish like offices in other
+places in Paris, where skulls might be affected, such as the Place
+Louis XV., &c. It is probable that these profound speculators will
+obtain the exclusive privilege of Umbrellas."
+
+Did this enterprise succeed? We cannot tell. All that is certain is,
+that it was tried many times in our own epoch by innovators, who had
+no idea that even the letting out of Parasols was not absolutely new
+under the sun.
+
+       *       *       *       *       *
+
+A great progress was realised in the eighteenth century in the
+manufacture of Sunshades for ladies. The small ordinary Parasols
+became exceedingly light, and charmingly decorated. In a picture of
+Bonaventure Delord, in the Louvre, we find the exact type of these
+coquettish Sunshades of the last century. One, which is held by a
+laughing beauty in the midst of a picnic, is mounted on a long stem,
+and the top, made of yellow buckskin, appears to have four sides; a
+cap of turned copper, and of a very pretty shape, profiles its tiny
+Chinese gable on the grass.
+
+So, too, may be seen in the collection of Madame la Baronne Gustave
+de Rothschild, a very curious Sunshade which belonged to Madame de
+Pompadour. It is of blue silk superbly decorated with wonderful
+Chinese miniatures in mica, and ornaments in paper very finely
+cut and affixed to the background. Fortified probably with such a
+Sunshade as this, the pretty favourite, at the time of the rage for
+pastorals, which followed the appearance of Bouffier's story of
+/Aline/, betook herself to the shady walks of the Petit Trianon at
+Versailles, with her female friends, to see the white sheep milked,
+and to steep the carnation of her lips in the warm milk, of which
+the young Abbé De Bernis--who gathered so willingly madrigals and
+bouquets for Chloris--compared the whiteness to that of her peerless
+bosom.
+
+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.
+
+It is right to say that during the first years of the last century
+people could not procure Umbrellas in London except in the
+coffee-houses, where they were placed in reserve to be let out to
+customers during heavy showers of rain. The first English citizen
+who really introduced absolutely and unconditionally the Umbrella to
+the nation was Jonas Hanway, the founder of the Magdalen Hospital.
+This audacious man--for audacious he must have been thus to brave
+the prejudices of a people the most prejudiced in the world--this
+rash person had the courage never to go out into the streets of
+London without his Umbrella from the year of our Lord 1750. Like
+the majority of innovators, he was scoffed at, reviled, derided,
+caricatured; he had to bear in his daily walks the quips and insults
+of the mob, the stones and jostlings of the vagabond boys; but he had
+also the honour of triumphing, and of seeing by degrees, after twenty
+years of perseverance, his example followed to such an extent that
+at the time of his death in 1786 he could declare with pride that,
+thanks to him, the Umbrella was for ever implanted in England, an
+imperishable institution.
+
+To-day, our neighbours across the Channel talk of erecting a statue
+to Jonas Hanway, as a homage publicly paid to a philanthropist. It
+might be asked in what attitude this peaceable humanitarian is to be
+represented, whether the Parasol of bronze is to remain shut up in
+his right hand, or if it will be opened in all its amplitude over the
+head of its protector, thus become its /protégé/.
+
+About the time when Jonas Hanway died, Roland de la Platière made,
+in his /Manufactures, Arts, and Trades/, this curious observation:
+"The use of Parasols is to such an extent established in Lyons, that
+not only all the women, but even the men, would not cross the street
+without their little Parasol in red, white, or some other colour,
+garnished with blonde lace, an article which, owing to its lightness,
+can be carried with ease."
+
+At the approach of the Revolution, the Umbrella became popular, and
+served as a tent for the fishwomen and other feminine hucksters.
+Then first appeared the enormous Umbrella of red serge among the
+people of the markets, and the ordinary Umbrella in the hands of
+the "Sans-Jupons" (the unpetticoated). Amidst the enthusiasms and
+revolts of the streets the Umbrella was frantically waved by the
+hands of the women of the people, and when, on the 31st May 1793,
+Théroigne de Méricourt undertook her ill-starred defence of Brissot,
+in the midst of a multitude of old hags, who cried "Down with the
+Brissotins!" Umbrellas were lifted like so many improvised swords
+over the /Liégeoise/, smote her in the face, lashed her everywhere,
+scanning as it were with their strokes the odious cries of "/Ah! the
+Brissotine!/" and provoking in the unhappy revolutionary Amazon the
+madness of which she died so sadly at the Salpêtrière.
+
+The Parasol of the Jacobins for a time made a show of severity,
+in opposition to the knotty sticks and coquettish Parasols of the
+Muscadins (dandies) and Incroyables (beaux); the Merveilleuses
+(feminine exquisites), on the other hand, hoisted vaporous Sunshades
+like their vestments of nymphs. Then it was that fashion gave their
+due to the rights even of this frail protector of the Graces; every
+kind of extravagance was allowed, every stuff accepted, however
+dazzling and however precious. In the public gardens of Paris, all
+the fashionable beauties displayed unusual luxury in the decoration
+of their Sunshades; there were tender greens, figured gold stuffs,
+flesh-coloured tints with scarlet fretworks, tender blues trimmed
+with silver, Indian cashmeres or tissues, the whole mounted on
+handles of affected roughness or of exquisitely delicate work. /Ma
+paole supême/, as the exquisite used to say, it must be seen to be
+believed. Nothing could be more coquettish than these Parasols,
+streaked, striped, pied, fretted, as the complement of a dress /à
+l'Omphale/, /à la Flore/, /à la Diane/, appearing in a swiftly driven
+carriage, above a jacket /à la Galatée/, or a tunic /au Lever de
+l'aurore/, amidst egrets, plumes, tufts of ribbons, and every kind of
+feminine adornment.
+
+Towards the close of the eighteenth century, the Sunshade was always
+covered with the most fashionable tints and with stuff of the latest
+taste of the time. Parasols were to be seen dressed in /stifled
+sighs/, and garnished with /useless regrets/, others adorned with
+ribbons /aux soupirs de Vénus/ (Venus' sighs), whilst the fashion
+exacted by turns such colours as /coxcombs' bowels/, /Paris mud/,
+/Carmelite/, /flea's thigh/, /king's eye/, /queen's hair/, /goose
+dung/, /dauphin's dirt/, /opera flame/, /agitated nymph's thigh/,
+and other names which were the singular qualificatives of particular
+shades, the rage and infatuation of the hour.
+
+The young priests carried a light violet or lilac Parasol, to remain
+in the tone of their general dress--perhaps by episcopal orders. In
+the same way, the Roman Cardinals are still followed in their walks
+by a deacon, carrying a red Parasol, which makes part--like the
+hat--of the ordinary luggage of the "Monsignori."
+
+This word "luggage," which has just fallen from our pen, would seem
+to call the attention to the rôle of the Sunshade or the Umbrella
+in the Travels of the last century. Was the Parasol considered as
+indispensable luggage before going on any expedition? We cannot
+affirm this. The author of /A Journey from Paris to Saint-Cloud by
+Sea and by Land/ writes, before embarking at Pont-Royal: "I kept
+for my personal carriage only my repeater, my pocket-flask full of
+/sans pareille/ water, my gloves, my boots, a whip, my riding-coat,
+my pocket pistols, my fox-skin muff, my green taffety Umbrella, and
+my big varnished walking-stick." But here we have more of a pretty
+conceit of the eighteenth century, a sort of cotquean traveller,
+who encumbers himself with useless objects. We have consulted many
+/Almanacks serving as Guides for Travellers/, and containing "a
+detail of everything which is necessary to travel comfortably,
+usefully, and agreeably," from 1760 to 1765: nowhere, however, was
+the Umbrella prescribed, either for foot passengers or for those on
+horseback; on the contrary, the anonymous editor of those guides
+seems sometimes to laugh at the simplicity of the tourist from Paris
+to Saint-Cloud, and he adds that a traveller in good health ought to
+content himself with strong boots and a cloak of good cloth. Even a
+walking-stick, he says, often consoles the walker only in imagination.
+
+The Umbrella-Walking-stick--who would believe it?--was, however,
+known from 1758, and very convenient Parasols were then made, of
+which the dimensions could be reduced so as to suit the pocket. A
+certain Reynard announced in 1761 Parasols "which fold on themselves
+triangularly, and become no thicker or more voluminous than a
+crush-hat." These Umbrellas were, it seems, very common about 1770:
+the stick was in two pieces, united by a screw, and the ribs were
+folded back several times.
+
+But let us not abandon the chronological order in returning thus
+upon our own steps, after the example of a romance writer of 1840.
+We have scarcely caught a glimpse of the Sunshade in our passage
+through the sixteenth, seventeenth, and eighteenth centuries, in the
+desultory speed of this free chat, in which our prose leaps as in a
+steeple-chase of charming designs. We have confounded occasionally
+the two denominations /Sunshade/ and /Umbrella/ in the more general
+word /Parasol/: but if we have travelled a little in every direction,
+we have not had the leisure to stop anywhere as a lounger or
+analyst. And here we are at the beginning of this century, at the
+Empire, but the nation is helmed, the sun of Austerlitz requires
+not a Sunshade; woman holds merely the second place in this hour in
+which France handles but the costly toys of glory, and if we find
+at all an Umbrella, it is in the field, with the general staff of
+the army, during some misty night, when it is used to shelter the
+commander-in-chief, who studies on his map the plan of battle of the
+morn.
+
+The Sunshade shows more favourably in the hour of peace, during the
+Restoration. All the journals of fashion of the time give us curious
+and varied specimens of it in their steel engravings, hand-coloured,
+which show us, during those days of a lull, languid ladies in the
+midst of amusing decorations, in winter amidst snowy country scenes,
+in summer in a park of profound distances, on some rustic bridge,
+where the mistresses of the manors of that time allowed their
+romantic reveries slowly to wander. We can follow in the innumerable
+Monitors of elegance, which appeared from 1815 to 1830, from year
+to year, from season to season, the variations introduced into the
+decoration of the little ladies' Parasols. Look for a moment: here
+are Sunshades, covered with coloured crape, or damasked satin, with
+checkered silk, streaked, striped, or figured; others enriched with
+blonde or lace, embroidered with glass-trinkets, or garnished with
+marabou feathers, with gold and silver lace, or silk trimming;
+the fashionable shade is then very light or very deep, without
+intermediate tones: white, straw yellow, pink or myrtle-green,
+chestnut and black, purple-red, or indigo. But a hundred pages would
+not suffice us to catalogue these fashions of the Sunshade: let us
+pass onward.
+
+The use of the Umbrella extends itself little by little through all
+classes; already in the slang of the people it is known under the
+names of the /Mauve/(?), the /Riflard/, the /Pépin/, the /Robinson/.
+Umbrella manufactories have, since the beginning of this century,
+propagated rapidly in France. Before 1815--this seems scarcely
+credible--Paris had no great manufactory of Parasols. But from 1808
+to 1851 alone, we can reckon more than 103 patents for inventions
+and improvements relating to Umbrellas and Sunshades. Among the most
+extravagant patents, we must quote, after M. Cazal:--
+
+ (1.) A patent for invention of an Umbrella walking-stick with a
+ field-glass;
+
+ (2.) A patent for invention of Umbrellas and Sunshades combined
+ with walking-sticks, shutting up in a copper case, in the form of a
+ telescope;
+
+ (3.) A patent for invention of an Umbrella walking-stick, containing
+ diverse objects for writing or other purposes, and called /Universal
+ Walking-stick/;
+
+ (4.) A patent for invention of methods of manufacturing Umbrellas
+ and Sunshades, opening of themselves, by means of a mechanism placed
+ inside the handle;
+
+ (5.) A patent for an Umbrella walking-stick, of which the sheath may
+ be folded at pleasure, and carried in the pocket.
+
+In spite of these genially grotesque inventions of
+Umbrella-Telescopes and of Parasol-Walking-sticks, we have always
+come back to the Umbrella simple, without mechanism, or to a light
+stick without any pretensions to defend us from the rain. There are
+so many complications in an object intended for many uses, that an
+educated mind will always refuse to adopt it.
+
+But without speaking further of the technology of the Umbrella, we
+will relate an anecdote which ran through all the minor journals of
+the Restoration, terminating like an apologue. We shall adopt the
+form and style of the time in our narrative of this little historic
+story, which should be entitled /The Sunshade and the Riflard/.
+
+One fair summer afternoon, the promenaders in the Parisian Champs
+Elysées might have seen, seated on a chair beside a pretty woman,
+whose interesting situation was plainly visible, a peaceable citizen
+making an inventory of all his pockets in their turn, without finding
+the purse from which he intended to draw the few halfpence which the
+chair-proprietress demanded.
+
+The search is useless; it is impossible for him to pay;--the
+proprietress indignant, almost rude, threatening to make a
+disturbance, is only satisfied by the gentleman taking from the hands
+of his companion a Sunshade of green silk, with fringes, mounted on
+a reed, and a yellow glove, and giving them to the irascible lady,
+saying to her, "Well, madam, keep this Sunshade as a pledge, and give
+it to no one unless he offer you a Glove the fellow of this."
+
+The pair departed, slowly arrived at the Place de la Révolution,
+then at the Boulevard de la Madeleine, when they were surprised
+by a violent shower; cabs were not to be had, the rain increased,
+they were forced to seek refuge underneath a carriage entrance. The
+peaceable citizen had already taken his companion to this shelter,
+when a "portier," with an otter-skin cap, came out, beseeching the
+lady and gentleman to accept the hospitality of his little room,
+where a leathern arm-chair and a stool were immediately, and with
+very good grace, offered to the invited pair. The rain still pouring
+down, the "portier," more and more affable, took from a corner of his
+small lodge a superb Umbrella of green serge, and offered it to his
+guests, declaring that all he had was at their service.
+
+The gentleman, in much confusion, accepted with many thanks the
+Umbrella, and sheltering with it the interesting young woman, who had
+tucked up her dress in the prettiest style, they both ventured out
+into the midst of the deluge.
+
+ . . . . An hour afterwards, a footman in very stylish livery
+returned to the honest "portier" cobbler his precious Umbrella,
+with four notes for a thousand francs, from the Duke de Berry; next
+directing his course to the Champs Elysées, that same footman sought
+out the chair-proprietress, and said to her:
+
+"You recognise this Glove, Madam? Here are four pence, which my lord,
+the Duke of Berry, has ordered me to remit to you, to redeem the
+Sunshade of the Princess Caroline."
+
+Touching and eternal legend of virtue, not without a recompense!
+
+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.
+
+The Umbrella! we behold it in the dreams of our school-days. Here
+is the severe and sombre Umbrella of the headmaster, symbol of his
+pedantic authority, when he passed us in review in the cold and damp
+playground. Here is the Riflard of the poor usher, a celebrated
+/Pépin/, covered with a mottled cotton-stuff, its bill-headed handle
+polished by his unctuous clasp. And here, above all, is an Umbrella
+greeted with loud acclaim, a festive Crusoe, which followed us when
+out walking, as the sutler follows the regiment on the march, the
+Umbrella of /Mother Sun/, as we used to call it: /Mother Sun!/ an
+honest jolly wench, with her head in a silk pocket-handkerchief tied
+under her chin, who installed herself beneath the shelter of her
+improvised tent about our playtime, to sell to her noisy /children/
+cooling lemonade, fruit, barley-sugar, and little white rolls stuffed
+with hot sausages.
+
+But let us leave these souvenirs, which carry us too far away, and
+return to the /Sunshade/ between 1830 and 1870. If we wished to show
+only its transformations during these forty years, we should have
+to write a volume quite full of coloured vignettes to give a feeble
+idea of the history which fashion creates in an object of coquetry.
+About 1834, in the journal called /Le Protée/, we see fashion
+personified under the traits of a young and pretty woman visiting
+the finest shops in Paris; she fails not to go to "Verdier, in the
+Rue Richelieu, for Sunshades," and chooses two--one a full-dress
+Sunshade, in unbleached silk casing, mounted on a stick of American
+bindweed, with a top of gold and carved coral; the other in striped
+wood, having a similar top with a fluted knob, and covered with
+myrtle green paduasoy, with a satin border.
+
+Let us skip over some hundreds of intermediate varieties to look a
+dozen years afterwards, under the Second Republic, at the Sunshade
+described by M. A. Challamel in his /History of Fashion/: "As soon,"
+says this writer, "as the first ray of sunshine appeared, ladies
+armed themselves for their walks or morning calls with little
+Sunshades, entirely white, or pink, or green. Sometimes the Sunshades
+called 'Marquises' were edged with lace, which gave them rather
+a ragged appearance; or having the shape of little Umbrellas, the
+Sunshades could serve at need against a sudden storm. Very soon we
+saw Sunshades /à dispositions/ bordered with a figured garland, or
+a satin stripe of the same colours, or blue or green on unbleached
+silk, or violet on white or sulphur."
+
+A fashion, not, it will be allowed, in the very best taste:--Up
+to 1853 or 1854, we find no innovation worthy of exciting our
+enthusiasm; it is only in the first days of the Second Empire that we
+can see a marked change. The straight Sunshades were then abandoned
+to introduce Sunshades with a folding stick, principally for those
+made in satin and in moire antique, bordered with trimmings or set
+off with streamers. These Sunshades were called "/à la Pompadour/,"
+and they were worthy, in a certain degree, of the beauty who
+personified grace and delicate elegance in the eighteenth century;
+they were embroidered after the old fashion with gold and silk, and
+on the richness of the stuffs was cast or "frilled in" Chantilly,
+point d'Alençon, guipure, or blonde. The folding-sticks were of
+sculptured ivory, of carved mother-of-pearl, of rhinoceros horn, or
+of tortoise-shell. It is with this light Sunshade that the Parisian
+ladies saluted the Empress, caracoling by the side of the Emperor, at
+the commencement of his reign, on their return from the Wood, in the
+Champs Elysées, which began to look beautiful, as everything looks
+beautiful at the spring-tide of years, as well as at the springtime
+of governments. All in nature has surely its fall of the leaf, after
+having had the verdure of its blossom!--all tires, all passes, all
+breaks: men, kings, fashions, and peoples!
+
+The Sunshade is found to-day in the hands of every one, as it
+should be in this practical and utilitarian age. There is not, at
+the present hour, any woman or girl of the people, who has not her
+sunshade or her satin /en-tout-cas/--it seems to be the indispensable
+complement of the toilet for the promenade; and our modern painters
+have so well understood this gracious adjunct of feminine costume,
+that they take very good heed not to forget, in a study of a
+woman made in a full light, a rosy head with dishevelled hair, on
+the transparent ground of a Japanese Sunshade, thus producing an
+exquisite work with all freshness of colouring, and discreet shadows
+sifted upon sparkling eyes or a laughing mouth. On Sundays and
+holidays, in the jostlings of the crowd at suburban fêtes, it is like
+an eddy of Sunshades; such the spectacle of ancient besiegers, who
+covered themselves with their bucklers and made the "tortoise," so in
+the shimmer of the summer sun in the great Parisian parish festivals:
+gingerbread fairs of Saint-Cloud or Vaugirard, the Sunshade is on
+the trestles and among the promenaders; it protects equally the girl
+dancing on the tight-rope and the respectable citizen's wife in her
+Sunday best, who rumples the flounce of her petticoats in these
+popular gatherings.
+
+Surely the Sunshade adds new graces to woman! It is her outside
+weapon, which she bears boldly as a volunteer, either at her side,
+or inclined over her shoulder. It protects her head-dress, in
+supporting her carriage, it surrounds as with a halo the charms of
+her face.
+
+"The Sunshade," writes M. Cazal--or rather Marchal, as the so-called
+Charles de Bussy, who edited, in the name of the manufacturer, the
+little work already quoted,--"the Sunshade, like a rosy vapour,
+attenuates and softens the contour of the features, revives the
+vanished tints, surrounds the physiognomy with its diaphanous
+reflections. There is the Sunshade of the great lady, of the young
+person, of the tradesman's wife, of the pretty lorette, of the little
+workwoman, just as there is the Sunshade of the town, of the country,
+of the garden, of the bath, of the barouche, and the Sunshade-whip."
+
+"How many volumes," continues the same writer with animation, "would
+be required to describe in its thousand fantasies the kaleidoscope of
+feminine thought in the use of the Sunshade? Under its rosy or azure
+dome, sentiment buds, passion broods or blossoms; at a distance the
+Sunshade calls and rallies to its colours, near at hand it edifies
+the curious eye, and disconcerts and repels presumption. How many
+sweet smiles have played under its corolla! How many charming signs
+of the head, how many intoxicating and magic looks, has the Sunshade
+protected from jealousy and indiscretion! How many emotions, how many
+dramas, has it hidden with its cloud of silk!"
+
+M. Charles Blanc, less dithyrambic, in his /Art in Dress and
+Ornament/, commences his chapter on the Sunshade--"Do you imagine
+that women have invented it to preserve their complexion from the
+heats of the sun? . . . . Certainly, without doubt; but how many
+resources are furnished them by this need of casting a penumbra over
+their face, and what a grudge they would have against the sun, if it
+gave them no pretext for defending themselves against his rays! In
+that work of art called a woman's toilet, the Sunshade sustains the
+part of the chiaro-oscuro.
+
+"In the play of colours it is as a glazing. In the play of light it
+is as a blind."
+
+For the last dozen years, fashion has varied, with every new season,
+the mode and covering of Sunshades. To-day they have become artistic
+in all points, and after having been in turns in spotted foulard,
+and set off with ribbons or lace, after the Parasol walking-stick,
+the maroon or cardinal-red Parasol, have succeeded the checkered
+taffetas, the Madras cretonnes, the Pompadour satins, the figured
+silks. Their handles are adorned with porcelain of Dresden, of
+Sèvres, or of Longwy, with various precious stones, and with jewels
+of all sorts; and lately, among some wedding presents, amidst a dozen
+Sunshades, one remarkable specimen was entirely covered with point
+lace, on a pink ground clouded with white gauze, having a jade handle
+with incrustations of precious stones up to its extreme point. A
+golden ring gemmed with emeralds and brilliants, attached to a gold
+chain, served as a clasp for this inestimable jewel.
+
+But in this style of hasty conference in which we are running from
+the Sunshade to the Umbrella, let us not neglect the latter, whose
+last name is /paratrombe/ and /paradéluge/, which M. de Balzac, in
+the /Père Goriot/, calls "a bastard descended from a cane and a
+walking-stick." The Umbrella has inspired many writers--writers of
+vaudevilles, romances, poetry, and humorous pieces; on it little
+ingenious monographs have been composed, little sparkling verses,
+articles in reviews, very serious from the trade point of view; many
+couplets have been rhymed at the Caveau and elsewhere on the Pépin
+and the Riflard; on the stage has been interpreted /My Wife and
+My Umbrella/, /Oscar's Umbrella/, /The Umbrella of Damocles/, and
+/the Umbrella/ of the poet D'Hervilly. This useful article has also
+inspired the realist Champfleury in a joyous tale, entitled--/Above
+all, don't forget your Umbrella!/ Everywhere, with variations and
+unheard-of paraphrases, has the social part of the Umbrella been
+shown to us; the meetings occasioned by it on stormy days; the
+/Pépin/ gallantly offered to young girls eating apples in distress
+whilst it is raining on the Boulevards; we have had described to us
+the gentleman who follows the ladies fortified with his Umbrella,
+the weapon of his fight, and many tales and novels begin with one
+of these Parisian meetings at a street corner on a wet evening.
+The utility of the Umbrella in different ways has been insisted
+on, of the painter's Umbrella, of the Umbrella for men called /sea
+bath/; and the sad melopæa of the French seller of Umbrellas in the
+street, whose prolonged cry of /parrrphluie/ has been carefully
+annotated. Lastly, there have been too many pictures representing a
+coquettish workwoman, whose petticoats have been turned up by the
+wind, and whose Parasol has been turned inside out; but that which
+has never been written with the humour which such a subject allows,
+the master-piece which has never yet been accomplished, is the
+/Physiology of the Umbrella/.
+
+There is no doubt that bibliographers will put under our eyes a thin
+book of the lowest character which affects this title, and is edited
+by /Two Hackney Coachmen/, but it is nought but the "humbug" of the
+Umbrella--its /Physiology/ in its entirety is yet unaccomplished.
+Balzac would have found therein matter for an immortal work, for
+there is a dash of truth in that fantastic aphorism uttered by some
+journalist in distress, "The Umbrella is the man."
+
+Eugène Scribe has left us a modest quatrain on the Umbrella, worthy
+of his operatic muse--
+
+    A friend of mine, new, true, and rare,
+      And all unlike the common form;
+    Who leaves me when my sky is fair,
+      And reappears in days of storm.
+
+This almost equals that other quatrain, more ancient still, signed by
+the good abbé Delille--
+
+    This precious, supple instrument, confect
+      Of the whale's bone, and of the silkworm's grave,
+    With outstretched wing, my brow will oft protect
+      From the wet onslaught of the pluvial wave.
+
+Have we not here Academic verse well made for the Umbrellas of the
+Academicians!
+
+To come to extremes: among the popular songs, we hear the song of
+/the Umbrella/, "a ditty found in a whale"--
+
+    The good Umbrella may be sung
+      In many airs and ways;
+    The Umbrella, be we old or young,
+      Will serve us all our days.
+    It keeps true love from getting wet,
+      And catching cold at night;
+    It hides the thief, to business set,
+      From the policeman's sight.
+            Umbrella!
+    Then buy yourself, for fear of rain,
+    A solid, useful, good, and plain
+            Umbrella!
+    In fact, for rain we cannot sell a
+    Much better thing than our Umbrella!
+
+This funny song is well worth the tiresome verse sung at present--
+
+    He has not an Umbrella, well
+      It is no matter, while it's fine;
+    But when the rain comes down pell-mell,
+      Why, then he's wetted to the spine! . . . .
+
+Certainly one ought to write a physiological monograph of these black
+mushrooms, which to-day protect humanity, just as one ought to rhyme
+a poem of the dainty Sunshade, that pretty rosy cupola, which is one
+of the most charming coquetries of a Frenchwoman.
+
+We write this /one ought/ with a vague sadness, with the
+discouragement which makes us wish for the future, what we should
+have been so glad to bury in the past. In beginning our work, we
+experienced a careless joy, we thought the end was near on our very
+entry into the field, and that we should quickly attain it, with
+the satisfaction of having created a little work, both complete
+and altogether graceful; but once on our way, ferreting without
+relaxation in all the literary thickets where some Parasol might lie
+buried, in the fold of a phrase, in the middle of a story, of an
+anecdote, or of a dissertation, of some fact, we have gathered so
+ample a harvest, our sheaf has become so large, so very large, that
+it was impossible for us to bind our arms about it, after having
+co-ordinated its various parts. It is but a few poor strays then
+which lie stranded here, the flotsam and jetsam of our hope, sole
+vestiges of a project which, like all projects, became Homeric as it
+grew great in the workshop of the imagination.
+
+We end this essay, therefore, with a sentiment of ridicule, in which
+we laugh at our own selves, that of having dreamed of making a
+perfect monograph, and of having produced nothing more than a little
+tumbled fantasy, which ironically steals away out of sight, like
+that minuscular mouse, of which the mountain was once upon a time
+delivered in much moaning.
+
+What matter! We must end. Let us hide our melancholy retreat
+by humming this last lovely burden of a poet of the school of
+Clairville--
+
+    'Tis called a /Pépin/, a /Riflard/,
+    And other viler names there are;
+    Not one of all the Umbrella moves.
+    Wisely it counts them no disgrace;
+    Since--child of April's art--the loves
+    Oft make their quivers of its case!
+
+
+
+
+ THE GLOVE
+
+ THE MITTEN
+
+
+
+
+THE GLOVE
+
+/THE MITTEN/
+
+/To M^{me.} H. de N./
+
+
+Well, my dear friend, here I am, faithful as you see to my
+appointment; I am come deliberately to fulfil my promise, which I so
+imprudently gave on a certain day last season, upon a Breton strand,
+you remember, while contemplating one of your rosy little hands,
+which was whipping its sister with a long Swedish glove, in a sort
+of angry pet, and gave to you an appearance of wild and exquisite
+bluster?
+
+How did you manage, O Enchantress, to induce me to give my loyal word
+that I would write for you the /History of the Glove/? How! . . . who
+can ever say? When a pair of pretty eyes envelop you, and bathe you
+with their radiance, when a smile puts honey into your heart, and a
+tiny little hand is stretched out with open palm, seeming to say,
+"Take me," every kind of will melts quickly away, consent mounts
+delightedly to the lips, and we promise at once everything, before we
+know well what we are asked.
+
+Ah, unhappy me! it is the Glove of Nessus which you have placed upon
+my hand! The History of the Glove! why, it is the history of the
+world; and I should be very ill-advised if I pretended /avoir les
+Gants/ to be the first to tell that history, as ancient as it is
+universal.
+
+Haunted by this debt of honour, contracted to please you, I
+went lately to see a learned old friend of mine, a venerable
+Benedictine--better than a well of science; an ocean of
+indulgence--to whom I exposed my foolish enterprise of the Glove and
+the Mitten.
+
+Ah, my friend, I only wish you could have seen him all at once leap
+from his seat, look at me with compassion, examine me profoundly with
+his eye, and murmur three times in a tone of ineffable astonishment
+and sadness, as though he believed me mad--
+
+"The Glove!--the Glove!!--the Glove!!!--
+
+" . . . And so it is the Glove," he went on, when he had become a
+little calmer, "it is the history of this offensive and defensive
+ornament, of this object so complex, of which the origin is so
+obscure and so troublesome, it is a monograph of the Glove that you
+desire to write! . . . My dear child, allow me to believe that you
+have not reflected on what you have engaged yourself to do, let
+me think that you have brought more lightness than reason to the
+conception of this enterprise. The Glove!--Why, with the history of
+the Shoe, it is the most formidable work that a learned man could
+dare to dream of executing. Look," he sighed, dragging forth a
+voluminous manuscript, "in the /Bibliography of Words/, a colossal
+work, which I have commenced, but, alas! shall never end, I see at
+the word GLOVE more than fifteen hundred different works, Latin,
+Greek, Italian, German, Spanish, English, and French, which treat of
+this matter, and even this is but the rudest sketch. We must consider
+the use of the Glove amongst the ancient Hebrews, the Babylonians,
+the Armenians, the Syrians, the Phœnicians, the Sidonians, the
+Parthians, the Lydians, the Persians, the Greeks, the Romans, &c.
+
+"It would be necessary to divide the work into different Books,
+subdivided into innumerable Chapters; thus for the etymology alone of
+/the word Glove/, in the different dialects, must be reserved a long
+notice of comparative philology; it would be necessary to determine
+if the Glove which was used by the young nude girls, who wrestled
+together in Lacedæmon, after Lycurgus had installed there his Lyceums
+and public games--if this Glove, I say, ought to be classed among the
+fighting mufflers or the leathern gauntlets--and how many matters
+besides!" And my dear old friend became still more and more excited,
+ever widening the question, as if, it seemed to me, it were a case of
+establishing a complete Encyclopedia. Diderot and d'Alembert would
+have grown pale before that imperturbable science, which showed
+mountains of folios to be cleared away, and unknown precipices to be
+sounded.
+
+"But," I hazarded in a little confusion, "I only think of writing a
+light treatise, a thin volume of a few pages, one of those nothings
+carried off by the wind, which pass for a second, like an anecdote or
+tale, into a pretty feminine cerebellum; I wish to give hardly a line
+to other countries than France, just to graze incidentally the Glove
+of challenge, to speak only from memory of the pontifical Gloves,
+to neglect the side of manufacture, the art of preparing the skins,
+of removing the outside skin, and so on. I only desire in one word
+to chat for a few instants, disconnectedly and in fits and starts,
+on that portion of clothing which the ancients called /Chirothecæ/,
+/Gannus/, /Gantus/, /Guantus/, /Wanto/, and /Wantus/, if I may trust
+the /Glossary/ of Du Cange."
+
+"Alas, that is true," cried my old friend, in a sadly modulated tone;
+"I am doting, eh? We, of the old school, it is we who are the wet
+blankets, the tedious savants. At the present day, when journalism is
+to literature what the piano is to music, an instrument upon which
+every one strums without any conviction, is it not necessary to cut
+matters short, and quickly create eternal /à peu près/ (pretty much
+the sames), little light dissertations, notices made on the spur of
+the moment, and superficial passion? We were in our time egotists,
+fervent solitaries, unreadable and unread, if you will; what does it
+matter? When a work had fastened on our mind, we espoused it, after
+a legitimate love, with all the joys of generation and paternity. We
+wished to endow our labour with all the qualities which it seemed
+able to bear, to such an extent, that it became dry, rugged, and
+severe. But how many were the delights not to be forgotten, in those
+traces followed for whole days, before our utterance of the joyous
+/Eureka!/--how many inward intoxications in that slow-brooding
+season, in that patient labour!--how many minute investigations
+before resolving a historic doubt! We were the exclusives of national
+erudition, and thought one work sufficed for one man, when he had fed
+it with his life, with his watchings, with his very heart, with all
+the tenderness of the creative workman.
+
+"I should like," he continued, "to have twenty years to ride a
+hobby-horse, which would make me rest at stopping-places for ten,
+fifteen, twenty years, on a thorny work, and offer me splendid runs,
+full of adventure, across the highways and secret paths of science.
+I would commit the follies of Doctor Faustus, to return to the age
+of those first bibliographic loves, which have the future brilliant
+and open before them--and this Glove which you disdain, my dear young
+friend--this Glove which you dwarf to the ideal of a doll--this
+Glove, I would pick it up, hold it carefully, clear off with it like
+a cat, and ensconce myself with it in my savant's den, to take a good
+long sniff at it, to study it, and to analyse it every day more and
+more, until at last I drew from it a serious and lasting work.
+
+"This Glove should not be thrown at the public, like one of those
+challenges which recall too distinctly the celebrated Glove which
+Charles V. sent to Westminster by a mere scullion--an accentuation
+of the insult offered to the King of England--it should be cast more
+lovingly, as in our old romances of chivalry, /the Romance of the
+Rose/, of /Rou/, or of /Perceforet/. If I were but twenty years old,
+I would do with the reader as Petrarch did with Laura, in demanding
+of her nothing more than the favour of picking up her Glove; and I
+would say to him later on, after the fashion of Marot, poetically, in
+offering my work:--
+
+   'Deign to receive these Gloves with goodly cheer,
+    My true heart's present of the coming year.'
+
+"And then I would speak of those Mittens with which Xenophon
+reproaches the degenerate Persians, of those Roman finger-stalls
+employed in the olive crop, and even of that glutton named Pithyllus,
+who carried delicacy so far as to make a Glove of a sheath of skin
+for his tongue."
+
+The good old man, kindled by his enthusiasm, became transformed; he
+seemed desirous to take upon himself the whole history of the Glove,
+which he embroidered at once with fancy and the most varied anecdote
+that his wonderful memory could supply. After having distinguished,
+in the Middle Ages, many sorts of Gloves, such as the /usual/ Glove,
+the /falconer's/ Glove, the /workman's/ Glove, the /feminine/ Glove,
+the /military/ Glove, the /seignorial/ Glove, and the /liturgical/
+Glove, he attacked with a zest bordering on frenzy the part of the
+Glove of the knights and men in armour of the heroic battles of the
+past, at a time when individual prowess could still display itself;
+he quoted the Chronicles of Du Guesclin and De Guigneville:--
+
+   "Rich basinets he ordered to be brought,
+    And Gloves with iron spikes with horror fraught."
+
+He showed me, without recourse to aught but his own erudition, the
+transformation of these iron gauntlets, first into mail, like the
+coat, then into movable plates of flat iron, adapted to the movements
+of the hand; he explained to me the lining, where the palm was of
+leather or stuff, and at last, exhuming the ordinances of 1311, he
+made me penetrate into the details of the manufacture:--
+
+"That no one should make Gloves of plates, except the plates are
+tinned or varnished, or beaten, or covered with black leather, red
+leather, or samite, and that under the head of every nail should be
+set a rivet of gold."
+
+Ah, my fair friend, if you could have seen this strange man so
+suddenly taken by my subject, you would have regarded me with pity,
+for I could not help pouting a little at this old dean, and felt
+myself attacked by a sudden cowardice, at the mere announcement of
+the formidable researches which were to be undergone.
+
+I took my humble leave of my most learned master, humiliated, floored
+by the extent of his knowledge, his laborious zeal, his powerful
+faith, his stubborn will. I saw that in giving you my word for a poor
+Glove, I had given it to a demon, who showed me a Glove of an immense
+shagreen skin, containing the world and its history--fantastic as a
+nightmare, which weighed me down. Then I swore to sacrifice a part
+for the rest, and not to build a cathedral when a simple cushion
+at your feet would suffice me for my heedless chatter. Accept then
+favourably this act of contrition, and let me be fully pardoned,
+if, /à propos/ of the Glove, I bound along madly like a young kid,
+without pity for the history of costume and historic documents, which
+I trample under my feet, rather than see myself buried under their
+pyramidal bundles.
+
+That which my old friend had probably neglected is the Legend, and to
+that I run.
+
+A charming poet and a charmer, Jean Godard, a Parisian, the worthy
+rival of Ronsard, published towards 1580 a piece entitled /The
+Glove/. This witty nursling of the Muses pretends to show us the
+origin of the Glove in the burning passion which Venus cherished for
+Adonis. According to our poet--
+
+    "The young Adonis ever loved the field,
+    Now hunting the swift stag with branching head,
+    And now the tusked wild boar, just cause of dread.
+    Venus, fierce burning with his love alway,
+    Would never leave him neither night nor day,
+    But running after his sweet eyes and face,
+    Sought young Adonis, when he sought the chase:
+    Deep into forests full of gloomy fear,
+    The goddess followed him she held so dear.
+    One day, as she pursued him, bursting through
+    A bramble thicket, which by ill chance grew
+    Athwart her path, a cruel, hardy thorn
+    Pierced her white hand, and lo! the rose was born
+    From her red blood. But Venus, vexed with pain,
+    Lest any hurt should touch her hand again,
+    Bade all at once her unclad Graces sew
+    A leathern shelter for her hand of snow.
+    The lovely Graces, draped in floating hair,
+    No longer left their own hands free and bare,
+    But bound and covered them as Venus did.
+    And now the Glove's true origin is hid
+    No longer. This is it. Fair girls alone
+    Wore on their hands what now is common grown.
+    Then came the Emperor, and then his court,
+    And then at last the folk of every sort."
+
+Charming in its /naïveté/, is it not, my dear friend, this fable
+which gives the Glove the same origin as the rose!
+
+The use of Gloves was widely spread in the Middle Ages. They covered
+the wrist entirely, even with women. "The Gloves of the common
+people," says M. Charles Louandre, "were of sheep-skin, of doe skin,
+or of fur; those of bishops were made in chain-stitch of silk with
+gold thread; those of simple priests were of black leather." But what
+will surprise you is that, contrary to the present custom, it was
+absolutely forbidden to appear gloved before great personages.
+
+In a manuscript lately published, /The Sayings of the Merchants/, a
+merchant cries, with an engaging air--
+
+    "I have pretty little bands,
+      And for damsels dainty Gloves,
+    Furred to warm their snowy hands,
+      These I sell to those sweet loves."
+
+But what were the furred Gloves of sweet loves or gentle ladies
+compared to those which the fair Venetians showed on the grand days
+of ceremonies, when the Doge prepared to mount the Bucentaur for
+the purpose of espousing the sea? These, according to M. Feuillet
+de Conches, were Gloves of silk marvellously embroidered, embossed
+with gold and pearls; some of them were of lace of an incomparable
+richness, well worthy to be offered as a present, and to figure in
+the budget of handsome acknowledgments. But the most wonderful were
+the Gloves of painted skin, like the water-colours on Fans.
+
+Here were country scenes, sheepfolds, pictures of ravishing
+gallantry, miniatures beyond price. "And even," observes M. Feuillet
+de Conches, "the heels of the shoes of dandies were decorated by
+Watteau or by Parrocel."
+
+The Valois doted, you know, on perfumed Gloves; this taste was fatal
+to Jeanne d'Albret, who found her death in trying a pair of Gloves
+dexterously prepared by some Italian quack, a friend of the sombre
+Catherine. Consider, my friend, that with my romantic instinct, and
+my temperament full of love for the drama, I might find here an easy
+transition, and tell you, in long excited phrases, of the exploits of
+the Marchioness of Brinvilliers, and the grim Gaudin de Sainte-Croix;
+show you these sinister poisoners preparing by night their infamous
+Glove stock; then in a tale fantastic as the /Olivier Brusson/ of
+Hoffmann, evoke the famous trial of the Marchioness, the torture,
+the various punishments, the burning chamber, up to the final stake.
+All this /à propos/ of the Glove--who can say if such simple history
+would not be worth more than all the cock-and-bull stories which I
+am about to tell you, by compulsion, concerning the Glove and the
+Mittens? In very truth, I would prefer, as your /vis-à-vis/, to
+show myself a romancist, not an historian, for I should be sure of
+being less of a bore, more personal, and, above all--shall I avow
+it?--not in any degree common-place. But, as Miguel de Cervantes
+said, "Our desires are extremely seditious servants." I will be then
+reactionary, and will close the door against these socialists of
+sentiment.
+
+All this fine rigmarole has made me think of presenting you with a
+letter of Antonio Perez to Lady Rich, sister of Lord Essex, who had
+asked him for some dogskin Gloves:--
+
+"I have experienced," he writes, "so much affliction in not having by
+me the dogskin Gloves desired by your ladyship, that, waiting their
+arrival, I have resolved to flay a little skin on the most delicate
+part of my own body--if, indeed, any delicate part can be found upon
+my rude self. Love and devotion to a lady's service may surely make
+a man flay himself for her, and cut her a pair of Gloves out of his
+own skin. But how can I pride myself on this with your ladyship, when
+it is my custom to flay even my very soul for those I love? Could
+mine be seen as clearly as my body, it would appear full of tatters,
+the most lamentable sort of soul in the world;--the Gloves are of
+dog's skin, madam, and yet of my own, for I hold myself as a dog, and
+supplicate your ladyship to hold me in like regard, in requital of my
+faith and my passion in your service."
+
+What think you of this out-and-out gallant, of this "dying"
+passionate lover? Here it seems to me, /à propos/ of scented Gloves,
+we have a Castilian gentleman exceedingly well skilled in the
+delicate art of offering them to ladies.
+
+Spanish Gloves are reproached with too strong a smell; the French
+ladies suffer strangely from their too heady odour: Antonio Perez
+would certainly have been an excellent manufacturer of perfumed
+Gloves--discreet in his scents, distinguished in his form.
+
+The Gloves most in vogue after the time of La Fronde were the
+Gloves of Rome, of Grenoble, of Blois, of Esla, and of Paris. M. de
+Chanteloup charged Poussin to buy him Roman Gloves, and the latter
+wrote back on 7th October, 1646: "Here are a dozen pairs of Gloves,
+half men's, half women's. They cost half-a-pistole a pair, which
+makes eighteen crowns for the whole." The 18th October, 1649, another
+purchase; but this time they are Gloves scented with Frangipane,
+with which Poussin provided himself for M. de Chanteloup; and
+these he bought at la Signora Maddelena's, "a woman famous for her
+perfumes." In Paris, according to /The Convenient Address Book/ of
+Nicolas de Blegny--the Bottin of 1692--there were a certain number of
+manufacturers of perfumed Gloves in the Rue de l'Arbre-Sec and the
+Rue Saint-Honoré. "There are," says the editor of this commercial
+almanac, "Glove-merchants very well stocked; for instance, M. Remy,
+opposite Saint-Méderic, who is famous for his excellent buck-skin
+Gloves; Arsan, hard by the Abbey Saint-Germain; Richard, Rue
+Saint-Denis, /at the little St. John/, well known for his Gloves of
+/Fowl-skin/; and Richard, Rue Galande, at /the Great King/, whose
+commerce is in doeskin Gloves."
+
+The name of fowl-skin Glove doubtless astonishes you--another name
+was outer lamb skin; they were made for the use of ladies during
+the summer. The pretended fowl-skin was nothing but the epidermis of
+kid-skin, and the preparation of this epidermis was the real triumph
+of the Glove-merchants of Paris and Rome. Gloves of /Canepin/, or
+outer lamb's-skin, were made, it is said, so delicate and thin, that
+a pair of them could be easily enclosed in a walnut shell.
+
+The buck-skin or buffalo-skin Glove was specially made for falconers;
+it covered the right hand half up the arm, thus completely protecting
+it against the claws, or rather the talons, of the bird, falcon,
+gerfalcon, or sparrow-hawk, when it came to settle on their fist.
+
+Hawking existed even under Louis XIII., but it was no longer the
+grand and splendid epoch of this aristocratic sport, so profoundly
+interesting. In one of his ancient legends, André le Chapelain,
+of whom Stendhal wrote a short biographical notice, speaks of a
+sparrow-hawk, to gain which the magic Glove was necessary. This Glove
+could only be obtained by a victory in the lists over two of the most
+formidable champions of Christendom. It was suspended to a golden
+column, and very carefully guarded. But when the knight had by his
+skill gained the Glove, he saw the beautiful sparrow-hawk so much
+desired swoop down immediately upon his fist.
+
+Up to the age of Louis XIV., the skin Glove was destined rather
+for the use of men, and it was only under this Prince that Gloves
+mounting a long way up the arm, and long Mittens of silk netting to
+set off the hands of women, were generally adopted by them.
+
+Gloves /à l'occasion/, /à la Cadenet/, /à la Phyllis/, /à la
+Frangipane/, /à la Néroli/, Gloves /of the last cut/ worn awhile by
+the /Précieuses/, ceased to be fashionable about 1680. The custom, of
+which Tallemant speaks, of presenting ladies, after the banquet, with
+basins of Spanish Gloves, was only vulgarised in passing from the
+Court to the town.
+
+Dangeau, in his /Memoirs/, has written a chapter on the /Etiquette
+of Gloves and the Ceremonial of Mittens/. I refer you to it without
+ceremony.
+
+Under Louis XV., in the eighteenth century, so full of the rustle
+of silk, so enchanting that I fear to stop on it in your company,
+lest I should never leave it, the wearing of Gloves quickly became
+an enormous luxury. All those fair coquettes, whom you have seen
+at their toilets, or their /petit lever/, after Nattier, Pater, or
+Moreau, surrounded by their "/filles de modes/," caused a greater
+massacre of Gloves at the time of trying them on, than our richest
+worldlings of to-day. These Gloves were of kid, of thread, and
+of silk; the most celebrated came from Vendôme, from Blois, from
+Grenoble, and from Paris; they were generally made of white skin,
+wretchedly sewn, but the cut was extremely graceful, with its cuff
+falling from the wrist over the hand, and small ribbons and fine
+rosettes of carnation interlaced on this cuff.
+
+Gloves sewn after the English fashion were highly appreciated. It
+became a proverb, that for a Glove to be good, three realms must have
+contributed to it: "Spain to prepare the skin and make it supple,
+France to cut it, and England to sew it."
+
+Caraccioli maintains that a woman of fashion, about the middle of the
+eighteenth century, would not dispense with changing her Gloves four
+or five times a day. "The /petits-maîtres/," he adds, "never fail to
+put on, in the morning, Gloves of rose or /jonquil/, perfumed by the
+celebrated Dulac." As to Mittens, the same observer of the century
+notices them as specially belonging to women. "Nevertheless," he
+says, "in winter the manufacturers make furred Mittens, and men now
+wear them when they travel."
+
+Madame de Genlis has this curious observation in her /Dictionary of
+Etiquette/: "If you have anything to present to a princess, and have
+your Glove on, you must needs take it off."
+
+How many anecdotes, how many literary souvenirs, the Glove of the
+eighteenth century summons to the thought!
+
+You remember, I am quite sure, that pretty chapter consecrated by
+Sterne, in his /Sentimental Journey/, to the beautiful Grisette who
+sold Gloves, into whose shop he entered to ask his way. The pretty
+Glove-seller coquets with the stranger, shows herself extremely
+complaisant, and the sentimental traveller, to prove his gratitude
+for her kindness, asks for some Gloves, and tries on several pairs
+without finding one to suit him. But he takes two or three pairs all
+the same before he goes.
+
+The story leaves a fresh feature in the mind: an English artist has
+fixed it with much delicacy on a remarkable canvas, which figures in
+the National Gallery. The authors of the /Vie Parisienne/ were surely
+inspired by it a little later in their joyous libretto, when they
+wrote the well-known couplets of the lady who sold Gloves and the
+Brazilian.
+
+Permit me also to relate to you an anecdote, rather slight in
+texture, of which Duclos is the hero, and which has all the flavour
+of his roguish age:--
+
+The author of /Manners/ was bathing on the flowery borders of the
+Seine, and giving himself up to skilled /hand-over-hand/, when
+he suddenly heard piercing cries of distress. He rushes out of
+the water, runs up the bank without taking time to slip on his
+"indispensables," and finds a young and charming woman, whose
+carriage had just been overturned in a rut. He hastens to beauty
+in tears, lying on the ground, and making a gracious bow, in his
+academic nudity, "Madam," says he, in offering her his hand to assist
+her to rise, "pardon my want of Gloves."
+
+Here we have at once the expression of a scoffing sceptic, and a
+giddy philosopher, full of a particular charm. Do not believe, my
+gentle friend, that if I remain in your company so short a time in
+the beginning of the eighteenth century--the only one which has,
+you cannot deny it, all its perfumed quintessence--do not believe
+that I intend to linger in the Revolution, and conduct you to the
+house of Mademoiselle Lange, Madame Talien, Madame Récamier, and all
+the fashionable drawing-rooms of the First Republic, the Directory,
+the Consulate, and the Empire; to take ceremoniously the hand of
+the marvellous Beauties, the Nymphs, and Muses of those troubled
+times, in order the better to show you what extravagant Gloves, what
+prodigious Mittens, were then worn. The /Ladies' Journal/, and all
+the small journals of fashion, will surely teach you more about the
+Gloves worn by these worldly Calypsos and Eucharises than six hundred
+monotonous pages of varied descriptions. There is no Museum, however,
+preserving the objects of art which the Revolution marked deeply with
+its seal; and this fact will make me insist on a model of a special
+Glove, destined for a representative of the people despatched to the
+army, of which an erudite archæologist of the Revolution, and at the
+same time a remarkable humourist, Champfleury, has been good enough
+to communicate to me a design. This Glove of doe-skin, manufactured
+according to order, and broidered with arabesques about the slopings
+of the thumb, bears on the back of the hand a vignette in the form
+of a seal, which represents Liberty holding in her hand the pike,
+the Phrygian cap, and the scales of justice--a Liberty, you will
+say, by no means at liberty . . . . in her movements:--on the right
+is crouched a lion, the sign of force; on the left a cat, a sign of
+independence.
+
+I will not lose my time in paraphrasing for you this symbolic
+vignette; and, with a long historic stride, I will conduct you
+into the quietude of some chateau, under the Restoration, and, in
+the evening twilight, to the terrace before a great park. I will
+there show you two lovers warbling a serenade--the timid young girl
+touching a guitar, the young man deeply moved, putting a world of
+passion into his baritone voice. On the hands of the singer, behold,
+pearly grey gloves fastening with a single button; on the dainty
+little fingers supporting the guitar, examine those Mittens of black
+silk lace, open worked, like those which, according to tradition, are
+worn by the heroine of that charming comedy, the /Marriageable Maid/.
+
+There rises on my lips a song of the time which the /Almanac of
+the Muses/ has bequeathed us, to the air of /The Little Sailor/. It
+will perhaps add a spice of interest to my story. "Now, listen, my
+friend," as they used to say in the noble ages of chivalry. Title of
+the song: /The Gloves/.
+
+    I love the Glove, that covers quite
+      The rounded arm it rests upon;
+    I take it off, with what delight,
+      With what delight I put it on!
+    If true it is through mystery,
+      A lover's bliss will higher move,
+    How dear that little hand should be
+      Which hides itself beneath a Glove!
+
+    But there's another Glove, whose use
+      Will every swaggerer displease;
+    A Glove correcting all abuse,
+      Which brings the braggart to his knees;
+    How many boasting folk I've known,
+      Who would, and wisely, rather prove
+    A flight from out the window thrown,
+      Than see before them that same Glove!
+
+    The Gloves are useful when we seek
+      The fair, the great ones, as we know;
+    When unto those with Gloves we speak,
+      Easy at once their favours grow.
+    They for intriguers wealth have won,
+      No fools their uses are above;
+    Of what another man has done
+      They boast, and give themselves the Glove.
+
+One last couplet, I pray you, and the authoress, Madame Perrier, will
+bow herself out:--
+
+    The Gloveless man can ne'er afford
+      To dance, no step he makes with grace;
+    The servant wishes that his lord
+      Should put on Gloves in many a case.
+    When the police are wide awake,
+      To cheat those eyes they hardly love,
+    How many thieves will wisely take
+      The greatest care to wear the Glove?
+
+The song is not so bad, truly; and if the Muse gloves the author a
+little tightly, the tone of his strophes is none the less strictly
+respectable and proper.
+
+Under Louis XVIII. and Charles X. long Gloves were very costly;
+still, no coquette hesitated to change them every day, for it was
+necessary for them to be of extreme freshness of colour, which was
+either buff, gridelin, or white. Some years later, the fashion
+tended to maize, straw, or nut colour for the evening and morning
+toilet, and to palisander, burnt bread, cedar, fawn, for afternoon
+visits. Yellow Gloves had an infinite scale of tones, from a soft
+and delicate unbleached lawn colour to the glaring yellow of a
+stage-coach. White doe-skin was only used by men when riding.
+
+It was about this epoch, if I mistake not, that the denunciation of
+/Gant jaune/ (yellow glove) became synonymous with /petit-maître/
+(dandy). In London, the disciples of Brummel--of the most refined
+elegance--constituted a society, and formed the Club of the /Fringed
+Glove/. This club no longer existed doubtless in 1839, when d'Orsay
+established thus despotically the rules of the perfect gentleman:
+
+"An English gentleman of fashion," said he, "ought to use six pair of
+Gloves a day:
+
+"In the morning to drive a britzska to the hunt: Gloves of reindeer.
+
+"At the hunt, to follow a fox: Gloves of shammy leather.
+
+"To return to London in a Tilbury, after a drive at Richmond in the
+morning: Gloves of beaver.
+
+"To go later for a walk in Hyde Park, or to conduct a lady to pay her
+visits or make her purchases in London, and /to offer her your hand
+in descending from the carriage/: coloured kid Gloves braided.
+
+"To go to a dinner-party: yellow dog's skin Gloves--and in the
+evening for a ball or rout: Gloves of white lamb-skin embroidered
+with silk."
+
+
+What odious tyranny is so exacting a fashion! And how sensible was
+Balzac when he wrote: "Dandyism is a heresy of fashion; in making
+himself a dandy, a man becomes a piece of furniture of the boudoir,
+an extremely ingenious puppet, which can pose on a horse, or on
+a sofa, which sucks habitually the end of a walking-stick, but a
+reasonable being--never!"
+
+It is, however, with some dandy of the school of Rubempré and
+Rastignac, that often, on quitting the ball, an author shows us a
+romantic young lady in love, whose jealousy gnaws at her heart, who
+re-reads the letters of old times, and with wandering looks, like
+one overwhelmed, nervously tearing with her teeth a finger of her
+Glove, sadly dreams that the lover who is no longer all, is nothing,
+and that the moralist much deceived himself who wrote: "Woman is a
+charming creature, who puts off her love as easily as her Glove."
+
+How many things are there, look you, in a Glove!
+
+In the novel /The Lion in Love/ of Frédéric Soulié, Léonce signs the
+register of marriages at the mayoralty with a gloved hand; and when
+Lise's turn comes, the young girl stops, saying in a voice tinged
+with just a touch of mockery, "Pardon me, let me remove my Glove."
+
+"Léonce understood," then says the author, "that he had signed
+with his gloved hand." Sign an act of marriage with a Glove!
+Léonce meditated a little, and said to himself: "These people have
+certain delicacies. What difference makes a Glove more or less to
+the holiness of an oath, or the signature of a document? Nothing
+assuredly; and yet it seems that there is more sincerity in a naked
+hand, which affixes the signature of a man in testimony of the truth.
+It is one of those imperceptible sentiments of which we are unable to
+give an exact account, but which nevertheless exist."
+
+The fact is, that the Glove is not really, as has been said, a
+tyrant of which the hand is the slave, but quite the contrary--it
+is the hand's servant; and with the hand, as Montaigne wrote, "We
+request, promise, call, dismiss, menace, pray, supplicate, deny,
+refuse, interrogate, admire, number, confess, repent, fear, shame,
+double, instruct, command, incite, encourage, swear, witness, accuse,
+condemn, absolve, injure, contemn, distrust, track, flatter, applaud,
+bless, humiliate, mock, reconcile, recommend, exalt, feast, rejoice,
+complain, sadden, discomfort, despair, astonish, write, suppress," &c.
+
+I stop out of breath: verbs of every kind may pass into the list.
+
+With the Egyptians, the hand was a symbol of force; with the Romans,
+a symbol of fidelity. We please ourselves in clothing the occult
+powers, such as Time, Nature, Destiny, with a human hand: the hand
+of Time overthrows empires, and impresses wrinkles on our brows; the
+hand of Nature is prodigal to us of gifts, which are ravished from us
+by the hand of Death; the hand of Destiny or of Providence, in fine,
+conducts us across the paths of life.
+
+Old stereotyped language, which we use, and shall use always. Are
+we not, as Saint Evremond said, in the hands of love, as the balls
+in the hands of tennis-players--and the first happiness which love
+can give, is it not, according to Stendhal--and all the truly
+sensitive--the first pressure of the hand of the woman we love?
+
+Our ancestors swore by the hand, and read in the hand the mysteries
+of the future. On the day of coronation, the hand of justice was
+borne before the kings; the hand is used in salutation; we ask for
+the /hand/ of the lady we wish to espouse in lawful marriage; we
+wash our hands, like Pontius Pilate, of faults which we could not
+help committing; and if I were to have to make for you the panegyric
+of this organ, I should have, like Scheherazade, to put off the end
+of my discourse every day till the morrow. Sir Charles Bell, in
+his book, /The Hand: Its Mechanism, etc./, has given a synthesis
+of all I could possibly add, and has proved that the human hand is
+so admirably formed, possesses a sensibility so exquisite, that
+sensibility governs with so much precision all its movements, it
+answers so instantaneously to the impulses of the will, that one
+might be tempted to believe that it is itself its seat. All its
+actions are so energetic, so free, and withal so delicate, that it
+appears to have an instinct apart; and neither its complication as
+an instrument is ever dreamt of, nor the relations which subject it
+to the mind. We avail ourselves of the service of the hand, as we
+perform the act of respiration, without thinking of it; and we have
+lost all remembrance of its first feeble efforts, as of the slow
+exercise which has brought it to perfection.
+
+The hand, in a word, is the most perfect instrument given by God to
+man; but I ought not to forget, my fair friend, that poets seldom
+wear gloves, and philosophers never; and that, philosophising as I
+am, I remain outside the Glove, and, above all, appear to forget that
+axiom of Fontenelle: Had we our hand full of authenticated facts or
+truths, we should but half open it, and that after a feeble fashion.
+
+The Glove is worthy of entering into the legend of a fairy tale, and
+remaining there always, as the slipper has entered into the poetry
+even of fable, with the theme of /Cinderella/. An ancient King of
+France was indeed in love all his life with an unknown woman, only
+from having seen her Glove in the midst of a masked ball given
+to his court. Could it not easily be conceived according to the
+approximative aphorism, "Show me your Glove, I will tell you who you
+are." At the opera ball, in the surge of masks and of dominoes, in
+the midst of the comings and goings on that staircase so exalted,
+it needs but a Glove imprisoning a little hand to allure at once
+the passion of a man of delicacy--a long white Glove lovingly glued
+to a hand divinely small, a fine delicate wrist, and the exquisite
+roundness of the forearm. This is enough to transport a lover of the
+fair sex. The Glove appears not only in all festivals where grace and
+beauty preside; it is found in all the rudeness and clumsiness of its
+origin at the Poles, among the Norwegians, the Laps, and the Fins,
+who wear huge Gloves of wool in summer, and thick Gloves of reindeer
+skin, with the hair outside, in winter.
+
+Defended by these Gloves, they sometimes sally bravely from their
+huts, in spite of the cruel frosts, to kill the white bear and the
+seal, just as the dramatic engravings which illustrate our stories of
+voyages to the North Pole represent them to us.
+
+But methinks your eye is asking me in disquietude about two little
+bound books which I have in my reach. Reassure yourself, these are
+not recitals of tourists, which are for painting us the manners of
+the inhabitants of Karasjok or of the Lofoten Isles: I will read
+to you at once, without allowing you to languish any longer, their
+titles. Upon one of these works, see for yourself /Collection of the
+Best Riddles of the Time/, composed on divers serious and sprightly
+subjects by Colletet; on the other, /Collection of Riddles of the
+Time/, by the Abbé Cotin. You already divine that I intend to act no
+traitor's part towards you, and that I am going to read you some old
+charades in verse upon Gloves:
+
+The first riddle--/énigme/ has been masculine in French at least
+since the seventeenth century, in despite of its profound
+femininity--the first riddle, in obscure and ambiguous terms,
+indicates that the Glove, after having been the natural covering of a
+rustic animal, serves to-day as an artificial covering for an animal
+more refined: man!
+
+    We're two or ten, and to a body wed,
+      We once a thing of breathing life were over;
+    Like it we lived, and now, although we're dead,
+      Another life more excellent we cover.
+
+This quatrain riddle is by François Colletet, that poor poet up to
+his neck in mud. Listen now to Cotin--the Trissotin of Molière--in
+this singular sextain:--
+
+    With mortal flesh our five soft mouths we fill,
+    And in the winter to repletion feed;
+    If one of us be lost, the world's agreed
+    To treat the rest of us exceeding ill;
+    But if we all remain together, then
+    We do almost all that is done by men.
+
+Mediocre, isn't it; tortured, bombastic, gross, all at once? There is
+nothing here to make us fall into an ecstasy, and repeat to satiety,
+as some highly refined courtiers used to do, "Ah, with what congruity
+of terms are these thoughts expressed!"
+
+I shall abandon the riddles at once. These two specimens are enough.
+Another point:
+
+Many physiologists affirm that great warriors have been remarkable
+for a beautiful hand, which they loved perhaps to adorn with the most
+delicate gloves. They instance Cyrus, Alexander, Cæsar, Charlemagne,
+and Napoleon.
+
+According to an historian of the First Empire, some generals
+attending Bonaparte one day in his private room, found his big
+military Gloves and his little hat on a side-table. Actuated by
+curiosity, each one of them tried in turn the Glove and the hat; but
+it appears there was not a single hand which could force its entrance
+into those big Gloves, and upon those giants' shoulders not a single
+head which could fill up the little hat.
+
+Napoleon was, it is weil known, no less proud of his hand than Byron,
+who, his biographer tells us, had a hand so small, that it was out of
+all proportion with his face. Byron thought and wrote that nothing
+characterised birth more than the hand; it was, according to him,
+almost the sole index of aristocracy of blood.
+
+Since the fifteenth century, we can trace in the museums of France,
+Holland, Italy, Spain, and Germany, the interest which painters of
+all schools have taken in the study of the hand, and, indeed, of
+the Glove. Van Dyck and Rubens were passed masters in this art, and
+Titian has left an admirable masterpiece in his /Young Man with
+the Glove/. Velasquez almost always makes his powerful models hold
+Gloves, nobly folded in their right hand. In Venetian paintings we
+see the Glove on the hands of the Doge, of his wife, of ambassadors,
+of senators, of residents, and even of merchants. The mere study
+of the Gloves in these portraits and these costumes would suffice
+for a long pamphlet, for we must consider the Glove in all classes
+of society and in all epochs, from the embroidered Gloves of the
+Doges to the special Gloves of the merchants, of the rectors of the
+university of Padua, and even of the monks of the brotherhood of the
+Cross, which were violet on a white ground, &c.
+
+But it would be madness to endeavour to omit nothing in this
+monograph of the Glove, a tentative work, and an unpremeditated
+sketch of little pretension.
+
+Have we not still to consider the stuffed fencing Glove, with the
+short shield of red leather, and the giant Glove which swells the
+fist of the boxers?--the ordinance Glove of the good Dumanet; that
+white cotton Glove which the brave trooper puts on so willingly on
+Sunday, coming out of barracks like a conquering hero? Is there
+not besides the Glove of the Cuirassier, with its large shield of
+buckskin, which this last man of iron places so gallantly on his hip
+when he is on express service?
+
+The history of Gauntlets and of military Gloves from the time of the
+Middle Ages would make a mighty volume, like the ladies' Glove and
+the work-people's Mitten. The liturgical Glove, yet more important,
+is of three kinds: the /pontifical Glove/, which was worn by bishops
+and abbés; the Glove which simple priests had adopted for particular
+occasions; and lastly, the /prelatic/ /Glove/. On /pontifical
+Gloves/ alone Monseigneur X. Barbier de Montault has found means
+to write in the /Bulletin Monumental/, 1876-1877, nearly two
+hundred pages of closely packed text, in 8vo: /Ab uno disce omnes/.
+See, my amiable friend, I repeat it--see in what an inextricable
+archæological labyrinth I might have set you to wander, /à propos/
+of all these dear little Gloves, of which I had promised you a
+history, but about which it appears to me I am making only a lively
+chatter of whipped Glove. I should not have set on the table aught
+beyond that which lends grace to woman: Gloves on a champagne glass
+or in a shepherdess's hat, roses and a love-letter half opened; such
+simple still life had assuredly better inspired my Muse than all the
+documents brought together and packed one on another, well calculated
+to frighten a mind which is by no means pleased with such barricades
+of notes and annotations. Ah, my fair friend, how right was Balzac,
+in his brilliant and profound /Traité de la vie élégante/, when he
+wrote the following lines, which I had not sufficiently considered
+before pledging my word in your society!
+
+"The learned man, or the elegant man of the world, who would search
+out in every epoch the costumes of a people, would compile the most
+interesting history and the most rationally true. . . . . To ask
+the origin of shoes, of alms-purses, of hoods, of the cockade, of
+hoop-petticoats, of farthingales, of /Gloves/, of masks, is to drag
+a /modilogist/ into the frightful maze of sumptuary laws, and upon
+all the battlefields, where civilisation has triumphed over the gross
+manners imported into Europe by the barbarism of the Middle Ages.
+
+"Things futile in appearance," continues the author of the /Théorie
+de la démarche/, "represent either ideas or interests--whether
+it be bust, or foot, or head"--he might have said, above all, or
+hand--"you will ever see a social progress, a retrograde system, or
+some desperate struggle formulating itself by the assistance of some
+part or other of the dress. Now the shoe announces a privilege, now
+the hat signals a revolution--a piece of embroidery, a scarf, or some
+ornament of straw, is the sign of a party. Why should the toilet be
+then always the most eloquent of styles, if it was not really the
+whole man, the man with his political opinions, the man with the
+text of his existence, the hieroglyphic man? To-day /Vestignomy/ has
+become almost a branch of the art created by Gall and Lavater."
+
+I am overwhelmed, O my indulgent friend! I feel that I have been far
+inferior to my task, and I fear I have not had that charming art of
+saying nothing which often says so many things. I have neglected to
+show you the Glove in princely /Inventaires/, in the old chronicles,
+and in the delightful tales of Boccaccio, of the Queen of Navarre, of
+Straparole, of Bonaventure Desperriers, and even in Brantôme, who has
+written a little story, full of old French /esprit/, on a Glove found
+in the bed of a fashionable lady. I had a good opportunity of showing
+you the anecdotic Glove of ever so many romances and memoirs from /Le
+Petit Jehan de Saintre/ up to Casanova the Venetian, going through
+/l' Histoire amoureuse des Gaules/.
+
+But the natural and the unpremeditated is also a French quality,
+of which we must sometimes allow the grace, even in recognising
+its defects. I left the history of the Glove, I believe, in 1840;
+and I do not suppose that I have painted for you all the little
+cuffs, festoons, ruches, notchings, indentations, which adorned the
+fastenings of the town Gloves of our elegant ladies, nor the long
+black mittens which accompanied the blonde bodices, of which in those
+modest times people were madly fond. It is of little consequence for
+me to follow the fashions from 1840 to the present day: one cannot
+be a woman and remain ignorant of these different variations of a
+fashion of which all the specimens return periodically to reconquer
+a second of celebrity. Open-worked Gloves of Chinese silk, Spanish
+Gloves, Beaver Gloves, Swedish Gloves, glacé kid Gloves, musketeers'
+Gloves, Colombine, with cuffs--what do I say?--the qualifications are
+innumerable; they change still more than the fashion, for the epithet
+gives a springtide and deceives the customer--/a fortiori/ would
+it deceive the /Gantuographer/, if you will allow me this hideous
+neologism.
+
+That which I have not been able to accomplish, that which you have
+not demanded of me, that which nevertheless would have interested you
+far more than this sleepy talk, is the /Physiology of the Glove/,
+with this epigraph taken from an anonymous but witty author--"The
+style is the man; the Glove is the woman; the style sometimes
+deceives, but the Glove never."
+
+I am launched, don't you see, into theories historic, philosophic,
+and, above all, physiognomic, in a study altogether beside the mark?
+
+Allow, my sweet and somnolent one, that if you had permitted me at
+first to take this part (which for my slight notice was assuredly
+better), I should have been less clumsily stiff, less dull above all,
+less pretentious besides; albeit I make no other pretension here than
+to do your pleasure. You have thrown me the Glove on the confines of
+history; it is thence that I have raised it with more effeminancy
+than swagger.
+
+I could have wished that fancy might have dictated to history; but,
+in the present case, it is the most that has been done, if history
+has succeeded in warming the amiable fancy, which has not taken
+Gloves to make us villainously sulky with each other.
+
+Pardon!--indulgent interlocutress!
+
+Excuse also, amiable lady readers, ye who read this congealed babble,
+and who have yet less reason to be favourable to me, in this sense,
+that to you all, alas! I cannot say, as was once said in the polite
+world--/Friendship allows the Glove./
+
+
+
+
+THE MUFF
+
+/THE FUR./
+
+
+The Muff! The very name has something about it delicate, downy, and
+voluptuous. From that little warm satin nest, where pretty chilly
+little hands ensconce themselves in silk, carrying with them a lace
+handkerchief, a box of lozenges, a bouquet of Parma violets, or a
+tender loving /billet-doux/, a thousand trifles spring up to please
+us, like a swarm of souvenirs and caressing thoughts of our first
+years passed at home, and of our first roving loves.
+
+In childhood, we delight to play with the large maternal Muff, to
+pass our hands over it the wrong way to excite the electricity of
+the long hair, to plunge our faces in the pungent heady odour of its
+down, and to make use of this furred sack in inconceivable tricks, in
+playing at hide-and-seek with small objects, or in burying therein
+the familiar cat, who becomes lazy in its warmth.
+
+Then, later on, at the hour of the first rendezvous, during one of
+those icy winters which Ronsard dreaded for his darling, when we see
+our so much desired mistress appear veiled and all imprisoned in
+furs, we become almost jealous of the pretty and coquettish Muff, in
+which she buries her roguish little nose, which the glacial breeze
+has lashed and reddened, and we plunge then with a sweet brutality
+our own hands into the silky cylinder, there to find, and there
+passionately to press the pretty idle fingers, which we are for so
+generously thawing, by covering them with long kisses like gloves.
+
+When the Muff returns from exile with the first hoar frosts of
+November, it causes, as soon as it appears on the boulevards, a
+sensation, intimate and delicious, to all true /feminists/, to the
+Dilettanti of woman--to all those who perceive in their most delicate
+shades the graces of which a naive or coquettish woman can avail
+herself, whether in handling the Fan or the Sunshade, or in tucking
+up a corner of a spring petticoat, or in passing along radiant in
+a long furry pelisse, or more passive in letting herself glide
+languishingly in a sledge over the ice of the lake, making eyes at
+her darling who skates by her side, and pushes forward her coquettish
+equipage. It seems that woman, that exquisite and delicate flower,
+blossoms in fur, as those white gardenias of the conservatory which
+half open and develop themselves in a nest of perfumed wadding.
+
+The more she hides, muffles up, deadens, so to speak, her beauty, the
+more woman--a creature of Hades who makes us dream of paradise--is
+bewitching in the diabolicity of her graces. When Love, who is
+represented blind, sets a mask on Venus-coquette, one might think the
+trickster boy was for burning the universe, for behind those yawning
+apertures of the black velvet mask, behind those murderous loopholes,
+two woman's eyes are lying in ambush, pitiless, turn by turn
+laughing, burning, blazing, drowned in pleasure, charged, in a word,
+as with grape-shot, with all the shafts of the Cupidonian quiver.
+
+Thus, out of the midst of furs, woman, that mignonette plant, that
+/mimosa pudica/, throws off beauty more mysterious, more warm, more
+full of promise, more enveloped and more enveloping, as if from the
+electricity of that peltry, there was spread in the ambient air of
+the provoking daughter of Eve an attractive sensuality, like a subtle
+caress, which rustles against our senses in its passage.
+
+The ancients had perhaps great reason to attach, as they did, certain
+excellences and prerogatives to fur: a master furrier, Charrier,
+wrote on this subject, in 1634, remarks and moral considerations as
+naïve as curious: "Our kings, whether they are consecrated, crowned,
+or married, divest themselves of the splendour of embroideries and
+of diamonds, to take their royal mantle hedged about with lilies and
+lined with ermine.
+
+"The mantles of the chevaliers, dukes, and peers of France are lined
+with lynx, marten, and ermine; the chancellors, keepers of the seals,
+who are the guardians of our laws, wear the most exquisite furs.
+
+"Bachelors and doctors, emperors and physicians clothe themselves
+with furs which represent the mysteries of theology, the maxims of
+politics, the secrets of medicine. Furs cure people of headaches and
+disordered stomachs; attacks of gout which triumph over the most
+potent remedies, are vanquished by the skins of cats, lambs, and
+hares."
+
+In fine, the good Charrier proves with pride that of all the
+ornaments which luxury has invented there is none so glorious, so
+august, so precious, as furs, and that the privileges of peltry
+merchants rightly surpass those of all others.
+
+The masters and wardens of the peltry merchandise had for their arms
+a paschal lamb on an azure field. Two ermines supported the shield
+crested with the ducal crown, with this device in exergue--very like
+that of Brittany--/Malo mori quam fœdari/.
+
+The use of furs dates back to the origin of the world. Plutarch, in
+his /Table Talk/, relates that people dressed themselves in skins
+before they became acquainted with stuffs. Tacitus assures us it was
+the same with the Teutons, Propertius with the Romans.
+
+    Robed in rich silk, the Court you now behold
+    Was once a folk fur-clad against the cold,
+
+says a poet of the sixteenth century. But without stopping at the
+conquest of the Golden Fleece, at Rebekah ordering Jacob to put on
+his hands and neck kids' skins, at all the examples of the Bible and
+of history, we will only remark that the four noble furs consecrated
+by feudality were the ermine, the vair, the sable, and the miniver.
+The colours of furs admitted into coats of arms were those of the
+sable, the ermine, and the vair.
+
+Charlemagne, who loved, they say, simplicity in his apparel, had,
+according to Eginhard, the habit of wearing in summer a mantle of
+otter's skin; but in winter he covered himself with a mantle of which
+the sleeves were lined with vair and foxes' fur. This is corroborated
+by the four following verses of Philippe Mousnes, the poet biographer
+of this Emperor:--
+
+    But in the days of fallen leaves,
+    He wore a new surcoat with sleeves
+    Of furs of foxes and of vair
+    To shield him from the nipping air.
+
+At the epoch of the Crusades, the luxury of furs was carried to the
+highest degree in Western Europe; but to remain absolutely fixed to
+the Muff, we must register the first apparition of this little fur
+about the end of the sixteenth century. In the inventory of goods
+left by the widow of the President Nicolai we read: Item, a Muff of
+velvet lined with marten.
+
+In Venice, however, we have in our researches found a vestige of the
+Muff at the end of the fifteenth century; celebrated courtezans and
+noble ladies at that time carried Muffs, which served for niches to
+minuscular dogs; and an engraving represents a scene of an interior,
+in which a fair Venetian seems to be showing her lover the infinite
+games of her lap-dogs in her Muff.
+
+There were at that time in Venice delicious Muffs made after the
+primitive fashion of a single band of velvet, brocade, or silk, lined
+with fine fur, rounded in a cylinder, of which the extremities were
+closed in different widths by buttons of orient crystal, pearls or
+gold.
+
+D'Aubigné, in his /Universal History/, says in the course of a story
+of a besieged town:--"The inhabitants descended thirty paces from the
+breach, and among the foremost was noticed a woman /with Muffs/, a
+halberd in her hand, who mixed with and distinguished herself in this
+combat." Under the designation of /Muffs/ we must understand here
+spare half-sleeves like those mentioned in the Library of Vauprivas
+/à propos/ of Louise Labé. Under Charles IX. the simple citizen
+folk were only allowed to wear black Muffs; ladies of the highest
+condition had alone a right to sumptuous Muffs of various colours.
+
+In a satiric print of 1634, signed Jaspar Isac, and entitled /The
+Squire à la Mode/, we see carried by a woman, who is accompanied on
+foot by a Gascon cavalier, the first French Muff having a direct
+relation with that which is still in use at the present day. It is a
+sheath of stuff or silk bordered on both sides by a thick white fur,
+which grows into an enormous roll at the ends.
+
+But it is amongst the precious engravings of Hollar, Abraham Bosse,
+Arnoult, Sandrart, Bonnard, and Trouvain that we see the authentic
+Muff really born, and find it in the hands of the Parisian matron,
+of the lady of quality in her winter dress, of the /Précieuse/, and
+the coquetting flirt. An engraving of Bonnard shows us a great lady
+with her head dressed à la Fontange, and in court dress, on the point
+of going out; a waiting-maid adjusts her mantle, and a gentleman
+attends the beauty's good pleasure; the Muff she carries was then
+of a moderate size, with a bow in the middle. The Muff was worn for
+style, "for grace," and was made of sable-marten for ladies of the
+Court, and simply of dogskin or catskin for the small citizens'
+wives who could not devote more than fifteen to twenty francs to the
+acquisition of this light hand-warmer.
+
+Antoine Furetière, in his /Dictionary/, has condensed in a few lines
+all the materials of a Dissertation on the Muff of the seventeenth
+century. At the word /Muff/ we read:--
+
+ A fur worn in winter, in which to put the hands, to keep them warm.
+ /Muffs/ were formerly only for women: at the present day they are
+ carried by men. The finest /Muffs/ are made of marten, . . . . the
+ common of miniver; . . . . the country /Muffs/ of the cavaliers are
+ made of otter and of tiger. A woman puts her nose in her /Muff/ to
+ hide herself. A little /Muff/-dog is a little dog which ladies can
+ carry in their /Muff/.
+
+Everything we see is summed up in this. Saint-Jean and Bonnard have
+preserved for us types of French gentlemen bearing the Muff under
+Louis XIV. One, in court dress, carries with much grace a small
+spotted Muff, which he holds in one hand, showing a glimpse at
+the unoccupied end of the cuff of a fur glove; another, in winter
+court-dress, holds with the languor of a /petit-maître/ a pretty
+plump otter Muff falling to the hips, giving a gracious curve to the
+arm; in the middle of this Muff a vast bow of ribbons or /Galants/,
+something like the old trimming called /petite oie/, is displayed
+with an excellent effect. In 1680, nothing, according to the /Mercure
+Galant/, was to be seen but ribbons purfled with gold, laced,
+fringed, wreathed, purled, or embroidered, which were gathered in a
+bow in front, of the Muff.
+
+La Fontaine alludes doubtless to the country Muff spoken of by
+Furetière when, in the fable of the /Monkey and the Leopard/, he
+makes the latter say:--
+
+    The king desires me at his Court,
+    And must have--if I die for't--
+    A /Muff/, made of my skin, so full of blots
+    Of colour, and of lines, and dots,
+    And dappled stains, and chequered spots.
+
+As to the Muff-dog--to finish the registration of the definition
+of Furetière--not only has Hollar left us an engraving of it, and
+presented it to us under the form of a small Spaniel, but Father du
+Cerceau makes his /upholsterer poet/ say--Even the lady's lapdog
+barked at me, that ingrate
+
+    Cadet, for whom I used to stuff
+    So many sweets inside my Muff.
+
+The chief hall of the peltry merchants and furriers of the 17th
+century, in Paris, was in the Rue de la Tabletterie or Rue des
+Fourreurs, which led into the cross-way of the Place aux Chats. The
+shops of the retail peltry merchants were nearly all situated in the
+City, Rue Saint-Jacques de la Boucherie, and Rue de la Juiverie.
+
+"In these places," says Léger, "are to be found very beautiful Muffs
+for men and for women, and very fashionable ones . . . there are to
+be sold also very beautiful amices of miniver." He adds a word about
+the Palatines properly got up, composed of skins of animals, foreign
+and native. The /Livre commode des adresses de Paris/ contains some
+designations of peltry merchants and furriers towards the end of the
+seventeenth century.
+
+Fashion altered the shape of the Muff considerably under Louis XIV.
+From the rare documents which we have been able to catalogue, we
+have easily found numerous modifications in both form and volume.
+Sometimes narrow and long, sometimes broad and short, it would be
+impossible to assign to this little chattel an exact type for all
+that epoch.
+
+The Muff triumphed already, under Louis XIII., in the empire of
+oglings and at the Place Royale, as it reigned later at Versailles,
+and showed itself in sedan chairs in the midst of the alleys of
+the park at the visiting hour, lending always to woman a charming
+countenance and exquisite graces.
+
+Scarron, in his /Poésies Diverses/, has left us in four verses a
+pretty picture of manners for any one who could morally develop it.
+The poor cripple Scarron certainly had no need of a Muff in his
+arm-chair!--
+
+    My wife then leaves at once, though she
+    All perils should divide with me;
+        She takes her Muff and goes
+        To see some one she knows. . . .
+
+But let us leave the age of big wigs and Fontange head-dresses,
+and penetrate into the age of powder and patches, into the age of
+Voltaire, who, /à propos/ of one of his characters in /Micromégas/,
+wrote:
+
+"Imagine a very small Muff-dog following a captain of the Guards of
+the King of Prussia."
+
+An engraving of the /Encyclopédie/ presents us in the nick of time
+with a faithful reproduction of a shop of a furrier of the last
+century. Day penetrates through a large glass bow window; all round,
+on shelves, are ranged Muffs and different furs; two pleasing
+shopwomen offer their customers enormous Muffs of miniver, and a
+shop-boy beats with a rod one of those furred mantles which were sent
+"to be kept" during the summer, to preserve them from the mites. This
+engraving, a precious document which may be attributed to Cochin,
+recalls two charming little stories of Restif de la Bretonne in his
+/Contemporaines du Commun/: one entitled /La Jolie Fourreuse/, the
+other /La Jolie Pelletière/. Professions passed out of sight!
+
+"Furs"--MM. de Goncourt wrote in a note of much study to their book
+/La Femme au XVIII^e Siècle/--"were a great luxury of Parisian
+ladies, at the time when the fashion was to arrive at the opera
+wrapt in the most superb and rarest, and to take them off little
+by little with coquettish art." The reputation of the sable, the
+ermine, the miniver, the lynx, the otter, is indicated in the
+/Étrennes Fourrées dédiées aux jolies Frileuses/, Geneva, 1770.
+Muffs have quite a history, from those on which the furrier brought
+discredit, in causing one to be worn by the hangman on the execution
+day--these were probably Muffs /à la Jésuite/, muffs which were not
+of fur, and against which a pleasantry at the commencement of the
+century, /A petition presented to the Pope by the master furriers/,
+solicits excommunication--up to those of Angora goats' hair, immense
+Muffs which reached to the ground, and to the little Muffs at the
+end of the century, baptized /little barrels/, as the Palatine was
+called /cat/. The fashion of sledges, then very widely spread, added
+to the fashion of furs. An etching of Caylus, after a drawing of
+Coypel, about the middle of the century, shows us in a sledge set
+on dolphins--one of those sledges which cost ten thousand crowns--a
+pretty woman dressed entirely in fur, her head-dress a small bonnet
+of fur with an egret, carried along in a sledge, which is driven by
+a coachman dressed like a Muscovite, and standing at the back. /À
+propos/ of furs, the /Palatine/ owes its fortune and its name to the
+Duchess of Orléans, mother of the Regent, known under the name of the
+Princess Palatine.
+
+Palatines--which were made of fox, of marten, of miniver--were worn
+for a long time with /Polonaises/ and /Hongrelines/. Roy, a French
+poet of the 18th century, who made acquaintance with the stick
+at different intervals--sent some bad verses to a lady on the
+subject of her /blue palatine/. The /Almanach des Muses/ of 1772 has
+preserved them for us. Here they are:--
+
+            That charming colour wear,
+    The colour of the summer sky above,
+    The colour Venus sets on every Love,
+      Which makes the fairest faces yet more fair,
+    As Venus in her own sweet self can prove:
+    But the white place where falls the tufted bow
+      Is nought indeed but lovely nakedness;
+      Why hide it then? The beauty which men bless
+    Gains on the whole by losing, don't you know?
+
+Caraccioli remarks that people used Muffs in winter just as much for
+elegance as for need. "The form varies continually," he says; "to-day
+(1768) men carry small Muffs lined with down, and trimmed with black
+or grey satin."
+
+In 1720, women's Muffs were very narrow and long; the crossed hands
+filled it exactly; afterwards they became wider, like those we may
+see on the hands of the pretty skaters of Lancret. A typical Muff of
+the epoch was the ermine Muff, fearfully large, which we find carried
+by the Venetian masks of the delicious Pietro Longhi, who seems to
+have wished to illustrate by his pictures the /Memoires/ of Jacques
+Casanova of Seingalt. In the small engravings of the century relating
+to travelling, which show us the stoppages at the inn, or the
+packings in the public vehicles, we see everywhere the feminine Muff
+delicately pressed against their waists by the pretty adventuresses.
+Boucher's skater, who passes like a gracious Parisian little figure
+over a background of a Dutch landscape, doubled up but valiant,
+appears to make a prow of her Muff, the better to cleave the sharp
+cold air. But in the intimacy of private life, in the eighteenth
+century as now, the Muff could lend a charm to genre paintings, and
+the manufacturers of prints might have composed many /Little posts/
+and /Nests for love-letters/, interpreting by their drawing what the
+author of the /Dictionnaire des Amoureux/ wished to express, when at
+the word /Muff/ he gives this piquant definition: /A Letter-box,
+lined with white satin./
+
+The most celebrated and the most delicious picture in which a Muff
+figures is assuredly that adorable painting known by the name of /The
+Young Girl with the Muff/, by Joshua Reynolds, which formed part of
+the beautiful collection of the Marquis of Hertford. Nothing is more
+delicate than this painting. That young English-woman seems rather to
+walk through the picture than remain fixed in it, so great, one might
+say, was the quickness with which the painter has caught that image
+in its passage with its movement of walking--the body is inclined a
+little forward, the head on one side; the woman's bust, which stops
+at the Muff, is so fresh in its composition, so fine in its tonality,
+so radiant in its originality of design, that it would be enough
+almost by itself to establish the immortal reputation of Reynolds,
+who has put into his work a very quintessence of femininity, as an
+ideal of the most exquisite English loveliness, and also as a type,
+delicate and never to be forgotten, of a chilly beauty.
+
+Nor must we forget the /Portrait of Mrs. Siddons/, painted by
+Gainsborough, in the charm of her twenty-ninth year, in 1784. This
+picture, which was exhibited at Manchester in 1857, is now in the
+/National Gallery/. The charming lady, dressed in a fresh striped
+blue and white robe, with a fawn-coloured shawl half falling from
+her shoulders, has on her head a large black felt hat, ornamented
+with feathers--one of those hats which have done more for the
+vulgarisation of the glory of Gainsborough than all his studies
+and portraits. Mrs. Siddons is seated, holding on her lap with her
+left hand a comfortable Muff of fox or Siberian wolf, of which she
+appears to caress the fur with her right hand, as if to show off the
+beauty and whiteness of her spindle-shaped fingers. The mistress of
+the works of a master who had, it is only right to say, the most
+ravishing face in the world to portray. But, without needing to have
+further recourse to the English school, have we not that luminous
+portrait of Madame Vigée Lebrun, in which the Muff, raised almost
+level with the head, spreads the shine of its hair of tawny gold
+like the head of a courtezan of Venice? That astonishing painting
+of the end of the eighteenth century appeared in its dazzling
+splendour, in the midst of the square saloon of the Museum of the
+Louvre, killing, by mere force of freshness and light, the magistral
+bituminous pictures of the beginning of the century, which are its
+near neighbours.
+
+Under Louis XVI. the frenzy of the toilette reached its most acute
+crisis: fashions succeeded one another in a few years with so much
+rapidity that we can scarcely follow them; people sought to outstrip
+in everything rather than to refine, and the Muffs, carried by men
+and women alike, became enormous and exaggerated. Hurtaut, in his
+/Dictionnaire de la Ville de Paris/, article /Modes/, makes this
+strange remark in the year 1784, "A lady has been seen at the opera
+with a /Muff of momentaneous agitation/."
+
+The intellect loses itself in seeking the exact definition of this
+qualificative of /momentaneous agitation/!
+
+In 1788 a fashion was Muffs of Siberian wolf. According to the
+/Magasin des Modes Nouvelles Françaises et Anglaises/, the young
+folks no longer carried their Muff after the peaceable and good
+citizen-like fashion /à la papa/ level with the bottom of the
+waistcoat; they used it, on the contrary, like a plaything or an
+opera hat; they held it in their hand while gesticulating in their
+promenades, or carried it under their arms like a portfolio strangled
+and crumpled between the elbow and the chest.
+
+The little dogs, the Muff-toy-terriers, which had continued in favour
+since the Regency, were more in request now than ever; every woman of
+fashion had her pug and her King Charles' pet, like those small dogs
+that now come from Havanna.
+
+In the celebrated coloured engraving of Debucourt, /La Galerie de
+Bois au Palais-Royal/, in 1787, we see circulating in the midst of
+that strange crowd which was called the medley of the Palais-Royal,
+extravagant types, among them women holding in their hand beside
+their furred cloak those incredible Muffs of an immense size, which
+figure also under the arms of the masked gallants of the time, with a
+small bow of satin attached to the fur.
+
+Under the Revolution and the Directory the fashion of Muffs was
+extremes, either broad as little barrels, or narrow and minuscular;
+in other respects the fashion varied infinitely, and we must come to
+the Restoration to find the first chinchilla Muffs which harmonised
+with the velvet witchouras. Absurd fashions to study! What Muff
+would the painter choose who wished, by way of allegory, to show
+a grasshopper shivering in the hoar frost and the snow, to whom
+charitable Love brings a downy Muff? A pretty subject for a concourse
+of an Academy which claimed to be /précieuse/ and refined.
+
+In 1835, Muffs, boas, palatines, cloaks lined with marten or fox,
+affected odious and indescribable forms: they used to make for a time
+Glove-Muffs, a sort of mittens of marten, which were soldered on to
+one another where the hands crossed. The Muff, that accessory of the
+toilet, ought to be in harmony with the general tonality and style of
+costume. Therefore, to undertake to describe it at that epoch would
+be only possible in sketching a complete history of Fashion.
+
+The picturesque Muff of 1830 to 1850, is assuredly the big Muff
+of the Parisian or provincial tradeswomen, those Muffs, larders
+and lumber-rooms, which we meet in the deobstruent tales of Paul
+de Kock, and see figuring in the primitive tilted spring-carts
+driven by the master, in which are packed the mistress and all the
+assistant clerks, with a view to exploring some suburban corner on
+Sunday, there to laugh with their muffs pressed before their mouths,
+and to act a thousand follies of a doubtful taste, and to banquet
+plentifully, and to sing during the dessert some free-and-easy ditty,
+very jovial, after the fashion of those pleasant couplets of Laujon
+on /The Muff/, which I will quote here, with the more confidence,
+since they figure in the /Chansons de Parades/ collected by that boon
+companion, who was at the same time member of the Caveau and of the
+Institute:--
+
+    See what it is to be too good!
+      One morning, leaving the warm fold
+    Of home, Simon I saw, who stood
+      And shivered in the nipping cold;
+    He cried, "Come here, you little pearl,
+    I feel so very cold, my girl!"
+          Now warm yourself!
+    Simon, good sir, ensconce yourself!
+    I'll lend you, sir, my bran-new Muff!
+                    My dear!
+    I'll lend you, sir, my bran-new Muff!
+
+    "I feel so very cold, my girl!"
+      Ay me! I had my new Muff on.
+    My head was surely in a whirl
+      To lend it to the good Simon.
+    That day my kindness cost me dear;
+    My Muff is spoilt for all the year!
+          Now warm yourself!
+    I'll lend you, sir, my bran-new Muff!
+                    My dear!
+
+    My Muff is spoilt for all the year,
+      For Simon's ways are rather rough;
+    And he knows nought of doubt or fear,
+      He quite destroyed my poor new Muff!
+    Simon, you've ruffled all its fur,
+    Made it too large, you careless sir!
+          Now warm yourself!
+    I'll lend you, sir, my bran-new Muff!
+                    My dear!
+
+    Made it too large, you careless sir!
+      See: it has been entirely spoiled,
+    'Tis metamorphosed, I aver;
+      And seems all rumpled up and soiled.
+    'Tis like my aunt's Muff, all agape,
+    Quite out of countenance and shape!
+          Now warm yourself!
+    Simon, good sir, ensconce yourself!
+    I'll lend you, sir, my bran-new Muff!
+                  My dear!
+    I'll lend you, sir, my bran-new Muff!
+
+What laughter, what shouts, what chokings, in those parties /à la/
+Paul de Kock, when an artless maiden--at the time when pleasant
+digestion had set its bloom on all faces--sang, one by one, these
+ancient couplets, with an air at once of a whimpering girl and of a
+woman full of coquettish intelligence.
+
+The Muff has not always brought tears of laughter to the eyes, and
+a physiologist might draw from it many a curious deduction; only to
+cite a single instance, in the middle of the /Scènes de la Vie de
+Bohème/, in the episode of Francine's Muff, which should remain in
+every reader's memory--the tears come into all our eyes resultant
+from an emotion at once sincere and profound.
+
+Francine has been condemned by her doctor, and /hears with her eyes/
+the terrible sentence of the physician.
+
+"Don't listen to him," says she to her love, "don't listen to him,
+Jacques, he is telling stories; we will go out to-morrow, it is All
+Hallows Day, it will be cold, . . . go and buy me a Muff, . . . mind
+it is a good one, . . . and will last a long while; I am afraid of
+having chilblains this winter."
+
+Then, when Jacques has brought the Muff: "It is very pretty," said
+Francine; "I will carry it in our walk."
+
+The morrow, All Hallows Day, about the time of the Angelus of noon,
+she was seized with the death-struggle, and all her body began to
+tremble. "My hands are cold, cold," she murmured, "give me my Muff,
+dear"--and she plunged her poor little fingers into the fur.
+
+"It is over," said the doctor to Jacques, "give her a last kiss;" and
+Jacques glued his lips to those of his darling. At the last moment,
+they wished to take away her Muff, but her hands still clung to it.
+
+"No, no," she cried, "let it be--we are in winter, it is cold. Ah my
+poor Jacques!"
+
+And so Francine dies, without quitting her Muff. A poignant and
+lugubrious story, like the work of Murger in general; the /Muff of
+Francine/ will perhaps be the most durable chapter in the /Vie de
+Bohème/. We have not been able to set this realistic scene upon
+the stage, but a painter, M. Haquette, has displayed it after an
+admirable manner in one of his best pictures exhibited in one of the
+Paris annual Salons.
+
+Truly the Muff calls up many sad thoughts for sentimental and
+charitable souls; this winter chattel reminds them of the sorrows
+of those who are without fire and home and comfortable clothing,
+and when the north wind blows without, and the snow falls softly
+in sombre silence, more than one dreaming girl, with her elbow
+leaning on the window-sill, lets her Muff fall while thinking of
+those unfortunates who suffer, of the careless grasshoppers and the
+laborious ants, of whom an adverse fortune has deceived the foresight.
+
+The Muff, the mysterious Muff, hides many distresses: we see it at
+the present day on the hands of all the working girls and milliners,
+who set out early in the winter mornings from their homes for the
+distant workshops; and it is a load upon one's heart to see all these
+miserable little Muffs made of rabbit or black cat, out of which
+peeps often the golden point of a penny roll and a greasy paper which
+envelops a chlorotic piece of pork or an /Arlequin/ (bits of broken
+meat) bought in the early market. The Muff which warms so many pretty
+hands brave and toiling, seems in winter to be the refuge of virtue,
+shivering but victorious.
+
+How much luxury is there, on the other hand, in the Muffs of the fine
+world during the last twenty years! They have been made very small,
+of sable tails, and very expensive; but there have been also some
+more modest, made with that marten of Australia which took the place
+of the Astrakhan, which passed out of fashion in 1860. They have been
+manufactured also in velvet plush or in cloth, with borders of fur
+or feathers, and a large bow of ribbons in the centre. Some became
+veritable scent-bags, perfumed with heliotrope, rose, gardenia,
+verbena, violet, or they were powdered inside with orris root or
+/poudre à la Maréchale/.
+
+An elegant and witty lady-correspondent of fashion, who signs with
+the word /Étincelle/ the notes full of charming confusion in her
+/Carnet d'un Mondain/, lately gave the nomenclature of the Muffs of
+the day, painted in water-colours:
+
+"The Nest-Muff, in satin /coulissé/, lined with black and white lace,
+with a whole company of little Indian birds and frightened paroquets
+hiding themselves in the satin folds.
+
+"The Flower-Muff, very small, of ivory plush, rouge cardinal or
+marine blue, with bunches of roses, marigolds, camellias, and violets
+blossoming in the midst of a great deal of lace.
+
+"The Watteau-Muff for the evening: a round of Loves painted on white
+satin. The Coppée-Muff: sparrows sunk in a sky of black satin. The
+Figaro-Muff, in black velvet, entirely covered with a net of black
+and gold chenille: three humming-birds in a nest of black lace. The
+Duchess Muff: all of Marabout, imitating fur, shaded with little bows
+of dead satin. The Castilian, in plush, covered with point noir: an
+orange parroquet in the middle standing out in relief on a fan of
+black lace. The Minerva, in skunk or sable, with a black satin bow
+and the head of a barn-door owl."
+
+All these fashions of to-day are already fashions of yesterday, so
+perpetual is the inconstancy of /la Mode/! To-day the monkey, blue
+fox, beaver, swan, and ermine are metamorphosed into Muffs; to-morrow
+will come the furs of sable, of otter, of chinchilla, of squirrel, of
+marten, of wolf, &c. Women and furs change, and will change, soon and
+often.
+
+Fashion is the everlasting Fairy; whether she take the Sunshade as
+a rod at the end of her gloved hand, or the Muff as a surprise-box
+or a cornucopia, she is never short of inventions, of prodigies, of
+follies, and of ruins; she seems to avenge herself on the moderns
+because the ancients gave her not divine honours, nor placed her upon
+the summit of their Olympus. Let, then, the head of this new and
+great goddess be adorned with a weathercock helmet, of which Love
+will furnish the magnetic arrow, and let a statue be raised to that
+great first French citizeness, who from Paris governs the world with
+so formidable a despotism, against whom none ever dreams of raising a
+revolt.
+
+For us, who, /à propos/ of the Sunshade, the Glove, and the Muff,
+have just cast a glance upon the museum of this female ruler, we
+are in a state of dread from the inconceivable variety of objects
+which were for an hour a woman's pleasure, and, if we have not
+conducted our readers before all the glass cases of this national
+museum, great as the universe, or "the vastest in the world," as all
+large milliners' shops entitle themselves, it is because around the
+ornaments of women the fickle Loves will always dance their frenzied
+round, which only a madman can ever hope and wish to stop. It has
+been said that Fashion is woman's only literature; if, however, our
+elegant ladies were condemned to study the special archæology of this
+literature, very soon--as in love--would they desert History for
+Romance.
+
+
+
+
+APPENDIX
+
+
+We see sometimes appearing certain light little works connected
+either with literary history or ancient poetry, or manners and
+customs, which would be nothing but pretty and curious pamphlets,
+if the Appendix which follows them were not swelled out of all
+proportion with proofs and illustrations, annotated notes, documents
+with sidenotes, bibliographic bibliography, considerations and
+commentaries of all sorts, which put the reader to the torture. By
+this proceeding of an exaggerated literary conscience, an opuscule of
+thirty pages arrives sometimes at three hundred: it is in some sense
+a case of erudite exaltation, sometimes also a vain-glory of the
+investigator, who has a mind to climb up the pyramid of books he has
+examined, proudly there to set up his silhouette, as we plant a flag
+on a building as soon as it is complete.
+
+As an epilogue to another volume of this series, /The Fan/, we
+published a sketch of documentary bibliography to indicate the
+principal works which we had searched for the little materials
+necessary for that monograph. You will find there six or eight pages
+of titles placed without order, and ending with this phrase of a man
+out of breath, and expressing extreme fatigue--/et cœtera/.
+
+And in this /et cœtera/ we have set now a hundred library shelves in
+the shadow--sparing thus our most fastidious readers an extremely
+bitter pill, and sparing ourselves also the fatigues of an
+interminable catalogue of no great profit to any one, considering
+the nature of the work in question, and the fashion in which we have
+treated it.
+
+At the conclusion of the three unpretending pieces of chit-chat which
+we have just engaged in about /The Sunshade, the Glove, and the
+Muff/, people may expect to see figuring here the lineaments or first
+matters of the canvas on which we embroidered our bold arabesques.
+People will be deceived. It will please us for this time to hide the
+innumerable instruments of our thefts; they are still there by our
+sides, making walls and barricades upon our tables and the seats
+round about us. But if, on the termination of a task, we love usually
+to put back regularly in order a library turned upside down by the
+fever of researches, happy in being nourished by the intellectual
+juice of old books, sometimes also we are prostrated by that intense
+discouragement which "dumfounds a man," according to an every-day
+expression. In fact, the result has not answered so great a working
+up of material, a picture has been dreamed of too big for the frame,
+the artist has been obliged to reduce himself, to resign himself,
+and to put in nothing of his own essence; in short, the Mosaic
+/littérateur/ looks at the Little Thing he has just finished beside
+the Great Matter which he had conceived.
+
+In like conditions, the /meâ culpâ/ is the sole preventive parade
+that can be made in his retreat to questions which become twisted
+into a note of interrogation on the smiling lips of the reader.
+
+To make an inventory of the books we have consulted would be a
+torture worse than that of Tantalus, for desire, far from looking
+forward with eagerness, would look sadly back, like an old man who
+sees again in memory the women of his twentieth year, whom he has
+let fly under the willows without profiting in their pursuit by the
+vigour of his legs.
+
+These books--which we serve not up here--are full of documents which
+we have not been able to enshrine, and it seems that the crumbs which
+fall from the table make a larger volume than the repast which has
+just been taken.
+
+For the rest, a truce to sadness and superfluous regrets! Who knows
+whether we are not odiously unjust to ourselves? Who knows whether
+the little schoolboy path which we have chosen is not the prettiest,
+the least rugged, the most unforeseen--that is to say, the least
+painful and the most verdant, and at the same time the shortest?
+
+Every work, however small it may be, requires distance, a time
+of calm and oblivion. The eye of the painter wanders in distress
+before one and the same picture for entire days; the brain of an
+investigator becomes anchylosed and petrified by dreaming in one and
+the same atmosphere of small ideas which remain attached to dress.
+
+When we shall have unfurnished our skull of those delicate things,
+/the Sunshade, Glove, and Muff/, to carry thither a current of more
+serious conceptions, we shall perhaps have leisure to read again our
+little work as strangers, and not as producers, and thus, doubtless,
+we shall reflect with a satisfied smile, that there was much more in
+us of wisdom than carelessness in not tarrying too long amongst such
+charming trifles!
+
+
+
+
+ /LONDON/,
+ 14, KING WILLIAM STREET, STRAND, W.C.
+ /May 1883./
+
+ IN TWELVE VOLUMES, CROWN 8VO, PARCHMENT BOARDS OR
+ CLOTH, PER VOLUME, 7S. 6D.
+
+ THE
+ OLD SPANISH ROMANCES
+
+ /ILLUSTRATED WITH ETCHINGS./
+
+
+ THE HISTORY OF DON QUIXOTE DE LA MANCHA. Translated from the
+ Spanish of MIGUEL DE CERVANTES SAAVEDRA by MOTTEUX. With copious
+ Notes (including the Spanish Ballads), and an Essay on the Life
+ and Writings of CERVANTES by JOHN G. LOCKHART. Preceded by a Short
+ Notice of the Life and Works of PETER ANTHONY MOTTEUX by HENRI VAN
+ LAUN. Illustrated with Sixteen Original Etchings by R. DE LOS RIOS.
+ Four Volumes.
+
+ LAZARILLO DE TORMES. By DON DIEGO MENDOZA. Translated by THOMAS
+ ROSCOE. And GUZMAN D'ALFARACHE. By MATEO ALEMAN. Translated by
+ BRADY. Illustrated with Eight Original Etchings by R. DE LOS RIOS.
+ Two Volumes.
+
+ ASMODEUS. By LE SAGE. Translated from the French. Illustrated with
+ Four Original Etchings by R. DE LOS RIOS.
+
+ THE BACHELOR OF SALAMANCA. By LE SAGE. Translated from the French by
+ JAMES TOWNSEND. Illustrated with Four Original Etchings by R. DE LOS
+ RIOS.
+
+ VANILLO GONZALES; or, The Merry Bachelor. By LE SAGE. Translated
+ from the French. Illustrated with Four Original Etchings by R. DE
+ LOS RIOS.
+
+ THE ADVENTURES OF GIL BLAS OF SANTILLANE. Translated from the French
+ of LE SAGE by TOBIAS SMOLLETT. With Biographical and Critical Notice
+ of LE SAGE by GEORGE SAINTSBURY. New Edition, carefully revised.
+ Illustrated with Twelve Original Etchings by R. DE LOS RIOS. Three
+ Volumes.
+
+
+
+
+ IN TWELVE VOLUMES, CROWN 8VO, PARCHMENT BOARDS OR
+ CLOTH, PER VOLUME, 7S. 6D.
+
+ OLD ENGLISH ROMANCES
+
+ /ILLUSTRATED WITH ETCHINGS./
+
+
+ THE LIFE AND OPINIONS OF TRISTRAM SHANDY, GENTLEMAN. By LAURENCE
+ STERNE. In Two Vols. With Eight Etchings by DAMMAN from Original
+ Drawings by HARRY FURNISS.
+
+ THE OLD ENGLISH BARON: A GOTHIC STORY. By CLARA REEVE.
+
+ ALSO
+
+ THE CASTLE OF OTRANTO: A GOTHIC STORY. By HORACE WALPOLE. In
+ One Vol. With Two Portraits and Four Original Drawings by A. H.
+ TOURRIER, Etched by DAMMAN.
+
+ THE ARABIAN NIGHTS ENTERTAINMENTS. In Four Vols. Carefully Revised
+ and Corrected from the Arabic by JONATHAN SCOTT, LL.D., Oxford. With
+ Nineteen Original Etchings by AD. LALAUZE.
+
+ THE HISTORY OF THE CALIPH VATHEK. By WM. BECKFORD. With Notes,
+ Critical and Explanatory.
+
+ ALSO
+
+ RASSELAS, PRINCE OF ABYSSINIA. By SAMUEL JOHNSON. In One Vol. With
+ Portrait of BECKFORD, and Four Original Etchings, designed by A. H.
+ TOURRIER, and Etched by DAMMAN.
+
+ ROBINSON CRUSOE. By DANIEL DEFOE. In Two Vols. With Biographical
+ Memoir, Illustrative Notes, and Eight Etchings by M. MOUILLERON, and
+ Portrait by L. FLAMENG.
+
+ GULLIVER'S TRAVELS. By JONATHAN SWIFT. With Five Etchings and
+ Portrait by AD. LALAUZE.
+
+ A SENTIMENTAL JOURNEY. By LAURENCE STERNE.
+
+ ALSO
+
+ A TALE OF A TUB. By JONATHAN SWIFT. In One Vol. With Five Etchings
+ and Portrait by ED. HEDOUIN.
+
+
+
+
+/SOME PRESS NOTICES./
+
+
+Daily Telegraph.
+
+"These editions are noteworthy as containing original etchings by
+artists of high repute. Thus nineteen exquisite plates by the French
+etcher, M. Lalauze, gives especial attractiveness to the 'Thousand
+and One Nights;' and the two fanciful histories of the Caliph Vathek
+and Prince Rasselas are illustrated by designs of Mr. A. H. Tourrier,
+etched by M. Damman. It is a pleasure to hold a 'Robinson Crusoe' or
+the 'Tale of a Tub' in one's hands; it is a positive luxury to read
+those masterpieces in a luxurious shape, large print, on good paper,
+accompanied by exquisite illustrations."
+
+
+The Scotsman.
+
+"These volumes will take rank, for beauty of typography and general
+excellence of appearance, with any books of the kind that have
+recently been published; while the etchings by M. Lalauze are among
+some of the finest of his productions. They are full of vigour
+and striking originality, and are what they profess to be--good
+illustrations of the story to which they relate. There are not many
+men of wholesome minds who do not find enjoyment in 'Robinson Crusoe'
+whenever they can lay hands on it; and assuredly there is no one
+possessing anything in the shape of a library who would not desire to
+have a good edition of the work among his books; in short, nothing
+but praise can be given to this edition of these books. No one can
+pretend to be acquainted with English literature who is ignorant of
+any of the works here published."
+
+
+Glasgow Herald.
+
+"The merits of this new issue lie in exquisite clearness of type,
+completeness; notes and biographical notices, short and pithy, and
+a number of very fine etchings and portraits. The illustrations of
+Gulliver are particularly effective, such as the 'Academy of Laputa'
+and the 'Visions of Glubbdubdrib.'"
+
+
+London Figaro.
+
+"We congratulate the publishers upon the issue of a capital series of
+Old English Romances. They will form a most delightful collection."
+
+
+Magazine of Art.
+
+"The text of the new four volume edition of the 'Thousand and One
+Nights' is that revised by Jonathan Scott from the French of Galland.
+It is, in fact, the text in which the incomparable 'Arabian Nights'
+became in England the classic it is. The etchings are uncommonly
+skilful and finished work; they contain some charming figures; they
+constitute a true attraction. In another volume of this series
+Beckford's wild and gloomy 'Vathek' appears side by side with
+Johnson's admirable 'Rasselas.'"
+
+
+The Literary World.
+
+"A publishers' notice prefixed to each volume states that 'one
+thousand copies of this edition have been printed and the type
+distributed. No more will be published.' Although some of these works
+are now easily obtainable in a cheap form, good editions are rare and
+eagerly sought by those who make any pretence of making a library.
+Here is an opportunity of securing as choice an edition as can be
+desired at a comparatively low price, the value of which will be
+enhanced before long by its scarcity."
+
+
+The Times.
+
+"Prettily printed and prettily illustrated, these attractive volumes
+deserve their welcome from all students of seventeenth century
+literature."
+
+
+The Daily News.
+
+"The merit for modern readers of these old stories lies partly in
+their inexhaustible wit, their knowledge of human nature, which
+never grows stale, and partly in their pictures of the old reckless
+life of Spain. A typical example of these novels is the fictitious
+autobiography of Guzman d'Alfarache, the Spanish rogue, written by
+Matthew Aleman at the beginning of the seventeenth century."
+
+
+Daily Telegraph.
+
+"A handy and beautiful edition, in twelve volumes, of the works of
+the Spanish masters of romance calls for a word of acknowledgment
+from all who desire to see the lights of foreign literature fitly
+presented to the notice of English readers. We may say of this
+edition of the immortal work of Cervantes, that it is most tastefully
+and admirably executed, and that it is embellished with a series
+of striking etchings from the pen of the Spanish artist, De Los
+Rios. . . . Those who have already made acquaintance with these
+masterpieces of exotic humour will need no encouragement to send them
+once again to a fountain from which such pure enjoyment is to be
+derived, and in so acceptable a shape as Messrs. Nimmo & Bain have
+provided."
+
+
+The Scotsman.
+
+"What man of middle age is there, who has been a reader of books, who
+does not look back with pleasure to his first acquaintance with 'Don
+Quixote' or the 'Adventures of Gil Blas'? If he has been a wise man
+of equal mind, he has gone further afield in these romances, and has
+made acquaintance with 'Asmodeus,' 'The Bachelor of Salamanca,' and
+other works of a like kind. They have been read by many thousands of
+British readers, and they will be read by many thousands more. . . .
+What the reading public have reason to congratulate themselves
+upon is, that so neat, compact, and well-arranged an edition of
+romances that can never die is put within their reach. The publishers
+have spared no pains with them. It has already been said that Mr.
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+
+
+Westminster Review.
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+Simon pure,' and never have we seen the fascinating companion of our
+youth more 'daintily dight.' Type and paper are both of the finest
+quality, while M. Lalauze's graceful and delicate etchings lend
+an additional charm to the text. 'The Thousand and One Nights of
+Schéhérézade' occupy four goodly volumes, and uniform with them is
+Beckford's 'Vathek' and Dr. Johnson's 'Rasselas' in one volume."
+
+
+ J. C. NIMMO & BAIN,
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+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Sunshade, by Octave Uzanne
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Sunshade
+       The Glove--The Muff
+
+Author: Octave Uzanne
+
+Illustrator: Paul Avril
+
+Release Date: January 3, 2014 [EBook #44570]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SUNSHADE ***
+
+
+
+
+Produced by Chris Curnow, RichardW and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class="figcenter" style="width: 600px;">
+<img id="coverpage" src="images/cover.jpg" width="600"
+ height="800" alt="" />
+</div>
+
+<div id="toc">Transcriber’s Table of Contents
+<ul>
+<li><a href="#PREFACE">Preface</a></li>
+<li><a href="#The_sunshade">The Sunshade</a></li>
+<li><a href="#THE_GLOVE">The Glove</a></li>
+<li><a href="#THE_MUFF">The Muff</a></li>
+<li><a href="#APPENDIX">Appendix</a></li>
+<li><a href="#Advertisements">Advertisements</a></li>
+</ul>
+</div>
+
+<div class="front">
+
+<h1 title="The Sunshade, the Glove, the Muff.">
+ &#160;</h1>
+
+<div class="figcenter" style="width: 564px;"
+ title="The Sunshade">
+ <img src="images/i_003a.jpg" width="564" height="138" alt="" />
+</div>
+
+<div id="notop">
+ <span id="titlesunshade">THE SUNSHADE</span>
+ THE GLOVE—THE MUFF</div>
+
+<div class=""><span class="fsize3">BY</span></div>
+
+<div class=""><span class="fsize2">OCTAVE UZANNE</span></div>
+
+<div class=""><span class="fsize3"><em class="e000I2">ILLUSTRATED BY PAUL AVRIL</em></span></div>
+
+<div class="figcenter" style="width: 378px;">
+<img src="images/i_003b.jpg" width="378" height="378" alt="" />
+</div>
+
+<div class=""><span class="fsize3">LONDON</span><br />
+<span class="fsize2red">J. C. NIMMO AND BAIN</span><br />
+<span class="fsize3">14, KING WILLIAM STREET, STRAND, W.C.</span><br />
+<span class="fsize3">1883</span></div>
+</div>
+
+<h2 title="Preface"><a id="PREFACE"></a>
+ PREFACE</h2>
+
+<div class="sandbagbox" id="img007">
+ <div id="i007b1">&#160;</div>
+ <div id="i007b2">&#160;</div>
+ <div id="i007b3">&#160;</div>
+
+<div class="center">PREFACE</div>
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_007cap.jpg"
+ width="60" height="59" alt="" />
+AFTER <em class="e000I2">the brilliant success which attended,
+in the spring of last year, our volume on</em>
+The Fan—<em class="e000I2">a success which was the result,
+as I cannot conceal from myself, much more of the
+original conception and decorative execution of that
+work of luxe than of its literary interest—I have
+determined to close this series of</em> Woman’s Ornaments
+<em class="e000I2">by a last little work on the protective adornments of
+that delicate being, as graceful as she is gracious</em>:
+The Sunshade, the Glove, the Muff. <em class="e000I2">This collection,
+therefore, of feminine toys will be limited to
+two volumes, a collection which at first sight appeared
+to us so complex and heavy that a dozen
+volumes at least would have been required to contain
+its principal elements. This, doubtless, on the one
+hand, would have tried our own constancy, and on
+the other, would have failed in fixing more surely
+the inconstancy of our female readers. The spirit
+has its freaks of independence, and the unforeseen of
+life ought to be carefully economised. Moreover, to
+tell the whole truth, the decorative elegance of a book
+like the present hides very often beneath its prints
+the torture of an intellectual thumbscrew. The
+unhappy author is obliged to confine his exuberant
+ideas in a sort of strait-jacket in order to slip them
+more easily through the varied combinations of pictorial
+design, which here rules, an inexorable Mentor,
+over the text.</em></p>
+</div>
+
+<div class="HandHeld">
+<div class="figcenter" style="width: 450px;">
+<img src="images/i_007e.jpg" width="450" height="700" alt="" />
+</div>
+
+<div class="center">PREFACE</div>
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_007cap.jpg" width="60" height="59" alt="" />
+AFTER <em class="e000I2">the brilliant success which attended,
+in the spring of last year, our volume on</em>
+The Fan—<em class="e000I2">a success which was the result,
+as I cannot conceal from myself, much more of the
+original conception and decorative execution of that
+work of luxe than of its literary interest—I have
+determined to close this series of</em> Woman’s Ornaments
+<em class="e000I2">by a last little work on the protective adornments of
+that delicate being, as graceful as she is gracious</em>:
+The Sunshade, the Glove, the Muff. <em class="e000I2">This collection,
+therefore, of feminine toys will be limited to
+two volumes, a collection which at first sight appeared
+to us so complex and heavy that a dozen
+volumes at least would have been required to contain
+its principal elements. This, doubtless, on the one
+hand, would have tried our own constancy, and on
+the other, would have failed in fixing more surely
+the inconstancy of our female readers. The spirit
+has its freaks of independence, and the unforeseen of
+life ought to be carefully economised. Moreover, to
+tell the whole truth, the decorative elegance of a book
+like the present hides very often beneath its prints
+the torture of an intellectual thumbscrew. The
+unhappy author is obliged to confine his exuberant
+ideas in a sort of strait-jacket in order to slip them
+more easily through the varied combinations of pictorial
+design, which here rules, an inexorable Mentor,
+over the text.</em></p>
+</div>
+
+<div class="sandbagbox" id="img008">
+ <div id="i008b1">&#160;</div>
+ <div id="i008b2">&#160;</div>
+ <div id="i008b3">&#160;</div>
+
+<p><em class="e000I2">In a work printed in this manner, just as in a
+theatre, the</em> mise en scène <em class="e000I2">is often detrimental to the
+piece; the one murders the other—it cannot be otherwise—the
+public applauds, but the writer who has
+the worship of his art sorrowfully resigns himself,
+and inwardly protests against the condescension of
+which he has had experience</em>.</p>
+
+<p><em class="e000I2">Two volumes, then, under a form which thus
+imprisons the strolling, sauntering, inventive, and
+paradoxical spirit, will be sufficient for my lady
+readers. Very soon we shall meet again in books
+with vaster horizons, and “ceilings not so low,” to
+employ an expression which well describes the moral
+imprisonment in which I am enveloped by the graces
+and exquisite talent of my collaborateur, Paul Avril.</em></p>
+
+<p><em class="e000I2">Let it be understood, then, that I have no personal
+literary pretensions in this work. As the sage Montaigne
+says in his</em> Essays, “<em class="e000I2">I have here but collected
+a heap of foreign flowers, and brought of my own
+only the string which binds them together.</em>”</p>
+
+<p class="right"><em class="e00SI2">Octave Uzanne.</em></p>
+</div>
+
+<!--**********-->
+<div class="HandHeld">
+<div class="figcenter" style="width: 415px;">
+<img src="images/i_008.jpg" width="415" height="700" alt="" />
+</div>
+<p><em class="e000I2">In a work printed in this manner, just as in a
+theatre, the</em> mise en scène <em class="e000I2">is often detrimental to the
+piece; the one murders the other—it cannot be otherwise—the
+public applauds, but the writer who has
+the worship of his art sorrowfully resigns himself,
+and inwardly protests against the condescension of
+which he has had experience</em>.</p>
+
+<p><em class="e000I2">Two volumes, then, under a form which thus
+imprisons the strolling, sauntering, inventive, and
+paradoxical spirit, will be sufficient for my lady
+readers. Very soon we shall meet again in books
+with vaster horizons, and “ceilings not so low,” to
+employ an expression which well describes the moral
+imprisonment in which I am enveloped by the graces
+and exquisite talent of my collaborateur, Paul Avril.</em></p>
+
+<p><em class="e000I2">Let it be understood, then, that I have no personal
+literary pretensions in this work. As the sage Montaigne
+says in his</em> Essays, “<em class="e000I2">I have here but collected
+a heap of foreign flowers, and brought of my own
+only the string which binds them together.</em>”</p>
+
+<p class="right"><em class="e00SI2">Octave Uzanne.</em></p>
+</div>
+<!--**********-->
+
+<div class="figcenter" style="width: 600px;">
+<a id="The_sunshade"></a>
+<img src="images/i_009.jpg" width="600" height="400" alt="THE
+ SUNSHADE THE PARASOL—THE UMBRELLA" /></div>
+
+<div class="figcenter" style="width: 460px;">
+<img src="images/i_010.jpg" width="460" height="460" alt="" />
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i_011a.jpg" width="400" height="258" alt="" />
+</div>
+
+<h2 title="The Sunshade—the Parasol—the Umbrella">
+ THE SUNSHADE<br />
+ <i>THE PARASOL —— THE UMBRELLA</i></h2>
+
+<p class="drop-cap"><img class="drop-cap" src="images/i_011b.jpg"
+width="52" height="52" alt="" />THE author of a <em
+class="e000I2">Dictionary of Inventions</em>, after having proved the
+use of the Parasol in France about 1680, openly gives up any attempt
+to determine its precise original conception, which indeed seems to
+be completely concealed in the night of time.</p>
+
+<p>It would evidently be childish to attempt to assign a date to the
+invention of Parasols; it would be better to go back to Genesis at
+once. A biblical expression, <em class="e000I2">the shelter which
+defends from the sun</em>, would almost suffice to demonstrate the
+Oriental origin of the Parasol, if it did not appear everywhere
+in the most remote antiquity—as well in the Nineveh sculptures,
+discovered and described by M. Layard; as on the bas-reliefs of the
+palaces or frescoes of the tombs of Thebes and Memphis.</p>
+
+<p>In China they used the Parasol more than two thousand
+years before Christ. There is mention of it in the <em
+class="e000I2">Thong-sou-wen</em>, under the denomination of <em
+class="e000I2">San-Kaï</em>, in the time of the first dynasties,
+and a Chinese legend attributes the invention of it to the wife
+of Lou-pan, a celebrated carpenter of antiquity. “Sir,” said this
+incomparable spouse to her husband, “you make with extreme cleverness
+houses for men, but it is impossible to make them move, whilst the
+object which I am framing for their private use can be carried to any
+distance, beyond even a thousand leagues.”</p>
+
+<p>And Lou-pan, stupefied by his wife’s genius,
+then saw the unfolding of the first Parasol.</p>
+
+<p>Interesting as these legends may be, handed
+down by tradition to the peoples of the East,
+they have no more historical credit than our delicate
+fables of mythology: they preserve in themselves
+less of the poetic quintessence, and above
+all seem less connected with that mysterious charm
+with which Greek paganism drowned that charming
+Olympus wherefrom the very origins of art appear
+to descend.</p>
+
+<div class="figcenter" style="width: 496px;">
+<img src="images/i_013.jpg" width="426" height="700" alt="" />
+</div>
+
+<p>Let the three Graces be represented burned
+by Apollo, tired of flying through the shadows,
+where Fauns and Ægipans lie in ambush, or let
+these three fair ones be painted in despair at the
+fiery sensation of sunburning which brands their
+epidermis; let them invoke Venus, and let the
+Loves appear immediately, bearers of unknown
+instruments, busily occupied in working the little
+hidden springs, ingeniously showing their different
+uses and salutary effects; let a poet—a Voltaire,
+a Dorat, a Meunier de Querlon, or an
+Imbert of the time—be kind enough to forge
+some rhymes of gold on this fable; let
+him, in fine, inspired by these goddesses,
+compose an incontestable master-piece,
+and behold <em class="e000I2">the Origin of the Sunshade</em>!
+graven in pretty legendary letters on the
+temple of Memory, not to be contradicted
+by any spectacled <em class="e000I2">savant</em> in the world.</p>
+
+<p>But if no poet, in smart affected style,
+has told us in rhyme <em class="e000I2">the Story of the Parasol</em>,
+many poets of all times have
+recalled the use of it in
+precious verses, which appear to serve as landmarks
+for history, and as references to discoveries
+of archæology. In ancient Greece, in the time of
+the festivals of Bacchus, it was the custom, not
+then confounded with fashion, to carry a Sunshade,
+not so much to extenuate the ardour of
+the sun, but as a sort of religious ceremonial. Paciaudi,
+in his treatise <em class="e000I2">De Umbellæ Gestatione</em>, shows
+us on the carriage on which the statue of Bacchus
+is placed a youth seated, the bearer of a Sunshade,
+a sign of divine majesty. Pausanias, in
+his <em class="e000I2">Arcadics</em>, mentions the Sunshade in describing
+the festivals of Alea in Argolis, whilst later on, in
+the <em class="e000I2">Eleutheria</em>, we see the Parasol also. Lastly,
+after having painted for us, in a marvellous description
+of Alexandria on a holiday, the hierophants,
+bearers of emblems and the mystic vase,
+the Monads covered with ivy, the Bassarids with
+scattered hair wielding their thyrsus, Athenæus
+suddenly shows us the magnificent chariot of
+Bacchus, where the statue of the god, six cubits
+high, all in gold, with a purple robe falling to
+his heels, had over his head a Sunshade ornamented
+with gold. Bacchus alone, of all the gods,
+had the privilege of the Sunshade, if we rely on
+the evidence of ancient monuments, earthen vases,
+and graven stones drawn from the museums of
+Stosch and other archæologists.</p>
+
+<div class="figright" style="width: 299px;">
+<img src="images/i_015.jpg" width="299" height="135" alt="" />
+</div>
+
+<p>As a result of their frequent relations with the
+Greeks after the death of Alexander the Great, the
+Jews appear to have borrowed from the Gentiles,
+in the celebration of their Feast of Tabernacles, the
+use of the Sunshade. The subjoined medal of
+Agrippa the Old,
+struck by the Hellenised
+Jews, in some
+sort supports this, although
+Spanheim, in a passage relating to this
+medal, says he has hesitated a long while as to the
+signification of the symbols which it represents. Do
+the ears of corn mark the fertility of the governed
+provinces, or do they refer to the Feast of Tabernacles?
+As for the tent on the obverse, it is little
+probable that it represents a tabernacle according
+to Moses’ rite, since the roofs of these tabernacles,
+far from being pointed, were flat and cloven in the
+midst, so as to allow rain, sun, and starlight to pass
+through. It must then be the Sunshade, the emblem
+of royalty; this at least seems probable.</p>
+
+<p>The Parasol played among the Greeks a very important
+part, as well in the sacred and funeral ceremonies
+as in the great holidays of nature, and even
+in the private life of the noble ladies of Athens.</p>
+
+<div class="figcenter" style="width: 486px;">
+<img src="images/i_016.jpg" width="426" height="700" alt="" />
+</div>
+
+<p>The Parasol in its elegant form may be seen
+drawn on the majority of Greek vases, either
+painted with straight or arched branches, concave
+or convex, or in the shape of a hemisphere
+or a tortoise’s back. But the
+Sunshade with movable rods, opening
+or shutting, existed at that time, as is
+sufficiently indicated by the phrase of
+Aristophanes in the <em class="e000I2">Knights</em> (Act v.
+Scene 2)—“His ears opened and shut
+something like a sunshade.”</p>
+
+<div class="sandbagbox" id="img017">
+ <div id="i017b1">&#160;</div>
+ <div id="i017b2">&#160;</div>
+ <div id="i017b3">&#160;</div>
+
+<p>An archæologist might amuse himself
+with writing a special work on the
+rôle of the Sunshade in Greece; documents
+would not fail him; nay, the
+book would soon grow big, and might
+bristle with notes from all quarters,
+abounding in the margins, after the
+example of those good solid volumes
+of the sixteenth century, which
+none but a hermit would have the leisure
+to read conscientiously to-day. Such is not
+our business in this light chapter.</p>
+
+<p>One cannot exactly say for what motive
+the Sunshade was carried by young virgins
+in all the processions in the Thesmophoria,
+the festivals of Eleusis, and the Panathenæa.
+Aristophanes calls the baskets and the
+white Sunshades “symbolic instruments,
+destined to recall to human beings the acts
+of Ceres and Proserpine.”</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"> <div class="figcenter" style="width: 571px;">
+<img src="images/i_017.jpg" width="571" height="700" alt="" />
+</div>
+
+<p>An archæologist might amuse himself
+with writing a special work on the
+rôle of the Sunshade in Greece; documents
+would not fail him; nay, the
+book would soon grow big, and might
+bristle with notes from all quarters,
+abounding in the margins, after the
+example of those good solid volumes
+of the sixteenth century, which
+none but a hermit would have the leisure
+to read conscientiously to-day. Such is not
+our business in this light chapter.</p>
+
+<p>One cannot exactly say for what motive
+the Sunshade was carried by young virgins
+in all the processions in the Thesmophoria,
+the festivals of Eleusis, and the Panathenæa.
+Aristophanes calls the baskets and the
+white Sunshades “symbolic instruments,
+destined to recall to human beings the acts
+of Ceres and Proserpine.”</p>
+</div>
+<!--**********-->
+
+<div class="figleft" id="i-017inset">
+<img src="images/i_017inset.jpg" width="129"
+ height="129" alt="" /></div>
+
+<p>Perhaps it is not necessary to search beyond this Aristophanic
+definition, which may on the whole entirely satisfy us. Moreover,
+these Sunshades were white, not, say they, because the statue erected
+by Theseus to Minerva was of that colour, but because white marked
+the liveliest joy and pomp according to Ovid, who recommends very
+carefully in his <em class="e000I2">Fasti</em> the wearing in sign
+of rejoicings white tunics worthy of pleasing Ceres, in whose cult
+both the priestesses and the things they used ought to be entirely
+white.</p>
+
+<p>In a man, according to Anacreon, the carrying a Parasol was the
+mark of a libertine and effeminate life; one might draw an analogous
+conclusion from a scene in the <em class="e000I2">Birds</em> of
+Aristophanes, in which Prometheus, through fear of Jupiter, cries to
+his slave, before abandoning himself to a sweet passion for Venus
+only, “Quick, take this sunshade, and hold it over me, in order that
+the gods may not see me.”</p>
+
+<p>It is also doubtless for the same reason, which
+virtually interdicted the use of the Parasol to men,
+that the daughters of the Metœci, or strangers
+domiciled at Athens, carried, according to Ælian,
+the sunshade of the Athenian women in the spectacles
+and public ceremonies, whilst the fathers
+carried the vases destined for the sacrifices.</p>
+
+<div class="figleft" style="width:200px;">
+<img src="images/i_018.jpg" width="200" height="200" alt="" />
+</div>
+
+<p>The <em class="e000I2">Θολἱα</em>, or “Sunshade Hat,”
+succeeded the Parasol properly so called. It is of these <em
+class="e000I2">Θολἱα</em> that Theocritus speaks in several places;
+it is also this hat, and not a Sunshade, which we must see in the
+curious medal above, stamped by the Ætolians, which represents Apollo
+bearing this strange hat, in the style of Yokohama, hanging on his
+back.</p>
+
+<p>From the most distant epochs the Sunshade has been considered,
+so far as it is the attribute of gods and sovereigns, as the ensign
+of omnipotence. We see it playing this supreme rôle, not only by
+right of an emblem of blazonry, in the curious dissertation of the
+Chevalier Beatianus <em class="e000I2">On a Sunshade of vermeil
+on a field argent, symbol of power, sovereign authority and true
+friendship</em>, but also we see it universally adopted as a sign of
+the highest distinction by Oriental peoples, to be displayed over
+the head of the king in time of peace, and occasionally in time of
+war.</p>
+
+<p>It is thus that it may be contemplated on the sculptures of
+ancient Egypt, where its usage was not exclusively indeed reserved
+to the Pharaohs, but sometimes also to the great dignitaries,
+but to these only. There is to be seen in Wilkinson a strange
+engraving representing an Æthiopian princess seated on a <em
+class="e000I2">plaustrum</em> or carriage drawn by oxen, and
+having behind her a vague personage armed with a large Parasol
+of an undecided form, something between the screen and the <em
+class="e000I2">flabellum</em> in the segment of a circle. Is it not
+also in sign of adoration that it was the custom to put above the
+heads of divine statues crescents, Sunshades, little spheres, which
+served not only to guarantee these august heads against the injuries
+of time and the ordures of birds, but also to set their physiognomy
+in relief as by a nimbus or crown of paganism?</p>
+
+<div class="figcenter" style="width:250px;">
+  <img src="images/i_020a.jpg" width="250" height="250" alt="" />
+  </div>
+
+<div class="sandbagbox" id="img020">
+ <div id="i020b0">&#160;</div>
+ <div id="i020b1">&#160;</div>
+ <div id="i020b2">&#160;</div>
+ <div id="i020b3">&#160;</div>
+ <div id="i020b4">&#160;</div>
+ <div id="i020b5">&#160;</div>
+ <div id="i020b6">&#160;</div>
+ <div id="i020b7">&#160;</div>
+
+<p>The kings or satraps of Persia of the oldest dynasties
+were sheltered by the sovereign Parasol. Chardin, in his <em
+class="e000I2">Voyages</em>, describes bas-reliefs of a time long
+before that of Alexander the Great, in which the king of Persia is
+frequently represented sometimes just about to mount his horse, at
+others surrounded by young slave-girls—beautiful as day, as a poet
+might write for sake of a simile—among whom one inclines a Sunshade,
+while another uses a flyflap made of a horse’s silky tail. Other
+bas-reliefs, again, represent the Persian monarch on a throne, at
+the conclusion of a victorious battle, whilst the rebels are being
+crucified, and writhe under the punishment, and prisoners brought up,
+one after the other, make humble submission. Here the Sunshade has
+the floating appearance of a glorious standard. It symbolised also
+the power of life and death, vested in the savage conqueror over the
+unfortunate conquered, delivered up wholly to his mercy.</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 567px;">
+<img src="images/i_020b.jpg" width="567" height="700" alt="" />
+</div>
+
+<p>The kings or satraps of Persia of the oldest dynasties
+were sheltered by the sovereign Parasol. Chardin, in his <em
+class="e000I2">Voyages</em>, describes bas-reliefs of a time long
+before that of Alexander the Great, in which the king of Persia is
+frequently represented sometimes just about to mount his horse, at
+others surrounded by young slave-girls—beautiful as day, as a poet
+might write for sake of a simile—among whom one inclines a Sunshade,
+while another uses a flyflap made of a horse’s silky tail. Other
+bas-reliefs, again, represent the Persian monarch on a throne, at
+the conclusion of a victorious battle, whilst the rebels are being
+crucified, and writhe under the punishment, and prisoners brought up,
+one after the other, make humble submission. Here the Sunshade has
+the floating appearance of a glorious standard. It symbolised also
+the power of life and death, vested in the savage conqueror over the
+unfortunate conquered, delivered up wholly to his mercy.</p>
+</div>
+<!--**********-->
+
+<p>In ancient India, the cradle of the human race, as it is
+said, the Parasol in every time, and more than anywhere
+else, is unfolded in its splendour and the grace of its contexture,
+as an immutable symbol of royal majesty. It
+seems really that it was under the deep azure of the admirable
+Indian sky that the coquettish instrument, of which
+we are exposing here by literary zigzags the historic summary,
+was invented. It must have been born there first as
+a fragile buckler to oppose the ardour of the sun; afterwards,
+doubtless, it developed, little by little, into a large
+dome, carried in the arms of slaves, or on the back of an
+elephant, showing the sparkle of its colours, the originality
+of its form, the richness of its tissues, all overloaded with
+fine gold and silver filigree, making its spangles and jewels
+scintillate in the full leaping light, in the slow oscillation
+given to it by the march of its bearers, or the swayings of a
+heavy pachyderm, in the midst of magic powers, of dancers
+and enchantments without number among the
+most bizarre palaces of the world.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_021.jpg" width="600" height="537" alt="" />
+</div>
+
+<p>In Hindostan the large Parasol is commonly called <em
+class="e000I2">Tch’hâtâ</em>, the small ordinary Parasol <em
+class="e000I2">Tch’hâtry</em>, and the bearer of the Parasol for
+dignitaries <em class="e000I2">tch’hâtâ-wâlâ</em>.</p>
+
+<p>The Parasol <em class="e000I2">of seven stages</em> (<em
+class="e000I2">savetraxat</em>) is the first ensign of royalty: it
+is found graven on the royal seal. The mythology and literature of
+the Hindoos are, so to speak, confusedly peopled with Parasols. In
+his fifth incarnation, Vishnu descends to Hades with a Parasol in his
+hand. On the other hand, from the seventh century, Hiouen Thsang has
+remarked, according to the rites of the kingdom of Kapitha, Brâhma
+and Indra were represented holding in their hand, one a flyflap, the
+other a Parasol. In the <em class="e000I2">Râmayana</em> (ch. xxvi.
+<em class="e000I2">scloka</em> 12), Sitâ, speaking of Râma, whose
+beautiful eyes resemble the petals of the lotus, expresses herself
+thus—“Covered with the Parasol striped with a hundred rays, and such
+as the entire orb of the moon, why do I not see thy most charming
+face shining beneath it?”</p>
+
+<p>We read also in the <em class="e000I2">Mahâbârata</em> (<em
+class="e000I2">sclokas</em> 4941-4943)—“The litter on which was
+placed the inanimate body of the monarch Pândou was adorned with a
+flyflap, a fan, and a white <em class="e000I2">Sunshade</em>; at the
+sound of all the instruments of music, men by hundreds offered, in
+honour of the extinguished shoot of Kourou, a crowd of flyflaps, <em
+class="e000I2">white Sunshades</em>, and splendid robes.”</p>
+
+<p>The Mahratta princes who reigned in Punah
+and Sattara held the title of <em class="e000I2">Tch’hâtâ pati</em>, “Lord
+of the Parasol;” and we are told that one of the
+most esteemed titles of the monarch of Ava was
+also that of “King of the White Elephant, and
+Lord of the Four-and-twenty Parasols.”</p>
+
+<p>When, in 1877, the Prince of Wales, future inheritor
+of the throne of England, undertook his
+famous voyage into India, it was absolutely necessary—says
+Dr. W. H. Russell, the scrupulous historian
+of that princely expedition—in order to make
+him known to the natives, to set the Prince upon an
+elephant, and to hold over his head the golden Sunshade,
+symbol of his sovereignty.</p>
+
+<div class="sandbagbox" id="img024">
+ <div id="i024b1">&#160;</div>
+ <div id="i024b2">&#160;</div>
+ <div id="i024b3">&#160;</div>
+ <div id="i024b4">&#160;</div>
+ <div id="i024b5">&#160;</div>
+ <div id="i024b6">&#160;</div>
+
+<p>There may be seen to-day in the South Kensington
+Museum, in the admirable Indian gallery which
+has just been installed, some score of the Parasols
+brought back by the Prince from his voyage, of
+which each particular type deserves a description
+which cannot, alas! to our sincere regret, find its
+place here. One may admire there the state Umbrella
+of Indore, in the form of a mushroom; the
+Sunshade of the Queen of Lucknow, in blue satin
+stitched with gold and covered with fine pearls;
+next the Parasols of gilt paper, others woven of different
+materials, some entirely covered with ravishing
+feathers of rare birds, all with long handles in gold
+or silver, damascened, in painted wood, in carved
+ivory, of a richness and an
+execution not to be forgotten.</p>
+
+<p>Let us tear ourselves away, as in duty bound, from Hindustan,
+to meet again with the Parasol on more classic ground in ancient
+Rome, in the middle of the Forum and of the games of the Circus. The
+Sunshade is found very frequently in the most ancient paintings, on
+stones and vases of Etruria, a long while even before the Roman era.
+According to Pliny and Valerius Maximus, it is from Campania that
+the Velarium comes, which is destined to defend the spectators from
+the sun. The use of <em class="e000I2">the private Sunshade for each
+person</em> established itself by degrees on those days when, on
+account of the wind, the Velarium could not be used. Martial says in
+his <em class="e000I2">Epigrams</em> (Book IV.):</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 424px;">
+<img src="images/i_024.jpg" width="424" height="700" alt="" />
+</div>
+<p>There may be seen to-day in the South Kensington
+Museum, in the admirable Indian gallery which
+has just been installed, some score of the Parasols
+brought back by the Prince from his voyage, of
+which each particular type deserves a description
+which cannot, alas! to our sincere regret, find its
+place here. One may admire there the state Umbrella
+of Indore, in the form of a mushroom; the
+Sunshade of the Queen of Lucknow, in blue satin
+stitched with gold and covered with fine pearls;
+next the Parasols of gilt paper, others woven of different
+materials, some entirely covered with ravishing
+feathers of rare birds, all with long handles in gold
+or silver, damascened, in painted wood, in carved
+ivory, of a richness and an
+execution not to be forgotten.</p>
+
+<p>Let us tear ourselves away, as in duty bound, from Hindustan,
+to meet again with the Parasol on more classic ground in ancient
+Rome, in the middle of the Forum and of the games of the Circus. The
+Sunshade is found very frequently in the most ancient paintings, on
+stones and vases of Etruria, a long while even before the Roman era.
+According to Pliny and Valerius Maximus, it is from Campania that
+the Velarium comes, which is destined to defend the spectators from
+the sun. The use of <em class="e000I2">the private Sunshade for each
+person</em> established itself by degrees on those days when, on
+account of the wind, the Velarium could not be used. Martial says in
+his <em class="e000I2">Epigrams</em> (Book IV.):</p>
+</div>
+<!--**********-->
+
+<div class="poembox">
+<p class="pi0"><em class="e000I2">Accipe quæ nimios vincant umbracula
+ soles</em></p>
+<p class="pi1"><em class="e000I2">Sit licet et ventus, te tua vela
+ tegent.</em></p></div>
+
+<p>People used the Sunshade not only at theatres,
+but also at battles, and above all in the promenade.
+Ovid, in his <em class="e000I2">Fasti</em>, shows us Hercules
+protecting his well-beloved Omphale by means
+of a Sunshade from the sun’s rays:</p>
+
+<div class="poembox">
+<p class="pi0"><em class="e000I2">Aurea pellebant tepidos umbracula
+soles</em></p>
+<p class="pi1"><em class="e000I2">Quæ tamen Herculeæ sustinuere
+manus.</em></p>
+</div>
+
+<p>This image of Hercules carrying a light Parasol would surely
+be worthy to replace the used-up theme of the distaff?</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_025.jpg" width="600" height="560" alt="" />
+</div>
+
+<p>The ancient Romans brought to the decoration
+of their Parasols a magnificence unknown in our
+days. They borrowed from the East its stuffs, its
+jewels, its ornamental style, to enrich in the best
+manner possible these pretty portable tents. When
+Heliogabalus, forgetting his sex, after the example of
+the priests of Atys, appeared on his car clothed with
+the long dress and all the gewgaws that women wear;
+when he caused himself to be drawn along surrounded
+by legions of nude slave-girls, he carried a fan in the
+guise of a sceptre; and not only was there a golden Parasol
+in the form of a dais stretched over his head, but also at
+each side two <em class="e000I2">umbelliferæ</em> held light Sunshades of silk,
+covered with diamonds, mounted on Indian bamboo, or
+on a stem of gold carved and encrusted with the most
+wondrous jewels.</p>
+
+<p>In the train which accompanied a matron on the Appian
+Way, if we can believe the historian of <em class="e000I2">Rome in the age of
+Augustus</em>, two slaves were obligatory: the fan-bearer (<em class="e000I2">flabellifera</em>)
+and the follower (<em class="e000I2">pedis sequa</em>). The latter carried
+an elegant Parasol of linen stretched over light rods at the
+extremity of a very long reed, so that, at the least sign of
+her mistress, she might direct over her the shadow of this
+movable defence.</p>
+
+<p>The Roman Umbrella seems to have been nothing
+but a simple morsel of leather, according to
+these verses, which Martial wrote by way of advice:</p>
+
+<div class="poembox">
+<p class="pi0"><em class="e000I2">Ingrediare viam cœlo licet usque
+ sereno;</em></p>
+<p class="pi1"><em class="e000I2">Ad subitas nunquam scortea desit
+ aquas.</em></p>
+</div>
+
+<p>This “leather cloth” was assuredly an Umbrella,
+which, except perhaps in weight, need have envied
+nothing of our own.</p>
+
+<p>At Rome, as at Athens, the Sunshade appears to
+have hidden people from the looks of the gods, for,
+according to Montfauçon, even the Triclinia were
+covered with a sort of Sunshade, that folk might
+deliver themselves more mysteriously to orgies of
+every kind and to the pleasures of Venus.</p>
+
+<p>The material used in the manufacture of Sunshades
+was originally, according to Pliny, leaves of
+palm divided into two, or the tresses of the osier;
+afterwards they were made in silk, in purple, in
+Eastern stuffs, in gold, in silver; they were adorned
+with Indian ivory; they were starred with trinkets
+and jewels. One author tells us even of Sunshades
+made out of women’s hair—<em class="e000I2">the hair of women so
+arranged as to supply the place of a Sunshade</em>.</p>
+
+<p>Singular headdress or singular Parasol!</p>
+
+<p>Juvenal speaks of a green Sunshade sent with
+some yellow amber to a friend to celebrate her
+birthday and the return of spring.</p>
+
+<div class="poembox">
+<p class="pi0"><em class="e000I2">En cui tu viridem umbellam, cui succina mittas</em></p>
+<p class="pi0"><em class="e000I2">Grandia, natalis quoties redit, aut madidum ver</em>
+ <em class="e000I2">Incipit.</em></p></div>
+
+<p>And with regard to this <em class="e000I2">green</em> Sunshade, apropos
+of the <em class="e000I2">viridem</em>, all the commentators enter into the
+field, and make a deafening noise to explain that
+the epithet had no reference to the colour of the
+Sunshade, but to the spring.</p>
+
+<p>Let us, if you please, leave Rome, without entering
+into these idle dissertations.</p>
+
+<p>It would be difficult for us to find in the Middle
+Ages numerous manifestations of the Sunshade in
+private life; it was evidently adopted in the ceremonies
+of the Christian Church and in the royal
+<em class="e000I2">entrées</em>; but it was especially the privilege of the
+great, and never appeared save on solemn days in
+the processions, as later on the dais, reserved for
+kings and ecclesiastical nobles.</p>
+
+<p>At Venice the Doge had already his celebrated
+Sunshade in 1176. The Pope Alexander III. had
+accorded to the Venetian chiefs the right to carry
+the Sunshade in the processions. Under the reign
+of the Doge Giovanni Dandolo (1288) it was ordered
+that the pretty golden statuette of the Annunciation
+should be added, which is seen represented at the
+top of the Sunshade of the Venetian dogate.</p>
+
+<p>One can get some idea of this marvellous Sunshade,
+all of gold brocade, and of a pompous and
+original shape, by looking at most of the prints
+of the time, and particularly at the celebrated
+engraving of the <em class="e000I2">Procession of the Doge</em>, as well
+as at the pictures of Canaletto, Francesco Guardi,
+Tiepolo, and the greater number of the charming
+Venetian painters of the eighteenth century.</p>
+
+<p>It seems evident that the Roman Gauls
+knew the use of the Parasol, but it would
+not be easy to demonstrate its existence
+logically in the martial and Gothic epochs.
+One can scarcely imagine these men of
+arms, these gentle pages, and these noble
+damsels, with their lofty head-gear and
+long dress, defended by a frail silken <em class="e000I2">encas</em>
+(in case). They feared not then assuredly
+either sun or rain; they dreamed
+of nought but <em class="e000I2">batailloles</em> (little battles),
+according to the language of that day;
+everything was done in honour of the
+ladies, after the laws of the good King
+René, and the ladies would certainly never
+have wished at the hour of the glorious
+tournaments to shelter themselves at the
+approaches of the lists, against a sun
+which sparkled on the breastplate of
+their brave knights with as much
+brightness as the hope which
+shone in their eyes.</p>
+
+<div class="figcenter" style="width: 494px;">
+<img src="images/i_028.jpg" width="432" height="700" alt="" />
+</div>
+
+<div class="figcenter" style="width: 490px;">
+<img src="images/i_029.jpg" width="429" height="700" alt="" />
+</div>
+
+<p>Let us come now to China, to find
+there Parasols and Umbrellas in
+great honour, since the beginning of
+the dynasty <em class="e000I2">Tchéou</em> (eleventh century
+before Christ).</p>
+
+<p>“The Umbrellas of that time,”
+says M. Natalis Rondot, “resembled
+ours; the mounting was composed of twenty-eight
+curved branches, and covered with silken stuff.
+The Parasols were of feathers.</p>
+
+<p>“After the <em class="e000I2">Thong-ya</em>, it is only under
+the first Wei (<em class="e00S02">A.D.</em> 220-264) that gentlemen
+began the use of Parasols; these Parasols were most frequently made
+of little rods of bamboo and oiled paper; pedestrians never made use
+of them before the second Wei (386-554). Parasols figure ordinarily
+in processions and funerals since the seventh century. Thus, in
+648, at the time of the inauguration of the Convent of the Grand
+Beneficence, at Si-ngan-Fou, one counted—says the historian of the
+<em class="e000I2">Life of Hiouen thsang</em>—only in the procession
+three hundred Parasols of precious stuffs. The Parasol in China, as
+in India, has always been a sign of elevated rank, although it has
+not been exclusively used by emperors and mandarins. Formerly, it
+seems, four-and-twenty Parasols were carried before the Emperor when
+his Majesty went to the chase.</p>
+
+<p>“A Chinese of a rank at all elevated, such
+as a mandarin, a bonze, or a priest, never goes out
+without a Parasol,” according to M. Marie Cazal,
+a Sunshade manufacturer, who, about the year
+1844, wrote a small <em class="e000I2">Essay on the Umbrella, the
+Walking-stick, and their Manufacture</em>.—‘Every
+Chinese of a superior order is followed by his
+slave, who carries his Parasol extended over him.’</p>
+
+<p>“The Umbrella in China is destined to the
+same use as the Parasol, says M. Cazal: it belongs
+to all. Never, when the weather is the least degree
+doubtful, does a Chinese go out of doors without
+his Umbrella. Even horses are sheltered, as well
+as elephants, by Parasols or Umbrellas fastened
+to branches of bamboo. Their drivers take very
+good care not to illtreat them; imbued as they
+are, like every good Chinaman, with the doctrines
+of metempsychosis, they fear to torture the soul of
+their father or their grandfather, reduced, in order
+to expiate his faults, to animate the body of these
+quadrupeds.”</p>
+
+<p>The Umbrellas and Parasols which are most common
+in China resemble very much those which
+are imported into Europe; they are made entirely
+of stalks of bamboo, disposed with enormous art,
+and covered with oiled, tarred, or lacquered paper.
+Some are coloured, and have printed on them religious
+allegories or sentences of Confucius.</p>
+
+<div class="sandbagbox" id="img032">
+ <div id="i032b1">&#160;</div>
+ <div id="i032b2">&#160;</div>
+ <div id="i032b2a">&#160;</div>
+ <div id="i032b3">&#160;</div>
+ <div id="i032b4">&#160;</div>
+
+<p>All the voyages in China and around the world
+are filled with details of the Chinese Parasol.
+“The Chinese women, whose feet have been
+compressed from infancy,” remarks M. Charles
+Lavollée, “can scarcely walk, and are obliged
+to support themselves on the handle of their
+Parasol, which serves them for a walking-stick.”</p>
+
+<p>The Parasol and the Fan in China play a rôle
+so considerable, that it would be necessary to write
+a special monograph on each of these two objects
+in order to consider properly their importance in
+the history of the country and its current manners.
+In a general and summary sketch like the present,
+must we not skim through, rather than sew together
+documents collected with difficulty, or
+found within reach, and leave aside the more
+bulky bundles, under pain of foundering in the
+folio form of heavy dictionaries?</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 435px;">
+<img src="images/i_032.jpg" width="435" height="700" alt="" />
+</div>
+<p>All the voyages in China and around the world
+are filled with details of the Chinese Parasol.
+“The Chinese women, whose feet have been
+compressed from infancy,” remarks M. Charles
+Lavollée, “can scarcely walk, and are obliged
+to support themselves on the handle of their
+Parasol, which serves them for a walking-stick.”</p>
+
+<p>The Parasol and the Fan in China play a rôle
+so considerable, that it would be necessary to write
+a special monograph on each of these two objects
+in order to consider properly their importance in
+the history of the country and its current manners.
+In a general and summary sketch like the present,
+must we not skim through, rather than sew together
+documents collected with difficulty, or
+found within reach, and leave aside the more
+bulky bundles, under pain of foundering in the
+folio form of heavy dictionaries?</p>
+</div>
+<!--**********-->
+
+<div class="sandbagbox" id="img033">
+ <div id="i033b1">&#160;</div>
+ <div id="i033b2">&#160;</div>
+ <div id="i033b3">&#160;</div>
+ <div id="i033b4">&#160;</div>
+
+ <p>Everywhere on the exquisite decorative combinations of Japan,
+we see a large Parasol opened amidst delicate peach-blossoms,
+gracious flights of strange birds, indented leaves, and rosy
+ibises. Sometimes, on the inimitable paintings of the enamelled
+vases, the Japanese Sunshade shelters a king’s daughter, escorted
+by her followers, who makes her chaste preparations for entering
+the bath; sometimes, on a thin gauze, the Parasol half hides women,
+promenading on the margin of some vast blue lake, full of ideal
+dreams. Sometimes, in fine, in a fantastic sketch of an album, which
+one reads as a riot of the imagination, is perceived some human
+being excited to a singular degree, with hair tossed by the wind,
+and haggard eye, floating at the will of the tumultuous waves on a
+Parasol turned upside down, to the handle of which he clings with
+the energy of despair. The plates of the <em class="e000I2">Voyage
+de Ricord</em>, and especially the old Japanese albums, are useful
+to consult in order to understand better the varieties of forms
+of the Sunshade in Japan. We gain a bizarre notion of the effects
+and services which a Japanese can obtain from a common Parasol
+of his country by looking at the games of the acrobats who come
+to us occasionally from Tokio, Yedo, or Yokohama. Théophile
+Gautier, who was highly astonished, and not without reason, at the
+quickness, grace, and daring of these marvellous equilibrists,
+has left us on this matter the fairest pages, perhaps, of his <em
+class="e000I2">Feuilletons de Lundiste</em>. The worthy Théo, that
+Gallic Rajah borrowed from these clowns, astonishing in their
+lightness, an enthusiasm which put on his palette as a colourist
+the most vibrating tones and the finest shades. The Sunshade and
+the Fan are in fact presented by these magicians of the East with
+particular graces in the jugglery of the most varied exercises. Here
+it is a ball of ivory which rolls with the bickering of a babbling
+stream over the lamels or ribs of the Sunshade; there it is a Parasol
+held in equilibrium on the blade of a dagger, and a thousand other
+astonishing inventions. All these fascinating feats of skill cannot
+be described save in the manner of Gautier, in other words, by
+veritable pen-pictures. Admirable interpretation of things glimpsed
+at!</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 428px;">
+<img src="images/i_033.jpg" width="428" height="700" alt="" />
+</div>
+<p>Everywhere on the exquisite decorative combinations of Japan,
+we see a large Parasol opened amidst delicate peach-blossoms,
+gracious flights of strange birds, indented leaves, and rosy
+ibises. Sometimes, on the inimitable paintings of the enamelled
+vases, the Japanese Sunshade shelters a king’s daughter, escorted
+by her followers, who makes her chaste preparations for entering
+the bath; sometimes, on a thin gauze, the Parasol half hides women,
+promenading on the margin of some vast blue lake, full of ideal
+dreams. Sometimes, in fine, in a fantastic sketch of an album, which
+one reads as a riot of the imagination, is perceived some human
+being excited to a singular degree, with hair tossed by the wind,
+and haggard eye, floating at the will of the tumultuous waves on a
+Parasol turned upside down, to the handle of which he clings with
+the energy of despair. The plates of the <em class="e000I2">Voyage
+de Ricord</em>, and especially the old Japanese albums, are useful
+to consult in order to understand better the varieties of forms
+of the Sunshade in Japan. We gain a bizarre notion of the effects
+and services which a Japanese can obtain from a common Parasol
+of his country by looking at the games of the acrobats who come
+to us occasionally from Tokio, Yedo, or Yokohama. Théophile
+Gautier, who was highly astonished, and not without reason, at the
+quickness, grace, and daring of these marvellous equilibrists,
+has left us on this matter the fairest pages, perhaps, of his <em
+class="e000I2">Feuilletons de Lundiste</em>. The worthy Théo, that
+Gallic Rajah borrowed from these clowns, astonishing in their
+lightness, an enthusiasm which put on his palette as a colourist
+the most vibrating tones and the finest shades. The Sunshade and
+the Fan are in fact presented by these magicians of the East with
+particular graces in the jugglery of the most varied exercises. Here
+it is a ball of ivory which rolls with the bickering of a babbling
+stream over the lamels or ribs of the Sunshade; there it is a Parasol
+held in equilibrium on the blade of a dagger, and a thousand other
+astonishing inventions. All these fascinating feats of skill cannot
+be described save in the manner of Gautier, in other words, by
+veritable pen-pictures. Admirable interpretation of things glimpsed
+at!</p></div>
+<!--**********-->
+
+<p>In the tea-houses of Tokio, the pretty <em class="e000I2">Geishas</em>
+often employ, to mimic an expressive dance, the
+Fan and the little paper Parasol.</p>
+
+<p>One of the most usual of their dances, managed
+something like our ballets, is called the Rain-dance.
+This is the way in which a <em class="e000I2">Globe-trotter</em> gives an
+account of its leading idea and character:—</p>
+
+<p>“Some young girls prepare to leave their homes,
+and to pose as beauties in the streets of Yedo.
+They admire each other in playing their fans, they
+are dressed in superb toilets—they are sure of turning
+the heads of all the young <em class="e000I2">samouraï</em> of the
+town.</p>
+
+<p>“Scarcely have they got out of doors when a
+thick cloud appears. Great disquietude! They
+open their Parasol, and make a thousand pretty
+grimaces, to show how sadly they fear the ruin of
+their charming dresses. . . . A few drops of rain
+begin to fall: they quicken their steps on their way
+home again.</p>
+
+<p>“A burst of thunder occasioned by the <em class="e000I2">Samisen</em>
+and the drums, is heard, which announces a terrible
+downpour. Then our four dancers catch their
+robes with both hands, and throw them with one
+sweep under their arms, and suddenly turning, take
+to their heels, showing us a row of little . . . .
+frightened faces, saving themselves at the full
+speed of their legs.”</p>
+
+<p>What a series of pantomimes, in which the Sunshade
+must assume in the hands of the charming
+<em class="e000I2">Geishas</em> the most seductive positions!</p>
+
+<div class="sandbagbox" id="img036">
+ <div id="i036b1">&#160;</div>
+ <div id="i036b2">&#160;</div>
+ <div id="i036b3">&#160;</div>
+ <div id="i036b4">&#160;</div>
+ <div id="i036b5">&#160;</div>
+
+<p>“Among the Arabs the Parasol was a mark of distinction” (as we
+learn from M. O. S., the English reporter of a commission which
+published a small notice on <em class="e000I2">Umbrellas, Parasols,
+and Walking-sticks</em> in London about 1871). There is the same
+importance attached to it among certain blacks of Western Africa,
+who have probably borrowed it from the Arabs. Niebuhr, in the
+description of the procession of the Imam of Sanah, tells us that
+the Imam, and every one of the princes of his numerous family, had
+carried by their side a <em class="e000I2">Madalla</em> or large
+Parasol. It is in that country a privilege of princes of the blood.
+The same writer relates that many independent chiefs of Yemen bear
+<em class="e000I2">Madallas</em> as a mark of their independence.
+In Morocco the Emperor alone and his family have the privilege of
+the Parasol. In the <em class="e000I2">Voyages of Aly Bey</em> we
+read in fact:—“The retinue of the Sultan was composed of a troop of
+from fifteen to twenty gentlemen as the vanguard; behind them, some
+hundred paces, came the Sultan, mounted on a mule, having beside him,
+also mounted on a mule, an officer carrying the Imperial Parasol. The
+Parasol is the distinctive sign of the sovereign of Morocco. No one
+but he would dare to use it.”</p>
+
+<p>In certain tribes of central Africa explorers
+speak of having encountered,
+amidst the tribes of the desert, kings
+half-dressed in European old clothes,
+taken or exchanged no one knows
+where; and, strangely enough, on the
+top of an old silk hat, half-knocked
+in, one of these negro kings, says a
+traveller, held with a sort of grotesque
+majesty an old torn Umbrella
+of which the whalebone appeared
+to be half-broken. This
+Robert Macaire of the desert, does
+he not recall that pleasant equatorial
+fantasy of the <em class="e000I2">Parnassiculet Contemporain</em>,
+a sonnet terminating with
+the verses:—</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 488px;">
+<img src="images/i_036.jpg" width="488" height="700" alt="" />
+</div>
+<p>“Among the Arabs the Parasol was a mark of distinction” (as we
+learn from M. O. S., the English reporter of a commission which
+published a small notice on <em class="e000I2">Umbrellas, Parasols,
+and Walking-sticks</em> in London about 1871). There is the same
+importance attached to it among certain blacks of Western Africa,
+who have probably borrowed it from the Arabs. Niebuhr, in the
+description of the procession of the Imam of Sanah, tells us that
+the Imam, and every one of the princes of his numerous family, had
+carried by their side a <em class="e000I2">Madalla</em> or large
+Parasol. It is in that country a privilege of princes of the blood.
+The same writer relates that many independent chiefs of Yemen bear
+<em class="e000I2">Madallas</em> as a mark of their independence.
+In Morocco the Emperor alone and his family have the privilege of
+the Parasol. In the <em class="e000I2">Voyages of Aly Bey</em> we
+read in fact:—“The retinue of the Sultan was composed of a troop of
+from fifteen to twenty gentlemen as the vanguard; behind them, some
+hundred paces, came the Sultan, mounted on a mule, having beside him,
+also mounted on a mule, an officer carrying the Imperial Parasol. The
+Parasol is the distinctive sign of the sovereign of Morocco. No one
+but he would dare to use it.”</p>
+
+<p>In certain tribes of central Africa explorers
+speak of having encountered,
+amidst the tribes of the desert, kings
+half-dressed in European old clothes,
+taken or exchanged no one knows
+where; and, strangely enough, on the
+top of an old silk hat, half-knocked
+in, one of these negro kings, says a
+traveller, held with a sort of grotesque
+majesty an old torn Umbrella
+of which the whalebone appeared
+to be half-broken. This
+Robert Macaire of the desert, does
+he not recall that pleasant equatorial
+fantasy of the <em class="e000I2">Parnassiculet Contemporain</em>,
+a sonnet terminating with
+the verses:—</p>
+</div>
+<!--**********-->
+
+<div class="poembox">
+<p class="pi0">What then is strange about this desert’s pride,</p>
+<p class="pi0">Who in the desert without thee had died?</p>
+<p class="pi0">Bétani answered, “Child of open mien,</p>
+<p>&#160;</p>
+<p class="pi0">Where on board ship he comes, I tell you that</p>
+<p class="pi0">For full court-dress, this half-blood wears a hat</p>
+<p class="pi0">Of an old shako, trimmed with tufts of green!”</p>
+</div>
+
+<p>This fantasy might serve as a theme for a dissertation on the
+subject, “Whither do worn-out things go?—what becomes of the old
+umbrellas?” It would be a ballad full of colour for a Villon of the
+present time.</p>
+
+<div class="sandbagbox" id="img037">
+ <div id="i037b1">&#160;</div>
+ <div id="i037b2">&#160;</div>
+ <div id="i037b3">&#160;</div>
+ <div id="i037b4">&#160;</div>
+ <div id="i037b5">&#160;</div>
+ <div id="i037b6">&#160;</div>
+
+<p>To return to France, many writers, romancists or dramatic
+authors, having greater care of the splendour of the <em
+class="e000I2">mise-en-scène</em> than of absolute historic truth,
+have presented us with some hunting parties of the time of Henri
+II. and Henri III., in which the noble huntresses followed the deer
+on horses magnificently harnessed, holding in their hands hexagonal
+Sunshades fringed with gold and enriched with pearls.</p>
+
+<p>We found truly a mention of the Parasol in the <em
+class="e000I2">Description of the Isle of the Hermaphrodites</em>;
+but it was then very rare in France, and what is more, very heavy,
+and handled with such ceremonies that a strong lackey must have had
+considerable difficulty in holding it up. From this to place light
+Sunshades of silk between the dainty fingers of “fair and gentle
+dames” of that time, especially for a hunt through the woods, there
+is, it seems to us, a departure which good sense alone, not to
+mention historic science, is quite enough to point out.</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 534px;">
+<img src="images/i_037.jpg" width="534" height="700" alt="" />
+</div>
+<p>To return to France, many writers, romancists or dramatic
+authors, having greater care of the splendour of the <em
+class="e000I2">mise-en-scène</em> than of absolute historic truth,
+have presented us with some hunting parties of the time of Henri
+II. and Henri III., in which the noble huntresses followed the deer
+on horses magnificently harnessed, holding in their hands hexagonal
+Sunshades fringed with gold and enriched with pearls.</p>
+
+<p>We found truly a mention of the Parasol in the <em
+class="e000I2">Description of the Isle of the Hermaphrodites</em>;
+but it was then very rare in France, and what is more, very heavy,
+and handled with such ceremonies that a strong lackey must have had
+considerable difficulty in holding it up. From this to place light
+Sunshades of silk between the dainty fingers of “fair and gentle
+dames” of that time, especially for a hunt through the woods, there
+is, it seems to us, a departure which good sense alone, not to
+mention historic science, is quite enough to point out.</p>
+</div>
+<!--**********-->
+
+<p>The Parasol was still very little known in France, even in the
+second half of the sixteenth century. It is fairly certain that,
+like the <em class="e000I2">Fan</em>, and other objects so much in
+favour with Catherine de Medici, it was brought into France out
+of Italy. Henri Estienne, in his <em class="e000I2">Dialogues
+of the new French Language Italianised</em>, 1578, makes one
+of his interlocutors called Celtophile say: “ . . . . and <em
+class="e000I2">à propos</em> of pavilion, have you ever seen what
+some of the lords in Spain or Italy carry or cause to be carried
+about in the country, to defend themselves, not so much from the
+flies, as from the sun? It is supported by a stick, and so made
+that being folded up and occupying very little space, it can when
+necessary be opened immediately and stretched out in a circle so as
+to cover three or four persons.” And Philausone answers: “I have
+never seen one; but I have heard talk of them often; and if our
+ladies were to see them carrying these things, they would perhaps tax
+them with too great delicacy.”</p>
+
+<p>In Italy it is little probable that since the Romans
+the inhabitants of the higher classes have ever
+unlearned the pleasant use of Parasols. The majority
+of travellers notice them in all epochs, and in
+the <em class="e000I2">Italian Mysteries</em>, played in the fourteenth and
+fifteenth centuries, it is nearly certain that at the
+moment of their naïve representation of the Deluge,
+the Deity appeared on the stage with an Umbrella
+in his hand.</p>
+
+<p>In the <em class="e000I2">Journal and Voyage of Montaigne</em> in Italy,
+the good philosopher, who teaches us so few matters
+beyond his own personal sufferings, deigns, nevertheless,
+to aver that the supreme good taste of the
+women of Lucca was to have incessantly a Parasol
+in their hands.</p>
+
+<p>“No season,” says also elsewhere this charming
+epicurean essayist, “is so much my enemy as the
+sharp heat of sunshine, for the <em class="e000I2">Sunshades</em>, which are
+used in Italy since the time of the ancient Romans,
+charge the arms more than they discharge from the
+head.”</p>
+
+<p>So, too, Thomas Coryat, an English tourist of that time, in his
+<em class="e000I2">Crudities</em> (1611), speaks of the Italian
+Parasols, after having noticed the presence of Fans in the towns
+through which he had travelled: “Many Italians,” he says, “do carry
+other fine things of a far greater price, that will cost at the
+least a ducat (about seven francs), which they commonly call in the
+Italian tongue <em class="e000I2">Umbrellæs</em>, that is, things
+that minister shadow unto them for shelter against the scorching heat
+of the sun. These are made of leather, something answerable to the
+form of a little canopy, and hooped in the inside with divers little
+wooden hoops, that extend the <em class="e000I2">Umbrella</em> in a
+pretty large compass. They are used especially by horsemen, who carry
+them in their hands when they ride, fastening the end of the handle
+upon one of their thighs, and they impart so large a shadow unto them
+that it keepeth the heat of the sun from the upper parts of their
+body.”</p>
+
+<p>Fabri, in his useful and remarkable work, <em class="e000I2">Diversarum Nationum
+Ornatus</em> (additio) confirms this fact from 1593, in
+taking care to represent a noble Italian, travelling on horseback with
+a Parasol in his hand: “<em class="e000I2">Nobilis Italus ruri
+ambulans tempore æstatis</em>.”</p>
+
+<p>What variety this simple detail, more propagated or rather better
+vulgarised among our romancists, would have thrown into the
+great romances of adventure! We should have seen the protecting
+Sunshade marking from a distance, by its colour and elevated
+shape, the presence of the rich traveller to be robbed, in the
+mountains of Tuscany, while the brigands of the time kept their
+watch in the folds of the rocks; then, too, we should surely have
+witnessed, in passionate recitals of heroic combats, the buckler
+Parasol, already full of holes, torn into shreds, yet still serving to
+parry victoriously the blows of the ferocious cut-throats and cloak-snatchers.</p>
+
+<p>And how many sonorous and unforeseen titles are there of
+which we have been deprived by this fact of our ignorance:
+<em class="e000I2">The Knights of the Sunshade</em>—<em class="e000I2">The Heroic Parasol</em>—<em class="e000I2">The State
+Courier</em>, or <em class="e000I2">the Sunshade Recovered</em>! . . . . and who can say
+how many more!</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_040.jpg" width="600" height="623" alt="" />
+</div>
+
+<p>The Arsenal, the old Hotel de Sully, preserved for a
+long time one of those Parasols, which librarians named
+the <em class="e000I2">Pepin</em> (seed-fruit) <em class="e000I2">of Henri IV.</em> It was very big,
+and entirely covered with blue silk, with long and
+distinctly precious flowers of the golden lily scattered
+over it. This Parasol, ministerial or royal, is doubtless
+lost, and we speak of it only after the description which
+the learned bibliophile Jacob has given us.</p>
+
+<p>Daniel Defoe, who published his <em class="e000I2">Robinson Crusoe</em> in 1719,
+was one of the first to mention to any extent the Parasol in England.
+Before him, as we shall see farther on, it had been named
+only very summarily in literary works. So firmly fixed in our
+imaginations as men, the children of yesterday, is the great
+Umbrella of Crusoe, and his dreadful alarm on seeing the
+print of a man’s foot on the shore, as well as his walks with
+his dog and <em class="e000I2">Friday</em> the good Caribbee; it presents itself, moreover,
+so clearly in our first literary remembrances, that we will
+reproduce the passage of the journal where it is mentioned:</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_041.jpg" width="600" height="663" alt="" />
+</div>
+
+<p>“After this,” says Crusoe, “I spent a deal of time and
+pains to make me an Umbrella. I was indeed in great
+want of one, and had a great mind to make one. I had
+seen them made in the Brazils, where they are very
+useful in the great heats which are there; and I felt
+the heats every jot as great here, and greater too...;
+besides, as I was obliged to be much abroad, it
+was a most useful thing to me, as well for the
+rains as the heats. I took a world of pains at it,
+and was a great while before I could make anything
+likely to hold; nay, after I thought I had
+hit the way, I spoiled two or three before I made
+one to my mind; but at last I made one that
+answered indifferently well; the main difficulty, I
+found, was to make it to let down: I could make it
+to spread, but if it did not let down too, and draw
+in, it would not be portable for me any way, but just
+over my head, which would not do. However, at
+last, as I said, I made one to answer; I covered it
+with skins, the hair upward, so that it cast off the
+rain like a pent-house, and kept off the sun so
+effectually, that I could walk out in the hottest of
+the weather, with greater advantage than I could
+before in the coolest; and when I had no need of
+it, I could close it and carry it under my arm.”</p>
+
+<p>And this Parasol, for a century and a half, has
+been popularised by the engraver, with its dome of
+hair and rude manufacture; and so all the poor
+little prisoners at school invoke it, and dream
+often that they carry it in some desert isle, for
+it represents to their eyes a life of open air and
+liberty.</p>
+
+<p>Before Daniel Defoe, Ben Jonson had already
+mentioned the Parasol in England in a comedy
+played in 1616; and Drayton, sending some doves
+to his mistress in 1620—a delicious lover’s fancy—formulated
+in his passioned verses the following
+desire: “<em class="e000I2">May they, these white turtle doves I send
+you, shelter you like Parasols under their wings in
+every sort of weather.</em>”</p>
+
+<p>In the relation of his <em class="e000I2">Voyage in France</em> in 1675,
+Locke, speaking of Sunshades, says: “These are
+little articles and very light, which women use
+here, to defend themselves from the sun, and they
+seem to us very convenient.” Afterwards the English
+ladies desired to possess these pretty Parasols,
+although, by reason of their climate, such things
+could hardly be of any use to them. It was not,
+however, till the eighteenth century that a London
+manufacturer bethought himself of inventing the
+Sunshade-Fan, compared with which it appears the
+French folding <em class="e000I2">marquises</em> were as nothing. This
+ingenious fabricator made a considerable fortune;
+but if we are to believe the <em class="e000I2">Improvisateur François</em>,
+his invention was rapidly imitated and much improved
+in Paris. Why has it not been preserved
+to our own days?</p>
+
+<p>But let us linger in this seventeenth century, and
+remain awhile in France, where the Parasol was
+not in use, save at court among the great ladies.
+Men never used it to shelter themselves from
+the rain—the cloak and sword were still alone in
+fashion.</p>
+
+<p>Ménage tells us in his <em class="e000I2">Ménagiana</em>, that being
+with M. de Beautru, about 1685, in the midst of a
+pouring rain at the door of the Hôtel de Bourgogne,
+up came a Gascon gentleman, without a
+cloak, and nearly wet through; the Gascon, seeing
+himself stared at, cried out, “I would
+lay a wager now my people have forgotten
+to give me my cloak.” To which M. de Beautru
+quickly replied, “I go halves with you.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_044.jpg" width="600" height="436" alt="" />
+</div>
+
+<p>The silk Sunshade, however, properly so called, appeared in the
+hands of women of quality, at the promenade, on the race-course,
+or in the vast alleys of the royal park of Versailles, towards the
+middle of the reign of Louis XIV. The Umbrella of that time was
+an instrument astonishingly heavy and very coarse in appearance,
+which it seemed almost ridiculous to hold in the hand. In 1622
+it was in some measure a novelty in Paris, since in the <em
+class="e000I2">Questions Tabariniques</em>, cited by that useful
+author, the late M. Édouard Fournier, in <em class="e000I2">The Old
+and the New</em>, we read these lines about the famous felt hat of
+Tabarin:—</p>
+
+<p>“It was from this hat that the invention of Parasols was drawn,
+which are now so common in France that they are no longer called
+Parasols, but <em class="e000I2">Parapluyes</em> (Umbrellas) and <em
+class="e000I2">Garde-Collet</em> (collar guards), for they are used
+as much in winter against the rain as in summer against the sun.”</p>
+
+<p>The most ancient engraving or <em class="e000I2">documentary</em> image of
+French manners in which we see a Parasol is dated 1620.
+It is the frontispiece of a Collection of Saint Igny, <em class="e000I2">The
+French Nobility at Church</em>.</p>
+
+<p>Parasols, however, were still very little used in the seventeenth
+century; the <em class="e000I2">Précieuses</em> who, instead of saying “It
+rains,” cried out, “<em class="e000I2">The third element falls!</em>”
+would never
+have missed finding some amiable
+qualificative to designate this necessary
+article invented against Phœbus and Saint Swithin.
+But Saumaise reveals to us nought on this subject,
+and one would be almost tempted to believe that
+the <em class="e000I2">Philamintes</em> and <em class="e000I2">Calpurnies</em> attached no importance
+to this “rustic and movable Pavilion.” What,
+however, is clearly shown by the ancient prints is
+the employment of the Parasol in the form of a small round
+canopy which ladies of quality had borne by their valets
+when walking in the primly arranged gardens of their lordly
+residences, whilst the gentlemen marched before, wrapt in
+their cloaks, with the felt hat inclined over one eye.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_045.jpg" width="600" height="418" alt="" />
+</div>
+
+<p>Parasols were then of so coarse a form, and their weight
+made them so difficult to be carried, that they could not
+be easily utilised by ordinary people; they are never found
+in any of those very curious engravings which give a confused
+idea of the rumblings and mobs of the streets under
+Louis XIV. Boileau and François Colletet have not mentioned
+them amidst the <em class="e000I2">Obstacles and Bustle of Paris</em>; and
+the <em class="e000I2">Cries of the Town</em> which have come down to us do
+not indicate that in the seventeenth century any man with
+“<em class="e000I2">’Brella-a-a-a-s to sell!</em>” had contributed his mournful
+melopæa to the lagging cries of the street.</p>
+
+<p>That is easily understood. We see that a Parasol, in
+the middle of the grand century, weighed 1600 grammes,
+that its whalebones had a length of 80 centimetres,
+that its handle was of heavy oak, and that its massive
+carcass was covered with oilcloth, with barracan,
+or with coloured grogram. The whole was
+held by a copper ring fixed at the extremity of
+the whalebones; it was the labour of a porter to
+preserve oneself, with an instrument like this, from
+the pelting shower! Better still: often these Parasols
+were made of straw, and, if we believe the
+<em class="e000I2">Diary and Correspondence of Evelyn</em>, about 1650,
+they affected in some degree the form of metal
+dish-covers.</p>
+
+<p>However, it is something very like a Sunshade
+which we find about 1688 in the hands of a woman
+of quality, dressed in a summer habit <em class="e000I2">à la Grecque</em>,
+of which N. Arnoult has preserved faithfully for
+us the pleasing outline, in a pretty design made
+common by engravings. This Parasol has the
+appearance of a mushroom, well developed and
+slightly flattened at its borders; the red velvet
+which covers it is divided into ribs or rays, by
+light girdles of gold, and the handle, very curiously
+worked, is like that of a distaff, with swellings and
+grooves executed by the turner. Altogether, this
+coquette’s Sunshade is very graceful, and of great
+richness.</p>
+
+<p>In the most varied literary works of the seventeenth
+century, memoirs, romances, varieties, dissertations,
+poems, enigmas, carols, and songs, there
+is not a word of allusion to the Parasol, there is an
+entire penury of anecdote, nothing whatever on the
+subject. It is useless to torture your understanding,
+to look through a miserable needle’s eye, at
+the <em class="e000I2">Letters</em> of Madame de Sévigné, the gossip of
+Tallemant, the <em class="e000I2">Conversations</em> of Mademoiselle de
+Scudéry, the <em class="e000I2">Anecdotes</em> of Ménage, the poetical collections,
+the different <em class="e000I2">Chats</em>, the <em class="e000I2">Medleys</em>—it is but
+a library overturned to no purpose, a headache
+gained without the slightest profit.</p>
+
+<p>In a MS. collection, written about 1676, which
+relates the memoirs of Nicolas Barillon, a comedian,
+this phrase alone attracts our attention: “The days
+being very hot, the lady carried either a mask or a
+Parasol of the most precious leather.”</p>
+
+<p>From this mask or Parasol of precious leather
+no conclusion can be drawn better than that of the
+Dictionaries of the Anti-Academician, Antoine
+Furetière, or of the learned Richelet, where we find
+a résumé of the ideas of the time. Here, then, is
+the definition of the first:—</p>
+
+<div class="blockquot">
+
+<p><em class="e000I2">Parasol</em>, s. m., a small portable piece
+of furniture, or round covering, carried in the hand, to defend the
+head from the great heats of the sun; it is made of a circle of
+leather, of taffety, of oilcloth, &#38;c. It is suspended to the
+end of a stick; it is folded or extended by means of some ribs of
+whalebone which sustain it. It serves also to defend one from the
+rain, and then it is called by some <em class="e000I2">parapluie</em>
+(umbrella).</p></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_048.jpg" width="600" height="620" alt="" />
+</div>
+
+<p>The definition of Richelet is almost the same. He adds, however,
+these words: “Only women carry Parasols, and they only in spring,
+summer, and autumn.” Richelet, it is true, borders upon the
+eighteenth century, since he died but a little before the end of
+the reign of Louis the Great. This brings us to the aurora of the
+Regency, and a renaissance then occurs in feminine coquetry. We are
+now about to find our Sunshade in gallant parties, supported by
+little turbaned negroes; already we see it decorated with fringes of
+gold and trimmings of silk, enhanced with plumes of feathers, mounted
+on Indian bamboos, covered with changing silks, embellished in a
+thousand and one ways, worthy, in a word, of casting a discreet shade
+on those rosy and delicate faces which Pater, Vanloo, Lancret, La
+Rosalba, and Latour did their best to reproduce in luminous paintings
+or fresh pastels, those enchanting pictures where the coquetry of the
+past smiles still.</p>
+
+<p>Like all objects of adornment in the hands of women, the
+Sunshade in the last century became, like the Fan, almost a
+light and graceful plaything, serving to punctuate an expression,
+to round a gesture,
+to arm an attitude of
+charming reverie, in
+which, guided by pretty indolent
+fingers, its point traces
+vague designs upon the sand.
+Before the burning breath of amorous
+declarations, often the frail Sunshade
+escapes from the hands of a
+beauty, in sign of armistice, and as an
+avowal of abandonment.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_049.jpg" width="600" height="623" alt="" />
+</div>
+
+<p>Be it open, and daintily held over powdered
+hair, or shut, and brushing the brocaded petticoat, it is always
+the “balancing pole of the Graces.” It gives a value to listlessness
+on the rustic seat of the parks, under the vaulted roofs
+of grottoes, and it adds a piquancy to the frowardness of the
+feminine chatterers, who defend themselves by making fun of
+libertine attacks. In a word, in the light amorous allegories
+of the century, it is worthy to appear in those love-duets of
+<em class="e000I2">Leanders</em> and <em class="e000I2">Isabellas</em>, which Watteau often composed with so
+rare an art of refinement.</p>
+
+<p>From the middle of the last century the Umbrella of taffety
+became the fashion at Paris. Caraccioli, in his <em class="e000I2">Picturesque
+and Sententious Dictionary</em>, gives us evidence of this: “It has
+long been the custom,” he says, “not to go out
+save with one’s Umbrella, and to trouble oneself by
+carrying it under one’s arm. Those who wish not
+to be confounded with the vulgar, prefer to run the
+risk of getting wet to being regarded as people who
+walk on foot, for the Umbrella is the sign of having
+no carriage.”</p>
+
+<p>The Parasols were made by the purse-makers,
+and when, by an edict of August 1776, the manufacturers
+of gloves, purses, and girdles were united
+in one community, an article thus conceived may
+be read in their statutes: “They alone also still
+have the right to make and manufacture all sorts
+of Umbrellas and Parasols, in whalebone and in
+copper, folding and non-folding, to garnish them
+atop with stuffs of silk and linen, to make Umbrellas
+of oilcloth, and Parasols adorned and
+ornamented in all sorts of fashions.” According
+to the <em class="e000I2">Journal of a Citizen</em>, published at the
+Hague in 1754, the price of folding Parasols was
+then from 15 to 22 livres a piece, and the Parasol
+for the country from 9 to 14 livres.</p>
+
+<p>We must, however, believe that the common
+folk of Paris did not yet dare to purchase Parasols,
+since Bachaumont, in the <em class="e000I2">Secret Memoirs</em>, dated
+6th September 1769, records the following enterprise:—</p>
+
+<p>“A company has lately formed an establishment
+worthy of the town of Sybaris. It has obtained an
+exclusive privilege to have Parasols, and to furnish
+them to such as fear being incommoded by the
+sun during the crossing of the Pont-Neuf. There
+are to be offices at each extremity of the bridge,
+where the voluptuous dandies who are unwilling
+to spoil their complexion, can obtain this useful
+machine; they will return it at the office on the
+other side, so alternately, at the price of two farthings
+for each person. This project has already
+been put in execution. It is announced that if
+this invention succeeds, there is authority to establish
+like offices in other places in Paris, where
+skulls might be affected, such as the Place Louis
+XV., &#38;c. It is probable that these profound speculators
+will obtain the exclusive privilege of Umbrellas.”</p>
+
+<p>Did this enterprise succeed? We cannot tell.
+All that is certain is, that it was tried many times in
+our own epoch by innovators, who had no idea that
+even the letting out of Parasols was not absolutely
+new under the sun.</p>
+
+<div class="sandbagbox" id="img052">
+ <div id="i052b1">&#160;</div>
+ <div id="i052b2">&#160;</div>
+ <div id="i052b3">&#160;</div>
+ <div id="i052b4">&#160;</div>
+ <div id="i052b5">&#160;</div>
+ <div id="i052b6">&#160;</div>
+
+<p>A great progress was realised in the eighteenth century in the
+manufacture of Sunshades for ladies. The small ordinary Parasols
+became exceedingly light, and charmingly decorated. In a picture of
+Bonaventure Delord, in the Louvre, we find the exact type of these
+coquettish Sunshades of the last century. One, which is held by a
+laughing beauty in the midst of a picnic, is mounted on a long stem,
+and the top, made of yellow buckskin, appears to have four sides; a
+cap of turned copper, and of a very pretty shape, profiles its tiny
+Chinese gable on the grass.</p>
+
+<p>So, too, may be seen in the collection of Madame la Baronne
+Gustave de Rothschild, a very curious Sunshade which belonged to
+Madame de Pompadour. It is of blue silk superbly decorated with
+wonderful Chinese miniatures in mica, and ornaments in paper very
+finely cut and affixed to the background. Fortified probably with
+such a Sunshade as this, the pretty favourite, at the time of the
+rage for pastorals, which followed the appearance of Bouffier’s story
+of <em class="e000I2">Aline</em>, betook herself to the shady walks
+of the Petit Trianon at Versailles, with her female friends, to see
+the white sheep milked, and to steep the carnation of her lips in
+the warm milk, of which the young Abbé De Bernis—who gathered so
+willingly madrigals and bouquets for Chloris—compared the whiteness
+to that of her peerless bosom.</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 406px;">
+<img src="images/i_052.jpg" width="406" height="700" alt="" />
+</div>
+<p>A great progress was realised in the eighteenth century in the
+manufacture of Sunshades for ladies. The small ordinary Parasols
+became exceedingly light, and charmingly decorated. In a picture of
+Bonaventure Delord, in the Louvre, we find the exact type of these
+coquettish Sunshades of the last century. One, which is held by a
+laughing beauty in the midst of a picnic, is mounted on a long stem,
+and the top, made of yellow buckskin, appears to have four sides; a
+cap of turned copper, and of a very pretty shape, profiles its tiny
+Chinese gable on the grass.</p>
+
+<p>So, too, may be seen in the collection of Madame la Baronne
+Gustave de Rothschild, a very curious Sunshade which belonged to
+Madame de Pompadour. It is of blue silk superbly decorated with
+wonderful Chinese miniatures in mica, and ornaments in paper very
+finely cut and affixed to the background. Fortified probably with
+such a Sunshade as this, the pretty favourite, at the time of the
+rage for pastorals, which followed the appearance of Bouffier’s story
+of <em class="e000I2">Aline</em>, betook herself to the shady walks
+of the Petit Trianon at Versailles, with her female friends, to see
+the white sheep milked, and to steep the carnation of her lips in
+the warm milk, of which the young Abbé De Bernis—who gathered so
+willingly madrigals and bouquets for Chloris—compared the whiteness
+to that of her peerless bosom.</p></div>
+<!--**********-->
+
+<p>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 <em class="e000I2">Prints of Moreau the Younger
+intended to serve as a Companion to the History of Fashions and
+Customs in France</em>, in the <em class="e000I2">Crossing the River</em>, after Gamier, in
+public festivals, as well as amidst the hubbub of the crowds,
+which Moreau shows us in the <em class="e000I2">Great Court Carriages in</em> 1782,
+as in the minor popular rejoicings, like <em class="e000I2">The Ascension of a
+Fire-balloon</em>, after the engravings of the period. The Sunshade
+introduces also a little touch of gaiety into the large pictures
+of Joseph Vernet; in his <em class="e000I2">View of Antibes</em> and his <em class="e000I2">Port of
+Marseille</em> 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!”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_053.jpg" width="600" height="654" alt="" />
+</div>
+
+<p>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.</p>
+
+<p>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 <em class="e000I2">Tatler</em>, 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:</p>
+
+<div class="poembox">
+<p class="pi0">The tucked-up sempstress walks with hasty strides,</p>
+<p class="pi0">While streams run down her oiled Umbrella’s sides.</p>
+</div>
+
+<p>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.</p>
+
+<p>It is right to say that during the first years of the
+last century people could not procure Umbrellas in
+London except in the coffee-houses, where they
+were placed in reserve to be let out to customers
+during heavy showers of rain. The first English
+citizen who really introduced absolutely and unconditionally
+the Umbrella to the nation was Jonas
+Hanway, the founder of the Magdalen Hospital.
+This audacious man—for audacious he must have
+been thus to brave the prejudices of a people the
+most prejudiced in the world—this rash person
+had the courage never to go out into the streets of
+London without his Umbrella from the year of our
+Lord 1750. Like the majority of innovators, he
+was scoffed at, reviled, derided, caricatured; he had
+to bear in his daily walks the quips and insults of
+the mob, the stones and jostlings of the vagabond
+boys; but he had also the honour of triumphing,
+and of seeing by degrees, after twenty years of perseverance,
+his example followed to such an extent
+that at the time of his death in 1786 he could declare
+with pride that, thanks to him, the Umbrella
+was for ever implanted in England, an imperishable
+institution.</p>
+
+<p>To-day, our neighbours across the Channel talk
+of erecting a statue to Jonas Hanway, as a homage
+publicly paid to a philanthropist. It might be asked in
+what attitude this peaceable humanitarian is to be represented,
+whether the Parasol of bronze is to remain shut up
+in his right hand, or if it will be opened in all its amplitude
+over the head of its protector, thus become its <em class="e000I2">protégé</em>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_056.jpg" width="600" height="348" alt="" />
+</div>
+
+<p>About the time when Jonas Hanway died, Roland de la
+Platière made, in his <em class="e000I2">Manufactures, Arts, and Trades</em>, this
+curious observation: “The use of Parasols is to such an
+extent established in Lyons, that not only all the women,
+but even the men, would not cross the street without their
+little Parasol in red, white, or some other colour, garnished
+with blonde lace, an article which, owing to its lightness,
+can be carried with ease.”</p>
+
+<p>At the approach of the Revolution, the Umbrella became
+popular, and served as a tent for the fishwomen and other
+feminine hucksters. Then first appeared the enormous Umbrella
+of red serge among the people of the markets, and the
+ordinary Umbrella in the hands of the “Sans-Jupons” (the
+unpetticoated). Amidst the enthusiasms and revolts of the
+streets the Umbrella was frantically waved by the hands of
+the women of the people, and when, on the 31st May 1793,
+Théroigne de Méricourt undertook her ill-starred defence of
+Brissot, in the midst of a multitude of old hags, who cried
+“Down with the Brissotins!” Umbrellas were lifted like so
+many improvised swords over the <em class="e000I2">Liégeoise</em>, smote her in the
+face, lashed her everywhere, scanning as it were with their
+strokes the odious cries of “<em class="e000I2">Ah!
+the Brissotine!</em>” and
+provoking in the unhappy revolutionary Amazon the madness
+of which she died so sadly at the Salpêtrière.</p>
+
+<p>The Parasol of the Jacobins for a time made a show of severity,
+in opposition to the knotty sticks and coquettish Parasols of the
+Muscadins (dandies) and Incroyables (beaux); the Merveilleuses
+(feminine exquisites), on the other hand, hoisted vaporous Sunshades
+like their vestments of nymphs. Then it was that fashion gave their
+due to the rights even of this frail protector of the Graces; every
+kind of extravagance was allowed, every stuff accepted, however
+dazzling and however precious. In the public gardens of Paris, all
+the fashionable beauties displayed unusual luxury in the decoration
+of their Sunshades; there were tender greens, figured gold stuffs,
+flesh-coloured tints with scarlet fretworks, tender blues trimmed
+with silver, Indian cashmeres or tissues, the whole mounted on
+handles of affected roughness or of exquisitely delicate work. <em
+class="e000I2">Ma paole supême</em>, as the exquisite used to say, it
+must be seen to be believed. Nothing could be more coquettish than
+these Parasols, streaked, striped, pied, fretted, as the complement
+of a dress <em class="e000I2">à l’Omphale</em>, <em class="e000I2">à
+la Flore</em>, <em class="e000I2">à la Diane</em>, appearing in
+a swiftly driven carriage, above a jacket <em class="e000I2">à
+la Galatée</em>, or a tunic <em class="e000I2">au Lever de
+l’aurore</em>, amidst egrets, plumes, tufts of ribbons, and every
+kind of feminine adornment.</p>
+
+<div class="figcenter" style="width: 600px;"> <img
+src="images/i_057.jpg" width="600" height="331" alt="" /> </div>
+
+<p>Towards the close of the eighteenth century, the Sunshade was
+always covered with the most fashionable tints and with stuff of
+the latest taste of the time. Parasols were to be seen dressed
+in <em class="e000I2">stifled sighs</em>, and garnished with <em
+class="e000I2">useless regrets</em>, others adorned with ribbons <em
+class="e000I2">aux soupirs de Vénus</em> (Venus’ sighs), whilst the
+fashion exacted by turns such colours as <em class="e000I2">coxcombs’
+bowels</em>, <em class="e000I2">Paris mud</em>, <em
+class="e000I2">Carmelite</em>, <em class="e000I2">flea’s thigh</em>,
+<em class="e000I2">king’s eye</em>, <em class="e000I2">queen’s
+hair</em>, <em class="e000I2">goose dung</em>, <em
+class="e000I2">dauphin’s dirt</em>, <em class="e000I2">opera
+flame</em>, <em class="e000I2">agitated nymph’s thigh</em>, and other
+names which were the singular qualificatives of particular shades,
+the rage and infatuation of the hour.</p>
+
+<p>The young priests carried a light violet or lilac
+Parasol, to remain in the tone of their general
+dress—perhaps by episcopal orders. In the
+same way, the Roman Cardinals are still followed
+in their walks by a deacon, carrying a red Parasol,
+which makes part—like the hat—of the ordinary
+luggage of the “Monsignori.”</p>
+
+<p>This word “luggage,” which has just fallen from our pen, would
+seem to call the attention to the rôle of the Sunshade or the
+Umbrella in the Travels of the last century. Was the Parasol
+considered as indispensable luggage before going on any expedition?
+We cannot affirm this. The author of <em class="e000I2">A Journey
+from Paris to Saint-Cloud by Sea and by Land</em> writes, before
+embarking at Pont-Royal: “I kept for my personal carriage only
+my repeater, my pocket-flask full of <em class="e000I2">sans
+pareille</em> water, my gloves, my boots, a whip, my riding-coat,
+my pocket pistols, my fox-skin muff, my green taffety Umbrella, and
+my big varnished walking-stick.” But here we have more of a pretty
+conceit of the eighteenth century, a sort of cotquean traveller,
+who encumbers himself with useless objects. We have consulted many
+<em class="e000I2">Almanacks serving as Guides for Travellers</em>,
+and containing “a detail of everything which is necessary to travel
+comfortably, usefully, and agreeably,” from 1760 to 1765: nowhere,
+however, was the Umbrella prescribed, either for foot passengers
+or for those on horseback; on the contrary, the anonymous editor
+of those guides seems sometimes to laugh at the simplicity of the
+tourist from Paris to Saint-Cloud, and he adds that a traveller in
+good health ought to content himself with strong boots and a cloak of
+good cloth. Even a walking-stick, he says, often consoles the walker
+only in imagination.</p>
+
+<p>The Umbrella-Walking-stick—who would believe
+it?—was, however, known from 1758, and very
+convenient Parasols were then made, of which the
+dimensions could be reduced so as to suit the
+pocket. A certain Reynard announced in 1761
+Parasols “which fold on themselves triangularly,
+and become no thicker or more voluminous than
+a crush-hat.” These Umbrellas were, it seems,
+very common about 1770: the stick was in two
+pieces, united by a screw, and the ribs were folded
+back several times.</p>
+
+<p>But let us not abandon the chronological order in returning
+thus upon our own steps, after the example of a romance
+writer of 1840. We have scarcely caught a glimpse of the
+Sunshade in our passage through the sixteenth, seventeenth,
+and eighteenth centuries, in the desultory speed of this free
+chat, in which our prose leaps as in a steeple-chase of
+charming designs. We have confounded occasionally the
+two denominations <em class="e000I2">Sunshade</em> and <em class="e000I2">Umbrella</em> in the more
+general word <em class="e000I2">Parasol</em>: but if we have travelled a little in
+every direction, we have not had the leisure to stop anywhere
+as a lounger or analyst. And here we are at the
+beginning of this century, at the Empire, but the nation is
+helmed, the sun of Austerlitz requires not a Sunshade;
+woman holds merely the second place in this hour in which
+France handles but the costly toys of glory, and if
+we find at all an Umbrella, it is in the field, with
+the general staff of the army, during some
+misty night, when it is used to shelter the
+commander-in-chief, who studies on his map
+the plan of battle of the morn.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_060.jpg" width="600" height="673" alt="" />
+</div>
+
+<div class="figcenter" style="width: 599px;">
+<img src="images/i_061.jpg" width="599" height="305" alt="" />
+</div>
+
+<p>The Sunshade shows more favourably in the hour of
+peace, during the Restoration. All the journals of fashion
+of the time give us curious and varied specimens of it
+in their steel engravings, hand-coloured, which show us,
+during those days of a lull, languid ladies in the midst
+of amusing decorations, in winter amidst snowy country
+scenes, in summer in a park of profound distances, on
+some rustic bridge, where the mistresses of the manors
+of that time allowed their romantic reveries slowly to
+wander. We can follow in the innumerable Monitors of
+elegance, which appeared from 1815 to 1830, from year
+to year, from season to season, the variations introduced
+into the decoration of the little ladies’ Parasols. Look
+for a moment: here are Sunshades, covered with coloured
+crape, or damasked satin, with checkered silk, streaked,
+striped, or figured; others enriched with blonde or lace,
+embroidered with glass-trinkets, or garnished with marabou
+feathers, with gold and silver lace, or silk trimming; the
+fashionable shade is then very light or very deep, without
+intermediate tones: white, straw yellow, pink or myrtle-green,
+chestnut and black, purple-red, or indigo. But a
+hundred pages would not suffice us to catalogue these
+fashions of the Sunshade: let us pass onward.</p>
+
+<p>The use of the Umbrella extends itself little by little
+through all classes; already in the slang of the people it is
+known under the names of the <em class="e000I2">Mauve</em>(?), the <em class="e000I2">Riflard</em>, the
+<em class="e000I2">Pépin</em>, the <em class="e000I2">Robinson</em>. Umbrella manufactories have, since
+the beginning of this century, propagated rapidly in France.
+Before 1815—this seems scarcely credible—Paris had no
+great manufactory of Parasols. But from 1808
+to 1851 alone, we can reckon more than 103
+patents for inventions and improvements relating
+to Umbrellas and Sunshades. Among the most
+extravagant patents, we must quote, after M.
+Cazal:—</p>
+
+<div class="blockquot">
+
+<p>(1.) A patent for invention of an Umbrella walking-stick
+with a field-glass;</p>
+
+<p>(2.) A patent for invention of Umbrellas and Sunshades
+combined with walking-sticks, shutting up in a copper case,
+in the form of a telescope;</p>
+
+<p>(3.) A patent for invention of an Umbrella walking-stick,
+containing diverse objects for writing or other purposes, and
+called <em class="e000I2">Universal Walking-stick</em>;</p>
+
+<p>(4.) A patent for invention of methods of manufacturing
+Umbrellas and Sunshades, opening of themselves, by means
+of a mechanism placed inside the handle;</p>
+
+<p>(5.) A patent for an Umbrella walking-stick, of which
+the sheath may be folded at pleasure, and carried in the
+pocket.</p></div>
+
+<p>In spite of these genially grotesque inventions
+of Umbrella-Telescopes and of Parasol-Walking-sticks,
+we have always come back to the Umbrella
+simple, without mechanism, or to a light stick
+without any pretensions to defend us from the
+rain. There are so many complications in an
+object intended for many uses, that an educated
+mind will always refuse to adopt it.</p>
+
+<p>But without speaking further of the technology
+of the Umbrella, we will relate an anecdote which
+ran through all the minor journals of the Restoration,
+terminating like an apologue. We shall adopt
+the form and style of the time in our narrative of
+this little historic story, which should be entitled
+<em class="e000I2">The Sunshade and the Riflard</em>.</p>
+
+<p>One fair summer afternoon, the promenaders
+in the Parisian Champs Elysées might have seen,
+seated on a chair beside a pretty woman, whose
+interesting situation was plainly visible, a peaceable
+citizen making an inventory of all his pockets in
+their turn, without finding the purse from which
+he intended to draw the few halfpence which the
+chair-proprietress demanded.</p>
+
+<p>The search is useless; it is impossible for him
+to pay;—the proprietress indignant, almost rude,
+threatening to make a disturbance, is only satisfied
+by the gentleman taking from the hands of his
+companion a Sunshade of green silk, with fringes,
+mounted on a reed, and a yellow glove, and giving
+them to the irascible lady, saying to her, “Well,
+madam, keep this Sunshade as a pledge, and give
+it to no one unless he offer you a Glove the fellow
+of this.”</p>
+
+<div class="sandbagbox" id="img064">
+ <div id="i064b1">&#160;</div>
+ <div id="i064b2">&#160;</div>
+ <div id="i064b3">&#160;</div>
+ <div id="i064b4">&#160;</div>
+ <div id="i064b5">&#160;</div>
+ <div id="i064b6">&#160;</div>
+
+<p>The pair departed, slowly arrived at the Place de
+la Révolution, then at the Boulevard de la Madeleine,
+when they were surprised by a violent shower;
+cabs were not to be had, the rain increased, they
+were forced to seek refuge underneath a carriage
+entrance. The peaceable citizen had already taken
+his companion to this shelter, when a “portier,” with
+an otter-skin cap, came out, beseeching the lady and
+gentleman to accept the hospitality of his little room,
+where a leathern arm-chair and a stool were immediately,
+and with very good grace, offered to the invited pair.
+The rain still pouring down, the “portier,” more and more
+affable, took from a corner of his small lodge a superb
+Umbrella of green serge, and offered it to his guests,
+declaring that all he had was at their service.</p>
+
+<p>The gentleman, in much confusion, accepted with
+many thanks the Umbrella, and sheltering with it the
+interesting young woman, who had tucked up her dress
+in the prettiest style, they both ventured out into the
+midst of the deluge.</p>
+
+<p> . . . . An hour afterwards, a footman in very stylish
+livery returned to the honest “portier” cobbler his
+precious Umbrella, with four notes for a thousand
+francs, from the Duke de Berry; next directing his course
+to the Champs Elysées, that same footman sought out the
+chair-proprietress, and said to her:</p>
+
+<p>“You recognise this Glove, Madam? Here are four pence,
+which my lord, the Duke of Berry, has ordered me to remit
+to you, to redeem the Sunshade of the Princess Caroline.”</p>
+
+<p>Touching and eternal legend of virtue, not without a
+recompense!</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 445px;">
+<img src="images/i_064.jpg" width="445" height="700" alt="" />
+</div>
+<p>The pair departed, slowly arrived at the Place de
+la Révolution, then at the Boulevard de la Madeleine,
+when they were surprised by a violent shower;
+cabs were not to be had, the rain increased, they
+were forced to seek refuge underneath a carriage
+entrance. The peaceable citizen had already taken
+his companion to this shelter, when a “portier,” with
+an otter-skin cap, came out, beseeching the lady and
+gentleman to accept the hospitality of his little room,
+where a leathern arm-chair and a stool were immediately,
+and with very good grace, offered to the invited pair.
+The rain still pouring down, the “portier,” more and more
+affable, took from a corner of his small lodge a superb
+Umbrella of green serge, and offered it to his guests,
+declaring that all he had was at their service.</p>
+
+<p>The gentleman, in much confusion, accepted with
+many thanks the Umbrella, and sheltering with it the
+interesting young woman, who had tucked up her dress
+in the prettiest style, they both ventured out into the
+midst of the deluge.</p>
+
+<p> . . . . An hour afterwards, a footman in very stylish
+livery returned to the honest “portier” cobbler his
+precious Umbrella, with four notes for a thousand
+francs, from the Duke de Berry; next directing his course
+to the Champs Elysées, that same footman sought out the
+chair-proprietress, and said to her:</p>
+
+<p>“You recognise this Glove, Madam? Here are four pence,
+which my lord, the Duke of Berry, has ordered me to remit
+to you, to redeem the Sunshade of the Princess Caroline.”</p>
+
+<p>Touching and eternal legend of virtue, not without a
+recompense!</p></div>
+<!--**********-->
+
+<p>Under Louis Philippe, the Umbrella or Riflard became
+<em class="e000I2">patriarchal</em> and <em class="e000I2">constitutional</em>; 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.</p>
+
+<p>All the independents of Paris, Bohemians, literary men with
+flowing manes, and artists chanted in the <em class="e000I2">Rapinéide</em>, all the
+hirsute folk of the years 1830 to 1850 rose in insurrection
+against the “Pépin” of the burgess. This word <em class="e000I2">Pépin</em> was
+then an epigram against Louis Philippe, whose pear-shaped
+head was caricatured, and who never left his home without
+his Umbrella.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_065.jpg" width="600" height="546" alt="" />
+</div>
+
+<p>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 <em class="e000I2">Chinese bells</em>, that the man-orchestra
+causes an excitement in the court-yards by ringing
+his little bells.</p>
+
+<p>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.</p>
+
+<p>The Umbrella! we behold it in the dreams of
+our school-days. Here is the severe and sombre
+Umbrella of the headmaster, symbol of his pedantic
+authority, when he passed us in review in the cold
+and damp playground. Here is the Riflard of the
+poor usher, a celebrated <em class="e000I2">Pépin</em>, covered with a
+mottled cotton-stuff, its bill-headed handle polished
+by his unctuous clasp. And here, above all, is
+an Umbrella greeted with loud acclaim, a festive
+Crusoe, which followed us when out walking,
+as the sutler follows the regiment on the march,
+the Umbrella of <em class="e000I2">Mother Sun</em>, as we used to call
+it: <em class="e000I2">Mother Sun!</em> an honest jolly wench, with her
+head in a silk pocket-handkerchief tied under
+her chin, who installed herself beneath the
+shelter of her improvised tent about our playtime,
+to sell to her noisy <em class="e000I2">children</em> cooling lemonade,
+fruit, barley-sugar, and little white rolls stuffed with
+hot sausages.</p>
+
+<p>But let us leave these souvenirs, which carry us
+too far away, and return to the <em class="e000I2">Sunshade</em> between
+1830 and 1870. If we wished to show only its
+transformations during these forty years, we should
+have to write a volume quite full of coloured
+vignettes to give a feeble idea of the history which
+fashion creates in an object of coquetry. About
+1834, in the journal called <em class="e000I2">Le Protée</em>, we see
+fashion personified under the traits of a young
+and pretty woman visiting the finest shops in
+Paris; she fails not to go to “Verdier, in the
+Rue Richelieu, for Sunshades,” and chooses two—one
+a full-dress Sunshade, in unbleached silk
+casing, mounted on a stick of American bindweed,
+with a top of gold and carved coral; the
+other in striped wood, having a similar top with
+a fluted knob, and covered with myrtle green
+paduasoy, with a satin border.</p>
+
+<p>Let us skip over some hundreds of intermediate
+varieties to look a dozen years afterwards, under
+the Second Republic, at the Sunshade described
+by M. A. Challamel in his <em class="e000I2">History of Fashion</em>:
+“As soon,” says this writer, “as the first ray of
+sunshine appeared, ladies armed themselves for
+their walks or morning calls with little Sunshades,
+entirely white, or pink, or green. Sometimes the
+Sunshades called ‘Marquises’ were edged with
+lace, which gave them rather a ragged appearance;
+or having the shape of little Umbrellas,
+the Sunshades could serve at need against a sudden storm.
+Very soon we saw Sunshades <em class="e000I2">à dispositions</em> bordered with
+a figured garland, or a satin stripe of the same colours,
+or blue or green on unbleached silk, or violet on white
+or sulphur.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_068.jpg" width="600" height="284" alt="" />
+</div>
+
+<p>A fashion, not, it will be allowed, in the very best
+taste:—Up to 1853 or 1854, we find no innovation
+worthy of exciting our enthusiasm; it is only in the first
+days of the Second Empire that we can see a marked
+change. The straight Sunshades were then abandoned to
+introduce Sunshades with a folding stick, principally for
+those made in satin and in moire antique, bordered with
+trimmings or set off with streamers. These Sunshades
+were called “<em class="e000I2">à la Pompadour</em>,” and they were worthy, in
+a certain degree, of the beauty who personified grace and
+delicate elegance in the eighteenth century; they were
+embroidered after the old fashion with gold and silk, and
+on the richness of the stuffs was cast or “frilled in” Chantilly,
+point d’Alençon, guipure, or blonde. The folding-sticks
+were of sculptured ivory, of carved mother-of-pearl,
+of rhinoceros horn, or of tortoise-shell. It is with this
+light Sunshade that the Parisian ladies saluted the Empress,
+caracoling by the side of the Emperor, at the commencement
+of his reign, on their return from the Wood, in the Champs
+Elysées, which began to look beautiful, as everything looks
+beautiful at the spring-tide of years, as well as at the springtime
+of governments. All in nature has surely its fall of the
+leaf, after having had the verdure of its blossom!—all tires,
+all passes, all breaks: men, kings, fashions, and peoples!</p>
+
+<p>The Sunshade is found to-day in the hands of every one,
+as it should be in this practical and utilitarian age. There
+is not, at the present hour, any woman or girl of the people,
+who has not her sunshade or her satin <em class="e000I2">en-tout-cas</em>—it seems
+to be the indispensable complement of the toilet for the
+promenade; and our modern painters have so well understood
+this gracious adjunct of feminine costume, that they
+take very good heed not to forget, in a study of a woman
+made in a full light, a rosy head with dishevelled hair, on
+the transparent ground of a Japanese Sunshade, thus producing
+an exquisite work with all freshness of colouring,
+and discreet shadows sifted upon sparkling eyes or a
+laughing mouth. On Sundays and holidays, in the jostlings
+of the crowd at suburban fêtes, it is like an eddy
+of Sunshades; such the spectacle of ancient besiegers, who
+covered themselves with their bucklers and made the
+“tortoise,” so in the shimmer of the summer sun in the
+great Parisian parish festivals: gingerbread fairs of Saint-Cloud
+or Vaugirard, the Sunshade is on the trestles and
+among the promenaders; it protects equally the girl dancing
+on the tight-rope and the respectable citizen’s wife in her
+Sunday best, who rumples the flounce of her petticoats in
+these popular gatherings.</p>
+
+<p>Surely the Sunshade adds new graces to woman! It is
+her outside weapon, which she bears boldly as a volunteer,
+either at her side, or inclined over her shoulder. It
+protects her head-dress, in supporting her carriage,
+it surrounds as with a halo the charms of her face.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_069.jpg" width="600" height="464" alt="" />
+</div>
+
+<p>“The Sunshade,” writes M. Cazal—or rather
+Marchal, as the so-called Charles de Bussy, who
+edited, in the name of the manufacturer, the little
+work already quoted,—“the Sunshade, like a rosy
+vapour, attenuates and softens the contour of the
+features, revives the vanished tints, surrounds the
+physiognomy with its diaphanous reflections. There
+is the Sunshade of the great lady, of the young
+person, of the tradesman’s wife, of the pretty
+lorette, of the little workwoman, just as there
+is the Sunshade of the town, of the country, of
+the garden, of the bath, of the barouche, and the
+Sunshade-whip.”</p>
+
+<p>“How many volumes,” continues the same
+writer with animation, “would be required to
+describe in its thousand fantasies the kaleidoscope
+of feminine thought in the use of the Sunshade?
+Under its rosy or azure dome, sentiment
+buds, passion broods or blossoms; at a distance
+the Sunshade calls and rallies to its colours, near
+at hand it edifies the curious eye, and disconcerts
+and repels presumption. How many sweet smiles
+have played under its corolla! How many charming
+signs of the head, how many intoxicating and
+magic looks, has the Sunshade protected from
+jealousy and indiscretion! How many emotions,
+how many dramas, has it hidden with its cloud of silk!”</p>
+
+<p>M. Charles Blanc, less dithyrambic, in his <em class="e000I2">Art
+in Dress and Ornament</em>, commences his chapter
+on the Sunshade—“Do you imagine that women
+have invented it to preserve their complexion from
+the heats of the sun? . . . . Certainly, without doubt;
+but how many resources are furnished them by this
+need of casting a penumbra over their face, and
+what a grudge they would have against the sun,
+if it gave them no pretext for defending themselves
+against his rays! In that work of art called
+a woman’s toilet, the Sunshade sustains the part of
+the chiaro-oscuro.</p>
+
+<p>“In the play of colours it is as a glazing. In
+the play of light it is as a blind.”</p>
+
+<p>For the last dozen years, fashion has varied,
+with every new season, the mode and covering
+of Sunshades. To-day they have become artistic
+in all points, and after having been in turns in
+spotted foulard, and set off with ribbons or lace,
+after the Parasol walking-stick, the maroon or cardinal-red
+Parasol, have succeeded the checkered
+taffetas, the Madras cretonnes, the Pompadour
+satins, the figured silks. Their handles are
+adorned with porcelain of Dresden, of Sèvres, or
+of Longwy, with various precious stones, and with
+jewels of all sorts; and lately, among some wedding
+presents, amidst a dozen Sunshades, one
+remarkable specimen was entirely covered with
+point lace, on a pink ground clouded with white
+gauze, having a jade handle with incrustations of
+precious stones up to its extreme point. A golden ring
+gemmed with emeralds and brilliants, attached to a gold
+chain, served as a clasp for this inestimable jewel.</p>
+
+<p>But in this style of hasty conference in which we are
+running from the Sunshade to the Umbrella, let us not
+neglect the latter, whose last name is <em class="e000I2">paratrombe</em> and
+<em class="e000I2">paradéluge</em>, which M. de Balzac, in the <em class="e000I2">Père Goriot</em>, calls
+“a bastard descended from a cane and a walking-stick.”
+The Umbrella has inspired many writers—writers of vaudevilles,
+romances, poetry, and humorous pieces; on it little
+ingenious monographs have been composed, little sparkling
+verses, articles in reviews, very serious from the trade point
+of view; many couplets have been rhymed at the Caveau and
+elsewhere on the Pépin and the Riflard; on the stage has
+been interpreted <em class="e000I2">My Wife and My Umbrella</em>, <em class="e000I2">Oscar’s Umbrella</em>,
+<em class="e000I2">The Umbrella of Damocles</em>, and <em class="e000I2">the Umbrella</em>
+of the poet D’Hervilly. This useful article
+has also inspired the realist Champfleury in
+a joyous tale, entitled—<em class="e000I2">Above all, don’t forget
+your Umbrella!</em> Everywhere, with variations
+and unheard-of paraphrases, has the social part
+of the Umbrella been shown to us; the meetings
+occasioned by it on stormy days; the <em class="e000I2">Pépin</em>
+gallantly offered to young girls eating apples in
+distress whilst it is raining on the Boulevards; we
+have had described to us the gentleman who
+follows the ladies fortified with his Umbrella,
+the weapon of his fight, and
+many tales and novels begin
+with one of these Parisian
+meetings at a street corner on
+a wet evening. The utility
+of the Umbrella in different
+ways has been insisted on, of
+the painter’s Umbrella, of the
+Umbrella for men called <em class="e000I2">sea
+bath</em>; and the sad melopæa of
+the French seller of Umbrellas
+in the street, whose prolonged
+cry of <em class="e000I2">parrrphluie</em> has been
+carefully annotated. Lastly,
+there have been too many pictures
+representing a coquettish
+workwoman, whose petticoats
+have been turned up by the wind, and whose Parasol has
+been turned inside out; but that which has never been
+written with the humour which such a subject allows, the
+master-piece which has never yet been accomplished, is the
+<em class="e000I2">Physiology of the Umbrella</em>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_072.jpg" width="600" height="636" alt="" />
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_073.jpg" width="600" height="684" alt="" />
+</div>
+
+<p>There is no doubt that bibliographers will put under our
+eyes a thin book of the lowest character which affects this
+title, and is edited by <em class="e000I2">Two Hackney Coachmen</em>, but it is
+nought but the “humbug” of the Umbrella—its <em class="e000I2">Physiology</em>
+in its entirety is yet unaccomplished. Balzac would
+have found therein matter for an immortal work, for
+there is a dash of truth in that fantastic aphorism uttered
+by some journalist in distress, “The Umbrella is the
+man.”</p>
+
+<p>Eugène Scribe has left us a modest quatrain on
+the Umbrella, worthy of his operatic muse—</p>
+
+<div class="poembox">
+<p class="pi0">A friend of mine, new, true, and rare,</p>
+<p class="pi1">And all unlike the common form;</p>
+<p class="pi0">Who leaves me when my sky is fair,</p>
+<p class="pi1">And reappears in days of storm.</p></div>
+
+<p>This almost equals that other quatrain, more ancient still, signed by
+the good abbé Delille—</p>
+
+<div class="poembox">
+<p class="pi0">This precious, supple instrument, confect</p>
+<p class="pi1">Of the whale’s bone, and of the silkworm’s grave,</p>
+<p class="pi0">With outstretched wing, my brow will oft protect</p>
+<p class="pi1">From the wet onslaught of the pluvial wave.</p></div>
+
+<p>Have we not here Academic verse well made
+for the Umbrellas of the Academicians!</p>
+
+<p>To come to extremes: among the popular songs,
+we hear the song of <em class="e000I2">the Umbrella</em>, “a ditty found
+in a whale”—</p>
+
+<div class="poembox">
+<p class="pi0">The good Umbrella may be sung</p>
+<p class="pi1">In many airs and ways;</p>
+<p class="pi0">The Umbrella, be we old or young,</p>
+<p class="pi1">Will serve us all our days.</p>
+<p class="pi0">It keeps true love from getting wet,</p>
+<p class="pi1">And catching cold at night;</p>
+<p class="pi0">It hides the thief, to business set,</p>
+<p class="pi1">From the policeman’s sight.</p>
+<p class="pi4">Umbrella!</p>
+<p class="pi0">Then buy yourself, for fear of rain,</p>
+<p class="pi0">A solid, useful, good, and plain</p>
+<p class="pi4">Umbrella!</p>
+<p class="pi0">In fact, for rain we cannot sell a</p>
+<p class="pi0">Much better thing than our Umbrella!</p></div>
+
+<p>This funny song is well worth the tiresome verse
+sung at present—</p>
+
+<div class="poembox">
+<p class="pi0">He has not an Umbrella, well</p>
+<p class="pi1">It is no matter, while it’s fine;</p>
+<p class="pi0">But when the rain comes down pell-mell,</p>
+<p class="pi1">Why, then he’s wetted to the spine! . . . .</p></div>
+
+<p>Certainly one ought to write a physiological
+monograph of these black mushrooms, which
+to-day protect humanity, just as one ought to
+rhyme a poem of the dainty Sunshade, that
+pretty rosy cupola, which is one of the most
+charming coquetries of a Frenchwoman.</p>
+
+<p>We write this <em class="e000I2">one ought</em> with a vague sadness,
+with the discouragement which makes us wish
+for the future, what we should have been so
+glad to bury in the past. In beginning our
+work, we experienced a careless joy, we thought
+the end was near on our very entry into the field,
+and that we should quickly attain it, with the
+satisfaction of having created a little work, both
+complete and altogether graceful; but once on
+our way, ferreting without relaxation in all the
+literary thickets where some Parasol might lie
+buried, in the fold of a phrase, in the middle
+of a story, of an anecdote, or of a dissertation,
+of some fact, we have gathered so ample a harvest,
+our sheaf has become so large, so very large,
+that it was impossible for us to bind our arms
+about it, after having co-ordinated its various
+parts. It is but a few poor strays then which
+lie stranded here, the flotsam and jetsam of our hope,
+sole vestiges of a project which, like all projects, became
+Homeric as it grew great in the workshop of the imagination.</p>
+
+<p>We end this essay, therefore, with a sentiment of ridicule,
+in which we laugh at our own selves, that of having dreamed
+of making a perfect monograph, and of having produced
+nothing more than a little tumbled fantasy, which ironically
+steals away out of sight, like that minuscular mouse, of
+which the mountain was once upon a time delivered in
+much moaning.</p>
+
+<p>What matter! We must end. Let us hide our melancholy
+retreat by humming this last lovely burden of a poet
+of the school of Clairville—</p>
+
+<div class="poembox">
+<p class="pi0">’Tis called a <em class="e000I2">Pépin</em>,
+a <em class="e000I2">Riflard</em>,</p>
+<p class="pi0">And other viler names there are;</p>
+<p class="pi0">Not one of all the Umbrella moves.</p>
+<p class="pi0">Wisely it counts them no disgrace;</p>
+<p class="pi0">Since—child of April’s art—the loves</p>
+<p class="pi0">Oft make their quivers of its case!</p></div>
+
+<div class="figcenter" style="width: 438px;">
+<img src="images/i_076.jpg" width="438" height="438" alt="" />
+</div>
+
+<div class="figcenter" style="width: 599px;">
+<a id="THE_GLOVE"></a>
+<h2 title="The Glove—The Mitten">&#160;</h2>
+<p title="To Mademoiselle H. de N.">&#160;</p>
+<img src="images/i_077.jpg" width="599" height="446" alt="" />
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_078.jpg" width="600" height="421" alt="" />
+</div>
+
+<div class="sandbagbox" id="img079">
+ <div id="i079b1">&#160;</div>
+ <div id="i079b2">&#160;</div>
+ <div id="i079b3">&#160;</div>
+
+<p class="fsize2 center">THE GLOVE<br /> <em class="e000I2">The
+Mitten</em><br /><br /></p>
+
+<p class="right"> <em class="e000I2">To M<sup>me.</sup> H. de
+N.</em></p></div>
+
+<!--**********-->
+<div class="HandHeld">
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_079.jpg" width="600" height="469" alt="" />
+</div>
+
+<p class="fsize2 center">THE GLOVE<br /> <em class="e000I2">The
+Mitten</em><br /><br /></p>
+
+<p class="right"> <em class="e000I2">To M<sup>me.</sup> H. de
+N.</em></p></div>
+<!--**********-->
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_079cap.jpg"
+ width="59" height="60" alt="" />
+WELL, my dear friend, here I am, faithful
+as you see to my appointment; I am
+come deliberately to fulfil my promise,
+which I so imprudently gave on a certain day last
+season, upon a Breton strand, you remember, while
+contemplating one of your rosy little hands, which
+was whipping its sister with a long Swedish glove,
+in a sort of angry pet, and gave to you an appearance
+of wild and exquisite bluster?
+</p>
+
+<p>How did you manage, O Enchantress, to induce me to give my loyal
+word that I would write for you the <em class="e000I2">History of
+the Glove</em>? How! . . . who can ever say? When a pair of pretty
+eyes envelop you, and bathe you with their radiance, when a smile
+puts honey into your heart, and a tiny little hand is stretched out
+with open palm, seeming to say, “Take me,” every kind of will melts
+quickly away, consent mounts delightedly to the lips, and we promise
+at once everything, before we know well what we are asked.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_080.jpg" width="600" height="607" alt="" />
+</div>
+
+<p>Ah, unhappy me! it is the Glove of Nessus
+which you have placed upon my hand! The
+History of the Glove! why, it is the history
+of the world; and I should be very ill-advised
+if I pretended <em class="e000I2">avoir les Gants</em> to be the first to
+tell that history, as ancient as it is universal.</p>
+
+<p>Haunted by this debt of honour, contracted to please
+you, I went lately to see a learned old friend of mine, a
+venerable Benedictine—better than a well of science; an
+ocean of indulgence—to whom I exposed my foolish enterprise
+of the Glove and the Mitten.</p>
+
+<p>Ah, my friend, I only wish you could have seen him
+all at once leap from his seat, look at me with compassion,
+examine me profoundly with his eye, and murmur
+three times in a tone of ineffable astonishment and sadness,
+as though he believed me mad—</p>
+
+<p>“The Glove!—the Glove!!—the Glove!!!—</p>
+
+<p>“ . . . And so it is the Glove,” he went on, when he had
+become a little calmer, “it is the history of this offensive
+and defensive ornament, of this object so complex, of
+which the origin is so obscure and so troublesome, it is
+a monograph of the Glove that you desire to write! . . .
+My dear child, allow me to believe that you have not
+reflected on what you have engaged yourself to do, let me
+think that you have brought more lightness than reason to
+the conception of this enterprise. The Glove!—Why, with
+the history of the Shoe, it is the most formidable work that
+a learned man could dare to dream of executing. Look,”
+he sighed, dragging forth a voluminous manuscript, “in the
+<em class="e000I2">Bibliography of Words</em>, a colossal work, which I have commenced,
+but, alas! shall never end, I see at the word
+GLOVE more than fifteen hundred different works, Latin,
+Greek, Italian, German, Spanish, English, and French,
+which treat of this matter, and even this is but the rudest
+sketch. We must consider the use of the Glove amongst
+the ancient Hebrews, the Babylonians, the Armenians, the
+Syrians, the Phœnicians, the Sidonians, the Parthians, the
+Lydians, the Persians, the Greeks, the Romans, &#38;c.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_081.jpg" width="600" height="361" alt="" />
+</div>
+
+<p>“It would be necessary to divide the work into different Books,
+subdivided into innumerable Chapters; thus for the etymology alone of
+<em class="e000I2">the word Glove</em>, in the different dialects,
+must be reserved a long notice of comparative philology; it would
+be necessary to determine if the Glove which was used by the young
+nude girls, who wrestled together in Lacedæmon, after Lycurgus had
+installed there his Lyceums and public games—if this Glove, I say,
+ought to be classed among the fighting mufflers or the leathern
+gauntlets—and how many matters besides!” And my dear old friend
+became still more and more excited, ever widening the question,
+as if, it seemed to me, it were a case of establishing a complete
+Encyclopedia. Diderot and d’Alembert would have grown pale before
+that imperturbable science, which showed mountains of folios to be
+cleared away, and unknown precipices to be sounded.</p>
+
+<p>“But,” I hazarded in a little confusion, “I only think of writing
+a light treatise, a thin volume of a few pages, one of those nothings
+carried off by the wind, which pass for a second, like an anecdote
+or tale, into a pretty feminine cerebellum; I wish to give hardly
+a line to other countries than France, just to graze incidentally
+the Glove of challenge, to speak only from memory of the pontifical
+Gloves, to neglect the side of manufacture, the art of preparing
+the skins, of removing the outside skin, and so on. I only desire
+in one word to chat for a few instants, disconnectedly and in fits
+and starts, on that portion of clothing which the ancients called
+<em class="e000I2">Chirothecæ</em>, <em class="e000I2">Gannus</em>,
+<em class="e000I2">Gantus</em>, <em class="e000I2">Guantus</em>, <em
+class="e000I2">Wanto</em>, and <em class="e000I2">Wantus</em>, if I
+may trust the <em class="e000I2">Glossary</em> of Du Cange.”</p>
+
+<p>“Alas, that is true,” cried my old friend, in a
+sadly modulated tone; “I am doting, eh? We, of
+the old school, it is we who are the wet blankets,
+the tedious savants. At the present day, when
+journalism is to literature what the piano is to
+music, an instrument upon which every one strums
+without any conviction, is it not necessary to cut
+matters short, and quickly create eternal <em class="e000I2">à peu
+près</em> (pretty much the sames), little light dissertations,
+notices made on the spur of the moment,
+and superficial passion? We were in our time
+egotists, fervent solitaries, unreadable and unread,
+if you will; what does it matter? When a work
+had fastened on our mind, we espoused it, after
+a legitimate love, with all the joys of generation
+and paternity. We wished to endow our
+labour with all the qualities which it seemed able
+to bear, to such an extent, that it became dry,
+rugged, and severe. But how many were the delights
+not to be forgotten, in those traces followed
+for whole days, before our utterance of the joyous
+<em class="e000I2">Eureka!</em>—how many inward intoxications in that
+slow-brooding season, in that patient labour!—how
+many minute investigations before resolving a historic
+doubt! We were the exclusives of national
+erudition, and thought one work sufficed for one
+man, when he had fed it with his life, with his
+watchings, with his very heart, with all the tenderness
+of the creative workman.</p>
+
+<div class="sandbagbox" id="img084">
+ <div id="i084b1">&#160;</div>
+ <div id="i084b2">&#160;</div>
+ <div id="i084b3">&#160;</div>
+ <div id="i084b4">&#160;</div>
+ <div id="i084b5">&#160;</div>
+
+<p>“I should like,” he continued, “to have twenty years to ride a
+hobby-horse, which would make me rest at stopping-places for ten,
+fifteen, twenty years, on a thorny work, and offer me splendid runs,
+full of adventure, across the highways and secret paths of science.
+I would commit the follies of Doctor Faustus, to return to the age
+of those first bibliographic loves, which have the future brilliant
+and open before them—and this Glove which you disdain, my dear young
+friend—this Glove which you dwarf to the ideal of a doll—this Glove,
+I would pick it up, hold it carefully, clear off with it like a cat,
+and ensconce myself with it in my savant’s den, to take a good long
+sniff at it, to study it, and to analyse it every day more and more,
+until at last I drew from it a serious and lasting work.</p>
+
+<p>“This Glove should not be thrown at the public, like one of those
+challenges which recall too distinctly the celebrated Glove which
+Charles V. sent to Westminster by a mere scullion—an accentuation
+of the insult offered to the King of England—it should be cast more
+lovingly, as in our old romances of chivalry, <em class="e000I2">the
+Romance of the Rose</em>, of <em class="e000I2">Rou</em>, or of <em
+class="e000I2">Perceforet</em>. If I were but twenty years old, I
+would do with the reader as Petrarch did with Laura, in demanding
+of her nothing more than the favour of picking up her Glove; and I
+would say to him later on, after the fashion of Marot, poetically, in
+offering my work:—</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 483px;">
+<img src="images/i_084.jpg" width="483" height="700" alt="" />
+</div>
+<p>“I should like,” he continued, “to have twenty years to ride a
+hobby-horse, which would make me rest at stopping-places for ten,
+fifteen, twenty years, on a thorny work, and offer me splendid runs,
+full of adventure, across the highways and secret paths of science.
+I would commit the follies of Doctor Faustus, to return to the age
+of those first bibliographic loves, which have the future brilliant
+and open before them—and this Glove which you disdain, my dear young
+friend—this Glove which you dwarf to the ideal of a doll—this Glove,
+I would pick it up, hold it carefully, clear off with it like a cat,
+and ensconce myself with it in my savant’s den, to take a good long
+sniff at it, to study it, and to analyse it every day more and more,
+until at last I drew from it a serious and lasting work.</p>
+
+<p>“This Glove should not be thrown at the public, like one of those
+challenges which recall too distinctly the celebrated Glove which
+Charles V. sent to Westminster by a mere scullion—an accentuation
+of the insult offered to the King of England—it should be cast more
+lovingly, as in our old romances of chivalry, <em class="e000I2">the
+Romance of the Rose</em>, of <em class="e000I2">Rou</em>, or of <em
+class="e000I2">Perceforet</em>. If I were but twenty years old, I
+would do with the reader as Petrarch did with Laura, in demanding
+of her nothing more than the favour of picking up her Glove; and I
+would say to him later on, after the fashion of Marot, poetically, in
+offering my work:—</p></div>
+<!--**********-->
+
+<div class="poembox">
+<p class="pi00">‘Deign to receive these Gloves with goodly cheer,</p>
+<p class="pi0">My true heart’s present of the coming year.’</p>
+</div>
+
+<p>“And then I would speak of those Mittens with which Xenophon reproaches
+the degenerate Persians, of those Roman finger-stalls employed in
+the olive crop, and even of that glutton named Pithyllus, who carried delicacy
+so far as to make a Glove of a sheath of skin for his tongue.”</p>
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_085.jpg" width="600" height="676" alt="" />
+</div>
+
+<p>The good old man,
+kindled by his enthusiasm,
+became transformed;
+he seemed
+desirous to take upon himself the whole history
+of the Glove, which he embroidered at once
+with fancy and the most varied anecdote that his
+wonderful memory could supply. After having
+distinguished, in the Middle Ages, many sorts
+of Gloves, such as the <em class="e000I2">usual</em> Glove, the <em class="e000I2">falconer’s</em>
+Glove, the <em class="e000I2">workman’s</em> Glove, the <em class="e000I2">feminine</em> Glove,
+the <em class="e000I2">military</em> Glove, the <em class="e000I2">seignorial</em> Glove, and the
+<em class="e000I2">liturgical</em> Glove, he attacked with a zest bordering
+on frenzy the part of the Glove of the
+knights and men in armour of the heroic
+battles of the past, at a time when individual
+prowess could still display itself; he quoted
+the Chronicles of Du Guesclin and De Guigneville:—</p>
+
+<div class="poembox">
+<p class="pi00">“Rich basinets he ordered to be brought,</p>
+<p class="pi0">And Gloves with iron spikes with horror fraught.”</p>
+</div>
+
+<p>He showed me, without recourse to aught but his own
+erudition, the transformation of these iron gauntlets, first into
+mail, like the coat, then into movable plates of flat iron,
+adapted to the movements of the hand; he explained to me
+the lining, where the palm was of leather or stuff, and at last,
+exhuming the ordinances of 1311, he made me penetrate into
+the details of the manufacture:—</p>
+
+<p>“That no one should make Gloves of plates, except the
+plates are tinned or varnished, or beaten, or covered with
+black leather, red leather, or samite, and that under the
+head of every nail should be set a rivet of gold.”</p>
+
+<p>Ah, my fair friend, if you could have seen this
+strange man so suddenly taken by my subject, you
+would have regarded me with pity, for I could not
+help pouting a little at this old dean, and felt myself
+attacked by a sudden cowardice, at the mere announcement
+of the formidable researches which
+were to be undergone.</p>
+
+<p>I took my humble leave of my most learned
+master, humiliated, floored by the extent of his
+knowledge, his laborious zeal, his powerful faith,
+his stubborn will. I saw that in giving you my
+word for a poor Glove, I had given it to a demon,
+who showed me a Glove of an immense shagreen
+skin, containing the world and its history—fantastic
+as a nightmare, which weighed me down. Then I
+swore to sacrifice a part for the rest, and not to build
+a cathedral when a simple cushion at your feet
+would suffice me for my heedless chatter. Accept
+then favourably this act of contrition, and let me
+be fully pardoned, if, <em class="e000I2">à propos</em> of the Glove, I bound
+along madly like a young kid, without pity for the
+history of costume and historic documents, which
+I trample under my feet, rather than see myself
+buried under their pyramidal bundles.</p>
+
+<p>That which my old friend had probably neglected
+is the Legend, and to that I run.</p>
+
+<p>A charming poet and a charmer, Jean Godard,
+a Parisian, the worthy rival of Ronsard, published
+towards 1580 a piece entitled <em class="e000I2">The Glove</em>. This
+witty nursling of the Muses pretends to show us
+the origin of the Glove in the burning passion
+which Venus cherished for Adonis. According to
+our poet—</p>
+
+<div class="poembox">
+<p class="pi00">“The young Adonis ever loved the field,</p>
+<p class="pi0">Now hunting the swift stag with branching head,</p>
+<p class="pi0">And now the tusked wild boar, just cause of dread.</p>
+<p class="pi0">Venus, fierce burning with his love alway,</p>
+<p class="pi0">Would never leave him neither night nor day,</p>
+<p class="pi0">But running after his sweet eyes and face,</p>
+<p class="pi0">Sought young Adonis, when he sought the chase:</p>
+<p class="pi0">Deep into forests full of gloomy fear,</p>
+<p class="pi0">The goddess followed him she held so dear.</p>
+<p class="pi0">One day, as she pursued him, bursting through</p>
+<p class="pi0">A bramble thicket, which by ill chance grew</p>
+<p class="pi0">Athwart her path, a cruel, hardy thorn</p>
+<p class="pi0">Pierced her white hand, and lo! the rose was born</p>
+<p class="pi0">From her red blood. But Venus, vexed with pain,</p>
+<p class="pi0">Lest any hurt should touch her hand again,</p>
+<p class="pi0">Bade all at once her unclad Graces sew</p>
+<p class="pi0">A leathern shelter for her hand of snow.</p>
+<p class="pi0">The lovely Graces, draped in floating hair,</p>
+<p class="pi0">No longer left their own hands free and bare,</p>
+<p class="pi0">But bound and covered them as Venus did.</p>
+<p class="pi0">And now the Glove’s true origin is hid</p>
+<p class="pi0">No longer. This is it. Fair girls alone</p>
+<p class="pi0">Wore on their hands what now is common grown.</p>
+<p class="pi0">Then came the Emperor, and then his court,</p>
+<p class="pi0">And then at last the folk of every sort.”</p>
+</div>
+
+<p>Charming in its <em class="e000I2">naïveté</em>, is it not, my
+dear friend, this fable which gives the Glove the same origin as the
+rose!</p>
+
+<p>The use of Gloves was widely spread in the
+Middle Ages. They covered the wrist entirely,
+even with women. “The Gloves of the common
+people,” says M. Charles Louandre, “were of sheep-skin,
+of doe skin, or of fur; those of bishops were made in
+chain-stitch of silk with gold thread; those of simple
+priests were of black leather.” But what will surprise you
+is that, contrary to the present custom, it was absolutely
+forbidden to appear gloved before great personages.</p>
+
+<p>In a manuscript lately published, <em class="e000I2">The Sayings of the
+Merchants</em>, a merchant cries, with an engaging air—</p>
+
+<div class="poembox">
+<p class="pi00">“I have pretty little bands,</p>
+<p class="pi1">&#160;&#160;And for damsels dainty Gloves,</p>
+<p class="pi0">Furred to warm their snowy hands,</p>
+<p class="pi1">&#160;&#160;These I sell to those sweet loves.”</p>
+</div>
+
+<p>But what were the furred Gloves of sweet loves or gentle
+ladies compared to those which the fair Venetians showed
+on the grand days of ceremonies, when the Doge prepared
+to mount the Bucentaur for the purpose of espousing the
+sea? These, according to M. Feuillet de Conches, were
+Gloves of silk marvellously embroidered, embossed with
+gold and pearls; some of them were of lace of an incomparable
+richness, well worthy to be offered as a present,
+and to figure in the budget of handsome acknowledgments.
+But the most wonderful were the Gloves of
+painted skin, like the water-colours on
+Fans.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_088.jpg" width="600" height="472" alt="" />
+</div>
+
+<div class="figright" style="width: 358px;">
+<img src="images/i_089a.jpg" width="358" height="348" alt="" />
+</div>
+
+<p>Here were country scenes, sheepfolds,
+pictures of ravishing gallantry, miniatures
+beyond price. “And even,”
+observes M. Feuillet de Conches,
+“the heels of the shoes of
+dandies were decorated by
+Watteau or by Parrocel.”</p>
+
+<p>The Valois doted, you know,
+on perfumed Gloves; this taste was fatal
+to Jeanne d’Albret, who found her death in
+trying a pair of Gloves dexterously prepared by
+some Italian quack, a friend of the sombre Catherine.
+Consider, my friend, that with my romantic
+instinct, and my temperament full of love for the
+drama, I might find here an easy transition, and tell you,
+in long excited phrases, of the exploits of the Marchioness of
+Brinvilliers, and the grim Gaudin de Sainte-Croix; show you
+these sinister poisoners preparing by night their infamous
+Glove stock; then in a tale fantastic as the <em class="e000I2">Olivier Brusson</em>
+of Hoffmann, evoke the famous trial of the Marchioness, the
+torture, the various punishments, the burning chamber, up to
+the final stake. All this <em class="e000I2">à propos</em> of the Glove—who can say
+if such simple history would not be worth more than all the
+cock-and-bull stories which I am about to tell you, by compulsion,
+concerning the Glove and the Mittens? In very
+truth, I would prefer, as your <em class="e000I2">vis-à-vis</em>, to show myself a
+romancist, not an historian, for I should be sure of being
+less of a bore, more personal, and, above all—shall I avow
+it?—not in any degree common-place. But, as Miguel de
+Cervantes said, “Our desires are extremely seditious servants.”
+I will be then reactionary, and will close the door against these
+socialists of sentiment.</p>
+
+<div class="figleft" style="width: 260px;">
+<img src="images/i_089b.jpg" width="260" height="180" alt="" />
+</div>
+
+<p>All this fine rigmarole
+has made me think of presenting
+you with a letter
+of Antonio Perez to Lady
+Rich, sister of Lord Essex,
+who had asked him for
+some dogskin Gloves:—</p>
+
+<p>“I have experienced,” he writes, “so much
+affliction in not having by me the dogskin Gloves
+desired by your ladyship, that, waiting their arrival,
+I have resolved to flay a little skin on the most
+delicate part of my own body—if, indeed, any
+delicate part can be found upon my rude self.
+Love and devotion to a lady’s service may surely
+make a man flay himself for her, and cut her a
+pair of Gloves out of his own skin. But how can I
+pride myself on this with your ladyship, when it is
+my custom to flay even my very soul for those I
+love? Could mine be seen as clearly as my body,
+it would appear full of tatters, the most lamentable
+sort of soul in the world;—the Gloves are of dog’s
+skin, madam, and yet of my own, for I hold myself
+as a dog, and supplicate your ladyship to hold me
+in like regard, in requital of my faith and my passion
+in your service.”</p>
+
+<p>What think you of this out-and-out gallant, of
+this “dying” passionate lover? Here it seems to
+me, <em class="e000I2">à propos</em> of scented Gloves, we have a Castilian
+gentleman exceedingly well skilled in the delicate
+art of offering them to ladies.</p>
+
+<p>Spanish Gloves are reproached with too strong a
+smell; the French ladies suffer strangely from their
+too heady odour: Antonio Perez would certainly have
+been an excellent manufacturer of perfumed Gloves—discreet
+in his scents, distinguished in his form.</p>
+
+<p>The Gloves most in vogue after the time of La Fronde were the
+Gloves of Rome, of Grenoble, of Blois, of Esla, and of Paris. M.
+de Chanteloup charged Poussin to buy him Roman Gloves, and the
+latter wrote back on 7th October, 1646: “Here are a dozen pairs
+of Gloves, half men’s, half women’s. They cost half-a-pistole a
+pair, which makes eighteen crowns for the whole.” The 18th October,
+1649, another purchase; but this time they are Gloves scented with
+Frangipane, with which Poussin provided himself for M. de Chanteloup;
+and these he bought at la Signora Maddelena’s, “a woman famous
+for her perfumes.” In Paris, according to <em class="e000I2">The
+Convenient Address Book</em> of Nicolas de Blegny—the Bottin of
+1692—there were a certain number of manufacturers of perfumed Gloves
+in the Rue de l’Arbre-Sec and the Rue Saint-Honoré. “There are,”
+says the editor of this commercial almanac, “Glove-merchants very
+well stocked; for instance, M. Remy, opposite Saint-Méderic, who
+is famous for his excellent buck-skin Gloves; Arsan, hard by the
+Abbey Saint-Germain; Richard, Rue Saint-Denis, <em class="e000I2">at
+the little St. John</em>, well known for his Gloves of <em
+class="e000I2">Fowl-skin</em>; and Richard, Rue Galande, at <em
+class="e000I2">the Great King</em>, whose commerce is in doeskin
+Gloves.”</p>
+
+<p>The name of fowl-skin Glove doubtless astonishes
+you—another name was outer lamb skin; they were
+made for the use of ladies during the summer. The pretended
+fowl-skin was nothing but the epidermis of kid-skin, and the
+preparation of this epidermis was the real triumph of the Glove-merchants
+of Paris and Rome. Gloves of <em class="e000I2">Canepin</em>, or outer
+lamb’s-skin, were made, it is said, so delicate and thin, that
+a pair of them could be easily enclosed in a walnut shell.</p>
+
+<p>The buck-skin or buffalo-skin Glove was specially made for
+falconers; it covered the right hand half up the arm, thus completely
+protecting it against the claws, or rather the talons, of
+the bird, falcon, gerfalcon, or sparrow-hawk, when it came to
+settle on their fist.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_092.jpg" width="600" height="624" alt="" />
+</div>
+
+<p>Hawking existed even under Louis XIII., but it was no
+longer the grand and splendid epoch of this aristocratic sport,
+so profoundly interesting. In one of his ancient legends,
+André le Chapelain, of whom Stendhal wrote a short biographical
+notice, speaks of a sparrow-hawk,
+to gain which the magic Glove was necessary.
+This Glove could only be obtained
+by a victory in the lists
+over two of the most formidable
+champions of Christendom. It
+was suspended to a golden
+column, and very carefully
+guarded. But when
+the knight had by his
+skill gained the Glove, he
+saw the beautiful sparrow-hawk
+so much desired swoop down immediately upon his
+fist.</p>
+
+<p>Up to the age of Louis XIV., the skin Glove was destined
+rather for the use of men, and it was only under this Prince
+that Gloves mounting a long way up the arm, and long Mittens
+of silk netting to set off the hands of women, were generally
+adopted by them.</p>
+
+<p>Gloves <em class="e000I2">à l’occasion</em>, <em class="e000I2">à la Cadenet</em>, <em class="e000I2">à la Phyllis</em>, <em class="e000I2">à la Frangipane</em>,
+<em class="e000I2">à la Néroli</em>, Gloves <em class="e000I2">of the last cut</em> worn awhile by the <em class="e000I2">Précieuses</em>,
+ceased to be fashionable about 1680. The custom, of which
+Tallemant speaks, of presenting ladies, after the banquet, with
+basins of Spanish Gloves, was only vulgarised in passing from
+the Court to the town.</p>
+
+<p>Dangeau, in his <em class="e000I2">Memoirs</em>, has written a chapter on the <em class="e000I2">Etiquette
+of Gloves and the Ceremonial of Mittens</em>. I refer you to it without
+ceremony.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_093.jpg" width="600" height="601" alt="" />
+</div>
+
+<p>Under Louis XV., in the eighteenth century, so full
+of the rustle of silk, so enchanting that I fear
+to stop on it in your company, lest I should
+never leave it, the wearing of Gloves quickly
+became an enormous luxury. All those
+fair coquettes, whom
+you have seen at
+their toilets, or
+their <em class="e000I2">petit lever</em>,
+after Nattier,
+Pater, or
+Moreau,
+surrounded by their “<em class="e000I2">filles de modes</em>,” caused a
+greater massacre of Gloves at the time of trying
+them on, than our richest worldlings of to-day.
+These Gloves were of kid, of thread, and of silk;
+the most celebrated came from Vendôme, from
+Blois, from Grenoble, and from Paris; they were
+generally made of white skin, wretchedly sewn,
+but the cut was extremely graceful, with its cuff
+falling from the wrist over the hand, and small
+ribbons and fine rosettes of carnation interlaced
+on this cuff.</p>
+
+<p>Gloves sewn after the English fashion were
+highly appreciated. It became a proverb, that
+for a Glove to be good, three realms must have
+contributed to it: “Spain to prepare the skin and
+make it supple, France to cut it, and England
+to sew it.”</p>
+
+<p>Caraccioli maintains that a woman of fashion, about the
+middle of the eighteenth century, would not dispense with
+changing her Gloves four or five times a day. “The <em
+class="e000I2">petits-maîtres</em>,” he adds, “never fail to put on,
+in the morning, Gloves of rose or <em class="e000I2">jonquil</em>,
+perfumed by the celebrated Dulac.” As to Mittens, the same observer
+of the century notices them as specially belonging to women.
+“Nevertheless,” he says, “in winter the manufacturers make furred
+Mittens, and men now wear them when they travel.”</p>
+
+<p>Madame de Genlis has this curious observation
+in her <em class="e000I2">Dictionary of Etiquette</em>: “If you have anything
+to present to a princess, and have your Glove
+on, you must needs take it off.”</p>
+
+<p>How many anecdotes, how many literary souvenirs,
+the Glove of the eighteenth century summons
+to the thought!</p>
+
+<p>You remember, I am quite sure, that pretty
+chapter consecrated by Sterne, in his <em class="e000I2">Sentimental
+Journey</em>, to the beautiful Grisette who sold Gloves,
+into whose shop he entered to ask his way. The
+pretty Glove-seller coquets with the stranger, shows
+herself extremely complaisant, and the sentimental
+traveller, to prove his gratitude for her kindness,
+asks for some Gloves, and tries on several pairs
+without finding one to suit him. But he takes
+two or three pairs all the same before he goes.</p>
+
+<p>The story leaves a fresh feature in the mind:
+an English artist has fixed it with much delicacy
+on a remarkable canvas, which figures in the
+National Gallery. The authors of the <em class="e000I2">Vie Parisienne</em>
+were surely inspired by it a little later in their
+joyous libretto, when they wrote the well-known
+couplets of the lady who sold Gloves and the
+Brazilian.</p>
+
+<p>Permit me also to relate to you an anecdote,
+rather slight in texture, of which Duclos is the hero,
+and which has all the flavour of his roguish age:—</p>
+
+<p>The author of <em class="e000I2">Manners</em> was bathing on the
+flowery borders of the Seine, and giving himself
+up to skilled <em class="e000I2">hand-over-hand</em>, when he suddenly
+heard piercing cries of distress. He rushes out
+of the water, runs up
+the bank without taking time
+to slip on his “indispensables,”
+and finds a young and charming woman,
+whose carriage had just been overturned in
+a rut. He hastens to beauty in tears, lying on
+the ground, and making a gracious bow, in
+his academic nudity, “Madam,” says he, in
+offering her his hand to assist her to rise,
+“pardon my want of Gloves.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_096.jpg" width="600" height="482" alt="" />
+</div>
+
+<p>Here we have at once the expression of a scoffing sceptic,
+and a giddy philosopher, full of a particular charm. Do not
+believe, my gentle friend, that if I remain in your company
+so short a time in the beginning of the eighteenth century—the
+only one which has, you cannot deny it, all its perfumed
+quintessence—do not believe that I intend to linger
+in the Revolution, and conduct you to the house of Mademoiselle
+Lange, Madame Talien, Madame Récamier, and all
+the fashionable drawing-rooms of the First Republic, the Directory,
+the Consulate, and the Empire; to take ceremoniously
+the hand of the marvellous Beauties, the Nymphs, and Muses
+of those troubled times, in order the better to show you what
+extravagant Gloves, what prodigious Mittens, were then worn.
+The <em class="e000I2">Ladies’ Journal</em>, and all the small journals of fashion,
+will surely teach you more about the Gloves worn by these
+worldly Calypsos and Eucharises than six hundred monotonous
+pages of varied descriptions. There is no Museum, however,
+preserving the objects of art which the Revolution marked
+deeply with its seal; and this fact will make me insist on a
+model of a special Glove, destined for a representative of
+the people despatched to the army, of which an erudite
+archæologist of the Revolution, and at the same time a remarkable
+humourist, Champfleury, has been good enough
+to communicate to me a design. This Glove of doe-skin,
+manufactured according to order, and broidered with arabesques
+about the slopings of the thumb, bears on the back
+of the hand a vignette in the form of a seal, which represents
+Liberty holding in her hand the pike, the Phrygian
+cap, and the scales of justice—a Liberty, you will say, by
+no means at liberty . . . . in her movements:—on the right
+is crouched a lion, the sign of force; on the left a cat, a
+sign of independence.</p>
+
+<p>I will not lose my time in paraphrasing for you this
+symbolic vignette; and, with a long historic stride, I will
+conduct you into the quietude of some chateau, under
+the Restoration, and, in the evening twilight, to the terrace
+before a great park. I will there show you two lovers
+warbling a serenade—the timid young girl touching a
+guitar, the young man deeply moved, putting a world
+of passion into his baritone voice. On the hands
+of the singer, behold, pearly grey gloves fastening
+with a single button; on the dainty little fingers
+supporting the guitar, examine those Mittens of
+black silk lace, open worked, like those which,
+according to tradition, are worn by the heroine
+of that charming comedy, the <em class="e000I2">Marriageable Maid</em>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_097.jpg" width="600" height="609" alt="" />
+</div>
+
+<p>There rises on my lips
+a song of the time which
+the <em class="e000I2">Almanac of the Muses</em> has bequeathed us, to
+the air of <em class="e000I2">The Little Sailor</em>. It will perhaps add
+a spice of interest to my story. “Now, listen,
+my friend,” as they used to say in the noble ages
+of chivalry. Title of the song: <em class="e000I2">The Gloves</em>.</p>
+
+<div class="poembox">
+<p class="pi0">I love the Glove, that covers quite</p>
+<p class="pi1">The rounded arm it rests upon;</p>
+<p class="pi0">I take it off, with what delight,</p>
+<p class="pi1">With what delight I put it on!</p>
+<p class="pi0">If true it is through mystery,</p>
+<p class="pi1">A lover’s bliss will higher move,</p>
+<p class="pi0">How dear that little hand should be</p>
+<p class="pi1">Which hides itself beneath a Glove!</p>
+<p class="pi0">&#160;</p>
+<p class="pi0">But there’s another Glove, whose use</p>
+<p class="pi1">Will every swaggerer displease;</p>
+<p class="pi0">A Glove correcting all abuse,</p>
+<p class="pi1">Which brings the braggart to his knees;</p>
+<p class="pi0">How many boasting folk I’ve known,</p>
+<p class="pi1">Who would, and wisely, rather prove</p>
+<p class="pi0">A flight from out the window thrown,</p>
+<p class="pi1">Than see before them that same Glove!</p>
+<p class="pi0">&#160;</p>
+<p class="pi0">The Gloves are useful when we seek</p>
+<p class="pi1">The fair, the great ones, as we know;</p>
+<p class="pi0">When unto those with Gloves we speak,</p>
+<p class="pi1">Easy at once their favours grow.</p>
+<p class="pi0">They for intriguers wealth have won,</p>
+<p class="pi1">No fools their uses are above;</p>
+<p class="pi0">Of what another man has done</p>
+<p class="pi1">They boast, and give themselves the Glove.</p></div>
+
+<p>One last couplet, I pray you, and the authoress, Madame Perrier, will
+bow herself out:—</p>
+
+<div class="poembox">
+<p class="pi0">The Gloveless man can ne’er afford</p>
+<p class="pi1">To dance, no step he makes with grace;</p>
+<p class="pi0">The servant wishes that his lord</p>
+<p class="pi1">Should put on Gloves in many a case.</p>
+<p class="pi0">When the police are wide awake,</p>
+<p class="pi1">To cheat those eyes they hardly love,</p>
+<p class="pi0">How many thieves will wisely take</p>
+<p class="pi1">The greatest care to wear the Glove?</p></div>
+
+<p>The song is not so bad, truly; and if the Muse
+gloves the author a little tightly, the tone of his
+strophes is none the less strictly respectable and
+proper.</p>
+
+<p>Under Louis XVIII. and Charles X. long Gloves
+were very costly; still, no coquette hesitated to
+change them every day, for it was necessary for
+them to be of extreme freshness of colour, which
+was either buff, gridelin, or white. Some years
+later, the fashion tended to maize, straw, or nut
+colour for the evening and morning toilet, and
+to palisander, burnt bread, cedar, fawn, for afternoon
+visits. Yellow Gloves had an infinite scale
+of tones, from a soft and delicate unbleached lawn
+colour to the glaring yellow of a stage-coach. White
+doe-skin was only used by men when riding.</p>
+
+<p>It was about this epoch, if I mistake not, that
+the denunciation of <em class="e000I2">Gant jaune</em> (yellow glove)
+became synonymous with <em class="e000I2">petit-maître</em> (dandy).
+In London, the disciples of Brummel—of the
+most refined elegance—constituted a society, and
+formed the Club of the <em class="e000I2">Fringed Glove</em>. This
+club no longer existed doubtless in 1839, when
+d’Orsay established thus despotically the rules of
+the perfect gentleman:</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_100.jpg" width="600" height="428" alt="" />
+</div>
+
+<p>“An English gentleman of fashion,” said he, “ought to
+use six pair of Gloves a day:</p>
+
+<p>“In the morning to drive a britzska to the hunt: Gloves
+of reindeer.</p>
+
+<p>“At the hunt, to follow a fox: Gloves of shammy
+leather.</p>
+
+<p>“To return to London in a Tilbury, after a drive at
+Richmond in the morning: Gloves of beaver.</p>
+
+<p>“To go later for a walk in Hyde Park, or to conduct
+a lady to pay her visits or make her purchases in London,
+and <em class="e000I2">to offer her your hand in descending from the carriage</em>:
+coloured kid Gloves braided.</p>
+
+<p>“To go to a dinner-party: yellow dog’s skin Gloves—and
+in the evening for a ball or rout: Gloves of white lamb-skin
+embroidered with silk.”</p>
+
+<p>What odious tyranny is so exacting a fashion! And how
+sensible was Balzac when he wrote: “Dandyism is a heresy
+of fashion; in making himself a dandy, a man becomes a
+piece of furniture of the boudoir, an extremely ingenious
+puppet, which can pose on a horse, or on a sofa, which
+sucks habitually the end of a walking-stick, but a reasonable
+being—never!”</p>
+
+<p>It is, however, with some dandy of the school of Rubempré
+and Rastignac, that often, on quitting the ball, an
+author shows us a romantic young lady in love, whose
+jealousy gnaws at her heart, who re-reads the letters of old
+times, and with wandering looks, like one overwhelmed,
+nervously tearing with her teeth a finger of her Glove,
+sadly dreams that the lover who is no longer all, is nothing,
+and that the moralist much deceived himself who wrote:
+“Woman is a charming creature, who puts off her love
+as easily as her Glove.”</p>
+
+<div class="figcenter" style="width: 599px;">
+<img src="images/i_101.jpg" width="599" height="356" alt="" />
+</div>
+
+<p>How many things are there, look you, in a Glove!</p>
+
+<p>In the novel <em class="e000I2">The Lion in Love</em> of Frédéric Soulié, Léonce
+signs the register of marriages at the mayoralty with a gloved
+hand; and when Lise’s turn comes, the young girl stops,
+saying in a voice tinged with just a touch of mockery,
+“Pardon me, let me remove my Glove.”</p>
+
+<p>“Léonce understood,” then says the author, “that he
+had signed with his gloved hand.” Sign an act of marriage
+with a Glove! Léonce meditated a little, and said to himself:
+“These people have certain delicacies. What difference
+makes a Glove more or less to the holiness of an
+oath, or the signature of a document? Nothing assuredly;
+and yet it seems that there is more sincerity in a naked
+hand, which affixes the signature of a man in testimony of
+the truth. It is one of those imperceptible sentiments of
+which we are unable to give an exact account, but which
+nevertheless exist.”</p>
+
+<p>The fact is, that the Glove is not really, as has been
+said, a tyrant of which the hand is the slave, but quite
+the contrary—it is the hand’s servant; and with the hand,
+as Montaigne wrote, “We request, promise, call, dismiss,
+menace, pray, supplicate, deny, refuse, interrogate,
+admire, number, confess, repent, fear, shame,
+double, instruct, command, incite, encourage,
+swear, witness, accuse, condemn, absolve, injure,
+contemn, distrust, track, flatter, applaud, bless,
+humiliate, mock, reconcile, recommend, exalt,
+feast, rejoice, complain, sadden, discomfort, despair,
+astonish, write, suppress,” &#38;c.</p>
+
+<p>I stop out of breath: verbs of every kind may
+pass into the list.</p>
+
+<p>With the Egyptians, the hand was a symbol of
+force; with the Romans, a symbol of fidelity.
+We please ourselves in clothing the occult powers,
+such as Time, Nature, Destiny, with a human hand:
+the hand of Time overthrows empires, and impresses
+wrinkles on our brows; the hand of
+Nature is prodigal to us of gifts, which are
+ravished from us by the hand of Death; the
+hand of Destiny or of Providence, in fine, conducts
+us across the paths of life.</p>
+
+<p>Old stereotyped language, which we use, and
+shall use always. Are we not, as Saint Evremond
+said, in the hands of love, as the balls in the
+hands of tennis-players—and the first happiness
+which love can give, is it not, according to Stendhal—and
+all the truly sensitive—the first pressure
+of the hand of the woman we love?</p>
+
+<p>Our ancestors swore by the hand, and read in
+the hand the mysteries of the future. On the
+day of coronation, the hand of justice was borne
+before the kings; the hand is used in salutation;
+we ask for the <em class="e000I2">hand</em> of the lady we wish to
+espouse in lawful marriage; we wash our hands,
+like Pontius Pilate, of faults which we could not
+help committing; and if I were to have to make
+for you the panegyric of this organ, I should
+have, like Scheherazade, to put off the end of
+my discourse every day till the morrow. Sir
+Charles Bell, in his book, <em class="e000I2">The Hand: Its Mechanism,
+etc.</em>, has given a synthesis of all I could
+possibly add, and has proved that the human
+hand is so admirably formed, possesses a sensibility
+so exquisite, that sensibility governs with so
+much precision all its movements, it answers so
+instantaneously to the impulses of the will, that
+one might be tempted to believe that it is itself
+its seat. All its actions are so energetic, so free,
+and withal so delicate, that it appears to have
+an instinct apart; and neither its complication
+as an instrument is ever dreamt of, nor the
+relations which subject it to the mind. We avail
+ourselves of the service of the hand, as we perform
+the act of respiration, without thinking of
+it; and we have lost all remembrance of its first
+feeble efforts, as of the slow exercise which has
+brought it to perfection.</p>
+
+<p>The hand, in a word, is the most perfect instrument
+given by God to man; but I ought not to forget, my fair
+friend, that poets seldom wear gloves, and philosophers
+never; and that, philosophising as I am, I remain outside
+the Glove, and, above all, appear to forget that axiom of
+Fontenelle: Had we our hand full of authenticated facts
+or truths, we should but half open it, and that after a
+feeble fashion.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_104.jpg" width="600" height="718" alt="" />
+</div>
+
+<p>The Glove is worthy of entering into the legend of a
+fairy tale, and remaining there always, as the slipper has
+entered into the poetry even of fable, with the theme of
+<em class="e000I2">Cinderella</em>. An ancient King of France was indeed in
+love all his life with an unknown woman, only from
+having seen her Glove in the midst of a masked
+ball given to his court. Could it not easily be
+conceived according to the approximative aphorism,
+“Show me your Glove, I will tell you who
+you are.” At the opera ball, in the surge of
+masks and of dominoes, in the midst of the
+comings and goings on that staircase so exalted,
+it needs but a Glove imprisoning a little hand
+to allure at once the passion of a man of
+delicacy—a long white Glove lovingly glued
+to a hand divinely small, a fine delicate
+wrist, and the exquisite roundness of the
+forearm. This is enough to transport
+a lover of the fair sex.
+The Glove appears not only in all festivals
+where grace and beauty preside; it is
+found in all the rudeness and clumsiness
+of its origin at the Poles, among the Norwegians,
+the Laps, and the Fins, who wear
+huge Gloves of wool in summer, and thick
+Gloves of reindeer skin, with the hair
+outside, in winter.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_105.jpg" width="600" height="600" alt="" />
+</div>
+
+<p>Defended by these Gloves, they sometimes
+sally bravely from their huts, in spite
+of the cruel frosts, to kill the white bear
+and the seal, just as the dramatic engravings
+which illustrate our stories of voyages to the
+North Pole represent them to us.</p>
+
+<p>But methinks your eye is asking me in disquietude
+about two little bound books which I have in my reach.
+Reassure yourself, these are not recitals of tourists, which
+are for painting us the manners of the inhabitants of
+Karasjok or of the Lofoten Isles: I will read to you at
+once, without allowing you to languish any longer, their
+titles. Upon one of these works, see for yourself <em class="e000I2">Collection
+of the Best Riddles of the Time</em>, composed on divers serious
+and sprightly subjects by Colletet; on the other, <em class="e000I2">Collection
+of Riddles of the Time</em>, by the Abbé Cotin. You already
+divine that I intend to act no traitor’s part towards you,
+and that I am going to read you some old charades in
+verse upon Gloves:</p>
+
+<p>The first riddle—<em class="e000I2">énigme</em> has been masculine in French
+at least since the seventeenth century, in despite of its
+profound femininity—the first riddle, in obscure
+and ambiguous terms, indicates that the Glove,
+after having been the natural covering of a rustic
+animal, serves to-day as an artificial covering for
+an animal more refined: man!</p>
+
+<div class="poembox">
+<p class="pi0">We’re two or ten, and to a body wed,</p>
+<p class="pi1">We once a thing of breathing life were over;</p>
+<p class="pi0">Like it we lived, and now, although we’re dead,</p>
+<p class="pi1">Another life more excellent we cover.</p></div>
+
+<p>This quatrain riddle is by François Colletet, that poor poet up to
+his neck in mud. Listen now to Cotin—the Trissotin of Molière—in
+this singular sextain:—</p>
+
+<div class="poembox">
+<p class="pi0">With mortal flesh our five soft mouths we fill,</p>
+<p class="pi0">And in the winter to repletion feed;</p>
+<p class="pi0">If one of us be lost, the world’s agreed</p>
+<p class="pi0">To treat the rest of us exceeding ill;</p>
+<p class="pi0">But if we all remain together, then</p>
+<p class="pi0">We do almost all that is done by men.</p></div>
+
+<p>Mediocre, isn’t it; tortured, bombastic, gross, all
+at once? There is nothing here to make us fall
+into an ecstasy, and repeat to satiety, as some
+highly refined courtiers used to do, “Ah, with what
+congruity of terms are these thoughts expressed!”</p>
+
+<p>I shall abandon the riddles at once. These
+two specimens are enough. Another point:</p>
+
+<p>Many physiologists affirm that great warriors
+have been remarkable for a beautiful hand, which
+they loved perhaps to adorn with the most delicate
+gloves. They instance Cyrus, Alexander, Cæsar,
+Charlemagne, and Napoleon.</p>
+
+<div class="figright" style="width: 406px;">
+<img src="images/i_108b.jpg" width="406" height="222" alt="" />
+</div>
+
+<p>According to an historian of the First Empire,
+some generals attending Bonaparte one day in
+his private room, found his big military Gloves
+and his little hat on a side-table. Actuated by
+curiosity, each one of them tried in turn the
+Glove and the hat; but it appears there was not
+a single hand which could force its entrance into
+those big Gloves, and upon those giants’ shoulders
+not a single head which could fill up the little hat.</p>
+
+<div class="figleft" style="width: 191px;">
+<img src="images/i_108a.jpg" width="191" height="250" alt="" />
+</div>
+
+<div class="figleft" style="width:236px;">
+<img src="images/i_108d.jpg" width="236" height="236" alt="" />
+</div>
+
+<p>Napoleon was, it is weil known, no less proud
+of his hand than Byron, who, his biographer tells
+us, had a hand so small, that it was out of all proportion
+with his face. Byron thought and wrote
+that nothing characterised birth more than the
+hand; it was, according to him, almost the sole
+index of aristocracy of blood.</p>
+
+<div class="figright" style="width:261px;">
+<img src="images/i_108c.jpg" width="261" height="260" alt="" />
+</div>
+
+<p>Since the fifteenth century, we can trace in the
+museums of France, Holland, Italy, Spain, and
+Germany, the interest which painters of all schools
+have taken in the study of the hand, and, indeed,
+of the Glove. Van Dyck and Rubens were passed
+masters in this art, and Titian has left an admirable
+masterpiece in his <em class="e000I2">Young Man with the Glove</em>.
+Velasquez almost always makes his powerful
+models hold Gloves, nobly folded in their right
+hand. In Venetian paintings we see the Glove
+on the hands of the Doge, of his wife, of ambassadors,
+of senators, of residents, and even of
+merchants. The mere study of the Gloves in
+these portraits and these costumes would suffice
+for a long pamphlet, for we must consider the
+Glove in all classes of society and in all epochs,
+from the embroidered Gloves of the Doges to the special
+Gloves of the merchants, of the rectors of the university
+of Padua, and even of the monks of the
+brotherhood of the Cross, which were violet
+on a white ground, &#38;c.</p>
+
+<p>But it would be madness to endeavour to
+omit nothing in this monograph of the Glove,
+a tentative work, and an unpremeditated sketch
+of little pretension.</p>
+
+<p>Have we not still to consider the stuffed
+fencing Glove, with the short shield of red
+leather, and the giant Glove which swells the
+fist of the boxers?—the ordinance Glove of the good
+Dumanet; that white cotton Glove which the brave trooper
+puts on so willingly on Sunday, coming out of barracks like
+a conquering hero? Is there not besides the Glove of the
+Cuirassier, with its large shield of buckskin, which this last
+man of iron places so gallantly on his hip when he is on
+express service?</p>
+
+<div class="sandbagbox" id="img109">
+ <div id="i109b1">&#160;</div>
+ <div id="i109b2">&#160;</div>
+ <div id="i109b3">&#160;</div>
+ <div id="i109b4">&#160;</div>
+ <div id="i109b5">&#160;</div>
+ <div id="i109b6">&#160;</div>
+
+<p>The history of Gauntlets and of military Gloves from the time
+of the Middle Ages would make a mighty volume, like the ladies’
+Glove and the work-people’s Mitten. The liturgical Glove, yet more
+important, is of three kinds: the <em class="e000I2">pontifical
+Glove</em>, which was worn by bishops and abbés; the Glove which
+simple priests had adopted for particular occasions; and lastly, the
+<em class="e000I2">prelatic</em> <em class="e000I2">Glove</em>.
+On <em class="e000I2">pontifical Gloves</em> alone Monseigneur
+X. Barbier de Montault has found means to write in the <em
+class="e000I2">Bulletin Monumental</em>, 1876-1877, nearly two
+hundred pages of closely packed text, in 8vo: <em class="e000I2">Ab
+uno disce omnes</em>. See, my amiable friend, I repeat it—see in
+what an inextricable archæological labyrinth I might have set you to
+wander, <em class="e000I2">à propos</em> of all these dear little
+Gloves, of which I had promised you a history, but about which it
+appears to me I am making only a lively chatter of whipped Glove.
+I should not have set on the table aught beyond that which lends
+grace to woman: Gloves on a champagne glass or in a shepherdess’s
+hat, roses and a love-letter half opened; such simple still life had
+assuredly better inspired my Muse than all the documents brought
+together and packed one on another, well calculated to frighten a
+mind which is by no means pleased with such barricades of notes
+and annotations. Ah, my fair friend, how right was Balzac, in
+his brilliant and profound <em class="e000I2">Traité de la vie
+élégante</em>, when he wrote the following lines, which I had not
+sufficiently considered before pledging my word in your society!</p>
+</div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 600px;">
+<img src="images/i_109.jpg" width="600" height="681" alt="" />
+</div>
+<p>The history of Gauntlets and of military Gloves from the time
+of the Middle Ages would make a mighty volume, like the ladies’
+Glove and the work-people’s Mitten. The liturgical Glove, yet more
+important, is of three kinds: the <em class="e000I2">pontifical
+Glove</em>, which was worn by bishops and abbés; the Glove which
+simple priests had adopted for particular occasions; and lastly, the
+<em class="e000I2">prelatic</em> <em class="e000I2">Glove</em>.
+On <em class="e000I2">pontifical Gloves</em> alone Monseigneur
+X. Barbier de Montault has found means to write in the <em
+class="e000I2">Bulletin Monumental</em>, 1876-1877, nearly two
+hundred pages of closely packed text, in 8vo: <em class="e000I2">Ab
+uno disce omnes</em>. See, my amiable friend, I repeat it—see in
+what an inextricable archæological labyrinth I might have set you to
+wander, <em class="e000I2">à propos</em> of all these dear little
+Gloves, of which I had promised you a history, but about which it
+appears to me I am making only a lively chatter of whipped Glove.
+I should not have set on the table aught beyond that which lends
+grace to woman: Gloves on a champagne glass or in a shepherdess’s
+hat, roses and a love-letter half opened; such simple still life had
+assuredly better inspired my Muse than all the documents brought
+together and packed one on another, well calculated to frighten a
+mind which is by no means pleased with such barricades of notes
+and annotations. Ah, my fair friend, how right was Balzac, in
+his brilliant and profound <em class="e000I2">Traité de la vie
+élégante</em>, when he wrote the following lines, which I had not
+sufficiently considered before pledging my word in your society!</p>
+</div>
+<!--**********-->
+
+<p>“The learned man, or the elegant man of the world,
+who would search out in every epoch the costumes of a
+people, would compile the most interesting history and the
+most rationally true. . . . . To ask the origin of shoes, of
+alms-purses, of hoods, of the cockade, of hoop-petticoats,
+of farthingales, of <em class="e000I2">Gloves</em>, of masks, is to drag a <em class="e000I2">modilogist</em>
+into the frightful maze of sumptuary laws, and upon all the
+battlefields, where civilisation has triumphed over the gross
+manners imported into Europe by the barbarism of the
+Middle Ages.</p>
+
+<p>“Things futile in appearance,” continues the author of the <em
+class="e000I2">Théorie de la démarche</em>, “represent either ideas
+or interests—whether it be bust, or foot, or head”—he might have
+said, above all, or hand—“you will ever see a social progress, a
+retrograde system, or some desperate struggle formulating itself
+by the assistance of some part or other of the dress. Now the shoe
+announces a privilege, now the hat signals a revolution—a piece
+of embroidery, a scarf, or some ornament of straw, is the sign of
+a party. Why should the toilet be then always the most eloquent
+of styles, if it was not really the whole man, the man with his
+political opinions, the man with the text of his existence, the
+hieroglyphic man? To-day <em class="e000I2">Vestignomy</em> has
+become almost a branch of the art created by Gall and Lavater.”</p>
+
+<p>I am overwhelmed, O my indulgent friend! I
+feel that I have been far inferior to my task, and
+I fear I have not had that charming art of saying
+nothing which often says so many things. I have
+neglected to show you the Glove in princely <em class="e000I2">Inventaires</em>,
+in the old chronicles, and in the delightful
+tales of Boccaccio, of the Queen of Navarre, of
+Straparole, of Bonaventure Desperriers, and even
+in Brantôme, who has written a little story, full of
+old French <em class="e000I2">esprit</em>, on a Glove found in the bed of
+a fashionable lady. I had a good opportunity of
+showing you the anecdotic Glove of ever so many
+romances and memoirs from <em class="e000I2">Le Petit Jehan de
+Saintre</em> up to Casanova the Venetian, going
+through <em class="e000I2">l’ Histoire amoureuse des Gaules</em>.</p>
+
+<p>But the natural and the unpremeditated is
+also a French quality, of which we must sometimes
+allow the grace, even in recognising its
+defects. I left the history of the Glove, I believe,
+in 1840; and I do not suppose that I have
+painted for you all the little cuffs, festoons, ruches,
+notchings, indentations, which adorned the fastenings
+of the town Gloves of our elegant ladies, nor
+the long black mittens which accompanied the
+blonde bodices, of which in those modest times
+people were madly fond. It is of little consequence
+for me to follow the fashions from 1840 to the
+present day: one cannot be a woman and remain
+ignorant of these different variations of a fashion
+of which all the specimens return periodically to
+reconquer a second of celebrity. Open-worked
+Gloves of Chinese silk, Spanish Gloves, Beaver
+Gloves, Swedish Gloves, glacé kid Gloves, musketeers’
+Gloves, Colombine, with cuffs—what do
+I say?—the qualifications are innumerable; they
+change still more than the fashion, for the epithet
+gives a springtide and deceives the customer—<em class="e000I2">a
+fortiori</em> would it deceive the <em class="e000I2">Gantuographer</em>, if
+you will allow me this hideous neologism.</p>
+
+<p>That which I have not been able to accomplish,
+that which you have not demanded of me, that
+which nevertheless would have interested you far
+more than this sleepy talk, is the <em class="e000I2">Physiology of the
+Glove</em>, with this epigraph taken from an anonymous
+but witty author—“The style is the man; the
+Glove is the woman; the style sometimes deceives,
+but the Glove never.”</p>
+
+<p>I am launched, don’t you see, into theories historic,
+philosophic, and, above all, physiognomic, in a study altogether
+beside the mark?</p>
+
+<p>Allow, my sweet and somnolent one, that if you had
+permitted me at first to take this part (which for my slight
+notice was assuredly better), I should have been less
+clumsily stiff, less dull above all, less pretentious besides;
+albeit I make no other pretension here than to do your
+pleasure. You have thrown me the Glove on the confines
+of history; it is thence that I have raised it with more
+effeminancy than swagger.</p>
+
+<p>I could have wished that fancy might have dictated to
+history; but, in the present case, it is the most that has
+been done, if history has succeeded in warming the amiable
+fancy, which has not taken Gloves to make us villainously
+sulky with each other.</p>
+
+<p>Pardon!—indulgent interlocutress!</p>
+
+<p>Excuse also, amiable lady readers, ye who read this congealed
+babble, and who have yet less reason to be favourable
+to me, in this sense, that to you all, alas! I cannot say,
+as was once said in the polite world—<em class="e000I2">Friendship allows the
+Glove.</em></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/i_112.jpg" width="400" height="400" alt="" />
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<a id="THE_MUFF"></a>
+<h2 title="The Muff">&#160;</h2>
+<img src="images/i_113.jpg" width="400" height="295"
+ alt="" />
+</div>
+
+<div class="figcenter" style="width: 333px;">
+<img src="images/i_114.jpg" width="333" height="250" alt="" />
+</div>
+
+<div class="sandbagbox" id="img115">
+ <div id="i115b1">&#160;</div>
+ <div id="i115b2">&#160;</div>
+ <div id="i115b3">&#160;</div>
+
+<div class="fsize2 center">THE MUFF
+<br /><small><em class="e000I2">THE FUR.</em></small></div>
+</div>
+
+<!--**********-->
+<div class="HandHeld">
+<div class="figcenter" style="width: 600px;">
+ <img src="images/i_115.jpg" width="600" height="417" alt="" />
+ </div>
+<div class="fsize2 center">THE MUFF
+ <br /><small><em class="e000I2">THE FUR.</em></small></div>
+</div>
+<!--**********-->
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_115cap.jpg" width="61"
+ height="62" alt="" />
+THE Muff! The very name has something
+about it delicate, downy, and voluptuous. From that little warm
+satin nest, where pretty chilly little hands ensconce themselves
+in silk, carrying with them a lace handkerchief, a box of
+lozenges, a bouquet of Parma violets, or a tender loving <em
+class="e000I2">billet-doux</em>, a thousand trifles spring up to
+please us, like a swarm of souvenirs and caressing thoughts of our
+first years passed at home, and of our first roving loves.</p>
+
+<div class="sandbagbox" id="img116">
+ <div id="i116b1">&#160;</div>
+ <div id="i116b2">&#160;</div>
+ <div id="i116b3">&#160;</div>
+ <div id="i116b4">&#160;</div>
+
+<p>In childhood, we delight to play with the large maternal Muff, to
+pass our hands over it the wrong way to excite the electricity of
+the long hair, to plunge our faces in the pungent heady odour of its
+down, and to make use of this furred sack in inconceivable tricks, in
+playing at hide-and-seek with small objects, or in burying therein
+the familiar cat, who becomes lazy in its warmth.</p>
+
+<p>Then, later on, at the hour of the first rendezvous, during one
+of those icy winters which Ronsard dreaded for his darling, when we
+see our so much desired mistress appear veiled and all imprisoned in
+furs, we become almost jealous of the pretty and coquettish Muff, in
+which she buries her roguish little nose, which the glacial breeze
+has lashed and reddened, and we plunge then with a sweet brutality
+our own hands into the silky cylinder, there to find, and there
+passionately to press the pretty idle fingers, which we are for so
+generously thawing, by covering them with long kisses like gloves.</p>
+
+<p>When the Muff returns from exile with the first hoar
+frosts of November, it causes, as soon as it appears on the
+boulevards, a sensation, intimate and delicious, to all true <em
+class="e000I2">feminists</em>, to the Dilettanti of woman—to all
+those who perceive in their most delicate shades the graces of which
+a naive or coquettish woman can avail herself, whether in handling
+the Fan or the Sunshade, or in tucking up a corner of a spring
+petticoat, or in passing along radiant in a long furry pelisse, or
+more passive in letting herself glide languishingly in a sledge
+over the ice of the lake, making eyes at her darling who skates by
+her side, and pushes forward her coquettish equipage. It seems that
+woman, that exquisite and delicate flower, blossoms in fur, as those
+white gardenias of the conservatory which half open and develop
+themselves in a nest of perfumed wadding.</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 394px;">
+<img src="images/i_116.jpg" width="394" height="700" alt="" />
+</div>
+<p>In childhood, we delight to play with the large maternal Muff, to
+pass our hands over it the wrong way to excite the electricity of
+the long hair, to plunge our faces in the pungent heady odour of its
+down, and to make use of this furred sack in inconceivable tricks, in
+playing at hide-and-seek with small objects, or in burying therein
+the familiar cat, who becomes lazy in its warmth.</p>
+
+<p>Then, later on, at the hour of the first rendezvous, during one
+of those icy winters which Ronsard dreaded for his darling, when we
+see our so much desired mistress appear veiled and all imprisoned in
+furs, we become almost jealous of the pretty and coquettish Muff, in
+which she buries her roguish little nose, which the glacial breeze
+has lashed and reddened, and we plunge then with a sweet brutality
+our own hands into the silky cylinder, there to find, and there
+passionately to press the pretty idle fingers, which we are for so
+generously thawing, by covering them with long kisses like gloves.</p>
+
+<p>When the Muff returns from exile with the first hoar
+frosts of November, it causes, as soon as it appears on the
+boulevards, a sensation, intimate and delicious, to all true <em
+class="e000I2">feminists</em>, to the Dilettanti of woman—to all
+those who perceive in their most delicate shades the graces of which
+a naive or coquettish woman can avail herself, whether in handling
+the Fan or the Sunshade, or in tucking up a corner of a spring
+petticoat, or in passing along radiant in a long furry pelisse, or
+more passive in letting herself glide languishingly in a sledge
+over the ice of the lake, making eyes at her darling who skates by
+her side, and pushes forward her coquettish equipage. It seems that
+woman, that exquisite and delicate flower, blossoms in fur, as those
+white gardenias of the conservatory which half open and develop
+themselves in a nest of perfumed wadding.</p></div>
+<!--**********-->
+
+<p>The more she hides, muffles up, deadens, so to speak, her beauty,
+the more woman—a creature of Hades who makes us dream of paradise—is
+bewitching in the diabolicity of her graces. When Love, who is
+represented blind, sets a mask on Venus-coquette, one might think the
+trickster boy was for burning the universe, for behind those yawning
+apertures of the black velvet mask, behind those murderous loopholes,
+two woman’s eyes are lying in ambush, pitiless, turn by turn
+laughing, burning, blazing, drowned in pleasure, charged, in a word,
+as with grape-shot, with all the shafts of the Cupidonian quiver.</p>
+
+<div class="sandbagbox" id="img117">
+ <div id="i117b1">&#160;</div>
+ <div id="i117b2">&#160;</div>
+ <div id="i117b3">&#160;</div>
+ <div id="i117b4">&#160;</div>
+ <div id="i117b5">&#160;</div>
+ <div id="i117b6">&#160;</div>
+ <div id="i117b7">&#160;</div>
+ <div id="i117b8">&#160;</div>
+ <div id="i117b9">&#160;</div>
+
+<p>Thus, out of the midst of furs, woman, that mignonette plant,
+that <em class="e000I2">mimosa pudica</em>, throws off beauty more
+mysterious, more warm, more full of promise, more enveloped and
+more enveloping, as if from the electricity of that peltry, there
+was spread in the ambient air of the provoking daughter of Eve an
+attractive sensuality, like a subtle caress, which rustles against
+our senses in its passage.</p>
+
+<p>The ancients had perhaps great reason to attach, as they did,
+certain excellences and prerogatives to fur: a master furrier,
+Charrier, wrote on this subject, in 1634, remarks and moral
+considerations as naïve as curious: “Our kings, whether they are
+consecrated, crowned, or married, divest themselves of the splendour
+of embroideries and of diamonds, to take their royal mantle hedged
+about with lilies and lined with ermine.</p></div>
+
+<!--**********-->
+<div class="HandHeld"><div class="figcenter" style="width: 459px;">
+<img src="images/i_117.jpg" width="459" height="700" alt="" />
+</div>
+<p>Thus, out of the midst of furs, woman, that mignonette plant,
+that <em class="e000I2">mimosa pudica</em>, throws off beauty more
+mysterious, more warm, more full of promise, more enveloped and
+more enveloping, as if from the electricity of that peltry, there
+was spread in the ambient air of the provoking daughter of Eve an
+attractive sensuality, like a subtle caress, which rustles against
+our senses in its passage.</p>
+
+<p>The ancients had perhaps great reason to attach, as they did,
+certain excellences and prerogatives to fur: a master furrier,
+Charrier, wrote on this subject, in 1634, remarks and moral
+considerations as naïve as curious: “Our kings, whether they are
+consecrated, crowned, or married, divest themselves of the splendour
+of embroideries and of diamonds, to take their royal mantle hedged
+about with lilies and lined with ermine.</p></div>
+<!--**********-->
+
+<p>“The mantles of the chevaliers, dukes, and peers
+of France are lined with lynx, marten, and ermine;
+the chancellors, keepers of the seals, who are the
+guardians of our laws, wear the most exquisite furs.</p>
+
+<p>“Bachelors and doctors, emperors and physicians
+clothe themselves with furs which represent the
+mysteries of theology, the maxims of politics, the
+secrets of medicine. Furs cure people of headaches
+and disordered stomachs; attacks of gout
+which triumph over the most potent remedies, are
+vanquished by the skins of cats, lambs, and hares.”</p>
+
+<p>In fine, the good Charrier proves with pride that
+of all the ornaments which luxury has invented
+there is none so glorious, so august, so precious, as
+furs, and that the privileges of peltry merchants
+rightly surpass those of all others.</p>
+
+<p>The masters and wardens of the peltry merchandise
+had for their arms a paschal lamb on an
+azure field. Two ermines supported the shield
+crested with the ducal crown, with this device in
+exergue—very like that of Brittany—<em class="e000I2">Malo mori
+quam fœdari</em>.</p>
+
+<p>The use of furs dates back to the origin of the
+world. Plutarch, in his <em class="e000I2">Table Talk</em>, relates that
+people dressed themselves in skins before they became
+acquainted with stuffs. Tacitus assures us it
+was the same with the Teutons, Propertius with the
+Romans.</p>
+
+<div class="poembox">
+<p class="pi0">Robed in rich silk, the Court you now behold</p>
+<p class="pi0">Was once a folk fur-clad against the cold,</p>
+</div>
+
+<p class="continue">says a poet of the sixteenth century. But without
+stopping at the conquest of the Golden Fleece, at
+Rebekah ordering Jacob to put on his hands and
+neck kids’ skins, at all the examples of the Bible and
+of history, we will only remark that the four noble
+furs consecrated by feudality were the ermine, the
+vair, the sable, and the miniver. The colours of
+furs admitted into coats of arms were those of the
+sable, the ermine, and the vair.</p>
+
+<p>Charlemagne, who loved, they say, simplicity in
+his apparel, had, according to Eginhard, the habit of
+wearing in summer a mantle of otter’s skin; but in
+winter he covered himself with a mantle of which the
+sleeves were lined with vair and foxes’ fur. This is
+corroborated by the four following verses of Philippe
+Mousnes, the poet biographer of this Emperor:—</p>
+
+<div class="poembox">
+<p class="pi0">But in the days of fallen leaves,</p>
+<p class="pi0">He wore a new surcoat with sleeves</p>
+<p class="pi0">Of furs of foxes and of vair</p>
+<p class="pi0">To shield him from the nipping air.</p>
+</div>
+
+<p>At the epoch of the Crusades, the luxury of furs
+was carried to the highest degree in Western Europe;
+but to remain absolutely fixed to the Muff, we must
+register the first apparition of this little fur about
+the end of the sixteenth century. In the inventory
+of goods left by the widow of the President Nicolai
+we read: Item,
+a Muff of velvet
+lined with marten.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_120.jpg" width="600" height="600" alt="" />
+</div>
+
+<p>In Venice, however, we have
+in our researches found a vestige of
+the Muff at the end of the fifteenth
+century; celebrated courtezans and noble
+ladies at that time carried Muffs, which served for niches
+to minuscular dogs; and an engraving represents a scene of
+an interior, in which a fair Venetian seems to be showing
+her lover the infinite games of her lap-dogs in her Muff.</p>
+
+<p>There were at that time in Venice delicious Muffs made
+after the primitive fashion of a single band of velvet, brocade,
+or silk, lined with fine fur, rounded in a cylinder, of
+which the extremities were closed in different widths by
+buttons of orient crystal, pearls or gold.</p>
+
+<p>D’Aubigné, in his <em class="e000I2">Universal History</em>,
+says in the course of a story of a besieged town:—“The inhabitants
+descended thirty paces from the breach, and among the foremost was
+noticed a woman <em class="e000I2">with Muffs</em>, a halberd in her
+hand, who mixed with and distinguished herself in this combat.” Under
+the designation of <em class="e000I2">Muffs</em> we must understand
+here spare half-sleeves like those mentioned in the Library of
+Vauprivas <em class="e000I2">à propos</em> of Louise Labé. Under
+Charles IX. the simple citizen folk were only allowed to wear black
+Muffs; ladies of the highest condition had alone a right to sumptuous
+Muffs of various colours.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_121.jpg" width="600" height="272" alt="" />
+</div>
+
+<p>In a satiric print of 1634, signed Jaspar Isac, and entitled
+<em class="e000I2">The Squire à la Mode</em>, we see carried by a woman, who is
+accompanied on foot by a Gascon cavalier, the first French
+Muff having a direct relation with that which is still in use
+at the present day. It is a sheath of stuff or silk bordered
+on both sides by a thick white fur, which grows into an
+enormous roll at the ends.</p>
+
+<p>But it is amongst the precious engravings of Hollar,
+Abraham Bosse, Arnoult, Sandrart, Bonnard, and Trouvain
+that we see the authentic Muff really born, and find it in
+the hands of the Parisian matron, of the lady of quality
+in her winter dress, of the <em class="e000I2">Précieuse</em>, and the coquetting
+flirt. An engraving of Bonnard shows us a great lady
+with her head dressed à la Fontange, and in court dress, on
+the point of going out; a waiting-maid adjusts her mantle,
+and a gentleman attends the beauty’s good pleasure; the
+Muff she carries was then of a moderate size, with a bow in
+the middle. The Muff was worn for style, “for grace,”
+and was made of sable-marten for ladies of the Court, and
+simply of dogskin or catskin for the small citizens’ wives
+who could not devote more than fifteen to twenty francs
+to the acquisition of this light hand-warmer.</p>
+
+<p>Antoine Furetière, in his <em class="e000I2">Dictionary</em>, has condensed in a
+few lines all the materials of a Dissertation on the Muff
+of the seventeenth century. At the word <em class="e000I2">Muff</em> we
+read:—</p>
+
+<div class="blockquot">
+
+<p>A fur worn in winter, in which to put the hands, to keep
+them warm. <em class="e000I2">Muffs</em> were formerly only for women: at the
+present day they are carried by men. The finest <em class="e000I2">Muffs</em> are
+made of marten, . . . . the common of miniver; . . . .
+the country <em class="e000I2">Muffs</em> of the cavaliers are made of otter and of
+tiger. A woman puts her nose in her <em class="e000I2">Muff</em> to hide herself.
+A little <em class="e000I2">Muff</em>-dog is a little dog which ladies can carry in
+their <em class="e000I2">Muff</em>.</p></div>
+
+<p>Everything we see is summed up in this. Saint-Jean
+and Bonnard have preserved for us types of
+French gentlemen bearing the Muff under Louis
+XIV. One, in court dress, carries with much
+grace a small spotted Muff, which he holds in one
+hand, showing a glimpse at the unoccupied end of
+the cuff of a fur glove; another, in winter court-dress,
+holds with the languor of a <em class="e000I2">petit-maître</em> a
+pretty plump otter Muff falling to the hips, giving
+a gracious curve to the arm; in the middle of this
+Muff a vast bow of ribbons or <em class="e000I2">Galants</em>, something
+like the old trimming called <em class="e000I2">petite oie</em>, is displayed
+with an excellent effect. In 1680, nothing, according
+to the <em class="e000I2">Mercure Galant</em>, was to be seen
+but ribbons purfled with gold, laced, fringed,
+wreathed, purled, or embroidered, which were
+gathered in a bow in front, of the Muff.</p>
+
+<p>La Fontaine alludes doubtless to the country
+Muff spoken of by Furetière when, in the fable of
+the <em class="e000I2">Monkey and the Leopard</em>, he makes the latter
+say:—</p>
+
+<div class="poembox">
+<p class="pi0">The king desires me at his Court,</p>
+<p class="pi0">And must have—if I die for’t—</p>
+<p class="pi0">A <em class="e000I2">Muff</em>, made of my skin, so full of blots</p>
+<p class="pi0">Of colour, and of lines, and dots,</p>
+<p class="pi0">And dappled stains, and chequered spots.</p>
+</div>
+
+<p>As to the Muff-dog—to finish the registration of the definition
+of Furetière—not only has Hollar left us an engraving of it, and
+presented it to us under the form of a small Spaniel, but Father du
+Cerceau makes his <em class="e000I2">upholsterer poet</em> say—Even the lady’s lapdog
+barked at me, that ingrate</p>
+
+<div class="poembox">
+<p class="pi0">Cadet, for whom I used to stuff</p>
+<p class="pi0">So many sweets inside my Muff.</p>
+</div>
+
+<p>The chief hall of the peltry merchants and furriers
+of the 17th century, in Paris, was in the Rue
+de la Tabletterie or Rue des Fourreurs, which
+led into the cross-way of the Place aux Chats.
+The shops of the retail peltry merchants were
+nearly all situated in the City, Rue Saint-Jacques
+de la Boucherie, and Rue de la Juiverie.</p>
+
+<p>“In these places,” says Léger, “are to be found
+very beautiful Muffs for men and for women, and
+very fashionable ones . . . there are to be sold
+also very beautiful amices of miniver.” He adds
+a word about the Palatines properly got up, composed
+of skins of animals, foreign and native.
+The <em class="e000I2">Livre commode des adresses de Paris</em> contains some
+designations of peltry merchants and furriers towards the
+end of the seventeenth century.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_124.jpg" width="600" height="293" alt="" />
+</div>
+
+<p>Fashion altered the shape of the Muff considerably
+under Louis XIV. From the rare documents which we
+have been able to catalogue, we have easily found numerous
+modifications in both form and volume. Sometimes narrow
+and long, sometimes broad and short, it would be impossible
+to assign to this little chattel an exact type for all that
+epoch.</p>
+
+<p>The Muff triumphed already, under Louis XIII., in the
+empire of oglings and at the Place Royale, as it reigned
+later at Versailles, and showed itself in sedan chairs in the
+midst of the alleys of the park at the visiting hour, lending
+always to woman a charming countenance and exquisite
+graces.</p>
+
+<p>Scarron, in his <em class="e000I2">Poésies Diverses</em>, has left us in four verses
+a pretty picture of manners for any one who could morally
+develop it. The poor cripple Scarron certainly had no
+need of a Muff in his arm-chair!—</p>
+
+<div class="poembox">
+<p class="pi0">My wife then leaves at once, though she</p>
+<p class="pi0">All perils should divide with me;</p>
+<p class="pi2">She takes her Muff and goes</p>
+<p class="pi2">To see some one she knows. . . .</p>
+</div>
+
+<p>But let us leave the age of big wigs and Fontange head-dresses,
+and penetrate into the age of powder and patches,
+into the age of Voltaire, who, <em class="e000I2">à propos</em> of one of his
+characters in <em class="e000I2">Micromégas</em>, wrote:</p>
+
+<p>“Imagine a very small Muff-dog following a captain of
+the Guards of the King of Prussia.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_125.jpg" width="600" height="392" alt="" />
+</div>
+
+<p>An engraving of the <em class="e000I2">Encyclopédie</em> presents us in the nick
+of time with a faithful reproduction of a shop of a furrier of
+the last century. Day penetrates through a large glass bow
+window; all round, on shelves, are ranged Muffs and different
+furs; two pleasing shopwomen offer their customers
+enormous Muffs of miniver, and a shop-boy beats with a
+rod one of those furred mantles which were sent “to be
+kept” during the summer, to preserve them from the mites.
+This engraving, a precious document which may be attributed
+to Cochin, recalls two charming little stories of Restif
+de la Bretonne in his <em class="e000I2">Contemporaines du Commun</em>: one
+entitled <em class="e000I2">La Jolie Fourreuse</em>, the other <em class="e000I2">La Jolie Pelletière</em>.
+Professions passed out of sight!</p>
+
+<p>“Furs”—MM. de Goncourt wrote in a note of much study to their book
+<em class="e000I2">La Femme au XVIII<sup>e</sup> Siècle</em>—“were
+a great luxury of Parisian ladies, at the time when the fashion was
+to arrive at the opera wrapt in the most superb and rarest, and to
+take them off little by little with coquettish art.” The reputation
+of the sable, the ermine, the miniver, the lynx, the otter, is
+indicated in the <em class="e000I2">Étrennes Fourrées dédiées aux
+jolies Frileuses</em>, Geneva, 1770. Muffs have quite a history,
+from those on which the furrier brought discredit, in causing one to
+be worn by the hangman on the execution day—these were probably Muffs
+<em class="e000I2">à la Jésuite</em>, muffs which were not of fur,
+and against which a pleasantry at the commencement of the century,
+<em class="e000I2">A petition presented to the Pope by the master
+furriers</em>, solicits excommunication—up to those of Angora goats’
+hair, immense Muffs which reached to the ground, and to the little
+Muffs at the end of the century, baptized <em class="e000I2">little
+barrels</em>, as the Palatine was called <em class="e000I2">cat</em>.
+The fashion of sledges, then very widely spread, added to the fashion
+of furs. An etching of Caylus, after a drawing of Coypel, about the
+middle of the century, shows us in a sledge set on dolphins—one of
+those sledges which cost ten thousand crowns—a pretty woman dressed
+entirely in fur, her head-dress a small bonnet of fur with an egret,
+carried along in a sledge, which is driven by a coachman dressed
+like a Muscovite, and standing at the back. <em class="e000I2">À
+propos</em> of furs, the <em class="e000I2">Palatine</em> owes its
+fortune and its name to the Duchess of Orléans, mother of the Regent,
+known under the name of the Princess Palatine.</p>
+
+<p>Palatines—which were made of fox, of marten,
+of miniver—were worn for a long time with
+<em class="e000I2">Polonaises</em> and <em class="e000I2">Hongrelines</em>. Roy, a French poet
+of the 18th century, who made acquaintance with
+the stick at different intervals—sent some bad
+verses to a lady on the subject of her <em class="e000I2">blue palatine</em>.
+The <em class="e000I2">Almanach des Muses</em> of 1772 has preserved
+them for us. Here they are:—</p>
+
+<div class="poembox">
+<p class="pi4">That charming colour wear,</p>
+<p class="pi0">The colour of the summer sky above,</p>
+<p class="pi0">The colour Venus sets on every Love,</p>
+<p class="pi1">Which makes the fairest faces yet more fair,</p>
+<p class="pi0">As Venus in her own sweet self can prove:</p>
+<p class="pi0">But the white place where falls the tufted bow</p>
+<p class="pi1">Is nought indeed but lovely nakedness;</p>
+<p class="pi1">Why hide it then? The beauty which men bless</p>
+<p class="pi0">Gains on the whole by losing, don’t you know?</p>
+</div>
+
+<p>Caraccioli remarks that people used Muffs in
+winter just as much for elegance as for need.
+“The form varies continually,” he says; “to-day
+(1768) men carry small Muffs lined with down,
+and trimmed with black or grey satin.”</p>
+
+<p>In 1720, women’s Muffs were very narrow and long; the crossed
+hands filled it exactly; afterwards they became wider, like those
+we may see on the hands of the pretty skaters of Lancret. A typical
+Muff of the epoch was the ermine Muff, fearfully large, which we
+find carried by the Venetian masks of the delicious Pietro Longhi,
+who seems to have wished to illustrate by his pictures the <em
+class="e000I2">Memoires</em> of Jacques Casanova of Seingalt. In
+the small engravings of the century relating to travelling, which
+show us the stoppages at the inn, or the packings in the public
+vehicles, we see everywhere the feminine Muff delicately pressed
+against their waists by the pretty adventuresses. Boucher’s skater,
+who passes like a gracious Parisian little figure over a background
+of a Dutch landscape, doubled up but valiant, appears to make a
+prow of her Muff, the better to cleave the sharp cold air. But in
+the intimacy of private life, in the eighteenth century as now, the
+Muff could lend a charm to genre paintings, and the manufacturers of
+prints might have composed many <em class="e000I2">Little posts</em>
+and <em class="e000I2">Nests for love-letters</em>, interpreting by
+their drawing what the author of the <em class="e000I2">Dictionnaire
+des Amoureux</em> wished to express, when at the word <em
+class="e000I2">Muff</em> he gives this piquant definition: <em
+class="e000I2">A Letter-box, lined with white satin.</em></p>
+
+<div class="figcenter" style="width: 547px;">
+<img src="images/i_128.jpg" width="547" height="699" alt="" />
+</div>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/i_129.jpg" width="450" height="700" alt="" />
+</div>
+
+<p>The most celebrated and the most delicious picture in which a Muff
+figures is assuredly that adorable painting known by the name of <em
+class="e000I2">The Young Girl with the Muff</em>, by Joshua Reynolds,
+which formed part of the beautiful collection of the Marquis of
+Hertford. Nothing is more delicate than this painting. That young
+English-woman seems rather to walk through the picture than remain
+fixed in it, so great, one might say, was the quickness with which
+the painter has caught that image in its passage with its movement
+of walking—the body is inclined a little forward, the head on one
+side; the woman’s bust, which stops at the Muff, is so fresh in its
+composition, so fine in its tonality, so radiant in its originality
+of design, that it would be enough almost by itself to establish the
+immortal reputation of Reynolds, who has put into his work a very
+quintessence of femininity, as an ideal of the most exquisite English
+loveliness, and also as a type, delicate and never to be forgotten,
+of a chilly beauty.</p>
+
+<p>Nor must we forget the <em class="e000I2">Portrait of Mrs.
+Siddons</em>, painted by Gainsborough, in the charm of her
+twenty-ninth year, in 1784. This picture, which was exhibited at
+Manchester in 1857, is now in the <em class="e000I2">National
+Gallery</em>. The charming lady, dressed in a fresh striped blue
+and white robe, with a fawn-coloured shawl half falling from her
+shoulders, has on her head a large black felt hat, ornamented with
+feathers—one of those hats which have done more for the vulgarisation
+of the glory of Gainsborough than all his studies and portraits.
+Mrs. Siddons is seated, holding on her lap with her left hand a
+comfortable Muff of fox or Siberian wolf, of which she appears to
+caress the fur with her right hand, as if to show off the beauty and
+whiteness of her spindle-shaped fingers. The mistress of the works
+of a master who had, it is only right to say, the most ravishing
+face in the world to portray. But, without needing to have further
+recourse to the English school, have we not that luminous portrait
+of Madame Vigée Lebrun, in which the Muff, raised almost level with
+the head, spreads the shine of its hair of tawny gold like the head
+of a courtezan of Venice? That astonishing painting of the end of the
+eighteenth century appeared in its dazzling splendour, in the midst
+of the square saloon of the Museum of the Louvre, killing, by mere
+force of freshness and light, the magistral bituminous pictures of
+the beginning of the century, which are its near neighbours.</p>
+
+<p>Under Louis XVI. the frenzy of the toilette
+reached its most acute crisis: fashions succeeded
+one another in a few years with so much rapidity
+that we can scarcely follow them; people sought
+to outstrip in everything rather than to refine, and
+the Muffs, carried by men and women alike, became
+enormous and exaggerated. Hurtaut, in his
+<em class="e000I2">Dictionnaire de la Ville de Paris</em>, article <em class="e000I2">Modes</em>,
+makes this strange remark in the year 1784, “A
+lady has been seen at the opera with a <em class="e000I2">Muff of
+momentaneous agitation</em>.”</p>
+
+<p>The intellect loses itself in seeking the exact
+definition of this qualificative of <em class="e000I2">momentaneous
+agitation</em>!</p>
+
+<p>In 1788 a fashion was Muffs of Siberian wolf.
+According to the <em class="e000I2">Magasin des Modes Nouvelles
+Françaises et Anglaises</em>, the young folks no longer
+carried their Muff after the peaceable and good
+citizen-like fashion <em class="e000I2">à la papa</em> level with the bottom
+of the waistcoat; they used it, on the contrary,
+like a plaything or an opera hat; they held it
+in their hand while gesticulating in their promenades,
+or carried it under their arms like a portfolio
+strangled and crumpled between the elbow
+and the chest.</p>
+
+<p>The little dogs, the Muff-toy-terriers, which had
+continued in favour since the Regency, were more
+in request now than ever; every woman of fashion
+had her pug and her King Charles’ pet, like those
+small dogs that now come from Havanna.</p>
+
+<p>In the celebrated coloured engraving of Debucourt,
+<em class="e000I2">La Galerie de Bois au Palais-Royal</em>, in 1787, we see
+circulating in the midst of that strange crowd which was
+called the medley of the Palais-Royal, extravagant types,
+among them women holding in their hand beside their
+furred cloak those incredible Muffs of an immense
+size, which figure also under the arms of the masked
+gallants of the time, with a small bow of satin attached
+to the fur.</p>
+
+<div class="figcenter" style="width: 570px;">
+<img src="images/i_132.jpg" width="570" height="700" alt="" />
+</div>
+
+<p>Under the Revolution and the Directory the fashion of Muffs was
+extremes, either broad as little barrels, or narrow and minuscular;
+in other respects the fashion varied infinitely, and we must come to
+the Restoration to find the first chinchilla Muffs which harmonised
+with the velvet witchouras. Absurd fashions to study! What Muff
+would the painter choose who wished, by way of allegory, to show
+a grasshopper shivering in the hoar frost and the snow, to whom
+charitable Love brings a downy Muff? A pretty subject for a concourse
+of an Academy which claimed to be <em class="e000I2">précieuse</em>
+and refined.</p>
+
+<p>In 1835, Muffs, boas, palatines, cloaks lined with marten or fox,
+affected odious and indescribable forms: they used to make for a time
+Glove-Muffs, a sort of mittens of marten, which were soldered on to
+one another where the hands crossed. The Muff, that accessory of the
+toilet, ought to be in harmony with the general tonality and style of
+costume. Therefore, to undertake to describe it at that epoch would
+be only possible in sketching a complete history of Fashion.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_133.jpg" width="600" height="483" alt="" />
+</div>
+
+<p>The picturesque Muff of 1830 to 1850, is assuredly the big
+Muff of the Parisian or provincial tradeswomen, those Muffs,
+larders and lumber-rooms, which we meet in the deobstruent
+tales of Paul de Kock, and see figuring in the primitive
+tilted spring-carts driven by the master, in which are packed
+the mistress and all the assistant clerks, with a view to exploring
+some suburban corner on Sunday, there to laugh
+with their muffs pressed before their mouths, and to act a
+thousand follies of a doubtful taste, and to banquet plentifully,
+and to sing during the dessert some free-and-easy ditty,
+very jovial, after the fashion of those pleasant couplets of
+Laujon on <em class="e000I2">The Muff</em>, which I will quote here,
+with the more confidence, since they figure in
+the <em class="e000I2">Chansons de Parades</em> collected by that boon
+companion, who was at the same time member of
+the Caveau and of the Institute:—</p>
+
+<div class="poembox">
+<p class="pi0">See what it is to be too good!</p>
+<p class="pi1">One morning, leaving the warm fold</p>
+<p class="pi0">Of home, Simon I saw, who stood</p>
+<p class="pi1">And shivered in the nipping cold;</p>
+<p class="pi0">He cried, “Come here, you little pearl,</p>
+<p class="pi0">I feel so very cold, my girl!”</p>
+<p class="pi4">Now warm yourself!</p>
+<p class="pi0">Simon, good sir, ensconce yourself!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi8">My dear!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi0">&#160;</p>
+<p class="pi00">“I feel so very cold, my girl!”</p>
+<p class="pi1">Ay me! I had my new Muff on.</p>
+<p class="pi0">My head was surely in a whirl</p>
+<p class="pi1">To lend it to the good Simon.</p>
+<p class="pi0">That day my kindness cost me dear;</p>
+<p class="pi0">My Muff is spoilt for all the year!</p>
+<p class="pi4">Now warm yourself!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi8">My dear!</p>
+<p class="pi0">&#160;</p>
+<p class="pi0">My Muff is spoilt for all the year,</p>
+<p class="pi1">For Simon’s ways are rather rough;</p>
+<p class="pi0">And he knows nought of doubt or fear,</p>
+<p class="pi1">He quite destroyed my poor new Muff!</p>
+<p class="pi0">Simon, you’ve ruffled all its fur,</p>
+<p class="pi0">Made it too large, you careless sir!</p>
+<p class="pi4">Now warm yourself!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi8">My dear!</p>
+<p class="pi0">&#160;</p>
+<p class="pi0">Made it too large, you careless sir!</p>
+<p class="pi1">See: it has been entirely spoiled,</p>
+<p class="pi0">’Tis metamorphosed, I aver;</p>
+<p class="pi1">And seems all rumpled up and soiled.</p>
+<p class="pi0">’Tis like my aunt’s Muff, all agape,</p>
+<p class="pi0">Quite out of countenance and shape!</p>
+<p class="pi4">Now warm yourself!</p>
+<p class="pi0">Simon, good sir, ensconce yourself!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+<p class="pi8">My dear!</p>
+<p class="pi0">I’ll lend you, sir, my bran-new Muff!</p>
+</div>
+
+<p>What laughter, what shouts, what chokings, in those parties <em
+class="e000I2">à la</em> Paul de Kock, when an artless maiden—at the
+time when pleasant digestion had set its bloom on all faces—sang, one
+by one, these ancient couplets, with an air at once of a whimpering
+girl and of a woman full of coquettish intelligence.</p>
+
+<p>The Muff has not always brought tears of laughter to the eyes,
+and a physiologist might draw from it many a curious deduction;
+only to cite a single instance, in the middle of the <em
+class="e000I2">Scènes de la Vie de Bohème</em>, in the episode of
+Francine’s Muff, which should remain in every reader’s memory—the
+tears come into all our eyes resultant from an emotion at once
+sincere and profound.</p>
+
+<p>Francine has been condemned by her doctor,
+and <em class="e000I2">hears with her eyes</em> the terrible sentence of the
+physician.</p>
+
+<p>“Don’t listen to him,” says she to her love,
+“don’t listen to him, Jacques, he is telling stories;
+we will go out to-morrow, it is All Hallows Day,
+it will be cold, . . . go and buy me a Muff, . . . mind
+it is a good one, . . . and will last a long while; I am
+afraid of having chilblains this winter.”</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_136.jpg" width="600" height="431" alt="" />
+</div>
+
+<p>Then, when Jacques has brought the Muff: “It is very
+pretty,” said Francine; “I will carry it in our walk.”</p>
+
+<p>The morrow, All Hallows Day, about the time of the
+Angelus of noon, she was seized with the death-struggle,
+and all her body began to tremble. “My hands are
+cold, cold,” she murmured, “give me my Muff, dear”—and
+she plunged her poor little fingers into the fur.</p>
+
+<p>“It is over,” said the doctor to Jacques, “give her a
+last kiss;” and Jacques glued his lips to those of his
+darling. At the last moment, they wished to take away
+her Muff, but her hands still clung to it.</p>
+
+<p>“No, no,” she cried, “let it be—we are in winter, it is
+cold. Ah my poor Jacques!”</p>
+
+<p>And so Francine dies, without quitting her Muff. A
+poignant and lugubrious story, like the work of Murger
+in general; the <em class="e000I2">Muff of Francine</em> will perhaps be the
+most durable chapter in the <em class="e000I2">Vie de Bohème</em>. We have
+not been able to set this realistic scene upon the stage,
+but a painter, M. Haquette, has displayed it after an
+admirable manner in one of his best pictures exhibited
+in one of the Paris annual Salons.</p>
+
+<div class="figcenter" style="width: 422px;">
+<img src="images/i_137e.jpg" width="422" height="360" alt="" />
+</div>
+
+<p>Truly the Muff calls up many sad
+thoughts for sentimental and charitable
+souls; this winter chattel reminds them of the sorrows
+of those who are without fire and home and comfortable
+clothing, and when the north wind blows without, and the
+snow falls softly in sombre silence, more than one dreaming
+girl, with her elbow leaning on the window-sill, lets her
+Muff fall while thinking of those unfortunates who suffer, of
+the careless grasshoppers and the laborious ants, of whom
+an adverse fortune has deceived the foresight.</p>
+
+<div class="figright" style="width: 144px;">
+<img src="images/i_137e-2.jpg" width="144" height="195" alt="" />
+</div>
+
+<p>The Muff, the mysterious Muff, hides many distresses:
+we see it at the present day on the hands of all the working
+girls and milliners, who set out early in the winter mornings
+from their homes for the distant workshops; and it is a load
+upon one’s heart to see all these miserable little Muffs
+made of rabbit or black cat, out of which peeps
+often the golden point of a penny roll and a greasy
+paper which envelops a chlorotic piece of pork
+or an <em class="e000I2">Arlequin</em> (bits of broken meat) bought in
+the early market. The Muff which warms so
+many pretty hands brave and toiling, seems in
+winter to be the refuge of virtue, shivering but victorious.</p>
+
+<p>How much luxury is there, on the other hand, in
+the Muffs of the fine world during the last twenty years!
+They have been made very small, of sable tails,
+and very expensive; but there have been also
+some more modest, made with that marten of Australia
+which took the place of the Astrakhan,
+which passed out of fashion in 1860. They have
+been manufactured also in velvet plush or in cloth,
+with borders of fur or feathers, and a large bow of
+ribbons in the centre. Some became veritable
+scent-bags, perfumed with heliotrope, rose, gardenia,
+verbena, violet, or they were powdered
+inside with orris root or <em class="e000I2">poudre à la Maréchale</em>.</p>
+
+<p>An elegant and witty lady-correspondent of
+fashion, who signs with the word <em class="e000I2">Étincelle</em> the
+notes full of charming confusion in her <em class="e000I2">Carnet
+d’un Mondain</em>, lately gave the nomenclature of the
+Muffs of the day, painted in water-colours:</p>
+
+<p>“The Nest-Muff, in satin <em class="e000I2">coulissé</em>, lined with
+black and white lace, with a whole company of
+little Indian birds and frightened paroquets hiding
+themselves in the satin folds.”</p>
+
+<p>“The Flower-Muff, very small, of ivory plush,
+rouge cardinal or marine blue, with bunches of
+roses, marigolds, camellias, and violets blossoming
+in the midst of a great deal of lace.”</p>
+
+<p>“The Watteau-Muff for the evening: a round
+of Loves painted on white satin. The Coppée-Muff:
+sparrows sunk in a sky of black satin. The
+Figaro-Muff, in black velvet, entirely covered with
+a net of black and gold chenille: three humming-birds
+in a nest of black lace. The Duchess Muff:
+all of Marabout, imitating fur, shaded with little
+bows of dead satin. The Castilian, in plush,
+covered with point noir: an orange parroquet in
+the middle standing out in relief on a fan of
+black lace. The Minerva, in skunk or sable, with
+a black satin bow and the head of a barn-door
+owl.”</p>
+
+<p>All these fashions of to-day are already fashions
+of yesterday, so perpetual is the inconstancy of <em class="e000I2">la
+Mode</em>! To-day the monkey, blue fox, beaver,
+swan, and ermine are metamorphosed into Muffs;
+to-morrow will come the furs of sable, of otter, of
+chinchilla, of squirrel, of marten, of wolf, &#38;c.
+Women and furs change, and will change, soon
+and often.</p>
+
+<p>Fashion is the everlasting Fairy; whether she
+take the Sunshade as a rod at the end of her
+gloved hand, or the Muff as a surprise-box or a
+cornucopia, she is never short of inventions, of
+prodigies, of follies, and of ruins; she seems to
+avenge herself on the moderns because the ancients
+gave her not divine honours, nor placed her upon
+the summit of their Olympus. Let, then, the
+head of this new and great goddess be adorned
+with a weathercock helmet, of which Love will
+furnish the magnetic arrow, and let a statue be
+raised to that great first French citizeness, who from Paris
+governs the world with so formidable a despotism, against
+whom none ever dreams of raising a revolt.</p>
+
+<p>For us, who, <em class="e000I2">à propos</em> of the Sunshade, the Glove, and
+the Muff, have just cast a glance upon the museum of
+this female ruler, we are in a state of dread from the inconceivable
+variety of objects which were for an hour a
+woman’s pleasure, and, if we have not conducted our
+readers before all the glass cases of this national museum,
+great as the universe, or “the vastest in the world,” as all
+large milliners’ shops entitle themselves, it is because around
+the ornaments of women the fickle Loves will always dance
+their frenzied round, which only a madman can ever hope
+and wish to stop. It has been said that Fashion is woman’s
+only literature; if, however, our elegant ladies were condemned
+to study the special archæology of this literature,
+very soon—as in love—would they desert History for
+Romance.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/i_140.jpg" width="500" height="564" alt="" />
+</div>
+
+<h2 title="Appendix">
+ <a id="APPENDIX"></a>APPENDIX</h2>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_143e.jpg" width="600" height="292" alt="" />
+</div>
+
+<p class="fsize2 center">APPENDIX</p>
+
+<p class="drop-cap">
+<img class="drop-cap" src="images/i_143.jpg"
+ width="42" height="42" alt="" />
+WE see sometimes appearing certain light
+little works connected either with literary
+history or ancient poetry, or manners
+and customs, which would be nothing but
+pretty and curious pamphlets, if the Appendix
+which follows them were not swelled out of all
+proportion with proofs and illustrations, annotated
+notes, documents with sidenotes, bibliographic
+bibliography, considerations and commentaries
+of all sorts, which put the reader
+to the torture. By this proceeding of an exaggerated
+literary conscience, an opuscule of thirty
+pages arrives sometimes at three hundred: it is
+in some sense a case of erudite exaltation, sometimes
+also a vain-glory of the investigator, who
+has a mind to climb up the pyramid of books
+he has examined, proudly there to set up his
+silhouette, as we plant a flag on a building as
+soon as it is complete.</p>
+
+<p>As an epilogue to another volume of this series,
+<em class="e000I2">The Fan</em>, we published a sketch of documentary
+bibliography to indicate the principal works which
+we had searched for the little materials necessary
+for that monograph. You will find there
+six or eight pages of titles placed without order,
+and ending with this phrase of a man out of
+breath, and expressing extreme fatigue—<em class="e000I2">et cœtera</em>.</p>
+
+<p>And in this <em class="e000I2">et cœtera</em> we have set now a hundred
+library shelves in the shadow—sparing thus our
+most fastidious readers an extremely bitter pill,
+and sparing ourselves also the fatigues of an
+interminable catalogue of no great profit to any
+one, considering the nature of the work in question,
+and the fashion in which we have treated it.</p>
+
+<p>At the conclusion of the three unpretending
+pieces of chit-chat which we have just engaged in
+about <em class="e000I2">The Sunshade, the Glove, and the Muff</em>, people
+may expect to see figuring here the lineaments or
+first matters of the canvas on which we embroidered
+our bold arabesques. People will be deceived.
+It will please us for this time to hide the innumerable
+instruments of our thefts; they are still
+there by our sides, making walls and barricades
+upon our tables and the seats round about us.
+But if, on the termination of a task, we love
+usually to put back regularly in order a library
+turned upside down by the fever of researches,
+happy in being nourished by the intellectual juice
+of old books, sometimes also we are prostrated by
+that intense discouragement which “dumfounds
+a man,” according to an every-day expression.
+In fact, the result has not answered so great a
+working up of material, a picture has been dreamed
+of too big for the frame, the artist has been obliged
+to reduce himself, to resign himself, and to put in
+nothing of his own essence; in short, the Mosaic
+<em class="e000I2">littérateur</em> looks at the Little Thing he has just
+finished beside the Great Matter which he had
+conceived.</p>
+
+<p>In like conditions, the <em class="e000I2">meâ culpâ</em> is the sole
+preventive parade that can be made in his retreat
+to questions which become twisted into a note of
+interrogation on the smiling lips of the reader.</p>
+
+<p>To make an inventory of the books we have
+consulted would be a torture worse than that of
+Tantalus, for desire, far from looking forward with
+eagerness, would look sadly back, like an old
+man who sees again in memory the women of
+his twentieth year, whom he has let fly under
+the willows without profiting in their pursuit by
+the vigour of his legs.</p>
+
+<p>These books—which we serve not up here—are
+full of documents which we have not been
+able to enshrine, and it seems that the crumbs
+which fall from the table make a larger volume
+than the repast which has just been taken.</p>
+
+<p>For the rest, a truce to sadness and superfluous
+regrets! Who knows whether we are not odiously
+unjust to ourselves? Who knows whether the
+little schoolboy path which we have chosen is
+not the prettiest, the least rugged, the most unforeseen—that
+is to say, the least painful and the
+most verdant, and at the same time the shortest?</p>
+
+<p>Every work, however small it may be, requires
+distance, a time of calm and oblivion. The eye
+of the painter wanders in distress before one and
+the same picture for entire days; the brain of an
+investigator becomes anchylosed and petrified by
+dreaming in one and the same atmosphere of
+small ideas which remain attached to dress.</p>
+
+<p>When we shall have unfurnished our skull of
+those delicate things, <em class="e000I2">the Sunshade, Glove, and
+Muff</em>, to carry thither a current of more serious
+conceptions, we shall perhaps have leisure to
+read again our little work as strangers, and not
+as producers, and thus, doubtless, we shall reflect
+with a satisfied smile, that there was much more
+in us of wisdom than carelessness in not tarrying
+too long amongst such charming trifles!</p>
+
+<div class="figcenter" style="width: 120px;">
+<img src="images/i_146.jpg" width="120" height="134" alt="" />
+</div>
+
+<div id="endmatter">
+<h2 title="Advertisements">&#160;</h2>
+<div id="endmatter01"><a id="Advertisements"></a>
+<p class="center"><em class="e000I2">LONDON</em>,</p>
+<p class="center"><em class="e00S02">14, King William Street, Strand, W.C.</em></p>
+<p class="center"><em class="e000I2">May 1883.</em></p>
+</div>
+
+<div id="endmatter02">
+<div class="center"><em class="e00S02">In Twelve Volumes, Crown 8vo, Parchment Boards or
+Cloth, per Volume, 7s. 6d.</em><br /><br /></div>
+</div>
+
+<div id="endmatter03">
+<div class="fsize3 center">THE</div>
+<h3 title="The Old Spanish Romances">
+ OLD SPANISH ROMANCES</h3>
+
+<div class="fsize3 center">
+ <em class="e000I2">ILLUSTRATED WITH ETCHINGS.</em></div>
+</div>
+
+<p class="romance"><em class="eB0002">THE HISTORY OF DON
+QUIXOTE DE LA MANCHA.</em> Translated from the Spanish of
+<em class="e00S02">Miguel de Cervantes Saavedra</em> by <em
+class="e00S02">Motteux</em>. With copious Notes (including the
+Spanish Ballads), and an Essay on the Life and Writings of
+<em class="e00S02">Cervantes</em> by <em class="e00S02">John
+G. Lockhart</em>. Preceded by a Short Notice of the Life and
+Works of <em class="e00S02">Peter Anthony Motteux</em> by <em
+class="e00S02">Henri Van Laun</em>. Illustrated with Sixteen Original
+Etchings by <em class="e00S02">R. de Los Rios</em>. Four Volumes.</p>
+
+<p class="romance"><em class="eB0002">LAZARILLO DE TORMES.</em>
+By <em class="e00S02">Don Diego Mendoza</em>. Translated by <em
+class="e00S02">Thomas Roscoe</em>. And <em class="eB0002">GUZMAN
+D’ALFARACHE</em>. By <em class="e00S02">Mateo Aleman</em>. Translated
+by <em class="e00S02">Brady</em>. Illustrated with Eight Original
+Etchings by <em class="e00S02">R. de Los Rios</em>. Two Volumes.</p>
+
+<p class="romance"><em class="eB0002">ASMODEUS.</em> By <em
+class="e00S02">Le Sage</em>. Translated from the French. Illustrated
+with Four Original Etchings by <em class="e00S02">R. de Los
+Rios</em>.</p>
+
+<p class="romance"><em class="eB0002">THE BACHELOR OF SALAMANCA.</em>
+By <em class="e00S02">Le Sage</em>. Translated from the French by <em
+class="e00S02">James Townsend</em>. Illustrated with Four Original
+Etchings by <em class="e00S02">R. de Los Rios</em>.</p>
+
+<p class="romance"><em class="eB0002">VANILLO GONZALES</em>; or,
+The Merry Bachelor. By <em class="e00S02">Le Sage</em>. Translated
+from the French. Illustrated with Four Original Etchings by <em
+class="e00S02">R. de Los Rios</em>.</p>
+
+<p class="romance"><em class="eB0002">THE ADVENTURES OF GIL BLAS OF
+SANTILLANE.</em> Translated from the French of <em class="e00S02">Le
+Sage</em> by <em class="e00S02">Tobias Smollett</em>. With
+Biographical and Critical Notice of <em class="e00S02">Le Sage</em>
+by <em class="e00S02">George Saintsbury</em>. New Edition,
+carefully revised. Illustrated with Twelve Original Etchings by <em
+class="e00S02">R. de Los Rios</em>. Three Volumes.</p>
+
+<div id="endmatter04">
+<div class="center"><em class="e00S02">In Twelve Volumes, Crown 8vo,
+Parchment Boards or Cloth, per Volume, 7s. 6d.</em><br /><br /></div>
+
+<h3 title="Old English Romances">
+ OLD ENGLISH ROMANCES</h3>
+
+<div class="fsize3 center">
+ <em class="e000I2">ILLUSTRATED WITH ETCHINGS.</em></div>
+</div>
+
+<p class="romance"><em class="eB0002">THE LIFE AND OPINIONS OF
+TRISTRAM SHANDY</em>, <em class="e00S02">Gentleman</em>. By <em
+class="e00S02">Laurence Sterne</em>. In Two Vols. With Eight Etchings
+by <em class="e00S02">Damman</em> from Original Drawings by <em
+class="e00S02">Harry Furniss</em>.</p>
+
+<p class="romance"><em class="eB0002">THE OLD ENGLISH BARON</em>:
+<em class="e00S02">A Gothic Story</em>. By <em class="e00S02">Clara
+Reeve</em>.</p>
+
+<p class="center">ALSO</p>
+
+<p class="romance"><em class="eB0002">THE CASTLE OF OTRANTO</em>:
+<em class="e00S02">A Gothic Story</em>. By <em class="e00S02">Horace
+Walpole</em>. In One Vol. With Two Portraits and Four Original
+Drawings by <em class="e00S02">A. H. Tourrier</em>, Etched by <em
+class="e00S02">Damman</em>.</p>
+
+<p class="romance"><em class="eB0002">THE ARABIAN NIGHTS
+ENTERTAINMENTS.</em> In Four Vols. Carefully Revised and Corrected
+from the Arabic by <em class="e00S02">Jonathan Scott</em>, LL.D.,
+Oxford. With Nineteen Original Etchings by <em class="e00S02">Ad.
+Lalauze</em>.</p>
+
+<p class="romance"><em class="eB0002">THE HISTORY OF THE CALIPH
+VATHEK.</em> By <em class="e00S02">Wm. Beckford</em>. With Notes,
+Critical and Explanatory.</p>
+
+<p class="center">ALSO</p>
+
+<p class="romance"><em class="eB0002">RASSELAS, PRINCE OF
+ABYSSINIA.</em> By <em class="e00S02">Samuel Johnson</em>. In
+One Vol. With Portrait of <em class="e00S02">Beckford</em>, and
+Four Original Etchings, designed by <em class="e00S02">A. H.
+Tourrier</em>, and Etched by <em class="e00S02">Damman</em>.</p>
+
+<p class="romance"><em class="eB0002">ROBINSON CRUSOE.</em>
+By <em class="e00S02">Daniel Defoe</em>. In Two Vols. With
+Biographical Memoir, Illustrative Notes, and Eight Etchings
+by <em class="e00S02">M. Mouilleron</em>, and Portrait by <em
+class="e00S02">L. Flameng</em>.</p>
+
+<p class="romance"><em class="eB0002">GULLIVER’S TRAVELS.</em> By <em
+class="e00S02">Jonathan Swift</em>. With Five Etchings and Portrait
+by <em class="e00S02">Ad. Lalauze</em>.</p>
+
+<p class="romance"><em class="eB0002">A SENTIMENTAL JOURNEY.</em> By
+<em class="e00S02">Laurence Sterne</em>.</p>
+
+<p class="center">ALSO</p>
+
+<p class="romance"><em class="eB0002">A TALE OF A TUB.</em> By <em
+class="e00S02">Jonathan Swift</em>. In One Vol. With Five Etchings
+and Portrait by <em class="e00S02">Ed. Hedouin</em>.</p>
+
+<div id="endmatter05">
+ <h3 title="Some Press Notices">
+ <i>SOME PRESS NOTICES.</i></h3>
+</div>
+
+<p class="citation">Daily Telegraph.</p>
+
+<p>“These editions are noteworthy as containing original etchings by
+artists of high repute. Thus nineteen exquisite plates by the French
+etcher, M. Lalauze, gives especial attractiveness to the ‘Thousand
+and One Nights;’ and the two fanciful histories of the Caliph Vathek
+and Prince Rasselas are illustrated by designs of Mr. A. H. Tourrier,
+etched by M. Damman. It is a pleasure to hold a ‘Robinson Crusoe’ or
+the ‘Tale of a Tub’ in one’s hands; it is a positive luxury to read
+those masterpieces in a luxurious shape, large print, on good paper,
+accompanied by exquisite illustrations.”</p>
+
+<p class="citation">The Scotsman.</p>
+
+<p>“These volumes will take rank, for beauty of typography and
+general excellence of appearance, with any books of the kind that
+have recently been published; while the etchings by M. Lalauze are
+among some of the finest of his productions. They are full of vigour
+and striking originality, and are what they profess to be—good
+illustrations of the story to which they relate. There are not many
+men of wholesome minds who do not find enjoyment in ‘Robinson Crusoe’
+whenever they can lay hands on it; and assuredly there is no one
+possessing anything in the shape of a library who would not desire to
+have a good edition of the work among his books; in short, nothing
+but praise can be given to this edition of these books. No one can
+pretend to be acquainted with English literature who is ignorant of
+any of the works here published.”</p>
+
+<p class="citation">Glasgow Herald.</p>
+
+<p>“The merits of this new issue lie in exquisite clearness of type,
+completeness; notes and biographical notices, short and pithy, and
+a number of very fine etchings and portraits. The illustrations of
+Gulliver are particularly effective, such as the ‘Academy of Laputa’
+and the ‘Visions of Glubbdubdrib.’”</p>
+
+<p class="citation">London Figaro.</p>
+
+<p>“We congratulate the publishers upon the issue of a capital
+series of Old English Romances. They will form a most delightful
+collection.”</p>
+
+<p class="citation">Magazine of Art.</p>
+
+<p>“The text of the new four volume edition of the ‘Thousand and
+One Nights’ is that revised by Jonathan Scott from the French of
+Galland. It is, in fact, the text in which the incomparable ‘Arabian
+Nights’ became in England the classic it is. The etchings are
+uncommonly skilful and finished work; they contain some charming
+figures; they constitute a true attraction. In another volume of this
+series Beckford’s wild and gloomy ‘Vathek’ appears side by side with
+Johnson’s admirable ‘Rasselas.’”</p>
+
+<p class="citation">The Literary World.</p>
+
+<p>“A publishers’ notice prefixed to each volume states that ‘one
+thousand copies of this edition have been printed and the type
+distributed. No more will be published.’ Although some of these works
+are now easily obtainable in a cheap form, good editions are rare and
+eagerly sought by those who make any pretence of making a library.
+Here is an opportunity of securing as choice an edition as can be
+desired at a comparatively low price, the value of which will be
+enhanced before long by its scarcity.”</p>
+
+<p class="citation">The Times.</p>
+
+<p>“Prettily printed and prettily illustrated, these attractive
+volumes deserve their welcome from all students of seventeenth
+century literature.”</p>
+
+<p class="citation">The Daily News.</p>
+
+<p>“The merit for modern readers of these old stories lies partly
+in their inexhaustible wit, their knowledge of human nature, which
+never grows stale, and partly in their pictures of the old reckless
+life of Spain. A typical example of these novels is the fictitious
+autobiography of Guzman d’Alfarache, the Spanish rogue, written by
+Matthew Aleman at the beginning of the seventeenth century.”</p>
+
+
+<p class="citation">Daily Telegraph.</p>
+
+<p>“A handy and beautiful edition, in twelve volumes, of the works
+of the Spanish masters of romance calls for a word of acknowledgment
+from all who desire to see the lights of foreign literature fitly
+presented to the notice of English readers. We may say of this
+edition of the immortal work of Cervantes, that it is most tastefully
+and admirably executed, and that it is embellished with a series
+of striking etchings from the pen of the Spanish artist, De Los
+Rios. . . . Those who have already made acquaintance with these
+masterpieces of exotic humour will need no encouragement to send
+them once again to a fountain from which such pure enjoyment is to
+be derived, and in so acceptable a shape as Messrs. Nimmo &#38; Bain
+have provided.”</p>
+
+<p class="citation">The Scotsman.</p>
+
+<p>“What man of middle age is there, who has been a reader of books,
+who does not look back with pleasure to his first acquaintance with
+‘Don Quixote’ or the ‘Adventures of Gil Blas’? If he has been a wise
+man of equal mind, he has gone further afield in these romances, and
+has made acquaintance with ‘Asmodeus,’ ‘The Bachelor of Salamanca,’
+and other works of a like kind. They have been read by many thousands
+of British readers, and they will be read by many thousands
+more. . . . What the reading public have reason to congratulate
+themselves upon is, that so neat, compact, and well-arranged an
+edition of romances that can never die is put within their reach. The
+publishers have spared no pains with them. It has already been said
+that Mr. Saintsbury has written a prefatorial notice of Le Sage; a
+similar work has been done by other hands in the case of Cervantes.
+It is satisfactory to find publishers turning their attention to the
+reproduction, in worthy form, of classic fiction; and the hope may be
+entertained that in this case the enterprise will meet with merited
+reward.”</p>
+
+<p class="citation">Westminster Review.</p>
+
+<p>“We notice with warm welcome a new and very handsome illustrated
+edition of the original ‘Arabian Nights Entertainment,’ the ‘real
+Simon pure,’ and never have we seen the fascinating companion of our
+youth more ‘daintily dight.’ Type and paper are both of the finest
+quality, while M. Lalauze’s graceful and delicate etchings lend
+an additional charm to the text. ‘The Thousand and One Nights of
+Schéhérézade’ occupy four goodly volumes, and uniform with them is
+Beckford’s ‘Vathek’ and Dr. Johnson’s ‘Rasselas’ in one volume.”</p>
+
+<p class="center"><br /><br />J. C. NIMMO &#38; BAIN,<br />
+ 14, KING WILLIAM STREET, STRAND, LONDON, W.C.</p>
+</div> <!--end of div.endmatter-->
+
+<div class="transnote">
+TRANSCRIBER’S NOTE
+
+<p>Original printed spelling and punctuation variations are mostly
+retained. Since small caps are not well supported in mobile
+formats (e.g. epub), they have been <em class="e00S02">Reinforced
+Thus</em> with an underline.</p>
+
+<p>Page 104: “villanously” changed to “villainously”.</p>
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Sunshade, by Octave Uzanne
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