- Vielle
The woodcut represents a very beautiful vielle; French, of about 1550, with monograms of Henry II. This is at South Kensington. The contrivance of placing a string or two at the side of the finger-board is evidently very old, and was also gradually adopted on other instruments of the violin class of a somewhat later period than that of the vielle; for instance, on the lira di braccio of the Italians. It was likewise adopted on the lute, to obtain a fuller power in the bass; and hence arose the theorbo, the archlute, and other varieties of the old lute. - Tooting the sirens of warning
Air raid siren in Paris - The French Crout
Copy of an illumination from a manuscript in the Bibliothèque royale at Paris of the eleventh century. The player wears a crown on his head; and in the original some musicians placed at his side are performing on the psalterium and other instruments. These last are figured with uncovered heads; whence M. de Coussemaker concludes that the crout was considered 95by the artist who drew the figures as the noblest instrument. It was probably identical with the rotta of the same century on the continent. - Steel Corset worn in Catherine's time.
The most extensive and extreme use of the corset occurred in the 16th century, during the reign of Catherine de Medici of France and Queen Elizabeth of England. With Catherine de Medici a thirteen-inch waist measurement was considered the standard of fashion, while a thick waist was an abomination. No lady could consider her figure of proper shape unless she could span her waist with her two hands. To produce this result a strong rigid corset was worn night and day until the waist was laced down to the required size. Then over this corset was placed the steel apparatus shown in the illustration on next page. This corset-cover reached from the hip to the throat, and produced a rigid figure over which the dress would fit with perfect smoothness. - Louis XVI on the leads of the temple
After an engraving of the period. - Louis XIV, for the first time, receiving his ministers
This moral depravation, naturally, extended downward to the whole court. M. Brentano, who is one of the few French historians who venture to lay disrespectful hands on the grand Roi-soleil, says: "Charles VII was the original source of the crapulous debauchery of the last Valois; he traced the way for the crimes of Louis XIV, and the turpitudes of Louis XV." This, although the higher clergy of the reigns both of Charles and of Louis Quatorze did not fail in their duty, and did denounce openly from the pulpit the sins of these all-powerful monarchs. - Lady in house-robe. Period, 1816
Lady in house-robe. Period, 1816 - Group of French Aviators
- Femme-de-la-cour and foundling
Femme-de-la-cour (Lady of the Court) and foundling - Costume for young girl. Period, 1821
Costume for young girl. Period, 1821 - Bonaparte and the grenadier
Bonaparte and the grenadier - A Lady at Play
The court of France was, at this period, the most depraved in morals, the grossest and most unpolished in manners, of any in Europe. The women of the bourgeoisie, envious of the great ladies, called them dames à gorge nue; and the latter retaliated by designating the women of the people as grisettes, because of their gray (grises) stockings,—a name retained almost down to the present day. In the sittings of the États Généraux, the President, Miron, complained bitterly of the excesses of the nobility, the contempt for justice, the open violences, the gambling, the extravagance, the constant duels, the "execrable oaths with which they thought it proper to ornament their usual discourse."