Gloved, adorned with feathers and boas, parasol in hand, fashionable hat, the aristocrats and divas of the fin de siècle display a dreamy and nervous coquetry. These are the coquettes celebrated by Jules Claretie in 1876 in "L'art et les artistes français contemporains," the same ones depicted by Giuseppe De Nittis, Giovanni Boldini, and Vittorio Matteo Corcos. Definitively liberated from domestic roles, the protagonists of the Belle Époque reveal their more ethereal and seductive personalities in the renewed enchantment of a nature that is at times radiant, at times melancholic, but always reflective of the mystery of life's seasons. They continue along the pleasant paths of luxurious and worldly vacations, marking the stages of a femininity increasingly inclined to coquetry and increasingly captive to erratic and dreamy mental states. From the traditional carriage rides to the racetracks and tennis courts, the face of femininity now unfolds expressions of a tight emancipation, affirming the role of the woman-as-amazon. And while the Belle Époque lady appears in the meantime as an interpreter of an increasingly extenuated elegance, entrusted to refined nuances, she is destined to progressively transform into a true femme fatale: divas and chanteuses of unparalleled charm parade, projected onto the stages of an increasingly contradictory worldliness.