
	To see more dramatically the evolution and modification of advertising for this wine and to enhance the diachronic perspective of the three ads being compared, I have placed the ads together in chronological order, in Appendix A. They will be reordered for analysis.
	Over this long period, the advertising strategies have changed, sometimes dramatically, sometimes more subtly. These changes reflect the principle that “...advertising is a  communications activity through which social change is mediated % and wherein  such change can be witnessed.” Giacomo Festi, Lecture 1 Slides, UNISG, 2010 (citing Social Communication in Advertising, p. 192).
	The 1926 ad (Figure 1) presents text only, almost like a formal, engraved wedding invitation used by the higher classes in the United States. The receiver needed to be educated to understand this referential message because it contained a foreign language (French) generally known only by the educated classes. The words “By Appointment” refer to the monarchy in England, which assumes that the American reader will be educated and know that the product is approved for use by the monarch, and thus has a special quality and aura. There are no plastic values to appeal directly to the emotions or create intensity of desire. In 1926, this message was conveyed to the previously “initiated”, simply, without embellishment, on the assumption that the receiver already knew enough to be able to make a choice.
	By 1980 (Figure 2), we see a photograph in the Perrier Jouet ad. It is stolid. The intended receiver appears to have changed to a broader audience and the intention of the ad appears to be to educate. See analysis below.

	The ad of 2002 (Figure 3) represents a sharp departure from the 1980 Bottle Ad of only 

20 years earlier. The bottle is still there, but a photograph of woman is added, with no clothes. It appears that by this time, the Champagne may be better known, times have changed and the advertising effort is again modified. It suggests that a broader market has been achieved, and that the receiver is ready to respond to values that are intensified and extended, including to shock appeal and to the possibilities of new photographic technology. See analysis below.
	A few years later, in 2008 (Figure 4), the woman remains in the photo, but she has put her clothes on, an expensive gown, and gotten inside the bottle. See analysis below.
	Just this year, Perrier Jouet has introduced a new “muse” (model) and a new ad, still with a model, a gown and the bottle (Figure 5). The woman remains clad, though it is not easy to see on first glance, and her head appears imprisoned within the bottle. This ad is not analyzed here, and is provided only for context, but it likely conveys emotional responses to the dramatic changes wrought by the global economic crisis. 

	As a print ad, this syncretic text used primarily visual (pictures) and verbal (words) languages, but also includes some graphic (drawing, lettering) language. 