Technical information together with some fashion plates was available in the 1760s in various volumes of the French _Encyclopédie_. M. de Garsault wrote the section on the art of the tailor (1769) as well as sections on wigs and wigmaking. The engravings by Jean Le Gros (fig. 29) were of practical use to hairdressers; a similar book of hairstyle by James Stewart was published in England.[40] The single-sheet almanac decorated with engravings of contemporary events continued to be published in France in the 18th century,[41] but pictures in the English university almanacs were mainly topographical or historical. The next development was the issue of annual memorandum books or pocket diaries, which sometimes had a fashion plate as a frontispiece. For example, the _Ladies Museum or Pocket Memorandum Book_, 1774, contained an engraving of a “Lady in the most fashionable dress of the year 1773.” This appeared not very long after the first production of Oliver Goldsmith’s comedy _She Stoops to Conquer_, which contains the following dialogue (Act 2): Mrs. Hardcastle: Pray, how do you like this head, Mr. Hastings? Mr. Hastings: Extremely elegant and degagée, upon my word, Madam. Your friseur is a Frenchman, I suppose? Mrs. Hardcastle: I protest, I dressed it from a print in the ladies memorandum-book for the last year. _She Stoops to Conquer_ was written in 1772-73, and, although a memorandum book published at this date and containing fashion plates of headdresses has not been traced, it is very likely that one existed. But before this, in 1770, _The Lady’s Magazine or Entertaining Companion for the Fair Sex_ had begun its long career which lasted until 1837. Figure 30 shows a typical fashion plate for 1774. A lady in full court dress is talking to another in visiting dress; behind, a third in full dress but without side hoops talks to a friend in traveling dress with a calash hood; in the background a lady in riding dress looks out of the window. Artistically such a fashion plate is of no great distinction, but it served a purpose--to give information about current fashions--very much better than the more spectacularly illustrated productions such as Heideloff’s _Gallery of Fashion_. The 18th-century reading public became increasingly fashion conscious, and there are several series of French colored prints, the finest of them by Moreau le Jeune from 1775 onward, which have high artistic merit and have been sought continuously by collectors. Their purpose, however, was explicitly “pour servir à l’histoire des Modes et du Costume des Français dans le XVIIIme siècle.” The prints are strongly romanticized and must be regarded as a record of something between historical and fancy dress. The accompanying text names but only briefly describes the dresses and then passes on to facetious moralizing.