[Illustration: Figure 29.--ENGRAVING BY JEAN LE GROS depicting French hair style, ca. 1760. From _L’Art de la Coiffure_. (_Courtesy of Victoria & Albert Museum, London._)] In the same way in London in 1794, Nicolaus Heideloff, whose _Gallery of Fashion_ was an imitation of one of the French series by Esnaut and Rapilly entitled _La Gallerie des Modes_, though claiming that the dresses he described were real ones, seems to have had as an objective the formation of a sort of picture gallery of costume portraits of English ladies. Heideloff called it a Repository, which is what we would call an archive today, but the term came to be used by Rudolph Ackermann for his general magazine, _The Repository of the Arts_ . . . , published between 1809 and 1828 (see p. 89). The ladies in Heideloff’s aquatints are all different in the sense that they are dressed differently and doing different things, but the variations are mostly fanciful (fig. 31). In fact, the Heideloff prints served to fill picture books or to be pinned up or framed on walls; they do not differ greatly in their approach from the series of the Bonnarts and their contemporaries during the reign of Louis XIV. [Illustration: Figure 30.--PLATE SHOWING fashionable dress at Weymouth. From _The Lady’s Magazine_, 1774. (_Courtesy of Victoria & Albert Museum, London._)] [Illustration: Figure 31.--PRINT OF A LADY in a court dress ballooned out by side hoops, by N. Heideloff. The print does not attribute this fashion to any specific year. From the _Gallery of Fashion_, 1798. (_Courtesy of Victoria & Albert Museum, London._)] It is not proposed to give an account here of the various magazines in the different countries which contained illustrated articles on fashion from 1770 onward, since this would merely repeat material in Mr. Vyvyan Holland’s book. Mention should be made, however, of the movements for dress reform motivated either by economic considerations or national feeling. Pamphlets and articles on these subjects were usually without illustrations, except when concerned with the revival or creation of a national costume.[42] Sweden was the only country where, thanks to the enthusiasm of King Gustavus III, the wearing of national dress was more than an archaizing affectation. Dr. Eva Bergman[43] has described the origins of this Swedish national dress in a book that is fully documented with tailors’ patterns and illustrations. As all details were prescribed by court regulations and very little scope was left for the impulses and personal choice of the wearers, the dress may be regarded to a great extent as a uniform rather than a fashion. Modifications did take place, however, and the style continued into the 19th century. As late as 1827, a pamphlet was published in Copenhagen on the same subject.[44]