[Illustration: Figure 32.--FRONT AND BACK VIEW of a walking dress showing that embroidered muslin was worn even in winter. Here, the muslin is accompanied by a red sarcenet Highland spencer and a matching scarf lined with ermine. From _La Belle Assemblée_, December 1808. (_Courtesy of The Cooper Union Museum._)] [Illustration: Figure 33.--WALKING DRESS OF GRAY MERINO. Plate 38, Ackermann’s _Repository of the Arts_, 1819. (_Courtesy of The Cooper Union Museum._)] With these dress-reform books must also be included the books on French Revolution fashions, of which that by Grasset de Saint-Sauveur is the best known.[45] When reading the descriptions of dress of the various officials, grades, and classes, one wonders whether such clothes were actually worn except on state occasions, or whether they were fanciful novelties which the French officials in their reaction against Louis XVI and his court thought would be appropriate for the new regime. The intention of this book, however, undoubtedly was serious and quite unlike the caricature fashion plates often titled “Merveilleuse” or “Incroyable,” which amused everyone in the early years of the 19th century. [Illustration: Figure 34.--PHILADELPHIA FASHIONS. At this date caps or hats were worn indoors with full evening dress. The details of this print were probably copied from a French or English fashion magazine. From _Godey’s Lady’s Book_, October 1833. (_Courtesy of The Cooper Union Museum._)] After 1800 many types of magazines flourished, and the increase in the number of lending and subscription libraries and also of public libraries fostered a new reading public. The magazines had illustrated fashion articles. Often the engravings, and later the lithographs, colored by hand, were their most attractive feature. Not that any great originality was shown; the latest Paris fashions were often adapted, with or without acknowledgment from French fashion plates of the previous season. Men’s and children’s fashions were not adapted on nearly the same scale. Possibly, men’s fashions were more static, or confined to details such as variations in tying the cravat.[46]