Daytime male dress also changed. Nineteenth-century’s women’s fashions, dominated by the corset and bustle, accentuated the female’s bosom and backside. In short her sexuality was magnified, but at the same time men’s sexuality was hidden. Male fashions no longer drew attention to the legs and thighs. The tight breeches and stockings were replaced by the 1830s in England by looser fitting trousers. And the “full fall” of the breeches was replaced by the 1860s with the more discreet buttoned fly front. For formal occasions the middle-class male donned a black three-piece suit. For every day dress, drab grays, blues, and browns replaced lighter colors and coarser wools the finer fabrics. Recourse by men to corsets and cosmetics became a laughing matter. Swords were replaced by walking sticks; ostentatious jewelry by utilitarian watches and fobs. By the twentieth century, the only hints of color were found in the tie or cravat, which led the eye away from the genitals up to the man’s head. A glance at a portrait of Marx or Engels reminds us that even political radicals donned the new uniform of the bourgeoisie. The tone had been set by the American revolutionaries’ contempt for “Yankee Doodle Dandy” and the French sans-culottes of 1789, who attacked as reactionary and pretentious fops men who affected too much attention to their dress. In response the pose of the dandy was taken up by such decadent artists and bohemians as Baudelaire, Barbey d’Aurveilly, Wilde, Swinburne, and Beardsley who wished to parade their disdain for middle-class proprieties. The extent to which Western society sought to hide the male body was perhaps best evidenced in nineteenth-century artistic representations. Female nudes were found in libraries and town halls, representing everything from “Liberty” and “Electricity” to “Slavery” and “Morphine.” The nude male virtually disappeared from the painter’s canvas. Visitors to galleries could imagine a no more shocking idea than that of a naked man as a subject for artistic representation.