By Georgette Heyer
"*For her, he might do anything...*
Plainspoken kingdom gentleman Philip Jettan won't trouble with a powdered wig, excessive heels, and stylish lace cuffs, till he discovers that his beautiful neighbor is enamored with a worldly man-about-town...
*But what's it that she rather wants?*
Cleone Charteris sends her suitor Philip away to get a few city polish, and he comes again with powder, patches, and all of the manners of a professional rake. Does Cleone now have precisely the type of guy she's consistently sought after, or was once her insistence on Philip's awesome transformation a negative mistake?
"
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Extra resources for Powder and Patch
Example text
The range of the reading audience differed slightly, according to the aims of the magazine. Belgravia (which published The Return of the Native) aimed primarily at "the genteel, middle-class, lady public, of low to fair educational standards. " 16 Cornhill, on the other hand, had an audience that ranged from the middle to the upper class, politically liberal. Harper's New Monthly (an American magazine, but with a European edition beginning in the 1880s) seems to have had an audience similar to Cornhill's.
Yet it is also true that much of the illustration for this era is undistinguished. Such a statement is not meant to be disparaging: much of the THE HISTORIC CONTEXT 23 fiction is also undistinguished. The heavy volume of fiction and illustration, whether they accompanied each other or not, meant that much of it, by the simple law of averages, had to be second, even third rate. Sheer increase in numbers, therefore, was one cause of mediocre work. The inadequacy of writer and illustrator, as well as the press of publication deadlines for a myriad of magazines publishing large numbers of serials written and illustrated by novelists and artists who could not all be of first rate quality-these are reasons for much spiritless, even shoddy work of the time.
His technical expertise became clear in his Picturesque Groups, a collection of drawings of the human form, to be used as instruction for students of the graphic arts. Tinsley's had thus selected an artist who was not only technically proficient but also very versatile in his ability to capture a wide range of subject matter. Pasquier was more than capable of illustrating the work of this unknown Dorset author. Hardy was interested enough in the relationship between the artist's illustration and his own concepts that he sent at least two sketches, and possibly more, to be used as guides for the engravings (Plates 1 and 2) that would accompany the September and October installments.