Charity Girl by Georgette Heyer

By Georgette Heyer

"*A younger and gorgeous runaway by myself at the street to London* 

Miss Charity Steane is operating clear of the drudgery of her aunt's loved ones to discover her grandfather. now not waiting for her stopover at, the previous gentleman isn't in London yet is away within the country. 

*A scandal broth within the making* 

When Viscount Desford encounters a stunning waif looking for her grandfather, he feels honor guaranteed to support her; yet rushing concerning the nation-state jointly, the Viscount needs to hinder his exasperating cost from bringing him destroy upon herself...and him. finally, his top proposal is to convey Charity to his lifelong ally Henrietta and that's while the thrill and surprises begin...  
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It may well have been, however, that Hardy sent no more sketches beyond these two. 6 It was never his practice to send sketches for all the projected illustrations of his serialized novels, not even when he was more familiar with the practices and policies of magazine publication, and not even when he had a completed or nearly completed manuscript before the publication of the first installment. 32 HARDY AND HIS ILLUSTRATORS Hardy's interest in the Cornwall setting and the similarity between his fictional heroine Elfride Swancourt and the woman he was courting (Emma Gifford) would have made him initially concerned with the illustrations that would be published with his text.

Some magazines treated the illustrator's work with great respect, and presented the illustrations themselves as works of art. For those magazines which were issued monthly, more time could be spent on preparing illustrations and their engravings onto the wood block. The quality of the illustrations in some cases was superb. According to Pennell, the quality of work in Good Wordr was so excellent that he contended the magazine was one of the "most important art journals England has ever seen ....

By the time he accepted the commission to illustrate Hardy's novel, therefore, he was no unknown artist in the field of fiction illustration. His chief fame, however, rests upon his Punch illustrations dealing with the foibles of the upper middle-class drawing room. Very little communication took place between Hardy and Du Maurier on the strategy of the Ethelberta illustrations. Although Hardy was by now familiar with the advantages of effective illustration, he was still content with leaving the matter of dealing with the artist in the hands of his editor.

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