'Beauty can only take you so far'.

'The Beauties' transports the reader to Charles II's Restoration England and immerses us in a fecundity of beauty and art. It is a time when beauty was extolled and being beautiful brought power. Emilia Lennox is a natural-born beauty. For her though, her enviable looks have only brought unwanted attention, 'Her beauty - a mere accident of birth - distorts one's view of her'. However, after her husband and his family become destitute, perhaps her beauty is all that she has, 'The only thing Emilia has ever owned is her passion for art and her good looks...'. But beauty is fleeting so is it truly the only way to get ahead? As Emilia navigates her way between fending off the King's advances - without offending him - and securing a future for herself, she begins to understand what true beauty consists of and is inspired by women who earn respect through their wits and intelligence.

I enjoyed 'The Beauties' and learning more about this era through Emelia's story. Throughout history, we have tried to capture the elusive nature of beauty and define it. During the Restoration Era, beauty was particularly lauded, perhaps as a backlash against the Puritanical asceticism that previously presided. The number of real-life characters who appear within the book, as well as the close attention to art history, adds to the story's lushness. I believe any reader of historical fiction will enjoy this book but it will have a particular resonance for readers who have a passion for art history or England's Restoration Period.

Three-word summary: educational, philosophical, and luxuriant.

Beauty. Who doesn’t covet it? Yet, as Lauren Chater shows us in her latest historical novel, beauty can be a two-edged sword. In Chater’s capable hands, we see how beauty inspires everyone from a randy king to an aspiring artist and a loyal wife, who makes a Faustian bargain to restore the fortunes of her feckless husband.

The story’s setting in Charles II’s Restoration England is one of several delicious ironies in this captivating story, which employs a dual time-frame narrative to follow the journeys of its three spirited and relatable protagonists: Anne Hyde in the Hague and six years later, in 1865, Emilia Lennox and Henry Geenhill. The engaging supporting cast bring to life the world of snobbish, gossip-ridden courts, competitive art studios and the theatre. Through both narratives strides the enigmatic figure of Charles II, whose quest to regain his late father’s throne and later, lust for the lovely Emilia, triggers the story’s most compelling dilemma.

When Emilia travels to Charles II’s court to beg him to reinstate her estranged husband’s home and status, she inadvertently becomes the object of his affection. Charles II might share the restless sexual appetite of Henry VIII, but he’s a more astute diplomat. Hoping to ensnare Emilia as his mistress, he agrees to her desperate proposal that she first pose for a painting to be included in the Duchess of York’s series of court ‘beauties’. Enter Henry, rising artist, a compassionate mentor to his youthful apprentices, and a hotly contested rivalry with his female colleague, which adds a delightful edge to the narrative.

Should Emilia surrender herself to the king in return for his promised pardon? Would her sacrifice even matter to her husband? Should Henry paint Emilia’s portrait and advance his career, or help her to play for time and hopefully avoid becoming another notch on Charles’ bedpost?

I was intrigued by the author’s decision to use the titular ‘Beauties’ series of paintings to underpin the story. For me, this operates as a classic McGuffin – a pretext for an engrossing exploration of beauty and power. Exploit, or be exploited? Vulnerable to the attentions of more powerful men, Anne and Emilia harness their beauty as a weapon to achieve their respective goals. There’s a clear feminist aspect to both stories which gives the novel its contemporary relevance.

I particularly enjoyed the novel’s celebration of creativity. With deft, confident brushstrokes, Lauren Chater creates a richly detailed artistic world, bringing a lesser-known aspect of this interesting era to life. And alongside love and loss there is friendship too, respect, and loyalty.

Historical fiction lovers will enjoy the author’s elegant prose and masterful command of her research matter. So much to love in this vividly depicted historical novel, which is highly recommended.

Thanks to Simon & Schuster and NetGalley for a copy of this novel in return for an honest review.

Firstly, thank you to Simon & Schuster Australia for the early readers copy via NetGalley.

I have long been a fan of Lauren Chater's books, but I think this is my favourite by far. Set over 2 time periods, a few years apart in the 1660s, we are introduced to a combination of real and fictional characters that are so cleverly interwoven that you think all the characters were real people. Inspired by the real life Windsor Beauties paintings, Chater questions an age old theme that we are still grappling with today: when beauty is your currency, who pays the price?

A delicious and easy read, Chater takes us to a time where England was reeling from a puritan ruler and a man who is waiting to take his place the throne that cost his father his head. King Charles II is a key player who stands on the sidelines, yet has a part in all of the women lives, both directly and indirectly. I was fasciated by the women run and owned theatre and how these women did the best they could with the gifts given to them. That's all any of us can still do, isn't it?


A fascinating and enjoyable read on time period that really should be more popular in fiction - so much as going on! 5 stars, highly recommend.

This was a fascinating read. The research was meticulous. The perfect novel for art lovers and connoisseurs. I enjoyed Lauren Chater's talk at the Sutherland library prior to reading the book and that informed me of the research conducted on the Tudor period and the history behind the series of paintings titled The Beauties.

When Emilia Lennox loses everything after her husband’s lands and title are confiscated, her beauty is her best bargaining chip with the only man who can restore their fortunes: King Charles II himself.
But the king’s favour comes at a price. He will pardon Emilia’s husband only if she agrees to be his mistress. Torn, Emilia comes up with a condition of her own: she will consent, but not until her portrait hangs among the famed Windsor Beauties, a series commissioned by the Duchess of York to showcase the fairest women in the royal retinue.
For Henry Greenhill, ambitious assistant to the court painter, the opportunity to paint Emilia’s portrait is a chance to step out of his master’s shadow. But his sitter proves as evasive as she is beautiful, and with barely a sketch to show for his efforts, Henry’s career is on the line.
As the king’s patience wears thin, it’s clear that more than creative talent will be needed to capture this incomparable beauty on canvas ...