[Next Project] The Adventures of Roderick Random by Tobias Smollett

[bak]

I really enjoyed the sebooks production of Gil Blas last year and so I figured I'd look at the picaresque novel written by that novel's English translator, Tobias Smollett. I think it's fairly well-known; he also later wrote a few more alliteratively titled picaresques in with the translations and nonfiction work.

Searching the group, I haven't seen any discussions of this one, and I suppose it makes sense as it's not currently in the Wanted List.

Here's the PG production: https://www.gutenberg.org/ebooks/4085 

I don't think it's a PGDP production, based on reviewing their Gold List: https://www.pgdp.net/c/list_etexts.php?x=g&per_page=50&offset=49750

This novel has a ton of transcripts on hathitrust and archive.org. I have found first/second/third/fourth edition scans that look to be from around its initial publication in 1748-1750, and scans from editions printed as late as 1920. After looking at The Mummy! as a production last year and noting quite a few changes between the first and second editions in that novel, I figured it might be wise to nail down a definitive version to work on.

According to a review in MUSE, the 4th edition of 1755 is the last one Smollett had a hand in revising: https://muse.jhu.edu/pub/427/article/822526/pdf

Is there somewhere worthwhile to see if I could get a more definitive answer on "Where was this produced from?" Or is the next step just to compare PG production and a 4th edition scan and see if I can make it out?

Appreciate any help/advice/thoughts. Thanks!

[Vince]

The “Credits” line in the About this eBook on the PG page shows who transcribed that particular book; in this case it was Tapio Riikonen and David Widger, so no, PGDP was not involved.

PG famously does not indicate what edition their works are from, and sometimes it’s more than one edition, or the transcribers made edits as they transcribed, so sometimes there isn’t a single edition, and other times it can be hard to tell. (And sometimes what they present visually is misleading; The Count of Monte Cristo e.g. looks like it’s from the illustrated edition, but it’s not. The pictures are, but the text isn’t.)

We usually want scans of the latest edition of a work, as it is likely to have had more errors corrected, etc. For older works, newer editions also often have more modern punctuation practices (my working theory from producing a few is that authors in the 18th century were paid by the comma). So, the last edition an author worked on is generally not of importance to us; we want the latest edition, period.

From one of the most recent of Alex’s many comments on the list on the subject:

In general, don't get too hung up on “authorial intent". As I've said often on this list, that's largely a concept developed in 20th century academia that, with a few exceptions, mostly wasn't a huge concern for authors before then. It was extremely common for editors, publishers, and printers to rearrange and edit things as they saw fit, and looking back in history it's often impossible to say what the author wanted—if they even cared that much—vs what the publisher ended up doing. 

[Alex Cabal]

Sure, you can work on that. Vince has given you guidance on the edition
question. As he noted typically we prefer the latest possible edition,
however if there's research to suggest a different edition is better,
then we can go that route too. It just depends. For a book like this
which is the pulp of its era, latest edition probably works fine.

In Gil Blas we modernized the dialog so that there is one speaker per
paragraph, instead of vast paragraphs where multiple people speak. If
this book is like that, we should do the same thing. It's quite a bit of
work.

If you want to take it on, please send a link to your repo once you start.

On 11/10/25 3:16 PM, 'bak' via Standard Ebooks wrote:
> I really enjoyed the sebooks production of Gil Blas last year and so I
> figured I'd look at the picaresque novel written by that novel's English
> translator, Tobias Smollett. I think it's fairly well-known; he also
> later wrote a few more alliteratively titled picaresques in with the
> translations and nonfiction work.
>
> Searching the group, I haven't seen any discussions of this one, and I
> suppose it makes sense as it's not currently in the Wanted List.
>
> Here's the PG production: https://www.gutenberg.org/ebooks/4085
> <https://www.gutenberg.org/ebooks/4085>
>
> I don't think it's a PGDP production, based on reviewing their Gold
> List: https://www.pgdp.net/c/list_etexts.php?

> x=g&per_page=50&offset=49750 <https://www.pgdp.net/c/list_etexts.php?
> x=g&per_page=50&offset=49750>

>
> This novel has a ton of transcripts on hathitrust and archive.org

> <http://archive.org>. I have found first/second/third/fourth edition

> scans that look to be from around its initial publication in 1748-1750,
> and scans from editions printed as late as 1920. After looking at The
> Mummy! as a production last year and noting quite a few changes between
> the first and second editions in that novel, I figured it might be wise
> to nail down a definitive version to work on.
>
> According to a review in MUSE, the 4th edition of 1755 is the last one
> Smollett had a hand in revising: https://muse.jhu.edu/pub/427/

> article/822526/pdf <https://muse.jhu.edu/pub/427/article/822526/pdf>

>
> Is there somewhere worthwhile to see if I could get a more definitive
> answer on "Where was this produced from?" Or is the next step just to
> compare PG production and a 4th edition scan and see if I can make it out?
>
> Appreciate any help/advice/thoughts. Thanks!
>
>

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[bak]

Vince wrote:

We usually want scans of the latest edition of a work, as it is likely to have had more errors corrected, etc. For older works, newer editions also often have more modern punctuation practices (my working theory from producing a few is that authors in the 18th century were paid by the comma). So, the last edition an author worked on is generally not of importance to us; we want the latest edition, period.

Got it. It's more just that I was looking for a reasonable cutoff point, and the opinion of whichever scholars have been interested was enough for me to think "not a bad starting point for what the author produced." But I can definitely see the argument for going right to the other side of the timeline too.

In Gil Blas we modernized the dialog so that there is one speaker per paragraph, instead of vast paragraphs where multiple people speak. If this book is like that, we should do the same thing. It's quite a bit of work.

I undertook this already with The Indiscreet Jewels, it was indeed a bit of work, but on the other hand it was such a pleasure to read with un-bunched typography (and the same with Gil Blas) that I feel like it was totally worth it.

Looking at a scan from a 1911 edition, the typography changes do not extend to modernizing the dialogue paragraph style. ( https://archive.org/details/adventuresofrode0003smol ) so I think I will proceed with that one (or if I can find a later public domain one that looks acceptable on HathiTrust), and first take a bit of a closer look to make sure it's a goodish match to the PG production. 

Will respond with a repository link and the Most Appropriate Scans once I actually get underway.

Thanks

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[bak]

I had a look around HathiTrust and archive.org and found an omnibus Smollett from 1929 that opens with Roderick Random:

https://archive.org/details/worksoftobiassmo0001smol/

It's a really nice scan, it seems to match well with both Gutenberg and the 18th century scans in terms of having the same words in the same order, while omitting all the usual annoying ligatures, ſs, and modernizing a lot of the same words we would (to morrow -> tomorrow, etc).

Interestingly, it says:

The principles of editing adopted in this issue of Smollett are the same as those which the editor applied in his presentations of Fielding and Sterne, edited for Messrs. Dent. No annotation is attempted, and the text is reprinted from the standard version. Smollett was much more of a professional man of letters than either of his contemporaries, and after he had, as in the case of Peregrine Pickle, once settled on the form in which his work should be presented, there is not usually much need for conjectural emendation. The text has, however, been carefully read throughout to guard againt those slips which sometimes hold their ground in, and occasionally steal into, frequently reprinted matter.

I did a readthrough of the first eight chapters side-by-side with the Gutenberg and the changes I saw were all punctuation changes such as using semicolons instead of colons sometimes. One other early-20th c. edition I saw put a comma before every em dash.

From everything I've seen on this list, such differences that don't impact the meaning of a sentence are seen as inevitable / not worth nitpicking over. So I am going to run with this one unless I bump into a reason I should do otherwise.

Vince wrote:

(my working theory from producing a few is that authors in the 18th century were paid by the comma)

It's true and you should say it. What a profusion of 'em!

Github repo: https://github.com/picklefactory/tobias-smollett_the-adventures-of-roderick-random

Just to be complete:

Wiki: https://en.wikipedia.org/wiki/The_adventures_of_roderick_random

Project Gutenberg production: https://www.gutenberg.org/ebooks/4085

Thanks

To view this discussion visit https://groups.google.com/d/msgid/standardebooks/8F4704C2-AB2C-424B-9B2B-FC2CC1728F04%40picklefactory.org.

[Alex Cabal]

OK, great research!

Robin will manage this with Vince reviewing.

On 11/11/25 2:13 PM, 'bak' via Standard Ebooks wrote:
> I had a look around HathiTrust and archive.org and found an omnibus
> Smollett from 1929 that opens with Roderick Random:
>

> https://archive.org/details/worksoftobiassmo0001smol/ <https://
> archive.org/details/worksoftobiassmo0001smol/>

>
> It's a really nice scan, it seems to match well with both Gutenberg and
> the 18th century scans in terms of having the same words in the same
> order, while omitting all the usual annoying ligatures, ſs, and
> modernizing a lot of the same words we would (to morrow -> tomorrow, etc).
>
> Interestingly, it says:
>> The principles of editing adopted in this issue of Smollett are the
>> same as those which the editor applied in his presentations of
>> Fielding and Sterne, edited for Messrs. Dent. No annotation is
>> attempted, and the text is reprinted from the standard version.
>> Smollett was much more of a professional man of letters than either of

>> his contemporaries, and after he had, as in the case of /Peregrine
>> Pickle/, once settled on the form in which his work should be

>> presented, there is not usually much need for conjectural emendation.
>> The text has, however, been carefully read throughout to guard againt
>> those slips which sometimes hold their ground in, and occasionally
>> steal into, frequently reprinted matter.
>
> I did a readthrough of the first eight chapters side-by-side with the
> Gutenberg and the changes I saw were all punctuation changes such as
> using semicolons instead of colons sometimes. One other early-20th c.
> edition I saw put a comma before every em dash.
>
> From everything I've seen on this list, such differences that don't
> impact the meaning of a sentence are seen as inevitable / not worth
> nitpicking over. So I am going to run with this one unless I bump into a
> reason I should do otherwise.
>
> Vince wrote:
>> (my working theory from producing a few is that authors in the 18th
>> century were paid by the comma)
>
> It's true and you should say it. What a profusion of 'em!
>
> Github repo: https://github.com/picklefactory/tobias-smollett_the-

> adventures-of-roderick-random <https://github.com/picklefactory/tobias-
> smollett_the-adventures-of-roderick-random>

>> archive.org/details/adventuresofrode0003smol <https://archive.org/
>> details/adventuresofrode0003smol> ) so I think I will proceed with

>> standardebooks/8F4704C2-AB2C-424B-9B2B-
>> FC2CC1728F04%40picklefactory.org <https://groups.google.com/d/msgid/
>> standardebooks/8F4704C2-AB2C-424B-9B2B-
>> FC2CC1728F04%40picklefactory.org?utm_medium=email&utm_source=footer>.

>
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> BCBF-18C635EB1B1E%40picklefactory.org?utm_medium=email&utm_source=footer>.

[Robin Whittleton]

I’ve had this on my list for a while, happy to manage it!

-Robin

> To view this discussion visit https://groups.google.com/d/msgid/standardebooks/42a6926f-a1a8-4179-bea7-a6fb7b46b9f2%40standardebooks.org.

[bak]

It's coming along, I decided to do some light proofreading as part of fixing up the dialogue typography, and of course there's lots of French and Latin phrases that were not italicized or otherwise indicated.

In ch. 18 I noticed that a couple sentences were missing from dialogue; in ch. 20 I discovered that several pages had been omitted from the transcription at the end of the chapter. Since this passage involves adultery I suspect that Gutenberg used an earlier or expurgated version. I have restored the missing text according to the scan and intend to take a closer look for any other such occurrences.

> To view this discussion visit https://groups.google.com/d/msgid/standardebooks/DBD1899C-A16E-4E72-BEF4-058E4E9B1771%40reala.net.

[Robin Whittleton]

Sounds good. In such cases I’ve sometimes done a proofread with the PDF and the epub tiled on screen next to each other to make sure I’m not missing anything, but everyone finds their own best setup.

-Robin

> To view this discussion visit https://groups.google.com/d/msgid/standardebooks/F1B214B5-B429-4537-A45B-484C350B01E0%40picklefactory.org.

[bak]

It's helping to do this, though I think I may end up with a vertically oriented monitor. This scan is truly a pleasure to look at after The Indiscreet Jewels.

I have come across a few non-dialogue passage where the scan I am using contains paragraph breaks and the transcription does not. My aesthetic judgement is that they improve the flow of the text and I have no problem adding them to match the scan, but in contrast to the dialogue typography changes, I am not sure whether this is an Editorial commit or not, since I am simply matching the scan in the same way I have been correcting the various typos. What do you think?

Thanks

> To view this discussion visit https://groups.google.com/d/msgid/standardebooks/A187C87B-3864-4851-9A44-FFA60BA74B11%40reala.net.

[Robin Whittleton]

If you’re fixing the transcription to match the scans it’s not an editorial commit, no.

-Robin

> On 15 Dec 2025, at 21:51, 'bak' via Standard Ebooks <standar...@googlegroups.com> wrote:
>
> It's helping to do this, though I think I may end up with a vertically oriented monitor. This scan is truly a pleasure to look at after The Indiscreet Jewels.

> To view this discussion visit https://groups.google.com/d/msgid/standardebooks/BBBB72BB-171B-47A3-9CF5-013BE19DF18B%40picklefactory.org.

[bak]

That was my thinking but I am glad to have it confirmed. Thank you and Onwards :)

> To view this discussion visit https://groups.google.com/d/msgid/standardebooks/A5C38F48-ACB1-4A1D-B591-897BE9EF44F4%40reala.net.

[bak]

I haven't bumped into this in a production yet, so I wanted to ask and make sure:

Are G and C here a case of semanticating graphemes, as in SeMOS 8.2.8.2?

Thanks as always

[Robin Whittleton]

Yes, exactly.

-Robin

On 21 Feb 2026, at 00:51, 'bak' via Standard Ebooks <standar...@googlegroups.com> wrote:



I haven't bumped into this in a production yet, so I wanted to ask and make sure:

To view this discussion visit https://groups.google.com/d/msgid/standardebooks/9535BE76-7091-46BC-BB20-9022D91346D4%40picklefactory.org.

[bak]

I have finished my first runthrough of the actual text to correct dialogue typography, semanticate things, and make corrections to match the scan. Now for a full proofread while I cast about for cover art, and I will also have to smarten up the CSS to make sure it looks correct.

Two concerns in the meantime.

1. There is a section titled "Author's Preface" which I have put in the actual preface.xhtml. It also has a section titled "Apologue" appended to it before Chapter 1; this is the case in all the scans I've looked at. Should this Apologue be a separate file, (preface-2.xhtml I'm guessing)? Or is a break within the Author's Preface more appropriate?

2. There's a section in Ch. 10 where a bar tab is rendered:

I used a table for this (Gutenberg's did too), but I don't think the ellipses are quite right here. (They also cause se lint to throw errors). Also the left-justification of numbers doesn't seem right. Any guidelines or examples on how to render this would be much appreciated.

Hmm. Looking at it again, Gutenberg also put an extra "of" after the "four bottles".

Thanks as always!

To view this discussion visit https://groups.google.com/d/msgid/standardebooks/53F3F750-19B2-4230-925B-D810F8DB08DF%40reala.net.

[Robin Whittleton]

1. Yes, another preface file. I’d name the files preface-1 and preface-2.

2. Ignore the dot leaders. They’re not realistically achievable with current eReader CSS, and we don’t include them.

-Robni

On 28 Feb 2026, at 19:32, 'bak' via Standard Ebooks <standar...@googlegroups.com> wrote:

I have finished my first runthrough of the actual text to correct dialogue typography, semanticate things, and make corrections to match the scan. Now for a full proofread while I cast about for cover art, and I will also have to smarten up the CSS to make sure it looks correct.

Two concerns in the meantime.

1. There is a section titled "Author's Preface" which I have put in the actual preface.xhtml. It also has a section titled "Apologue" appended to it before Chapter 1; this is the case in all the scans I've looked at. Should this Apologue be a separate file, (preface-2.xhtml I'm guessing)? Or is a break within the Author's Preface more appropriate?

2. There's a section in Ch. 10 where a bar tab is rendered:

<Screenshot 2026-02-28 at 11.19.06.png>

I used a table for this (Gutenberg's did too), but I don't think the ellipses are quite right here. (They also cause se lint to throw errors). Also the left-justification of numbers doesn't seem right. Any guidelines or examples on how to render this would be much appreciated.

To view this discussion visit https://groups.google.com/d/msgid/standardebooks/D7784881-1ECC-46A0-B794-1A0D2C3AB328%40picklefactory.org.

[bak]

I have catalogued all of the letters and poetry in this text and have learned enough about CSS to make an attempt. No doubt I will have some questions or need some correction in a day or two.

In the meantime I have been looking for an appropriate cover. This novel contains a fairly large amount of naval stuff, and I thought The Transport "La Correze" might work: https://standardebooks.org/artworks/frederic-montenard/the-transport-la-correze

A mock-up:

Finally, while I'm looking at the table I mentioned in Ch 10 with the dot leaders–what's a better way to do this? An empty column padded to a certain width? I have looked at other tables in the SE books corpus and haven't come across anything comparable by example so far.

Thanks--

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[Robin Whittleton]

I’m no expert, but the book is set in the 1730s, and that ship to me looks like a clipper which only came in a hundred years later. I’m super happy to be corrected on this of course, but I’d say that it’s not the right choice as it stands.

With the dot leaders table, just have three columns, and right align the last two. If you really feel it needs a little extra space, you could add some right padding to the first column’s cells.

-Robin

On 19 Mar 2026, at 23:52, 'bak' via Standard Ebooks <standar...@googlegroups.com> wrote:

I have catalogued all of the letters and poetry in this text and have learned enough about CSS to make an attempt. No doubt I will have some questions or need some correction in a day or two.

In the meantime I have been looking for an appropriate cover. This novel contains a fairly large amount of naval stuff, and I thought The Transport "La Correze" might work: https://standardebooks.org/artworks/frederic-montenard/the-transport-la-correze

A mock-up:

To view this discussion visit https://groups.google.com/d/msgid/standardebooks/0488C718-E5E1-4EA4-8AC9-7B697AA323F4%40picklefactory.org.

[bak]

I totally see your point. I just saw "square-rigged ship, three masts, gun ports" and went on that basis. 

The two named vessels in the novel are HMS Lizard and HMS Thunder, described as a sloop-of-war and a man-of-war respectively. As far as I can tell these do not seem to be analogues of historical ships; sloop-of-war would indicate a two-masted vessel of under 20 guns, man-of-war would mean a three-masted vessel of anything from 20 to 100 guns. 

There's also the unnamed sloop that Random has a temporary appointment to in ch. 61, and Bowling's unnamed merchantman for the Guinea-to-Buenos Aires trading run in the last couple of chapters. None of these ships actually get much description, unfortunately.

What I'm seeing in general though, looking at other 18th century naval paintings, is that painters are more interested in representing the ship's profile and rigging accurately than in any kind of generic visual interest.

Other subject matter that might work:

- Highwaymen robbing coaches

- Apothecary / pharmacy / surgeon stuff

- Duels with sword or pistol

- French infantry

I will see what else I can turn up, and I am very open to suggestions in general!

Thanks as always

To view this discussion visit https://groups.google.com/d/msgid/standardebooks/1DBB3485-EC16-42AD-B2A9-18AAA0715601%40reala.net.

[bak]

I have finally learned enough CSS to be dangerous and had a pass at fixing up the poetry.

Now I come to letters, and although I did some basic work on the first proofread to semanticate everything into blockquotes, there are some inconsistencies–I think some of these were probably introduced by the PG production–and I feel like it would make sense to be as consistent as the text permits and CSS will allow. But I thought to bring it up first on the list so that I don't do anything too weird.

Here's the first letter of ch. 57 as example, in the scan: 

Here's an 18th century scan:

In most cases the scan follows a convention of (a) putting the salutation as small caps inline with the letter body with comma and dash, and (b) putting the valediction inline with the letter body, with the signature right-justified on the same line – but perhaps only when the line still has room for the signature? Example:

But in some cases the valediction gets broken out, or the salutation small caps are omitted as in chapter 49:

In one case the valediction is broken out and there's actual header material (standard css looks like it will right-justify the addressee header instead of centering it):

 

So I guess my question is, would it make sense to do an editorial commit (or maybe one per letter) to address this stuff? If left to myself I would make the following changes:

- Separate <header> element for the salutation instead of inline, just a comma and no dash

- <b> tag and small caps for every salutation

- Move valediction to its own line instead of inline with signature for any longer than "Your X" or "Your own X" or "Your enraptured X"

The other matter of style I wanted to bring up was quotation marks.

- Every letter is presented as dialogue in terms of quotation marks (opening quotes for every new line, closing quotes only after signature). I am thinking just to leave those as is.

- One poem out of eight is presented within quotation marks, this one in chapter 51:

This is actual dialogue, so it makes sense, but there's other poetry that's explicitly spoken aloud, like this in ch 40:

Leave it alone? Editorial commit to remove the quotes in 51? Editorial commit to add them to others when appropriate?

Thanks as always.

To view this discussion visit https://groups.google.com/d/msgid/standardebooks/F8DAC59D-B5F3-480F-BD5C-78EDCE81DE7F%40picklefactory.org.

[Robin Whittleton]

Given that you’ve found an earlier scan with a split salutation, you could do that. I’m not sure I’d bother?

Definitely do small caps for salutations. If you’re splitting them out into their own elements then you can move the epub:type to the paragraph and style that (see sample in https://standardebooks.org/manual/1.8.7/single-page#7.7.4.6.1).

Valedictions can appear above signatures, and can be right-aligned.

I’d probably add quotes to the poems if they’re spoken to normalise the approach, in an Editorial commit.

-Robin

On 13 Apr 2026, at 20:31, 'bak' via Standard Ebooks <standar...@googlegroups.com> wrote:

I have finally learned enough CSS to be dangerous and had a pass at fixing up the poetry.

Now I come to letters, and although I did some basic work on the first proofread to semanticate everything into blockquotes, there are some inconsistencies–I think some of these were probably introduced by the PG production–and I feel like it would make sense to be as consistent as the text permits and CSS will allow. But I thought to bring it up first on the list so that I don't do anything too weird.

Here's the first letter of ch. 57 as example, in the scan: 

<letter-ch-57.1.png>

Here's an 18th century scan:

<Screenshot 2026-04-12 at 13.12.40.png>

<Screenshot 2026-04-12 at 13.12.53.png>

In most cases the scan follows a convention of (a) putting the salutation as small caps inline with the letter body with comma and dash, and (b) putting the valediction inline with the letter body, with the signature right-justified on the same line – but perhaps only when the line still has room for the signature? Example:

<letter-ch-16.png>

But in some cases the valediction gets broken out, or the salutation small caps are omitted as in chapter 49:

<letter-ch-49.png>

In one case the valediction is broken out and there's actual header material (standard css looks like it will right-justify the addressee header instead of centering it):

 <letter-ch-6.png>

So I guess my question is, would it make sense to do an editorial commit (or maybe one per letter) to address this stuff? If left to myself I would make the following changes:

- Separate <header> element for the salutation instead of inline, just a comma and no dash

- <b> tag and small caps for every salutation

- Move valediction to its own line instead of inline with signature for any longer than "Your X" or "Your own X" or "Your enraptured X"

The other matter of style I wanted to bring up was quotation marks.

- Every letter is presented as dialogue in terms of quotation marks (opening quotes for every new line, closing quotes only after signature). I am thinking just to leave those as is.

- One poem out of eight is presented within quotation marks, this one in chapter 51:

<verse-ch-51.png>

This is actual dialogue, so it makes sense, but there's other poetry that's explicitly spoken aloud, like this in ch 40:

To view this discussion visit https://groups.google.com/d/msgid/standardebooks/059BE7F4-8B39-419E-917C-D41567FD4DC1%40picklefactory.org.

[bak]

Given that you’ve found an earlier scan with a split salutation, you could do that. I’m not sure I’d bother?

I see what you mean–I will look at all of the letters side-by-side. I think what I may just need is only to fix the recipient lines above salutations in ch. 6, that one non-caps salutation in ch. 49, and leave all the rest alone.

Everything else tracks.

Thanks again!

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[bak]

I had another look through the PD images, and came across a couple that I liked:

The Secret Meeting, https://standardebooks.org/artworks/jean-honore-fragonard/the-secret-meeting . The setting is a little extravagant for a novel mostly taking place in England for the romance, but it is one with quite a few Secret Meetings, and Rory is as much of a dandy as circumstances permit.

Ship in a Storm, https://standardebooks.org/artworks/henry-ossawa-tanner/ship-in-a-storm

This is 18th century, but the ship in question I think would serve, being indistinct in a storm, and it sure looks like some of the events of ch. 28. Since it's well-known for being a novel to do with adventures at sea, thought I'd have another shot.

This is how I've rendered the bill presented in ch. 10 as a table, compared to scan. I suppose I could add a border-bottom style for tfoot and find a way to remove the border from the left column? I'm not sure if I should bother, though.

Anyway, with this taken care of, it's now just the cover and metadata to do.

Thanks as always

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[Robin Whittleton]

I think that either works? I’ve not read it, but the dandy is period appropriate, and the boat though painted later could easily be mistaken for a British frigate of the time. I’ll leave the final decision up to you.

On the subject of the table, instead of:

tfoot{

border-top: solid;

}

replace it with:

tbody > tr:last-child > td + td{

border-bottom: 1px solid;

}

tfoot td + td{

border-bottom: 3px double;

}

-Robin

On 21 Apr 2026, at 16:57, 'bak' via Standard Ebooks <standar...@googlegroups.com> wrote:

I had another look through the PD images, and came across a couple that I liked:

The Secret Meeting, https://standardebooks.org/artworks/jean-honore-fragonard/the-secret-meeting . The setting is a little extravagant for a novel mostly taking place in England for the romance, but it is one with quite a few Secret Meetings, and Rory is as much of a dandy as circumstances permit.

<secretmeeting1.png>

Ship in a Storm, https://standardebooks.org/artworks/henry-ossawa-tanner/ship-in-a-storm

This is 18th century, but the ship in question I think would serve, being indistinct in a storm, and it sure looks like some of the events of ch. 28. Since it's well-known for being a novel to do with adventures at sea, thought I'd have another shot.

<storm1.png>

This is how I've rendered the bill presented in ch. 10 as a table, compared to scan. I suppose I could add a border-bottom style for tfoot and find a way to remove the border from the left column? I'm not sure if I should bother, though.

<Screenshot 2026-04-21 at 08.48.37.png>

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[bak]

Considering them, I think my preference is for The Secret Meeting; to me it feels right for a picaresque in the style of Gil Blas.

Thank you for the excellent CSS replacement.

Back when I have finished a try at the metadata and descriptions.

Thanks again

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