The girls were always unmarried, even if some of them were engaged. The engaged girls had their pictures in the magazine as an encouragement to others to make suitable marriages when the time came. None of the fiancés was unsuitable; quite the opposite, in fact. So this meant that unengaged girls should put behind them any temptation to marry unsuitable men - of whom there was always a more than adequate supply - and marry, instead, boys who would in the fullness of time be the fathers of girls who appeared in Rural Living. And if there was a degree of circularity in this, it was entirely intentional.

Of course, Caroline’s parents would never have sought out the placing of their daughter’s photograph in Rural Living. It was well known that anybody who did so would be quietly and tactfully made aware that that was not the way it worked. The best route to inclusion was to come to editorial attention in a social context; another way was to know one of those photographers whose work was regularly published in the magazine. These photographers wielded considerable power - as photographers, and picture editors, often do. They could make or break political careers, for instance, simply by photographing their subject in a particular way. There was many a politician, or politician’s wife, who had been photographed in such a manner as to make him or her an object of derision. A former prime minister, for instance, was regularly portrayed as having extraordinary eyes, rather like the eyes of one possessed, and his wife was portrayed as having a perpetually open mouth, the mouth of one who was rarely silent. Now neither of these portrayals was accurate or fair.