““As Lucy Hughes-Hallett (1990: 253) puts it, her reputation for beauty, though unsupported by any historical evidence, was unassailable, but it was not consonant with the possibility of her being any other than a light-skinned European lady, for in fiction beauty (as distinct from sexual magnetism) has traditionally been the prerogative of social and ethnic élites … the vast majority of pre-nineteenth-century writers and artists simply circumvented [this problem] by abolishing Cleopatra's foreignness and changing her appearance to suit their own ideals.””