Banneker frowned. “And not a pretty one.”
“Effective, though. I bagged it from the Police Gazette. Have you ever had occasion to note the almost unvarying cover appeal of that justly popular weekly?”
“Half-dressed women,” said Banneker, whose early researches had extended even to those levels.
“Exactly. With all they connote. Thereby attracting the crude and roving male eye. Of course, we must do the trick more artistically and less obviously. But the pictured effect is the thing. I’m satisfied of that. By the way, I am having a little difficulty with your art department. Your man doesn’t adapt himself to new ideas.”
“I’ve thought him rather old-fashioned. What do you want to do?”
“Bring in a young chap named Capron whom I’ve run upon. He used to be an itinerant photographer, and afterward had a try at the movies, but he’s essentially a news man. Let him read the papers for pictures.”
Capron came on the staff as an insignificant member with an insignificant salary. Personally a man of blameless domesticity, he was intellectually and professionally a sex-monger. He conceived the business of a news art department to be to furnish pictured Susannahs for the delectation of the elders of the reading public. His flair for femininity he transferred to The Patriot’s pages, according to a simple and direct formula; the greater the display of woman, the surer the appeal and therefore the sale. Legs and bosoms he specialized for in illustrations. Bathing-suits and boudoir scenes were his particular aim, although any picture with a scandal attachment in the accompanying news would serve, the latter, however, to be handled in such manner as invariably to point a moral. Herein his team work with Severance was applied in high perfection.
“Should Our Girls Become Artists’ Models” was one of their early and inspired collaborations, a series begun with a line of “beauty pictures” and spun out by interviews with well or less known painters and illustrators, giving rich opportunity for displays of nudity, the moral being pointed by equally lavish interviews with sociologists and prominent Mothers in Israel. Although at least ninety-nine per cent of all professional posing is such as would not be out of place at a church sociable, the casual reader of the Capron-Severance presentation would have supposed that a lace veil was the extent of the protection allowed to a female model between sheer nakedness and the outer artistic world. Following this came a department devoted (ostensibly) to physical culture for women. It was conducted by the proprietress of a fashionable reducing gymnasium, who was allowed, as this was a comparatively unimportant feature, to supply the text subject to Severance’s touching-up ingenuity; but the models were devised and posed by Capron. They were extremely shapely and increasingly expressive in posture and arrangement until they attained a point where the post-office authorities evinced symptoms of rising excitement—though not the type of excitement at which the Art Expert was aiming—when the series took a turn for the milder, and more purely athletic, and, by the same token, less appetizing; and presently faded away in a burst of semi-editorial self-laudation over The Patriot’s altruistic endeavors to improve the physical status of the “future mothers of the nation.”
Failing any other excuse for their careful lubricities, the team could always conjure up an enticing special feature from an imaginary foreign correspondent, aimed direct at the family circle and warning against the “Moral Pitfalls of Paris,” or the “Vampires of High Life in Vienna.” The invariable rule was that all sex-stuff must have a moral and virtuous slant. Thus was afforded to the appreciative reader a double satisfaction, physical and ethical, pruriency and piety.
It was Capron who devised the simple but effective legend which afterward became, in a thousand variants, a stock part of every news item interesting enough to merit graphic treatment, “The X Marks the Spot Where the Body Was Found.” He, too, adapted, from a design in a drug-store window picturing a sponge fisherman in action, the cross-section illustration for news. Within a few weeks he had displaced the outdated art editor and was in receipt of a larger salary than the city editor, who dealt primarily in news, not sensations, panem not circenses.