Reception history of Jane Austen Critic" felt that Austen's exclusive dependence on realism was evidence of a deficient imagination. The reviewer for the "Edinburgh Review" disagreed, praising Austen for her "exhaustless invention" and the combination of the familiar and the surprising in her plots. Overall, Austen scholars have pointed out that these early reviewers did not know what to make of her novels—for example, they misunderstood her use of irony. Reviewers reduced "Sense and Sensibility" and "Pride and Prejudice" to didactic tales of virtue prevailing over vice. In the "Quarterly Review" in 1821, the English writer and theologian Richard Whately published the most serious and
Jane Austen Centre for a film company, from eye-witness accounts. As David Baldock said: “We were always asked what Jane Austen looked like and in a way the only reference point we had was Jane Austen’s sister, Cassandra’s, very poor watercolour and we didn’t feel it did her justice.” The portrait was unveiled in December 2002. The process was taken a step further in 2011, when the Jane Austen Centre commissioned a three-dimensional, life-size wax figure. Based upon the 2002 portrait, the wax figure’s creation was undertaken by the portrait sculptor Mark Richards. During the three-year process it took to create the Jane