the early work of aubrey beardsley

7/27/2019 The Early Work of Aubrey Beardsley

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THE EARLY WORK OFAUBREY BEARDSLEY


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LONDON:PRINTED BY THE SWAN ELECTRIC ENGRAVING COMPANY.

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INDEX OF CONTENTS.PORTRAIT OF AUBREY BEARDSLEV. From a study by Mr. F. H. Evans

Plotogravure ........TITLE-PAGE. From an unpublished design by Aubrey BcardslcyPORTRAIT OF AUBREY BEARDSLEY. From a study by Mr. F. H. EvanPhotograi'ure . .EARLY SKETCH OF HOLYWELL STREET. By permission of Mr. C. B. CochranHAIL MARY. Penal Sk.tch. By permission of Mr. F. H. EvansPERSEUS AND THE MONSTRE. Pctin/. By permission of Messrs. Casscll & Co., LdFIGURE OF A CHILD. Pencil and Ink. By permission of Mr. F. H. EvansPERSEUS. Design for a Panel. Ink TWO FIGURES FROM BACK OF ' PERSEUS.' Penci/TWO FIGURES IN AN ATTIC. Ink and Wash SketchTHE PROCESSION OF JEANNE D'ARC. Pencil, reproduced in Collotype. By per

mission of Mr. F. H. Evans ......SANDRO BOTTICELLL Pencil. By permission of Messrs. Cassell & Co., Ld.AN ANGEL WITH AN ORGAN. PencilVIGNETTE OF A SHIP. Ink' OF A NEOPHYTE, AND HOW THE BL.ACK "ART WAS REVEALED TO

HIM.' By permission of the Proprietor of the Pall Mall Magazine .'THE KISS OF JUDAS' VIRGILIUS THE SORCERER. By permission of Mr. David Nutt .FRONTISPIECE TO ' PASTOR SANG.' By permission of Messrs. Longmans, Green& Co., and Mr. Elidn Mathews......COVER DESIGN FOR THE STUDIO.SIEGFRIED. From the Sti/dioTHE BIRTHDAY OF MADAME CIGALE.REVENANTS DE MUSIQUE.SALOME WITH THE HEAD OF JOHN THE BAPTIST

By permission of Mrs. Ernest Levcrson .ISOLDE. Reproduced in colour. From ihe Stitdio. By permission of Mr. Charles HolmeDESIGN FOR FRONT CO\'ER OF ' SALOIWE.' In possession of John LaneTITLE-PAGE FOR 'SALOME'CONTENTS BORDER FOR 'SALOME'THE WOMAN IN THE MOON. 'SalomeTHE PEACOCK SKIRTTHE BLACK CAPEA PL.ATONIC LAMENTENTER HERODIASTHE EYES OF HERODTHE STOMACH DANCETHE TOILETTE

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From the Studio.

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INDEX OF CONTENTS.THE DANCER'S REWARD. 'Salome.' In possession of John LaneTHE CLIMAX.THE TOILETTE. Unpublished Drawing for ' Salome'JOHN AND SALOME. Unpublished DrawingTAILPIECE FOR 'SALOME'SKETCH FOR COVER OF 'SALOME'PORTRAIT OF THE ARTISTPORTRAIT OF MR. HARLANDDESIGN FOR PROSPECTUS OF THE YELLOW BOOKCOVER DESIGN FOR YELLOW BOOK. Vol. LDESIGN FOR REVERSE COVER OF YELLOW BOOKTITLE-PAGE ORNAMENT FOR YELLOW BOOK. Vol. I.L'EDUCATION SENTIMENTALE. From Yellozv Book, Vol. LNIGHT PIECEPORTRAIT OF MRS. PATRICK CAMPBELLBOOKPLATE FOR JOHN LUMSDEN PROPERT, Esq. By permissionCOVER DESIGN FOR YELLOW BOOK. Vol. H. In possession of John LaneTITLE-PAGE ORNAMENT FOR ., ,, ...THE COMEDY BALLET OF MARIONETTES. I. rom Yellow Book,Yo\. \\.THE COMEDY BALLET OF MARIONETTES. II.THE COMEDY BALLET OF MARIONETTES.IILGAR9ONS DE CAFETHE SLIPPERS OF CINDERELLAPORTRAIT OF MADAME REJANE. Out/hicCOVER DESIGN FOR YELLOW BOOK. Vol. III. In possession of John LaneTITLE-PAGE ORNAMENT FOR MANTEGNA (published in the name of Philip Broughton). From the Yellow Book,Vo\. IllPORTRAIT OF THE ARTIST. Fancy portrait in bed ,LADY GOLD'S ESCORTTHE WAGNERITESLA DAME AUX CAMfiLIASPASTEL STUDY (published in the name of Albert Foschter) .COVER DESIGN FOR THE YELLOW BOOK. Vol. IV. In possession of Miss

Chamberlayne .......TITLE-PAGE ORNAMENT FOR THE YELLOW BOOK. Vol. IVTHE MYSTERIOUS ROSE GARDEN. From the Yellow Book, Vol. IV.THE REPENTANCE OF MRS.PORTRAIT OF MISS WINIFRED EMERY. Outline FRONTISPIECE FOR JUVENAL. From the Yellozv Book,Vo\.lV. In possession

of Miss Chamberlayne .......POSTER DESIGN FOR THE YELLOW BOOK. In possession of John LaneANOTHER POSTER. Unpublished...COVER DESIGN FOR THE YELLOW BOOK. Unpublished DESIGN FOR A BOOK COVER. Unpublished

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INDEX OF CONTENTS.No.

TITLE-PAGE ORNAMENT. Unpublished...... 78MESSALINA. Unpublished ........ 79MAITRESSE D'ORCHESTRE. Unpublished. In possession of John Lane . . 80TITLE-PAGE ORNAMENT. Unpublished . . . . .81FRONTISPIECE FOR 'AN EVIL MOTHERHOOD.' By permission of Mr.Elkin Matthews......... 82' BLACK COFFEE.' Unpublished . . . . . . -83PORTRAIT OF MISS LETTY LIND. Out/h: Unpublished ... 8+ATALANTA. Unpublished. In possession of John Lane .... 85COVER DESIGN FOR 'THE CAMBRIDGE A.B.C By permission of Mr.

Austen Leigh ......... 86FRONTISPIECE FOR 'EARL LAVENDER.' By permission of Messrs. Ward &

Downey. In possession of John Lane ...... 87FRONTISPIECE TO ' PLAYS.' By John Davidson. In possession ofJohn Lane . 88TITLE-PAGE ORNAMENT FOR 'PLAYS.' By John Davidson. In possession ofJohn Lane ......... 89CHILD AT ITS MOTHER'S BED. From the Sketch. By permission of Mr. Max

Beerbohm. ......... 90AUTUMN. By permission of Mr. Wm. Heinemann ..... 91FRONTISPIECE AND TITLE-PAGE FOR ' VENUS AND TANNH.\USER'

Unpublished ......... 92DESIGN FOR TITLE-PAGE (VENUS) ...... 93HEADPIECE FROM ST. PAUL'S. By permission of Mr. Henry Reichardt

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. 94.HEADPIECE FROM ST. PJUL'S . . 95HEADPIECE FROM ST. PJUVS ,, . . 96COVER DESIGN FOR 'KEYNOTES.' In possession of John Lane . 97 'THE DANCING FAUN' . 98 'POOR FOLK' . 99 'A CHILD OF THE AGE' . 100 'THE GREAT GOD PAN' . 101 'DISCORDS' . 102 'PRINCE ZALESKI' . 103 'THE WOMAN WHO DID' . 10+ 'WOMEN'S TRAGEDIES' . 105 'GREY ROSES' . 106,. 'AT THE FIRST CORNER' . 107 ' MONOCHROMES' . 108 'AT THE RELTON ARMS' .109 'THE GIRL FROM THE FARM' .no 'THE MIRROR OF MUSIC .111 'YELLOW AND WHITE' .112 'THE MOUNTAIN LOVERS' >'3,. 'THE WOMAN WHO DIDN'T' "4 'THE THREE IMPOSTORS' 115


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INDEX OF CONTENTS.COVER DESIGN FOR 'NOBODY'S FAULT.' In possession of John Lrhc'THE BRITISH BARBARIANS.'

'THE BARBAROUS BRITISHERS''PLATONIC AFFECTION''YOUNG OFEG'S DITTIES''PAGAN PAPERS'

UNFINISHED SKETCH FOR COVER OF 'THE GREAT GOD PANEIGHT INITIAL KEYS FOR 'KEYNOTES' SERIES .SEVEN INITIAL KEYS . . .INITIAL KEY FOR CUTTING IN GOLD ....COVER DESIGN FOR 'KEYNOTES' CIRCULARDESIGN FOR AN INVITATION CARD.....DESIGN FOR MENU OF THE PLAYGOERS' CLUB. By permission of Mr.

Carl Hentschel .......DESIGN FOR A GOLF CARD. By permission of Mr. R. Hippesky CoxPORTRAIT OF THE ARTIST IN OUTLINE FROM 'POSTERS INMINIATURE'........FRONTISPIECE TO CHOPIN'S NOCTURNES. Unpubliehcd. In possession a

John Lane ........CHOPIN'S BALLADE III. OP. 47. By permission of Mr. Charles Holme .COVER DESIGN FOR WHARTON'S 'SAPPHO.' In possession of John LaneCOVER DESIGN FOR 'PIERROT'TITLE-PAGE DESIGN FOR 'PIERROT'DESIGN FOR END PAPER. 'PIERROT'DESIGN FOR END PAPER. 'PIERROT'DESIGN FOR REVERSE COVER OF 'PIERROT'BOOK-PLATE OF MISS OLIVE CONSTANCE. Photogravure. By peimissionMR. H. A. JONES AND HIS BAUBLE. By permission. tom i\\c Pall Mall BudgetFOUR DESIGNS FOR THE NEW COINAGE MR. HENRY IRVING AS BECKETMISS ELLEN TERRY IN 'BECKET'FOUR SKETCHES FROM 'BECKET'TWO SKETCHES FROM 'BECKET'M. ZOLA AND THE ADADEMIE FRANCAISE PORTRAIT OF EMILE ZOLAPORTRAIT OF VERDIMR. AND MRS. BANCROFT IN 'DIPLOMACY' ^NEAS ON THE LINKS'ORPHEUS' AT THE LYCEUM. Two Sketches ' ORPHEUS ' AT THE LYCEUM. Two Sketches PORTRAIT OF JULES FERRYMR. HARRISON'S IDEAL NOVELISTMR. PENNELL AS 'THE DEVIL OF NOTRE DAME'DESIGN FOR A POSTER. By permission of Mr. Wm. Heinemann .SIGNATURE. From the reverse cover of ' Salome ' .

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Aubrey Vincent Beardsley.Born August 2\, 1872 Died 3iarch i6, 1898.

/^^NE hears it asserted, with a confidence that possibly may^^-^ be born of a wish, that ' the Beardsley craze is dead.'For such as truly hold this belief it can never have been verymuch alive ; nor is there reason why it should have been. Thesuddenness of Beardsley's leap into notoriety, the curiosity excitedby his audacious invention and novel style, the puzzlement thathis work produced on the minds of a steady-going public, sensitiveto shocks, are sufficient justification in themselves for those whocan see in him only a transient ' craze.' Beardsley never couldhave been, and never was, intended for the many. His work isseldom of a kind that could be described as popular. Much ofit, indeed, is so deliberately regardless of popular prejudices andconventions that one cannot wonder if the public at large foundvoice to protest against the effronteries of Beardsley at large, andobjected to the inroads made upon their forbearance by what theycould only regard as incomprehensible manifestations of an unmen-tionable phase of life.

Making all possible allowance for this attitude, however, itremains a truism that objections do not kill. To a young andrising artist they are as wholesome nutriment as praise ; fre-

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Aubrey Vincent Beardsley.quently more wholesome. And Beardsley had both. Extravagantlypraised and extravagantly hated, he worked in an atmosphere ofexotic stimulus which was largely responsible for the eccentricitiesthat developed themselves in his art and in his character. Prickedon upon one hand by the lavish admiration of a group whichsaw in him more genius than he was really conscious of himself,piqued on the other by the exclamations of a public he wasdelighted to offend, it is small wonder that his work presented asee-saw appearance, ranging from the nearly sublime to the morethan frankly ridiculous. It is this variability, coupled with an extra-ordinary versatility for changing his style and adopting new ones,that makes it difficult to estimate the true position of Beardsley inthe pantheon of art. There are some points, such as the exquisitequality of his drawing, on which all critics are agreed ; there arestill more on which no two of them can think alike. Yet, howevermuch we agree, or however much we differ in our estimation ofhis work, one thing at least must be said in reply to those who areso confident of his extermination, viz., that to speak of Beardsleyas ' dead ' in any but the mere physical sense, which those who knewhim best have most cause to deplore, is an error against Truth as wellas against the facts. We may leave Truth to take care of herself.Time and art will vindicate her. But as regards facts, which areoften a different thing, it may be necessary to point out that thedemand for Beardsley's work, which in his lifetime was satisfied by afew monthly instalments in certain recognised periodicals, and asporadic sprinkling of casual contributions besides, has grown withinthe last few months, since his death, so much as to call for three

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Aubrey Vincent Beardsley.distinct collections, of which the present is the largest in size, aswell as, from some points of view, the most important in scope andinterest.

The Beardsley 'craze,' indeedif ' craze there beis really justbeginning. Those who could appreciate the sterling qualities of hiswork have always done so, and have probably collected for them-selves the scattered outpourings (and occasional ofF-scourings) of hisimagination, marred, as they too often were, by faults of printing orof reproduction. It would be interesting to know how many suchcollections exist, as they would probably afford some insight into thenumber of Beardsley 's genuine admirers, whose admiration enabledhim to thrive. The sumptuous compilations which we are nowconsidering betoken a different public altogether, or at the least arenewed curiosity which requires to be pampered. It is in suchpassive admiration that there lie the makings of a ' craze.' Not thatany one need be less inclined on that account to welcome the re-appearance of Beardsley's masterpieces, decently printed, with suitablemargins, and in many cases shown for the first time on a scalecalculated to do justice to the subtle fineness of the artist's inimit-able line-work. Nor will the faithful, I imagine, have cause forregret, seeing themselves enriched at one swoop by the acquisitionof very many drawings now difficult to obtain in the form in whichthey originally appeared, and of not a few others which but for theopportunity thus afforded would never have been published at all.Educationally, moreover, these books should have some value, notnecessarily as showing the public what they ought to admire, foreach generation will have its own views on this point, but as sum-

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Aubrey Vincent Beardsley.marising in a convenient form for reference a phase of art which isextremely interesting in itself, and which has exerted an influenceover contemporary artists quite out of proportion to its quantity, tothe age and standing of its author, and to the dignity of the subjectswith which it treats. It is significant that, although Beardsley hashad numerous imitators on both sides of the Atlantic, in his ownparticular line of work he has remained without a rival. He isnot only the inventor, but par excellence the master, of his methods.How, except by a frealc of nature, so marvellous an intuition, andso perfect a mastery of style ever fell to the lot of an untrainedboyish hand, we can never tell. Minerva-like, Aubrey Beardsleyseems to have come into the world ready equipped with genius andthe power of execution, and so must take his place amongst therapidly grov/ing ranks of Wunderkinder. There is something in theage which tends towards the specialisation of children. Musical pro-digies have almost ceased to attract attention, so numerous have theybecome ; and, although precocity in art is rarer than in music, we haveat least one classical instance in Oliver Madox Brown, and wesee the two little Detmolds exhibiting year after year, alongsideadult work, pictures of matured expression and technique. Beardsleywas not so precocious as this. His schoolboy drawings, of whichseveral specimens appeared in Past and Present, the magazine ofthe Brighton Grammar School, are as healthily crude and jejune asany one could desire. It was not until he was eighteen or nineteen, anage when most artists are content to be grinding at the studentmill, that Aubrey Beardsley (skipping studenthood) came forward withthe drawings that at once began to make him famous. In the short

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Aubrey Vincent Beardshy.six years of his artistic life, years quite unvaried by adventure, andcurtailed bv a ravaging disease that periodically incapacitated himfrom working, there are few incidents that have not already beennoted. It is going over old ground to relate how Mr. JosephPennell, whose discoveries of latent art in England are amongst thetriumphs of critical exploration, also discovered Beardsley, or at leastgave him his first public notice, a glowing eulogy in the openingnumber of the Studio (April 1893) which was accompanied by re-productions of ' The Birthday of Madame Cigale,' the ' Revenantsde la Musique,' ' Siegfried,' ' Salome with John the Baptist's Head,'and some drawings done for the ' Morte Darthur.' Beardsley atthis time, when Mr. Pennell, like Cimabue, found him doingwonderful things with his hands, and exploited him, was in histwentieth year and, although not tending sheep as the parallel mightsuggest, was slaving at an uncongenial desk in an insurance office.Such drawings as he had were done in leisure hours for his ownamusement. Of training he had had none, unless a brief experienceof an architect's drawing office could count as such. But now, actingon the advice of Mr. (the late Sir Edward) Burne-Jones, and of M.Puvis de Chavannes, both of whom thought they saw in his earlyeffi:)rts the promise of a brave recruit to the ranks of romanticillustrators, Beardsley abandoned business and took to art as a pro-fession, putting in for a time a desultory attendance at the famousstudio of Mr. Fred. Brown. He had little difficulty in obtainingwork. Even before the appearance of Mr. Pennell's article in theStudio, he had, through the instrumentality of Mr, Frederick H.Evans, always one of his warmest friends, entered into an under-

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Aubrey Vincent Beardsley.taking to illustrate the two-volume edition of Malory's ' Morte-Darthur ' for Messrs. J. M. Dent & Co., a task which might wellhave left him reasonably satisfied and busy for some considerabletime, but which, as events turned out, proved a bitter thorn in theflesh. Beardsley, as most publishers who dealt with him knew totheir cost, was a curiously nervous and fickle creature. If workpleased him, he was exultant and prompt with it ; if it bored him,wild horses could scarcely get it from him. The most sacred engage-ments, the loudest imprecations failed to move him if they con-flicted with his humour at the moment, and, knowing what difiicultyhe had in bringing himself to complete the promised drawings for the* Morte Darthur,' one's only wonder is that so little falling off fromhis original standard is visible in the second volume of the work.Had the drawings been done in the order in which they appeared,the degradation, it is said, would have been more apparent than itactually is. But, making all allowances, the ' Morte Darthur ' illus-trations are a wonderful accomplishment for a boy of twenty. Theamount of invention, to say nothing of the execution, lavished uponthe five-hundred and forty-eight vignettes and decorative borders, isprodigious, whilst some of the full-page and double-page picturesshow a power of composition and a daintiness of drawing thatBeardsley himself never improved upon and that no imitator hassucceeded in capturing. It is a pity, and it is one of the thingswhich discouraged Beardsley in the work, that the conditions of thebook required a scale of reduction in the illustrations which totallyfails to do justice to the fine quality of his drawing ; and thosewho seek to find' Beardsley 's work in the vignettes or ornaments of

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Aubrey Vincent Beardsley.the ' Morte Darthur ' should supplement their search by turningup the later full-sized reproductions which have been made of someof them.

The 'Morte Darthur' was not the only work which Beardsleyproduced, or on which he was engaged, before the appearance ofthe first number of the Studio. Mr. Lewis Hind, who had left theStudio to edit the 'Va// M.(itl Budget., and in this way knew of theyoung illustrator's talents, employed him on several occasions in amore or less topical capacity. The results can hardly be calledhappy. The drawings done to illustrate Irving's ' Becket ' and theperformance of ' Orpheus ' at the Lyceum, together with one or twoother subjects which the manager of the 'Vail 3\/Lall Gazette hasallowed to be reprinted here, speak volumes for Beardsley's incapacityto adapt himselt to a style of work requiring rapid execution andaffording no play to the imagination. With the possible exceptionof the portraits of Zola, and the four humorous sketches for ' The NewCoinage,' Beardsley's incursion into topical journalism was a failure,and was abandoned after a few attempts. It was otherwise withhis two contributions to the 'Vail 3V[all ^Magazine., also reprintedhere, one ot which, the design published in the second number ofthe Magazine (June 1893) under the fictitious title of 'A Neophyteand how the Black Art was revealed unto him by the Fiend Asomuef,'remains to this day one of his most powerful and decorative achieve-ments.

Towards the end of 1893, or the beginning of 1894, Beardsleyformed an idea of preparing what he called a Book of Masques, andhe was very tull of this amongst his friends. The scheme was aban-

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Aubrey Vincent Beardsley.doned, but revived later on, in a new shape, when it was proposedto start T/zt' Yellow Book as a quarterly magazine, with Beardsley asart editor. It is in The Yellow Boo^, more than anywhere else, thatBeardsley first came into contactone had almost written conflictwith the public. It is in connexion with The Yellow Book, probably,that he will be most widely remembered, and it is The Yellow Bookperiod of his existence that is most prominently represented in thiscollection of his works. The method adopted by him during thisperiod, though the outcome of previous efforts, is distinctive, andwith kaleidoscopic versatility he branched into an altogether differentone after its close. If one may employ an illustration from the scienceof embryologyone not inappropriate to Beardsley 's peculiar cast ofthoughthis art was like the growth of an unborn organism, reflectingat different stages all the traits of a distant ancestry. We see it in acrude archaic form, striving with imperfect means to express theideas which are already there. We trace its Pre-Raphaelite devotionalstage ; its ripe classical period ; and at the last a sort of Romanticepoch, very sensitive and delicate, very decorative, and wonderfullyelaborate. Taking the ' Rape of the Lock ' drawings as the creamof this last period, there is much to be said for the judgmentof those who consider this work of Beardsley's the best that he everdid. But I doubt very much if it was the most characteristic ofBeardsley. For this I believe one must go back to the year, oryear and a half, when he was startling the public in the pages ofThe Yellow Book, and frightening even his publisher with theboldness of the drawings for ' Salome.' The public nerves, however,become gradually insensitive to one particular kind of shock, and

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Aubrey Vincent Beardsley,thus it is that it has now become possible, I am glad to say, topublish many things which at the time were considered inadmissible.To this category belong two of the illustrations to ' Salome,' whichwere withdrawn for reasons difficult to penetrate, but doubtless validat the time. Some other alterations which were made in Beardsley'swork it is impossible to restore even if one would, and the wisdomof doing so is not always unquestionable. The TelloVD Book periodof Beardslev's activity not only includes the fifteen illustrations for' Salome,' a commission obtained for him by the early drawing publishedin the Studio, but also the long series of cover designs for the 'Keynotes'novels, with their initial keys, and a sprinkling of frontispiece drawingsfor different books, of which that from ' Earl Lavender' is one of themost striking and important. It is pleasant to find among the archivesof the Yellow Book several unpublished treasures, such as the frontis-piece done for a projected ' Venus and Tannhauser,' the design ofwhich has been used in the cover of this book, and another verydecorative design which has been reproduced for a title-page. Thesealone are almost a justification, if one were needed, for publishing thecollected works of Beardsley at this period.

I have ventured to sketch out Beardsley's career roughly instages, from an embryological standpoint. The reference is opportunefor mentioning an idea which I know is held by more than onesympathetic admirer, that if Beardsley had lived he would havedeveloped into something totally different from what he was,possibly into a colourist of great subtlety and originality. He wasin the common habit of colouring his black-and-white drawingsafter they had been reproduced, and one or two things done in

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Aubrey Vincent Beardsley.coloursuch as the sketch of Mdlle. de Maupin in the possession ofMr. Leonard Smithers, and the original drawing of ' Messalina 'reveal a charming feeling for colour, softened and weakeneddown as one might expect from such a frail constitution. Beardsleycould hardly have been a vigorous colourist. But, be this as itmayand it is sheer guessworkthere is for those who can seeit a remarkable suggestion of colour in some of his best black-and-whites. This is a quality possessed by only a few men, and Beardsleyhimself was quite conscious of it. It has no particular relevance,however, to the notion I have just mentioned, which regards theBeardsley we all know as a beginner cut short just as he was aboutto blossom forth, a student just about to attain his masterhood, anembryonic being stilled before his proper time of birth.

Beardsley's personality has been admirably handled by Mr.Arthur Symons in the Fortnightly, and by ' Max ' in a recentnumber of the Idler. I cannot pretend to add anything to theirknowledge, which was more intimate than my own. Beardsley, asI knew him, was a model of daintiness in dress, affected apparentlyfor the purpose of concealing his artistic profession. It was part ofhis pose to baffle the world. He did it in his exterior manner aseffectually as in his work. Those who imagine from the characterof some of his subjects that Beardsley went about preaching ordiscussing vice are quite beyond the mark. Externally, at any rate,he was a pattern of moral decorum, warped only into sucheccentricities as working by candle-light, with the shutters closed,at drawings of dubious propriety, when outside the sun was shiningbrightly on a healthy, virtuous world. He preferred candle-light,

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Aubrey Vincent Beardshy.and he selected the subjects which amused his fancy, or tickled hisinstinct for gammeru\ and that's an end on't. Max Beerbohniconceives that his mind was still that of the school-boy playing atbeing vicious, and rather attracted by naughtiness. This may beso, but at the same time it must be conceded that few artists havehad such an extraordinarily deep penetration into the hidden abyssesof sin, and such a lurid power of suggesting them. It would havebeen better for his reputation if he had not ; but he chose to belongto a modern school of cynicism, and to depict life mostly in itsmore animal or brutish aspects ; and that again is his own affair. Itis the artist as he is that one must reckon with, not the artist wecould have made him ; and to condemn a man for adopting differentideas and a different standard from one's own is as absurd as con-demning him for wearing different clotheswhich, as a matter offact, nine out of ten of us are quite ready to do.

It was reallv, as I think Mr. Symons has pointed out, a lackof reverence that was at the bottom of Beardsley's taste in subjectHe could draw beautiful subjects as beautifully as any one. I knowfew things more flawless than his design of a * Venus standing betweenTerminal Gods,' or 'The Coiffing,' which appeared in the Savoy.Certainly there is no suggestion of vice in these, or in scores ofhis other drawings. His ' Venus and Tannhauser ' was to havecontained no ugly suggestions. Even when in his love of shockingthe public he deliberately chooses a vicious type, his true passionfor beauty expresses itself in the manner of his execution. Thismanner of execution it has become fashionable to refer to as Beardsley's line.' I do not know who was first responsible for

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Aubrey Vmcent Beardsley.pointing out the beauties of the Beardsley ' line,' but, whoever itwas, I could have wished that he had accompanied it with someexplanation of what is meant by the phrase. Beardsley had many' lines,' all exquisite in execution, and of varying degrees of fineness,the most remarkable being somewhat akin to an angler's line, asmay be seen to perfection in the drawing for ' Salome,' entitled* The Peacock Skirt.' But a ' line,' as the phrase is now commonlyunderstood, such a 'line' as that of Forain, eloquent in its boldsimplicity of manifold unexpressed details, Beardsley does not seem,at all events to me, to possess. There may be hints of it, Mr.Gleeson White, in the Studio, instanced the wan, pinched faceof the dead Pierrot in one of the Savoy illustrations, which nonewould dispute, and many of the outline drawings in this volumecontain a sense of modelling, wonderfully implied ; but this com-pression of method is certainly not the main, nor even an importantfeature of Beardsley 's work. Paradoxically I can imagine someone retorting that his forte is rather his 'mass.' The point is notworth pursuing, for it belongs to that slippery region of problemswhich depend upon the meaning of terms. Some people may seein Beardsley's work the perfection of what they call ' line,' and forthem Beardsley's ' line ' must possess a definite technical meaning.

One thing at all events is clear, and that is, that Beardsleywas essentially a decorative artist. All his arrangement and handlingof subjects, his treatment of the human figure, his use of landscape,was subordinate to the ultimate decorative effect. No trace of' naturalism ' ever creeps in to mar the set convention of his work.In his treatment of nature he is as formal as any missal scribe of

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Aubrey Vincent Beardsley,the fifteenth century, as mannered as the old Egyptian or themodern Japanese. Conformably, he was quite indifferent to whatmay be called the dramatic or historical unities. He would cheer-fully clothe Isolde in an outre Parisian ' confection/ or Messalina inan ostrich-feather hatnay, has done both. The decorative effect wasall he cared for, and, if the public failed to appreciate the humourof his anachronisms, so much the worse for them. The source ofhis decorative inspirations has often been canvassed, though a gooddeal of it is fairly obvious. In his earliest drawings worthy ofmention, the * Morte Darthur,' the 'Procession of Jeanne d'Arc,''Hamlet following the Ghost,' 'Hail Mary,' 'Perseus and theMonstre,' and others which any one can find for himself, he wasunder considerable obligations to the most generous of his earlypatrons. Sir Edward Burne-Jones. Then the Japanese caught hiswayward fancy and gave us the ' Femme Incomprise ' {To-day andIdler), 'Madame Cigale,' and indirectly much of The Yellow Bookwork, in which, however, he developed a new conceit, which fullydeserves to rank as original. His passion for Pierrot, the mostpathetic as well as the most humorous conception that has comedown to us, stands evident in his latest as well as in some of hisearliest work, and it is interesting to learn, on the authority of anold school friend, that he was immensely affected when a mereboy by the influence of * L'Enfant Prodigue.' I have recently heardanother theory advanced which may be worth mentioning, toaccount for the very persistent use of rococo ornamentation in hisdrawings of furniture, candelabra, wall-hangings, &c. This peculiarityis so striking as really to suggest some concrete source of inspiration,

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Aubrey Vincent Beardsley.and, odd as it may sound, this source of inspiration was not im-probably the florid gaudiness of the interior of the BrightonPavilion, of which, in his school days, Beardsley was something ofan habitud. The Casino, at Dieppe, doubtless contributed also itsquota of ideas. One might go on indefinitely proposing models forindividual pieces of work, if one cared to and if the subject wereworth pursuing. But, broadly, it may be taken as a fact thatBeardsley, if himself inimitable, was nevertheless highly imitative ;that he could purloin a method, and so absorb it as to render itwholly his own ; that when he apparently changed his style withlightning rapidity, as in the transition from his Yellow Book to his' Rape of the Lock ' manner, he did not really evolve some perfectlynovel convention, but merely worked up a fresh ' rave 'in thisparticular instance the style of the eighteenth-century Frenchengravers.

That his transitions took a certain form and order I haveventured to indicate above, but the idea of a chronological orembryological sequence must not be pushed too far indeed, itis necessary to qualify almost any statement that may be madeabout so complex and variable a being. Beardsley himself signifiedhis consciousness of the breaks in his method of working byadopting successive forms of signature. In his earliest (juvenile)drawings he is always ' A. V. B.,' or ' Aubrey V. Beardsley.' Later,he dropped the * V.,' and used only the first and third initials ofhis name. In the illustration to ' Pastor Sang ' he appears toacknowledge a debt to Diirer by ranging his initials in the form ofthe well-known Diirer monogram. He might more appropriately

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Aubrey Vincent Beardsley.have borrowed the ' \j. H.' of Mr. Housman. A long series oidrawings, beginning with the ' Qu^esting Beast ' plate in the ' MorteDarthur,' and continuing down through the T'all Mall Budget,' Salome,' and what may be generically classified as The Yellow Boo\period, are signed with what has been called his Japanese mark,three strokes ranged in a particular manner, with or without dotsor other ornamental accessories. The apotheosis of this device willbe found on the reverse side of the cover of this volume, reproducedfrom the ' Salome.' In his later work Beardsley mostly wrote histwo names in full, in capitals, along the bottom border line of thedrawing. All sorts of variations occur at different times, whichmay mean something, or nothing. In an ordinary person theywould mean nothing, but Beardsley was not an ordinary person,and his subtleties were infinite, inviting and yet often defyinganalysis. '

Separate mention should be made in this connexion of thetwo drawings which appeared in The Yellow Book under fictitioussignatures. These were the Mantegna head, which was signed* Philip Broughton,' and a pastel study of a Frenchwoman, signed' Albert Foschter.' Both are to be found reproduced in this volumein their proper places chronologically. Beardsley's purpose in in-dulging in this freak was an idea of 'scoring off' the critics whowere accustomed to attack his work as soon as it appeared. Hedid not care much about unfavourable criticism ; he rather enjoyedit than otherwise ; but he could not resist the temptation, duringone of his transient avatars, of setting a trap by varying his style.Mr. Max Beerbohm declares that the plot was entirely successful,

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Aubrey Vincent Beardsley.and that one reviewer solemnly advised Beardsley to ' study andprofit by the sound and scholarly draughtsmanship of which Mr.Philip Broughton furnished another example in his familiar manner.'I must confess that, although I was in the secret of the alias, Inever saw this profound piece of criticism upon it ; but, if it reallyappeared anywhere, I can well believe that Beardsley was 'greatlyamused and delighted ' by it.

All who knew Beardsley will bear witness to many pleasantpersonal traits : his extraordinary love of music, his rippling wit,his wide range of reading, his capacity for hard work without eveliappearing to be busy. He worked mostly at night. His many-sidedness has been briefly summed up in the first paragraph of Mr.Symons's memoir, which I venture to quote.

'He had the fatal speed of those who are to die young; thatdisquieting completeness and extent of knowledge, that absorption ofa lifetime in an hour, which we find in those who hasten to havedone their work before noon, knowing that they will not see theevening. He had played the piano in drawing-rooms as an infantprodigy, before, I suppose, he had ever drawn a line. Famous attwenty as a draughtsman, he found time, in those incredibly busyyears which remained to him, to deliberately train hirnself as a writerof prose, which was in its way as original as his draughtsmanship,and into a writer of verse which had at least ingenious and originalmoments. He seemed to have read everything, and had his pre-ferences as adroitly in order, as wittily in evidence, as almost anyman of letters ; indeed, he seemed to know more, and was a soundercritic, of books than of pictures ; with perhaps a deeper feeling for

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Aubrey Vincent Beardsley.music than for either. His conversation had a peculiar kind ofbrilliance, different in order, but scarce inferior in quality to thatof any other contemporary master of that art ; a salt, whimsicaldogmatism, equally full of convinced egoism and ot imperturbablekeen-sightedness. Generally choosing to be paradoxical, and vehe-ment on behalf of any enthusiasm of the mind, he was the dupeof none of his own statements, or indeed of his own enthusiasms,and, really, very coldly impartial. He thought, and was right inthinking, very highly of himself; he admired himself enormously ;but his intellect would never allow itself to be deceived even abouthis own accomplishments.'

What drove him out of his many different accomplishments toseek art as his chief field is not quite clear. It may have beenthe advice of Burne-Jones and of Puvis de Chavannes ; it may havebeen the scent of an immediate and satisfying reclame ; it may havebeen the necessity for making money. Probably all of these causesconspired. Why, turned artist, he should have developed such agrim satirical humour, is equally uncertain, unless it were hisaffection for Juvenal grafted on the bitterness of one who knowsthat he is in the grip of death, that few and evil must be thedays of his life. Over all this, like Pierrot, he wore a bravemask, and faced his tragedy with a show of laughter. How hesuffered, how he worked, he never permitted to be seen. If theirony took a grim form sometimes in the jests that he flung tothe public, in the scorn he allowed himself to feel for a world thathad not got to die, can we wonder .'' Pierrot's humour has mostlya subacidity, or we should fail to relish it.

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Aubrey Vi7icent Beardsley.Those who live healthy normal lives,' unracked by hemorrhage,

untroubled by genius, may try to picture the life of one harassedby both at once. They may hate the man's work if they must, andif their souls are built that way, but they might try and find somespark of sympathy and admiration for the man. One can scarcelyrealise what it means to have only six real years of life, and to feelthat they are precarious. To have done as much in them as Beardsleydid, of actual solid work, is no mean achievement, apart from thefact that so much is work of almost microscopic delicacy. A greatdeal of it too, one is apt to forget, is work of unsullied beautyfreefrom the questionable traits which have hurt his reputation withthe public. Finally it must not be lost sight of that the role heplayed was that of a satirist ; that in depicting vice he held it upfor scourging ; that in exaggerating its fanciful side he but accentuatedits squalid and horrible reality.

Poor Beardsley ! His death has removed a quaint and amiablepersonality from amongst us ; a butterfly who played at being serious,and yet a busy worker who played at being a butterfly. Outwardlyhe lived in the sunshine, airing bright wings. Inwardly no one cantell how he suffered or strove. It is well to avoid self-righteousnessin judging him. As the wise pastry-cook says in Cyraiio,

* Fourmi, n'insulte pas ces divines cigales.'

H. C. Marillier.Kelmscott House,

Hammersmith.


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,"?*,. fi ^ V-7rt-/f- At^t/y^^i: .f /"/./'J /-:. '',;f^f^.-/- J^' I'S .


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Early Drawing of Holywell StreetBy permission of Mr. C. B. Cochran.


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Hail MaryBv permission of Mr. Frederick H. Evans.


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Hail Mary


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' Perseus and the MonstreFrom a Drawing in the possession of Mr. Aymer Vallance.

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Pencil Sketch of a ChildBy permission of Mr. Frederick H. Evans.


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A Pencil Sketch of Figures, from the backof ' Perseus'

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The Procession of Jeanne d'x^.rcBy permission of Mr. Frederick H. Evans.

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Sandro BotticelliFrom a Drawing in the possession of Mr. Aymer Vallance.


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Angel with OrganFrom a Sketch in the possession of Mr. Aymer Vallance.


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VignetteFrom a Drawing in the possession of Mr. Aymer Vallance.


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'Of a Neophyte, and how the Black Artwas revealed unto him'

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The Kiss of JudasBy permission of the Proprietor of The T'all 3/Lall ^Magazine.

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Design for Frontispiece of Bjornson's Drama,'Pastor Sang'

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Cover Design for 'The Studio'Reduced. Two states. By permission of Mr. Charles Holme.

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' Siegfried 'From ' The Studio.' By permission of Mr. Charles Holme.

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Madame CigaleFrom 'The Studio.' By permission of Mr. Charles Holme.

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Revenants de MusiqueFrom 'The Studio.' By permission of Mr. Charles Holme.

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Design for ' Salome 'From 'The Studio.' By permission of Mr. Charles Holme.

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Design for Front Cover of ' Salome '

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The Woman in the Moon.From ' Salome.'

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A Platonic Lament.From ' Salome.'


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Enter Herodias.From ' Salome.'

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The Eyes of Herod.From ' Salome.'

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The Stomach Dance.From ' Salome.'

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The Toilette of SalomeFrom ' Salome.'

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The Dancer's RewardFrom ' Salome.'

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The ClimaxFrom ' Salome.'

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Design for Tail PieceFrom ' Salome.'

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The Toilette of Salome. First DrawingHitherto unpublished.

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John and SalomeHitherto unpublished.

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Original Sketch for Cover of SalomeHitherto unpublished.

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Sketch Portrait of Himself

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Sketch Portrait of Mr. Henry Harland

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Design for Cover of Tellow Book Prospectus

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THE YELLOWBOOKAN ILLVSTF^ATEJD QVARTERLY.

Pf\\CE.FIVE SHILLINGS

ELKIN AAATHEWSAND JOHN LANE ,THE BODLEY HEADVIG09T. LONDON.APf^lL \5-^nDCCCXCIV.


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Cover Design for The Yellow BookVolume I.

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Title-page Ornament for l^he Tellow Book^Volume I.

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L'Education SentimentaleFrom The Yellow Boo\^ Volume I.

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Night PieceFrom The Telloiv Book, Volume I.

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Portrait of Mrs. Patrick CampbellFrom T^he Yellow Book, Volume I.

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Book PlateFrom T'he Yellow Book, Volume I.

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EX LIBRIS

JOHN


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Cover Desiorn for The Tellow BookVolume II.

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Comedy- Ballet of Marionettes, I.From The Yellow Book, Volume II.

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Comedy-Ballet of Marionettes, II.From T^he Tellow Book, Volume II.

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Garcons de CafeFrom The Tellonv Book, Volume II.

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The Slippers of CinderellaFrom 'The Yellow Book, Volume II.

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Portrait of Madame RejaneFrom The Yellow Bool^, Volume II.

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Cover Design for ne Tellow BookVolume III.

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Title-page DesignFrom The Yellow Book. Volume III.

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Portrait of Mantegna. (By Philip Broughton)From 'The Yellow Book, Volume III.

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ANDREAS. MANTECNA,P^INTDK.ANit--ENCKAVER.OFPAWA1U91 1506,


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Portrait of HimselfFrom The Yellow Boo\^ Volume III.

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Lady Gold's EscortFrom 'The Tellow Book, Volume III.

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The WagneritesFrom The Telloiv Book, Volume III.

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La Dame aux CameliasFrom The Yellow Book, Volume III.

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'From a Pastel.' (By Albert Foschter)From The Yellow Book, Volume III.

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Cover Design for The Tellow BookVolume IV.

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Design for Title-pageFrom The Yellow Bool^, Volume IV.

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The Mysterious Rose GardenFrom T'he Yellow Book. Volume IV.

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The Repentance of Mrs. . .From The Yellow Book, Volume IV,

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Portrait of Miss Winifred EmeryFrom The Yellow Bool^, Volume IV.

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Frontispiece for ' JuvenalFrom The Yellow Book, Volume IV.

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A Poster for Tellow Book

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A PosterHitherto unpublished.

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Design for Tellow Book CoverHitherto unpublished.

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'Messalina'Hitherto unpublished.

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Maitresse d'OrchestreHitherto unpublished.

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Title-page OrnamentHitherto unpublished.

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Design for Frontispiece to' An Evil Motherhood 'By permission of Mr. Elkin Mathews.

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'Black Coffee'Hitherto unpublished.

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Portrait of Miss Letty LindHitherto unpublished.

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' AtalantaHitherto unpublished.

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Design for Cover of 'The Cambridge A. B.C.'By permission of the Rev. W. Austen Leigh.

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Design for Frontispiece of 'Earl Lavender'By permission of Messrs. Ward & Downey.

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Design for Frontispiece of Plays ' by JohnDavidson

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Design for Title-page of ' Plays ' by JohnDavidson

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A Child at Irs Mother's BedFrom the ' Sketch.' By permission of Mr. Max Beerbohm.

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AutumnFrom a design for a calendar hitherto unpublished.

By permission of Mr. Wm. Heinemann.

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Frontispiece and Title-page Design for' Venus and Tannhauser

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Head PieceBy permission of Mr. Henry Reichardt.

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Design for Cover of ' Grey Roses

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Design for Menu of Playgoers' ClubBy permission of Mr. Carl Hentschel.

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Design for Golf CardBy permission oi' Mr. R. Hippesley Cox.

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Outline Portrait of HimselfFrom ' Posters in Miniature.'

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Design for Cover of Wharton's 'Sappho'

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the early work of aubrey beardsley

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