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+The Project Gutenberg EBook of Aubrey Beardsley, by Robert Ross
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Aubrey Beardsley
+
+Author: Robert Ross
+
+Contributor: Aymer Vallance
+
+Release Date: August 4, 2010 [EBook #33347]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK AUBREY BEARDSLEY ***
+
+
+
+
+Produced by Lee Dawei, Bruce Albrecht, David Garcia and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+AUBREY BEARDSLEY
+
+
+[Illustration: MRS. PATRICK CAMPBELL
+  _Now in the Berlin National Gallery_]
+
+
+
+
+[Illustration]
+
+AUBREY BEARDSLEY
+
+BY ROBERT ROSS
+
+  WITH SIXTEEN FULL-PAGE
+  ILLUSTRATIONS AND A
+  REVISED ICONOGRAPHY
+  BY AYMER VALLANCE
+
+  LONDON: JOHN LANE, THE BODLEY HEAD
+  NEW YORK: JOHN LANE COMPANY MCMIX
+
+
+TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
+
+
+  TO
+  Sir COLERIDGE ARTHUR FITZROY KENNARD,
+  Bart.
+
+
+
+
+Illustrations
+
+
+MRS PATRICK CAMPBELL                              _Frontispiece_
+  _Now in the Berlin National Gallery_
+
+                                                   _facing page_
+
+SIEGFRIED                                                 12
+  _Reproduced from the original in the possession of
+  Mrs Bealby Wright_
+
+THE WOMAN IN THE MOON                                     14
+  _From "Salome"_
+
+THE TOILETTE OF SALOME                                    18
+  _From "Salome"_
+
+THE DANCER'S REWARD                                       20
+  _From "Salome"_
+
+TAILPIECE                                                 22
+  _From "Salome"_
+
+DESIGN FOR A FRONTISPIECE                                 26
+  _From "Plays" by John Davidson_
+
+THE WAGNERITES                                            28
+
+ATALANTA                                                  32
+
+THE MYSTERIOUS ROSE GARDEN                                36
+
+ILLUSTRATION FOR "A NOCTURNE OF CHOPIN"                   38
+
+CHOPIN, BALLADE III. OP. 47                               42
+  _Reproduced by permission of Charles Holme, Esqre._
+
+THE BARON'S PRAYER                                        44
+  _From "The Rape of the Lock"_
+
+THE BATTLE OF BEAUX AND BELLES                            48
+  _From "The Rape of the Lock"_
+
+A DESIGN FROM "LYSISTRATA"                                50
+
+D'ALBERT IN SEARCH OF IDEALS                              54
+  _From "Mademoiselle de Maupin." Reproduced from the
+  original in the possession of Mrs Bealby Wright_
+
+
+
+
+AUBREY BEARDSLEY
+
+
+Aubrey Beardsley was born on August 21st, 1872, at Brighton. He was a
+quiet, reserved child, caring little for lessons, though from an early
+age he shewed an aptitude for drawing. He began his education at a
+Kindergarten. He was seven years old when the first symptoms of delicacy
+appeared, and he was sent to a preparatory school at Hurstpierpoint,
+where he was remarkable for his courage and extreme reserve. Threatened
+with tuberculosis, he was moved for his health to Epsom in 1881. In
+March 1883 his family settled in London, and Beardsley made his first
+public appearance as an infant musical phenomenon, playing at concerts
+in company with his sister. He had a great knowledge of music, and
+always spoke dogmatically on a subject, the only one he used to say, of
+which he knew anything. He became attracted at this time by Miss Kate
+Greenaway's picture books, and started illuminating menus and invitation
+cards with coloured chalks, making by this means quite considerable sums
+for a child.
+
+In August 1884 he and his sister were sent back to Brighton, where
+they resided with an old aunt. Their lives were lonely, and Beardsley
+developed a taste for reading of a rather serious kind--the histories
+of Freeman and Greene being his favourite works. He could not remain
+a student without creating, so he started a history of the Armada! In
+November of the same year he was sent to the Brighton Grammar School as
+a day boy, becoming a boarder in January 1885. He was a great favourite
+with Mr King, the house-master, who encouraged his tastes for reading
+and drawing by giving him the use of a sitting-room and the run of
+a library. This was one of the first pieces of luck that attended
+Beardsley throughout life. The head-master, Mr Marshall, I am told,
+would hold him up as an example to the other boys, on account of his
+industry. His caricatures of the masters were fully appreciated by
+them, a rare occurrence in the lives of artists. He cultivated besides
+a talent for acting, and would often perform before large audiences at
+the Pavilion. He organized weekly performances at the school, designing
+and illustrating the programmes. He even wrote a farce called "A Brown
+Study," which was played at Brighton, where it received serious
+attention from the dramatic critics of the town. He would purchase
+each volume of the Mermaid series of Elizabethan dramatists then being
+issued, and with his sister gave performances during the holidays. From
+the record of the "Brighton College Magazine," Beardsley appears to have
+taken a leading rôle in all histrionic fêtes, and to "The Pied Piper of
+Hamelin" he contributed some delightful and racy little sketches, the
+first of his drawings, I believe, that were ever reproduced.
+
+[Illustration: SIEGFRIED
+  _Reproduced from the original in the possession of Mrs. Bealby Wright_]
+
+In July 1888 he left school, and almost immediately entered an
+architect's office in London. In 1889 he obtained a post in the Guardian
+Life and Fire Insurance. During the autumn of that year the fatal
+hæmorrhages commenced; for two years he gave up his amateur theatricals
+and did little in the way of drawing. In 1891, however, he recuperated;
+a belief in his own powers revived. He now commenced a whole series
+of illustrations to various plays, such as Marlowe's "Tamerlane,"
+Congreve's "Way of the World," and various French works which he was
+able to enjoy in the original. He would often speak of the encouragement
+and kindness he received at this period from the Rev. Alfred Gurney, who
+had known his family at Brighton, and who was perhaps the earliest of
+his friends to realize that Beardsley possessed something more than mere
+cleverness or precocity.
+
+Several people have claimed to discover Aubrey Beardsley, but I think it
+truer to say that he revealed himself, when proper acknowledgment has
+been made to Mr Aymer Vallance, Mr Joseph Pennell, Mr Frederick Evans,
+Mr J. M. Dent, and Mr John Lane, with whom Beardsley's art will always be
+associated in connection with the Yellow Book, that too early daffodil
+that came before the swallow dared and could not take the winds of March
+for beauty. To Mr Pennell belongs the credit of introducing Beardsley's
+art to the public; and to Mr Dent is due the rare distinction of giving
+him practical encouragement, by commissioning the illustrations to the
+"Morte d'Arthur," long before critics had written anything about him,
+or any but a few friends knew of his great powers. Beardsley was too
+remarkable a personality to remain in obscurity. Though I remember
+with some amusement how the editor of a well-known weekly mocked at a
+prophecy that the artist was a coming man who would very shortly excite
+discussion if not admiration. Fortunately Mr Pennell, a distinguished
+artist himself, and a fearless critic, not only espoused the cause of
+the new draughtsman, but became a personal friend for whom Beardsley
+always evinced great affection, and to whom he dedicated his "Album of
+Fifty Drawings."
+
+[Illustration: THE WOMAN IN THE MOON
+  _From "Salome"_]
+
+I shall never forget my first meeting with Aubrey Beardsley, on February
+14th, 1892, at the rooms of Mr Vallance, the well-known disciple and
+biographer of William Morris. Though prepared for an extraordinary
+personality, I never expected the youthful apparition which glided into
+the room. He was shy, nervous, and self-conscious, without any of the
+intellectual assurance and ease so characteristic of him eighteen months
+later when his success was unquestioned. He brought a portfolio of his
+marvellous drawings, in themselves an earnest of genius; but I hardly
+paid any attention to them at first, so overshadowed were they by the
+strange and fascinating originality of their author. In two hours it was
+not hard to discover that Beardsley's appearance did not belie him. He
+was an intellectual Marcellus suddenly matured. His rather long brown
+hair, instead of being "ébouriffé," as the ordinary genius is expected
+to wear it, was brushed smoothly and flatly on his head and over part
+of his immensely high and narrow brow. His face even then was terribly
+drawn and emaciated. Except in his manner, I do not think his general
+appearance altered very much in spite of the ill-health and suffering,
+borne with such unparalleled resignation and fortitude: he always had
+a most delightful and engaging smile both for friends and strangers.
+He grew less shy after half an hour, becoming gayer and more talkative.
+He was full of Molière and "Manon Lescaut" at the time; he seemed
+disappointed that none of us was musical; but he astonished by his
+knowledge of Balzac an authority on the subject who was also present.
+He spoke much of the National Gallery and the British Museum, both of
+which he knew with extraordinary thoroughness. He told me he had only
+been once to the New Gallery, where he saw some pictures by Burne-Jones,
+but had never been to the Royal Academy. As far as I know, he never
+visited the spring shows of Burlington House. He always, however,
+defended that institution with enthusiasm, saying he would rather be an
+Academician than an artist, "as it takes only one man to make an artist,
+but forty to make an Academician."
+
+Our next meeting was a few weeks later, when he brought me a replica of
+his "_Joan of Arc_." I was anxious to buy the first and better version,
+now in the possession of Mr Frederick Evans, but he refused to part with
+it at the time. He seemed particularly proud of the drawing; it was the
+only work of this period he would allow to have any merit.
+
+In the early summer of 1892 he visited Burne-Jones and Watts, receiving
+from the former artist cordial recognition and excellent advice which
+proved invaluable to him. He attributed to the same great painter the
+criticism that "he had learnt too much from the old masters and would
+benefit by the training of an art school." A few days afterwards he
+produced a most amusing caricature of himself being kicked down the
+stairs of the National Gallery by Raphael, Titian, and Mantegna, whilst
+Michael Angelo dealt a blow on his head with a hammer. This entertaining
+little record, I am sorry to say, was destroyed. Beardsley was always
+sensible about friendly and intelligent criticism. When he reached a
+position enjoyed by no artist of his own age, he was swift to remedy
+any defect pointed out to him by artists or even by ordinary friends.
+I never met anyone so receptive on all subjects; he would record what
+Mr Pennell or Puvis de Chavannes said in praise or blame of a particular
+drawing with equal candour and good humour. This was only one of his
+many amiable qualities. When he afterwards became a sort of household
+word and his fame, or notoriety as his enemies called it, was
+established, he never changed in this respect. He made friends and
+remained friends with many for whom his art was totally unintelligible.
+Social charm triumphed over all differences. He would speak with
+enthusiasm about writers and artists quite out of sympathy with his
+own aims and aspirations. He never assumed that those to whom he was
+introduced either knew or admired his work. His character was brisk
+and virile to an extraordinary degree. He made enemies, I believe,
+by refusing to revolve in mutual admiration societies or to support
+literary and artistic cliques. With the shadow of death always over
+him and conscious of the brief time before him, he never gave himself
+up to morbid despair or useless complaints. He determined to enjoy life,
+and, equipped with all the curiosity and gaiety of boyhood, he caught
+at life's exquisite moments. There was always a very deep and sincere
+religious vein in his temperament, only noticeable to very intimate
+friends. With all his power of grasping the essential and absorbing
+knowledge, he remained charmingly unsophisticated. He took people as
+they came, never discriminating, perhaps, sufficiently the issues of
+life. He was unspoiled by success, unburdened with worldly wisdom.
+He was generous to a fault, spending his money lavishly on his friends
+to an extent that became almost embarrassing.
+
+[Illustration: THE TOILETTE OF SALOME
+  _From "Salome"_]
+
+His love and knowledge of books increased rather than diminished even
+after he devoted himself entirely to art. In early days he would
+exchange his drawings for illustrated books and critical texts of the
+English classics with Mr Frederick Evans, an early and enthusiastic
+buyer of his work. His tastes were not narrow. Poetry, memoirs, history,
+short stories, biography, and essays of all kinds appealed to him; but
+he cared little for novels, except in French. I don't think he ever
+read Dickens, Thackeray, and George Eliot, though he enjoyed Scott
+during the last months of his life. He had an early predilection for
+lives of the Saints. The scrap-book of sketches, containing drawings
+done prior to 1892, indicates the range and extent of his taste. There
+are illustrations to "Manon Lescaut," "Tartarin," "Madame Bovary,"
+Balzac ("Le Cousin Pons," the "Contes Drôlatiques"), Racine, Shelley's
+"Cenci." He retained his love of the drama, and began to write a play in
+collaboration with Mr Brandon Thomas. While dominated by pre-Raphaelite
+influences, he read with great avidity "Sidonia the Sorceress," and "The
+Shaving of Shagpat," a favourite book of Rossetti's; and it was with a
+view to illustrate Mr Meredith's Arabian Night that he became introduced
+to Mr John Lane, who divides with Mr Herbert Pollit the honour of
+possessing the finest Beardsleys still in this country. He read Greek
+and Latin authors in translations, and often astonished scholars by his
+acute appreciation of their matter. He approached Dantesque mediævalism
+through Rossetti and, later on, at the original source. Much of his
+early work illustrated incidents in the "Divine Comedy." He was a
+fervent admirer of the "Romance of the Rose" in the original, and
+several mediæval French books, but he once told me that he found the
+"Morte d'Arthur" very long-winded.
+
+[Illustration: THE DANCER'S REWARD
+  _From "Salome"_]
+
+For one so romantic in the expression of his art, I should say his
+literary and artistic tastes were severely classic, though you would
+have expected them to be bizarre. He was ambitious of literary success,
+but any aspirations were wisely discouraged by his admirers. His
+writings, however brilliant--and they often were brilliant--shewed a
+dangerous cleverness, which on cultivation might have proved disastrous
+to the realization of his true genius. "Under the Hill" is a delightful
+experiment in a rococo style of literature, and it would be difficult to
+praise sufficiently the rhythm and metrical adroitness of the two poems
+in the Savoy Magazine. Though I cannot speak of his musical attainments,
+it may be regarded as fortunate that so remarkable a genius was directed
+to a more permanent form of executive power.
+
+His knowledge of life, art, and literature seemed the result of instinct
+rather than study; for no one has ever discovered where he found the
+time or opportunity for assimilating all he did. Gregarious and sociable
+by nature, he was amusingly secretive about his methods and times of
+work. Like other industrious men, he never pretended to be busy or
+pressed for time. He never denied his door to callers, nor refused to
+go anywhere on the plea of "work."
+
+He disliked anyone being in the room when he was drawing, and hastily
+hid all his materials if a stranger entered the room. He would rarely
+exhibit an unfinished sketch, and carefully destroyed any he was not
+thoroughly satisfied with himself. He carried this sensitive spirit
+of selection and self-criticism rather far. Calling on friends who
+possessed primitives, he would destroy these early relics and leave a
+more mature and approved specimen of his art, or the _édition de luxe_
+of some book he had illustrated. Some of us were so annoyed that we were
+eventually obliged to lock up all early examples. For though friends
+thus victimized were endowed with a more valuable acquisition, they had
+a natural sentiment and affection for the unsophisticated designs of
+his earlier years.
+
+[Illustration: TAILPIECE
+  _From "Salome"_]
+
+His life, though many-sided and successful, was outwardly uneventful.
+In the early summer of 1892 he entered Professor Brown's night school
+at Westminster, but during the day continued his work at the Guardian
+Fire Insurance until August, when, by his sister's advice, he resigned
+his post. In December he acquainted with Mr Pennell, from whose
+encouragement and advice he reaped the fullest advantage. After
+commencing the decorations to the "Morte d'Arthur," he ceased to attend
+Professor Brown's classes. In February 1893 some of his drawings were
+first published in London in the Pall Mall Budget under the editorship
+of Mr Lewis Hind, but one of the most striking of his early designs
+appeared in a little college magazine entitled The Bee. When The Studio
+was started by Mr Charles Holme under the able direction of the late
+Gleeson-White, Beardsley designed the first cover and Mr Pennell
+contributed the well-known appreciation of the new artist.
+
+Towards the end of 1893 he commenced working for Mr John Lane, who
+issued his marvellous illustrations to "Salomé" in 1894. In April of the
+same year appeared the Yellow Book. To the first four volumes Beardsley
+contributed altogether about eighteen illustrations. From a pictorial
+point of view this publication had no other _raison d'être_ than as a
+vehicle for the production of Beardsley's work, though Henry Harland,
+in his capacity as literary editor, revealed the presence of many new
+writers among us. Throughout 1894 Beardsley's health seemed to improve,
+and his social success was considerable. In the previous year he had
+been ridiculed, but now the world accepted him at Mr Pennell's
+valuation. The Beardsley type became quite a fashion, and was burlesqued
+at many of the theatres; his name and work were on everyone's lips. He
+made friends with many of his contemporaries distinguished in art and
+literature. At the house of one of his friends he delivered a very
+amusing lecture on "Art" which created much discussion.
+
+A little later Beardsley was popularly supposed to have given pictorial
+expression to the views and sentiments of a certain school, and his
+drawings were regarded as the outward artistic sign of inward literary
+corruption. This is not the place to discuss the invention of a mare's
+nest. He suffered considerably by this premature attempt to classify his
+art. Further efforts to ridicule his work and suppress its publication
+were, however, among the most cheering failures of modern journalism.
+In 1895 he ceased to contribute to the Yellow Book, and in January 1896
+The Savoy was started by Leonard Smithers, with Mr Arthur Symons as the
+literary editor, who became the most subtle and discerning of all his
+critics after Beardsley's death. Failing health was the only difficulty
+with which he had to contend in the future. From March 1896, when he
+caught a severe chill at Brussels, he became a permanent invalid. He
+returned to England in May, and in August went to Bournemouth, where
+he spent the autumn and winter.
+
+Those who visited him at Bournemouth never expected he would live for
+more than a few weeks. His courage, however, never failed him, and
+he continued work even while suffering from lung hæmorrhage; but he
+expressed a hope and belief, in which he was justified, that he might
+be spared one more year. On March 31st, 1897, he was received into the
+Catholic Church. The sincerity of his religious convictions has been
+affirmed by those who were with him constantly; and, as I have suggested
+before, the flippancy and careless nature of his conversation were
+superficial: he was always strict in his religious observances. Among
+his intimate friends through life were clergymen and priests who have
+paid tribute to the reality and sincerity of his belief.
+
+A week after being received, Beardsley rallied again, and moved to
+Paris, but still required the attention and untiring devotion of his
+mother, to whom he was deeply attached. He never returned to England
+again. From time to time he was cheered by visits from Miss Mabel
+Beardsley (Mrs Bealby Wright), who understood her brother as few sisters
+have done. For some time he stayed at St Germain, and in July 1897 he
+went to Dieppe, where he seemed almost to have recovered. It was only,
+however, for a short time, and in the end of 1897 he was hurried to
+Mentone. He never left his room after January 25th. The accounts of him
+which reached London prepared his friends for the end. Almost one of his
+last letters was to Mr Vincent O'Sullivan, the poet, congratulating him
+on his Introduction to "Volpone," for which Beardsley was making the
+illustrations. Beardsley had a considerable knowledge and appreciation
+of Ben Jonson.
+
+[Illustration: FRONTISPIECE
+  _From "Plays" by John Davidson_]
+
+On March 23rd, 1898, he received the last sacraments; and on the 25th,
+with perfect resignation, in the presence of his mother and sister, to
+whom he had confided messages of love and sympathy to his many friends,
+Aubrey Beardsley passed away.
+
+  "Come back in sleep, for in the life
+    Where thou art not
+  We find none like thee. Time and strife
+    And the world's lot
+
+  Move thee no more: but love at least
+    And reverent heart
+  May move thee, royal and released
+    Soul, as thou art."
+
+No one could have wished him to live on in pain and suffering. I think
+the only trials of his life were the periods in which he was unfitted
+for work. His remarkable career was not darkened by any struggle for
+recognition. Few artists have been so fortunate as Aubrey Beardsley.
+His short life was remarkably happy--at all events during the six years
+he was before the public. Everything he did met with success--a success
+thoroughly enjoyed by him. He seemed indifferent to the idle criticism
+and violent denunciation with which much of his art was hailed. I never
+heard of anyone of importance who disliked him personally; on the other
+hand, many who were hostile and prejudiced about his art ceased to
+attack him after meeting him. This must have been due to the magnetism
+and charm of his individuality, exercised quite unconsciously, for he
+never tried to conciliate people, or "to work the oracle," but rather
+gloried in shocking "the enemy," a boyish failing for which he may be
+forgiven.
+
+[Illustration: THE WAGNERITES]
+
+He had considerable intellectual vanity, but it never relapsed into
+common conceit. He was generous in recognizing the talent and genius of
+others, but was singularly perverse in some of his utterances. He said
+once that only four of his contemporaries interested him. He bore with
+extraordinary patience the assertions of foolish persons who calmly
+asserted that both in America and England other artists had anticipated
+the peculiarities of his style and methods. I have seen the works of
+these Lambert Simnels and Perkin Warbecks, and they proved, one and all,
+crows in peacocks' feathers. Beardsley's style, nevertheless, influenced
+(unfortunately, I think) many excellent artists both younger and older
+than himself. In France his work was accepted without question: he was
+always gratified by the cordiality which greeted him in a country where
+he was more generally understood than in his own. He has illustrious
+precedents in Constable and Bonnington. Italy, Austria, and Germany
+recognized in him a master some time before his death. At Berlin his
+picture of _Mrs Patrick Campbell_, the actress, is now in a place of
+honour in the Museum. A portrait study of himself is in the British
+Museum Print Room; a few examples are at South Kensington; but all his
+important work is in private collections; much of it is in America and
+Germany. In England, putting aside the notoriety and sensation caused
+by his posters and the Yellow Book, appreciation of his work has been
+confined rather to the few. He enjoyed, however, the friendship and
+intimacy of great numbers of people, shewing that his amiable qualities,
+no less than his art, received due recognition. His conversation was
+vehement and witty rather than humorous. He had a remarkable talent for
+mimicking, very rarely exercised. He loved argument, and supported
+theories for the sake of argument in the most convincing manner, leaving
+strangers with a totally wrong impression about himself, a deception to
+which he was much addicted. He possessed what is called an artificial
+manner, cultivated to an extent that might be mistaken for affectation.
+He never could sit still for very long, and he made use of gesture for
+emphasis. His peculiar gait has been very happily rendered in a portrait
+of him by Mr Walter Sickert; he also sat to M. Blanche, the well-known
+French portrait painter; the portrait by himself is tinged with
+caricature.
+
+       *       *       *       *       *
+
+To estimate the art of Aubrey Beardsley is not difficult. That his
+drawings must excite discussion at all times is only a proof of their
+lasting worth. They can never be dismissed with unkindly comment, nor
+shelved into the limbo of art criticism which waits for many blameless
+and depressing productions of the eighteenth and nineteenth centuries.
+Among artists and men of letters no less than with that great inartistic
+body, "the art-loving public," Aubrey Beardsley's name will always call
+forth wonder, admiration, speculation, and contempt. It should be
+conceded, however, that his work cannot appeal to everyone; and that
+many who have the highest perception of the beautiful see only the
+repulsive and unwholesome in the troubled, exotic expression of his
+genius. Fortunately, no reputation in art or letters rests on the
+verdict of majorities--it is the opinion of the few which finally
+triumphs. Artists and critics have already dwelt on the beauty of Aubrey
+Beardsley's line, which in his early work too often resolved itself into
+mere caligraphy; but the mature and perfect illustrations to "Salomé"
+and "The Rape of the Lock" evince a mastery unsurpassed by any artist in
+any age or country. No one ever carried a simple line to its inevitable
+end with such sureness and firmness of purpose. And this is one of
+the lessons which even an accomplished draughtsman may learn from
+his drawings, in any age when scraggy execution masquerades under
+impressionism. Aubrey Beardsley did not shirk a difficulty by leaving
+lines to the imagination of critics, who might enlarge on the reticence
+of his medium. Art cant and studio jargon do not explain his work. It
+is really only the presence or absence of beauty in his drawing, and
+his wonderful powers of technique which need trouble his admirers or
+detractors. Nor are we confronted with any conjecture as to what Aubrey
+Beardsley might have done--he has left a series of achievements. While
+his early death caused deep sorrow among his personal friends, there
+need be no sorrow for an "inheritor of unfulfilled renown." Old age
+is no more a necessary complement to the realization of genius than
+premature death. Within six years, after passing through all the
+imitative stages of probation, he produced masterpieces he might have
+repeated but never surpassed. His style would have changed. He was
+too receptive and too restless to acquiesce in a single convention.
+
+[Illustration: ATALANTA]
+
+This is hardly the place to dwell on the great strides which black and
+white art made in the nineteenth century. It has been called the most
+modern of the arts; for the most finished drawings of the old masters
+were done with a view to serve as studies or designs to be transferred
+to canvas, metal, and wood, not for frames at an expensive dealer's.
+Vittore Pisano and Gentile Bellini would hardly have dared to mount
+their delightful studies and offer them as pictures to the critics
+and patrons of their day. At all events it were safer to say, that
+appreciation of a drawing for itself, without relation to the book or
+page it was intended to adorn or destroy, is comparatively modern. It is
+necessary to keep this in mind, because the suitability of Beardsley's
+work to the books he embellished was often accidental. His designs
+must be judged independently, as they were conceived, without any view
+of interpreting or even illustrating a particular author. He was too
+subjective to be a mere illustrator. Profoundly interested in literature
+for the purposes of his art, he only extracted from it whatever was
+suggestive as pattern; he never professed to interpret for dull people,
+unable to understand what they read, any more than the mediæval
+illuminator and carver of grotesques attempted to explain the mysteries
+of the Christian faith on the borders of missals and breviaries or
+the miserere seats of the choir. His art was, of course, intensely
+_literary_, to use the word hated of modern critics, but his expression
+of it was the legitimate literature of the artist, not the art peculiar
+to literature. He did not attempt, or certainly never succeeded in
+giving, pictorial revision to a work of literature in the sense that
+Blake has done for the book of Job, and Botticelli for the "Divine
+Comedy." While hardly satisfying those for whom any work of art guilty
+of "subject" becomes worthless, this immunity from the conventions of
+the illustrator will secure for Beardsley a larger share of esteem among
+artists pure and simple than has ever fallen to William Blake, who
+appeals more to men of letters than to the artist or virtuoso. The
+uncritical profess to find many terrible meanings in Aubrey Beardsley's
+drawings; and he will probably never be freed from the charge of
+symbolism. However morbid the sentiment in some of his work, and often
+there was a _macabre_, an unholy insistence on the less beautiful side
+of human things, the cabala of the symbolists was a sealed book to
+him. Such things were entirely foreign to his lucid and vigorous
+intelligence. There is hardly a drawing of his that does not explain
+itself; the commentator will search in vain for any hieroglyphic or
+symbolic intention. The hieratic archaism of his early work misled many
+people, for whom pre-Raphaelitism means presupposition. Of mysticism,
+that stumbling-block, he had none at all. "_The Initiation of a Neophyte
+into the Black Art_" would seem to contradict such a statement. The
+fantasy and grotesqueness of that lurid and haunting composition have
+nothing in common with the symbolism of black magic, the ritual of
+freemasonry, or all the fascinating magic to be found in the works of
+Eliphaz Levi. The sumptuous accessories in which he revelled had no
+other than a decorative intention, giving sometimes balance to a
+drawing, or conveying a literary suggestion necessary for its
+interpretation.
+
+Artists are blamed for what they have not tried to do; or for the
+absence of qualities distinguishing the work of an entirely different
+order of intellect; for their indifference to the observations of
+_others_. As who should ask from Reynolds a faithful reproduction of
+textile fabrics; and from Carlo Crivelli the natural phenomena of nature
+we expect from Turner and Constable? For nature as it should be, in
+the works of Corot and Turner; for nature made easy, in modern English
+landscape; for nature without tears, in the impressionist fashion, or as
+popularly viewed through the camera, Aubrey Beardsley had no feeling. He
+was frankly indifferent to picturesque peasants, the beauties of "lovely
+spots," either in England or France. A devout Catholic, the ringing of
+the Angelus did not lure him to present fields of mangel-wurzels in an
+evening haze. The treatment of nature in the larger and truer sense of
+the word had little attraction for him; he never tried, therefore, to
+represent air, atmosphere, and light, as many clever modern artists have
+done in black and white! Though Claude, that master of light and shadow,
+was a landscape painter who really interested him. Beardsley's
+landscape, therefore, is formal, primitive, conventional; a breath of
+air hardly shakes the delicate leaves of the straight poplars and
+willows that grow by his serpentine streams. The great cliffs, leaning
+down in promontories to the sea, have that unreal, architectural
+appearance so remarkable in the West of Cornwall, a place he had never
+visited. Yet his love and observation of flowers, trees, and gardens
+are very striking in the drawings for the "Morte d'Arthur" and the
+Savoy Magazine, but it is the nature of the landscape gardener,
+not the landscape painter. There is some truth in the half-playful,
+half-unfriendly criticism, that his pictures were a form of romantic
+map-making. Future experts, however, may be trusted to deal with
+absence of chiaroscuro, values, tones, and the rest. In only one of his
+drawings, conceived, curiously enough, in the manner of Burne-Jones (an
+unlikely model), is there anything approaching what is usually termed
+atmosphere. Eliminating, therefore, all that must not be expected from
+his art--mere illustration, realism, symbolism and naturalism--in what,
+may be asked, does his supreme achievement consist? He has decorated
+white sheets of paper as they have never been decorated before; whether
+hung on the wall, reproduced in a book, or concealed in a museum, they
+remain among the most precious and exquisite works in the art of the
+nineteenth century, resembling the designs of William Blake only--in
+that they must be hated, misunderstood, and neglected, ere they are
+recognized as works of a master. With more simple materials than those
+employed by the fathers of black and white art, Beardsley has left
+memorials no less wonderful than those of the Greek vase-painters, so
+highly prized by artists and archæologists alike, but no less difficult
+for the uninitiated to appreciate and understand.
+
+[Illustration: THE MYSTERIOUS ROSE GARDEN]
+
+The astonishing fertility of his invention, and the amount of work he
+managed to produce, were inconceivable; yet there is never any sign of
+hurry: there is no scamping in his deft and tidy drawing. The neatness
+of his most elaborate designs would suggest many sketches worked over
+and discarded before deciding on the final form and composition. Strange
+to say, this was not his method. He sketched everything in pencil, at
+first covering the paper with apparent scrawls, constantly rubbed out
+and blocked in again, until the whole surface became raddled from
+pencil, indiarubber, and knife; over this incoherent surface he worked
+in Chinese ink with a gold pen, often ignoring the pencil lines,
+afterwards carefully removed. So every drawing was invented, built up,
+and completed on the same sheet of paper. And the same process was
+repeated even when he produced replicas. At first he was indifferent to
+process reproduction, but, owing to Mr Pennell's influence, he later on
+always worked with that end in view; thereby losing, some will think,
+his independence. But he had nothing to complain of--Mr Pennell's
+contention about process was never so well proved as in Beardsley's
+case. His experiments in colour were not always successful, two of
+his most delightful designs he ruined by tinting. In the posters and
+Studio lithograph, however, the crude colour is highly effective, and
+"_Mademoiselle de Maupin_" shewed he might have mastered water-colour
+had he chosen to do so. There are at present in the market many coloured
+forgeries of his work: these have been contrived by tracing or copying
+the reproductions; the colour is often used to conceal the paucity of
+the drawing and hesitancy of line; they are nearly always versions of
+well-known designs, and profess to be replicas. When there _is_ any
+doubt the history and provenance of the work should be carefully
+studied. It is not difficult to trace the pedigree of any _genuine_
+example.
+
+[Illustration: FRONTISPIECE
+  _From "A Nocturne of Chopin"_]
+
+A good deal has been made out of Beardsley's love of dark rooms and lamp
+light, but this has been grossly exaggerated. He had no great faith in
+north lights and studio paraphernalia, so necessary for those who use
+mediums other than his own. He would sometimes draw on a perfectly flat
+table, facing the light, which would fall directly on the paper, the
+blind slightly lowered.
+
+The sources of Beardsley's inspiration have led critics into grievous
+errors. He was accused of imitating artists, some of whose work he had
+never seen, and of whose names he was ignorant at the time the alleged
+plagiarism was perpetrated--Félicien Rops may be mentioned as an
+instance. Beardsley contrived a style long before he came across any
+modern French illustration. He was innocent of either Salon, the
+Rosicrucians, and the Royal Academy alike; but his own influence on the
+Continent is said to be considerable. That he borrowed freely and from
+every imaginable master, old and new, is, of course, obvious. Eclectic
+is certainly applicable to him. But what he took he endowed with a
+fantastic and fascinating originality; to some image or accessory,
+familiar to anyone who has studied the old masters, he added the touch
+of modernity which brings them nearer to us, and reached refinements
+never thought of by the old masters. Imagination is the great pirate
+of art, and with Beardsley becomes a pretext for invention.
+
+Prior to 1891 his drawings are interesting only for their precocity;
+they may be regarded, as one of his friends has said, more as a presage
+than a precedent. You marvel, on realizing the short interval which
+elapsed between their production and the masterpieces of his maturity.
+His first enthusiasm was for the work of the Italian primitives, as Mr
+Charles Whibley says, distinguished "for its free and flowing line."
+Even at a later time, when he devoted himself to eighteenth century
+models and ideals, his love of Andrea Mantegna never deserted him. He
+always kept reproductions from Mantegna at his side, and declared that
+he never ceased to learn secrets from them. In the "_Litany of Mary
+Magdalen_" and the two versions of "_Joan of Arc_" this influence
+is very marked. A Botticelli phase followed, and though afterwards
+discarded, was reverted to at a later period. The British Museum and the
+National Gallery were at first his only schools of art. As a matter of
+course, Rossetti and Burne-Jones, but chiefly through photographs and
+prints, succeeded in their turn; the influence of Burne-Jones lasting
+longer than any other.
+
+Fairly drugged with too much observation of old and modern masters, he
+entered Professor Brown's art school, where he successfully got rid
+of much that was superfluous. The three months' training had the most
+salutary effect. He now took the advice attributed to Burne-Jones, and
+unlearned much of his acquired pedantry. The mere penmanship which
+disfigured some of his early work entirely disappeared. His handling
+became finer, his drawing less timid. The sketch of _Molière_, it may
+be interesting to note, belongs to this period of his art.
+
+[Illustration: Chopin. Ballade III. Op. 47
+  _Reproduced by permission of Charles Holme, Esqre._]
+
+A few months afterwards, he commenced the "Morte d'Arthur." Suggested
+and intended to rival the volumes of the Kelmscott Press, it is his
+most popular and least satisfactory performance. Still the borders have
+far more variety and invention than those of Morris; the intricate
+splendours of mediæval manuscripts are intelligently imitated or
+adapted. The initial- and tail-pieces are delightful in themselves, and
+among the most exquisite of his grotesques and embellishments. But the
+popularity of the book was due to its lack of originality, not to its
+individuality. Mediævalism for the middle classes always ensures an
+appreciative audience. Oddly enough, Morris was said to be annoyed by
+the sincerest form of flattery. Perhaps he felt that every school of art
+comes to an end with the birth of the founder, and that Beardsley was
+only exercising himself in an alien field of which Morris himself owned
+the tithe. At all events it is not unlikely that Beardsley aroused in
+the great poet and decorator the same suspicion that he had undoubtedly
+done in Watts.
+
+The "Morte d'Arthur" may be said, for convenience, to close Aubrey
+Beardsley's first period; but he modified his style during the progress
+of the publication, and there is no unity of intention in his types or
+scheme of decoration. He was gravitating Japanwards. He began, however,
+his so-called Japanesques long before seeing any real Japanese art,
+except what may be found in the London shop windows on cheap trays
+or biscuit-boxes. He never thought seriously of borrowing from this
+source until some one not conversant with Oriental art insisted on the
+resemblance of his drawings to Kakemonos. It was quite accidental.
+Beardsley was really studying with great care and attention the
+Crivellis in the National Gallery; their superficial resemblance to
+Japanese work occasioned an error from which Beardsley, quick to
+assimilate ideas and modes of expression, took a suggestion,
+unconsciously and ignorantly offered, and studied genuine examples.
+"_Raphael Sanzio_" (first version) was produced prior to this incident,
+and "_Madame Cigale's Birthday Party_" immediately afterwards. His
+emulation of the Japanese never left him until the production of the
+Savoy Magazine. In my view this was the only bad artistic influence
+which ever threatened to endanger his originality, or permanently
+vitiate his manner. The free use of Chinese ink, together with his
+intellectual vitality, saved him from "succumbing to Japan," to use
+Mr Pennell's excellent phrase.
+
+[Illustration: THE BARON'S PRAYER
+  _From "The Rape of the Lock"_]
+
+A series of grotesques to decorate some rather silly anthologies
+produced in the same year as the "Morte d'Arthur" are marvels of
+ingenuity, and far more characteristic. With them he began a new period,
+throwing over the deliberate archaism and mediævalism, of which he began
+to tire. In the illustrations to "Salomé," he reached the consummation
+of the new convention he created for himself; they are, collectively,
+his masterpiece. In the whole range of art there is nothing like them.
+You can trace the origin of their development, but you cannot find
+anything wherewith to compare them; they are absolutely unique. Before
+commencing "Salomé" two events contributed to give Beardsley a fresh
+impetus and stimulate his method of expression: a series of visits
+to the collection of Greek vases in the British Museum (prompted by
+an essay of Mr D. S. McColl), and to the famous Peacock Room of Mr
+Whistler, in Prince's Gate--one the antithesis of Japan, the other
+of Burne-Jones. Impressionable at all times to novel sensations, his
+artistic perceptions vibrated with a new and inspired enthusiasm.
+Critical appreciation under his pen meant creation. From the Greek
+vase painting he learned that drapery can be represented effectually
+with a few lines, disposed with economy, not by a number of unfinished
+scratches and superfluous shading. If the "Salomé" drawings have any
+fault at all, it is that the texture of the pictures suggests some other
+medium than pen and ink, as Mr Walter Crane has pointed out in his other
+work. They are wrought rather than drawn, and might be designs for the
+panel of a cabinet, for Limoges or Oriental enamel. "The Rape of the
+Lock" is, therefore, a more obvious example of black and white art.
+Beardsley's second period lasted until the fourth volume of the Yellow
+Book, in which the "_Wagnerites_" should be mentioned as one of the
+finest. In 1896 Beardsley, many people think to the detriment of his
+style, turned his attention to the eighteenth century, in the literature
+of which he was always deeply interested. Eisen, Moreau, Watteau,
+Cochin, Pietro Longhi, now became his masters. The alien romantic art
+of Wagner often supplied the theme and subject. The level of excellence
+sustained throughout the Savoy Magazine is extraordinary, in view of the
+terrible state of his health. His unexampled precision of line hardly
+ever falters; and while his composition gains in simplicity, his
+capacity for detail has not flagged. It is, perhaps, an accident that
+in his most pathetic drawing, "_The Death of Pierrot_," his hand seems
+momentarily to have lost its cunning. The same year he gave us "The Rape
+of the Lock," regarded by some artists as the testament of his genius;
+and an even more astonishing set of drawings to the "Lysistrata" of
+Aristophanes. These are grander than the "Rape of the Lock," and larger
+in treatment than anything he ever attempted. Privately issued,
+Beardsley was able to give full rein to a Rabelaisian fantasy, which he
+sometimes cultivated with too great persistence. Irritated by what he
+considered as over-niceness in some of his critics, he seemed determined
+to frighten his public. There is nothing unwholesome or suggestive about
+the "Lysistrata" designs: they are as as frank, free, and outspoken as
+the text. For the countrymen of Chaucer to simulate indignation about
+them can only be explained "because things seen are greater than things
+heard." Yet, when an artist frankly deals with forbidden subjects, the
+old canons regular of English art begin to thunder, the critics forget
+their French accent; the old Robert Adam, which is in all of us, asserts
+himself; we fly for the fig-leaves. A real artist, Beardsley has not
+burdened himself with chronology or archæology. Conceived somewhat in
+the spirit of the eighteenth century, the period of graceful indecency,
+there is here, however, an Olympian air, a statuesque beauty, only
+comparable to the antique vases. The illusion is enhanced by the absence
+of all background, and this gives an added touch of severity to the
+compositions.
+
+Throughout 1896 the general tendency his style remains uniform, though
+without sameness. He adapted his technique to the requirements of his
+subject. Mindful of the essential, rejecting the needless, he always
+realized his genius and its limitations. From the infinite variety
+of the Savoy Magazine it is difficult to choose any of particular
+importance: for his elaborate manner, the first plate to "_Under the
+Hill_"; and in a simpler style, the fascinating illustration to his own
+poem, "_The Barber_"; "_Ave Atque Vale_" and "_The Death of Pierrot_"
+have, besides, a human interest over and above any artistic quality
+they possess. For the "Volpone" drawings Beardsley again developed
+his style, and seeking for new effects, reverted to pure pencil work.
+The ornate, delicate initial letters, all he lived to finish, must be
+seen in the originals before their sumptuous qualities, their solemn
+melancholy dignity, their dexterous handling, can be appreciated. The
+use of a camel's-hair brush for the illustrations to "_Mademoiselle de
+Maupin_," one of his last works, should be noted, as he so rarely used
+one. Beardsley's invention never failed him, so that it is almost
+impossible to take a single drawing, or set of drawings, as typical of
+his art. Each design is rather a type of his own intellectual mood.
+
+[Illustration: THE BATTLE OF BEAUX AND BELLES
+  _From "The Rape of the Lock"_]
+
+If the history of grotesque remains to be written, it is already
+illustrated by his art. A subject little understood, it belongs to the
+dim ways of criticism. There is no canon or school, and the artist is
+allowed to be wilful, untrammelled by rule or precedent. True grotesque
+is not the art either of primitives or decadents, but that of skilled
+and accomplished workmen who have reached the zenith of a peculiar
+convention, however confined and limited that convention may be.
+Byzantine art, one of our links with the East, should some day furnish
+us with a key to a mystery which is now obscured by symbolists and
+students of serpent worship. The Greeks, with their supreme sanity and
+unrivalled plastic sense, afford us no real examples, though their
+archaic art is often pressed into the category. Beardsley, who received
+recognition for this side of his genius, emphasized the grotesque to
+an extent that precluded any popularity among people who care only for
+the trivial and "pretty." In him it was allied to a mordant humour, a
+certain fescennine abstraction which sometimes offends: this, however,
+does not excuse the use of the word "eccentric," more misapplied than
+any word in the English language, except perhaps "grotesque" and
+"picturesque." All great art is eccentric to the conservative multitude.
+The decoration on the Parthenon was so eccentric that Pheidias was put
+in prison. The works of Whistler and Burne-Jones, once derided as
+eccentric, are now accepted as the commencement of great traditions.
+All future art will be dubbed eccentric, trampled on, and despised;
+even as the first tulip that blossomed in England was rooted out
+and burnt for a worthless weed by the conscientious Scotch gardener.
+
+[Illustration: A DESIGN FROM "LYSISTRATA"]
+
+To compare Beardsley with any of his contemporaries would be unjust to
+them and to him. He belonged to no school, and can leave no legend, in
+the sense that Rossetti, Whistler, and Professor Legros have done; he
+proclaimed no theory; he left no counsel of perfection to those who
+came after him. In England and America a horde of depressing disciples
+aped his manner with a singular want of success; while admirable and
+painstaking artists modified their own convictions in the cause of
+unpopularity with fatal results. The sensuous charm of Beardsley's
+imagination and his mode of expression have only a superficial
+resemblance to the foreign masters of black and white. He continued
+no great tradition of the 'sixties; has nothing in common with the
+inventive and various genius of Mr Charles Ricketts; nothing of the
+pictorial propriety that distinguishes the work of his friend, Mr
+Pennell, or the homogeneous congruity of Boyd Houghton, Charles Keene,
+and Mr Frederic Sandys. He made use of different styles where other
+men employed different mediums. Unperplexed by painting or etching
+or lithography, he was satisfied with the simplest of all materials,
+attaining therewith unapproachable executive power. Those who cavil
+at his flawless technique ignore the specific quality of drawing
+characterising every great artist. The grammar of art exists only to be
+violated. Its rules can be learnt by anyone. Those who have no artistic
+perception invariably find fault with the perspective, just as those
+who cannot write a well-balanced sentence are always swift to detect
+faults in grammar or spelling. There are, of course, weaknesses in
+the extremities of Beardsley's figures--the hands and feet being
+interruptions rather than continuations of the limbs. Occasional
+carelessness in this respect is certainly noticeable, and the structure
+of his figures is throughout capricious. It was no fault in his early
+work; the hands and feet in the "_Joan of Arc_," if crude and
+exaggerated, being carefully modelled. While the right hand of "Salomé"
+in "_The Dancer's Reward_," grasping the head of the Baptist, is
+perfectly drawn, the left is feeble, when examined closely. For sheer
+drawing nothing can equal the nude figure in the colophon to "Salomé."
+The outstretched, quivering hands of _Ali Baba_ are intentionally
+rendered larger than proportion allows, to render dramatic expression,
+not reality. For the purpose of effect he adapted proportions, realizing
+that perfect congruity and reality are irreconcilable. None of the
+figures in the dramatic "_Battle of Beaux and Belles_" could sit on
+the fallen chair in the foreground.
+
+There is no need to disturb ourselves with hopes and fears for the
+estimation with which posterity will cherish his memory; art history
+cannot afford to overlook him; it could hardly resist the pretext of
+moralising, expatiating and explaining away so considerable a factor
+in the book illustration of the nineties. As a mere comment on the
+admirations of the last twenty years of the nineteenth century,
+Beardsley is invaluable; he sums up all the delightful manias, all that
+is best in modern appreciation--Greek vases, Italian primitives, the
+"Hypnerotomachia," Chinese porcelain, Japanese Kakemonos, Renaissance
+friezes, old French and English furniture, rare enamels, mediæval
+illumination, the _débonnaire_ masters of the eighteenth century, the
+English pre-Raphaelites. There are differences of kind in æsthetic
+beauty, and for Beardsley it was the marriage of arabesque to figures
+and objects comely or fantastic, or in themselves ugly. For hitherto
+the true arabesque abhorred the graven image made of artists' hands.
+To future draughtsmen he will have something of the value of an old
+master, studied for that fastidious technique which critics believed to
+be a trick; and collectors of his work may live to be rallied for their
+taste; but the wheat and the chaff contrive to exist together through
+the centuries.
+
+A passing reference should be made to the Beardsley of popular
+delusion. A student of Callot and Hogarth, he took suggestions from
+the age in which he lived and from the literature of English and French
+contemporaries, but with no implicit acceptance of the tenets of any
+groups or schools which flutter the dove-cots of Fleet Street. He stood
+apart, independent of the shibboleths of art and literature, with the
+grim and sometimes mocking attention of a spectator. He revealed rather
+than created a feminine type, offering no solution for the problems of
+Providence.
+
+[Illustration: D'ALBERT IN SEARCH OF IDEALS
+  _From "Mademoiselle de Maupin." Reproduced from the original in the
+  possession of Mrs. Bealby Wright_]
+
+Applying the epithet "original" to an art so intensely reminiscent, so
+ingeniously retrospective, might seem paradoxical to those unacquainted
+with Beardsley's more elegant achievements. His is not the originality
+of Corot and Whistler, with a new interpretation of nature, another
+scheme of art and decoration, but rather the scholarly originality
+of the Carracci--a scholarship grounded on a thousand traditions and
+yet striking an entirely new note in art. In his imagination, his
+choice of motive, his love for inanimate nature, his sentiment for
+accessory,--rejected by many modern artists, still so necessary to the
+modern temper,--his curious type, which quite overshadowed that of
+the pre-Raphaelites, the singular technical qualities at his command,
+Beardsley has no predecessors, no rivals. Who has ever managed to
+suggest such colour in masses of black deftly composed? Reference to the
+text is unnecessary to learn that the hair of Herodias was purple. His
+style was mobile, dominating over, or subordinate to the subject, as his
+genius dictated. He twisted human forms, some will think, into fantastic
+peculiar shapes, becoming more than romantic--antinomian. He does not
+appeal to experience but to expression. The tranquil trivialities of
+what is usually understood by the illustration of books had no meaning
+for him; and before any attempt is made to discriminate and interpret
+the spirit, the poetical sequence, the literary inspiration which
+undoubtedly existed throughout his work, side by side with technical
+experiments, his exemption from the parallels of criticism must be
+remembered duly.
+
+
+
+
+LIST OF DRAWINGS BY AUBREY BEARDSLEY
+
+COMPILED BY AYMER VALLANCE
+
+
+
+
+LIST OF DRAWINGS BY AUBREY BEARDSLEY
+
+
+JUVENILIA
+
+1. A CARNIVAL. Long procession of many figures in fifteenth
+    and sixteenth century costume. Water-colour drawing. Unpublished.
+    Given by the artist to his grandfather, the late Surgeon-Major
+    William Pitt. _c._ 1880.
+
+2. THE JACKDAW OF RHEIMS, set of illustrations to the poem.
+    Unpublished. _c._ 1884.
+
+3. VIRGIL'S "ÆNEID," nine comic illustrations to Book II.
+    The title-page, written in rough imitation of printing, with the
+    Artist's naïf and inaccurate spelling, is as follows:--ILLUSTRATIONES
+    DE | LIBER SECUNDUS | ÆNEIDOS | PUBLIUS WIRGIUS MARONIS | by |
+    Beardslius | de | Brightelmstoniensis. The illustrations are
+    entitled:----
+
+    I. Laocoon hurleth his spear against the horse.
+   II. Laocoon and son crunched up.
+  III. Little July tries to keep up with Papa. Old Father Anchises
+        sitteth on Papa's shoulders and keeps a good look-out.
+   IV. Parvi Iulus.
+    V. Helen.
+   VI. Panthus departs, bag and baggage.
+  VII. Sinon telleth his tale unto King Priam.
+ VIII. One of the cinders of Illim.
+   IX. (No title.) The drawing, to illustrate two comic verses written
+        at the top of the paper, represents Æneas being carried up into
+        the air by means of a balloon attached to his helmet.
+
+    All the above are drawn in ordinary ink upon plain white paper of
+    the kind used for rough work at the school, and all are of uniform
+    size, 7-1/4 × 5 inches, except No. 9, which is on a double-size
+    sheet, measuring 7-1/4 × 10 inches. Unpublished. (Property of H. A.
+    Payne, Esq.) September to December 1886.
+
+4. VIRGIL'S "ÆNEID," nineteen humorous sketches illustrative of Book II.,
+    entitled:----
+
+    I. Æneas relateth the tale to Dido.
+   II. Laocoon hurls the spear.
+  III. Sinon is brought before Priam.
+   IV. Calchas will not betray anyone.
+    V. "All night I lay hid in a weedy lake."
+   VI. The Palladium is snatched away.
+  VII. The Palladium jumpeth.
+ VIII. Laocoon sacrificeth on the sand.
+   IX. Sinon opens the bolt.
+    X. Hector's ghost.
+   XI. Æneas heareth the clash of arms.
+  XII. Panthus fleeth.
+ XIII. Pyrrhus exulteth.
+  XIV. Death of Priam.
+   XV. Æneas debateth whether he shall slay Helen.
+  XVI. Venus appeareth to Æneas.
+ XVII. Jupiter hurls the lightning.
+XVIII. Æneas and company set out from Troy.
+  XIX. Æneas seeth Creusa's ghost.
+
+    The above drawings in ordinary ink are contained in a copy-book,
+    8 × 6-1/2 inches. Unpublished. Exhibited in London at Carfax
+    & Co.'s Galleries, October 1904. (Property of Harold Hartley,
+    Esq.) End of 1886.
+
+5. THE POPE WEIGHS HEAVILY ON THE CHURCH. Pen-drawing contained in the
+    same copy-book with the last-named.
+
+6. JOHN SMILES, a comic illustration to the school history book,
+    representing King John in the act of signing Magna Charta.
+    Pen-drawing on paper 7-1/4 × 5 inches. Unpublished. (Property
+    of H. A. Payne, Esq.)
+
+7. SAINT BRADLAUGH, M.P., a caricature. Pen-drawing on a half
+    sheet of notepaper. Unpublished. (Property of H. A. Payne, Esq.)
+
+8. AUTUMN TINTS. Caricature in black and white of the artist's
+    schoolmaster, Mr Marshall, expounding to his pupils the beauties
+    of nature. Unpublished. Given to Ernest Lambert, Esq., Brighton,
+    _c._ 1886-7.
+
+    Beside the above-named there must have been numbers of such drawings
+    belonging to this early period; for in his schooldays Aubrey
+    Beardsley was, to quote the words of Mr H. A. Payne, "constantly
+    doing these little, rough, humorous sketches, which he gave away
+    wholesale." Many have been destroyed or lost, others dispersed
+    abroad. Thus, for instance, one old Brighton Grammar School boy,
+    C. E. Pitt-Schenkel, told Mr Payne that he was in possession of
+    some, which he took out to South Africa.
+
+9. THE JUBILEE CRICKET ANALYSIS. Eleven tiny pen-and-ink sketches,
+    entitled respectively:----
+
+    I. A good bowler.
+   II. Over.
+  III. Slip.
+   IV. Square leg.
+    V. Shooters.
+   VI. Caught.
+  VII. A block.
+ VIII. A demon bowler.
+   IX. Stumped.
+    X. Long leg.
+   XI. Cutting a ball.
+
+    All these subjects being represented, in humorous fashion, by literal
+    equivalents. These drawings, though they cannot pretend to any merit,
+    are notable as the earliest specimens to be published of the
+    artist's work. Together they formed a whole-page photo-lithographic
+    illustration in _Past and Present_, the Brighton Grammar School
+    Magazine, June 1887.
+
+10. CONGREVE'S "DOUBLE DEALER," illustration of a scene from, comprising
+    Maskwell and Lady Touchwood. Pen drawing with sepia wash, on a sheet
+    of paper 13-1/2 × 11 inches. Unpublished. (Property of H. A. Payne,
+    Esq.) Signed and dated June 30, 1888.
+
+11. HOLYWELL STREET. Wash drawing. First published in _The Poster_,
+    Aug.-Sept. 1898. Republished in "The Early Work of Aubrey Beardsley,
+    with a Prefatory Note by H. C. Marillier." John Lane, March 1899.
+    (Property of Charles B. Cochran, Esq., 1888.)
+
+12. THE PAY OF THE PIED PIPER: A LEGEND OF HAMELIN TOWN. Eleven line
+    drawings in illustration of, as follows:----
+
+    I. Entrance of Councillors, headed by Beadle carrying a mace.
+        Reproduced in _The Westminster Budget_, March 25, 1898.
+
+  II. Rats feeding upon a cheese in a dish. Reproduced in _Westminster
+        Budget_, March 25, 1898.
+
+ III. Child climbing into an armchair to escape from the rats. Reproduced
+        in _The Poster_, Aug.-Sept. 1898.
+  IV. The Sitting of the Council, under the presidency of the Burgomaster.
+
+   V. Deputation of Ladies.
+
+  VI. Two rats on their hind legs, carrying off the Beadle's mace: behind
+        them are three rats running. Reproduced in _Westminster Budget_,
+        March 25, 1898.
+
+ VII. Meeting between the Beadle and the Piper.
+
+VIII. The rats follow the Piper out of the town. Republished in
+        _Westminster Budget_, March 25, 1898, and in _The Poster_,
+        Aug.-Sept. 1898.
+
+  IX. Citizens rejoice at the departure of the rats.
+
+   X. The Piper is dismissed by the Beadle. Republished in _Westminster
+        Budget_, March 25, 1898, and also in _Magazine of Art_, May 1898.
+
+  XI. The Piper entices away the children.
+
+    The above illustrations vary in size from 3-1/4 × 2-1/2 to 6-1/2
+    × 4-1/2 inches. They are unsigned, but a prefatory note describes
+    them as being "the perfectly original designs and drawings of a
+    boy now in the school, A. V. Beardsley"; and adds: "Our regret is
+    that, lacking experience in the preparation of drawings for the
+    photo-engraver, the reproductions should fall so far short of the
+    original sketches." Published in the programme and book of words
+    of the Brighton Grammar School Annual Entertainment at the Dome,
+    on Wednesday, Dec, 19, 1888; bound up afterwards with _Past and
+    Present_, February 1889. Latter part of 1888.
+
+13. A SCRAP-BOOK, size 9-1/2 × 7 inches, the fly-leaf inscribed, in his
+    own writing, _A. Beardsley_, 6/5/90, presented by the artist's
+    mother to Robert Ross, Esq. Contains the following drawings, mounted
+    as scraps:----
+
+    I. Manon Lescaut, three drawings to illustrate different scenes
+        from. Executed with very fine pen and ink, the latter having, as
+        compared with maturer works, a brownish tinge. One of them first
+        appeared in "A Second Book of Fifty Drawings by Aubrey Beardsley"
+        (Leonard Smithers, December 1898), and all three were included in
+        "The Later Work of Aubrey Beardsley" (John Lane, 1901).
+
+   II. La Dame aux Camélias. 4-3/8 inches square, pen and brownish
+        ink with wash. First published in "Second Book," and afterwards in
+        "Later Work." This is a totally different design from that which
+        afterwards appeared, with the same title, in "The Yellow Book."
+        See below.
+
+  III. Tartarin, two illustrations of, in pencil and colours, size
+        4-1/8 × 2-3/4 and 4-1/2 × 3-1/2 inches respectively.
+
+   IV. La Leçon (Madame Bovary). 5-1/4 × 6-3/4. Chinese white and dark
+        sepia wash. First published in "Second Book," and again in "Later
+        Work."
+
+    V. L'Abbé Birotteau (Curé de Tours). 3 × 2 inches. Pen-and-ink
+        with wash, on pale greenish paper.
+
+   VI. L'Abbé Troubert (Curé de Tours). 5 × 2-3/4 inches. Dark sepia wash.
+
+  VII. Madame Bovary. 5-5/8 × 3-1/8 inches. Pencil. First published in
+        "Second Book," and again in "Later Work."
+
+ VIII. Sapho (Daudet). Wanting. Over its place has been gummed another
+        drawing, also wanting, its title written at the foot,
+        _L'homme qui rit_.
+
+   IX. Le Cousin Pons. 5-1/8 × 2-3/8 inches. Indian ink.
+
+    X. Portrait of Alphonse Daudet. 2-3/4 × 2-3/16 inches. Indian ink on
+        pale blue paper.
+
+   XI. Watteau, Ma Cousine (Cousin Pons). 5-1/2 × 2-3/4 inches. Pen-and-ink
+        with wash on pale grey toned paper.
+
+  XII. Mademoiselle Gamard (Curé de Tours). 3-1/8 × 2-1/8 inches. Indian
+        ink wash.
+
+ XIII. Madame Cibot (Cousin Pons). 4 × 2-7/8 inches. Indian ink wash.
+
+  XIV. (Jack) Attendons! 3-5/8 inches high, irregular silhouette.
+        Dark sepia wash.
+
+   XV. Jeanne D'Arc, the childhood of. 9 × 3-3/8 inches. Sepia and madder
+        wash on toned paper. First published in "Second Book," again in
+        "Later Work."
+
+  XVI. Frontispiece to Balzac's "Contes Drôlatiques." 6-3/4 × 4-1/8 inches.
+        Drawn after the manner of Richard Doyle. First published in
+        "Second Book," again in "Later Work."
+
+ XVII. Phèdre (Act ii. scene 5). 3-7/8 × 3-1/2 inches. Pencil and colours.
+        First published in "Second Book," again in "Later Work."
+
+XVIII. Manon Lescaut, three-quarter length, woman to left, with fan.
+        5-1/4 × 3-1/2 inches. Water-colour on grey paper. First published
+        in "Second Book," again in "Later Work."
+
+  XIX. Beatrice Cenci. 6-1/8 × 2-3/4 inches. Pencil and sepia wash. First
+        published in "Second Book," again in "Later Work."
+
+    Unless otherwise stated as above, the works in this collection are
+    unpublished; all were executed 1889-90.
+
+
+LATER WORK.
+
+14. FRANCESCA DI RIMINI (Dante). Head in profile, to left; pencil.
+    First published in "Later Work."
+
+15. DANTE AT THE COURT OF CAN GRANDE DELLA SCALA. Circular design,
+    in pencil. (Property of Miss H. Glover.)
+
+16. DANTE IN EXILE. Dante seated on the left, the words of the Sonnet
+    inscribed on the right, with decorations recalling some design of
+    William Blake's. Signed A.V.B. First published in "Later Work."
+    (Formerly the property of the late Hampden Gurney, Esq.)
+
+17. "I SAW THREE SHIPS COME SAILING BY ON CHRISTMAS DAY IN THE MORNING."
+    Pencil. Designed as a Christmas card for the late Rev. Alfred Gurney.
+    Published in "Later Work." _c._ 1890-1.
+
+18. HAIL MARY. Profile of a head to left. Pencil drawing, 4-1/2 × 5-1/4
+    inches. First published in _The Studio_, May 1898, again in "Early
+    Work." (Property of Frederick H. Evans, Esq.) 1891.
+
+19. HEAD, three-quarter face to right, with a Wreath of Grapes and Vine
+    Leaves and background of tree trunks. Lead-pencil sketch 5-1/2 × 5-5/8
+    inches. Unpublished. (Property of John Lane, Esq.) _circa_ 1891.
+
+20. THEL GATHERING THE LILY. Pen-and-ink with water-colour wash. (Formerly
+    the property of Robert Ross, Esq.)
+
+21. TWO FIGURES IN A GARRET, both seated, a woman haranguing a young man.
+    Ink and wash sketch, 3-1/4 × 4-1/8 inches. Published in "Early Work."
+    (Property of Frederick H. Evans, Esq.)
+
+22. E. BURNE-JONES. Portrait sketch in pen-and-ink, with slight wash.
+    A memorandum of Aubrey Beardsley's first call on Sir Edward
+    Burne-Jones, dated Sunday, 12th July 1891, and signed with monogram,
+    A.V.B. Size, 6-3/4 × 4-1/8 inches. Eight copies only. Printed on
+    India paper. Published by James Tregaskis, Caxton Head, High Holborn,
+    in 1899. July 1891.
+
+23. THE WITCH OF ATLAS. Pen-and-ink and water-colour wash. First reproduced
+    (lacking ornamental border) in "Second Book," again in "Later Work."
+    (Formerly the property of Robert Ross, Esq.)
+
+24. MOLIÈRE. Blue water-colour wash. First published in "Later Work."
+    (Formerly the property of Robert Ross, Esq.)
+
+25. DIE GÖTTERDÄMMERUNG. Decorative composition in white and Indian ink,
+    influenced by Burne-Jones. First published in "Second Book," again in
+    "Later Work." (Formerly the property of Robert Ross, Esq.)
+
+26. SOLEIL COUCHANT. Decorative composition in Indian ink. (The motif of
+    the central part was subsequently adapted for a vignette in the
+    "Morte Darthur," Book II. chap. xii.) First published in "Later
+    Work." (Formerly the property of the late Hampden Gurney, Esq.)
+
+27. TANNHÂUSER. Study for decorative composition, in Indian ink.
+    5-5/8 × 7-1/2 inches. First published in "Later Work." (Property of
+    Dr Rowland Thurnam.) 1891.
+
+28. WITHERED SPRING. Decorative composition in Indian ink. Catalogued in
+    "Fifty Drawings" as "Lament of the Dying Year." (The motif of the
+    central part was subsequently adapted for a vignette in the "Morte
+    Darthur," Book I. chap. xii.) First published in "Later Work."
+    (Property of Dr Rowland Thurnam.)
+
+29. I. PERSEUS. Pen-and-ink and light wash. Design for an upright panel,
+    with standing nude figure, above it a frieze of smaller figures.
+    18 × 6-3/4 inches. First published in "Early Work." (Property of
+    Frederick H. Evans, Esq.)
+
+    II. A pencil sketch of two figures, unfinished, on the reverse of the
+    preceding. Published in "Early Work."
+
+30. L'ABBÉ MOURET. Decorative design for frontispiece of Zola's "La Faute
+    de l'Abbé Mouret." Ink and wash. First published in "Under the Hill."
+    John Lane. 1904. (Property of John Lane, Esq.)
+
+31. HAMLET PATRIS PANEM SEQUITUR. Pencil drawing. Printed in red, as
+    frontispiece to _The Bee_, the Magazine of the Blackburn Technical
+    School, November 1891; reprinted, in black, in "Second Book," again
+    in "Early Work." Latter part 1891.
+
+32. PERSEUS AND THE MONSTRE. Pencil design, 5-1/2 × 7-1/2 inches. First
+    appeared in illustration of an article entitled, "The Invention of
+    Aubrey Beardsley," by Aymer Vallance, in _The Magazine of Art_, May
+    1898; again in "Early Work," (Property of Aymer Vallance, Esq.) 1891.
+
+33. THE PROCESSION OF JEANNE D'ARC. Pencil outline, treatment inspired by
+    Mantegna, 19-1/2 long by 6-1/2 inches high. First published in
+    _Magazine of Art_, May 1898; again as double page in "Second Book";
+    again, reduced, in collotype, in "Early Work." (Property of Frederick
+    H. Evans, Esq.) 1891-2.
+
+    A pen-and-ink version of the Procession, 30 inches long by 7 high,
+    was made subsequently, about the Spring of 1892, for Robert Ross,
+    Esq. Published in _The Studio_; see below.
+
+34. THE LITANY OF MARY MAGDALEN. Pencil drawing. First published in
+    "Second Book," again in "Later Work." (Formerly Property of More
+    Adey, Esq.) 1892.
+
+35. THE VIRGIN AND LILY. Madonna standing in front of a Renaissance niche
+    and surrounded by Saints, among them St John Baptist kneeling.
+    Pencil outline. Reproduced in photogravure in "Later Work."
+    (Formerly the property of the late Rev. Alfred Gurney, afterwards
+    in the possession of his son, the late Hampden Gurney, Esq.)
+
+36. CHILDREN DECORATING A TERMINAL GOD. Pen-and-ink. (Formerly the
+    property of M. Puvis de Chavannes.)
+
+37. FRED BROWN, N.E.A.C. Pen-and-ink sketch of the art-master in studio.
+    Signed with monogram A.V.B. First published in "Under the Hill."
+    (Property of Miss Nellie Syrett.)
+
+38. STUDY OF FIGURES, horizontal fragment from, containing five heads and
+    parts of two more. Pencil. Published in "Under the Hill." (Property
+    of Miss Nellie Syrett.)
+
+39. PORTRAIT OF THE ARTIST. Full face. Pen-and-ink. First published in
+    "Second Book," again in "Later Work." (Presented by Robert Ross,
+    Esq., to the British Museum.)
+
+40. SIDONIA THE SORCERESS. A design to illustrate Meinhold's Romance,
+    representing Sidonia, not in religious habit, with the demon-cat,
+    Chim. William Morris's criticism that the face of Sidonia was not
+    pretty enough, and another suggested improvement on the part of
+    a friend of Aubrey Beardsley's, induced him to try to better the
+    picture by altering the hair. The result was so far from satisfactory
+    that it is almost certain that the drawing was destroyed by the
+    artist. First half of 1892.
+
+41. LE DÉBRIS D'UN POETE. Pen-and-ink. First published in "Aubrey
+    Beardsley," by Arthur Symons (Sign of the Unicorn, London, 1898).
+    (Property of André Raffalovich, Esq.)
+
+42. INCIPIT VITA NOVA. Chinese, white, and Indian ink on brown paper.
+    First published in "Second Book," again in "Later Work." (Property
+    of Messrs Carfax & Co.) 1892.
+
+43. HEAD OF AN ANGEL, in profile, to left, flaming heart held in left
+    hand. Pencil, on a half-sheet of grey notepaper, signed with monogram
+    A.V.B. 5-3/4 × 3-7/8 inches. First published in photogravure "Second
+    Book," again in "Later Work"; also printed in 4-inch square form on
+    card for private distribution, Christmas 1905. (Property of the
+    artist's sister, Mrs George Bealby Wright [Miss Mabel Beardsley].)
+    _c._ 1892.
+
+44. ADORAMUS TE. Four angels in a circle (7 inches in diameter) playing
+    musical instruments, pencil and coloured chalks. Signed A.V.B.
+    monogram. Designed as a Christmas card for the late Rev. Alfred
+    Gurney. First published in photogravure in "Second Book," again in
+    "Later Work." (Property of Mrs George Bealby Wright.)
+
+45. A CHRISTMAS CAROL. Two angels, one of them playing a hand-organ, in a
+    circle (7-3/4 inches diameter), pencil, and coloured chalks.
+    Designed as a Christmas card for the late Rev. Alfred Gurney.
+    First published in photogravure in "Second Book," again in "Later
+    Work." Also in photogravure, 3 inches diameter, for private
+    circulation. (Property of Mrs George Bealby Wright.) Christmas, 1892.
+
+46. LA FEMME INCOMPRISE. Pen-and-ink and wash. First published in the
+    spring number of _To-Day_, 1895; again in the _Idler_ magazine,
+    March 1897.
+
+47. SANDRO BOTTICELLI, three-quarter face to left, pencil, signed
+    with monogram A.V.B.; 14 × 7-3/4 inches; a reconstruction of
+    the Florentine painter's physiognomy from his extant works, to
+    illustrate Aubrey Beardsley's theory that every artist tends to
+    reproduce his own physical type. Presented by the artist to Aymer
+    Vallance, Esq. First published in the _Magazine of Art_, May 1898;
+    afterwards in "Early Work." _c._ 1892-3.
+
+48. RAPHAEL SANZIO. Full-length figure, three-quarter face to left, a
+    decorative panel in pen-and-ink, 10-3/4 × 3-7/8 inches, exclusive
+    of border lines. Unpublished. (Property of Messrs Obach & Co.)
+
+49. CEPHALUS AND PROCRIS. Pen-and-ink.
+
+50. SMALL BOOKMARKER, woman undressing, a Turkish table in the foreground.
+    Pen-and-ink. First published in "Second Book," again in "Later Work."
+    (Property of Sir William Geary, Bart.) 1893.
+
+51. HERMAPHRODITUS, seated figure, pencil and pale colour tints. Reproduced
+    in colour in "Later Work." (Property of Julian Sampson, Esq.)
+
+52. L'APRÈS-MIDI D'UN FAUNE, par Mallarmé; four designs extra-illustrating
+    a copy of. One of them, a pen-and-ink vignette of a faun, full face,
+    signed with monogram A.V.B., was published in "Second Book." The
+    others unpublished. 1893.
+
+53. DECORATIVE SKETCH DESIGN OF A SAILING SHIP. 1-7/8 × 2-1/2 inches.
+    Pen-and-ink on white from the back of a letter to Aymer Vallance,
+    Esq. First published in _Magazine of Art_, May 1898; again in "Early
+    Work." _c._ 1893.
+
+54. ANGEL PLAYING HAND-ORGAN. Pen-and-ink and slight wash, on pale grey
+    notepaper, from a letter to Aymer Vallance, Esq. First published in
+    _Magazine of Art_, May 1898; again in "Early Work." _c._ 1893.
+
+55. THE PALL MALL BUDGET, 1893 and 1894.
+
+    I. MR H. A. JONES AND HIS BAUBLE; pen-and-ink. Feb. 2, 1893, p. 150.
+
+   II. THE NEW COINAGE. Four designs that were not sent in for
+        competition, p. 154. Another design, embodying a caricature of
+        Queen Victoria, was suppressed.
+
+  III. "BECKET" AT THE LYCEUM.
+
+        1. Mr Irving as Becket; wash drawing. Feb. 9th, front page.
+        2. Master Leo, p. 188.
+        3. Queen Eleanor, p. 188.
+        4. Margery, p. 188.
+        5. The King makes a Move on the Board, p. 188.
+        6. Miss Terry (as Rosamond), p. 188.
+        7. Mr Gordon Craig, p. 190.
+        8. The Composer, p. 190.
+
+   IV.
+
+        1. THE DISAPPOINTMENT OF EMILE ZOLA, p. 202.
+        2. EMILE ZOLA; a portrait, p. 204.
+           (Republished in "Pall Mall Pictures of the Year," 1893,
+           and in _The Studio_, June 1893.)
+
+    V. VERDI'S "FALSTAFF," AT MILAN, Feb. 16th.
+
+        Initial letter V; pen-and-ink, p. 236.
+        Portrait of Verdi; ink and wash, p. 236.
+
+   VI. POPE LEO XIII.'S JUBILEE, Feb. 23rd.
+
+        The Pilgrim (old style), p. 270.
+        The Pilgrim (new style), p. 270.
+
+  VII. THE REAPPEARANCE OF MRS BANCROFT.
+
+        1. Mr Arthur Cecil (Baron Stein), p. 281.
+        2. Mrs Bancroft (Lady Fairfax), p. 281.
+        3. Mr Forbes Robertson (Julian Beauclere), p. 281.
+        4. Mr Bancroft (Count Orloff), p. 281.
+
+ VIII. CARICATURE OF A GOLF PLAYER, in classical helmet, March 9th, p. 376.
+
+   IX. ORPHEUS AT THE LYCEUM, March 16th.
+
+        1. One of the Spirits, Act II., p. 395.
+        2. Orpheus (Miss Clara Butt), p. 395.
+        3. A Visitor at the Rehearsal, p. 395.
+        4. Some Dresses in the Chorus, p. 395.
+
+    X. PORTRAIT OF THE LATE JULES FERRY: wash drawing, March 23rd, p. 435.
+
+   XI. BULLET-PROOF UNIFORM: Tommy Atkins thinks it rather fun, March 30,
+        p. 491.
+
+  XII. MR FREDERICK HARRISON'S "IDEAL NOVELIST," April 20, p. 620.
+
+ XIII. A NEW YEAR'S DREAM, after studying Mr Pennell's "Devils of Notre
+        Dame." Republished in "Early Work." Jan. 4th, 1894, p. 8.
+
+56. MR PARNELL, sketch portrait of the Irish party leader, head and
+    shoulders, three quarters face to left, pencil, half tone reproduction,
+    4-3/4 × 3-1/2 inches.
+
+57. I. THE STUDIO. Design for wrapper in two states, the original
+    design containing a seated figure of Pan, omitted in the later
+    version. First state on brown paper. The same, reduced, in black
+    on green, for prospectus, republished in _The Studio_, May 1898,
+    and again in "Early Work."
+
+    Second state, black on green, also in gold on rough white paper for
+    presentation to Royalty (Nov. 15th, 1893). The same, reduced, and
+    printed in dark green on white, for a prospectus, republished in
+    "Early Work." The same, enlarged and printed in black on light
+    green, for a poster.
+
+    THE STUDIO, NO. I, April 1893, accompanying an article entitled "A New
+    Illustrator: Aubrey Beardsley," by Joseph Pennell, contained:----
+
+   II. Reduced reproduction of the pen-and-ink replica of Jeanne d'Arc
+        procession. Republished as large folding supplement in No. 2.
+
+  III. Siegfried, Act II., from the original drawing in line and wash,
+        signed A.V.B., presented by the artist to Sir Edward Burne-Jones,
+        after whose death it was given back by Lady Burne-Jones, to the
+        artist's mother, Mrs Beardsley. Republished in "Early Work."
+
+   IV. The Birthday of Madame Cigale, line and wash, 15 inches long by
+        9-1/2 inches high, influenced by Japanese models. Reproduced in
+        "Early Work." (Property of Charles Holme, Esq.)
+
+    V. Les Revenants de Musique, line and wash. Reproduced in "Early
+        Work." (Property of Charles Holme, Esq.)
+
+   VI. Salome with the head of St John the Baptist. Upright panel in
+        Chinese ink on white, 10-1/8 by 5-1/8 inches, exclusive of framing
+        lines. This was the first design suggested to the artist by Oscar
+        Wilde's French play of "Salome." It differs from the later version
+        of the same subject in being richer and more complex. It contains
+        the legend, omitted in the later version, _j'ai baisé ta bouche
+        Iokanaan, j'ai baisé ta bouche_. The treatment is obviously
+        influenced by Japanese work, and also by that of the French
+        Symboliste school, _e.g._ Carlos Schwabe. Republished in "Early
+        Work." Subsequently to its appearance in _The Studio_, the artist
+        experimentally tinted it with green colour washes. In its final
+        state it has not been published. (Formerly the property of Mrs
+        Ernest Leverson, now of Miss K. Doulton.)
+
+  VII. Reduced reproduction of the second version of the Jeanne d'Arc
+        procession. The same appeared, full size, as a folding plate
+        supplement, in No. 2 of _The Studio_, May 1893.
+
+        In the first number of _The Studio_ (April) also were published,
+        by anticipation, four designs from the "Morte Darthur," due to
+        begin its serial appearance in the following June, viz.:--
+
+ VIII. Initial letter I.
+
+   IX. Merlin taketh the child Arthur into his keeping (full page,
+        including border).
+
+    X. Ornamental border for full page.
+
+   XI. Frieze for chapter-heading; six men fighting, on foot, three of
+        them panoplied. Reproduced in _Magazine of Art_, November 1896,
+        "Fifty Drawings," _Idler_, March 1897, and _St Paul's_, April 9th,
+        1898. The original drawing is 13-3/4 inches long by 4-1/2 inches.
+        As may be seen, even in the reduced reproduction, one inch
+        at either end was added by the artist at the request of his
+        publisher, so as to increase the proportionate length of the
+        ornament. Subsequently Mr Frederick H. Evans photographed the
+        drawing, full size, and produced fifteen platinotype copies,
+        of which twelve only were for sale, and the plate destroyed.
+
+58. DESIGN OF DANDELIONS, for publishers' trade mark for Dent & Co.
+
+59. LE MORTE DARTHUR, by Sir Thomas Malory. J. M. Dent & Co. 300 copies on
+    Dutch hand-made paper and 1500 ordinary copies. Issued in Parts,
+    beginning June 1893.
+
+     I. Vol. I., 1893. Frontispiece--"How King Arthur saw the Questing
+         Beast, and thereof had great marvel." Photogravure.
+
+    Full-page illustrations:--
+
+    II. Merlin taketh the child Arthur into his keeping. (Reduced
+         reproduction in _Idler_, May 1898.)
+
+   III. The Lady of the Lake telleth Arthur of the sword Excalibur.
+
+    IV. Merlin and Nimue.
+
+     V. Arthur and the strange mantle.
+
+    VI. How four queens found Launcelot sleeping. (Property of A. E.
+         Gallatin, Esq.)
+
+   VII. Sir Launcelot and the witch Hellawes. (Property of A. E.
+         Gallatin, Esq.)
+
+  VIII. How la Beale Isoud nursed Sir Tristram.
+
+    IX. How Sir Tristram drank the love drink.
+
+     X. How la Beale Isoud wrote to Sir Tristram.
+
+    XI. How King Mark found Sir Tristram sleeping.
+
+   XII. How Morgan le Fay gave a sword to Sir Tristram.
+
+  XIII. Vol. II., 1894. Frontispiece--"The achieving of the Sangreal."
+         Photogravure. (This was the first design executed for the work.)
+
+    Full page and double page illustrations:--
+
+   XIV. How King Mark and Sir Dinadan heard Sir Palomides making great
+         sorrow and mourning for la Beale Isoud (double page).
+
+    XV. La Beale Isoud at Joyous Gard (double page).
+
+   XVI. How Sir Launcelot was known by Dame Elaine (full page).
+
+  XVII. How a devil in woman's likeness would have tempted Sir Bors (double
+         page).
+
+ XVIII. How Queen Guenever rode on maying (double page).
+
+   XIX. How Sir Bedivere cast the sword Excalibur into the water (full
+         page).
+
+    XX. How Queen Guenever made her a nun (full page).
+
+    In the two volumes there are altogether 548 ornaments,
+    chapter-headings, borders, initials, tail-pieces, etc.; but some of
+    them are repetitions of the same design, others reproductions of
+    the same design in two different sizes. (Two of these are in the
+    Victoria and Albert Museum. Eight belong to Pickford Waller, Esq.
+    Others are the property of Hon. Gerald Ponsonby, R. C. Greenleaf,
+    Esq., W. H. Jessop, Esq., M. H. Sands, Esq., Robert Ross, Esq.,
+    and Messrs Carfax & Co.)
+
+   XXI. Chapter-heading, a dragon, with conventional foliage spray
+         branching into marginal ornaments; printed, but not published
+         in the book.
+
+  XXII. Initial letter J with guardian griffins; pen-and-ink, 5-1/2 × 3-1/2
+         inches.
+
+ XXIII. Unfinished border design, first published in "Whistler's Art Dicta
+         and Other Essays" by A. E. Gallatin (Boston, U.S.A., and London,
+         1903). (Property of A. E. Gallatin, Esq.)
+
+  XXIV. Original study, approved by the publisher, for wrappers of serial
+         issue of the "Morte Darthur," yellowish green water-colour on
+         white paper, 10-1/4 × 8-1/4 inches. This design, comprising
+         lilies, differs from that which was finally produced by the
+         artist and published (next item). (Property of Aymer Vallance,
+         Esq.) 1893.
+
+    Design for wrappers of serial issue, in black on grey paper, in
+    two states, the earlier or trial-state, having blank spaces for
+    the lettering, only the title being given as "La Mort Darthure."
+
+   XXV. Design in gold on cream-white cloth cases of the bound volumes.
+
+    Nineteen of the above designs were republished in "A Book of
+    Fifty Drawings," and again in "Later Work," including full-size
+    reproductions of the following, which had suffered through
+    excessive reduction in the published "Morte Darthur."
+
+  XXVI. Merlin (in a circle), facing list of illustrations in Vol. I. The
+         same reproduced in _The Idler_, March 1897.
+
+ XXVII. Vignette of Book I., chapter xiv. Landscape with piper in a meadow
+         and another figure in the sky.
+
+XXVIII. Vignette of Book III., chapter iii. Three swans swimming.
+
+  XXIX. Vignette of Book V., chapter x. Nude woman rising out of the sea,
+         holding in one hand a sword, in the other a rose.
+
+60. PALL MALL MAGAZINE, JUNE 1893.
+
+    I. Of a Neophyte, and how the Black Art was revealed unto him by the
+        Fiend Asomuel. Full-page illustration in pen and ink. Asomuel,
+        meaning insomnia, was a neologism of the artist's own devising,
+        made up of the Greek _alpha_ privative, the Latin _somnus_, and
+        the Hebrew _el_, for termination analogous to that of other
+        spirits' names, such as Gabriel, Raphael, Azrael, etc.,
+        reproduced in "Early Work," July 1893.
+
+   II. The Kiss of Judas. Full-page illustration in pen-and-ink. Reproduced
+        in "Early Work."
+
+61. LA COMÉDIE AUX ENFERS, pen and ink, published in "Modern Illustration,"
+    by Joseph Pennell. (G. Bell & Sons, 1895.) Imp. 16mo. 1893.
+
+62. I. EVELINA, by Frances Burney. (Dent & Co., 1894.) Design in outline
+        for title-page.
+
+   II. EVELINA AND HER GUARDIAN, design for illustration, pen and ink and
+        wash, 6-7/8 × 4-7/8 (exclusive of marginal lines), not published.
+
+  III. Another illustration for the same, "Love for Love," a wash drawing,
+        7-1/2 × 5-1/4, unpublished. 1893.
+
+63. VIRGILIUS THE SORCERER. David Nutt, 1893. Frontispiece to the large
+    paper copies only. Reproduced in "Early Work."
+
+64. THE LANDSLIP, frontispiece to "Pastor Sang," being William Wilson's
+    translation of Björnson's drama, "Over Ævne." Longmans & Co., 1893.
+    A black and white design, in conscious imitation of Albert Dürer,
+    as the peculiar form of the signature A. B. shows, the only occasion
+    on which the artist employed this device. Reproduced in "Early Work."
+    (Property of Messrs Shirley & Co., Paris.)
+
+65. BON MOTS. 3 VOLUMES. DENT & CO., 1893.
+
+    I. Title-page reproduced in "Later Work."
+
+   II. Figure with fool's bauble, and another small ornament for the cover.
+
+  III. 208 grotesques and other ornaments in the three volumes. Some of
+        these, however, are repeated, and some printed in different sizes.
+        Three of them reproduced in "Later Work." In an article by Max
+        Beerbohm in the _Idler_, May 1898, accompanied by "some drawings
+        that have never before been reproduced," are nine small vignettes
+        of the "Bon Mots" type, of which number three only are explicitly
+        ascribed to "Bon Mots" (A sheet of them belongs to W. H. Jessop,
+        Esq. Nineteen are the property of Pickford Waller, Esq.)
+
+66. FOLLY, intended for "Bon Mots," but not used in the book. The figure
+    is walking along a branch of hawthorn, the left hand upraised, and
+    holding the fool's baton; a flight of butterflies in lower left-hand
+    corner; with drawing 8 × 5-1/4 inches. (Property of Littleton Hay,
+    Esq.)
+
+67. PAGAN PAPERS, a volume of Essays by Kenneth Grahame. Elkin Mathews
+   and John Lane, 1893. Title-page, design for.
+
+68. ADA LUNDBERG, head and shoulders to right, coloured crayons on brown
+    paper. Reproduced in colour in "Later Work." (Property of Julian
+    Sampson, Esq.)
+
+69. KEYHOLES SERIES OF NOVELS AND SHORT STORIES.--(The publication
+    of this series was begun by Messrs Elkin Mathews and John Lane, and
+    afterwards continued by Mr John Lane alone.)
+
+    I. Keynotes by George Egerton, 1893. Title-page design (the same
+        employed for the cloth cover). Ornamental key, embodying the
+        author's monogram, on back of "Contents" page (the same device
+        on the back of the book). This plan was adopted for each volume
+        of the series.
+
+   II. The Dancing Faun, by Florence Farr (the Faun in the design has
+        the eyeglass and features of J. McNeill Whistler).
+
+  III. Poor Folk. Translated from the Russian of F. Dostoievsky, by Lena
+        Milman.
+
+   IV. A Child of the Age, by Francis Adams.
+
+    V. The Great God Pan and the Inmost Light, by Arthur Machen, also
+        unfinished sketch in pencil upon the back of the finished design.
+
+   VI. Discords, by George Egerton.
+
+  VII. Prince Zaleski, by M. P. Shiel.
+
+ VIII. The Woman who Did, by Grant Allen.
+
+   IX. Women's Tragedies, by H. D. Lowry, 1895.
+
+    X. Grey Roses, by Henry Harland.
+
+   XI. At the First Corner, and other Stories, by H. B. Marriott Watson.
+
+  XII. Monochromes, by Ella D'Arcy.
+
+ XIII. At the Relton Arms, by Evelyn Sharp.
+
+  XIV. The Girl from the Farm, by Gertrude Dix.
+
+   XV. The Mirror of Music, by Stanley V. Makower.
+
+  XVI. Yellow and White, by W. Carlton Dawe.
+
+ XVII. The Mountain Lovers, by Fiona Macleod.
+
+XVIII. The Woman who Didn't, by Victoria Crosse.
+
+  XIX. Nobody's Fault, by Netta Syrett.
+
+   XX. The Three Impostors, by Arthur Machen.
+
+  XXI. The British Barbarians, a hill-top novel, by Grant Allen.
+
+ XXII. Platonic Affections, by John Smith.
+
+        Design for wrapper of "Keynotes" series, John Lane, 1896.
+
+        (With the exception of No. 2 all the above Keynotes designs are
+        the property of John Lane, Esq.)
+
+70. THE BARBAROUS BRITISHERS, a tip-top novel, by H. D. Traill. Title-page
+    design (the same employed for the cloth cover), comprising a portrait
+    of Miss Ada Lundberg, the whole being a parody of the design for
+    "The British Barbarians," _vide supra_. John Lane, 1896. (Property
+    of John Lane, Esq.) Reproduced in "Early Work."
+
+71. THREE HEADPIECES, two of which appeared in _St Paul's_, April 2nd,
+    1898, the other in the same paper, April 9th, 1898. All three
+    republished in "Early Work." (Property of Henry Reichardt, Esq.)
+    1893-4.
+
+72. WOMEN REGARDING A DEAD MOUSE. Three-quarter figure in leaden grey.
+    Unfinished painting in oils, the only experiment the artist ever made
+    in this medium; influenced by Walter Sickert. _c._ 1894.
+
+73. MENU OF THE TENTH ANNUAL DINNER OF THE PLAYGOERS' CLUB IN LONDON. Two
+    drawings, one of them only reproduced in "Early Work." January 28th,
+    1894.
+
+74. LUCIAN'S TRUE HISTORY. Laurence & Sullen, privately printed, 1894.
+    Black and white illustrations to
+
+    I. A Snare of Vintage. Reproduced in "Later Work."
+
+    Another drawing of the same subject and title, but different
+    rendering, 6 × 4-1/2 inches, was inserted loose in large paper
+    copies only; not noted in "Contents" page of the book.
+
+   II. Dreams. Reproduced in "Later Work." This drawing was executed
+        obviously at the same period as "Siegfried" and "The Achieving
+        of the Sangreal."
+
+  III., IV. Two more drawings, intended for the same work, but not included
+        in it. Twenty copies of each were printed privately. One of them
+        is unpublished; of the other, the upper portion was published
+        in "Later Work." These illustrations were the earliest of the
+        Artist's designs not intended for public circulation.
+
+    LUCIAN'S TRUE HISTORY, translated by Francis Hickes, illustrated by
+    William Strang, J. B. Clark, and Aubrey Beardsley, with an
+    Introduction by Charles Whibley, was published by A. H. Bullen.
+    London, 1902.
+
+75. QUILP'S BARON VERDIGRIS. Black and white. Designed for Messrs Henry
+    & Co. First published in "Second Book" and again in "Later Work."
+    1894.
+
+76. POSTER FOR "THE COMEDY OF SIGHS," by Dr John Todhunter, at the Avenue
+    Theatre, March 29th, 1894. Three-quarter length figure of woman in
+    deep blue, standing behind a gauze curtain with light green round
+    spots powdered over it, 28-3/4 × 4-3/4 inches. The same has since
+    been printed, the original size, in black and white. The same reduced,
+    and printed in blue on light green paper for the programme sold in
+    the theatre: also printed in black on toned paper for the programme
+    of Mr G. Bernard Shaw's play, "Arms and the Man," April 21st, 1894.
+    Also still further reduced, in black on pale mauve-pink paper for
+    the wrapper of Mr W. B. Yeats's play, "The Land of Hearts' Desire."
+    Reproduced in _Idler_ magazine, March 1897; again in "Fifty Drawings,"
+    also in "Later Work." This was Aubrey Beardsley's first poster design.
+    1894.
+
+77. POSTER FOR MR FISHER UNWIN'S "PSEUDONYM LIBRARY." Female figure in
+    salmon-pink dress standing on the opposite side of the road to a
+    second-hand book-store. The scheme of colouring--salmon-pink, orange,
+    green, and black--was suggested to Aubrey Beardsley by a French
+    poster. 29-1/2 × 13 inches.
+
+    The same reduced, in colours, to form an advertisement slip for
+    insertion in books and magazines.
+
+    The same reduced, printed in black, 6 copies only, on Japanese
+    vellum. Reproduced in "Fifty Drawings" and "Later Work." Also used
+    as cover-design for the "Dream and the Business," by John Oliver
+    Hobbes.
+
+    Similar motif, black and white drawing; exhibited at the New English
+    Art Club Exhibition at the New Gallery. (Property of T. Fisher Unwin,
+    Esq.)
+
+78. POSTER FOR MR FISHER UNWIN'S CHILDREN'S BOOKS. Woman reading while
+    seated in a groaning-chair; black purple. Reproduced in black in
+    "Fifty Drawings" and "Later Work."
+
+79. Poster Design. A lady and large sunflower, scheme of colouring purple
+    and yellow. Unpublished. Purchased by Mr Fisher Unwin and destroyed
+    accidentally in New York.
+
+80. SKETCH PORTRAIT OF THE ARTIST, head and shoulders, three-quarter face
+    to left; in imaginary costume with V-shaped opening to his coat and
+    high-shouldered sleeves; in charcoal. First published in _The Sketch_,
+    April 14th, 1894, again in "Early Work."
+
+81. SKETCH PORTRAIT OF HENRY HARLAND, head and shoulders, three-quarter
+    face to right, in charcoal. First published in _The Sketch_, April
+    11th, 1894, again in "Early Work." (Property of John Lane, Esq.)
+
+82. PORTRAIT OF JAMES M'NEILL WHISTLER. (Property of Walter Sickert, Esq.)
+
+83. THE FAT WOMAN (a caricature of Mrs Whistler). First published in
+    _To-Day_, May 12th, 1894, afterwards republished in "Fifty Drawings"
+    and "Later Work"; also in _Le Courrier Français_, November 11th,
+    1894, with the title "_Une Femme bien Nourrie_." (Formerly the
+    property of the late Mrs Cyril Martineau (Miss K. Savile Clarke)).
+
+84. WAITING, a haggard, expectant woman, wearing V-necked bodice and large
+    black hat, seated in a restaurant, with a half-emptied wine-glass on
+    a small round table before her; black-ink drawing, 7-3/8 × 3-1/2
+    inches, unpublished. (Property of Pickford Waller, Esq.)
+
+85. MASKED PIERROT AND FEMALE FIGURE, water and gondolas in background,
+    small square in black and white, published in _To-Day_, May 12th, 1894.
+
+86. SALOME, A tragedy in one act. Translated by Lord Alfred Douglas from
+    the French of Oscar Wilde. Elkin Mathews and John Lane, 1894.
+    Pictured with the following designs by Aubrey Beardsley:----
+
+    I. The woman (or man) in the moon (Frontispiece).
+
+        Border Design for Title-page (two states, the first cancelled).
+        (Property of John Lane, Esq.)
+
+        Border Design for List of Pictures. (Property of John Lane, Esq.)
+
+   II. The Peacock Skirt. (Property of John Lane, Esq.)
+
+  III. The Black Cape. A burlesque, substituted for a drawing of John
+        and Salome, which was printed but withheld, and subsequently
+        published in "Early Work." (Property of John Lane, Esq.)
+
+   IV. A Platonic Lament. (Property of John Lane, Esq.)
+
+    V. Enter Herodias (two states, the first cancelled). (The drawing
+        in its original state the property of Herbert J. Pollit Esq.)
+        A proof of this drawing in its first state, now the property of
+        Frank Harris, Esq., is inscribed by the artist on the left-hand
+        top corner:
+
+            "Because one figure was undressed
+            This little drawing was suppressed.
+            It was unkind, but never mind,
+            Perhaps it all was for the best."
+
+   VI. The Eyes of Herod. (Note one of Herod's white peacocks.) (Property
+        of John Lane, Esq.)
+
+  VII. The Stomach Dance. (The author makes Salome dance, barefooted, the
+        Dance of the Seven Veils.) (Property of John Lane, Esq.)
+
+ VIII. The Toilette of Salome. Substituted for a former drawing of the
+        same subject, printed in two states but withheld, the second state
+        subsequently published in "Early Work" (Property of Robert Ross,
+        Esq.)
+
+   IX. The Dancer's Reward. (Property of John Lane, Esq.)
+
+    X. The Climax. This is a revised and simpler version of the design
+        which had appeared in the first number of _The Studio_.
+
+        Tailpiece. The corpse of Salome being coffined in a puff-powder
+        box. (Property of John Lane, Esq.)
+
+        NOS. I., IV., V., AND VI. of the above contain caricatures of
+        Oscar Wilde.
+
+   XI. Small design, printed in gold on cloth, front cover of "Salome";
+        another, consisting of an elaboration of the artist's device,
+        for the under side of cover.
+
+  XII. Study of a design of peacock feathers for cover of "Salome," not
+        used at the time, but subsequently reproduced for the first time
+        in facsimile in "Early Work," and again as an illustration
+        following the title-page in reissue of "Salome" (John Lane, 1907);
+        also in gold on light green cloth for ornament of the binding,
+        and in olive green on orange-red for the paper cap. Also in gold
+        on blue cloth for binding of "Under the Hill," 1904. (Property of
+        John Lane, Esq.) This (1907) edition, moreover, contains the two
+        illustrations suppressed in the original edition, viz., "John and
+        Salome" (Property of John Lane, Esq.), now placed in order as
+        No. 8, and "The Toilet of Salome, II.," now placed as No. 13
+        (Property of John Lane, Esq.) and an original title-page.
+
+ XIII. The Salome drawings were reproduced the actual size of the
+        originals, and published in a portfolio. In this was included a
+        design of Salome seated upon a settee. Described in "Early Work"
+        as "Maitresse d'Orchestre." (John Lane, 1907.)
+
+87. DANCER, WITH DOMINO. (The property of His Honour Judge Evans.)
+
+88. PLAYS, BY JOHN DAVIDSON. Elkin Mathews and John Lane, 1894. Design on
+    frontispiece to, containing portrait caricatures of Sir Augustus
+    Harris, and Oscar Wilde and Henry Harland, black and white; the same
+    design in gold on the cloth cover. Reproduced in "Early Work," and
+    again, with Aubrey Beardsley's letter to the _Daily Chronicle_ on
+    the subject, in "Under the Hill," 1904. (Property of John Lane, Esq.)
+
+        Design for Title-Page of the above-named. Black and white;
+        reproduced in "Early Work."
+
+89. THE YELLOW BOOK, 1894 AND 1895.
+
+    I. Design for prospectus of the "Yellow Book": a woman examining books
+        in a box at a bookstall: black on yellow paper. Elkin Mathews
+        and John Lane, 1894. (Property of John Lane, Esq.)
+
+    Vol. I., April 1894. Elkin Mathews and John Lane.
+
+   II. Design on front side of yellow cover. (Property of John Lane, Esq.)
+
+  III. Design on under side of cover; the same repeated in the later
+        volumes. (Property of John Lane, Esq.)
+
+   IV. Design on title-page: a woman playing a piano in a meadow.
+        Reproduced, with Aubrey Beardsley's letter on the subject, to the
+        _Pall Mall Budget_, in "Under the Hill" (1904). (Property of John
+        Lane, Esq.)
+
+    V. L'Education Sentimentale: in line and wash.
+
+   VI. Night Piece.
+
+  VII. Portrait of Mrs Patrick Campbell in profile, to left in outline.
+        Formerly in possession of Oscar Wilde, now in National Gallery
+        at Berlin.
+
+ VIII. Bookplate (designed in 1893) for John Lumsden Propert, Esq.
+
+    Vol. II., July 1894. Elkin Mathews and John Lane.
+
+   IX. Design on front side of cover. (Property of John Lane, Esq.)
+
+    X. Design on title-page.
+
+   XI. The Comedy-Ballet of Marionettes. Three designs.
+
+  XII. Garçons de Café. (Property of A. W. King, Esq.)
+
+ XIII. The Slippers of Cinderella. The artist subsequently coloured the
+        original with scarlet and green, in which state it is unpublished.
+        (Property of Brandon Thomas, Esq.)
+
+  XIV. Portrait of Madame Réjane, full-length profile to left, in outline.
+        (Property of Frederick H. Evans, Esq.)
+
+    Volume III., October 1894. John Lane.
+
+   XV. Design on front side of cover. (Property of John Lane, Esq.)
+
+  XVI. Design on title-page.
+
+ XVII. Portrait of Mantegna. Published, for a practical joke, in the name
+        of Philip Broughton. (Property of G. Bernard Shaw, Esq.)
+
+XVIII. Portrait of the artist; fancy portrait of himself in bed. (Property
+        of John Lane, Esq.)
+
+  XIX. Lady Gold's Escort. (Property of Brandon Thomas, Esq.)
+
+   XX. The Wagnerites at the performance of "Tristan und Isolde."
+        Reproduced, on large scale, in _Le Courrier Français_, December
+        23rd, 1894, with the title "Wagnériens et Wagnériennes."
+
+  XXI. La Dame aux Camélias. Reprinted in _St Paul's_, April 2nd, 1894,
+        with the title "Girl at her Toilet." (Formerly the property of
+        the late Miss K. Savile Clarke [Mrs Cyril Martineau].)
+
+ XXII. From a pastel; half-length study of a woman in white cap, facing
+        to left. (Published, for a practical joke, in the name of Albert
+        Foschter.)
+
+    Volume IV., January 1895. John Lane.
+
+XXIII. Design, on front side of cover.
+
+ XXIV. Design on title-page.
+
+  XXV. The Mysterious Rose Garden, burlesque Annunciation. (Property of
+        John Lane, Esq.)
+
+ XXVI. The Repentance of Mrs ----. (The kneeling figure is a reminiscence
+        of the principal one in "The Litany of Mary Magdalen.")
+
+XXVII. Portrait of Miss Winifred Emery (outline). (Property of Mrs Cyril
+        Maude.)
+
+XXVIII. Frontispiece for Juvenal. Double-page supplement.
+
+ XXIX. Design for "Yellow Book" Cover, not used. First published in "Early
+        Work." (Property of John Lane, Esq.)
+
+  XXX. Show-card to advertise "The Yellow Book"; female figure standing,
+        her hat hanging from her right hand, and daffodils growing
+        at her feet. Dark green on light yellow paper. Reproduced in
+        black-and-white in "Early Work." (The property of John Lane, Esq.)
+
+90. PORTRAIT OF RÉJANE wearing a broad-brimmed hat with dark bow in front,
+    head and shoulders, full face slightly to left, wash drawing.
+    Reproduced by Swan Electric Engraving Company for the "Yellow Book,"
+    but not used. Unpublished.
+
+91. RÉJANE, black-and-white design of the actress standing, half length,
+    fan in hand, against a white curtain with conspicuous tassel. First
+    published in "Second Book," and again, in a reduced state, as
+    "Title-page ornament, hitherto unpublished" in "Early Work." 1893-4.
+
+92. MADAME RÉJANE, full-length portrait sketch, ink and wash. First
+    published in "Second Book," again in "Later Work."
+
+93. MADAME RÉJANE, profile to left; sitting, legs extended, on a sofa,
+    ink and wash. First published in "Pen Drawing and Pen Draughtsmen,"
+    by Joseph Pennell (Macmillan, 1894), again in "Fifty Drawings," and
+    in the _Idler_ Magazine, March 1897.
+
+94. RÉJANE, portrait head in profile to left, in red crayon and black ink,
+    7-1/2 × 6 inches. First published in facsimile in _The Studio_, May
+    1898, again in "Later Work." (Property of Frederick H. Evans, Esq.)
+    1894.
+
+95. A POSTER DESIGN. Back view of a woman, her face in profile to right,
+    holding a pigmy in her right hand. First published in "Early Work."
+    (Property of John Lane, Esq.)
+
+96. A POSTER DESIGN (Singer). Woman seated at a piano. First reproduced in
+    _The Poster_, October 1898, again in "Second Book" and in "Later Work."
+
+97. LADY TO RIGHT GAZING AT A HAT ON A MILLINER'S BONNET STAND, headpiece
+    for the "Idlers' Club" section in the _Idler_ Magazine, 1894.
+
+98. PIERROT AND BLACK CAT, small square in black-and-white for a book
+    ornament.
+
+99. HEAD AND SHOULDERS OF A CHINESE PRIEST, together with the Head of a
+    Satyr. 25 copies only printed on folio sheet, and 10 copies only in
+    red. It is not known for what they were intended. Published by James
+    Tregaskis, Caxton Head.
+
+100. LES PASSADES, night scene, in pen-and-ink with ink wash, 10 × 5
+    inches. First published in _To-Day_, November 17, 1894, again in the
+    _Idler_ Magazine, March 1897.
+
+101. VENUS BETWEEN TERMINAL GODS. Frontispiece for a version of the
+    Tannhäuser legend, to be published by Messrs H. Henry & Co. Ltd.,
+    a project never completed. Design in black-and-white, showing,
+    especially in the treatment of flying dove and of the background
+    of rose-trellis, the influence of Charles Ricketts or Laurence
+    Housman. Reproduced in "Second Book," and again in "Later Work."
+    _Circa_ 1894-5.
+
+102. FRONTISPIECE AND TITLE-PAGE, together forming one complete design, for
+    "The Story of Venus and Tannhäuser," to be published by John Lane,
+    but never completed. (_Cf._ "Under the Hill" in _The Savoy_, 1896.)
+    Reproduced in "Early Work." Dated 1895. (Property of John Lane, Esq.)
+
+103. THE RETURN OF TANNHÄUSER TO VENUSBERG. A design originally intended
+    for the above-named book. Subsequently presented by the artist to
+    J. M. Dent, Esq. First published, in illustration of an article by
+    Max Beerbohm, in the _Idler_ Magazine for May 1898, and again, in
+    larger format and, as the initials in left hand corner show, reversed,
+    in "Second Book" and again in "Later Work." The _Idler_ version has
+    a slight effect of half-tone in the brambles in the foreground, but
+    the "Later Work" reproduction is pure black-and-white contrast.
+
+104. VENUS. Design for title-page, in black-and-white. First published in
+    _The Studio_, 1898, and afterwards in "Early Work," March 2, 1899,
+    where it is described as "hitherto unpublished." (The property of
+    John Lane, Esq.)
+
+105. DESIGN FOR COVER OF "THE CAMBRIDGE A, B, C." Reproduced in "Early
+    Work."
+
+106. PIERROT AS CADDIE, Golf Club Card, designed for the opening of The
+    Prince's Ladies' Golf Club, Mitcham, pen-and-ink. Published in "Early
+    Work." (Formerly the property of Mrs Falconer-Stuart, now of R.
+    Hippesley Cox, Esq.) Dated 1894.
+
+107. A POSTER DESIGN; two female figures drawn in black-and-white for Mr
+    William Heinemann. Reproduced in "Early Work."
+
+108. THE LONDON GARLAND, published by the Society of Illustrators, 1895.
+    A pen-and-ink drawing of a female in very elaborated dress reaching
+    from her neck to the ground, intended to represent a ballet-dancer
+    with a costume as prescribed by Mrs Grundy. The original drawing,
+    unfinished, contains another figure, not reproduced, on the left.
+    The original title for this drawing was "At a Distance." Reproduced
+    in "Second Book." (Property of Joseph Pennell, Esq.)
+
+109. AUTUMN. Design in black-and-white for a calendar to be published by
+    William Heinemann. Reproduced in "Early Work."
+
+110. TALES OF MYSTERY AND WONDER, by Edgar Allen Poe (Stone & Kimball,
+    Chicago, U.S.A., 1895); four designs in pen-and-ink for large paper
+    edition of----
+
+    I. The Murders in the Rue Morgue.
+
+   II. The Black Cat.
+
+  III. The Masque of the Red Death. First published in the "Chap Book"
+        (Chicago), Aug. 15, 1894, again in same, April 1, 1898.
+
+   IV. The Fall of the House of Usher.
+
+111. OUTLINE PORTRAIT OF THE ARTIST in profile to left; in imaginary
+    costume, with a lace ruff to the neck, and earrings in the ears.
+    Published in "Posters in Miniature," and again in "Early Work."
+    A half-tone block from variant of the same, the earring as well as
+    the button on lappel and waist of coat more pronounced, was published
+    in _The Hour_, March 27, 1895, and reproduced in _Magazine of Art_,
+    November 1896.
+
+112. A CHILD STANDING BY ITS MOTHER'S BED, black-and-white, chiefly
+    outline. First published in _The Sketch_, April 10, 1895. Reproduced
+    in "Early Work." Formerly in the possession of Max Beerbohm, Esq.,
+    but since lost.
+
+113. THE SCARLET PASTORALE, pen-and-ink. First published in _The Sketch_,
+    April 10, 1895. Also printed in scarlet on white. Reproduced in
+    "Fifty Drawings."
+
+114. PORTRAIT OF MISS ETHEL DEVEREUX, pencil drawing. (Property of Mrs
+    Roy Devereux.) _Circa_ 1895.
+
+115. DESIGN FOR AN INVITATION CARD, ink outline; seated Pierrot smoking,
+    a copy of the "Yellow Book," Vol. IV., on the couch at his side.
+    Drawn for Mr John Lane's Sette of Odd Volumes Smoke. Reproduced
+    in _The Studio_, September 1895. (Property of John Lane, Esq.)
+
+116. THREE DECORATIVE DESIGNS from the brown paper cover of Aubrey
+    Beardsley's own copy of "Tristan und Isolde." Two reproduced in
+    "Later Work." (Property of Frederick H. Evans, Esq.)
+
+117. MAX ALVARY AS "TRISTAN" in Wagner's opera "Tristan und Isolde,"
+    half-length profile to left, pen-and-ink and wash with unusual
+    monogram signature. 10 × 5-1/2 inches. First published in "Aubrey
+    Beardsley's Drawings, a catalogue and a list of criticisms," by
+    A. E. Gallatin (New York, 1903). (Formerly the property of Rev.
+    G. H. Palmer, now of A. E. Gallatin, Esq.)
+
+118. FRAU KLAFSKY AS "ISOLDE" in above-named opera, pen-and-ink and pale
+    green water-colour, 13 × 4-3/4 inches. First published in the _Critic_
+    (New York), December, 1902. (Formerly the property of Rev. G. H.
+    Palmer, now of A. E. Gallatin, Esq.)
+
+119. ISOLDE; autolithograph in scarlet, grey, green, and black on white;
+    supplement to _The Studio_, October 1895.
+
+120. WOMAN RECLINING IN A MEADOW BY THE BORDER OF A LAKE, LISTENING TO A
+    FAUN READING OUT OF A BOOK TO HER. Oblong design in ink on white; a
+    variant of the design for wrapper of Leonard Smithers' Catalogue,
+    No. 3. First published in _The Studio_, May 1898, again in "Early
+    Work," where it is described as "hitherto unpublished." (Property
+    of John Lane, Esq.) 1895.
+
+121. DESIGN FOR WRAPPER OF "CATALOGUE OF RARE BOOKS," NO. 3. (Leonard
+    Smithers, September 1895.) The same figures as in the last-named,
+    but the landscape has an urn and additional trees to adapt the
+    design to upright shape. Black on pale blue-green paper.
+
+122. CHOPIN BALLADE III., illustration for. Woman rider, mounted on a
+    prancing white horse to left. Wash drawing. First published in _The
+    Studio_, May 1898, in half tones of grey, with deep purplish black;
+    again in "Second Book." (Property of Charles Holme, Esq.) 1895.
+
+123. CHOPIN'S NOCTURNES, frontispiece to. Pen-and-ink and wash. First
+    published in "Early Work." (Property of John Lane, Esq.)
+
+124. EARL LAVENDER, by John Davidson (Ward & Downey, 1895), design for
+    frontispiece to. Woman scourging a kneeling, barebacked figure.
+    Pen-and-ink outline. Reproduced in "Early Work." (Property of John
+    Lane, Esq.)
+
+125. YOUNG OFEG'S DITTIES, by George Egerton (John Lane, 1895), title-page
+    and cover design for.
+
+126. MESSALINA, with another woman on her left, black-and-white, with black
+    background. First published in "Second Book," again in "Early Work,"
+    where it is described as "hitherto unpublished." 1895.
+
+127. TITLE-PAGE ORNAMENT, standing nude figure playing double-bass, black
+    background. First published in "Early Work."
+
+128. PORTRAIT OF MISS LETTY LIND in "The Artist's Model." Pen-and-ink
+    outline. Published in "Early Work." (Property of Miss Letty Lind.)
+
+129. ATALANTA IN CALYDON, full-length figure to right; pen-and-ink and
+    wash. First published in "Early Work." (Property of John Lane, Esq.)
+
+130. COVER DESIGN FOR FAIRY TALES by Count Hamilton, to be published
+    by Messrs H. Henry & Co., Ltd.
+
+131. BALZAC'S "LA COMÉDIE HUMAINE," design (head, full face) for front side
+    and another for the reverse of cover. Reproduced in "Later Work."
+
+132. THE BROOK TRILLS OF PERNICIOUS BY RICHARD LE PHILISTIENNE, title-page
+    to burlesque, that of "The Book Bills of Narcissus," by Richard le
+    Gallienne. Unpublished. (Property of J. M. Dent, Esq.)
+
+133. A SELF-PORTRAIT, grotesque outline profile to left, with diminutive
+    silk hat, from the fly-leaf of an envelope in the possession of
+    J. M. Dent, Esq. Unpublished.
+
+134. THE SHAVING OF SHAGPAT, by George Meredith, small sketch to
+    illustrate, in pen-and-ink, contained in a letter to Frederick
+    H. Evans, Esq. Unpublished.
+
+135. AN EVIL MOTHERHOOD, by Walt Ruding (Elkin Mathews, 1896), frontispiece
+    to. Pen-and-ink. Reproduced in "Early Work."
+
+136. CAFE NOIR. Another design for the frontispiece of the last-named book,
+    pen-and-ink and wash; bound up in six review copies only, and then
+    recalled. Reproduced in "Early Work." (Property of M. Jean Ruelle.)
+
+137. TITLE-PAGE, an architectonic design. First published as the title of
+    "Early Work" (John Lane, 1899). (Property of John Lane, Esq.)
+
+138. ORNAMENTAL TITLE-PAGE FOR "THE PARADE." Messrs H. Henry & Co., Ltd.,
+    1896. Reproduced in "Later Work."
+
+139. TAIL-PIECE to Catalogue of Lord Carnarvon's Library, 1896.
+
+140. SAPPHO, by H. T. Wharton. (John Lane, 1896.) Design for cover in gold
+    on blue. Reproduced in "Early Work." (Property of John Lane, Esq.)
+
+141. PIERROT'S LIBRARY. (John Lane, 1896.) Design for title-page of, two
+    designs for end papers, printed in olive green; design for front
+    cover and vignette for reserve cover, printed in gold on red cloth.
+    Reproduced in "Early Work." (Property of John Lane, Esq.)
+
+142. LOVE ENSHRINED IN A HEART IN THE SHAPE OF A MIRROR, pen-and-ink.
+    First published in "Aubrey Beardsley" by Arthur Symons. (Sign of the
+    Unicorn, 1898.) (Property of André Raffalovich, Esq.)
+
+143. THE LYSISTRATA OF ARISTOPHANES. (Leonard Smithers, privately
+    printed, 1896.) Eight pen-and-ink designs to illustrate----
+
+    I. Lysistrata.
+   II. The Toilet of Lampito.
+  III. Lysistrata haranguing the Athenian Women.
+   IV. Lysistrata defending the Acropolis.
+    V. Two Athenian Women in Distress.
+   VI. Cinesias soliciting Myrrhina.
+  VII. The Examination of the Herald.
+ VIII. The Lacedemonian Ambassadors.
+
+        An expurgated version of No. 3 was published in "Second Book,"
+        and was repeated together with expurgated versions or fragments
+        from the remainder of the set in "Later Work."
+
+144. THE RAPE OF THE LOCK, by Alexander Pope. An heroi-comical poem in five
+    cantos, "embroidered with nine drawings by Aubrey Beardsley," 4to.
+    Leonard Smithers, 1896. Now published by John Lane. (Property of
+    Messrs Keppel, New York.)
+
+    I. The Dream.
+
+   II. The Billet-Doux (vignette). Reproduced in _St Paul's_, April 2,
+        1898. (Property of Mrs Edmund Davis.)
+
+  III. The Toilet.
+
+   IV. The Baron's Prayer.
+
+    V. The Barge.
+
+   VI. The Rape of the Lock. (The property of Messrs Keppel, New York.)
+
+  VII. The Cave of Spleen.
+
+ VIII. The Battle of the Beaux and the Belles. Reproduced in the _Idler_,
+        March 1897.
+
+   IX. The New Star (cul-de-lampe).
+
+        Cover design for the original edition.
+
+        Cover design for the Bijou edition. (John Lane.) Reproduced in
+        "Later Work."
+
+145. DESIGN FOR WRAPPER OF CATALOGUE OF RARE BOOKS, No. 7. (Leonard
+    Smithers, 1896.) A lady seated on a striped settee reading; a parrot
+    on stand on the right. Black on leaden-grey paper. Reproduced in
+    "Second Book," 1896, and "Later Work."
+
+146. THE PROSPECTUS OF THE SAVOY. DESIGN FOR.
+
+      I. A burlesque Cupid on a stage with footlights, one hand holding a
+          copy of the book, whence it appears that the original intention
+          was to produce the first number in December 1895. Reproduced
+          in "Later Work." Latter part of 1895. (Property of John Lane,
+          Esq.)
+
+     II. A suppressed variant of the above, same motif reversed, only with
+          John Bull substituted for the Cupid. Reproduced in "Later Work."
+
+    III. Initial letter A in the above Prospectus. Reproduced in "Later
+          Work."
+
+     IV. Publisher's Trade-mark for Leonard Smithers. First published in
+          "Savoy" Prospectus. The same, name omitted, appears in "Later
+          Work" with the title of "Siegfried," 1895.
+
+    THE SAVOY, No. 1, January 1896. (Leonard Smithers.)
+
+      V. Cover design, in two states. The original was suppressed because
+          it depicted too realistically the contempt of the child in the
+          foreground for the "Yellow Book," with which the artist had
+          recently ceased to be connected. The revised version was
+          republished in "Fifty Drawings," and again in "Later Work."
+          (Property of Mrs George Bealby Wright.)
+
+     VI. Title-page. Repeated as title-page in No. 2, and republished in
+          "Later Work."
+
+    VII. Drawing to face Contents. Caricature of John Bull. Republished
+          in "Later Work."
+
+   VIII. The Three Musicians. Illustration of the artist's poem, same
+          title. Republished in "Fifty Drawings" and "Later Work."
+
+     IX. Another drawing to illustrate the above, but withheld.
+          It appeared for the first time in "A Book of Fifty Drawings,"
+          1897. Republished in "Later Work" and "Under the Hill."
+
+      X. Tailpiece to the above. Republished in "Later Work" and "Under
+          the Hill."
+
+     XI. The Bathers (on Dieppe Beach). Republished in "Fifty Drawings"
+          and "Later Work."
+
+    XII. The Moska. This subject was inspired by the children's dance at
+          the Casino, Dieppe. Republished in the _Idler_ Magazine, March
+          1897, and again in "Later Work." (Property of Mrs Edmund Davis.)
+
+   XIII. The Abbé. This and the two designs which follow appeared as
+          illustrations to "Under the Hill," a romantic novel, by Aubrey
+          Beardsley. Republished in "Later Work." All the illustrations
+          of "Under the Hill" reissued with text in a volume bearing same
+          title. John Lane, 1904.
+
+    XIV. The Toilet of Helen. Republished in "Fifty Drawings" and "Later
+          Work."
+
+     XV. The Fruit Bearers. Republished in "Later Work."
+
+    XVI. A large Christmas Card, in black-and-white. Madonna, with
+          fur-edged, richly-flowered mantle. Issued together with, but
+          not bound in, the book. Republished in "Fifty Drawings" and
+          "Later Work."
+
+    THE SAVOY. No. 2. April 1896.
+
+   XVII. Cover Design. Republished in "Later Work."
+
+  XVIII. A Foot-note. (Fancy portrait of the artist.) Republished, with
+          omissions, in "Later Work." Also adapted in gold on scarlet for
+          cloth cover of "Second Book."
+
+    XIX. The Ecstasy of Saint Rose of Lima. Illustration of "Under the
+          Hill." Republished in "Fifty Drawings" and "Later Work."
+
+     XX. The Third Tableau of "Das Rheingold." Republished in "Fifty
+          Drawings" and "Later Work."
+
+          Scene reproduced from "The Rape of the Lock."
+
+    THE SAVOY. No. 3. July 1896.
+
+    XXI. Cover Design. Republished in "Later Work."
+
+   XXII. Title-page. Puck on Pegasus. Repeated for the title of all the
+          succeeding numbers. Republished in "Later Work." Also, reduced,
+          as design for title-page of "Fifty Drawings," and in gold on
+          scarlet for the under side of cloth cover of same.
+
+  XXIII. The Coiffing. This and the following design accompanied Aubrey
+          Beardsley's "Ballad of a Barber." The Coiffing was republished
+          in the _Idler_ Magazine, March 1897, and in "Fifty Drawings"
+          and "Later Work." (Property of Messrs Obach & Co.)
+
+   XXIV. A Cul-de-Lampe. Cupid carrying a gibbet. Republished in "Later
+          Work."
+
+    THE SAVOY. No. 4. August 1896.
+
+    XXV. Cover Design. Republished in "Later Work."
+
+    THE SAVOY. No. 5. September 1896.
+
+   XXVI. Cover Design. (Signed, for a practical joke, Giulio Floriani.)
+          Republished in "Fifty Drawings" and "Later Work."
+
+  XXVII. The Woman in White. A sketch in white on brown paper. Republished
+          in "Fifty Drawings" and "Later Work."
+
+    THE SAVOY. No. 6. October 1896.
+
+  XXVIII. Cover Design; the Fourth Tableau of "Das Rheingold." Republished
+          in "Fifty Drawings" and "Later Work."
+
+   XXIX. The Death of Pierrot. A pen-and-ink sketch. Reproduced in "Later
+          Work." (Property of Messrs Obach & Co.)
+
+    THE SAVOY. No. 7. November 1896.
+
+    XXX. Cover Design. Republished in "Later Work."
+
+   XXXI. Ave atque Vale; Catullus, Carmen C.I. Republished in "Fifty
+          Drawings" and "Later Work."
+
+  XXXII. Tristan und Isolde. Republished in "Later Work."
+
+    THE SAVOY. No. 8 (the last issued). December 1896.
+
+ XXXIII. Cover Design. Republished in "Later Work." The same adapted, with
+          the addition of heavy black bands, and is printed in green and
+          scarlet, for small poster to advertise the completed work.
+
+  XXXIV. A Répétition of "Tristan und Isolde." Republished in "Later Work."
+
+   XXXV. Don Juan, Sganarelle and the Beggar; from Molière's "Don Juan."
+          Republished in "Later Work."
+
+  XXXVI. Mrs Margery Pinchwife, from William Wycherley's "Country Wife."
+          Republished in "Later Work."
+
+ XXXVII. Frontispiece to "The Comedy of the Rheingold." Republished in
+         "Later Work."
+
+XXXVIII. Flosshilde, a Rhine Maiden; to illustrate "Das Rheingold."
+        Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)
+
+  XXXIX. Erda; to illustrate "Das Rheingold." Republished in "Later Work."
+
+     XL. Alberich; to illustrate "Das Rheingold." Republished in "Later
+          Work." (Property of Herbert J. Pollit, Esq.)
+
+    XLI. Felix Mendelssohn Bartholdy. Republished in "Later Work."
+          (Property of Herbert J. Pollit, Esq.)
+
+   XLII. Carl Maria von Weber. Republished in "Later Work."
+
+  XLIII. Count Valmont, from "Les Liaisons Dangereuses," by Choderlos de
+          Laclos. Republished in "Later Work."
+
+   XLIV. Et in Arcadia Ego. Republished in "Later Work."
+
+    XLV. Small ornament for the cover of bound volumes of "The Savoy."
+
+   XLVI. SKETCH OF A CHILD (young girl), unfinished, in pencil, on
+          the reverse of "A Foot-note." First published in "Early Work."
+          (Property of Frederick H. Evans, Esq.)
+
+147. A SEATED FIGURE. Unpublished design for the Savoy, occurring as a
+    grotesque in "Bon Mots." (Property of G. D. Hobson, Esq.)
+
+148. VERSES, BY ERNEST DOWSON (Leonard Smithers, 1896), cover design for.
+    Reproduced in "Later Work." (Property of John Lane, Esq.)
+
+149. THE PIERROT OF THE MINUTE. A Dramatic Phantasy in one act. By Ernest
+    Dowson. Leonard Smithers, 1897. (Property of John Lane, Esq.) Four
+    designs to illustrate:----
+
+    I. Frontispiece.
+   II. Headpiece.
+  III. Initial letter P.
+   IV. Cul-de-Lampe.
+
+    Reproduced in "Second Book" and "Later Work." Cover design for the
+    same.
+
+150. APOLLO PURSUES DAPHNE. (Property of Herbert J. Pollit, Esq.)
+
+151. THE SOUVENIRS OF LEONARD, Cover design for. Printed in gold on
+    purple. Reproduced in "Later Work." 1897.
+
+152. THE LIFE AND TIMES OF MADAME DU BARRY, by Douglas. Leonard Smithers,
+    1897. Cover design for. Reproduced in "Later Work." 1897.
+
+153. FRONTISPIECE TO A BOOK OF BARGAINS, by Vincent O'Sullivan. Leonard
+    Smithers, 1897. Reproduced in the _Idler_, March 1897.
+
+154. COVER DESIGN FOR A BOOK OF FIFTY DRAWINGS, BY AUBREY BEARDSLEY.
+    Leonard Smithers, 1897. Reproduced in gold on scarlet cloth.
+    Republished on a reduced scale, in black-and-white, in "Later Work."
+
+155. SILHOUETTE OF THE ARTIST. First published as a tailpiece at the end
+    of "Fifty Drawings." Also in _Idler_ Magazine, March 1897, and in
+    "Later Work."
+
+156. BOOK-PLATE OF THE ARTIST. First published in "Fifty Drawings," 1897,
+    also in "Later Work."
+
+157. ALI BABA. COVER DESIGN FOR THE FORTY THIEVES.
+
+    I. First published in "Second Book," again in "Later Work," 1901.
+        (Property of Messrs Robson & Co.)
+
+   II. ALI BABA IN THE WOOD. First published in "Fifty Drawings," 1897.
+         Also in _Idler_, May 1898, and again in "Later Work."
+
+158. ATALANTA IN CALYDON. First published in "Fifty Drawings," 1897; also
+    in the _Idler_ Magazine, March 1897, and again in "Later Work."
+    (This drawing was exhibited at the Carfax Exhibition, October 1904,
+    under the title of "Diana," 77.)
+
+159. MESSALINA RETURNING FROM THE BATH. Pen-and-ink and water colours.
+    First published in "Second Book," again in "Later Work." This drawing,
+    together with the other one of Messalina, drawn in 1895 (see _supra_),
+    two of Bathyllus, and one representing Juvenal scourging a woman
+    (this last, slightly altered, reproduced in "Later Work"), belongs
+    to a series of illustrations to the _Sixth Satire_ of Juvenal.
+    Leonard Smithers, privately printed, 1897.
+
+160. THE HOUSES OF SIN, by Vincent O'Sullivan. Leonard Smithers, 1897.
+    Cover design for. Reproduced in "Second Book," again in "Later Work."
+
+161. LA DAME AUX CAMÉLIAS. Sketch in water colour to right. On the fly-leaf
+    of a copy of the book given to the artist by M. Alexandre Dumas, fils.
+    First published in "Second Book," again in "Later Work." 1897.
+
+162. BOOK-PLATE FOR MISS OLIVE CUSTANCE (Lady Alfred Douglas). Reproduced
+    in photogravure in "Early Work."
+
+163. ARBUSCULA. Drawing in line and wash, for the _édition de luxe_ of
+    Vuillier's "History of Dancing." William Heinemann, 1897. Reproduced
+    in photogravure; also an early impression of the same printed in a
+    green tint. (Property of John Lane, Esq.)
+
+164. MADEMOISELLE DE MAUPIN, by Théophile Gautier. Leonard Smithers, 1898.
+    Designs to illustrate:----
+
+    I. Mademoiselle de Maupin, frontispiece, water colour. Reproduced in
+        facsimile by Messrs Boussod, Valadon & Co., for limited edition,
+        and, like the rest, in photogravure for ordinary edition.
+        Reproduced as frontispiece to "Later Work."
+
+   II. D'Albert (small design).
+
+  III. D'Albert in search of Ideals. (Property of Mrs George Bealby
+        Wright.)
+
+   IV. The Lady at the Dressing Table. (Property of Walter Pollett, Esq.)
+
+    V. The Lady with the Rose.
+
+   VI. The Lady with the Monkey. All the above reproduced in photogravure
+        in "Later Work."
+
+165. BEN JONSON HIS VOLPONE: OR THE FOXE. 4to. Leonard Smithers, 1898.
+
+    I. Design in gold on blue for the cloth cover. Same in black-and-white
+        for opening page. Frontispiece, design in pen-and-ink.
+
+   II. Vignette to the Argument. Initial letter V, with column and
+        tasselled attachments to the capital. This and the remaining
+        designs were executed in pen and crayon.
+
+  III. Vignette to Act I. Initial letter V, with an elephant, having a
+        basket of fruits on his back. (Property of Herbert J. Pollit, Esq.)
+
+   IV. Vignette to Act II. Initial letter S, with a monster bird, having
+        a pearl chain attached to its head. (Property of Herbert J.
+        Pollit, Esq.)
+
+    V. Vignette to Act III. Initial letter M, with seated Venus and Cupid
+        under a canopy, between two fantastic gynæcomorphic columns.
+        (Property of Herbert J. Pollit, Esq.)
+
+        Vignette to Act IV. (The same as the design for Act II. repeated.)
+
+   VI. Vignette to Act V. Initial letter V, with a horned terminal figure
+        of a man or satyr. (Property of Herbert J. Pollit, Esq.)
+
+    All these Volpone designs were reproduced in "Later Work." Drawn at
+    the close of 1897 and early part of 1898, they constitute the latest
+    designs produced by Aubrey Beardsley before his death.
+
+    In his published List, Mr A. E. Gallatin mentions several sketches
+    and other drawings in private letters which, for lack of detailed
+    information, I have not included in my List. Many of Aubrey
+    Beardsley's drawings are constantly changing hands. In each case
+    the name of the last known owner is given. Where no owner's name
+    appears, no information has been obtainable. Some of the finest
+    drawings, I am informed upon good authority, have now passed into
+    the collection of Herr Wärdofer of Vienna.
+
+    I desire to acknowledge my indebtedness to the artist's mother and
+    sister, to Mr G. R. Halkett, Mr H. C. Marillier, Mr H. A. Payne,
+    and Mr Pickford Waller. To Mr Frederick H. Evans, who kindly placed
+    his collection at my disposal, I am under special obligations.
+
+AYMER VALLANCE
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Aubrey Beardsley, by Robert Ross
+
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+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+<head>
+<meta http-equiv="Content-Type"
+    content="text/html; charset=iso-8859-1" />
+<meta content="pg2html (binary v0.18)" name="generator" />
+<title>The Project Gutenberg eBook of
+    Aubrey Beardsley,
+    by Robert Ross.
+</title>
+<style type="text/css">
+ body { margin-left: 10%; margin-right: 10%; }
+    p { text-indent:   1em;
+        margin-top:    .75em;
+        font-size:     100%;
+        text-align:    justify;
+        margin-bottom: .75em; }
+    h1,h2,h3,h4,h5,h6 { text-align: center; }
+    hr  { width: 50%; }
+    .poem { margin-left: 10%; margin-right: 10%; margin-bottom: 1em; text-align: left; }
+    .poem .stanza { margin: 1em 0em 1em 0em; }
+    .poem p     { margin: 0; padding-left: 3em; text-indent: -3em; }
+    .poem p.i2  { margin-left: 1.5em; }
+    .poem p.i4  { margin-left: 2.5em; }
+    .figure { margin-left: 10%; margin-right: 10%; text-indent: 0em; text-align: center; }
+    .sc { font-variant: small-caps; }
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+    p.subentry2  { margin-left: 18%; margin-right: 20%; text-indent: -2em; padding: 0!important; margin-top:0; margin-bottom: 0;}
+    span.pagenum { position: absolute; left: 1%; right: 91%; font-size: 8pt; color: gray; background-color: inherit; display: none; }
+    a,img { border: none; text-decoration: none; }
+</style>
+</head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Aubrey Beardsley, by Robert Ross
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Aubrey Beardsley
+
+Author: Robert Ross
+
+Contributor: Aymer Vallance
+
+Release Date: August 4, 2010 [EBook #33347]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK AUBREY BEARDSLEY ***
+
+
+
+
+Produced by Lee Dawei, Bruce Albrecht, David Garcia and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<p><span class="pagenum"><a id="pagei" name="pagei"></a>[i]</span></p>
+
+<a name="h2H_4_0002" id="h2H_4_0002"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h1>
+    AUBREY BEARDSLEY
+</h1>
+
+<p><span class="pagenum"><a id="pageii" name="pageii"></a>[ii]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+<!--<p>[Blank Page]</p>-->
+
+<p><span class="pagenum"><a id="page1" name="page1"></a>[1]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+<!--<p>[Blank Page]</p>-->
+
+<p><span class="pagenum"><a id="page2" name="page2"></a>[2]</span></p>
+
+<a name="image-0001"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-01.jpg"><img src="images/i-01-s.png" width="300" height="470"
+alt="MRS. PATRICK CAMPBELL" /></a>
+<br />
+MRS. PATRICK CAMPBELL
+<br />
+<i>Now in the Berlin National Gallery</i>
+</div>
+
+<p><span class="pagenum"><a id="page3" name="page3"></a>[3]</span></p>
+
+<a name="image-0002"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-02.jpg"><img src="images/i-02-s.png" width="300" height="460"
+alt="Title Page" /></a>
+</div>
+
+<h1>
+AUBREY<br />
+BEARDSLEY
+</h1>
+<h2>
+BY ROBERT ROSS
+</h2>
+<p class="center">
+WITH SIXTEEN FULL-PAGE<br />
+ILLUSTRATIONS AND A<br />
+REVISED ICONOGRAPHY<br />
+BY AYMER VALLANCE
+</p>
+<p class="center">
+LONDON: JOHN LANE, THE BODLEY HEAD<br />
+NEW YORK: JOHN LANE COMPANY  MCMIX
+</p>
+
+<p><span class="pagenum"><a id="page4" name="page4"></a>[4]</span></p>
+
+<p class="center">
+TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
+</p>
+
+<p><span class="pagenum"><a id="page5" name="page5"></a>[5]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+TO<br />
+<span class="sc">Sir</span> COLERIDGE ARTHUR FITZROY KENNARD,<br />
+<span class="sc">Bart</span>.
+</p>
+
+<p><span class="pagenum"><a id="page6" name="page6"></a>[6]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+<!--<p>[Blank Page]</p>-->
+
+<p><span class="pagenum"><a id="page7" name="page7"></a>[7]</span></p>
+
+<a name="h2H_ILL" id="h2H_ILL"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    Illustrations
+</h2>
+
+<table border="0" align="center" width="90%" summary="Table of Contents">
+<tr><td><a href="#image-0001"><span class="sc">Mrs Patrick Campbell</span></a></td><td align="right"><i>Frontispiece</i></td></tr>
+<tr><td>&nbsp;&nbsp;<i>Now in the Berlin National Gallery</i></td></tr>
+
+<tr><td> </td><td align="right"><i>facing page</i></td></tr>
+
+<tr><td><a href="#image-0003"><span class="sc">Siegfried</span></a></td><td align="right">12</td></tr>
+<tr><td>&nbsp;&nbsp;<i>Reproduced from the original in the possession of Mrs Bealby Wright</i></td></tr>
+
+<tr><td><a href="#image-0004"><span class="sc">The Woman in the Moon</span></a></td><td align="right">14</td></tr>
+<tr><td>&nbsp;&nbsp;<i>From "Salome"</i></td></tr>
+
+<tr><td><a href="#image-0005"><span class="sc">The Toilette of Salome</span></a></td><td align="right">18</td></tr>
+<tr><td>&nbsp;&nbsp;<i>From "Salome"</i></td></tr>
+
+<tr><td><a href="#image-0006"><span class="sc">The Dancer's Reward</span></a></td><td align="right">20</td></tr>
+<tr><td>&nbsp;&nbsp;<i>From "Salome"</i></td></tr>
+
+<tr><td><a href="#image-0007"><span class="sc">Tailpiece</span></a></td><td align="right">22</td></tr>
+<tr><td>&nbsp;&nbsp;<i>From "Salome"</i></td></tr>
+
+<tr><td><a href="#image-0008"><span class="sc">Design for a Frontispiece</span></a></td><td align="right">26</td></tr>
+<tr><td>&nbsp;&nbsp;<i>From "Plays" by John Davidson</i></td></tr>
+
+<tr><td><a href="#image-0009"><span class="sc">The Wagnerites</span></a></td><td align="right">28</td></tr>
+
+<tr><td><a href="#image-0010"><span class="sc">Atalanta</span></a></td><td align="right">32</td></tr>
+
+<tr><td><a href="#image-0011"><span class="sc">The Mysterious Rose Garden</span></a></td><td align="right">36</td></tr>
+
+<tr><td><span class="pagenum"><a id="page8" name="page8"></a>[8]</span>
+        <a href="#image-0012"><span class="sc">Illustration for "A Nocturne of Chopin"</span></a></td><td align="right">38</td></tr>
+
+<tr><td><a href="#image-0013"><span class="sc">Chopin, Ballade III. Op. 47</span></a></td><td align="right">42</td></tr>
+<tr><td>&nbsp;&nbsp;<i>Reproduced by permission of Charles Holme, Esqre.</i></td></tr>
+
+<tr><td><a href="#image-0014"><span class="sc">The Baron's Prayer</span></a></td><td align="right">44</td></tr>
+<tr><td>&nbsp;&nbsp;<i>From "The Rape of the Lock"</i></td></tr>
+
+<tr><td><a href="#image-0015"><span class="sc">The Battle of Beaux and Belles</span></a></td><td align="right">48</td></tr>
+<tr><td>&nbsp;&nbsp;<i>From "The Rape of the Lock"</i></td></tr>
+
+<tr><td><a href="#image-0016"><span class="sc">A Design from "Lysistrata"</span></a></td><td align="right">50</td></tr>
+
+<tr><td><a href="#image-0017"><span class="sc">D'Albert in Search of Ideals</span></a></td><td align="right">54</td></tr>
+<tr><td>&nbsp;&nbsp;<i>From "Mademoiselle de Maupin." Reproduced from the original in the possession of Mrs Bealby Wright</i></td></tr>
+</table>
+
+<p><span class="pagenum"><a id="page9" name="page9"></a>[9]</span></p>
+
+<a name="h2H_4_0003" id="h2H_4_0003"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+    AUBREY BEARDSLEY
+</p>
+
+<p><span class="pagenum"><a id="page10" name="page10"></a>[10]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+<!--<p>[Blank Page]</p>-->
+
+<p><span class="pagenum"><a id="page11" name="page11"></a>[11]</span></p>
+
+<a name="h2H_4_0004" id="h2H_4_0004"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h1>
+    AUBREY BEARDSLEY
+</h1>
+
+<p>
+Aubrey Beardsley was born on August 21st, 1872, at Brighton. He was a
+quiet, reserved child, caring little for lessons, though from an early
+age he shewed an aptitude for drawing. He began his education at a
+Kindergarten. He was seven years old when the first symptoms of delicacy
+appeared, and he was sent to a preparatory school at Hurstpierpoint,
+where he was remarkable for his courage and extreme reserve. Threatened
+with tuberculosis, he was moved for his health to Epsom in 1881. In
+March 1883 his family settled in London, and Beardsley made his first
+public appearance as an infant musical phenomenon, playing at concerts
+in company with his sister. He had a great knowledge of music, and
+always spoke dogmatically on a subject, the only one he used to say, of
+which he knew anything. He became attracted at this time by Miss Kate
+Greenaway's picture
+
+<span class="pagenum"><a id="page12" name="page12"></a>[12]</span>
+
+                    books, and started illuminating menus and invitation
+cards with coloured chalks, making by this means quite considerable sums
+for a child.
+</p>
+<p>
+In August 1884 he and his sister were sent back to Brighton, where
+they resided with an old aunt. Their lives were lonely, and Beardsley
+developed a taste for reading of a rather serious kind&mdash;the histories
+of Freeman and Greene being his favourite works. He could not remain
+a student without creating, so he started a history of the Armada! In
+November of the same year he was sent to the Brighton Grammar School as
+a day boy, becoming a boarder in January 1885. He was a great favourite
+with Mr King, the house-master, who encouraged his tastes for reading
+and drawing by giving him the use of a sitting-room and the run of
+a library. This was one of the first pieces of luck that attended
+Beardsley throughout life. The head-master, Mr Marshall, I am told,
+would hold him up as an example to the other boys, on account of his
+industry. His caricatures of the masters were fully appreciated by
+them, a rare occurrence in the lives of artists. He cultivated besides
+a talent for acting, and would often
+
+<span class="pagenum"><a id="page13" name="page13"></a>[13]</span>
+
+                                    perform before large audiences at
+the Pavilion. He organized weekly performances at the school, designing
+and illustrating the programmes. He even wrote a farce called "A Brown
+Study," which was played at Brighton, where it received serious
+attention from the dramatic critics of the town. He would purchase
+each volume of the Mermaid series of Elizabethan dramatists then being
+issued, and with his sister gave performances during the holidays. From
+the record of the "Brighton College Magazine," Beardsley appears to have
+taken a leading rôle in all histrionic fêtes, and to "The Pied Piper of
+Hamelin" he contributed some delightful and racy little sketches, the
+first of his drawings, I believe, that were ever reproduced.
+</p>
+
+<a name="image-0003"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-03.jpg"><img src="images/i-03-s.png" width="300" height="425"
+alt="SIEGFRIED" /></a>
+<br />
+SIEGFRIED
+<br />
+<i>Reproduced from the original in the possession of Mrs. Bealby Wright</i>
+</div>
+
+<p>
+In July 1888 he left school, and almost immediately entered an
+architect's office in London. In 1889 he obtained a post in the Guardian
+Life and Fire Insurance. During the autumn of that year the fatal
+hæmorrhages commenced; for two years he gave up his amateur theatricals
+and did little in the way of drawing. In 1891, however, he recuperated;
+a belief in his own powers revived. He now
+
+<span class="pagenum"><a id="page14" name="page14"></a>[14]</span>
+
+                                           commenced a whole series
+of illustrations to various plays, such as Marlowe's "Tamerlane,"
+Congreve's "Way of the World," and various French works which he was
+able to enjoy in the original. He would often speak of the encouragement
+and kindness he received at this period from the Rev. Alfred Gurney, who
+had known his family at Brighton, and who was perhaps the earliest of
+his friends to realize that Beardsley possessed something more than mere
+cleverness or precocity.
+</p>
+<p>
+Several people have claimed to discover Aubrey Beardsley, but I think it
+truer to say that he revealed himself, when proper acknowledgment has
+been made to Mr Aymer Vallance, Mr Joseph Pennell, Mr Frederick Evans,
+Mr J. M. Dent, and Mr John Lane, with whom Beardsley's art will always be
+associated in connection with the Yellow Book, that too early daffodil
+that came before the swallow dared and could not take the winds of March
+for beauty. To Mr Pennell belongs the credit of introducing Beardsley's
+art to the public; and to Mr Dent is due the rare distinction of giving
+him practical encouragement, by commissioning the illustrations to the
+"Morte d'Arthur," long before
+
+<span class="pagenum"><a id="page15" name="page15"></a>[15]</span>
+
+                              critics had written anything about him,
+or any but a few friends knew of his great powers. Beardsley was too
+remarkable a personality to remain in obscurity. Though I remember
+with some amusement how the editor of a well-known weekly mocked at a
+prophecy that the artist was a coming man who would very shortly excite
+discussion if not admiration. Fortunately Mr Pennell, a distinguished
+artist himself, and a fearless critic, not only espoused the cause of
+the new draughtsman, but became a personal friend for whom Beardsley
+always evinced great affection, and to whom he dedicated his "Album of
+Fifty Drawings."
+</p>
+
+<a name="image-0004"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-04.jpg"><img src="images/i-04-s.png" width="300" height="435"
+alt="THE WOMAN IN THE MOON" /></a>
+<br />
+THE WOMAN IN THE MOON
+<br />
+<i>From "Salome"</i>
+</div>
+
+<p>
+I shall never forget my first meeting with Aubrey Beardsley, on February
+14th, 1892, at the rooms of Mr Vallance, the well-known disciple and
+biographer of William Morris. Though prepared for an extraordinary
+personality, I never expected the youthful apparition which glided into
+the room. He was shy, nervous, and self-conscious, without any of the
+intellectual assurance and ease so characteristic of him eighteen months
+later when his success was unquestioned. He brought a portfolio of his
+marvellous drawings, in themselves an
+
+<span class="pagenum"><a id="page16" name="page16"></a>[16]</span>
+
+                                      earnest of genius; but I hardly
+paid any attention to them at first, so overshadowed were they by the
+strange and fascinating originality of their author. In two hours it was
+not hard to discover that Beardsley's appearance did not belie him. He
+was an intellectual Marcellus suddenly matured. His rather long brown
+hair, instead of being "ébouriffé," as the ordinary genius is expected
+to wear it, was brushed smoothly and flatly on his head and over part
+of his immensely high and narrow brow. His face even then was terribly
+drawn and emaciated. Except in his manner, I do not think his general
+appearance altered very much in spite of the ill-health and suffering,
+borne with such unparalleled resignation and fortitude: he always had
+a most delightful and engaging smile both for friends and strangers.
+He grew less shy after half an hour, becoming gayer and more talkative.
+He was full of Molière and "Manon Lescaut" at the time; he seemed
+disappointed that none of us was musical; but he astonished by his
+knowledge of Balzac an authority on the subject who was also present.
+He spoke much of the National Gallery and the British Museum, both of
+which he knew
+
+<span class="pagenum"><a id="page17" name="page17"></a>[17]</span>
+
+              with extraordinary thoroughness. He told me he had only
+been once to the New Gallery, where he saw some pictures by Burne-Jones,
+but had never been to the Royal Academy. As far as I know, he never
+visited the spring shows of Burlington House. He always, however,
+defended that institution with enthusiasm, saying he would rather be an
+Academician than an artist, "as it takes only one man to make an artist,
+but forty to make an Academician."
+</p>
+<p>
+Our next meeting was a few weeks later, when he brought me a replica of
+his "<i>Joan of Arc</i>." I was anxious to buy the first and better version,
+now in the possession of Mr Frederick Evans, but he refused to part with
+it at the time. He seemed particularly proud of the drawing; it was the
+only work of this period he would allow to have any merit.
+</p>
+<p>
+In the early summer of 1892 he visited Burne-Jones and Watts, receiving
+from the former artist cordial recognition and excellent advice which
+proved invaluable to him. He attributed to the same great painter the
+criticism that "he had learnt too much from the old masters and would
+benefit by the training of an art school." A few days afterwards he
+produced
+
+<span class="pagenum"><a id="page18" name="page18"></a>[18]</span>
+
+         a most amusing caricature of himself being kicked down the
+stairs of the National Gallery by Raphael, Titian, and Mantegna, whilst
+Michael Angelo dealt a blow on his head with a hammer. This entertaining
+little record, I am sorry to say, was destroyed. Beardsley was always
+sensible about friendly and intelligent criticism. When he reached a
+position enjoyed by no artist of his own age, he was swift to remedy
+any defect pointed out to him by artists or even by ordinary friends.
+I never met anyone so receptive on all subjects; he would record what
+Mr Pennell or Puvis de Chavannes said in praise or blame of a particular
+drawing with equal candour and good humour. This was only one of his
+many amiable qualities. When he afterwards became a sort of household
+word and his fame, or notoriety as his enemies called it, was
+established, he never changed in this respect. He made friends and
+remained friends with many for whom his art was totally unintelligible.
+Social charm triumphed over all differences. He would speak with
+enthusiasm about writers and artists quite out of sympathy with his
+own aims and aspirations. He never assumed that those to whom he was
+introduced
+
+<span class="pagenum"><a id="page19" name="page19"></a>[19]</span>
+
+           either knew or admired his work. His character was brisk
+and virile to an extraordinary degree. He made enemies, I believe,
+by refusing to revolve in mutual admiration societies or to support
+literary and artistic cliques. With the shadow of death always over
+him and conscious of the brief time before him, he never gave himself
+up to morbid despair or useless complaints. He determined to enjoy life,
+and, equipped with all the curiosity and gaiety of boyhood, he caught
+at life's exquisite moments. There was always a very deep and sincere
+religious vein in his temperament, only noticeable to very intimate
+friends. With all his power of grasping the essential and absorbing
+knowledge, he remained charmingly unsophisticated. He took people as
+they came, never discriminating, perhaps, sufficiently the issues of
+life. He was unspoiled by success, unburdened with worldly wisdom.
+He was generous to a fault, spending his money lavishly on his friends
+to an extent that became almost embarrassing.
+</p>
+
+<a name="image-0005"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-05.jpg"><img src="images/i-05-s.png" width="300" height="430"
+alt="THE TOILETTE OF SALOME" /></a>
+<br />
+THE TOILETTE OF SALOME
+<br />
+<i>From "Salome"</i>
+</div>
+
+<p>
+His love and knowledge of books increased rather than diminished even
+after he devoted himself entirely to art. In early days he would
+exchange his drawings for illustrated
+
+<span class="pagenum"><a id="page20" name="page20"></a>[20]</span>
+
+                                       books and critical texts of the
+English classics with Mr Frederick Evans, an early and enthusiastic
+buyer of his work. His tastes were not narrow. Poetry, memoirs, history,
+short stories, biography, and essays of all kinds appealed to him; but
+he cared little for novels, except in French. I don't think he ever
+read Dickens, Thackeray, and George Eliot, though he enjoyed Scott
+during the last months of his life. He had an early predilection for
+lives of the Saints. The scrap-book of sketches, containing drawings
+done prior to 1892, indicates the range and extent of his taste. There
+are illustrations to "Manon Lescaut," "Tartarin," "Madame Bovary,"
+Balzac ("Le Cousin Pons," the "Contes Drôlatiques"), Racine, Shelley's
+"Cenci." He retained his love of the drama, and began to write a play in
+collaboration with Mr Brandon Thomas. While dominated by pre-Raphaelite
+influences, he read with great avidity "Sidonia the Sorceress," and "The
+Shaving of Shagpat," a favourite book of Rossetti's; and it was with a
+view to illustrate Mr Meredith's Arabian Night that he became introduced
+to Mr John Lane, who divides with Mr Herbert Pollit the
+
+<span class="pagenum"><a id="page21" name="page21"></a>[21]</span>
+
+  honour of
+possessing the finest Beardsleys still in this country. He read Greek
+and Latin authors in translations, and often astonished scholars by his
+acute appreciation of their matter. He approached Dantesque mediævalism
+through Rossetti and, later on, at the original source. Much of his
+early work illustrated incidents in the "Divine Comedy." He was a
+fervent admirer of the "Romance of the Rose" in the original, and
+several mediæval French books, but he once told me that he found the
+"Morte d'Arthur" very long-winded.
+</p>
+
+<a name="image-0006"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-06.jpg"><img src="images/i-06-s.png" width="300" height="430"
+alt="THE DANCER'S REWARD" /></a>
+<br />
+THE DANCER'S REWARD
+<br />
+<i>From "Salome"</i>
+</div>
+
+<p>
+For one so romantic in the expression of his art, I should say his
+literary and artistic tastes were severely classic, though you would
+have expected them to be bizarre. He was ambitious of literary success,
+but any aspirations were wisely discouraged by his admirers. His
+writings, however brilliant&mdash;and they often were brilliant&mdash;shewed a
+dangerous cleverness, which on cultivation might have proved disastrous
+to the realization of his true genius. "Under the Hill" is a delightful
+experiment in a rococo style of literature, and it would be difficult to
+praise sufficiently the rhythm and metrical adroitness of the two poems
+in the Savoy Magazine.
+
+<span class="pagenum"><a id="page22" name="page22"></a>[22]</span>
+
+                       Though I cannot speak of his musical attainments,
+it may be regarded as fortunate that so remarkable a genius was directed
+to a more permanent form of executive power.
+</p>
+<p>
+His knowledge of life, art, and literature seemed the result of instinct
+rather than study; for no one has ever discovered where he found the
+time or opportunity for assimilating all he did. Gregarious and sociable
+by nature, he was amusingly secretive about his methods and times of
+work. Like other industrious men, he never pretended to be busy or
+pressed for time. He never denied his door to callers, nor refused to
+go anywhere on the plea of "work."
+</p>
+<p>
+He disliked anyone being in the room when he was drawing, and hastily
+hid all his materials if a stranger entered the room. He would rarely
+exhibit an unfinished sketch, and carefully destroyed any he was not
+thoroughly satisfied with himself. He carried this sensitive spirit
+of selection and self-criticism rather far. Calling on friends who
+possessed primitives, he would destroy these early relics and leave a
+more mature and approved specimen of his art, or the <i>édition de luxe</i>
+of some book he had illustrated. Some of us were so annoyed that
+
+<span class="pagenum"><a id="page23" name="page23"></a>[23]</span>
+
+  we were
+eventually obliged to lock up all early examples. For though friends
+thus victimized were endowed with a more valuable acquisition, they had
+a natural sentiment and affection for the unsophisticated designs of
+his earlier years.
+</p>
+
+<a name="image-0007"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-07.jpg"><img src="images/i-07-s.png" width="300" height="265"
+alt="TAILPIECE" /></a>
+<br />
+TAILPIECE
+<br />
+<i>From "Salome"</i>
+</div>
+
+<p>
+His life, though many-sided and successful, was outwardly uneventful.
+In the early summer of 1892 he entered Professor Brown's night school
+at Westminster, but during the day continued his work at the Guardian
+Fire Insurance until August, when, by his sister's advice, he resigned
+his post. In December he acquainted with Mr Pennell, from whose
+encouragement and advice he reaped the fullest advantage. After
+commencing the decorations to the "Morte d'Arthur," he ceased to attend
+Professor Brown's classes. In February 1893 some of his drawings were
+first published in London in the Pall Mall Budget under the editorship
+of Mr Lewis Hind, but one of the most striking of his early designs
+appeared in a little college magazine entitled The Bee. When The Studio
+was started by Mr Charles Holme under the able direction of the late
+Gleeson-White, Beardsley designed the first
+
+<span class="pagenum"><a id="page24" name="page24"></a>[24]</span>
+
+                                            cover and Mr Pennell
+contributed the well-known appreciation of the new artist.
+</p>
+<p>
+Towards the end of 1893 he commenced working for Mr John Lane, who
+issued his marvellous illustrations to "Salomé" in 1894. In April of the
+same year appeared the Yellow Book. To the first four volumes Beardsley
+contributed altogether about eighteen illustrations. From a pictorial
+point of view this publication had no other <i>raison d'être</i> than as a
+vehicle for the production of Beardsley's work, though Henry Harland,
+in his capacity as literary editor, revealed the presence of many new
+writers among us. Throughout 1894 Beardsley's health seemed to improve,
+and his social success was considerable. In the previous year he had
+been ridiculed, but now the world accepted him at Mr Pennell's
+valuation. The Beardsley type became quite a fashion, and was burlesqued
+at many of the theatres; his name and work were on everyone's lips. He
+made friends with many of his contemporaries distinguished in art and
+literature. At the house of one of his friends he delivered a very
+amusing lecture on "Art" which created much discussion.
+</p>
+
+<p><span class="pagenum"><a id="page25" name="page25"></a>[25]</span></p>
+
+<p>
+A little later Beardsley was popularly supposed to have given pictorial
+expression to the views and sentiments of a certain school, and his
+drawings were regarded as the outward artistic sign of inward literary
+corruption. This is not the place to discuss the invention of a mare's
+nest. He suffered considerably by this premature attempt to classify his
+art. Further efforts to ridicule his work and suppress its publication
+were, however, among the most cheering failures of modern journalism.
+In 1895 he ceased to contribute to the Yellow Book, and in January 1896
+The Savoy was started by Leonard Smithers, with Mr Arthur Symons as the
+literary editor, who became the most subtle and discerning of all his
+critics after Beardsley's death. Failing health was the only difficulty
+with which he had to contend in the future. From March 1896, when he
+caught a severe chill at Brussels, he became a permanent invalid. He
+returned to England in May, and in August went to Bournemouth, where
+he spent the autumn and winter.
+</p>
+<p>
+Those who visited him at Bournemouth never expected he would live for
+more than a few weeks. His courage, however, never failed
+
+<span class="pagenum"><a id="page26" name="page26"></a>[26]</span>
+
+                                                           him, and
+he continued work even while suffering from lung hæmorrhage; but he
+expressed a hope and belief, in which he was justified, that he might
+be spared one more year. On March 31st, 1897, he was received into the
+Catholic Church. The sincerity of his religious convictions has been
+affirmed by those who were with him constantly; and, as I have suggested
+before, the flippancy and careless nature of his conversation were
+superficial: he was always strict in his religious observances. Among
+his intimate friends through life were clergymen and priests who have
+paid tribute to the reality and sincerity of his belief.
+</p>
+<p>
+A week after being received, Beardsley rallied again, and moved to
+Paris, but still required the attention and untiring devotion of his
+mother, to whom he was deeply attached. He never returned to England
+again. From time to time he was cheered by visits from Miss Mabel
+Beardsley (Mrs Bealby Wright), who understood her brother as few sisters
+have done. For some time he stayed at St Germain, and in July 1897 he
+went to Dieppe, where he seemed almost to have recovered. It was only,
+however, for a short time, and in the end of 1897 he
+
+<span class="pagenum"><a id="page27" name="page27"></a>[27]</span>
+
+                                                      was hurried to
+Mentone. He never left his room after January 25th. The accounts of him
+which reached London prepared his friends for the end. Almost one of his
+last letters was to Mr Vincent O'Sullivan, the poet, congratulating him
+on his Introduction to "Volpone," for which Beardsley was making the
+illustrations. Beardsley had a considerable knowledge and appreciation
+of Ben Jonson.
+</p>
+
+<a name="image-0008"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-08.jpg"><img src="images/i-08-s.png" width="300" height="475"
+alt="FRONTISPIECE" /></a>
+<br />
+FRONTISPIECE
+<br />
+<i>From "Plays" by John Davidson</i>
+</div>
+
+<p>
+On March 23rd, 1898, he received the last sacraments; and on the 25th,
+with perfect resignation, in the presence of his mother and sister, to
+whom he had confided messages of love and sympathy to his many friends,
+Aubrey Beardsley passed away.
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   "Come back in sleep, for in the life </p>
+<p class="i4">     Where thou art not </p>
+<p class="i2">   We find none like thee. Time and strife </p>
+<p class="i4">     And the world's lot </p>
+</div>
+<div class="stanza">
+<p class="i2">   Move thee no more: but love at least </p>
+<p class="i4">     And reverent heart </p>
+<p class="i2">   May move thee, royal and released </p>
+<p class="i4">     Soul, as thou art." </p>
+</div>
+</div>
+
+<p>
+No one could have wished him to live on in pain and suffering. I think
+the only trials of his life were the periods in which he was
+
+<span class="pagenum"><a id="page28" name="page28"></a>[28]</span>
+
+  unfitted
+for work. His remarkable career was not darkened by any struggle for
+recognition. Few artists have been so fortunate as Aubrey Beardsley.
+His short life was remarkably happy&mdash;at all events during the six years
+he was before the public. Everything he did met with success&mdash;a success
+thoroughly enjoyed by him. He seemed indifferent to the idle criticism
+and violent denunciation with which much of his art was hailed. I never
+heard of anyone of importance who disliked him personally; on the other
+hand, many who were hostile and prejudiced about his art ceased to
+attack him after meeting him. This must have been due to the magnetism
+and charm of his individuality, exercised quite unconsciously, for he
+never tried to conciliate people, or "to work the oracle," but rather
+gloried in shocking "the enemy," a boyish failing for which he may be
+forgiven.
+</p>
+
+<a name="image-0009"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-09.jpg"><img src="images/i-09-s.png" width="300" height="365"
+alt="THE WAGNERITES" /></a>
+<br />
+THE WAGNERITES
+</div>
+
+<p>
+He had considerable intellectual vanity, but it never relapsed into
+common conceit. He was generous in recognizing the talent and genius of
+others, but was singularly perverse in some of his utterances. He said
+once that only four of his contemporaries interested him. He
+
+<span class="pagenum"><a id="page29" name="page29"></a>[29]</span>
+
+                                                             bore with
+extraordinary patience the assertions of foolish persons who calmly
+asserted that both in America and England other artists had anticipated
+the peculiarities of his style and methods. I have seen the works of
+these Lambert Simnels and Perkin Warbecks, and they proved, one and all,
+crows in peacocks' feathers. Beardsley's style, nevertheless, influenced
+(unfortunately, I think) many excellent artists both younger and older
+than himself. In France his work was accepted without question: he was
+always gratified by the cordiality which greeted him in a country where
+he was more generally understood than in his own. He has illustrious
+precedents in Constable and Bonnington. Italy, Austria, and Germany
+recognized in him a master some time before his death. At Berlin his
+picture of <i>Mrs Patrick Campbell</i>, the actress, is now in a place of
+honour in the Museum. A portrait study of himself is in the British
+Museum Print Room; a few examples are at South Kensington; but all his
+important work is in private collections; much of it is in America and
+Germany. In England, putting aside the notoriety and sensation caused
+by his posters and the Yellow
+
+<span class="pagenum"><a id="page30" name="page30"></a>[30]</span>
+
+                              Book, appreciation of his work has been
+confined rather to the few. He enjoyed, however, the friendship and
+intimacy of great numbers of people, shewing that his amiable qualities,
+no less than his art, received due recognition. His conversation was
+vehement and witty rather than humorous. He had a remarkable talent for
+mimicking, very rarely exercised. He loved argument, and supported
+theories for the sake of argument in the most convincing manner, leaving
+strangers with a totally wrong impression about himself, a deception to
+which he was much addicted. He possessed what is called an artificial
+manner, cultivated to an extent that might be mistaken for affectation.
+He never could sit still for very long, and he made use of gesture for
+emphasis. His peculiar gait has been very happily rendered in a portrait
+of him by Mr Walter Sickert; he also sat to M. Blanche, the well-known
+French portrait painter; the portrait by himself is tinged with
+caricature.
+</p>
+
+<hr />
+
+<p>
+To estimate the art of Aubrey Beardsley is not difficult. That his
+drawings must excite discussion at all times is only a proof of their
+
+<span class="pagenum"><a id="page31" name="page31"></a>[31]</span>
+
+  lasting worth. They can never be dismissed with unkindly comment, nor
+shelved into the limbo of art criticism which waits for many blameless
+and depressing productions of the eighteenth and nineteenth centuries.
+Among artists and men of letters no less than with that great inartistic
+body, "the art-loving public," Aubrey Beardsley's name will always call
+forth wonder, admiration, speculation, and contempt. It should be
+conceded, however, that his work cannot appeal to everyone; and that
+many who have the highest perception of the beautiful see only the
+repulsive and unwholesome in the troubled, exotic expression of his
+genius. Fortunately, no reputation in art or letters rests on the
+verdict of majorities&mdash;it is the opinion of the few which finally
+triumphs. Artists and critics have already dwelt on the beauty of Aubrey
+Beardsley's line, which in his early work too often resolved itself into
+mere caligraphy; but the mature and perfect illustrations to "Salomé"
+and "The Rape of the Lock" evince a mastery unsurpassed by any artist in
+any age or country. No one ever carried a simple line to its inevitable
+end with such sureness and firmness
+
+<span class="pagenum"><a id="page32" name="page32"></a>[32]</span>
+
+                                     of purpose. And this is one of
+the lessons which even an accomplished draughtsman may learn from
+his drawings, in any age when scraggy execution masquerades under
+impressionism. Aubrey Beardsley did not shirk a difficulty by leaving
+lines to the imagination of critics, who might enlarge on the reticence
+of his medium. Art cant and studio jargon do not explain his work. It
+is really only the presence or absence of beauty in his drawing, and
+his wonderful powers of technique which need trouble his admirers or
+detractors. Nor are we confronted with any conjecture as to what Aubrey
+Beardsley might have done&mdash;he has left a series of achievements. While
+his early death caused deep sorrow among his personal friends, there
+need be no sorrow for an "inheritor of unfulfilled renown." Old age
+is no more a necessary complement to the realization of genius than
+premature death. Within six years, after passing through all the
+imitative stages of probation, he produced masterpieces he might have
+repeated but never surpassed. His style would have changed. He was
+too receptive and too restless to acquiesce in a single convention.
+</p>
+
+<a name="image-0010"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-10.jpg"><img src="images/i-10-s.png" width="300" height="530"
+alt="ATALANTA" /></a>
+<br />
+ATALANTA
+</div>
+
+<p><span class="pagenum"><a id="page33" name="page33"></a>[33]</span></p>
+
+<p>
+This is hardly the place to dwell on the great strides which black and
+white art made in the nineteenth century. It has been called the most
+modern of the arts; for the most finished drawings of the old masters
+were done with a view to serve as studies or designs to be transferred
+to canvas, metal, and wood, not for frames at an expensive dealer's.
+Vittore Pisano and Gentile Bellini would hardly have dared to mount
+their delightful studies and offer them as pictures to the critics
+and patrons of their day. At all events it were safer to say, that
+appreciation of a drawing for itself, without relation to the book or
+page it was intended to adorn or destroy, is comparatively modern. It is
+necessary to keep this in mind, because the suitability of Beardsley's
+work to the books he embellished was often accidental. His designs
+must be judged independently, as they were conceived, without any view
+of interpreting or even illustrating a particular author. He was too
+subjective to be a mere illustrator. Profoundly interested in literature
+for the purposes of his art, he only extracted from it whatever was
+suggestive as pattern; he never professed to interpret for dull people,
+unable to understand what they read,
+
+<span class="pagenum"><a id="page34" name="page34"></a>[34]</span>
+
+                                     any more than the mediæval
+illuminator and carver of grotesques attempted to explain the mysteries
+of the Christian faith on the borders of missals and breviaries or
+the miserere seats of the choir. His art was, of course, intensely
+<i>literary</i>, to use the word hated of modern critics, but his expression
+of it was the legitimate literature of the artist, not the art peculiar
+to literature. He did not attempt, or certainly never succeeded in
+giving, pictorial revision to a work of literature in the sense that
+Blake has done for the book of Job, and Botticelli for the "Divine
+Comedy." While hardly satisfying those for whom any work of art guilty
+of "subject" becomes worthless, this immunity from the conventions of
+the illustrator will secure for Beardsley a larger share of esteem among
+artists pure and simple than has ever fallen to William Blake, who
+appeals more to men of letters than to the artist or virtuoso. The
+uncritical profess to find many terrible meanings in Aubrey Beardsley's
+drawings; and he will probably never be freed from the charge of
+symbolism. However morbid the sentiment in some of his work, and often
+there was a <i>macabre</i>, an unholy insistence on the less beautiful
+
+<span class="pagenum"><a id="page35" name="page35"></a>[35]</span>
+
+ side
+of human things, the cabala of the symbolists was a sealed book to
+him. Such things were entirely foreign to his lucid and vigorous
+intelligence. There is hardly a drawing of his that does not explain
+itself; the commentator will search in vain for any hieroglyphic or
+symbolic intention. The hieratic archaism of his early work misled many
+people, for whom pre-Raphaelitism means presupposition. Of mysticism,
+that stumbling-block, he had none at all. "<i>The Initiation of a Neophyte
+into the Black Art</i>" would seem to contradict such a statement. The
+fantasy and grotesqueness of that lurid and haunting composition have
+nothing in common with the symbolism of black magic, the ritual of
+freemasonry, or all the fascinating magic to be found in the works of
+Eliphaz Levi. The sumptuous accessories in which he revelled had no
+other than a decorative intention, giving sometimes balance to a
+drawing, or conveying a literary suggestion necessary for its
+interpretation.
+</p>
+<p>
+Artists are blamed for what they have not tried to do; or for the
+absence of qualities distinguishing the work of an entirely different
+order of intellect; for their indifference to the
+
+<span class="pagenum"><a id="page36" name="page36"></a>[36]</span>
+
+                                                  observations of
+<i>others</i>. As who should ask from Reynolds a faithful reproduction of
+textile fabrics; and from Carlo Crivelli the natural phenomena of nature
+we expect from Turner and Constable? For nature as it should be, in
+the works of Corot and Turner; for nature made easy, in modern English
+landscape; for nature without tears, in the impressionist fashion, or as
+popularly viewed through the camera, Aubrey Beardsley had no feeling. He
+was frankly indifferent to picturesque peasants, the beauties of "lovely
+spots," either in England or France. A devout Catholic, the ringing of
+the Angelus did not lure him to present fields of mangel-wurzels in an
+evening haze. The treatment of nature in the larger and truer sense of
+the word had little attraction for him; he never tried, therefore, to
+represent air, atmosphere, and light, as many clever modern artists have
+done in black and white! Though Claude, that master of light and shadow,
+was a landscape painter who really interested him. Beardsley's
+landscape, therefore, is formal, primitive, conventional; a breath of
+air hardly shakes the delicate leaves of the straight poplars and
+willows that grow by his serpentine streams.
+
+<span class="pagenum"><a id="page37" name="page37"></a>[37]</span>
+
+                                             The great cliffs, leaning
+down in promontories to the sea, have that unreal, architectural
+appearance so remarkable in the West of Cornwall, a place he had never
+visited. Yet his love and observation of flowers, trees, and gardens
+are very striking in the drawings for the "Morte d'Arthur" and the
+Savoy Magazine, but it is the nature of the landscape gardener,
+not the landscape painter. There is some truth in the half-playful,
+half-unfriendly criticism, that his pictures were a form of romantic
+map-making. Future experts, however, may be trusted to deal with
+absence of chiaroscuro, values, tones, and the rest. In only one of his
+drawings, conceived, curiously enough, in the manner of Burne-Jones (an
+unlikely model), is there anything approaching what is usually termed
+atmosphere. Eliminating, therefore, all that must not be expected from
+his art&mdash;mere illustration, realism, symbolism and naturalism&mdash;in what,
+may be asked, does his supreme achievement consist? He has decorated
+white sheets of paper as they have never been decorated before; whether
+hung on the wall, reproduced in a book, or concealed in a museum, they
+remain among the most
+
+<span class="pagenum"><a id="page38" name="page38"></a>[38]</span>
+
+                      precious and exquisite works in the art of the
+nineteenth century, resembling the designs of William Blake only&mdash;in
+that they must be hated, misunderstood, and neglected, ere they are
+recognized as works of a master. With more simple materials than those
+employed by the fathers of black and white art, Beardsley has left
+memorials no less wonderful than those of the Greek vase-painters, so
+highly prized by artists and archæologists alike, but no less difficult
+for the uninitiated to appreciate and understand.
+</p>
+
+<a name="image-0011"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-11.jpg"><img src="images/i-11-s.png" width="300" height="540"
+alt="THE MYSTERIOUS ROSE GARDEN" /></a>
+<br />
+THE MYSTERIOUS ROSE GARDEN
+</div>
+
+<p>
+The astonishing fertility of his invention, and the amount of work he
+managed to produce, were inconceivable; yet there is never any sign of
+hurry: there is no scamping in his deft and tidy drawing. The neatness
+of his most elaborate designs would suggest many sketches worked over
+and discarded before deciding on the final form and composition. Strange
+to say, this was not his method. He sketched everything in pencil, at
+first covering the paper with apparent scrawls, constantly rubbed out
+and blocked in again, until the whole surface became raddled from
+pencil, indiarubber, and knife; over this incoherent surface he worked
+
+<span class="pagenum"><a id="page39" name="page39"></a>[39]</span>
+
+ in Chinese ink with a gold pen, often ignoring the pencil lines,
+afterwards carefully removed. So every drawing was invented, built up,
+and completed on the same sheet of paper. And the same process was
+repeated even when he produced replicas. At first he was indifferent to
+process reproduction, but, owing to Mr Pennell's influence, he later on
+always worked with that end in view; thereby losing, some will think,
+his independence. But he had nothing to complain of&mdash;Mr Pennell's
+contention about process was never so well proved as in Beardsley's
+case. His experiments in colour were not always successful, two of
+his most delightful designs he ruined by tinting. In the posters and
+Studio lithograph, however, the crude colour is highly effective, and
+"<i>Mademoiselle de Maupin</i>" shewed he might have mastered water-colour
+had he chosen to do so. There are at present in the market many coloured
+forgeries of his work: these have been contrived by tracing or copying
+the reproductions; the colour is often used to conceal the paucity of
+the drawing and hesitancy of line; they are nearly always versions of
+well-known designs, and profess to be replicas.
+
+<span class="pagenum"><a id="page40" name="page40"></a>[40]</span>
+
+                                                When there <i>is</i> any
+doubt the history and provenance of the work should be carefully
+studied. It is not difficult to trace the pedigree of any <i>genuine</i>
+example.
+</p>
+
+<a name="image-0012"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-12.jpg"><img src="images/i-12-s.png" width="300" height="325"
+alt="FRONTISPIECE" /></a>
+<br />
+FRONTISPIECE
+<br />
+<i>From "A Nocturne of Chopin"</i>
+</div>
+
+<p>
+A good deal has been made out of Beardsley's love of dark rooms and lamp
+light, but this has been grossly exaggerated. He had no great faith in
+north lights and studio paraphernalia, so necessary for those who use
+mediums other than his own. He would sometimes draw on a perfectly flat
+table, facing the light, which would fall directly on the paper, the
+blind slightly lowered.
+</p>
+<p>
+The sources of Beardsley's inspiration have led critics into grievous
+errors. He was accused of imitating artists, some of whose work he had
+never seen, and of whose names he was ignorant at the time the alleged
+plagiarism was perpetrated&mdash;Félicien Rops may be mentioned as an
+instance. Beardsley contrived a style long before he came across any
+modern French illustration. He was innocent of either Salon, the
+Rosicrucians, and the Royal Academy alike; but his own influence on the
+Continent is said to be considerable. That he borrowed freely and from
+every imaginable master, old and new,
+
+<span class="pagenum"><a id="page41" name="page41"></a>[41]</span>
+
+                                      is, of course, obvious. Eclectic
+is certainly applicable to him. But what he took he endowed with a
+fantastic and fascinating originality; to some image or accessory,
+familiar to anyone who has studied the old masters, he added the touch
+of modernity which brings them nearer to us, and reached refinements
+never thought of by the old masters. Imagination is the great pirate
+of art, and with Beardsley becomes a pretext for invention.
+</p>
+<p>
+Prior to 1891 his drawings are interesting only for their precocity;
+they may be regarded, as one of his friends has said, more as a presage
+than a precedent. You marvel, on realizing the short interval which
+elapsed between their production and the masterpieces of his maturity.
+His first enthusiasm was for the work of the Italian primitives, as Mr
+Charles Whibley says, distinguished "for its free and flowing line."
+Even at a later time, when he devoted himself to eighteenth century
+models and ideals, his love of Andrea Mantegna never deserted him. He
+always kept reproductions from Mantegna at his side, and declared that
+he never ceased to learn secrets from them. In the "<i>Litany of Mary
+Magdalen</i>" and the two
+
+<span class="pagenum"><a id="page42" name="page42"></a>[42]</span>
+
+                        versions of "<i>Joan of Arc</i>" this influence
+is very marked. A Botticelli phase followed, and though afterwards
+discarded, was reverted to at a later period. The British Museum and the
+National Gallery were at first his only schools of art. As a matter of
+course, Rossetti and Burne-Jones, but chiefly through photographs and
+prints, succeeded in their turn; the influence of Burne-Jones lasting
+longer than any other.
+</p>
+<p>
+Fairly drugged with too much observation of old and modern masters, he
+entered Professor Brown's art school, where he successfully got rid
+of much that was superfluous. The three months' training had the most
+salutary effect. He now took the advice attributed to Burne-Jones, and
+unlearned much of his acquired pedantry. The mere penmanship which
+disfigured some of his early work entirely disappeared. His handling
+became finer, his drawing less timid. The sketch of <i>Molière</i>, it may
+be interesting to note, belongs to this period of his art.
+</p>
+
+<a name="image-0013"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-13.jpg"><img src="images/i-13-s.png" width="300" height="395"
+alt="Chopin. Ballade III. Op. 47" /></a>
+<br />
+Chopin. Ballade III. Op. 47
+<br />
+<i>Reproduced by permission of Charles Holme, Esqre.</i>
+</div>
+
+<p>
+A few months afterwards, he commenced the "Morte d'Arthur." Suggested
+and intended to rival the volumes of the Kelmscott Press, it is
+
+<span class="pagenum"><a id="page43" name="page43"></a>[43]</span>
+
+  his most
+popular and least satisfactory performance. Still the borders have
+far more variety and invention than those of Morris; the intricate
+splendours of mediæval manuscripts are intelligently imitated or
+adapted. The initial- and tail-pieces are delightful in themselves, and
+among the most exquisite of his grotesques and embellishments. But the
+popularity of the book was due to its lack of originality, not to its
+individuality. Mediævalism for the middle classes always ensures an
+appreciative audience. Oddly enough, Morris was said to be annoyed by
+the sincerest form of flattery. Perhaps he felt that every school of art
+comes to an end with the birth of the founder, and that Beardsley was
+only exercising himself in an alien field of which Morris himself owned
+the tithe. At all events it is not unlikely that Beardsley aroused in
+the great poet and decorator the same suspicion that he had undoubtedly
+done in Watts.
+</p>
+<p>
+The "Morte d'Arthur" may be said, for convenience, to close Aubrey
+Beardsley's first period; but he modified his style during the progress
+of the publication, and there is no unity of intention in his types or
+scheme of
+
+<span class="pagenum"><a id="page44" name="page44"></a>[44]</span>
+
+          decoration. He was gravitating Japanwards. He began, however,
+his so-called Japanesques long before seeing any real Japanese art,
+except what may be found in the London shop windows on cheap trays
+or biscuit-boxes. He never thought seriously of borrowing from this
+source until some one not conversant with Oriental art insisted on the
+resemblance of his drawings to Kakemonos. It was quite accidental.
+Beardsley was really studying with great care and attention the
+Crivellis in the National Gallery; their superficial resemblance to
+Japanese work occasioned an error from which Beardsley, quick to
+assimilate ideas and modes of expression, took a suggestion,
+unconsciously and ignorantly offered, and studied genuine examples.
+"<i>Raphael Sanzio</i>" (first version) was produced prior to this incident,
+and "<i>Madame Cigale's Birthday Party</i>" immediately afterwards. His
+emulation of the Japanese never left him until the production of the
+Savoy Magazine. In my view this was the only bad artistic influence
+which ever threatened to endanger his originality, or permanently
+vitiate his manner. The free use of Chinese ink, together with his
+intellectual vitality, saved
+
+<span class="pagenum"><a id="page45" name="page45"></a>[45]</span>
+
+                             him from "succumbing to Japan," to use
+Mr Pennell's excellent phrase.
+</p>
+
+<a name="image-0014"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-14.jpg"><img src="images/i-14-s.png" width="300" height="440"
+alt="THE BARON'S PRAYER" /></a>
+<br />
+THE BARON'S PRAYER
+<br />
+<i>From "The Rape of the Lock"</i>
+</div>
+
+<p>
+A series of grotesques to decorate some rather silly anthologies
+produced in the same year as the "Morte d'Arthur" are marvels of
+ingenuity, and far more characteristic. With them he began a new period,
+throwing over the deliberate archaism and mediævalism, of which he began
+to tire. In the illustrations to "Salomé," he reached the consummation
+of the new convention he created for himself; they are, collectively,
+his masterpiece. In the whole range of art there is nothing like them.
+You can trace the origin of their development, but you cannot find
+anything wherewith to compare them; they are absolutely unique. Before
+commencing "Salomé" two events contributed to give Beardsley a fresh
+impetus and stimulate his method of expression: a series of visits
+to the collection of Greek vases in the British Museum (prompted by
+an essay of Mr D. S. McColl), and to the famous Peacock Room of Mr
+Whistler, in Prince's Gate&mdash;one the antithesis of Japan, the other
+of Burne-Jones. Impressionable at all times to novel sensations, his
+artistic perceptions vibrated with
+
+<span class="pagenum"><a id="page46" name="page46"></a>[46]</span>
+
+                                   a new and inspired enthusiasm.
+Critical appreciation under his pen meant creation. From the Greek
+vase painting he learned that drapery can be represented effectually
+with a few lines, disposed with economy, not by a number of unfinished
+scratches and superfluous shading. If the "Salomé" drawings have any
+fault at all, it is that the texture of the pictures suggests some other
+medium than pen and ink, as Mr Walter Crane has pointed out in his other
+work. They are wrought rather than drawn, and might be designs for the
+panel of a cabinet, for Limoges or Oriental enamel. "The Rape of the
+Lock" is, therefore, a more obvious example of black and white art.
+Beardsley's second period lasted until the fourth volume of the Yellow
+Book, in which the "<i>Wagnerites</i>" should be mentioned as one of the
+finest. In 1896 Beardsley, many people think to the detriment of his
+style, turned his attention to the eighteenth century, in the literature
+of which he was always deeply interested. Eisen, Moreau, Watteau,
+Cochin, Pietro Longhi, now became his masters. The alien romantic art of
+Wagner often supplied the theme and subject. The level of excellence
+sustained throughout the Savoy Magazine
+
+<span class="pagenum"><a id="page47" name="page47"></a>[47]</span>
+
+                                        is extraordinary, in view of the
+terrible state of his health. His unexampled precision of line hardly
+ever falters; and while his composition gains in simplicity, his
+capacity for detail has not flagged. It is, perhaps, an accident that
+in his most pathetic drawing, "<i>The Death of Pierrot</i>," his hand seems
+momentarily to have lost its cunning. The same year he gave us "The Rape
+of the Lock," regarded by some artists as the testament of his genius;
+and an even more astonishing set of drawings to the "Lysistrata" of
+Aristophanes. These are grander than the "Rape of the Lock," and larger
+in treatment than anything he ever attempted. Privately issued,
+Beardsley was able to give full rein to a Rabelaisian fantasy, which he
+sometimes cultivated with too great persistence. Irritated by what he
+considered as over-niceness in some of his critics, he seemed determined
+to frighten his public. There is nothing unwholesome or suggestive about
+the "Lysistrata" designs: they are as as frank, free, and outspoken as
+the text. For the countrymen of Chaucer to simulate indignation about
+them can only be explained "because things seen are greater than things
+heard." Yet, when an artist frankly deals
+
+<span class="pagenum"><a id="page48" name="page48"></a>[48]</span>
+
+                                           with forbidden subjects, the
+old canons regular of English art begin to thunder, the critics forget
+their French accent; the old Robert Adam, which is in all of us, asserts
+himself; we fly for the fig-leaves. A real artist, Beardsley has not
+burdened himself with chronology or archæology. Conceived somewhat in
+the spirit of the eighteenth century, the period of graceful indecency,
+there is here, however, an Olympian air, a statuesque beauty, only
+comparable to the antique vases. The illusion is enhanced by the absence
+of all background, and this gives an added touch of severity to the
+compositions.
+</p>
+<p>
+Throughout 1896 the general tendency his style remains uniform, though
+without sameness. He adapted his technique to the requirements of his
+subject. Mindful of the essential, rejecting the needless, he always
+realized his genius and its limitations. From the infinite variety
+of the Savoy Magazine it is difficult to choose any of particular
+importance: for his elaborate manner, the first plate to "<i>Under the
+Hill</i>"; and in a simpler style, the fascinating illustration to his own
+poem, "<i>The Barber</i>"; "<i>Ave Atque Vale</i>" and "<i>The Death of Pierrot</i>"
+have, besides, a human interest
+
+<span class="pagenum"><a id="page49" name="page49"></a>[49]</span>
+
+                                over and above any artistic quality
+they possess. For the "Volpone" drawings Beardsley again developed
+his style, and seeking for new effects, reverted to pure pencil work.
+The ornate, delicate initial letters, all he lived to finish, must be
+seen in the originals before their sumptuous qualities, their solemn
+melancholy dignity, their dexterous handling, can be appreciated. The
+use of a camel's-hair brush for the illustrations to "<i>Mademoiselle de
+Maupin</i>," one of his last works, should be noted, as he so rarely used
+one. Beardsley's invention never failed him, so that it is almost
+impossible to take a single drawing, or set of drawings, as typical of
+his art. Each design is rather a type of his own intellectual mood.
+</p>
+
+<a name="image-0015"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-15.jpg"><img src="images/i-15-s.png" width="300" height="440"
+alt="THE BATTLE OF BEAUX AND BELLES" /></a>
+<br />
+THE BATTLE OF BEAUX AND BELLES
+<br />
+<i>From "The Rape of the Lock"</i>
+</div>
+
+<p>
+If the history of grotesque remains to be written, it is already
+illustrated by his art. A subject little understood, it belongs to the
+dim ways of criticism. There is no canon or school, and the artist is
+allowed to be wilful, untrammelled by rule or precedent. True grotesque
+is not the art either of primitives or decadents, but that of skilled
+and accomplished workmen who have reached the zenith of a peculiar
+convention, however confined and limited that convention
+
+<span class="pagenum"><a id="page50" name="page50"></a>[50]</span>
+
+                                                         may be.
+Byzantine art, one of our links with the East, should some day furnish
+us with a key to a mystery which is now obscured by symbolists and
+students of serpent worship. The Greeks, with their supreme sanity and
+unrivalled plastic sense, afford us no real examples, though their
+archaic art is often pressed into the category. Beardsley, who received
+recognition for this side of his genius, emphasized the grotesque to
+an extent that precluded any popularity among people who care only for
+the trivial and "pretty." In him it was allied to a mordant humour, a
+certain fescennine abstraction which sometimes offends: this, however,
+does not excuse the use of the word "eccentric," more misapplied than
+any word in the English language, except perhaps "grotesque" and
+"picturesque." All great art is eccentric to the conservative multitude.
+The decoration on the Parthenon was so eccentric that Pheidias was put
+in prison. The works of Whistler and Burne-Jones, once derided as
+eccentric, are now accepted as the commencement of great traditions.
+All future art will be dubbed eccentric, trampled on, and despised;
+even as the first tulip that blossomed in England was
+
+<span class="pagenum"><a id="page51" name="page51"></a>[51]</span>
+
+  rooted out
+and burnt for a worthless weed by the conscientious Scotch gardener.
+</p>
+
+<a name="image-0016"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-16.jpg"><img src="images/i-16-s.png" width="300" height="220"
+alt="A DESIGN FROM 'LYSISTRATA'" /></a>
+<br />
+A DESIGN FROM 'LYSISTRATA'
+</div>
+
+<p>
+To compare Beardsley with any of his contemporaries would be unjust to
+them and to him. He belonged to no school, and can leave no legend, in
+the sense that Rossetti, Whistler, and Professor Legros have done; he
+proclaimed no theory; he left no counsel of perfection to those who
+came after him. In England and America a horde of depressing disciples
+aped his manner with a singular want of success; while admirable and
+painstaking artists modified their own convictions in the cause of
+unpopularity with fatal results. The sensuous charm of Beardsley's
+imagination and his mode of expression have only a superficial
+resemblance to the foreign masters of black and white. He continued
+no great tradition of the 'sixties; has nothing in common with the
+inventive and various genius of Mr Charles Ricketts; nothing of the
+pictorial propriety that distinguishes the work of his friend, Mr
+Pennell, or the homogeneous congruity of Boyd Houghton, Charles Keene,
+and Mr Frederic Sandys. He made use of different styles where other
+men employed different mediums. Unperplexed by painting
+
+<span class="pagenum"><a id="page52" name="page52"></a>[52]</span>
+
+ or etching
+or lithography, he was satisfied with the simplest of all materials,
+attaining therewith unapproachable executive power. Those who cavil
+at his flawless technique ignore the specific quality of drawing
+characterising every great artist. The grammar of art exists only to be
+violated. Its rules can be learnt by anyone. Those who have no artistic
+perception invariably find fault with the perspective, just as those
+who cannot write a well-balanced sentence are always swift to detect
+faults in grammar or spelling. There are, of course, weaknesses in
+the extremities of Beardsley's figures&mdash;the hands and feet being
+interruptions rather than continuations of the limbs. Occasional
+carelessness in this respect is certainly noticeable, and the structure
+of his figures is throughout capricious. It was no fault in his early
+work; the hands and feet in the "<i>Joan of Arc</i>," if crude and
+exaggerated, being carefully modelled. While the right hand of "Salomé"
+in "<i>The Dancer's Reward</i>," grasping the head of the Baptist, is
+perfectly drawn, the left is feeble, when examined closely. For sheer
+drawing nothing can equal the nude figure in the colophon to "Salomé."
+The outstretched, quivering hands
+
+<span class="pagenum"><a id="page53" name="page53"></a>[53]</span>
+
+                                  of <i>Ali Baba</i> are intentionally
+rendered larger than proportion allows, to render dramatic expression,
+not reality. For the purpose of effect he adapted proportions, realizing
+that perfect congruity and reality are irreconcilable. None of the
+figures in the dramatic "<i>Battle of Beaux and Belles</i>" could sit on
+the fallen chair in the foreground.
+</p>
+<p>
+There is no need to disturb ourselves with hopes and fears for the
+estimation with which posterity will cherish his memory; art history
+cannot afford to overlook him; it could hardly resist the pretext of
+moralising, expatiating and explaining away so considerable a factor
+in the book illustration of the nineties. As a mere comment on the
+admirations of the last twenty years of the nineteenth century,
+Beardsley is invaluable; he sums up all the delightful manias, all that
+is best in modern appreciation&mdash;Greek vases, Italian primitives, the
+"Hypnerotomachia," Chinese porcelain, Japanese Kakemonos, Renaissance
+friezes, old French and English furniture, rare enamels, mediæval
+illumination, the <i>débonnaire</i> masters of the eighteenth century, the
+English pre-Raphaelites. There are differences of kind in æsthetic
+beauty, and for Beardsley it
+
+<span class="pagenum"><a id="page54" name="page54"></a>[54]</span>
+
+                             was the marriage of arabesque to figures
+and objects comely or fantastic, or in themselves ugly. For hitherto
+the true arabesque abhorred the graven image made of artists' hands.
+To future draughtsmen he will have something of the value of an old
+master, studied for that fastidious technique which critics believed to
+be a trick; and collectors of his work may live to be rallied for their
+taste; but the wheat and the chaff contrive to exist together through
+the centuries.
+</p>
+<p>
+A passing reference should be made to the Beardsley of popular
+delusion. A student of Callot and Hogarth, he took suggestions from
+the age in which he lived and from the literature of English and French
+contemporaries, but with no implicit acceptance of the tenets of any
+groups or schools which flutter the dove-cots of Fleet Street. He stood
+apart, independent of the shibboleths of art and literature, with the
+grim and sometimes mocking attention of a spectator. He revealed rather
+than created a feminine type, offering no solution for the problems of
+Providence.
+</p>
+
+<a name="image-0017"><!--IMG--></a>
+<div class="figure">
+<a href="images/illo-17.jpg"><img src="images/i-17-s.png" width="300" height="360"
+alt="D'ALBERT IN SEARCH OF IDEALS" /></a>
+<br />
+D'ALBERT IN SEARCH OF IDEALS
+<br />
+<i>From "Mademoiselle de Maupin." Reproduced from the original in the possession of Mrs. Bealby
+Wright</i>
+</div>
+
+<p>
+Applying the epithet "original" to an art so intensely reminiscent, so
+ingeniously retrospective,
+
+<span class="pagenum"><a id="page55" name="page55"></a>[55]</span>
+
+                           might seem paradoxical to those unacquainted
+with Beardsley's more elegant achievements. His is not the originality
+of Corot and Whistler, with a new interpretation of nature, another
+scheme of art and decoration, but rather the scholarly originality
+of the Carracci&mdash;a scholarship grounded on a thousand traditions and
+yet striking an entirely new note in art. In his imagination, his
+choice of motive, his love for inanimate nature, his sentiment for
+accessory,&mdash;rejected by many modern artists, still so necessary to the
+modern temper,&mdash;his curious type, which quite overshadowed that of
+the pre-Raphaelites, the singular technical qualities at his command,
+Beardsley has no predecessors, no rivals. Who has ever managed to
+suggest such colour in masses of black deftly composed? Reference to the
+text is unnecessary to learn that the hair of Herodias was purple. His
+style was mobile, dominating over, or subordinate to the subject, as his
+genius dictated. He twisted human forms, some will think, into fantastic
+peculiar shapes, becoming more than romantic&mdash;antinomian. He does not
+appeal to experience but to expression. The tranquil trivialities of
+what is usually
+
+<span class="pagenum"><a id="page56" name="page56"></a>[56]</span>
+
+                understood by the illustration of books had no meaning
+for him; and before any attempt is made to discriminate and interpret
+the spirit, the poetical sequence, the literary inspiration which
+undoubtedly existed throughout his work, side by side with technical
+experiments, his exemption from the parallels of criticism must be
+remembered duly.
+</p>
+
+<p><span class="pagenum"><a id="page57" name="page57"></a>[57]</span></p>
+
+<a name="h2H_LIST" id="h2H_LIST"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+LIST OF DRAWINGS
+<br />
+BY AUBREY BEARDSLEY
+</h2>
+<h3>
+COMPILED BY AYMER VALLANCE
+</h3>
+
+<p><span class="pagenum"><a id="page58" name="page58"></a>[58]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+<!--<p>[Blank Page]</p>-->
+
+<p><span class="pagenum"><a id="page59" name="page59"></a>[59]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+LIST OF DRAWINGS
+<br />
+BY AUBREY BEARDSLEY
+</h2>
+
+<h3>
+JUVENILIA
+</h3>
+
+<p class="entry">
+1. <span class="sc">A Carnival.</span> Long procession of many figures in fifteenth
+    and sixteenth century costume. Water-colour drawing. Unpublished.
+    Given by the artist to his grandfather, the late Surgeon-Major
+    William Pitt. <i>c.</i> 1880.
+</p>
+
+<p class="entry">
+2. <span class="sc">The Jackdaw of Rheims</span>, set of illustrations to the poem.
+     Unpublished. <i>c.</i> 1884.
+</p>
+<p class="entry">
+3. <span class="sc">Virgil's "Æneid,"</span> nine comic illustrations to Book II.
+    The title-page, written in rough imitation of printing, with the
+    Artist's naïf and inaccurate spelling, is as follows:&mdash;<span class="sc">Illustrationes
+    de | liber Secundus | Æneidos | Publius Wirgius Maronis</span> | by | Beardslius
+    | de | Brightelmstoniensis. The illustrations are entitled:&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Laocoon hurleth his spear against the horse.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Laocoon and son crunched up.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Little July tries to keep up with Papa. Old Father Anchises
+        sitteth on Papa's shoulders and keeps a good look-out.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> Parvi Iulus.
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> Helen.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> Panthus departs, bag and baggage.
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> Sinon telleth his tale unto King Priam.
+</p>
+
+<p><span class="pagenum"><a id="page60" name="page60"></a>[60]</span></p>
+
+<p class="subentry">
+     VIII. One of the cinders of Illim.
+</p>
+<p class="subentry">
+   IX. (No title.) The drawing, to illustrate two comic verses written
+         at the top of the paper, represents Æneas being carried up into
+         the air by means of a balloon attached to his helmet.
+</p>
+<p class="entry">
+    All the above are drawn in ordinary ink upon plain white paper of
+    the kind used for rough work at the school, and all are of uniform
+    size, 7-1/4 × 5 inches, except No. 9, which is on a double-size
+    sheet, measuring 7-1/4 × 10 inches. Unpublished. (Property of H. A.
+    Payne, Esq.) September to December 1886.
+</p>
+
+<p class="entry">
+4. <span class="sc">Virgil's "Æneid,"</span> nineteen humorous sketches illustrative
+of Book II., entitled:&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Æneas relateth the tale to Dido.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Laocoon hurls the spear.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Sinon is brought before Priam.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> Calchas will not betray anyone.
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> "All night I lay hid in a weedy lake."
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> The Palladium is snatched away.
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> The Palladium jumpeth.
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> Laocoon sacrificeth on the sand.
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> Sinon opens the bolt.
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> Hector's ghost.
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> Æneas heareth the clash of arms.
+</p>
+<p class="subentry">
+  <span class="sc">XII.</span> Panthus fleeth.
+</p>
+<p class="subentry">
+ <span class="sc">XIII.</span> Pyrrhus exulteth.
+</p>
+<p class="subentry">
+  <span class="sc">XIV.</span> Death of Priam.
+</p>
+<p class="subentry">
+   <span class="sc">XV.</span> Æneas debateth whether he shall slay Helen.
+</p>
+<p class="subentry">
+  <span class="sc">XVI.</span> Venus appeareth to Æneas.
+</p>
+<p class="subentry">
+ <span class="sc">XVII.</span> Jupiter hurls the lightning.
+</p>
+<p class="subentry">
+<span class="sc">XVIII.</span> Æneas and company set out from Troy.
+</p>
+<p class="subentry">
+   <span class="sc">XIX.</span> Æneas seeth Creusa's ghost.
+</p>
+
+<p><span class="pagenum"><a id="page61" name="page61"></a>[61]</span></p>
+
+<p class="entry">
+    The above drawings in ordinary ink are contained in a copy-book,
+    8 × 6-1/2 inches. Unpublished. Exhibited in London at Carfax
+    &amp; Co.'s Galleries, October 1904. (Property of Harold Hartley,
+    Esq.) End of 1886.
+</p>
+<p class="entry">
+5. <span class="sc">The Pope weighs heavily on the Church.</span>  Pen-drawing contained
+    in the same copy-book with the last-named.
+</p>
+<p class="entry">
+6. <span class="sc">John smiles</span>, a comic illustration to the school history book,
+    representing King John in the act of signing Magna Charta.
+    Pen-drawing on paper 7-1/4 × 5 inches. Unpublished. (Property of
+    H. A. Payne, Esq.)
+</p>
+<p class="entry">
+7. <span class="sc">Saint Bradlaugh</span>, M.P., a caricature. Pen-drawing on a half
+    sheet of notepaper. Unpublished. (Property of H. A. Payne, Esq.)
+</p>
+<p class="entry">
+8. <span class="sc">Autumn Tints.</span> Caricature in black and white of the artist's
+    schoolmaster, Mr Marshall, expounding to his pupils the beauties of
+    nature. Unpublished. Given to Ernest Lambert, Esq., Brighton,
+    <i>c.</i> 1886-7.
+</p>
+<p class="entry">
+    Beside the above-named there must have been numbers of such drawings
+    belonging to this early period; for in his schooldays Aubrey
+    Beardsley was, to quote the words of Mr H. A. Payne, "constantly
+    doing these little, rough, humorous sketches, which he gave away
+    wholesale." Many have been destroyed or lost, others dispersed
+    abroad. Thus, for instance, one old Brighton Grammar School boy,
+    C. E. Pitt-Schenkel, told Mr Payne that he was in possession of
+    some, which he took out to South Africa.
+</p>
+
+<p><span class="pagenum"><a id="page62" name="page62"></a>[62]</span></p>
+
+<p class="entry">
+9. <span class="sc">The Jubilee Cricket Analysis</span>. Eleven tiny pen-and-ink sketches,
+    entitled respectively:&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> A good bowler.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Over.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Slip.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> Square leg.
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> Shooters.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> Caught.
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> A block.
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> A demon bowler.
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> Stumped.
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> Long leg.
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> Cutting a ball.
+</p>
+<p class="entry">
+    All these subjects being represented, in humorous fashion, by literal
+    equivalents. These drawings, though they cannot pretend to any merit,
+    are notable as the earliest specimens to be published of the
+    artist's work. Together they formed a whole-page photo-lithographic
+    illustration in <i>Past and Present</i>, the Brighton Grammar School
+    Magazine, June 1887.
+</p>
+<p class="entry">
+10. <span class="sc">Congreve's</span> "<span class="sc">Double Dealer</span>," illustration of a scene from, comprising
+    Maskwell and Lady Touchwood. Pen drawing with sepia wash, on a sheet
+    of paper 13-1/2 × 11 inches. Unpublished. (Property of H. A. Payne,
+    Esq.) Signed and dated June 30, 1888.
+</p>
+<p class="entry">
+11. <span class="sc">Holywell Street.</span> Wash drawing. First published in <i>The Poster</i>,
+    Aug.-Sept. 1898. Republished in "The Early Work of Aubrey Beardsley,
+    with a Prefatory Note by H. C. Marillier." John Lane, March 1899.
+    (Property of Charles B. Cochran, Esq., 1888.)
+</p>
+
+<p><span class="pagenum"><a id="page63" name="page63"></a>[63]</span></p>
+
+<p class="entry">
+12. <span class="sc">The Pay of the Pied Piper: A Legend of Hamelin Town.</span> Eleven line
+    drawings in illustration of, as follows:&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Entrance of Councillors, headed by Beadle carrying a mace.
+        Reproduced in <i>The Westminster Budget</i>, March 25, 1898.
+</p>
+<p class="subentry">
+  <span class="sc">II.</span> Rats feeding upon a cheese in a dish. Reproduced in <i>Westminster
+        Budget</i>, March 25, 1898.
+</p>
+<p class="subentry">
+ <span class="sc">III.</span> Child climbing into an armchair to escape from the rats. Reproduced in
+        <i>The Poster</i>, Aug.-Sept. 1898.
+</p>
+<p class="subentry">
+  <span class="sc">IV.</span> The Sitting of the Council, under the presidency of the Burgomaster.
+</p>
+<p class="subentry">
+   <span class="sc">V.</span> Deputation of Ladies.
+</p>
+<p class="subentry">
+  <span class="sc">VI.</span> Two rats on their hind legs, carrying off the Beadle's mace: behind
+        them are three rats running. Reproduced in <i>Westminster Budget</i>,
+        March 25, 1898.
+</p>
+<p class="subentry">
+ <span class="sc">VII.</span> Meeting between the Beadle and the Piper.
+</p>
+<p class="subentry">
+<span class="sc">VIII.</span> The rats follow the Piper out of the town. Republished in <i>Westminster
+        Budget</i>, March 25, 1898, and in <i>The Poster</i>, Aug.-Sept. 1898.
+</p>
+<p class="subentry">
+  <span class="sc">IX.</span> Citizens rejoice at the departure of the rats.
+</p>
+<p class="subentry">
+   <span class="sc">X.</span> The Piper is dismissed by the Beadle. Republished in <i>Westminster
+        Budget</i>, March 25, 1898, and also in <i>Magazine of Art</i>, May 1898.
+</p>
+<p class="subentry">
+  <span class="sc">XI.</span> The Piper entices away the children.
+</p>
+<p class="entry">
+    The above illustrations vary in size from 3-1/4 × 2-1/2 to 6-1/2
+    × 4-1/2 inches. They are unsigned, but a prefatory note describes
+    them as being "the perfectly original designs and drawings of a boy
+    now in the school,
+
+<span class="pagenum"><a id="page64" name="page64"></a>[64]</span>
+
+                       A. V. Beardsley"; and adds: "Our regret is that,
+    lacking experience in the preparation of drawings for the
+    photo-engraver, the reproductions should fall so far short of the
+    original sketches." Published in the programme and book of words
+    of the Brighton Grammar School Annual Entertainment at the Dome,
+    on Wednesday, Dec, 19, 1888; bound up afterwards with <i>Past and
+    Present</i>, February 1889. Latter part of 1888.
+</p>
+<p class="entry">
+13. <span class="sc">A Scrap-Book</span>, size 9-1/2 × 7 inches, the fly-leaf inscribed, in his
+    own writing, <i>A. Beardsley</i>, 6/5/90, presented by the artist's
+    mother to Robert Ross, Esq. Contains the following drawings, mounted
+    as scraps:&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Manon Lescaut, three drawings to illustrate different scenes
+        from. Executed with very fine pen and ink, the latter having, as
+        compared with maturer works, a brownish tinge. One of them first
+        appeared in "A Second Book of Fifty Drawings by Aubrey Beardsley"
+        (Leonard Smithers, December 1898), and all three were included in
+        "The Later Work of Aubrey Beardsley" (John Lane, 1901).
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> La Dame aux Camélias. 4-3/8 inches square, pen and brownish
+        ink with wash. First published in "Second Book," and afterwards in
+        "Later Work." This is a totally different design from that which
+        afterwards appeared, with the same title, in "The Yellow Book."
+        See below.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Tartarin, two illustrations of, in pencil and colours, size
+        4-1/8 × 2-3/4 and 4-1/2 × 3-1/2 inches respectively.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> La Leçon (Madame Bovary). 5-1/4 × 6-3/4. Chinese
+
+<span class="pagenum"><a id="page65" name="page65"></a>[65]</span>
+
+                                                                 white and dark
+        sepia wash. First published in "Second Book," and again in "Later
+        Work."
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> L'Abbé Birotteau (Curé de Tours). 3 × 2 inches. Pen-and-ink
+        with wash, on pale greenish paper.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> L'Abbé Troubert (Curé de Tours). 5 × 2-3/4 inches. Dark sepia wash.
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> Madame Bovary. 5-5/8 × 3-1/8 inches. Pencil. First published in
+        "Second Book," and again in "Later Work."
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> Sapho (Daudet). Wanting. Over its place has been gummed another
+        drawing, also wanting, its title written at the foot,
+        <i>L'homme qui rit</i>.
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> Le Cousin Pons. 5-1/8 × 2-3/8 inches. Indian ink.
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> Portrait of Alphonse Daudet. 2-3/4 × 2-3/16 inches. Indian ink on
+        pale blue paper.
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> Watteau, Ma Cousine (Cousin Pons). 5-1/2 × 2-3/4 inches. Pen-and-ink
+        with wash on pale grey toned paper.
+</p>
+<p class="subentry">
+  <span class="sc">XII.</span> Mademoiselle Gamard (Curé de Tours). 3-1/8 × 2-1/8 inches. Indian
+        ink wash.
+</p>
+<p class="subentry">
+ <span class="sc">XIII.</span> Madame Cibot (Cousin Pons). 4 × 2-7/8 inches. Indian ink wash.
+</p>
+<p class="subentry">
+  <span class="sc">XIV.</span> (Jack) Attendons! 3-5/8 inches high, irregular silhouette.
+        Dark sepia wash.
+</p>
+<p class="subentry">
+   <span class="sc">XV.</span> Jeanne D'Arc, the childhood of. 9 × 3-3/8 inches. Sepia and madder
+        wash on toned paper. First published in "Second Book," again in
+        "Later Work."
+</p>
+<p class="subentry">
+  <span class="sc">XVI.</span> Frontispiece to Balzac's "Contes Drôlatiques." 6-3/4 × 4-1/8 inches.
+        Drawn after the manner of
+
+<span class="pagenum"><a id="page66" name="page66"></a>[66]</span>
+
+                                  Richard Doyle. First published in
+        "Second Book," again in "Later Work."
+</p>
+<p class="subentry">
+ <span class="sc">XVII.</span> Phèdre (Act ii. scene 5). 3-7/8 × 3-1/2 inches. Pencil and colours.
+        First published in "Second Book," again in "Later Work."
+</p>
+<p class="subentry">
+<span class="sc">XVIII.</span> Manon Lescaut, three-quarter length, woman to left, with fan.
+        5-1/4 × 3-1/2 inches. Water-colour on grey paper. First published
+        in "Second Book," again in "Later Work."
+</p>
+<p class="subentry">
+  <span class="sc">XIX.</span> Beatrice Cenci. 6-1/8 × 2-3/4 inches. Pencil and sepia wash. First
+        published in "Second Book," again in "Later Work."
+</p>
+<p class="entry">
+    Unless otherwise stated as above, the works in this collection are
+    unpublished; all were executed 1889-90.
+</p>
+
+<p><span class="pagenum"><a id="page67" name="page67"></a>[67]</span></p>
+
+<h3>
+LATER WORK.
+</h3>
+
+<p class="entry">
+14. <span class="sc">Francesca di Rimini</span> (Dante). Head in profile, to left; pencil.
+    First published in "Later Work."
+</p>
+<p class="entry">
+15. <span class="sc">Dante at the Court of Can Grande della Scala.</span> Circular design,
+    in pencil. (Property of Miss H. Glover.)
+</p>
+<p class="entry">
+16. <span class="sc">Dante in Exile.</span> Dante seated on the left, the words of the Sonnet
+    inscribed on the right, with decorations recalling some design of
+    William Blake's. Signed A.V.B. First published in "Later Work."
+    (Formerly the property of the late Hampden Gurney, Esq.)
+</p>
+<p class="entry">
+17. "<span class="sc">I saw three Ships come sailing by on Christmas Day in the Morning.</span>"
+     Pencil. Designed as a Christmas card for the late Rev. Alfred Gurney.
+     Published in "Later Work." <i>c.</i> 1890-1.
+</p>
+<p class="entry">
+18. <span class="sc">Hail Mary.</span> Profile of a head to left. Pencil drawing, 4-1/2 × 5-1/4
+    inches.  First published in <i>The Studio</i>, May 1898, again in "Early
+    Work." (Property of Frederick H. Evans, Esq.) 1891.
+</p>
+<p class="entry">
+19. <span class="sc">Head</span>, three-quarter face to right, with a Wreath of Grapes and Vine
+    Leaves and background of tree trunks. Lead-pencil sketch 5-1/2 × 5-5/8
+    inches. Unpublished. (Property of John Lane, Esq.) <i>circa</i> 1891.
+</p>
+<p class="entry">
+20. <span class="sc">Thel Gathering the Lily.</span> Pen-and-ink with water-colour wash. (Formerly
+    the property of Robert Ross, Esq.)
+</p>
+
+<p><span class="pagenum"><a id="page68" name="page68"></a>[68]</span></p>
+
+<p class="entry">
+21. <span class="sc">Two Figures in a Garret</span>, both seated, a woman haranguing a young man.
+    Ink and wash sketch, 3-1/4 × 4-1/8 inches. Published in "Early Work."
+    (Property of Frederick H. Evans, Esq.)
+</p>
+<p class="entry">
+22. <span class="sc">E. Burne-Jones.</span> Portrait sketch in pen-and-ink, with slight wash.
+     A memorandum of Aubrey Beardsley's first call on Sir Edward
+     Burne-Jones, dated Sunday, 12th July 1891, and signed with monogram,
+     A.V.B. Size, 6-3/4 × 4-1/8 inches. Eight copies only. Printed on
+     India paper. Published by James Tregaskis, Caxton Head, High Holborn,
+     in 1899. July 1891.
+</p>
+<p class="entry">
+23. <span class="sc">The Witch of Atlas.</span> Pen-and-ink and water-colour wash. First reproduced
+    (lacking ornamental border) in "Second Book," again in "Later Work."
+    (Formerly the property of Robert Ross, Esq.)
+</p>
+<p class="entry">
+24. <span class="sc">Molière.</span> Blue water-colour wash. First published in "Later Work."
+    (Formerly the property of Robert Ross, Esq.)
+</p>
+<p class="entry">
+25. <span class="sc">Die Götterdämmerung.</span> Decorative composition in white and Indian ink,
+    influenced by Burne-Jones. First published in "Second Book," again in
+    "Later Work." (Formerly the property of Robert Ross, Esq.)
+</p>
+<p class="entry">
+26. <span class="sc">Soleil Couchant.</span> Decorative composition in Indian ink. (The motif of
+    the central part was subsequently adapted for a vignette in the
+    "Morte Darthur," Book II. chap. xii.) First published in "Later
+    Work." (Formerly the property of the late Hampden Gurney, Esq.)
+</p>
+
+<p><span class="pagenum"><a id="page69" name="page69"></a>[69]</span></p>
+
+<p class="entry">
+27. <span class="sc">Tannhâuser.</span> Study for decorative composition, in Indian ink.
+    5-5/8 × 7-1/2 inches. First published in "Later Work." (Property of
+    Dr Rowland Thurnam.) 1891.
+</p>
+<p class="entry">
+28. <span class="sc">Withered Spring.</span> Decorative composition in Indian ink. Catalogued in
+    "Fifty Drawings" as "Lament of the Dying Year." (The motif of the
+    central part was subsequently adapted for a vignette in the "Morte
+    Darthur," Book I. chap. xii.) First published in "Later Work."
+    (Property of Dr Rowland Thurnam.)
+</p>
+<p class="entry">
+29. <span class="sc">I.</span> <span class="sc">Perseus.</span> Pen-and-ink and light wash. Design for an upright panel,
+    with standing nude figure, above it a frieze of smaller figures.
+    18 × 6-3/4 inches. First published in "Early Work." (Property of
+    Frederick H. Evans, Esq.)
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> A pencil sketch of two figures, unfinished, on the reverse of the
+    preceding. Published in "Early Work."
+</p>
+<p class="entry">
+30. <span class="sc">L'Abbé Mouret.</span> Decorative design for frontispiece of Zola's "La Faute
+    de l'Abbé Mouret." Ink and wash. First published in "Under the Hill."
+    John Lane. 1904. (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+31. <span class="sc">Hamlet patris panem Sequitur.</span> Pencil drawing. Printed in red, as
+    frontispiece to <i>The Bee</i>, the Magazine of the Blackburn Technical
+    School, November 1891; reprinted, in black, in "Second Book," again
+    in "Early Work." Latter part 1891.
+</p>
+<p class="entry">
+32. <span class="sc">Perseus and the Monstre.</span> Pencil design, 5-1/2 × 7-1/2 inches. First
+    appeared in illustration of an article
+
+<span class="pagenum"><a id="page70" name="page70"></a>[70]</span>
+
+                                           entitled, "The Invention of
+    Aubrey Beardsley," by Aymer Vallance, in <i>The Magazine of Art</i>, May
+    1898; again in "Early Work," (Property of Aymer Vallance, Esq.) 1891.
+</p>
+<p class="entry">
+33. <span class="sc">The Procession of Jeanne d'Arc.</span> Pencil outline, treatment inspired by
+    Mantegna, 19-1/2 long by 6-1/2 inches high. First published in
+    <i>Magazine of Art</i>, May 1898; again as double page in "Second Book";
+    again, reduced, in collotype, in "Early Work." (Property of Frederick
+    H. Evans, Esq.) 1891-2.
+</p>
+<p class="entry">
+    A pen-and-ink version of the Procession, 30 inches long by 7 high,
+    was made subsequently, about the Spring of 1892, for Robert Ross,
+    Esq. Published in <i>The Studio</i>; see below.
+</p>
+<p class="entry">
+34. <span class="sc">The Litany of Mary Magdalen.</span> Pencil drawing. First published in
+    "Second Book," again in "Later Work." (Formerly Property of More
+    Adey, Esq.) 1892.
+</p>
+<p class="entry">
+35. <span class="sc">The Virgin and Lily.</span> Madonna standing in front of a Renaissance niche
+    and surrounded by Saints, among them St John Baptist kneeling.
+    Pencil outline. Reproduced in photogravure in "Later Work."
+    (Formerly the property of the late Rev. Alfred Gurney, afterwards
+    in the possession of his son, the late Hampden Gurney, Esq.)
+</p>
+<p class="entry">
+36. <span class="sc">Children Decorating a Terminal God.</span> Pen-and-ink. (Formerly the
+    property of M. Puvis de Chavannes.)
+</p>
+<p class="entry">
+37. <span class="sc">Fred Brown</span>, N.E.A.C. Pen-and-ink sketch of the art-master in studio.
+    Signed with monogram A.V.B.
+
+<span class="pagenum"><a id="page71" name="page71"></a>[71]</span>
+
+                                First published in "Under the Hill."
+    (Property of Miss Nellie Syrett.)
+</p>
+<p class="entry">
+38. <span class="sc">Study of Figures</span>, horizontal fragment from, containing five heads and
+    parts of two more. Pencil. Published in "Under the Hill." (Property
+    of Miss Nellie Syrett.)
+</p>
+<p class="entry">
+39. <span class="sc">Portrait of the Artist.</span> Full face. Pen-and-ink. First published in
+    "Second Book," again in "Later Work." (Presented by Robert Ross,
+    Esq., to the British Museum.)
+</p>
+<p class="entry">
+40. <span class="sc">Sidonia the Sorceress.</span> A design to illustrate Meinhold's Romance,
+    representing Sidonia, not in religious habit, with the demon-cat,
+    Chim. William Morris's criticism that the face of Sidonia was not
+    pretty enough, and another suggested improvement on the part of
+    a friend of Aubrey Beardsley's, induced him to try to better the
+    picture by altering the hair. The result was so far from satisfactory
+    that it is almost certain that the drawing was destroyed by the
+    artist. First half of 1892.
+</p>
+<p class="entry">
+41. <span class="sc">Le Débris d'un Poete.</span> Pen-and-ink. First published in "Aubrey
+    Beardsley," by Arthur Symons (Sign of the Unicorn, London, 1898).
+    (Property of André Raffalovich, Esq.)
+</p>
+<p class="entry">
+42. <span class="sc">Incipit Vita Nova.</span> Chinese, white, and Indian ink on brown paper.
+    First published in "Second Book," again in "Later Work." (Property
+    of Messrs Carfax &amp; Co.) 1892.
+</p>
+<p class="entry">
+43. <span class="sc">Head of an Angel</span>, in profile, to left, flaming heart held in left hand.
+    Pencil, on a half-sheet of grey notepaper,
+
+<span class="pagenum"><a id="page72" name="page72"></a>[72]</span>
+
+                                              signed with monogram
+    A.V.B. 5-3/4 × 3-7/8 inches. First published in photogravure "Second
+    Book," again in "Later Work"; also printed in 4-inch square form on
+    card for private distribution, Christmas 1905. (Property of the
+    artist's sister, Mrs George Bealby Wright [Miss Mabel Beardsley].)
+    <i>c.</i> 1892.
+</p>
+<p class="entry">
+44. <span class="sc">Adoramus Te.</span> Four angels in a circle (7 inches in diameter) playing
+    musical instruments, pencil and coloured chalks. Signed A.V.B.
+    monogram. Designed as a Christmas card for the late Rev. Alfred
+    Gurney. First published in photogravure in "Second Book," again in
+    "Later Work." (Property of Mrs George Bealby Wright.)
+</p>
+<p class="entry">
+45. <span class="sc">A Christmas Carol.</span> Two angels, one of them playing a hand-organ, in a
+    circle (7-3/4 inches diameter), pencil, and coloured chalks.
+    Designed as a Christmas card for the late Rev. Alfred Gurney.
+    First published in photogravure in "Second Book," again in "Later
+    Work." Also in photogravure, 3 inches diameter, for private
+    circulation. (Property of Mrs George Bealby Wright.) Christmas, 1892.
+</p>
+<p class="entry">
+46. <span class="sc">La Femme Incomprise.</span> Pen-and-ink and wash. First published in the
+    spring number of <i>To-Day</i>, 1895; again in the <i>Idler</i> magazine,
+    March 1897.
+</p>
+<p class="entry">
+47. <span class="sc">Sandro Botticelli</span>, three-quarter face to left, pencil, signed with
+    monogram A.V.B.; 14 × 7-3/4 inches; a reconstruction of the
+    Florentine painter's physiognomy from his extant works, to
+    illustrate Aubrey Beardsley's theory that every artist tends to
+    reproduce his own physical type.  Presented by the artist to Aymer
+
+<span class="pagenum"><a id="page73" name="page73"></a>[73]</span>
+
+    Vallance, Esq. First published in the <i>Magazine of Art</i>, May 1898;
+    afterwards in "Early Work." <i>c.</i> 1892-3.
+</p>
+<p class="entry">
+48. <span class="sc">Raphael Sanzio.</span> Full-length figure, three-quarter face to left, a
+    decorative panel in pen-and-ink, 10-3/4 × 3-7/8 inches, exclusive
+    of border lines. Unpublished. (Property of Messrs Obach &amp; Co.)
+</p>
+<p class="entry">
+49. <span class="sc">Cephalus and Procris.</span> Pen-and-ink.
+</p>
+<p class="entry">
+50. <span class="sc">Small Bookmarker</span>, woman undressing, a Turkish table in the foreground.
+    Pen-and-ink. First published in "Second Book," again in "Later Work."
+    (Property of Sir William Geary, Bart.) 1893.
+</p>
+<p class="entry">
+51. <span class="sc">Hermaphroditus</span>, seated figure, pencil and pale colour tints. Reproduced
+    in colour in "Later Work." (Property of Julian Sampson, Esq.)
+</p>
+<p class="entry">
+52. <span class="sc">L'après-midi d'un Faune</span>, par Mallarmé; four designs extra-illustrating
+    a copy of. One of them, a pen-and-ink vignette of a faun, full face,
+    signed with monogram A.V.B., was published in "Second Book." The
+    others unpublished. 1893.
+</p>
+<p class="entry">
+53. <span class="sc">Decorative Sketch Design of a Sailing Ship.</span> 1-7/8 × 2-1/2 inches.
+     Pen-and-ink on white from the back of a letter to Aymer Vallance,
+     Esq. First published in <i>Magazine of Art</i>, May 1898; again in "Early
+     Work." <i>c.</i> 1893.
+</p>
+<p class="entry">
+54. <span class="sc">Angel Playing Hand-Organ.</span> Pen-and-ink and slight wash, on pale grey
+    notepaper, from a letter to Aymer Vallance, Esq. First published in
+    <i>Magazine of Art</i>, May 1898; again in "Early Work." <i>c.</i> 1893.
+</p>
+
+<p><span class="pagenum"><a id="page74" name="page74"></a>[74]</span></p>
+
+<p class="entry">
+55. <span class="sc">The Pall Mall Budget</span>, 1893 and 1894.
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> <span class="sc">Mr H. A. Jones and his Bauble</span>; pen-and-ink. Feb. 2, 1893, p. 150.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> <span class="sc">The New Coinage.</span> Four designs that were not sent in for
+        competition, p. 154. Another design, embodying a caricature of
+        Queen Victoria, was suppressed.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> <span class="sc">"Becket" at the Lyceum.</span>
+</p>
+<p class="subentry2">
+        1. Mr Irving as Becket; wash drawing. Feb. 9th, front page.
+</p>
+<p class="subentry2">
+        2. Master Leo, p. 188.
+</p>
+<p class="subentry2">
+        3. Queen Eleanor, p. 188.
+</p>
+<p class="subentry2">
+        4. Margery, p. 188.
+</p>
+<p class="subentry2">
+        5. The King makes a Move on the Board, p. 188.
+</p>
+<p class="subentry2">
+        6. Miss Terry (as Rosamond), p. 188.
+</p>
+<p class="subentry2">
+        7. Mr Gordon Craig, p. 190.
+</p>
+<p class="subentry2">
+        8. The Composer, p. 190.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span>
+</p>
+<p class="subentry2">
+        1. <span class="sc">The Disappointment of Emile Zola</span>, p. 202.
+</p>
+<p class="subentry2">
+        2. <span class="sc">Emile Zola</span>; a portrait, p. 204.
+           (Republished in "Pall Mall Pictures of the Year," 1893,
+           and in <i>The Studio</i>, June 1893.)
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> <span class="sc">Verdi's "Falstaff," at Milan</span>, Feb. 16th.
+</p>
+<p class="subentry2">
+        Initial letter V; pen-and-ink, p. 236.
+</p>
+<p class="subentry2">
+        Portrait of Verdi; ink and wash, p. 236.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> <span class="sc">Pope Leo XIII.'s Jubilee</span>, Feb. 23rd.
+</p>
+<p class="subentry2">
+        The Pilgrim (old style), p. 270.
+</p>
+<p class="subentry2">
+        The Pilgrim (new style), p. 270.
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> <span class="sc">The Reappearance of Mrs Bancroft.</span>
+</p>
+<p class="subentry2">
+        1. Mr Arthur Cecil (Baron Stein), p. 281.
+</p>
+<p class="subentry2">
+        2. Mrs Bancroft (Lady Fairfax), p. 281.
+</p>
+<p class="subentry2">
+        3. Mr Forbes Robertson (Julian Beauclere), p. 281.
+</p>
+<p class="subentry2">
+        4. Mr Bancroft (Count Orloff), p. 281.
+</p>
+
+<p><span class="pagenum"><a id="page75" name="page75"></a>[75]</span></p>
+
+<p class="subentry">
+ <span class="sc">VIII.</span> <span class="sc">Caricature of a Golf Player</span>, in classical helmet, March 9th, p. 376.
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> <span class="sc">Orpheus at the Lyceum</span>, March 16th.
+</p>
+<p class="subentry2">
+        1. One of the Spirits, Act II., p. 395.
+</p>
+<p class="subentry2">
+        2. Orpheus (Miss Clara Butt), p. 395.
+</p>
+<p class="subentry2">
+        3. A Visitor at the Rehearsal, p. 395.
+</p>
+<p class="subentry2">
+        4. Some Dresses in the Chorus, p. 395.
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> <span class="sc">Portrait of the Late Jules Ferry</span>: wash drawing, March 23rd, p. 435.
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> <span class="sc">Bullet-Proof Uniform</span>: Tommy Atkins thinks it rather fun, March 30, p. 491.
+</p>
+<p class="subentry">
+  <span class="sc">XII.</span> <span class="sc">Mr Frederick Harrison's "Ideal Novelist,"</span> April 20, p. 620.
+</p>
+<p class="subentry">
+ <span class="sc">XIII.</span> <span class="sc">A New Year's Dream</span>, after studying Mr Pennell's "Devils of Notre Dame."
+        Republished in "Early Work." Jan. 4th, 1894, p. 8.
+</p>
+<p class="entry">
+56. <span class="sc">Mr Parnell</span>, sketch portrait of the Irish party leader, head and
+    shoulders, three quarters face to left, pencil, half tone reproduction,
+    4-3/4 × 3-1/2 inches.
+</p>
+<p class="entry">
+57. <span class="sc">I.</span> <span class="sc">The Studio.</span> Design for wrapper in two states, the original
+    design containing a seated figure of Pan, omitted in the later
+    version. First state on brown paper. The same, reduced, in black
+    on green, for prospectus, republished in <i>The Studio</i>, May 1898,
+    and again in "Early Work."
+</p>
+<p class="subentry">
+    Second state, black on green, also in gold on rough white paper for
+    presentation to Royalty (Nov. 15th, 1893). The same, reduced, and
+    printed in dark green on white, for a prospectus, republished in
+    "Early Work." The same, enlarged and printed in black on light
+    green, for a poster.
+</p>
+
+<p><span class="pagenum"><a id="page76" name="page76"></a>[76]</span></p>
+
+<p class="entry">
+    <span class="sc">The Studio, No. I</span>, April 1893, accompanying an article entitled "A New
+    Illustrator: Aubrey Beardsley," by Joseph Pennell, contained:&mdash;&mdash;
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Reduced reproduction of the pen-and-ink replica of Jeanne d'Arc
+        procession. Republished as large folding supplement in No. 2.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Siegfried, Act II., from the original drawing in line and wash,
+        signed A.V.B., presented by the artist to Sir Edward Burne-Jones,
+        after whose death it was given back by Lady Burne-Jones, to the
+        artist's mother, Mrs Beardsley. Republished in "Early Work."
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> The Birthday of Madame Cigale, line and wash, 15 inches long by
+        9-1/2 inches high, influenced by Japanese models. Reproduced in
+        "Early Work." (Property of Charles Holme, Esq.)
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> Les Revenants de Musique, line and wash. Reproduced in "Early
+        Work." (Property of Charles Holme, Esq.)
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> Salome with the head of St John the Baptist. Upright panel in
+        Chinese ink on white, 10-1/8 by 5-1/8 inches, exclusive of framing
+        lines. This was the first design suggested to the artist by Oscar
+        Wilde's French play of "Salome." It differs from the later version
+        of the same subject in being richer and more complex. It contains
+        the legend, omitted in the later version, <i>j'ai baisé ta bouche
+        Iokanaan, j'ai baisé ta bouche</i>. The treatment is obviously
+        influenced by Japanese work, and also by that of the French
+        Symboliste school, <i>e.g.</i> Carlos Schwabe. Republished in "Early
+        Work." Subsequently to its appearance in <i>The
+
+<span class="pagenum"><a id="page77" name="page77"></a>[77]</span>
+
+                                                      Studio</i>, the artist
+        experimentally tinted it with green colour washes. In its final
+        state it has not been published. (Formerly the property of Mrs
+        Ernest Leverson, now of Miss K. Doulton.)
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> Reduced reproduction of the second version of the Jeanne d'Arc
+        procession. The same appeared, full size, as a folding plate
+        supplement, in No. 2 of <i>The Studio</i>, May 1893.
+</p>
+<p class="entry">
+        In the first number of <i>The Studio</i> (April) also were published,
+        by anticipation, four designs from the "Morte Darthur," due to
+        begin its serial appearance in the following June, viz.:&mdash;
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> Initial letter I.
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> Merlin taketh the child Arthur into his keeping (full page,
+        including border).
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> Ornamental border for full page.
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> Frieze for chapter-heading; six men fighting, on foot, three of
+        them panoplied. Reproduced in <i>Magazine of Art</i>, November 1896,
+        "Fifty Drawings," <i>Idler</i>, March 1897, and <i>St Paul's</i>, April 9th,
+        1898. The original drawing is 13-3/4 inches long by 4-1/2 inches.
+        As may be seen, even in the reduced reproduction, one inch
+        at either end was added by the artist at the request of his
+        publisher, so as to increase the proportionate length of the
+        ornament. Subsequently Mr Frederick H. Evans photographed the
+        drawing, full size, and produced fifteen platinotype copies,
+        of which twelve only were for sale, and the plate destroyed.
+</p>
+<p class="entry">
+58. <span class="sc">Design of Dandelions</span>, for publishers' trade mark for Dent &amp; Co.
+</p>
+
+<p><span class="pagenum"><a id="page78" name="page78"></a>[78]</span></p>
+
+<p class="entry">
+59. <span class="sc">Le Morte Darthur</span>, by Sir Thomas Malory. J. M. Dent &amp; Co. 300 copies on
+    Dutch hand-made paper and 1500 ordinary copies. Issued in Parts,
+    beginning June 1893.
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Vol. I., 1893. Frontispiece&mdash;"How King Arthur saw the Questing
+        Beast, and thereof had great marvel." Photogravure.
+</p>
+<p class="entry">
+    Full-page illustrations:&mdash;
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Merlin taketh the child Arthur into his keeping. (Reduced
+        reproduction in <i>Idler</i>, May 1898.)
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> The Lady of the Lake telleth Arthur of the sword Excalibur.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> Merlin and Nimue.
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> Arthur and the strange mantle.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> How four queens found Launcelot sleeping. (Property of A. E.
+        Gallatin, Esq.)
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> Sir Launcelot and the witch Hellawes. (Property of A. E.
+        Gallatin, Esq.)
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> How la Beale Isoud nursed Sir Tristram.
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> How Sir Tristram drank the love drink.
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> How la Beale Isoud wrote to Sir Tristram.
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> How King Mark found Sir Tristram sleeping.
+</p>
+<p class="subentry">
+  <span class="sc">XII.</span> How Morgan le Fay gave a sword to Sir Tristram.
+</p>
+<p class="subentry">
+ <span class="sc">XIII.</span> Vol. II., 1894. Frontispiece&mdash;"The achieving of the Sangreal."
+        Photogravure. (This was the first design executed for the work.)
+</p>
+<p class="entry">
+    Full page and double page illustrations:&mdash;
+</p>
+<p class="subentry">
+  <span class="sc">XIV.</span> How King Mark and Sir Dinadan heard Sir Palomides making great
+        sorrow and mourning for la Beale Isoud (double page).
+</p>
+<p class="subentry">
+   <span class="sc">XV.</span> La Beale Isoud at Joyous Gard (double page).
+</p>
+
+<p><span class="pagenum"><a id="page79" name="page79"></a>[79]</span></p>
+
+<p class="subentry">
+  <span class="sc">XVI.</span> How Sir Launcelot was known by Dame Elaine (full page).
+</p>
+<p class="subentry">
+ <span class="sc">XVII.</span> How a devil in woman's likeness would have tempted Sir Bors (double
+        page).
+</p>
+<p class="subentry">
+<span class="sc">XVIII.</span> How Queen Guenever rode on maying (double page).
+</p>
+<p class="subentry">
+  <span class="sc">XIX.</span> How Sir Bedivere cast the sword Excalibur into the water (full page).
+</p>
+<p class="subentry">
+   <span class="sc">XX.</span> How Queen Guenever made her a nun (full page).
+</p>
+<p class="entry">
+    In the two volumes there are altogether 548 ornaments,
+    chapter-headings, borders, initials, tail-pieces, etc.; but some of
+    them are repetitions of the same design, others reproductions of
+    the same design in two different sizes. (Two of these are in the
+    Victoria and Albert Museum. Eight belong to Pickford Waller, Esq.
+    Others are the property of Hon. Gerald Ponsonby, R. C. Greenleaf,
+    Esq., W. H. Jessop, Esq., M. H. Sands, Esq., Robert Ross, Esq.,
+    and Messrs Carfax &amp; Co.)
+</p>
+<p class="subentry">
+  <span class="sc">XXI.</span> Chapter-heading, a dragon, with conventional foliage spray
+        branching into marginal ornaments; printed, but not published
+        in the book.
+</p>
+<p class="subentry">
+ <span class="sc">XXII.</span> Initial letter J with guardian griffins; pen-and-ink, 5-1/2 × 3-1/2
+        inches.
+</p>
+<p class="subentry">
+<span class="sc">XXIII.</span> Unfinished border design, first published in "Whistler's Art Dicta
+        and Other Essays" by A. E. Gallatin (Boston, U.S.A., and London,
+        1903). (Property of A. E. Gallatin, Esq.)
+</p>
+<p class="subentry">
+ <span class="sc">XXIV.</span> Original study, approved by the publisher, for wrappers of serial
+        issue of the "Morte Darthur," yellowish green water-colour on
+
+<span class="pagenum"><a id="page80" name="page80"></a>[80]</span>
+
+        white paper, 10-1/4 × 8-1/4 inches. This design, comprising lilies,
+        differs from that which was finally produced by the artist and
+        published (next item). (Property of Aymer Vallance, Esq.) 1893.
+</p>
+<p class="entry">
+        Design for wrappers of serial issue, in black on grey paper, in
+        two states, the earlier or trial-state, having blank spaces for
+        the lettering, only the title being given as "La Mort Darthure."
+</p>
+<p class="subentry">
+  <span class="sc">XXV.</span> Design in gold on cream-white cloth cases of the bound volumes.
+</p>
+<p class="entry">
+        Nineteen of the above designs were republished in "A Book of
+        Fifty Drawings," and again in "Later Work," including full-size
+        reproductions of the following, which had suffered through
+        excessive reduction in the published "Morte Darthur."
+</p>
+<p class="subentry">
+ <span class="sc">XXVI.</span> Merlin (in a circle), facing list of illustrations in Vol. I. The
+        same reproduced in <i>The Idler</i>, March 1897.
+</p>
+<p class="subentry">
+<span class="sc">XXVII.</span> Vignette of Book I., chapter xiv. Landscape with piper in a meadow
+        and another figure in the sky.
+</p>
+<p class="subentry">
+<span class="sc">XXVIII.</span> Vignette of Book III., chapter iii. Three swans swimming.
+</p>
+<p class="subentry">
+ <span class="sc">XXIX.</span> Vignette of Book V., chapter x. Nude woman rising out of the sea,
+        holding in one hand a sword, in the other a rose.
+</p>
+<p class="entry">
+60. <span class="sc">Pall Mall Magazine, June 1893.</span>
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Of a Neophyte, and how the Black Art was revealed unto him by the
+        Fiend Asomuel. Full-page
+
+<span class="pagenum"><a id="page81" name="page81"></a>[81]</span>
+
+                                 illustration in pen and ink. Asomuel,
+        meaning insomnia, was a neologism of the artist's own devising,
+        made up of the Greek <i>alpha</i> privative, the Latin <i>somnus</i>, and
+        the Hebrew <i>el</i>, for termination analogous to that of other
+        spirits' names, such as Gabriel, Raphael, Azrael, etc.,
+        reproduced in "Early Work," July 1893.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> The Kiss of Judas. Full-page illustration in pen-and-ink. Reproduced
+        in "Early Work."
+</p>
+<p class="entry">
+61. <span class="sc">La Comédie aux Enfers</span>, pen and ink, published in "Modern Illustration,"
+    by Joseph Pennell. (G. Bell &amp; Sons, 1895.) Imp. 16mo. 1893.
+</p>
+<p class="subentry">
+62. <span class="sc">I.</span> <span class="sc">Evelina</span>, by Frances Burney. (Dent &amp; Co., 1894.) Design in outline
+        for title-page.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> <span class="sc">Evelina and her Guardian</span>, design for illustration, pen and ink and
+        wash, 6-7/8 × 4-7/8 (exclusive of marginal lines), not published.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Another illustration for the same, "Love for Love," a wash drawing,
+        7-1/2 × 5-1/4, unpublished. 1893.
+</p>
+<p class="entry">
+63. <span class="sc">Virgilius the Sorcerer</span>. David Nutt, 1893. Frontispiece to the large
+    paper copies only. Reproduced in "Early Work."
+</p>
+<p class="entry">
+64. <span class="sc">The Landslip</span>, frontispiece to "Pastor Sang," being William Wilson's
+    translation of Björnson's drama, "Over Ævne." Longmans &amp; Co., 1893.
+    A black and white design, in conscious imitation of Albert Dürer,
+    as the peculiar form of the signature A. B. shows, the only occasion
+    on which the artist employed this device. Reproduced in "Early Work."
+    (Property of Messrs Shirley &amp; Co., Paris.)
+</p>
+
+<p><span class="pagenum"><a id="page82" name="page82"></a>[82]</span></p>
+
+<p class="entry">
+65. <span class="sc">Bon Mots. 3 Volumes. Dent &amp; Co., 1893.</span>
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Title-page reproduced in "Later Work."
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Figure with fool's bauble, and another small ornament for the cover.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> 208 grotesques and other ornaments in the three volumes. Some of
+        these, however, are repeated, and some printed in different sizes.
+        Three of them reproduced in "Later Work." In an article by Max
+        Beerbohm in the <i>Idler</i>, May 1898, accompanied by "some drawings
+        that have never before been reproduced," are nine small vignettes
+        of the "Bon Mots" type, of which number three only are explicitly
+        ascribed to "Bon Mots" (A sheet of them belongs to W. H. Jessop,
+        Esq. Nineteen are the property of Pickford Waller, Esq.)
+</p>
+<p class="entry">
+66. <span class="sc">Folly</span>, intended for "Bon Mots," but not used in the book. The figure
+    is walking along a branch of hawthorn, the left hand upraised, and
+    holding the fool's baton; a flight of butterflies in lower left-hand
+    corner; with drawing 8 × 5-1/4 inches. (Property of Littleton Hay,
+    Esq.)
+</p>
+<p class="entry">
+67. <span class="sc">Pagan Papers</span>, a volume of Essays by Kenneth Grahame. Elkin Mathews
+   and John Lane, 1893. Title-page, design for.
+</p>
+<p class="entry">
+68. <span class="sc">Ada Lundberg</span>, head and shoulders to right, coloured crayons on brown
+    paper. Reproduced in colour in "Later Work." (Property of Julian
+    Sampson, Esq.)
+</p>
+<p class="entry">
+69. <span class="sc">Keyholes Series of Novels and Short Stories.</span>&mdash;(The publication
+    of this series was begun by Messrs
+
+<span class="pagenum"><a id="page83" name="page83"></a>[83]</span>
+
+                                      Elkin Mathews and John Lane, and
+    afterwards continued by Mr John Lane alone.)
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Keynotes by George Egerton, 1893. Title-page design (the same
+        employed for the cloth cover). Ornamental key, embodying the
+        author's monogram, on back of "Contents" page (the same device
+        on the back of the book). This plan was adopted for each volume
+        of the series.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> The Dancing Faun, by Florence Farr (the Faun in the design has
+        the eyeglass and features of J. M<sup>c</sup>Neill Whistler).
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Poor Folk. Translated from the Russian of F. Dostoievsky, by Lena
+        Milman.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> A Child of the Age, by Francis Adams.
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> The Great God Pan and the Inmost Light, by Arthur Machen, also
+        unfinished sketch in pencil upon the back of the finished design.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> Discords, by George Egerton.
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> Prince Zaleski, by M. P. Shiel.
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> The Woman who Did, by Grant Allen.
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> Women's Tragedies, by H. D. Lowry, 1895.
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> Grey Roses, by Henry Harland.
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> At the First Corner, and other Stories, by H. B. Marriott Watson.
+</p>
+<p class="subentry">
+  <span class="sc">XII.</span> Monochromes, by Ella D'Arcy.
+</p>
+<p class="subentry">
+ <span class="sc">XIII.</span> At the Relton Arms, by Evelyn Sharp.
+</p>
+<p class="subentry">
+  <span class="sc">XIV.</span> The Girl from the Farm, by Gertrude Dix.
+</p>
+<p class="subentry">
+   <span class="sc">XV.</span> The Mirror of Music, by Stanley V. Makower.
+</p>
+<p class="subentry">
+  <span class="sc">XVI.</span> Yellow and White, by W. Carlton Dawe.
+</p>
+<p class="subentry">
+ <span class="sc">XVII.</span> The Mountain Lovers, by Fiona Macleod.
+</p>
+<p class="subentry">
+<span class="sc">XVIII.</span> The Woman who Didn't, by Victoria Crosse.
+</p>
+<p class="subentry">
+   <span class="sc">XIX.</span> Nobody's Fault, by Netta Syrett.
+</p>
+
+<p><span class="pagenum"><a id="page84" name="page84"></a>[84]</span></p>
+
+<p class="subentry">
+   <span class="sc">XX.</span> The Three Impostors, by Arthur Machen.
+</p>
+<p class="subentry">
+  <span class="sc">XXI.</span> The British Barbarians, a hill-top novel, by Grant Allen.
+</p>
+<p class="subentry">
+ <span class="sc">XXII.</span> Platonic Affections, by John Smith.
+</p>
+<p class="entry">
+        Design for wrapper of "Keynotes" series, John Lane, 1896.
+</p>
+<p class="entry">
+        (With the exception of No. 2 all the above Keynotes designs are
+        the property of John Lane, Esq.)
+</p>
+<p class="entry">
+70. <span class="sc">The Barbarous Britishers</span>, a tip-top novel, by H. D. Traill. Title-page
+    design (the same employed for the cloth cover), comprising a portrait
+    of Miss Ada Lundberg, the whole being a parody of the design for
+    "The British Barbarians," <i>vide supra</i>. John Lane, 1896. (Property
+    of John Lane, Esq.) Reproduced in "Early Work."
+</p>
+<p class="entry">
+71. <span class="sc">Three Headpieces</span>, two of which appeared in <i>St Paul's</i>, April 2nd, 1898,
+    the other in the same paper, April 9th, 1898. All three republished
+    in "Early Work." (Property of Henry Reichardt, Esq.) 1893-4.
+</p>
+<p class="entry">
+72. <span class="sc">Women regarding a Dead Mouse.</span> Three-quarter figure in leaden grey.
+    Unfinished painting in oils, the only experiment the artist ever made
+    in this medium; influenced by Walter Sickert. <i>c.</i> 1894.
+</p>
+<p class="entry">
+73. <span class="sc">Menu of the Tenth Annual Dinner of the Playgoers' Club in London.</span> Two
+    drawings, one of them only reproduced in "Early Work." January 28th,
+    1894.
+</p>
+<p class="entry">
+74. <span class="sc">Lucian's True History.</span> Laurence &amp; Sullen, privately printed, 1894.
+    Black and white illustrations to
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> A Snare of Vintage. Reproduced in "Later Work."
+</p>
+
+<p><span class="pagenum"><a id="page85" name="page85"></a>[85]</span></p>
+
+<p class="entry">
+    Another drawing of the same subject and title, but different
+    rendering, 6 × 4-1/2 inches, was inserted loose in large paper
+    copies only; not noted in "Contents" page of the book.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Dreams. Reproduced in "Later Work." This drawing was executed
+        obviously at the same period as "Siegfried" and "The Achieving
+        of the Sangreal."
+</p>
+<p class="subentry">
+  <span class="sc">III., IV.</span> Two more drawings, intended for the same work, but not included
+        in it. Twenty copies of each were printed privately. One of them
+        is unpublished; of the other, the upper portion was published
+        in "Later Work." These illustrations were the earliest of the
+        Artist's designs not intended for public circulation.
+</p>
+<p class="subentry">
+    <span class="sc">Lucian's True History</span>, translated by Francis Hickes, illustrated by
+    William Strang, J. B. Clark, and Aubrey Beardsley, with an
+    Introduction by Charles Whibley, was published by A. H. Bullen.
+    London, 1902.
+</p>
+<p class="entry">
+75. <span class="sc">Quilp's Baron Verdigris.</span> Black and white. Designed for Messrs Henry
+    &amp; Co. First published in "Second Book" and again in "Later Work."
+    1894.
+</p>
+<p class="entry">
+76. <span class="sc">Poster for "The Comedy of Sighs</span>," by Dr John Todhunter, at the Avenue
+    Theatre, March 29th, 1894. Three-quarter length figure of woman in
+    deep blue, standing behind a gauze curtain with light green round
+    spots powdered over it, 28-3/4 × 4-3/4 inches. The same has since
+    been printed, the original size, in black and white. The same reduced,
+    and printed in blue on light green paper for the programme sold in
+    the theatre:
+
+<span class="pagenum"><a id="page86" name="page86"></a>[86]</span>
+
+                 also printed in black on toned paper for the programme
+    of Mr G. Bernard Shaw's play, "Arms and the Man," April 21st, 1894.
+    Also still further reduced, in black on pale mauve-pink paper for
+    the wrapper of Mr W. B. Yeats's play, "The Land of Hearts' Desire."
+    Reproduced in <i>Idler</i> magazine, March 1897; again in "Fifty Drawings,"
+    also in "Later Work." This was Aubrey Beardsley's first poster design.
+    1894.
+</p>
+<p class="entry">
+77. <span class="sc">Poster for Mr Fisher Unwin's "Pseudonym Library."</span> Female figure in
+    salmon-pink dress standing on the opposite side of the road to a
+    second-hand book-store. The scheme of colouring&mdash;salmon-pink, orange,
+    green, and black&mdash;was suggested to Aubrey Beardsley by a French
+    poster. 29-1/2 × 13 inches.
+</p>
+<p class="entry">
+    The same reduced, in colours, to form an advertisement slip for
+    insertion in books and magazines.
+</p>
+<p class="entry">
+    The same reduced, printed in black, 6 copies only, on Japanese
+    vellum. Reproduced in "Fifty Drawings" and "Later Work." Also used
+    as cover-design for the "Dream and the Business," by John Oliver
+    Hobbes.
+</p>
+<p class="entry">
+    Similar motif, black and white drawing; exhibited at the New English
+    Art Club Exhibition at the New Gallery. (Property of T. Fisher Unwin,
+    Esq.)
+</p>
+<p class="entry">
+78. <span class="sc">Poster for Mr Fisher Unwin's Children's Books.</span> Woman reading while
+    seated in a groaning-chair; black purple. Reproduced in black in
+    "Fifty Drawings" and "Later Work."
+</p>
+<p class="entry">
+79. Poster Design. A lady and large sunflower, scheme of colouring purple
+    and yellow. Unpublished. Purchased
+
+<span class="pagenum"><a id="page87" name="page87"></a>[87]</span>
+
+                                       by Mr Fisher Unwin and destroyed
+    accidentally in New York.
+</p>
+<p class="entry">
+80. <span class="sc">Sketch Portrait of the Artist</span>, head and shoulders, three-quarter face
+    to left; in imaginary costume with V-shaped opening to his coat and
+    high-shouldered sleeves; in charcoal. First published in <i>The Sketch</i>,
+    April 14th, 1894, again in "Early Work."
+</p>
+<p class="entry">
+81. <span class="sc">Sketch Portrait of Henry Harland</span>, head and shoulders, three-quarter
+    face to right, in charcoal. First published in <i>The Sketch</i>, April
+    11th, 1894, again in "Early Work." (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+82. <span class="sc">Portrait of James M'neill Whistler.</span> (Property of Walter Sickert, Esq.)
+</p>
+<p class="entry">
+83. <span class="sc">The Fat Woman</span> (a caricature of Mrs Whistler). First published in
+    <i>To-Day</i>, May 12th, 1894, afterwards republished in "Fifty Drawings"
+    and "Later Work"; also in <i>Le Courrier Français</i>, November 11th,
+    1894, with the title "<i>Une Femme bien Nourrie</i>." (Formerly the
+    property of the late Mrs Cyril Martineau (Miss K. Savile Clarke)).
+</p>
+<p class="entry">
+84. <span class="sc">Waiting</span>, a haggard, expectant woman, wearing V-necked bodice and large
+    black hat, seated in a restaurant, with a half-emptied wine-glass on
+    a small round table before her; black-ink drawing, 7-3/8 × 3-1/2
+    inches, unpublished. (Property of Pickford Waller, Esq.)
+</p>
+<p class="entry">
+85. <span class="sc">Masked Pierrot and Female Figure</span>, water and gondolas in background,
+    small square in black and white, published in <i>To-Day</i>, May 12th, 1894.
+</p>
+
+<p><span class="pagenum"><a id="page88" name="page88"></a>[88]</span></p>
+
+<p class="entry">
+86. <span class="sc">Salome</span>, A tragedy in one act. Translated by Lord Alfred Douglas from
+    the French of Oscar Wilde. Elkin Mathews and John Lane, 1894.
+    Pictured with the following designs by Aubrey Beardsley:&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> The woman (or man) in the moon (Frontispiece).
+</p>
+<p class="subentry2">
+        Border Design for Title-page (two states, the first cancelled).
+        (Property of John Lane, Esq.)
+</p>
+<p class="subentry2">
+        Border Design for List of Pictures.  (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> The Peacock Skirt. (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> The Black Cape. A burlesque, substituted for a drawing of John
+        and Salome, which was printed but withheld, and subsequently
+        published in "Early Work." (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> A Platonic Lament. (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> Enter Herodias (two states, the first cancelled). (The drawing
+        in its original state the property of Herbert J. Pollit Esq.)
+        A proof of this drawing in its first state, now the property of
+        Frank Harris, Esq., is inscribed by the artist on the left-hand
+        top corner:
+</p>
+<div class="subentry2">
+<div class="poem">
+<div class="stanza">
+  <p class="i2">          "Because one figure was undressed</p>
+  <p class="i2">          This little drawing was suppressed.</p>
+  <p class="i2">          It was unkind, but never mind,</p>
+  <p class="i2">          Perhaps it all was for the best."</p>
+</div>
+</div>
+</div>
+<p class="subentry">
+   <span class="sc">VI.</span> The Eyes of Herod. (Note one of Herod's white peacocks.) (Property
+        of John Lane, Esq.)
+</p>
+
+<p><span class="pagenum"><a id="page89" name="page89"></a>[89]</span></p>
+
+<p class="subentry">
+  <span class="sc">VII.</span> The Stomach Dance. (The author makes Salome dance, barefooted, the
+        Dance of the Seven Veils.) (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> The Toilette of Salome. Substituted for a former drawing of the
+        same subject, printed in two states but withheld, the second state
+        subsequently published in "Early Work" (Property of Robert Ross,
+        Esq.)
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> The Dancer's Reward. (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> The Climax. This is a revised and simpler version of the design
+        which had appeared in the first number of <i>The Studio</i>.
+</p>
+<p class="subentry2">
+        Tailpiece. The corpse of Salome being coffined in a puff-powder
+        box. (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+        Nos. <span class="sc">I.</span>, <span class="sc">IV.</span>, <span class="sc">V.</span>, and <span class="sc">VI.</span> of the above contain caricatures of Oscar Wilde.
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> Small design, printed in gold on cloth, front cover of "Salome";
+        another, consisting of an elaboration of the artist's device,
+        for the under side of cover.
+</p>
+<p class="subentry">
+  <span class="sc">XII.</span> Study of a design of peacock feathers for cover of "Salome," not
+        used at the time, but subsequently reproduced for the first time
+        in facsimile in "Early Work," and again as an illustration
+        following the title-page in reissue of "Salome" (John Lane, 1907);
+        also in gold on light green cloth for ornament of the binding,
+        and in olive green on orange-red for the paper cap. Also in gold
+        on blue cloth for binding of "Under the Hill," 1904. (Property of
+
+<span class="pagenum"><a id="page90" name="page90"></a>[90]</span>
+
+        John Lane, Esq.) This (1907) edition, moreover, contains the two
+        illustrations suppressed in the original edition, viz., "John and
+        Salome" (Property of John Lane, Esq.), now placed in order as
+        No. 8, and "The Toilet of Salome, II.," now placed as No. 13
+        (Property of John Lane, Esq.) and an original title-page.
+</p>
+<p class="subentry">
+ <span class="sc">XIII.</span> The Salome drawings were reproduced the actual size of the
+        originals, and published in a portfolio. In this was included a
+        design of Salome seated upon a settee. Described in "Early Work"
+        as "Maitresse d'Orchestre." (John Lane, 1907.)
+</p>
+<p class="entry">
+87. <span class="sc">Dancer, with Domino.</span> (The property of His Honour Judge Evans.)
+</p>
+<p class="entry">
+88. <span class="sc">Plays, by John Davidson.</span> Elkin Mathews and John Lane, 1894. Design on
+    frontispiece to, containing portrait caricatures of Sir Augustus
+    Harris, and Oscar Wilde and Henry Harland, black and white; the same
+    design in gold on the cloth cover. Reproduced in "Early Work," and
+    again, with Aubrey Beardsley's letter to the <i>Daily Chronicle</i> on
+    the subject, in "Under the Hill," 1904. (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+        Design for Title-Page of the above-named. Black and white;
+        reproduced in "Early Work."
+</p>
+<p class="entry">
+89. <span class="sc">The Yellow Book, 1894 and 1895.</span>
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Design for prospectus of the "Yellow Book": a woman examining books
+        in a box at a bookstall: black on yellow paper. Elkin Mathews
+        and John Lane, 1894. (Property of John Lane, Esq.)
+</p>
+
+<p><span class="pagenum"><a id="page91" name="page91"></a>[91]</span></p>
+
+<p class="entry">
+        Vol. I., April 1894. Elkin Mathews and John Lane.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Design on front side of yellow cover. (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Design on under side of cover; the same repeated in the later
+        volumes. (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> Design on title-page: a woman playing a piano in a meadow.
+        Reproduced, with Aubrey Beardsley's letter on the subject, to the
+        <i>Pall Mall Budget</i>, in "Under the Hill" (1904). (Property of John
+        Lane, Esq.)
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> L'Education Sentimentale: in line and wash.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> Night Piece.
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> Portrait of Mrs Patrick Campbell in profile, to left in outline.
+        Formerly in possession of Oscar Wilde, now in National Gallery
+        at Berlin.
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> Bookplate (designed in 1893) for John Lumsden Propert, Esq.
+</p>
+<p class="entry">
+        Vol. II., July 1894. Elkin Mathews and John Lane.
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> Design on front side of cover. (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> Design on title-page.
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> The Comedy-Ballet of Marionettes. Three designs.
+</p>
+<p class="subentry">
+  <span class="sc">XII.</span> Garçons de Café. (Property of A. W. King, Esq.)
+</p>
+<p class="subentry">
+ <span class="sc">XIII.</span> The Slippers of Cinderella. The artist subsequently coloured the
+        original with scarlet and green, in which state it is unpublished.
+        (Property of Brandon Thomas, Esq.)
+</p>
+
+<p><span class="pagenum"><a id="page92" name="page92"></a>[92]</span></p>
+
+<p class="subentry">
+  <span class="sc">XIV.</span> Portrait of Madame Réjane, full-length profile to left, in outline.
+        (Property of Frederick H. Evans, Esq.)
+</p>
+<p class="entry">
+        Volume III., October 1894. John Lane.
+</p>
+<p class="subentry">
+   <span class="sc">XV.</span> Design on front side of cover. (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+  <span class="sc">XVI.</span> Design on title-page.
+</p>
+<p class="subentry">
+ <span class="sc">XVII.</span> Portrait of Mantegna. Published, for a practical joke, in the name
+        of Philip Broughton. (Property of G. Bernard Shaw, Esq.)
+</p>
+<p class="subentry">
+<span class="sc">XVIII.</span> Portrait of the artist; fancy portrait of himself in bed. (Property
+        of John Lane, Esq.)
+</p>
+<p class="subentry">
+  <span class="sc">XIX.</span> Lady Gold's Escort. (Property of Brandon Thomas, Esq.)
+</p>
+<p class="subentry">
+   <span class="sc">XX.</span> The Wagnerites at the performance of "Tristan und Isolde."
+        Reproduced, on large scale, in <i>Le Courrier Français</i>, December
+        23rd, 1894, with the title "Wagnériens et Wagnériennes."
+</p>
+<p class="subentry">
+  <span class="sc">XXI.</span> La Dame aux Camélias. Reprinted in <i>St Paul's</i>, April 2nd, 1894,
+        with the title "Girl at her Toilet." (Formerly the property of
+        the late Miss K. Savile Clarke [Mrs Cyril Martineau].)
+</p>
+<p class="subentry">
+ <span class="sc">XXII.</span> From a pastel; half-length study of a woman in white cap, facing
+        to left. (Published, for a practical joke, in the name of Albert
+        Foschter.)
+</p>
+<p class="entry">
+        Volume IV., January 1895. John Lane.
+</p>
+<p class="subentry">
+<span class="sc">XXIII.</span> Design, on front side of cover.
+</p>
+<p class="subentry">
+ <span class="sc">XXIV.</span> Design on title-page.
+ </p>
+
+<p><span class="pagenum"><a id="page93" name="page93"></a>[93]</span></p>
+
+<p class="subentry">
+  <span class="sc">XXV.</span> The Mysterious Rose Garden, burlesque Annunciation. (Property of
+        John Lane, Esq.)
+</p>
+<p class="subentry">
+ <span class="sc">XXVI.</span> The Repentance of Mrs &mdash;&mdash;. (The kneeling figure is a reminiscence
+        of the principal one in "The Litany of Mary Magdalen.")
+</p>
+<p class="subentry">
+<span class="sc">XXVII.</span> Portrait of Miss Winifred Emery (outline). (Property of Mrs Cyril
+        Maude.)
+</p>
+<p class="subentry">
+<span class="sc">XXVIII.</span> Frontispiece for Juvenal. Double-page supplement.
+</p>
+<p class="subentry">
+ <span class="sc">XXIX.</span> Design for "Yellow Book" Cover, not used. First published in "Early
+        Work." (Property of John Lane, Esq.)
+</p>
+<p class="subentry">
+  <span class="sc">XXX.</span> Show-card to advertise "The Yellow Book"; female figure standing,
+        her hat hanging from her right hand, and daffodils growing
+        at her feet. Dark green on light yellow paper. Reproduced in
+        black-and-white in "Early Work." (The property of John Lane, Esq.)
+</p>
+<p class="entry">
+90. <span class="sc">Portrait of Réjane</span> wearing a broad-brimmed hat with dark bow in front,
+    head and shoulders, full face slightly to left, wash drawing.
+    Reproduced by Swan Electric Engraving Company for the "Yellow Book,"
+    but not used. Unpublished.
+</p>
+<p class="entry">
+91. <span class="sc">Réjane</span>, black-and-white design of the actress standing, half length,
+    fan in hand, against a white curtain with conspicuous tassel. First
+    published in "Second Book," and again, in a reduced state, as
+    "Title-page ornament, hitherto unpublished" in "Early Work." 1893-4.
+</p>
+
+<p><span class="pagenum"><a id="page94" name="page94"></a>[94]</span></p>
+
+<p class="entry">
+92. <span class="sc">Madame Réjane</span>, full-length portrait sketch, ink and wash. First
+    published in "Second Book," again in "Later Work."
+</p>
+<p class="entry">
+93. <span class="sc">Madame Réjane</span>, profile to left; sitting, legs extended, on a sofa,
+    ink and wash. First published in "Pen Drawing and Pen Draughtsmen,"
+    by Joseph Pennell (Macmillan, 1894), again in "Fifty Drawings," and
+    in the <i>Idler</i> Magazine, March 1897.
+</p>
+<p class="entry">
+94. <span class="sc">Réjane</span>, portrait head in profile to left, in red crayon and black ink,
+    7-1/2 × 6 inches. First published in facsimile in <i>The Studio</i>, May
+    1898, again in "Later Work." (Property of Frederick H. Evans, Esq.)
+    1894.
+</p>
+<p class="entry">
+95. <span class="sc">A Poster Design.</span> Back view of a woman, her face in profile to right,
+    holding a pigmy in her right hand. First published in "Early Work."
+    (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+96. <span class="sc">A Poster Design</span> (Singer). Woman seated at a piano. First reproduced in
+    <i>The Poster</i>, October 1898, again in "Second Book" and in "Later Work."
+</p>
+<p class="entry">
+97. <span class="sc">Lady to right gazing at a Hat on a Milliner's Bonnet Stand</span>, headpiece
+    for the "Idlers' Club" section in the <i>Idler</i> Magazine, 1894.
+</p>
+<p class="entry">
+98. <span class="sc">Pierrot and Black Cat</span>, small square in black-and-white for a book
+    ornament.
+</p>
+<p class="entry">
+99. <span class="sc">Head and Shoulders of a Chinese Priest</span>, together with the Head of a
+    Satyr.  25 copies only printed on folio sheet, and 10 copies only in
+    red. It is not known
+
+<span class="pagenum"><a id="page95" name="page95"></a>[95]</span>
+
+                          for what they were intended. Published by James
+    Tregaskis, Caxton Head.
+</p>
+
+<p class="entry">
+100. <span class="sc">Les Passades</span>, night scene, in pen-and-ink with ink wash, 10 × 5 inches.
+     First published in <i>To-Day</i>, November 17, 1894, again in the <i>Idler</i>
+     Magazine, March 1897.
+</p>
+<p class="entry">
+101. <span class="sc">Venus between Terminal Gods.</span> Frontispiece for a version of the
+    Tannhäuser legend, to be published by Messrs H. Henry &amp; Co. Ltd.,
+    a project never completed. Design in black-and-white, showing,
+    especially in the treatment of flying dove and of the background
+    of rose-trellis, the influence of Charles Ricketts or Laurence
+    Housman. Reproduced in "Second Book," and again in "Later Work."
+    <i>Circa</i> 1894-5.
+</p>
+<p class="entry">
+102. <span class="sc">Frontispiece and Title-page</span>, together forming one complete design, for
+    "The Story of Venus and Tannhäuser," to be published by John Lane,
+    but never completed. (<i>Cf.</i> "Under the Hill" in <i>The Savoy</i>, 1896.)
+    Reproduced in "Early Work." Dated 1895. (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+103. <span class="sc">The Return of Tannhäuser to Venusberg.</span> A design originally intended
+    for the above-named book. Subsequently presented by the artist to
+    J. M. Dent, Esq. First published, in illustration of an article by
+    Max Beerbohm, in the <i>Idler</i> Magazine for May 1898, and again, in
+    larger format and, as the initials in left hand corner show, reversed,
+    in "Second Book" and again in "Later Work." The <i>Idler</i> version has
+    a slight effect of half-tone in the brambles in the foreground, but
+    the "Later Work" reproduction is pure black-and-white contrast.
+</p>
+
+<p><span class="pagenum"><a id="page96" name="page96"></a>[96]</span></p>
+
+<p class="entry">
+104. <span class="sc">Venus.</span> Design for title-page, in black-and-white. First published in
+    <i>The Studio</i>, 1898, and afterwards in "Early Work," March 2, 1899,
+    where it is described as "hitherto unpublished." (The property of
+    John Lane, Esq.)
+</p>
+<p class="entry">
+105. <span class="sc">Design for Cover of "The Cambridge A, B, C."</span> Reproduced in "Early
+    Work."
+</p>
+<p class="entry">
+106. <span class="sc">Pierrot as Caddie</span>, Golf Club Card, designed for the opening of The
+    Prince's Ladies' Golf Club, Mitcham, pen-and-ink. Published in "Early
+    Work." (Formerly the property of Mrs Falconer-Stuart, now of R.
+    Hippesley Cox, Esq.) Dated 1894.
+</p>
+<p class="entry">
+107. <span class="sc">A Poster Design</span>; two female figures drawn in black-and-white for Mr
+    William Heinemann. Reproduced in "Early Work."
+</p>
+<p class="entry">
+108. <span class="sc">The London Garland</span>, published by the Society of Illustrators, 1895.
+    A pen-and-ink drawing of a female in very elaborated dress reaching
+    from her neck to the ground, intended to represent a ballet-dancer
+    with a costume as prescribed by Mrs Grundy. The original drawing,
+    unfinished, contains another figure, not reproduced, on the left.
+    The original title for this drawing was "At a Distance." Reproduced
+    in "Second Book." (Property of Joseph Pennell, Esq.)
+</p>
+<p class="entry">
+109. <span class="sc">Autumn.</span> Design in black-and-white for a calendar to be published by
+    William Heinemann. Reproduced in "Early Work."
+</p>
+<p class="entry">
+110. <span class="sc">Tales of Mystery and Wonder</span>, by Edgar Allen Poe
+
+<span class="pagenum"><a id="page97" name="page97"></a>[97]</span>
+
+                                                              (Stone &amp; Kimball,
+    Chicago, U.S.A., 1895); four designs in pen-and-ink for large paper
+    edition of&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> The Murders in the Rue Morgue.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> The Black Cat.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> The Masque of the Red Death. First published in the "Chap Book"
+        (Chicago), Aug. 15, 1894, again in same, April 1, 1898.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> The Fall of the House of Usher.
+</p>
+<p class="entry">
+111. <span class="sc">Outline Portrait of the Artist</span> in profile to left; in imaginary
+    costume, with a lace ruff to the neck, and earrings in the ears.
+    Published in "Posters in Miniature," and again in "Early Work."
+    A half-tone block from variant of the same, the earring as well as
+    the button on lappel and waist of coat more pronounced, was published
+    in <i>The Hour</i>, March 27, 1895, and reproduced in <i>Magazine of Art</i>,
+    November 1896.
+</p>
+<p class="entry">
+112. <span class="sc">A Child Standing by its Mother's Bed</span>, black-and-white, chiefly
+    outline. First published in <i>The Sketch</i>, April 10, 1895. Reproduced
+    in "Early Work." Formerly in the possession of Max Beerbohm, Esq.,
+    but since lost.
+</p>
+<p class="entry">
+113. <span class="sc">The Scarlet Pastorale</span>, pen-and-ink. First published in <i>The Sketch</i>,
+    April 10, 1895. Also printed in scarlet on white. Reproduced in
+    "Fifty Drawings."
+</p>
+<p class="entry">
+114. <span class="sc">Portrait of Miss Ethel Devereux</span>, pencil drawing. (Property of Mrs
+    Roy Devereux.) <i>Circa</i> 1895.
+</p>
+<p class="entry">
+115. <span class="sc">Design for an Invitation Card</span>, ink outline; seated Pierrot smoking,
+    a copy of the "Yellow Book," Vol. IV., on the couch at his side.
+    Drawn for Mr John Lane's Sette of Odd Volumes Smoke. Reproduced
+    in <i>The Studio</i>, September 1895. (Property of John Lane, Esq.)
+</p>
+
+<p><span class="pagenum"><a id="page98" name="page98"></a>[98]</span></p>
+
+<p class="entry">
+116. <span class="sc">Three Decorative Designs</span> from the brown paper cover of Aubrey
+    Beardsley's own copy of "Tristan und Isolde." Two reproduced in
+    "Later Work." (Property of Frederick H. Evans, Esq.)
+</p>
+<p class="entry">
+117. <span class="sc">Max Alvary as "Tristan"</span> in Wagner's opera "Tristan und Isolde,"
+    half-length profile to left, pen-and-ink and wash with unusual
+    monogram signature. 10 × 5-1/2 inches. First published in "Aubrey
+    Beardsley's Drawings, a catalogue and a list of criticisms," by
+    A. E. Gallatin (New York, 1903). (Formerly the property of Rev.
+    G. H. Palmer, now of A. E. Gallatin, Esq.)
+</p>
+<p class="entry">
+118. <span class="sc">Frau Klafsky as "Isolde"</span> in above-named opera, pen-and-ink and pale
+    green water-colour, 13 × 4-3/4 inches. First published in the <i>Critic</i>
+    (New York), December, 1902. (Formerly the property of Rev. G. H.
+    Palmer, now of A. E. Gallatin, Esq.)
+</p>
+<p class="entry">
+119. <span class="sc">Isolde</span>; autolithograph in scarlet, grey, green, and black on white;
+    supplement to <i>The Studio</i>, October 1895.
+</p>
+<p class="entry">
+120. <span class="sc">Woman reclining in a Meadow by the Border of a Lake, listening to a Faun
+    reading out of a Book to Her.</span> Oblong design in ink on white; a variant
+    of the design for wrapper of Leonard Smithers' Catalogue, No. 3.
+    First published in <i>The Studio</i>, May 1898, again in "Early Work,"
+    where it is described as "hitherto unpublished." (Property of John
+    Lane, Esq.) 1895.
+</p>
+<p class="entry">
+121. <span class="sc">Design for Wrapper of "Catalogue of Rare Books," No. 3.</span> (Leonard
+    Smithers, September 1895.) The same figures as in the last-named,
+    but the landscape
+
+<span class="pagenum"><a id="page99" name="page99"></a>[99]</span>
+
+                      has an urn and additional trees to adapt the
+    design to upright shape. Black on pale blue-green paper.
+</p>
+<p class="entry">
+122. <span class="sc">Chopin Ballade III.</span>, illustration for. Woman rider, mounted on a
+    prancing white horse to left. Wash drawing. First published in <i>The
+    Studio</i>, May 1898, in half tones of grey, with deep purplish black;
+    again in "Second Book." (Property of Charles Holme, Esq.) 1895.
+</p>
+<p class="entry">
+123. <span class="sc">Chopin's Nocturnes</span>, frontispiece to. Pen-and-ink and wash. First
+    published in "Early Work." (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+124. <span class="sc">Earl Lavender</span>, by John Davidson (Ward &amp; Downey, 1895), design for
+    frontispiece to. Woman scourging a kneeling, barebacked figure.
+    Pen-and-ink outline. Reproduced in "Early Work." (Property of John
+    Lane, Esq.)
+</p>
+<p class="entry">
+125. <span class="sc">Young Ofeg's Ditties</span>, by George Egerton (John Lane, 1895), title-page
+    and cover design for.
+</p>
+<p class="entry">
+126. <span class="sc">Messalina</span>, with another woman on her left, black-and-white, with black
+    background. First published in "Second Book," again in "Early Work,"
+    where it is described as "hitherto unpublished." 1895.
+</p>
+<p class="entry">
+127. <span class="sc">Title-page Ornament</span>, standing nude figure playing double-bass, black
+    background. First published in "Early Work."
+</p>
+<p class="entry">
+128. <span class="sc">Portrait of Miss Letty Lind</span> in "The Artist's Model." Pen-and-ink
+    outline. Published in "Early Work." (Property of Miss Letty Lind.)
+</p>
+
+<p><span class="pagenum"><a id="page100" name="page100"></a>[100]</span></p>
+
+<p class="entry">
+129. <span class="sc">Atalanta in Calydon</span>, full-length figure to right; pen-and-ink and
+    wash. First published in "Early Work." (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+130. <span class="sc">Cover Design for Fairy Tales</span> by Count Hamilton, to be published
+    by Messrs H. Henry &amp; Co., Ltd.
+</p>
+<p class="entry">
+131. <span class="sc">Balzac's "La Comédie Humaine,"</span> design (head, full face) for front side
+    and another for the reverse of cover. Reproduced in "Later Work."
+</p>
+<p class="entry">
+132. <span class="sc">The Brook Trills of Pernicious by Richard le Philistienne</span>, title-page
+    to burlesque, that of "The Book Bills of Narcissus," by Richard le
+    Gallienne. Unpublished. (Property of J. M. Dent, Esq.)
+</p>
+<p class="entry">
+133. <span class="sc">A Self-Portrait</span>, grotesque outline profile to left, with diminutive
+    silk hat, from the fly-leaf of an envelope in the possession of
+    J. M. Dent, Esq. Unpublished.
+</p>
+<p class="entry">
+134. <span class="sc">The Shaving of Shagpat</span>, by George Meredith, small sketch to
+    illustrate, in pen-and-ink, contained in a letter to Frederick
+    H. Evans, Esq. Unpublished.
+</p>
+<p class="entry">
+135. <span class="sc">An Evil Motherhood</span>, by Walt Ruding (Elkin Mathews, 1896), frontispiece
+    to. Pen-and-ink. Reproduced in "Early Work."
+</p>
+<p class="entry">
+136. <span class="sc">Cafe Noir</span>. Another design for the frontispiece of the last-named book,
+    pen-and-ink and wash; bound up in six review copies only, and then
+    recalled. Reproduced in "Early Work." (Property of M. Jean Ruelle.)
+</p>
+<p class="entry">
+137. <span class="sc">Title-page</span>, an architectonic design. First published as the title of
+    "Early Work" (John Lane, 1899). (Property of John Lane, Esq.)
+</p>
+
+<p><span class="pagenum"><a id="page101" name="page101"></a>[101]</span></p>
+
+<p class="entry">
+138. <span class="sc">Ornamental Title-page for "The Parade."</span> Messrs H. Henry &amp; Co., Ltd.,
+    1896. Reproduced in "Later Work."
+</p>
+<p class="entry">
+139. <span class="sc">Tail-piece</span> to Catalogue of Lord Carnarvon's Library, 1896.
+</p>
+<p class="entry">
+140. <span class="sc">Sappho</span>, by H. T. Wharton. (John Lane, 1896.) Design for cover in gold
+    on blue. Reproduced in "Early Work." (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+141. <span class="sc">Pierrot's Library.</span> (John Lane, 1896.) Design for title-page of, two
+    designs for end papers, printed in olive green; design for front
+    cover and vignette for reserve cover, printed in gold on red cloth.
+    Reproduced in "Early Work." (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+142. <span class="sc">Love Enshrined in a Heart in the Shape of a Mirror</span>, pen-and-ink.
+    First published in "Aubrey Beardsley" by Arthur Symons. (Sign of the
+    Unicorn, 1898.) (Property of André Raffalovich, Esq.)
+</p>
+<p class="entry">
+143. <span class="sc">The Lysistrata of Aristophanes.</span> (Leonard Smithers, privately
+    printed, 1896.) Eight pen-and-ink designs to illustrate&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Lysistrata.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> The Toilet of Lampito.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Lysistrata haranguing the Athenian Women.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> Lysistrata defending the Acropolis.
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> Two Athenian Women in Distress.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> Cinesias soliciting Myrrhina.
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> The Examination of the Herald.
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> The Lacedemonian Ambassadors.
+</p>
+<p class="entry">
+        An expurgated version of No. 3 was published in "Second Book,"
+        and was repeated together with
+
+<span class="pagenum"><a id="page102" name="page102"></a>[102]</span>
+
+                                       expurgated versions or fragments
+        from the remainder of the set in "Later Work."
+</p>
+<p class="entry">
+144. <span class="sc">The Rape of the Lock</span>, by Alexander Pope. An heroi-comical poem in five
+    cantos, "embroidered with nine drawings by Aubrey Beardsley," 4to.
+    Leonard Smithers, 1896. Now published by John Lane. (Property of
+    Messrs Keppel, New York.)
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> The Dream.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> The Billet-Doux (vignette). Reproduced in <i>St Paul's</i>, April 2,
+        1898. (Property of Mrs Edmund Davis.)
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> The Toilet.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> The Baron's Prayer.
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> The Barge.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> The Rape of the Lock. (The property of Messrs Keppel, New York.)
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> The Cave of Spleen.
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> The Battle of the Beaux and the Belles. Reproduced in the <i>Idler</i>,
+        March 1897.
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> The New Star (cul-de-lampe).
+</p>
+<p class="entry">
+        Cover design for the original edition.
+</p>
+<p class="entry">
+        Cover design for the Bijou edition. (John Lane.) Reproduced in
+        "Later Work."
+</p>
+<p class="entry">
+145. <span class="sc">Design for Wrapper of Catalogue of Rare Books</span>, No. 7. (Leonard
+    Smithers, 1896.) A lady seated on a striped settee reading; a parrot
+    on stand on the right. Black on leaden-grey paper. Reproduced in
+    "Second Book," 1896, and "Later Work."
+</p>
+<p class="entry">
+146. <span class="sc">The Prospectus of The Savoy. Design for.</span>
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> A burlesque Cupid on a stage with footlights, one hand holding a
+        copy of the book, whence it
+
+<span class="pagenum"><a id="page103" name="page103"></a>[103]</span>
+
+                                    appears that the original intention
+        was to produce the first number in December 1895. Reproduced
+        in "Later Work." Latter part of 1895. (Property of John Lane,
+        Esq.)
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> A suppressed variant of the above, same motif reversed, only with
+        John Bull substituted for the Cupid. Reproduced in "Later Work."
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Initial letter A in the above Prospectus. Reproduced in "Later Work."
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> Publisher's Trade-mark for Leonard Smithers. First published in
+        "Savoy" Prospectus. The same, name omitted, appears in "Later
+        Work" with the title of "Siegfried," 1895.
+</p>
+<p class="entry">
+    <span class="sc">The Savoy</span>, No. 1, January 1896. (Leonard Smithers.)
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> Cover design, in two states. The original was suppressed because it
+        depicted too realistically the contempt of the child in the
+        foreground for the "Yellow Book," with which the artist had
+        recently ceased to be connected. The revised version was
+        republished in "Fifty Drawings," and again in "Later Work."
+        (Property of Mrs George Bealby Wright.)
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> Title-page. Repeated as title-page in No. 2, and republished in
+        "Later Work."
+</p>
+<p class="subentry">
+  <span class="sc">VII.</span> Drawing to face Contents. Caricature of John Bull. Republished
+        in "Later Work."
+</p>
+<p class="subentry">
+ <span class="sc">VIII.</span> The Three Musicians. Illustration of the artist's poem, same title.
+        Republished in "Fifty Drawings" and "Later Work."
+</p>
+<p class="subentry">
+   <span class="sc">IX.</span> Another drawing to illustrate the above, but withheld.
+
+<span class="pagenum"><a id="page104" name="page104"></a>[104]</span>
+
+        It appeared for the first time in "A Book of Fifty Drawings,"
+        1897. Republished in "Later Work" and "Under the Hill."
+</p>
+<p class="subentry">
+    <span class="sc">X.</span> Tailpiece to the above. Republished in "Later Work" and "Under
+        the Hill."
+</p>
+<p class="subentry">
+   <span class="sc">XI.</span> The Bathers (on Dieppe Beach). Republished in "Fifty Drawings"
+        and "Later Work."
+</p>
+<p class="subentry">
+   <span class="sc">XII.</span> The Moska. This subject was inspired by the children's dance at
+        the Casino, Dieppe. Republished in the <i>Idler</i> Magazine, March
+        1897, and again in "Later Work." (Property of Mrs Edmund Davis.)
+</p>
+<p class="subentry">
+  <span class="sc">XIII.</span> The Abbé. This and the two designs which follow appeared as
+        illustrations to "Under the Hill," a romantic novel, by Aubrey
+        Beardsley. Republished in "Later Work." All the illustrations
+        of "Under the Hill" reissued with text in a volume bearing same
+        title. John Lane, 1904.
+</p>
+<p class="subentry">
+  <span class="sc">XIV.</span> The Toilet of Helen. Republished in "Fifty Drawings" and "Later Work."
+</p>
+<p class="subentry">
+   <span class="sc">XV.</span> The Fruit Bearers. Republished in "Later Work."
+</p>
+<p class="subentry">
+  <span class="sc">XVI.</span> A large Christmas Card, in black-and-white. Madonna, with fur-edged,
+        richly-flowered mantle. Issued together with, but not bound in,
+        the book. Republished in "Fifty Drawings" and "Later Work."
+</p>
+<p class="entry">
+    <span class="sc">The Savoy.</span> No. 2. April 1896.
+</p>
+<p class="subentry">
+ <span class="sc">XVII.</span> Cover Design. Republished in "Later Work."
+</p>
+
+<p><span class="pagenum"><a id="page105" name="page105"></a>[105]</span></p>
+
+<p class="subentry">
+<span class="sc">XVIII.</span> A Foot-note. (Fancy portrait of the artist.) Republished, with
+        omissions, in "Later Work." Also adapted in gold on scarlet for
+        cloth cover of "Second Book."
+</p>
+<p class="subentry">
+  <span class="sc">XIX.</span> The Ecstasy of Saint Rose of Lima. Illustration of "Under the
+        Hill." Republished in "Fifty Drawings" and "Later Work."
+</p>
+<p class="subentry">
+   <span class="sc">XX.</span> The Third Tableau of "Das Rheingold." Republished in "Fifty
+        Drawings" and "Later Work."
+</p>
+<p class="subentry">
+        Scene reproduced from "The Rape of the Lock."
+</p>
+<p class="entry">
+    <span class="sc">The Savoy.</span> No. 3. July 1896.
+</p>
+<p class="subentry">
+  <span class="sc">XXI.</span> Cover Design. Republished in "Later Work."
+</p>
+<p class="subentry">
+ <span class="sc">XXII.</span> Title-page. Puck on Pegasus. Repeated for the title of all the
+        succeeding numbers. Republished in "Later Work." Also, reduced,
+        as design for title-page of "Fifty Drawings," and in gold on
+        scarlet for the under side of cloth cover of same.
+</p>
+<p class="subentry">
+<span class="sc">XXIII.</span> The Coiffing. This and the following design accompanied Aubrey
+        Beardsley's "Ballad of a Barber." The Coiffing was republished
+        in the <i>Idler</i> Magazine, March 1897, and in "Fifty Drawings"
+        and "Later Work." (Property of Messrs Obach &amp; Co.)
+</p>
+<p class="subentry">
+ <span class="sc">XXIV.</span> A Cul-de-Lampe. Cupid carrying a gibbet. Republished in "Later Work."
+</p>
+<p class="entry">
+    <span class="sc">The Savoy.</span> No. 4. August 1896.
+</p>
+<p class="subentry">
+  <span class="sc">XXV.</span> Cover Design. Republished in "Later Work."
+</p>
+
+<p><span class="pagenum"><a id="page106" name="page106"></a>[106]</span></p>
+
+<p class="entry">
+    <span class="sc">The Savoy.</span> No. 5. September 1896.
+</p>
+<p class="subentry">
+ <span class="sc">XXVI.</span> Cover Design. (Signed, for a practical joke, Giulio Floriani.)
+        Republished in "Fifty Drawings" and "Later Work."
+</p>
+<p class="subentry">
+<span class="sc">XXVII.</span> The Woman in White. A sketch in white on brown paper. Republished
+        in "Fifty Drawings" and "Later Work."
+</p>
+<p class="entry">
+    <span class="sc">The Savoy.</span> No. 6. October 1896.
+</p>
+<p class="subentry">
+<span class="sc">XXVIII.</span> Cover Design; the Fourth Tableau of "Das Rheingold." Republished
+        in "Fifty Drawings" and "Later Work."
+</p>
+<p class="subentry">
+ <span class="sc">XXIX.</span> The Death of Pierrot. A pen-and-ink sketch. Reproduced in "Later
+        Work." (Property of Messrs Obach &amp; Co.)
+</p>
+<p class="entry">
+    <span class="sc">The Savoy.</span> No. 7. November 1896.
+</p>
+<p class="subentry">
+  <span class="sc">XXX.</span> Cover Design. Republished in "Later Work."
+</p>
+<p class="subentry">
+ <span class="sc">XXXI.</span> Ave atque Vale; Catullus, Carmen C.I. Republished in "Fifty
+        Drawings" and "Later Work."
+</p>
+<p class="subentry">
+<span class="sc">XXXII.</span> Tristan und Isolde. Republished in "Later Work."
+</p>
+<p class="entry">
+    <span class="sc">The Savoy.</span> No. 8 (the last issued). December 1896.
+</p>
+<p class="subentry">
+<span class="sc">XXXIII.</span> Cover Design. Republished in "Later Work." The same adapted, with
+        the addition of heavy black bands, and is printed in green and
+        scarlet, for small poster to advertise the completed work.
+</p>
+<p class="subentry">
+<span class="sc">XXXIV.</span> A Répétition of "Tristan und Isolde." Republished in "Later Work."
+</p>
+
+<p><span class="pagenum"><a id="page107" name="page107"></a>[107]</span></p>
+
+<p class="subentry">
+ <span class="sc">XXXV.</span> Don Juan, Sganarelle and the Beggar; from Molière's "Don Juan."
+        Republished in "Later Work."
+</p>
+<p class="subentry">
+<span class="sc">XXXVI.</span> Mrs Margery Pinchwife, from William Wycherley's "Country Wife."
+        Republished in "Later Work."
+</p>
+<p class="subentry">
+<span class="sc">XXXVII.</span> Frontispiece to "The Comedy of the Rheingold." Republished in
+        "Later Work."
+</p>
+<p class="subentry">
+<span class="sc">XXXVIII.</span> Flosshilde, a Rhine Maiden; to illustrate "Das Rheingold."
+        Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)
+</p>
+<p class="subentry">
+<span class="sc">XXXIX.</span> Erda; to illustrate "Das Rheingold." Republished in "Later Work."
+</p>
+<p class="subentry">
+   <span class="sc">XL.</span> Alberich; to illustrate "Das Rheingold." Republished in "Later
+        Work." (Property of Herbert J. Pollit, Esq.)
+</p>
+<p class="subentry">
+  <span class="sc">XLI.</span> Felix Mendelssohn Bartholdy. Republished in "Later Work." (Property
+        of Herbert J. Pollit, Esq.)
+</p>
+<p class="subentry">
+ <span class="sc">XLII.</span> Carl Maria von Weber. Republished in "Later Work."
+</p>
+<p class="subentry">
+<span class="sc">XLIII.</span> Count Valmont, from "Les Liaisons Dangereuses," by Choderlos de
+        Laclos. Republished in "Later Work."
+</p>
+<p class="subentry">
+ <span class="sc">XLIV.</span> Et in Arcadia Ego.  Republished in "Later Work."
+</p>
+<p class="subentry">
+  <span class="sc">XLV.</span> Small ornament for the cover of bound volumes of "The Savoy."
+</p>
+<p class="subentry">
+ <span class="sc">XLVI.</span> <span class="sc">Sketch of a Child</span> (young girl), unfinished, in pencil, on
+        the reverse of "A Foot-note." First
+
+<span class="pagenum"><a id="page108" name="page108"></a>[108]</span>
+
+                                            published in "Early Work."
+        (Property of Frederick H. Evans, Esq.)
+</p>
+<p class="entry">
+147. <span class="sc">A Seated Figure.</span> Unpublished design for the Savoy, occurring as a
+    grotesque in "Bon Mots." (Property of G. D. Hobson, Esq.)
+</p>
+<p class="entry">
+148. <span class="sc">Verses, by Ernest Dowson</span> (Leonard Smithers, 1896), cover design for.
+    Reproduced in "Later Work." (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+149. <span class="sc">The Pierrot of the Minute.</span> A Dramatic Phantasy in one act. By Ernest
+    Dowson. Leonard Smithers, 1897. (Property of John Lane, Esq.) Four
+    designs to illustrate:&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Frontispiece.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Headpiece.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Initial letter P.
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> Cul-de-Lampe.
+</p>
+<p class="entry">
+    Reproduced in "Second Book" and "Later Work." Cover design for the
+    same.
+</p>
+<p class="entry">
+150. <span class="sc">Apollo pursues Daphne.</span> (Property of Herbert J. Pollit, Esq.)
+</p>
+<p class="entry">
+151. <span class="sc">The Souvenirs of Leonard</span>, Cover design for. Printed in gold on
+    purple. Reproduced in "Later Work." 1897.
+</p>
+<p class="entry">
+152. <span class="sc">The Life and Times of Madame du Barry</span>, by Douglas. Leonard Smithers,
+    1897. Cover design for. Reproduced in "Later Work." 1897.
+</p>
+<p class="entry">
+153. <span class="sc">Frontispiece to A Book of Bargains</span>, by Vincent O'Sullivan. Leonard
+    Smithers, 1897. Reproduced in the <i>Idler</i>, March 1897.
+</p>
+
+<p><span class="pagenum"><a id="page109" name="page109"></a>[109]</span></p>
+
+<p class="entry">
+154. <span class="sc">Cover Design for A Book of Fifty Drawings, by Aubrey Beardsley.</span>
+    Leonard Smithers, 1897. Reproduced in gold on scarlet cloth.
+    Republished on a reduced scale, in black-and-white, in "Later Work."
+</p>
+<p class="entry">
+155. <span class="sc">Silhouette of the Artist.</span> First published as a tailpiece at the end
+    of "Fifty Drawings." Also in <i>Idler</i> Magazine, March 1897, and in
+    "Later Work."
+</p>
+<p class="entry">
+156. <span class="sc">Book-Plate of the Artist.</span> First published in "Fifty Drawings," 1897,
+    also in "Later Work."
+</p>
+<p class="entry">
+157. <span class="sc">Ali Baba. Cover Design for The Forty Thieves.</span>
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> First published in "Second Book," again in "Later Work," 1901.
+        (Property of Messrs Robson &amp; Co.)
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> <span class="sc">Ali Baba in the Wood.</span> First published in "Fifty Drawings," 1897.
+         Also in <i>Idler</i>, May 1898, and again in "Later Work."
+</p>
+<p class="entry">
+158. <span class="sc">Atalanta in Calydon.</span> First published in "Fifty Drawings," 1897; also
+    in the <i>Idler</i> Magazine, March 1897, and again in "Later Work."
+    (This drawing was exhibited at the Carfax Exhibition, October 1904,
+    under the title of "Diana," 77.)
+</p>
+<p class="entry">
+159. <span class="sc">Messalina returning from the Bath.</span> Pen-and-ink and water colours.
+    First published in "Second Book," again in "Later Work." This drawing,
+    together with the other one of Messalina, drawn in 1895 (see <i>supra</i>),
+    two of Bathyllus, and one representing Juvenal scourging a woman
+    (this last, slightly altered, reproduced in "Later Work"), belongs
+    to a series of illustrations to the <i>Sixth Satire</i> of Juvenal.
+    Leonard Smithers, privately printed, 1897.
+</p>
+
+<p><span class="pagenum"><a id="page110" name="page110"></a>[110]</span></p>
+
+<p class="entry">
+160. <span class="sc">The Houses of Sin</span>, by Vincent O'Sullivan. Leonard Smithers, 1897.
+    Cover design for. Reproduced in "Second Book," again in "Later Work."
+</p>
+<p class="entry">
+161. <span class="sc">La Dame aux Camélias.</span> Sketch in water colour to right. On the fly-leaf
+    of a copy of the book given to the artist by M. Alexandre Dumas, fils.
+    First published in "Second Book," again in "Later Work." 1897.
+</p>
+<p class="entry">
+162. <span class="sc">Book-Plate for Miss Olive Custance</span> (Lady Alfred Douglas). Reproduced
+    in photogravure in "Early Work."
+</p>
+<p class="entry">
+163. <span class="sc">Arbuscula.</span> Drawing in line and wash, for the <i>édition de luxe</i> of
+    Vuillier's "History of Dancing." William Heinemann, 1897. Reproduced
+    in photogravure; also an early impression of the same printed in a
+    green tint. (Property of John Lane, Esq.)
+</p>
+<p class="entry">
+164. <span class="sc">Mademoiselle de Maupin</span>, by Théophile Gautier. Leonard Smithers, 1898.
+    Designs to illustrate:&mdash;&mdash;
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Mademoiselle de Maupin, frontispiece, water colour. Reproduced in
+        facsimile by Messrs Boussod, Valadon &amp; Co., for limited edition,
+        and, like the rest, in photogravure for ordinary edition.
+        Reproduced as frontispiece to "Later Work."
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> D'Albert (small design).
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> D'Albert in search of Ideals. (Property of Mrs George Bealby Wright.)
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> The Lady at the Dressing Table. (Property of Walter Pollett, Esq.)
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> The Lady with the Rose.
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> The Lady with the Monkey. All the above reproduced in photogravure
+        in "Later Work."
+</p>
+
+<p><span class="pagenum"><a id="page111" name="page111"></a>[111]</span></p>
+
+<p class="entry">
+165. <span class="sc">Ben Jonson his Volpone: or the Foxe.</span> 4to. Leonard Smithers, 1898.
+</p>
+<p class="subentry">
+    <span class="sc">I.</span> Design in gold on blue for the cloth cover. Same in black-and-white
+        for opening page. Frontispiece, design in pen-and-ink.
+</p>
+<p class="subentry">
+   <span class="sc">II.</span> Vignette to the Argument. Initial letter V, with column and tasselled
+        attachments to the capital. This and the remaining designs were
+        executed in pen and crayon.
+</p>
+<p class="subentry">
+  <span class="sc">III.</span> Vignette to Act I. Initial letter V, with an elephant, having a basket
+        of fruits on his back. (Property of Herbert J. Pollit, Esq.)
+</p>
+<p class="subentry">
+   <span class="sc">IV.</span> Vignette to Act II. Initial letter S, with a monster bird, having
+        a pearl chain attached to its head. (Property of Herbert J.
+        Pollit, Esq.)
+</p>
+<p class="subentry">
+    <span class="sc">V.</span> Vignette to Act III. Initial letter M, with seated Venus and Cupid
+        under a canopy, between two fantastic gynæcomorphic columns.
+        (Property of Herbert J. Pollit, Esq.)
+</p>
+<p class="subentry2">
+        Vignette to Act IV. (The same as the design for Act II. repeated.)
+</p>
+<p class="subentry">
+   <span class="sc">VI.</span> Vignette to Act V. Initial letter V, with a horned terminal figure
+        of a man or satyr. (Property of Herbert J. Pollit, Esq.)
+</p>
+<p class="entry">
+    All these Volpone designs were reproduced in "Later Work." Drawn at
+    the close of 1897 and early part of 1898, they constitute the latest
+    designs produced by Aubrey Beardsley before his death.
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p>
+    In his published List, Mr A. E. Gallatin mentions several sketches
+    and other drawings in private letters which, for lack of detailed
+    information, I have not included
+
+<span class="pagenum"><a id="page112" name="page112"></a>[112]</span>
+
+                                     in my List. Many of Aubrey
+    Beardsley's drawings are constantly changing hands. In each case
+    the name of the last known owner is given. Where no owner's name
+    appears, no information has been obtainable. Some of the finest
+    drawings, I am informed upon good authority, have now passed into
+    the collection of Herr Wärdofer of Vienna.
+</p>
+<p>
+    I desire to acknowledge my indebtedness to the artist's mother and
+    sister, to Mr G. R. Halkett, Mr H. C. Marillier, Mr H. A. Payne,
+    and Mr Pickford Waller. To Mr Frederick H. Evans, who kindly placed
+    his collection at my disposal, I am under special obligations.
+</p>
+<p>
+<span class="sc">Aymer Vallance</span>
+</p>
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Aubrey Beardsley, by Robert Ross
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+The Project Gutenberg EBook of Aubrey Beardsley, by Robert Ross
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Aubrey Beardsley
+
+Author: Robert Ross
+
+Contributor: Aymer Vallance
+
+Release Date: August 4, 2010 [EBook #33347]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK AUBREY BEARDSLEY ***
+
+
+
+
+Produced by Lee Dawei, Bruce Albrecht, David Garcia and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+AUBREY BEARDSLEY
+
+
+[Illustration: MRS. PATRICK CAMPBELL
+  _Now in the Berlin National Gallery_]
+
+
+
+
+[Illustration]
+
+AUBREY BEARDSLEY
+
+BY ROBERT ROSS
+
+  WITH SIXTEEN FULL-PAGE
+  ILLUSTRATIONS AND A
+  REVISED ICONOGRAPHY
+  BY AYMER VALLANCE
+
+  LONDON: JOHN LANE, THE BODLEY HEAD
+  NEW YORK: JOHN LANE COMPANY MCMIX
+
+
+TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
+
+
+  TO
+  Sir COLERIDGE ARTHUR FITZROY KENNARD,
+  Bart.
+
+
+
+
+Illustrations
+
+
+MRS PATRICK CAMPBELL                              _Frontispiece_
+  _Now in the Berlin National Gallery_
+
+                                                   _facing page_
+
+SIEGFRIED                                                 12
+  _Reproduced from the original in the possession of
+  Mrs Bealby Wright_
+
+THE WOMAN IN THE MOON                                     14
+  _From "Salome"_
+
+THE TOILETTE OF SALOME                                    18
+  _From "Salome"_
+
+THE DANCER'S REWARD                                       20
+  _From "Salome"_
+
+TAILPIECE                                                 22
+  _From "Salome"_
+
+DESIGN FOR A FRONTISPIECE                                 26
+  _From "Plays" by John Davidson_
+
+THE WAGNERITES                                            28
+
+ATALANTA                                                  32
+
+THE MYSTERIOUS ROSE GARDEN                                36
+
+ILLUSTRATION FOR "A NOCTURNE OF CHOPIN"                   38
+
+CHOPIN, BALLADE III. OP. 47                               42
+  _Reproduced by permission of Charles Holme, Esqre._
+
+THE BARON'S PRAYER                                        44
+  _From "The Rape of the Lock"_
+
+THE BATTLE OF BEAUX AND BELLES                            48
+  _From "The Rape of the Lock"_
+
+A DESIGN FROM "LYSISTRATA"                                50
+
+D'ALBERT IN SEARCH OF IDEALS                              54
+  _From "Mademoiselle de Maupin." Reproduced from the
+  original in the possession of Mrs Bealby Wright_
+
+
+
+
+AUBREY BEARDSLEY
+
+
+Aubrey Beardsley was born on August 21st, 1872, at Brighton. He was a
+quiet, reserved child, caring little for lessons, though from an early
+age he shewed an aptitude for drawing. He began his education at a
+Kindergarten. He was seven years old when the first symptoms of delicacy
+appeared, and he was sent to a preparatory school at Hurstpierpoint,
+where he was remarkable for his courage and extreme reserve. Threatened
+with tuberculosis, he was moved for his health to Epsom in 1881. In
+March 1883 his family settled in London, and Beardsley made his first
+public appearance as an infant musical phenomenon, playing at concerts
+in company with his sister. He had a great knowledge of music, and
+always spoke dogmatically on a subject, the only one he used to say, of
+which he knew anything. He became attracted at this time by Miss Kate
+Greenaway's picture books, and started illuminating menus and invitation
+cards with coloured chalks, making by this means quite considerable sums
+for a child.
+
+In August 1884 he and his sister were sent back to Brighton, where
+they resided with an old aunt. Their lives were lonely, and Beardsley
+developed a taste for reading of a rather serious kind--the histories
+of Freeman and Greene being his favourite works. He could not remain
+a student without creating, so he started a history of the Armada! In
+November of the same year he was sent to the Brighton Grammar School as
+a day boy, becoming a boarder in January 1885. He was a great favourite
+with Mr King, the house-master, who encouraged his tastes for reading
+and drawing by giving him the use of a sitting-room and the run of
+a library. This was one of the first pieces of luck that attended
+Beardsley throughout life. The head-master, Mr Marshall, I am told,
+would hold him up as an example to the other boys, on account of his
+industry. His caricatures of the masters were fully appreciated by
+them, a rare occurrence in the lives of artists. He cultivated besides
+a talent for acting, and would often perform before large audiences at
+the Pavilion. He organized weekly performances at the school, designing
+and illustrating the programmes. He even wrote a farce called "A Brown
+Study," which was played at Brighton, where it received serious
+attention from the dramatic critics of the town. He would purchase
+each volume of the Mermaid series of Elizabethan dramatists then being
+issued, and with his sister gave performances during the holidays. From
+the record of the "Brighton College Magazine," Beardsley appears to have
+taken a leading role in all histrionic fetes, and to "The Pied Piper of
+Hamelin" he contributed some delightful and racy little sketches, the
+first of his drawings, I believe, that were ever reproduced.
+
+[Illustration: SIEGFRIED
+  _Reproduced from the original in the possession of Mrs. Bealby Wright_]
+
+In July 1888 he left school, and almost immediately entered an
+architect's office in London. In 1889 he obtained a post in the Guardian
+Life and Fire Insurance. During the autumn of that year the fatal
+haemorrhages commenced; for two years he gave up his amateur theatricals
+and did little in the way of drawing. In 1891, however, he recuperated;
+a belief in his own powers revived. He now commenced a whole series
+of illustrations to various plays, such as Marlowe's "Tamerlane,"
+Congreve's "Way of the World," and various French works which he was
+able to enjoy in the original. He would often speak of the encouragement
+and kindness he received at this period from the Rev. Alfred Gurney, who
+had known his family at Brighton, and who was perhaps the earliest of
+his friends to realize that Beardsley possessed something more than mere
+cleverness or precocity.
+
+Several people have claimed to discover Aubrey Beardsley, but I think it
+truer to say that he revealed himself, when proper acknowledgment has
+been made to Mr Aymer Vallance, Mr Joseph Pennell, Mr Frederick Evans,
+Mr J. M. Dent, and Mr John Lane, with whom Beardsley's art will always be
+associated in connection with the Yellow Book, that too early daffodil
+that came before the swallow dared and could not take the winds of March
+for beauty. To Mr Pennell belongs the credit of introducing Beardsley's
+art to the public; and to Mr Dent is due the rare distinction of giving
+him practical encouragement, by commissioning the illustrations to the
+"Morte d'Arthur," long before critics had written anything about him,
+or any but a few friends knew of his great powers. Beardsley was too
+remarkable a personality to remain in obscurity. Though I remember
+with some amusement how the editor of a well-known weekly mocked at a
+prophecy that the artist was a coming man who would very shortly excite
+discussion if not admiration. Fortunately Mr Pennell, a distinguished
+artist himself, and a fearless critic, not only espoused the cause of
+the new draughtsman, but became a personal friend for whom Beardsley
+always evinced great affection, and to whom he dedicated his "Album of
+Fifty Drawings."
+
+[Illustration: THE WOMAN IN THE MOON
+  _From "Salome"_]
+
+I shall never forget my first meeting with Aubrey Beardsley, on February
+14th, 1892, at the rooms of Mr Vallance, the well-known disciple and
+biographer of William Morris. Though prepared for an extraordinary
+personality, I never expected the youthful apparition which glided into
+the room. He was shy, nervous, and self-conscious, without any of the
+intellectual assurance and ease so characteristic of him eighteen months
+later when his success was unquestioned. He brought a portfolio of his
+marvellous drawings, in themselves an earnest of genius; but I hardly
+paid any attention to them at first, so overshadowed were they by the
+strange and fascinating originality of their author. In two hours it was
+not hard to discover that Beardsley's appearance did not belie him. He
+was an intellectual Marcellus suddenly matured. His rather long brown
+hair, instead of being "ebouriffe," as the ordinary genius is expected
+to wear it, was brushed smoothly and flatly on his head and over part
+of his immensely high and narrow brow. His face even then was terribly
+drawn and emaciated. Except in his manner, I do not think his general
+appearance altered very much in spite of the ill-health and suffering,
+borne with such unparalleled resignation and fortitude: he always had
+a most delightful and engaging smile both for friends and strangers.
+He grew less shy after half an hour, becoming gayer and more talkative.
+He was full of Moliere and "Manon Lescaut" at the time; he seemed
+disappointed that none of us was musical; but he astonished by his
+knowledge of Balzac an authority on the subject who was also present.
+He spoke much of the National Gallery and the British Museum, both of
+which he knew with extraordinary thoroughness. He told me he had only
+been once to the New Gallery, where he saw some pictures by Burne-Jones,
+but had never been to the Royal Academy. As far as I know, he never
+visited the spring shows of Burlington House. He always, however,
+defended that institution with enthusiasm, saying he would rather be an
+Academician than an artist, "as it takes only one man to make an artist,
+but forty to make an Academician."
+
+Our next meeting was a few weeks later, when he brought me a replica of
+his "_Joan of Arc_." I was anxious to buy the first and better version,
+now in the possession of Mr Frederick Evans, but he refused to part with
+it at the time. He seemed particularly proud of the drawing; it was the
+only work of this period he would allow to have any merit.
+
+In the early summer of 1892 he visited Burne-Jones and Watts, receiving
+from the former artist cordial recognition and excellent advice which
+proved invaluable to him. He attributed to the same great painter the
+criticism that "he had learnt too much from the old masters and would
+benefit by the training of an art school." A few days afterwards he
+produced a most amusing caricature of himself being kicked down the
+stairs of the National Gallery by Raphael, Titian, and Mantegna, whilst
+Michael Angelo dealt a blow on his head with a hammer. This entertaining
+little record, I am sorry to say, was destroyed. Beardsley was always
+sensible about friendly and intelligent criticism. When he reached a
+position enjoyed by no artist of his own age, he was swift to remedy
+any defect pointed out to him by artists or even by ordinary friends.
+I never met anyone so receptive on all subjects; he would record what
+Mr Pennell or Puvis de Chavannes said in praise or blame of a particular
+drawing with equal candour and good humour. This was only one of his
+many amiable qualities. When he afterwards became a sort of household
+word and his fame, or notoriety as his enemies called it, was
+established, he never changed in this respect. He made friends and
+remained friends with many for whom his art was totally unintelligible.
+Social charm triumphed over all differences. He would speak with
+enthusiasm about writers and artists quite out of sympathy with his
+own aims and aspirations. He never assumed that those to whom he was
+introduced either knew or admired his work. His character was brisk
+and virile to an extraordinary degree. He made enemies, I believe,
+by refusing to revolve in mutual admiration societies or to support
+literary and artistic cliques. With the shadow of death always over
+him and conscious of the brief time before him, he never gave himself
+up to morbid despair or useless complaints. He determined to enjoy life,
+and, equipped with all the curiosity and gaiety of boyhood, he caught
+at life's exquisite moments. There was always a very deep and sincere
+religious vein in his temperament, only noticeable to very intimate
+friends. With all his power of grasping the essential and absorbing
+knowledge, he remained charmingly unsophisticated. He took people as
+they came, never discriminating, perhaps, sufficiently the issues of
+life. He was unspoiled by success, unburdened with worldly wisdom.
+He was generous to a fault, spending his money lavishly on his friends
+to an extent that became almost embarrassing.
+
+[Illustration: THE TOILETTE OF SALOME
+  _From "Salome"_]
+
+His love and knowledge of books increased rather than diminished even
+after he devoted himself entirely to art. In early days he would
+exchange his drawings for illustrated books and critical texts of the
+English classics with Mr Frederick Evans, an early and enthusiastic
+buyer of his work. His tastes were not narrow. Poetry, memoirs, history,
+short stories, biography, and essays of all kinds appealed to him; but
+he cared little for novels, except in French. I don't think he ever
+read Dickens, Thackeray, and George Eliot, though he enjoyed Scott
+during the last months of his life. He had an early predilection for
+lives of the Saints. The scrap-book of sketches, containing drawings
+done prior to 1892, indicates the range and extent of his taste. There
+are illustrations to "Manon Lescaut," "Tartarin," "Madame Bovary,"
+Balzac ("Le Cousin Pons," the "Contes Drolatiques"), Racine, Shelley's
+"Cenci." He retained his love of the drama, and began to write a play in
+collaboration with Mr Brandon Thomas. While dominated by pre-Raphaelite
+influences, he read with great avidity "Sidonia the Sorceress," and "The
+Shaving of Shagpat," a favourite book of Rossetti's; and it was with a
+view to illustrate Mr Meredith's Arabian Night that he became introduced
+to Mr John Lane, who divides with Mr Herbert Pollit the honour of
+possessing the finest Beardsleys still in this country. He read Greek
+and Latin authors in translations, and often astonished scholars by his
+acute appreciation of their matter. He approached Dantesque mediaevalism
+through Rossetti and, later on, at the original source. Much of his
+early work illustrated incidents in the "Divine Comedy." He was a
+fervent admirer of the "Romance of the Rose" in the original, and
+several mediaeval French books, but he once told me that he found the
+"Morte d'Arthur" very long-winded.
+
+[Illustration: THE DANCER'S REWARD
+  _From "Salome"_]
+
+For one so romantic in the expression of his art, I should say his
+literary and artistic tastes were severely classic, though you would
+have expected them to be bizarre. He was ambitious of literary success,
+but any aspirations were wisely discouraged by his admirers. His
+writings, however brilliant--and they often were brilliant--shewed a
+dangerous cleverness, which on cultivation might have proved disastrous
+to the realization of his true genius. "Under the Hill" is a delightful
+experiment in a rococo style of literature, and it would be difficult to
+praise sufficiently the rhythm and metrical adroitness of the two poems
+in the Savoy Magazine. Though I cannot speak of his musical attainments,
+it may be regarded as fortunate that so remarkable a genius was directed
+to a more permanent form of executive power.
+
+His knowledge of life, art, and literature seemed the result of instinct
+rather than study; for no one has ever discovered where he found the
+time or opportunity for assimilating all he did. Gregarious and sociable
+by nature, he was amusingly secretive about his methods and times of
+work. Like other industrious men, he never pretended to be busy or
+pressed for time. He never denied his door to callers, nor refused to
+go anywhere on the plea of "work."
+
+He disliked anyone being in the room when he was drawing, and hastily
+hid all his materials if a stranger entered the room. He would rarely
+exhibit an unfinished sketch, and carefully destroyed any he was not
+thoroughly satisfied with himself. He carried this sensitive spirit
+of selection and self-criticism rather far. Calling on friends who
+possessed primitives, he would destroy these early relics and leave a
+more mature and approved specimen of his art, or the _edition de luxe_
+of some book he had illustrated. Some of us were so annoyed that we were
+eventually obliged to lock up all early examples. For though friends
+thus victimized were endowed with a more valuable acquisition, they had
+a natural sentiment and affection for the unsophisticated designs of
+his earlier years.
+
+[Illustration: TAILPIECE
+  _From "Salome"_]
+
+His life, though many-sided and successful, was outwardly uneventful.
+In the early summer of 1892 he entered Professor Brown's night school
+at Westminster, but during the day continued his work at the Guardian
+Fire Insurance until August, when, by his sister's advice, he resigned
+his post. In December he acquainted with Mr Pennell, from whose
+encouragement and advice he reaped the fullest advantage. After
+commencing the decorations to the "Morte d'Arthur," he ceased to attend
+Professor Brown's classes. In February 1893 some of his drawings were
+first published in London in the Pall Mall Budget under the editorship
+of Mr Lewis Hind, but one of the most striking of his early designs
+appeared in a little college magazine entitled The Bee. When The Studio
+was started by Mr Charles Holme under the able direction of the late
+Gleeson-White, Beardsley designed the first cover and Mr Pennell
+contributed the well-known appreciation of the new artist.
+
+Towards the end of 1893 he commenced working for Mr John Lane, who
+issued his marvellous illustrations to "Salome" in 1894. In April of the
+same year appeared the Yellow Book. To the first four volumes Beardsley
+contributed altogether about eighteen illustrations. From a pictorial
+point of view this publication had no other _raison d'etre_ than as a
+vehicle for the production of Beardsley's work, though Henry Harland,
+in his capacity as literary editor, revealed the presence of many new
+writers among us. Throughout 1894 Beardsley's health seemed to improve,
+and his social success was considerable. In the previous year he had
+been ridiculed, but now the world accepted him at Mr Pennell's
+valuation. The Beardsley type became quite a fashion, and was burlesqued
+at many of the theatres; his name and work were on everyone's lips. He
+made friends with many of his contemporaries distinguished in art and
+literature. At the house of one of his friends he delivered a very
+amusing lecture on "Art" which created much discussion.
+
+A little later Beardsley was popularly supposed to have given pictorial
+expression to the views and sentiments of a certain school, and his
+drawings were regarded as the outward artistic sign of inward literary
+corruption. This is not the place to discuss the invention of a mare's
+nest. He suffered considerably by this premature attempt to classify his
+art. Further efforts to ridicule his work and suppress its publication
+were, however, among the most cheering failures of modern journalism.
+In 1895 he ceased to contribute to the Yellow Book, and in January 1896
+The Savoy was started by Leonard Smithers, with Mr Arthur Symons as the
+literary editor, who became the most subtle and discerning of all his
+critics after Beardsley's death. Failing health was the only difficulty
+with which he had to contend in the future. From March 1896, when he
+caught a severe chill at Brussels, he became a permanent invalid. He
+returned to England in May, and in August went to Bournemouth, where
+he spent the autumn and winter.
+
+Those who visited him at Bournemouth never expected he would live for
+more than a few weeks. His courage, however, never failed him, and
+he continued work even while suffering from lung haemorrhage; but he
+expressed a hope and belief, in which he was justified, that he might
+be spared one more year. On March 31st, 1897, he was received into the
+Catholic Church. The sincerity of his religious convictions has been
+affirmed by those who were with him constantly; and, as I have suggested
+before, the flippancy and careless nature of his conversation were
+superficial: he was always strict in his religious observances. Among
+his intimate friends through life were clergymen and priests who have
+paid tribute to the reality and sincerity of his belief.
+
+A week after being received, Beardsley rallied again, and moved to
+Paris, but still required the attention and untiring devotion of his
+mother, to whom he was deeply attached. He never returned to England
+again. From time to time he was cheered by visits from Miss Mabel
+Beardsley (Mrs Bealby Wright), who understood her brother as few sisters
+have done. For some time he stayed at St Germain, and in July 1897 he
+went to Dieppe, where he seemed almost to have recovered. It was only,
+however, for a short time, and in the end of 1897 he was hurried to
+Mentone. He never left his room after January 25th. The accounts of him
+which reached London prepared his friends for the end. Almost one of his
+last letters was to Mr Vincent O'Sullivan, the poet, congratulating him
+on his Introduction to "Volpone," for which Beardsley was making the
+illustrations. Beardsley had a considerable knowledge and appreciation
+of Ben Jonson.
+
+[Illustration: FRONTISPIECE
+  _From "Plays" by John Davidson_]
+
+On March 23rd, 1898, he received the last sacraments; and on the 25th,
+with perfect resignation, in the presence of his mother and sister, to
+whom he had confided messages of love and sympathy to his many friends,
+Aubrey Beardsley passed away.
+
+  "Come back in sleep, for in the life
+    Where thou art not
+  We find none like thee. Time and strife
+    And the world's lot
+
+  Move thee no more: but love at least
+    And reverent heart
+  May move thee, royal and released
+    Soul, as thou art."
+
+No one could have wished him to live on in pain and suffering. I think
+the only trials of his life were the periods in which he was unfitted
+for work. His remarkable career was not darkened by any struggle for
+recognition. Few artists have been so fortunate as Aubrey Beardsley.
+His short life was remarkably happy--at all events during the six years
+he was before the public. Everything he did met with success--a success
+thoroughly enjoyed by him. He seemed indifferent to the idle criticism
+and violent denunciation with which much of his art was hailed. I never
+heard of anyone of importance who disliked him personally; on the other
+hand, many who were hostile and prejudiced about his art ceased to
+attack him after meeting him. This must have been due to the magnetism
+and charm of his individuality, exercised quite unconsciously, for he
+never tried to conciliate people, or "to work the oracle," but rather
+gloried in shocking "the enemy," a boyish failing for which he may be
+forgiven.
+
+[Illustration: THE WAGNERITES]
+
+He had considerable intellectual vanity, but it never relapsed into
+common conceit. He was generous in recognizing the talent and genius of
+others, but was singularly perverse in some of his utterances. He said
+once that only four of his contemporaries interested him. He bore with
+extraordinary patience the assertions of foolish persons who calmly
+asserted that both in America and England other artists had anticipated
+the peculiarities of his style and methods. I have seen the works of
+these Lambert Simnels and Perkin Warbecks, and they proved, one and all,
+crows in peacocks' feathers. Beardsley's style, nevertheless, influenced
+(unfortunately, I think) many excellent artists both younger and older
+than himself. In France his work was accepted without question: he was
+always gratified by the cordiality which greeted him in a country where
+he was more generally understood than in his own. He has illustrious
+precedents in Constable and Bonnington. Italy, Austria, and Germany
+recognized in him a master some time before his death. At Berlin his
+picture of _Mrs Patrick Campbell_, the actress, is now in a place of
+honour in the Museum. A portrait study of himself is in the British
+Museum Print Room; a few examples are at South Kensington; but all his
+important work is in private collections; much of it is in America and
+Germany. In England, putting aside the notoriety and sensation caused
+by his posters and the Yellow Book, appreciation of his work has been
+confined rather to the few. He enjoyed, however, the friendship and
+intimacy of great numbers of people, shewing that his amiable qualities,
+no less than his art, received due recognition. His conversation was
+vehement and witty rather than humorous. He had a remarkable talent for
+mimicking, very rarely exercised. He loved argument, and supported
+theories for the sake of argument in the most convincing manner, leaving
+strangers with a totally wrong impression about himself, a deception to
+which he was much addicted. He possessed what is called an artificial
+manner, cultivated to an extent that might be mistaken for affectation.
+He never could sit still for very long, and he made use of gesture for
+emphasis. His peculiar gait has been very happily rendered in a portrait
+of him by Mr Walter Sickert; he also sat to M. Blanche, the well-known
+French portrait painter; the portrait by himself is tinged with
+caricature.
+
+       *       *       *       *       *
+
+To estimate the art of Aubrey Beardsley is not difficult. That his
+drawings must excite discussion at all times is only a proof of their
+lasting worth. They can never be dismissed with unkindly comment, nor
+shelved into the limbo of art criticism which waits for many blameless
+and depressing productions of the eighteenth and nineteenth centuries.
+Among artists and men of letters no less than with that great inartistic
+body, "the art-loving public," Aubrey Beardsley's name will always call
+forth wonder, admiration, speculation, and contempt. It should be
+conceded, however, that his work cannot appeal to everyone; and that
+many who have the highest perception of the beautiful see only the
+repulsive and unwholesome in the troubled, exotic expression of his
+genius. Fortunately, no reputation in art or letters rests on the
+verdict of majorities--it is the opinion of the few which finally
+triumphs. Artists and critics have already dwelt on the beauty of Aubrey
+Beardsley's line, which in his early work too often resolved itself into
+mere caligraphy; but the mature and perfect illustrations to "Salome"
+and "The Rape of the Lock" evince a mastery unsurpassed by any artist in
+any age or country. No one ever carried a simple line to its inevitable
+end with such sureness and firmness of purpose. And this is one of
+the lessons which even an accomplished draughtsman may learn from
+his drawings, in any age when scraggy execution masquerades under
+impressionism. Aubrey Beardsley did not shirk a difficulty by leaving
+lines to the imagination of critics, who might enlarge on the reticence
+of his medium. Art cant and studio jargon do not explain his work. It
+is really only the presence or absence of beauty in his drawing, and
+his wonderful powers of technique which need trouble his admirers or
+detractors. Nor are we confronted with any conjecture as to what Aubrey
+Beardsley might have done--he has left a series of achievements. While
+his early death caused deep sorrow among his personal friends, there
+need be no sorrow for an "inheritor of unfulfilled renown." Old age
+is no more a necessary complement to the realization of genius than
+premature death. Within six years, after passing through all the
+imitative stages of probation, he produced masterpieces he might have
+repeated but never surpassed. His style would have changed. He was
+too receptive and too restless to acquiesce in a single convention.
+
+[Illustration: ATALANTA]
+
+This is hardly the place to dwell on the great strides which black and
+white art made in the nineteenth century. It has been called the most
+modern of the arts; for the most finished drawings of the old masters
+were done with a view to serve as studies or designs to be transferred
+to canvas, metal, and wood, not for frames at an expensive dealer's.
+Vittore Pisano and Gentile Bellini would hardly have dared to mount
+their delightful studies and offer them as pictures to the critics
+and patrons of their day. At all events it were safer to say, that
+appreciation of a drawing for itself, without relation to the book or
+page it was intended to adorn or destroy, is comparatively modern. It is
+necessary to keep this in mind, because the suitability of Beardsley's
+work to the books he embellished was often accidental. His designs
+must be judged independently, as they were conceived, without any view
+of interpreting or even illustrating a particular author. He was too
+subjective to be a mere illustrator. Profoundly interested in literature
+for the purposes of his art, he only extracted from it whatever was
+suggestive as pattern; he never professed to interpret for dull people,
+unable to understand what they read, any more than the mediaeval
+illuminator and carver of grotesques attempted to explain the mysteries
+of the Christian faith on the borders of missals and breviaries or
+the miserere seats of the choir. His art was, of course, intensely
+_literary_, to use the word hated of modern critics, but his expression
+of it was the legitimate literature of the artist, not the art peculiar
+to literature. He did not attempt, or certainly never succeeded in
+giving, pictorial revision to a work of literature in the sense that
+Blake has done for the book of Job, and Botticelli for the "Divine
+Comedy." While hardly satisfying those for whom any work of art guilty
+of "subject" becomes worthless, this immunity from the conventions of
+the illustrator will secure for Beardsley a larger share of esteem among
+artists pure and simple than has ever fallen to William Blake, who
+appeals more to men of letters than to the artist or virtuoso. The
+uncritical profess to find many terrible meanings in Aubrey Beardsley's
+drawings; and he will probably never be freed from the charge of
+symbolism. However morbid the sentiment in some of his work, and often
+there was a _macabre_, an unholy insistence on the less beautiful side
+of human things, the cabala of the symbolists was a sealed book to
+him. Such things were entirely foreign to his lucid and vigorous
+intelligence. There is hardly a drawing of his that does not explain
+itself; the commentator will search in vain for any hieroglyphic or
+symbolic intention. The hieratic archaism of his early work misled many
+people, for whom pre-Raphaelitism means presupposition. Of mysticism,
+that stumbling-block, he had none at all. "_The Initiation of a Neophyte
+into the Black Art_" would seem to contradict such a statement. The
+fantasy and grotesqueness of that lurid and haunting composition have
+nothing in common with the symbolism of black magic, the ritual of
+freemasonry, or all the fascinating magic to be found in the works of
+Eliphaz Levi. The sumptuous accessories in which he revelled had no
+other than a decorative intention, giving sometimes balance to a
+drawing, or conveying a literary suggestion necessary for its
+interpretation.
+
+Artists are blamed for what they have not tried to do; or for the
+absence of qualities distinguishing the work of an entirely different
+order of intellect; for their indifference to the observations of
+_others_. As who should ask from Reynolds a faithful reproduction of
+textile fabrics; and from Carlo Crivelli the natural phenomena of nature
+we expect from Turner and Constable? For nature as it should be, in
+the works of Corot and Turner; for nature made easy, in modern English
+landscape; for nature without tears, in the impressionist fashion, or as
+popularly viewed through the camera, Aubrey Beardsley had no feeling. He
+was frankly indifferent to picturesque peasants, the beauties of "lovely
+spots," either in England or France. A devout Catholic, the ringing of
+the Angelus did not lure him to present fields of mangel-wurzels in an
+evening haze. The treatment of nature in the larger and truer sense of
+the word had little attraction for him; he never tried, therefore, to
+represent air, atmosphere, and light, as many clever modern artists have
+done in black and white! Though Claude, that master of light and shadow,
+was a landscape painter who really interested him. Beardsley's
+landscape, therefore, is formal, primitive, conventional; a breath of
+air hardly shakes the delicate leaves of the straight poplars and
+willows that grow by his serpentine streams. The great cliffs, leaning
+down in promontories to the sea, have that unreal, architectural
+appearance so remarkable in the West of Cornwall, a place he had never
+visited. Yet his love and observation of flowers, trees, and gardens
+are very striking in the drawings for the "Morte d'Arthur" and the
+Savoy Magazine, but it is the nature of the landscape gardener,
+not the landscape painter. There is some truth in the half-playful,
+half-unfriendly criticism, that his pictures were a form of romantic
+map-making. Future experts, however, may be trusted to deal with
+absence of chiaroscuro, values, tones, and the rest. In only one of his
+drawings, conceived, curiously enough, in the manner of Burne-Jones (an
+unlikely model), is there anything approaching what is usually termed
+atmosphere. Eliminating, therefore, all that must not be expected from
+his art--mere illustration, realism, symbolism and naturalism--in what,
+may be asked, does his supreme achievement consist? He has decorated
+white sheets of paper as they have never been decorated before; whether
+hung on the wall, reproduced in a book, or concealed in a museum, they
+remain among the most precious and exquisite works in the art of the
+nineteenth century, resembling the designs of William Blake only--in
+that they must be hated, misunderstood, and neglected, ere they are
+recognized as works of a master. With more simple materials than those
+employed by the fathers of black and white art, Beardsley has left
+memorials no less wonderful than those of the Greek vase-painters, so
+highly prized by artists and archaeologists alike, but no less difficult
+for the uninitiated to appreciate and understand.
+
+[Illustration: THE MYSTERIOUS ROSE GARDEN]
+
+The astonishing fertility of his invention, and the amount of work he
+managed to produce, were inconceivable; yet there is never any sign of
+hurry: there is no scamping in his deft and tidy drawing. The neatness
+of his most elaborate designs would suggest many sketches worked over
+and discarded before deciding on the final form and composition. Strange
+to say, this was not his method. He sketched everything in pencil, at
+first covering the paper with apparent scrawls, constantly rubbed out
+and blocked in again, until the whole surface became raddled from
+pencil, indiarubber, and knife; over this incoherent surface he worked
+in Chinese ink with a gold pen, often ignoring the pencil lines,
+afterwards carefully removed. So every drawing was invented, built up,
+and completed on the same sheet of paper. And the same process was
+repeated even when he produced replicas. At first he was indifferent to
+process reproduction, but, owing to Mr Pennell's influence, he later on
+always worked with that end in view; thereby losing, some will think,
+his independence. But he had nothing to complain of--Mr Pennell's
+contention about process was never so well proved as in Beardsley's
+case. His experiments in colour were not always successful, two of
+his most delightful designs he ruined by tinting. In the posters and
+Studio lithograph, however, the crude colour is highly effective, and
+"_Mademoiselle de Maupin_" shewed he might have mastered water-colour
+had he chosen to do so. There are at present in the market many coloured
+forgeries of his work: these have been contrived by tracing or copying
+the reproductions; the colour is often used to conceal the paucity of
+the drawing and hesitancy of line; they are nearly always versions of
+well-known designs, and profess to be replicas. When there _is_ any
+doubt the history and provenance of the work should be carefully
+studied. It is not difficult to trace the pedigree of any _genuine_
+example.
+
+[Illustration: FRONTISPIECE
+  _From "A Nocturne of Chopin"_]
+
+A good deal has been made out of Beardsley's love of dark rooms and lamp
+light, but this has been grossly exaggerated. He had no great faith in
+north lights and studio paraphernalia, so necessary for those who use
+mediums other than his own. He would sometimes draw on a perfectly flat
+table, facing the light, which would fall directly on the paper, the
+blind slightly lowered.
+
+The sources of Beardsley's inspiration have led critics into grievous
+errors. He was accused of imitating artists, some of whose work he had
+never seen, and of whose names he was ignorant at the time the alleged
+plagiarism was perpetrated--Felicien Rops may be mentioned as an
+instance. Beardsley contrived a style long before he came across any
+modern French illustration. He was innocent of either Salon, the
+Rosicrucians, and the Royal Academy alike; but his own influence on the
+Continent is said to be considerable. That he borrowed freely and from
+every imaginable master, old and new, is, of course, obvious. Eclectic
+is certainly applicable to him. But what he took he endowed with a
+fantastic and fascinating originality; to some image or accessory,
+familiar to anyone who has studied the old masters, he added the touch
+of modernity which brings them nearer to us, and reached refinements
+never thought of by the old masters. Imagination is the great pirate
+of art, and with Beardsley becomes a pretext for invention.
+
+Prior to 1891 his drawings are interesting only for their precocity;
+they may be regarded, as one of his friends has said, more as a presage
+than a precedent. You marvel, on realizing the short interval which
+elapsed between their production and the masterpieces of his maturity.
+His first enthusiasm was for the work of the Italian primitives, as Mr
+Charles Whibley says, distinguished "for its free and flowing line."
+Even at a later time, when he devoted himself to eighteenth century
+models and ideals, his love of Andrea Mantegna never deserted him. He
+always kept reproductions from Mantegna at his side, and declared that
+he never ceased to learn secrets from them. In the "_Litany of Mary
+Magdalen_" and the two versions of "_Joan of Arc_" this influence
+is very marked. A Botticelli phase followed, and though afterwards
+discarded, was reverted to at a later period. The British Museum and the
+National Gallery were at first his only schools of art. As a matter of
+course, Rossetti and Burne-Jones, but chiefly through photographs and
+prints, succeeded in their turn; the influence of Burne-Jones lasting
+longer than any other.
+
+Fairly drugged with too much observation of old and modern masters, he
+entered Professor Brown's art school, where he successfully got rid
+of much that was superfluous. The three months' training had the most
+salutary effect. He now took the advice attributed to Burne-Jones, and
+unlearned much of his acquired pedantry. The mere penmanship which
+disfigured some of his early work entirely disappeared. His handling
+became finer, his drawing less timid. The sketch of _Moliere_, it may
+be interesting to note, belongs to this period of his art.
+
+[Illustration: Chopin. Ballade III. Op. 47
+  _Reproduced by permission of Charles Holme, Esqre._]
+
+A few months afterwards, he commenced the "Morte d'Arthur." Suggested
+and intended to rival the volumes of the Kelmscott Press, it is his
+most popular and least satisfactory performance. Still the borders have
+far more variety and invention than those of Morris; the intricate
+splendours of mediaeval manuscripts are intelligently imitated or
+adapted. The initial- and tail-pieces are delightful in themselves, and
+among the most exquisite of his grotesques and embellishments. But the
+popularity of the book was due to its lack of originality, not to its
+individuality. Mediaevalism for the middle classes always ensures an
+appreciative audience. Oddly enough, Morris was said to be annoyed by
+the sincerest form of flattery. Perhaps he felt that every school of art
+comes to an end with the birth of the founder, and that Beardsley was
+only exercising himself in an alien field of which Morris himself owned
+the tithe. At all events it is not unlikely that Beardsley aroused in
+the great poet and decorator the same suspicion that he had undoubtedly
+done in Watts.
+
+The "Morte d'Arthur" may be said, for convenience, to close Aubrey
+Beardsley's first period; but he modified his style during the progress
+of the publication, and there is no unity of intention in his types or
+scheme of decoration. He was gravitating Japanwards. He began, however,
+his so-called Japanesques long before seeing any real Japanese art,
+except what may be found in the London shop windows on cheap trays
+or biscuit-boxes. He never thought seriously of borrowing from this
+source until some one not conversant with Oriental art insisted on the
+resemblance of his drawings to Kakemonos. It was quite accidental.
+Beardsley was really studying with great care and attention the
+Crivellis in the National Gallery; their superficial resemblance to
+Japanese work occasioned an error from which Beardsley, quick to
+assimilate ideas and modes of expression, took a suggestion,
+unconsciously and ignorantly offered, and studied genuine examples.
+"_Raphael Sanzio_" (first version) was produced prior to this incident,
+and "_Madame Cigale's Birthday Party_" immediately afterwards. His
+emulation of the Japanese never left him until the production of the
+Savoy Magazine. In my view this was the only bad artistic influence
+which ever threatened to endanger his originality, or permanently
+vitiate his manner. The free use of Chinese ink, together with his
+intellectual vitality, saved him from "succumbing to Japan," to use
+Mr Pennell's excellent phrase.
+
+[Illustration: THE BARON'S PRAYER
+  _From "The Rape of the Lock"_]
+
+A series of grotesques to decorate some rather silly anthologies
+produced in the same year as the "Morte d'Arthur" are marvels of
+ingenuity, and far more characteristic. With them he began a new period,
+throwing over the deliberate archaism and mediaevalism, of which he began
+to tire. In the illustrations to "Salome," he reached the consummation
+of the new convention he created for himself; they are, collectively,
+his masterpiece. In the whole range of art there is nothing like them.
+You can trace the origin of their development, but you cannot find
+anything wherewith to compare them; they are absolutely unique. Before
+commencing "Salome" two events contributed to give Beardsley a fresh
+impetus and stimulate his method of expression: a series of visits
+to the collection of Greek vases in the British Museum (prompted by
+an essay of Mr D. S. McColl), and to the famous Peacock Room of Mr
+Whistler, in Prince's Gate--one the antithesis of Japan, the other
+of Burne-Jones. Impressionable at all times to novel sensations, his
+artistic perceptions vibrated with a new and inspired enthusiasm.
+Critical appreciation under his pen meant creation. From the Greek
+vase painting he learned that drapery can be represented effectually
+with a few lines, disposed with economy, not by a number of unfinished
+scratches and superfluous shading. If the "Salome" drawings have any
+fault at all, it is that the texture of the pictures suggests some other
+medium than pen and ink, as Mr Walter Crane has pointed out in his other
+work. They are wrought rather than drawn, and might be designs for the
+panel of a cabinet, for Limoges or Oriental enamel. "The Rape of the
+Lock" is, therefore, a more obvious example of black and white art.
+Beardsley's second period lasted until the fourth volume of the Yellow
+Book, in which the "_Wagnerites_" should be mentioned as one of the
+finest. In 1896 Beardsley, many people think to the detriment of his
+style, turned his attention to the eighteenth century, in the literature
+of which he was always deeply interested. Eisen, Moreau, Watteau,
+Cochin, Pietro Longhi, now became his masters. The alien romantic art
+of Wagner often supplied the theme and subject. The level of excellence
+sustained throughout the Savoy Magazine is extraordinary, in view of the
+terrible state of his health. His unexampled precision of line hardly
+ever falters; and while his composition gains in simplicity, his
+capacity for detail has not flagged. It is, perhaps, an accident that
+in his most pathetic drawing, "_The Death of Pierrot_," his hand seems
+momentarily to have lost its cunning. The same year he gave us "The Rape
+of the Lock," regarded by some artists as the testament of his genius;
+and an even more astonishing set of drawings to the "Lysistrata" of
+Aristophanes. These are grander than the "Rape of the Lock," and larger
+in treatment than anything he ever attempted. Privately issued,
+Beardsley was able to give full rein to a Rabelaisian fantasy, which he
+sometimes cultivated with too great persistence. Irritated by what he
+considered as over-niceness in some of his critics, he seemed determined
+to frighten his public. There is nothing unwholesome or suggestive about
+the "Lysistrata" designs: they are as as frank, free, and outspoken as
+the text. For the countrymen of Chaucer to simulate indignation about
+them can only be explained "because things seen are greater than things
+heard." Yet, when an artist frankly deals with forbidden subjects, the
+old canons regular of English art begin to thunder, the critics forget
+their French accent; the old Robert Adam, which is in all of us, asserts
+himself; we fly for the fig-leaves. A real artist, Beardsley has not
+burdened himself with chronology or archaeology. Conceived somewhat in
+the spirit of the eighteenth century, the period of graceful indecency,
+there is here, however, an Olympian air, a statuesque beauty, only
+comparable to the antique vases. The illusion is enhanced by the absence
+of all background, and this gives an added touch of severity to the
+compositions.
+
+Throughout 1896 the general tendency his style remains uniform, though
+without sameness. He adapted his technique to the requirements of his
+subject. Mindful of the essential, rejecting the needless, he always
+realized his genius and its limitations. From the infinite variety
+of the Savoy Magazine it is difficult to choose any of particular
+importance: for his elaborate manner, the first plate to "_Under the
+Hill_"; and in a simpler style, the fascinating illustration to his own
+poem, "_The Barber_"; "_Ave Atque Vale_" and "_The Death of Pierrot_"
+have, besides, a human interest over and above any artistic quality
+they possess. For the "Volpone" drawings Beardsley again developed
+his style, and seeking for new effects, reverted to pure pencil work.
+The ornate, delicate initial letters, all he lived to finish, must be
+seen in the originals before their sumptuous qualities, their solemn
+melancholy dignity, their dexterous handling, can be appreciated. The
+use of a camel's-hair brush for the illustrations to "_Mademoiselle de
+Maupin_," one of his last works, should be noted, as he so rarely used
+one. Beardsley's invention never failed him, so that it is almost
+impossible to take a single drawing, or set of drawings, as typical of
+his art. Each design is rather a type of his own intellectual mood.
+
+[Illustration: THE BATTLE OF BEAUX AND BELLES
+  _From "The Rape of the Lock"_]
+
+If the history of grotesque remains to be written, it is already
+illustrated by his art. A subject little understood, it belongs to the
+dim ways of criticism. There is no canon or school, and the artist is
+allowed to be wilful, untrammelled by rule or precedent. True grotesque
+is not the art either of primitives or decadents, but that of skilled
+and accomplished workmen who have reached the zenith of a peculiar
+convention, however confined and limited that convention may be.
+Byzantine art, one of our links with the East, should some day furnish
+us with a key to a mystery which is now obscured by symbolists and
+students of serpent worship. The Greeks, with their supreme sanity and
+unrivalled plastic sense, afford us no real examples, though their
+archaic art is often pressed into the category. Beardsley, who received
+recognition for this side of his genius, emphasized the grotesque to
+an extent that precluded any popularity among people who care only for
+the trivial and "pretty." In him it was allied to a mordant humour, a
+certain fescennine abstraction which sometimes offends: this, however,
+does not excuse the use of the word "eccentric," more misapplied than
+any word in the English language, except perhaps "grotesque" and
+"picturesque." All great art is eccentric to the conservative multitude.
+The decoration on the Parthenon was so eccentric that Pheidias was put
+in prison. The works of Whistler and Burne-Jones, once derided as
+eccentric, are now accepted as the commencement of great traditions.
+All future art will be dubbed eccentric, trampled on, and despised;
+even as the first tulip that blossomed in England was rooted out
+and burnt for a worthless weed by the conscientious Scotch gardener.
+
+[Illustration: A DESIGN FROM "LYSISTRATA"]
+
+To compare Beardsley with any of his contemporaries would be unjust to
+them and to him. He belonged to no school, and can leave no legend, in
+the sense that Rossetti, Whistler, and Professor Legros have done; he
+proclaimed no theory; he left no counsel of perfection to those who
+came after him. In England and America a horde of depressing disciples
+aped his manner with a singular want of success; while admirable and
+painstaking artists modified their own convictions in the cause of
+unpopularity with fatal results. The sensuous charm of Beardsley's
+imagination and his mode of expression have only a superficial
+resemblance to the foreign masters of black and white. He continued
+no great tradition of the 'sixties; has nothing in common with the
+inventive and various genius of Mr Charles Ricketts; nothing of the
+pictorial propriety that distinguishes the work of his friend, Mr
+Pennell, or the homogeneous congruity of Boyd Houghton, Charles Keene,
+and Mr Frederic Sandys. He made use of different styles where other
+men employed different mediums. Unperplexed by painting or etching
+or lithography, he was satisfied with the simplest of all materials,
+attaining therewith unapproachable executive power. Those who cavil
+at his flawless technique ignore the specific quality of drawing
+characterising every great artist. The grammar of art exists only to be
+violated. Its rules can be learnt by anyone. Those who have no artistic
+perception invariably find fault with the perspective, just as those
+who cannot write a well-balanced sentence are always swift to detect
+faults in grammar or spelling. There are, of course, weaknesses in
+the extremities of Beardsley's figures--the hands and feet being
+interruptions rather than continuations of the limbs. Occasional
+carelessness in this respect is certainly noticeable, and the structure
+of his figures is throughout capricious. It was no fault in his early
+work; the hands and feet in the "_Joan of Arc_," if crude and
+exaggerated, being carefully modelled. While the right hand of "Salome"
+in "_The Dancer's Reward_," grasping the head of the Baptist, is
+perfectly drawn, the left is feeble, when examined closely. For sheer
+drawing nothing can equal the nude figure in the colophon to "Salome."
+The outstretched, quivering hands of _Ali Baba_ are intentionally
+rendered larger than proportion allows, to render dramatic expression,
+not reality. For the purpose of effect he adapted proportions, realizing
+that perfect congruity and reality are irreconcilable. None of the
+figures in the dramatic "_Battle of Beaux and Belles_" could sit on
+the fallen chair in the foreground.
+
+There is no need to disturb ourselves with hopes and fears for the
+estimation with which posterity will cherish his memory; art history
+cannot afford to overlook him; it could hardly resist the pretext of
+moralising, expatiating and explaining away so considerable a factor
+in the book illustration of the nineties. As a mere comment on the
+admirations of the last twenty years of the nineteenth century,
+Beardsley is invaluable; he sums up all the delightful manias, all that
+is best in modern appreciation--Greek vases, Italian primitives, the
+"Hypnerotomachia," Chinese porcelain, Japanese Kakemonos, Renaissance
+friezes, old French and English furniture, rare enamels, mediaeval
+illumination, the _debonnaire_ masters of the eighteenth century, the
+English pre-Raphaelites. There are differences of kind in aesthetic
+beauty, and for Beardsley it was the marriage of arabesque to figures
+and objects comely or fantastic, or in themselves ugly. For hitherto
+the true arabesque abhorred the graven image made of artists' hands.
+To future draughtsmen he will have something of the value of an old
+master, studied for that fastidious technique which critics believed to
+be a trick; and collectors of his work may live to be rallied for their
+taste; but the wheat and the chaff contrive to exist together through
+the centuries.
+
+A passing reference should be made to the Beardsley of popular
+delusion. A student of Callot and Hogarth, he took suggestions from
+the age in which he lived and from the literature of English and French
+contemporaries, but with no implicit acceptance of the tenets of any
+groups or schools which flutter the dove-cots of Fleet Street. He stood
+apart, independent of the shibboleths of art and literature, with the
+grim and sometimes mocking attention of a spectator. He revealed rather
+than created a feminine type, offering no solution for the problems of
+Providence.
+
+[Illustration: D'ALBERT IN SEARCH OF IDEALS
+  _From "Mademoiselle de Maupin." Reproduced from the original in the
+  possession of Mrs. Bealby Wright_]
+
+Applying the epithet "original" to an art so intensely reminiscent, so
+ingeniously retrospective, might seem paradoxical to those unacquainted
+with Beardsley's more elegant achievements. His is not the originality
+of Corot and Whistler, with a new interpretation of nature, another
+scheme of art and decoration, but rather the scholarly originality
+of the Carracci--a scholarship grounded on a thousand traditions and
+yet striking an entirely new note in art. In his imagination, his
+choice of motive, his love for inanimate nature, his sentiment for
+accessory,--rejected by many modern artists, still so necessary to the
+modern temper,--his curious type, which quite overshadowed that of
+the pre-Raphaelites, the singular technical qualities at his command,
+Beardsley has no predecessors, no rivals. Who has ever managed to
+suggest such colour in masses of black deftly composed? Reference to the
+text is unnecessary to learn that the hair of Herodias was purple. His
+style was mobile, dominating over, or subordinate to the subject, as his
+genius dictated. He twisted human forms, some will think, into fantastic
+peculiar shapes, becoming more than romantic--antinomian. He does not
+appeal to experience but to expression. The tranquil trivialities of
+what is usually understood by the illustration of books had no meaning
+for him; and before any attempt is made to discriminate and interpret
+the spirit, the poetical sequence, the literary inspiration which
+undoubtedly existed throughout his work, side by side with technical
+experiments, his exemption from the parallels of criticism must be
+remembered duly.
+
+
+
+
+LIST OF DRAWINGS BY AUBREY BEARDSLEY
+
+COMPILED BY AYMER VALLANCE
+
+
+
+
+LIST OF DRAWINGS BY AUBREY BEARDSLEY
+
+
+JUVENILIA
+
+1. A CARNIVAL. Long procession of many figures in fifteenth
+    and sixteenth century costume. Water-colour drawing. Unpublished.
+    Given by the artist to his grandfather, the late Surgeon-Major
+    William Pitt. _c._ 1880.
+
+2. THE JACKDAW OF RHEIMS, set of illustrations to the poem.
+    Unpublished. _c._ 1884.
+
+3. VIRGIL'S "AENEID," nine comic illustrations to Book II.
+    The title-page, written in rough imitation of printing, with the
+    Artist's naif and inaccurate spelling, is as follows:--ILLUSTRATIONES
+    DE | LIBER SECUNDUS | AENEIDOS | PUBLIUS WIRGIUS MARONIS | by |
+    Beardslius | de | Brightelmstoniensis. The illustrations are
+    entitled:----
+
+    I. Laocoon hurleth his spear against the horse.
+   II. Laocoon and son crunched up.
+  III. Little July tries to keep up with Papa. Old Father Anchises
+        sitteth on Papa's shoulders and keeps a good look-out.
+   IV. Parvi Iulus.
+    V. Helen.
+   VI. Panthus departs, bag and baggage.
+  VII. Sinon telleth his tale unto King Priam.
+ VIII. One of the cinders of Illim.
+   IX. (No title.) The drawing, to illustrate two comic verses written
+        at the top of the paper, represents AEneas being carried up into
+        the air by means of a balloon attached to his helmet.
+
+    All the above are drawn in ordinary ink upon plain white paper of
+    the kind used for rough work at the school, and all are of uniform
+    size, 7-1/4 x 5 inches, except No. 9, which is on a double-size
+    sheet, measuring 7-1/4 x 10 inches. Unpublished. (Property of H. A.
+    Payne, Esq.) September to December 1886.
+
+4. VIRGIL'S "AENEID," nineteen humorous sketches illustrative of Book II.,
+    entitled:----
+
+    I. AEneas relateth the tale to Dido.
+   II. Laocoon hurls the spear.
+  III. Sinon is brought before Priam.
+   IV. Calchas will not betray anyone.
+    V. "All night I lay hid in a weedy lake."
+   VI. The Palladium is snatched away.
+  VII. The Palladium jumpeth.
+ VIII. Laocoon sacrificeth on the sand.
+   IX. Sinon opens the bolt.
+    X. Hector's ghost.
+   XI. AEneas heareth the clash of arms.
+  XII. Panthus fleeth.
+ XIII. Pyrrhus exulteth.
+  XIV. Death of Priam.
+   XV. AEneas debateth whether he shall slay Helen.
+  XVI. Venus appeareth to AEneas.
+ XVII. Jupiter hurls the lightning.
+XVIII. AEneas and company set out from Troy.
+  XIX. AEneas seeth Creusa's ghost.
+
+    The above drawings in ordinary ink are contained in a copy-book,
+    8 x 6-1/2 inches. Unpublished. Exhibited in London at Carfax
+    & Co.'s Galleries, October 1904. (Property of Harold Hartley,
+    Esq.) End of 1886.
+
+5. THE POPE WEIGHS HEAVILY ON THE CHURCH. Pen-drawing contained in the
+    same copy-book with the last-named.
+
+6. JOHN SMILES, a comic illustration to the school history book,
+    representing King John in the act of signing Magna Charta.
+    Pen-drawing on paper 7-1/4 x 5 inches. Unpublished. (Property
+    of H. A. Payne, Esq.)
+
+7. SAINT BRADLAUGH, M.P., a caricature. Pen-drawing on a half
+    sheet of notepaper. Unpublished. (Property of H. A. Payne, Esq.)
+
+8. AUTUMN TINTS. Caricature in black and white of the artist's
+    schoolmaster, Mr Marshall, expounding to his pupils the beauties
+    of nature. Unpublished. Given to Ernest Lambert, Esq., Brighton,
+    _c._ 1886-7.
+
+    Beside the above-named there must have been numbers of such drawings
+    belonging to this early period; for in his schooldays Aubrey
+    Beardsley was, to quote the words of Mr H. A. Payne, "constantly
+    doing these little, rough, humorous sketches, which he gave away
+    wholesale." Many have been destroyed or lost, others dispersed
+    abroad. Thus, for instance, one old Brighton Grammar School boy,
+    C. E. Pitt-Schenkel, told Mr Payne that he was in possession of
+    some, which he took out to South Africa.
+
+9. THE JUBILEE CRICKET ANALYSIS. Eleven tiny pen-and-ink sketches,
+    entitled respectively:----
+
+    I. A good bowler.
+   II. Over.
+  III. Slip.
+   IV. Square leg.
+    V. Shooters.
+   VI. Caught.
+  VII. A block.
+ VIII. A demon bowler.
+   IX. Stumped.
+    X. Long leg.
+   XI. Cutting a ball.
+
+    All these subjects being represented, in humorous fashion, by literal
+    equivalents. These drawings, though they cannot pretend to any merit,
+    are notable as the earliest specimens to be published of the
+    artist's work. Together they formed a whole-page photo-lithographic
+    illustration in _Past and Present_, the Brighton Grammar School
+    Magazine, June 1887.
+
+10. CONGREVE'S "DOUBLE DEALER," illustration of a scene from, comprising
+    Maskwell and Lady Touchwood. Pen drawing with sepia wash, on a sheet
+    of paper 13-1/2 x 11 inches. Unpublished. (Property of H. A. Payne,
+    Esq.) Signed and dated June 30, 1888.
+
+11. HOLYWELL STREET. Wash drawing. First published in _The Poster_,
+    Aug.-Sept. 1898. Republished in "The Early Work of Aubrey Beardsley,
+    with a Prefatory Note by H. C. Marillier." John Lane, March 1899.
+    (Property of Charles B. Cochran, Esq., 1888.)
+
+12. THE PAY OF THE PIED PIPER: A LEGEND OF HAMELIN TOWN. Eleven line
+    drawings in illustration of, as follows:----
+
+    I. Entrance of Councillors, headed by Beadle carrying a mace.
+        Reproduced in _The Westminster Budget_, March 25, 1898.
+
+  II. Rats feeding upon a cheese in a dish. Reproduced in _Westminster
+        Budget_, March 25, 1898.
+
+ III. Child climbing into an armchair to escape from the rats. Reproduced
+        in _The Poster_, Aug.-Sept. 1898.
+  IV. The Sitting of the Council, under the presidency of the Burgomaster.
+
+   V. Deputation of Ladies.
+
+  VI. Two rats on their hind legs, carrying off the Beadle's mace: behind
+        them are three rats running. Reproduced in _Westminster Budget_,
+        March 25, 1898.
+
+ VII. Meeting between the Beadle and the Piper.
+
+VIII. The rats follow the Piper out of the town. Republished in
+        _Westminster Budget_, March 25, 1898, and in _The Poster_,
+        Aug.-Sept. 1898.
+
+  IX. Citizens rejoice at the departure of the rats.
+
+   X. The Piper is dismissed by the Beadle. Republished in _Westminster
+        Budget_, March 25, 1898, and also in _Magazine of Art_, May 1898.
+
+  XI. The Piper entices away the children.
+
+    The above illustrations vary in size from 3-1/4 x 2-1/2 to 6-1/2
+    x 4-1/2 inches. They are unsigned, but a prefatory note describes
+    them as being "the perfectly original designs and drawings of a
+    boy now in the school, A. V. Beardsley"; and adds: "Our regret is
+    that, lacking experience in the preparation of drawings for the
+    photo-engraver, the reproductions should fall so far short of the
+    original sketches." Published in the programme and book of words
+    of the Brighton Grammar School Annual Entertainment at the Dome,
+    on Wednesday, Dec, 19, 1888; bound up afterwards with _Past and
+    Present_, February 1889. Latter part of 1888.
+
+13. A SCRAP-BOOK, size 9-1/2 x 7 inches, the fly-leaf inscribed, in his
+    own writing, _A. Beardsley_, 6/5/90, presented by the artist's
+    mother to Robert Ross, Esq. Contains the following drawings, mounted
+    as scraps:----
+
+    I. Manon Lescaut, three drawings to illustrate different scenes
+        from. Executed with very fine pen and ink, the latter having, as
+        compared with maturer works, a brownish tinge. One of them first
+        appeared in "A Second Book of Fifty Drawings by Aubrey Beardsley"
+        (Leonard Smithers, December 1898), and all three were included in
+        "The Later Work of Aubrey Beardsley" (John Lane, 1901).
+
+   II. La Dame aux Camelias. 4-3/8 inches square, pen and brownish
+        ink with wash. First published in "Second Book," and afterwards in
+        "Later Work." This is a totally different design from that which
+        afterwards appeared, with the same title, in "The Yellow Book."
+        See below.
+
+  III. Tartarin, two illustrations of, in pencil and colours, size
+        4-1/8 x 2-3/4 and 4-1/2 x 3-1/2 inches respectively.
+
+   IV. La Lecon (Madame Bovary). 5-1/4 x 6-3/4. Chinese white and dark
+        sepia wash. First published in "Second Book," and again in "Later
+        Work."
+
+    V. L'Abbe Birotteau (Cure de Tours). 3 x 2 inches. Pen-and-ink
+        with wash, on pale greenish paper.
+
+   VI. L'Abbe Troubert (Cure de Tours). 5 x 2-3/4 inches. Dark sepia wash.
+
+  VII. Madame Bovary. 5-5/8 x 3-1/8 inches. Pencil. First published in
+        "Second Book," and again in "Later Work."
+
+ VIII. Sapho (Daudet). Wanting. Over its place has been gummed another
+        drawing, also wanting, its title written at the foot,
+        _L'homme qui rit_.
+
+   IX. Le Cousin Pons. 5-1/8 x 2-3/8 inches. Indian ink.
+
+    X. Portrait of Alphonse Daudet. 2-3/4 x 2-3/16 inches. Indian ink on
+        pale blue paper.
+
+   XI. Watteau, Ma Cousine (Cousin Pons). 5-1/2 x 2-3/4 inches. Pen-and-ink
+        with wash on pale grey toned paper.
+
+  XII. Mademoiselle Gamard (Cure de Tours). 3-1/8 x 2-1/8 inches. Indian
+        ink wash.
+
+ XIII. Madame Cibot (Cousin Pons). 4 x 2-7/8 inches. Indian ink wash.
+
+  XIV. (Jack) Attendons! 3-5/8 inches high, irregular silhouette.
+        Dark sepia wash.
+
+   XV. Jeanne D'Arc, the childhood of. 9 x 3-3/8 inches. Sepia and madder
+        wash on toned paper. First published in "Second Book," again in
+        "Later Work."
+
+  XVI. Frontispiece to Balzac's "Contes Drolatiques." 6-3/4 x 4-1/8 inches.
+        Drawn after the manner of Richard Doyle. First published in
+        "Second Book," again in "Later Work."
+
+ XVII. Phedre (Act ii. scene 5). 3-7/8 x 3-1/2 inches. Pencil and colours.
+        First published in "Second Book," again in "Later Work."
+
+XVIII. Manon Lescaut, three-quarter length, woman to left, with fan.
+        5-1/4 x 3-1/2 inches. Water-colour on grey paper. First published
+        in "Second Book," again in "Later Work."
+
+  XIX. Beatrice Cenci. 6-1/8 x 2-3/4 inches. Pencil and sepia wash. First
+        published in "Second Book," again in "Later Work."
+
+    Unless otherwise stated as above, the works in this collection are
+    unpublished; all were executed 1889-90.
+
+
+LATER WORK.
+
+14. FRANCESCA DI RIMINI (Dante). Head in profile, to left; pencil.
+    First published in "Later Work."
+
+15. DANTE AT THE COURT OF CAN GRANDE DELLA SCALA. Circular design,
+    in pencil. (Property of Miss H. Glover.)
+
+16. DANTE IN EXILE. Dante seated on the left, the words of the Sonnet
+    inscribed on the right, with decorations recalling some design of
+    William Blake's. Signed A.V.B. First published in "Later Work."
+    (Formerly the property of the late Hampden Gurney, Esq.)
+
+17. "I SAW THREE SHIPS COME SAILING BY ON CHRISTMAS DAY IN THE MORNING."
+    Pencil. Designed as a Christmas card for the late Rev. Alfred Gurney.
+    Published in "Later Work." _c._ 1890-1.
+
+18. HAIL MARY. Profile of a head to left. Pencil drawing, 4-1/2 x 5-1/4
+    inches. First published in _The Studio_, May 1898, again in "Early
+    Work." (Property of Frederick H. Evans, Esq.) 1891.
+
+19. HEAD, three-quarter face to right, with a Wreath of Grapes and Vine
+    Leaves and background of tree trunks. Lead-pencil sketch 5-1/2 x 5-5/8
+    inches. Unpublished. (Property of John Lane, Esq.) _circa_ 1891.
+
+20. THEL GATHERING THE LILY. Pen-and-ink with water-colour wash. (Formerly
+    the property of Robert Ross, Esq.)
+
+21. TWO FIGURES IN A GARRET, both seated, a woman haranguing a young man.
+    Ink and wash sketch, 3-1/4 x 4-1/8 inches. Published in "Early Work."
+    (Property of Frederick H. Evans, Esq.)
+
+22. E. BURNE-JONES. Portrait sketch in pen-and-ink, with slight wash.
+    A memorandum of Aubrey Beardsley's first call on Sir Edward
+    Burne-Jones, dated Sunday, 12th July 1891, and signed with monogram,
+    A.V.B. Size, 6-3/4 x 4-1/8 inches. Eight copies only. Printed on
+    India paper. Published by James Tregaskis, Caxton Head, High Holborn,
+    in 1899. July 1891.
+
+23. THE WITCH OF ATLAS. Pen-and-ink and water-colour wash. First reproduced
+    (lacking ornamental border) in "Second Book," again in "Later Work."
+    (Formerly the property of Robert Ross, Esq.)
+
+24. MOLIERE. Blue water-colour wash. First published in "Later Work."
+    (Formerly the property of Robert Ross, Esq.)
+
+25. DIE GOeTTERDAeMMERUNG. Decorative composition in white and Indian ink,
+    influenced by Burne-Jones. First published in "Second Book," again in
+    "Later Work." (Formerly the property of Robert Ross, Esq.)
+
+26. SOLEIL COUCHANT. Decorative composition in Indian ink. (The motif of
+    the central part was subsequently adapted for a vignette in the
+    "Morte Darthur," Book II. chap. xii.) First published in "Later
+    Work." (Formerly the property of the late Hampden Gurney, Esq.)
+
+27. TANNHAUSER. Study for decorative composition, in Indian ink.
+    5-5/8 x 7-1/2 inches. First published in "Later Work." (Property of
+    Dr Rowland Thurnam.) 1891.
+
+28. WITHERED SPRING. Decorative composition in Indian ink. Catalogued in
+    "Fifty Drawings" as "Lament of the Dying Year." (The motif of the
+    central part was subsequently adapted for a vignette in the "Morte
+    Darthur," Book I. chap. xii.) First published in "Later Work."
+    (Property of Dr Rowland Thurnam.)
+
+29. I. PERSEUS. Pen-and-ink and light wash. Design for an upright panel,
+    with standing nude figure, above it a frieze of smaller figures.
+    18 x 6-3/4 inches. First published in "Early Work." (Property of
+    Frederick H. Evans, Esq.)
+
+    II. A pencil sketch of two figures, unfinished, on the reverse of the
+    preceding. Published in "Early Work."
+
+30. L'ABBE MOURET. Decorative design for frontispiece of Zola's "La Faute
+    de l'Abbe Mouret." Ink and wash. First published in "Under the Hill."
+    John Lane. 1904. (Property of John Lane, Esq.)
+
+31. HAMLET PATRIS PANEM SEQUITUR. Pencil drawing. Printed in red, as
+    frontispiece to _The Bee_, the Magazine of the Blackburn Technical
+    School, November 1891; reprinted, in black, in "Second Book," again
+    in "Early Work." Latter part 1891.
+
+32. PERSEUS AND THE MONSTRE. Pencil design, 5-1/2 x 7-1/2 inches. First
+    appeared in illustration of an article entitled, "The Invention of
+    Aubrey Beardsley," by Aymer Vallance, in _The Magazine of Art_, May
+    1898; again in "Early Work," (Property of Aymer Vallance, Esq.) 1891.
+
+33. THE PROCESSION OF JEANNE D'ARC. Pencil outline, treatment inspired by
+    Mantegna, 19-1/2 long by 6-1/2 inches high. First published in
+    _Magazine of Art_, May 1898; again as double page in "Second Book";
+    again, reduced, in collotype, in "Early Work." (Property of Frederick
+    H. Evans, Esq.) 1891-2.
+
+    A pen-and-ink version of the Procession, 30 inches long by 7 high,
+    was made subsequently, about the Spring of 1892, for Robert Ross,
+    Esq. Published in _The Studio_; see below.
+
+34. THE LITANY OF MARY MAGDALEN. Pencil drawing. First published in
+    "Second Book," again in "Later Work." (Formerly Property of More
+    Adey, Esq.) 1892.
+
+35. THE VIRGIN AND LILY. Madonna standing in front of a Renaissance niche
+    and surrounded by Saints, among them St John Baptist kneeling.
+    Pencil outline. Reproduced in photogravure in "Later Work."
+    (Formerly the property of the late Rev. Alfred Gurney, afterwards
+    in the possession of his son, the late Hampden Gurney, Esq.)
+
+36. CHILDREN DECORATING A TERMINAL GOD. Pen-and-ink. (Formerly the
+    property of M. Puvis de Chavannes.)
+
+37. FRED BROWN, N.E.A.C. Pen-and-ink sketch of the art-master in studio.
+    Signed with monogram A.V.B. First published in "Under the Hill."
+    (Property of Miss Nellie Syrett.)
+
+38. STUDY OF FIGURES, horizontal fragment from, containing five heads and
+    parts of two more. Pencil. Published in "Under the Hill." (Property
+    of Miss Nellie Syrett.)
+
+39. PORTRAIT OF THE ARTIST. Full face. Pen-and-ink. First published in
+    "Second Book," again in "Later Work." (Presented by Robert Ross,
+    Esq., to the British Museum.)
+
+40. SIDONIA THE SORCERESS. A design to illustrate Meinhold's Romance,
+    representing Sidonia, not in religious habit, with the demon-cat,
+    Chim. William Morris's criticism that the face of Sidonia was not
+    pretty enough, and another suggested improvement on the part of
+    a friend of Aubrey Beardsley's, induced him to try to better the
+    picture by altering the hair. The result was so far from satisfactory
+    that it is almost certain that the drawing was destroyed by the
+    artist. First half of 1892.
+
+41. LE DEBRIS D'UN POETE. Pen-and-ink. First published in "Aubrey
+    Beardsley," by Arthur Symons (Sign of the Unicorn, London, 1898).
+    (Property of Andre Raffalovich, Esq.)
+
+42. INCIPIT VITA NOVA. Chinese, white, and Indian ink on brown paper.
+    First published in "Second Book," again in "Later Work." (Property
+    of Messrs Carfax & Co.) 1892.
+
+43. HEAD OF AN ANGEL, in profile, to left, flaming heart held in left
+    hand. Pencil, on a half-sheet of grey notepaper, signed with monogram
+    A.V.B. 5-3/4 x 3-7/8 inches. First published in photogravure "Second
+    Book," again in "Later Work"; also printed in 4-inch square form on
+    card for private distribution, Christmas 1905. (Property of the
+    artist's sister, Mrs George Bealby Wright [Miss Mabel Beardsley].)
+    _c._ 1892.
+
+44. ADORAMUS TE. Four angels in a circle (7 inches in diameter) playing
+    musical instruments, pencil and coloured chalks. Signed A.V.B.
+    monogram. Designed as a Christmas card for the late Rev. Alfred
+    Gurney. First published in photogravure in "Second Book," again in
+    "Later Work." (Property of Mrs George Bealby Wright.)
+
+45. A CHRISTMAS CAROL. Two angels, one of them playing a hand-organ, in a
+    circle (7-3/4 inches diameter), pencil, and coloured chalks.
+    Designed as a Christmas card for the late Rev. Alfred Gurney.
+    First published in photogravure in "Second Book," again in "Later
+    Work." Also in photogravure, 3 inches diameter, for private
+    circulation. (Property of Mrs George Bealby Wright.) Christmas, 1892.
+
+46. LA FEMME INCOMPRISE. Pen-and-ink and wash. First published in the
+    spring number of _To-Day_, 1895; again in the _Idler_ magazine,
+    March 1897.
+
+47. SANDRO BOTTICELLI, three-quarter face to left, pencil, signed
+    with monogram A.V.B.; 14 x 7-3/4 inches; a reconstruction of
+    the Florentine painter's physiognomy from his extant works, to
+    illustrate Aubrey Beardsley's theory that every artist tends to
+    reproduce his own physical type. Presented by the artist to Aymer
+    Vallance, Esq. First published in the _Magazine of Art_, May 1898;
+    afterwards in "Early Work." _c._ 1892-3.
+
+48. RAPHAEL SANZIO. Full-length figure, three-quarter face to left, a
+    decorative panel in pen-and-ink, 10-3/4 x 3-7/8 inches, exclusive
+    of border lines. Unpublished. (Property of Messrs Obach & Co.)
+
+49. CEPHALUS AND PROCRIS. Pen-and-ink.
+
+50. SMALL BOOKMARKER, woman undressing, a Turkish table in the foreground.
+    Pen-and-ink. First published in "Second Book," again in "Later Work."
+    (Property of Sir William Geary, Bart.) 1893.
+
+51. HERMAPHRODITUS, seated figure, pencil and pale colour tints. Reproduced
+    in colour in "Later Work." (Property of Julian Sampson, Esq.)
+
+52. L'APRES-MIDI D'UN FAUNE, par Mallarme; four designs extra-illustrating
+    a copy of. One of them, a pen-and-ink vignette of a faun, full face,
+    signed with monogram A.V.B., was published in "Second Book." The
+    others unpublished. 1893.
+
+53. DECORATIVE SKETCH DESIGN OF A SAILING SHIP. 1-7/8 x 2-1/2 inches.
+    Pen-and-ink on white from the back of a letter to Aymer Vallance,
+    Esq. First published in _Magazine of Art_, May 1898; again in "Early
+    Work." _c._ 1893.
+
+54. ANGEL PLAYING HAND-ORGAN. Pen-and-ink and slight wash, on pale grey
+    notepaper, from a letter to Aymer Vallance, Esq. First published in
+    _Magazine of Art_, May 1898; again in "Early Work." _c._ 1893.
+
+55. THE PALL MALL BUDGET, 1893 and 1894.
+
+    I. MR H. A. JONES AND HIS BAUBLE; pen-and-ink. Feb. 2, 1893, p. 150.
+
+   II. THE NEW COINAGE. Four designs that were not sent in for
+        competition, p. 154. Another design, embodying a caricature of
+        Queen Victoria, was suppressed.
+
+  III. "BECKET" AT THE LYCEUM.
+
+        1. Mr Irving as Becket; wash drawing. Feb. 9th, front page.
+        2. Master Leo, p. 188.
+        3. Queen Eleanor, p. 188.
+        4. Margery, p. 188.
+        5. The King makes a Move on the Board, p. 188.
+        6. Miss Terry (as Rosamond), p. 188.
+        7. Mr Gordon Craig, p. 190.
+        8. The Composer, p. 190.
+
+   IV.
+
+        1. THE DISAPPOINTMENT OF EMILE ZOLA, p. 202.
+        2. EMILE ZOLA; a portrait, p. 204.
+           (Republished in "Pall Mall Pictures of the Year," 1893,
+           and in _The Studio_, June 1893.)
+
+    V. VERDI'S "FALSTAFF," AT MILAN, Feb. 16th.
+
+        Initial letter V; pen-and-ink, p. 236.
+        Portrait of Verdi; ink and wash, p. 236.
+
+   VI. POPE LEO XIII.'S JUBILEE, Feb. 23rd.
+
+        The Pilgrim (old style), p. 270.
+        The Pilgrim (new style), p. 270.
+
+  VII. THE REAPPEARANCE OF MRS BANCROFT.
+
+        1. Mr Arthur Cecil (Baron Stein), p. 281.
+        2. Mrs Bancroft (Lady Fairfax), p. 281.
+        3. Mr Forbes Robertson (Julian Beauclere), p. 281.
+        4. Mr Bancroft (Count Orloff), p. 281.
+
+ VIII. CARICATURE OF A GOLF PLAYER, in classical helmet, March 9th, p. 376.
+
+   IX. ORPHEUS AT THE LYCEUM, March 16th.
+
+        1. One of the Spirits, Act II., p. 395.
+        2. Orpheus (Miss Clara Butt), p. 395.
+        3. A Visitor at the Rehearsal, p. 395.
+        4. Some Dresses in the Chorus, p. 395.
+
+    X. PORTRAIT OF THE LATE JULES FERRY: wash drawing, March 23rd, p. 435.
+
+   XI. BULLET-PROOF UNIFORM: Tommy Atkins thinks it rather fun, March 30,
+        p. 491.
+
+  XII. MR FREDERICK HARRISON'S "IDEAL NOVELIST," April 20, p. 620.
+
+ XIII. A NEW YEAR'S DREAM, after studying Mr Pennell's "Devils of Notre
+        Dame." Republished in "Early Work." Jan. 4th, 1894, p. 8.
+
+56. MR PARNELL, sketch portrait of the Irish party leader, head and
+    shoulders, three quarters face to left, pencil, half tone reproduction,
+    4-3/4 x 3-1/2 inches.
+
+57. I. THE STUDIO. Design for wrapper in two states, the original
+    design containing a seated figure of Pan, omitted in the later
+    version. First state on brown paper. The same, reduced, in black
+    on green, for prospectus, republished in _The Studio_, May 1898,
+    and again in "Early Work."
+
+    Second state, black on green, also in gold on rough white paper for
+    presentation to Royalty (Nov. 15th, 1893). The same, reduced, and
+    printed in dark green on white, for a prospectus, republished in
+    "Early Work." The same, enlarged and printed in black on light
+    green, for a poster.
+
+    THE STUDIO, NO. I, April 1893, accompanying an article entitled "A New
+    Illustrator: Aubrey Beardsley," by Joseph Pennell, contained:----
+
+   II. Reduced reproduction of the pen-and-ink replica of Jeanne d'Arc
+        procession. Republished as large folding supplement in No. 2.
+
+  III. Siegfried, Act II., from the original drawing in line and wash,
+        signed A.V.B., presented by the artist to Sir Edward Burne-Jones,
+        after whose death it was given back by Lady Burne-Jones, to the
+        artist's mother, Mrs Beardsley. Republished in "Early Work."
+
+   IV. The Birthday of Madame Cigale, line and wash, 15 inches long by
+        9-1/2 inches high, influenced by Japanese models. Reproduced in
+        "Early Work." (Property of Charles Holme, Esq.)
+
+    V. Les Revenants de Musique, line and wash. Reproduced in "Early
+        Work." (Property of Charles Holme, Esq.)
+
+   VI. Salome with the head of St John the Baptist. Upright panel in
+        Chinese ink on white, 10-1/8 by 5-1/8 inches, exclusive of framing
+        lines. This was the first design suggested to the artist by Oscar
+        Wilde's French play of "Salome." It differs from the later version
+        of the same subject in being richer and more complex. It contains
+        the legend, omitted in the later version, _j'ai baise ta bouche
+        Iokanaan, j'ai baise ta bouche_. The treatment is obviously
+        influenced by Japanese work, and also by that of the French
+        Symboliste school, _e.g._ Carlos Schwabe. Republished in "Early
+        Work." Subsequently to its appearance in _The Studio_, the artist
+        experimentally tinted it with green colour washes. In its final
+        state it has not been published. (Formerly the property of Mrs
+        Ernest Leverson, now of Miss K. Doulton.)
+
+  VII. Reduced reproduction of the second version of the Jeanne d'Arc
+        procession. The same appeared, full size, as a folding plate
+        supplement, in No. 2 of _The Studio_, May 1893.
+
+        In the first number of _The Studio_ (April) also were published,
+        by anticipation, four designs from the "Morte Darthur," due to
+        begin its serial appearance in the following June, viz.:--
+
+ VIII. Initial letter I.
+
+   IX. Merlin taketh the child Arthur into his keeping (full page,
+        including border).
+
+    X. Ornamental border for full page.
+
+   XI. Frieze for chapter-heading; six men fighting, on foot, three of
+        them panoplied. Reproduced in _Magazine of Art_, November 1896,
+        "Fifty Drawings," _Idler_, March 1897, and _St Paul's_, April 9th,
+        1898. The original drawing is 13-3/4 inches long by 4-1/2 inches.
+        As may be seen, even in the reduced reproduction, one inch
+        at either end was added by the artist at the request of his
+        publisher, so as to increase the proportionate length of the
+        ornament. Subsequently Mr Frederick H. Evans photographed the
+        drawing, full size, and produced fifteen platinotype copies,
+        of which twelve only were for sale, and the plate destroyed.
+
+58. DESIGN OF DANDELIONS, for publishers' trade mark for Dent & Co.
+
+59. LE MORTE DARTHUR, by Sir Thomas Malory. J. M. Dent & Co. 300 copies on
+    Dutch hand-made paper and 1500 ordinary copies. Issued in Parts,
+    beginning June 1893.
+
+     I. Vol. I., 1893. Frontispiece--"How King Arthur saw the Questing
+         Beast, and thereof had great marvel." Photogravure.
+
+    Full-page illustrations:--
+
+    II. Merlin taketh the child Arthur into his keeping. (Reduced
+         reproduction in _Idler_, May 1898.)
+
+   III. The Lady of the Lake telleth Arthur of the sword Excalibur.
+
+    IV. Merlin and Nimue.
+
+     V. Arthur and the strange mantle.
+
+    VI. How four queens found Launcelot sleeping. (Property of A. E.
+         Gallatin, Esq.)
+
+   VII. Sir Launcelot and the witch Hellawes. (Property of A. E.
+         Gallatin, Esq.)
+
+  VIII. How la Beale Isoud nursed Sir Tristram.
+
+    IX. How Sir Tristram drank the love drink.
+
+     X. How la Beale Isoud wrote to Sir Tristram.
+
+    XI. How King Mark found Sir Tristram sleeping.
+
+   XII. How Morgan le Fay gave a sword to Sir Tristram.
+
+  XIII. Vol. II., 1894. Frontispiece--"The achieving of the Sangreal."
+         Photogravure. (This was the first design executed for the work.)
+
+    Full page and double page illustrations:--
+
+   XIV. How King Mark and Sir Dinadan heard Sir Palomides making great
+         sorrow and mourning for la Beale Isoud (double page).
+
+    XV. La Beale Isoud at Joyous Gard (double page).
+
+   XVI. How Sir Launcelot was known by Dame Elaine (full page).
+
+  XVII. How a devil in woman's likeness would have tempted Sir Bors (double
+         page).
+
+ XVIII. How Queen Guenever rode on maying (double page).
+
+   XIX. How Sir Bedivere cast the sword Excalibur into the water (full
+         page).
+
+    XX. How Queen Guenever made her a nun (full page).
+
+    In the two volumes there are altogether 548 ornaments,
+    chapter-headings, borders, initials, tail-pieces, etc.; but some of
+    them are repetitions of the same design, others reproductions of
+    the same design in two different sizes. (Two of these are in the
+    Victoria and Albert Museum. Eight belong to Pickford Waller, Esq.
+    Others are the property of Hon. Gerald Ponsonby, R. C. Greenleaf,
+    Esq., W. H. Jessop, Esq., M. H. Sands, Esq., Robert Ross, Esq.,
+    and Messrs Carfax & Co.)
+
+   XXI. Chapter-heading, a dragon, with conventional foliage spray
+         branching into marginal ornaments; printed, but not published
+         in the book.
+
+  XXII. Initial letter J with guardian griffins; pen-and-ink, 5-1/2 x 3-1/2
+         inches.
+
+ XXIII. Unfinished border design, first published in "Whistler's Art Dicta
+         and Other Essays" by A. E. Gallatin (Boston, U.S.A., and London,
+         1903). (Property of A. E. Gallatin, Esq.)
+
+  XXIV. Original study, approved by the publisher, for wrappers of serial
+         issue of the "Morte Darthur," yellowish green water-colour on
+         white paper, 10-1/4 x 8-1/4 inches. This design, comprising
+         lilies, differs from that which was finally produced by the
+         artist and published (next item). (Property of Aymer Vallance,
+         Esq.) 1893.
+
+    Design for wrappers of serial issue, in black on grey paper, in
+    two states, the earlier or trial-state, having blank spaces for
+    the lettering, only the title being given as "La Mort Darthure."
+
+   XXV. Design in gold on cream-white cloth cases of the bound volumes.
+
+    Nineteen of the above designs were republished in "A Book of
+    Fifty Drawings," and again in "Later Work," including full-size
+    reproductions of the following, which had suffered through
+    excessive reduction in the published "Morte Darthur."
+
+  XXVI. Merlin (in a circle), facing list of illustrations in Vol. I. The
+         same reproduced in _The Idler_, March 1897.
+
+ XXVII. Vignette of Book I., chapter xiv. Landscape with piper in a meadow
+         and another figure in the sky.
+
+XXVIII. Vignette of Book III., chapter iii. Three swans swimming.
+
+  XXIX. Vignette of Book V., chapter x. Nude woman rising out of the sea,
+         holding in one hand a sword, in the other a rose.
+
+60. PALL MALL MAGAZINE, JUNE 1893.
+
+    I. Of a Neophyte, and how the Black Art was revealed unto him by the
+        Fiend Asomuel. Full-page illustration in pen and ink. Asomuel,
+        meaning insomnia, was a neologism of the artist's own devising,
+        made up of the Greek _alpha_ privative, the Latin _somnus_, and
+        the Hebrew _el_, for termination analogous to that of other
+        spirits' names, such as Gabriel, Raphael, Azrael, etc.,
+        reproduced in "Early Work," July 1893.
+
+   II. The Kiss of Judas. Full-page illustration in pen-and-ink. Reproduced
+        in "Early Work."
+
+61. LA COMEDIE AUX ENFERS, pen and ink, published in "Modern Illustration,"
+    by Joseph Pennell. (G. Bell & Sons, 1895.) Imp. 16mo. 1893.
+
+62. I. EVELINA, by Frances Burney. (Dent & Co., 1894.) Design in outline
+        for title-page.
+
+   II. EVELINA AND HER GUARDIAN, design for illustration, pen and ink and
+        wash, 6-7/8 x 4-7/8 (exclusive of marginal lines), not published.
+
+  III. Another illustration for the same, "Love for Love," a wash drawing,
+        7-1/2 x 5-1/4, unpublished. 1893.
+
+63. VIRGILIUS THE SORCERER. David Nutt, 1893. Frontispiece to the large
+    paper copies only. Reproduced in "Early Work."
+
+64. THE LANDSLIP, frontispiece to "Pastor Sang," being William Wilson's
+    translation of Bjoernson's drama, "Over AEvne." Longmans & Co., 1893.
+    A black and white design, in conscious imitation of Albert Duerer,
+    as the peculiar form of the signature A. B. shows, the only occasion
+    on which the artist employed this device. Reproduced in "Early Work."
+    (Property of Messrs Shirley & Co., Paris.)
+
+65. BON MOTS. 3 VOLUMES. DENT & CO., 1893.
+
+    I. Title-page reproduced in "Later Work."
+
+   II. Figure with fool's bauble, and another small ornament for the cover.
+
+  III. 208 grotesques and other ornaments in the three volumes. Some of
+        these, however, are repeated, and some printed in different sizes.
+        Three of them reproduced in "Later Work." In an article by Max
+        Beerbohm in the _Idler_, May 1898, accompanied by "some drawings
+        that have never before been reproduced," are nine small vignettes
+        of the "Bon Mots" type, of which number three only are explicitly
+        ascribed to "Bon Mots" (A sheet of them belongs to W. H. Jessop,
+        Esq. Nineteen are the property of Pickford Waller, Esq.)
+
+66. FOLLY, intended for "Bon Mots," but not used in the book. The figure
+    is walking along a branch of hawthorn, the left hand upraised, and
+    holding the fool's baton; a flight of butterflies in lower left-hand
+    corner; with drawing 8 x 5-1/4 inches. (Property of Littleton Hay,
+    Esq.)
+
+67. PAGAN PAPERS, a volume of Essays by Kenneth Grahame. Elkin Mathews
+   and John Lane, 1893. Title-page, design for.
+
+68. ADA LUNDBERG, head and shoulders to right, coloured crayons on brown
+    paper. Reproduced in colour in "Later Work." (Property of Julian
+    Sampson, Esq.)
+
+69. KEYHOLES SERIES OF NOVELS AND SHORT STORIES.--(The publication
+    of this series was begun by Messrs Elkin Mathews and John Lane, and
+    afterwards continued by Mr John Lane alone.)
+
+    I. Keynotes by George Egerton, 1893. Title-page design (the same
+        employed for the cloth cover). Ornamental key, embodying the
+        author's monogram, on back of "Contents" page (the same device
+        on the back of the book). This plan was adopted for each volume
+        of the series.
+
+   II. The Dancing Faun, by Florence Farr (the Faun in the design has
+        the eyeglass and features of J. McNeill Whistler).
+
+  III. Poor Folk. Translated from the Russian of F. Dostoievsky, by Lena
+        Milman.
+
+   IV. A Child of the Age, by Francis Adams.
+
+    V. The Great God Pan and the Inmost Light, by Arthur Machen, also
+        unfinished sketch in pencil upon the back of the finished design.
+
+   VI. Discords, by George Egerton.
+
+  VII. Prince Zaleski, by M. P. Shiel.
+
+ VIII. The Woman who Did, by Grant Allen.
+
+   IX. Women's Tragedies, by H. D. Lowry, 1895.
+
+    X. Grey Roses, by Henry Harland.
+
+   XI. At the First Corner, and other Stories, by H. B. Marriott Watson.
+
+  XII. Monochromes, by Ella D'Arcy.
+
+ XIII. At the Relton Arms, by Evelyn Sharp.
+
+  XIV. The Girl from the Farm, by Gertrude Dix.
+
+   XV. The Mirror of Music, by Stanley V. Makower.
+
+  XVI. Yellow and White, by W. Carlton Dawe.
+
+ XVII. The Mountain Lovers, by Fiona Macleod.
+
+XVIII. The Woman who Didn't, by Victoria Crosse.
+
+  XIX. Nobody's Fault, by Netta Syrett.
+
+   XX. The Three Impostors, by Arthur Machen.
+
+  XXI. The British Barbarians, a hill-top novel, by Grant Allen.
+
+ XXII. Platonic Affections, by John Smith.
+
+        Design for wrapper of "Keynotes" series, John Lane, 1896.
+
+        (With the exception of No. 2 all the above Keynotes designs are
+        the property of John Lane, Esq.)
+
+70. THE BARBAROUS BRITISHERS, a tip-top novel, by H. D. Traill. Title-page
+    design (the same employed for the cloth cover), comprising a portrait
+    of Miss Ada Lundberg, the whole being a parody of the design for
+    "The British Barbarians," _vide supra_. John Lane, 1896. (Property
+    of John Lane, Esq.) Reproduced in "Early Work."
+
+71. THREE HEADPIECES, two of which appeared in _St Paul's_, April 2nd,
+    1898, the other in the same paper, April 9th, 1898. All three
+    republished in "Early Work." (Property of Henry Reichardt, Esq.)
+    1893-4.
+
+72. WOMEN REGARDING A DEAD MOUSE. Three-quarter figure in leaden grey.
+    Unfinished painting in oils, the only experiment the artist ever made
+    in this medium; influenced by Walter Sickert. _c._ 1894.
+
+73. MENU OF THE TENTH ANNUAL DINNER OF THE PLAYGOERS' CLUB IN LONDON. Two
+    drawings, one of them only reproduced in "Early Work." January 28th,
+    1894.
+
+74. LUCIAN'S TRUE HISTORY. Laurence & Sullen, privately printed, 1894.
+    Black and white illustrations to
+
+    I. A Snare of Vintage. Reproduced in "Later Work."
+
+    Another drawing of the same subject and title, but different
+    rendering, 6 x 4-1/2 inches, was inserted loose in large paper
+    copies only; not noted in "Contents" page of the book.
+
+   II. Dreams. Reproduced in "Later Work." This drawing was executed
+        obviously at the same period as "Siegfried" and "The Achieving
+        of the Sangreal."
+
+  III., IV. Two more drawings, intended for the same work, but not included
+        in it. Twenty copies of each were printed privately. One of them
+        is unpublished; of the other, the upper portion was published
+        in "Later Work." These illustrations were the earliest of the
+        Artist's designs not intended for public circulation.
+
+    LUCIAN'S TRUE HISTORY, translated by Francis Hickes, illustrated by
+    William Strang, J. B. Clark, and Aubrey Beardsley, with an
+    Introduction by Charles Whibley, was published by A. H. Bullen.
+    London, 1902.
+
+75. QUILP'S BARON VERDIGRIS. Black and white. Designed for Messrs Henry
+    & Co. First published in "Second Book" and again in "Later Work."
+    1894.
+
+76. POSTER FOR "THE COMEDY OF SIGHS," by Dr John Todhunter, at the Avenue
+    Theatre, March 29th, 1894. Three-quarter length figure of woman in
+    deep blue, standing behind a gauze curtain with light green round
+    spots powdered over it, 28-3/4 x 4-3/4 inches. The same has since
+    been printed, the original size, in black and white. The same reduced,
+    and printed in blue on light green paper for the programme sold in
+    the theatre: also printed in black on toned paper for the programme
+    of Mr G. Bernard Shaw's play, "Arms and the Man," April 21st, 1894.
+    Also still further reduced, in black on pale mauve-pink paper for
+    the wrapper of Mr W. B. Yeats's play, "The Land of Hearts' Desire."
+    Reproduced in _Idler_ magazine, March 1897; again in "Fifty Drawings,"
+    also in "Later Work." This was Aubrey Beardsley's first poster design.
+    1894.
+
+77. POSTER FOR MR FISHER UNWIN'S "PSEUDONYM LIBRARY." Female figure in
+    salmon-pink dress standing on the opposite side of the road to a
+    second-hand book-store. The scheme of colouring--salmon-pink, orange,
+    green, and black--was suggested to Aubrey Beardsley by a French
+    poster. 29-1/2 x 13 inches.
+
+    The same reduced, in colours, to form an advertisement slip for
+    insertion in books and magazines.
+
+    The same reduced, printed in black, 6 copies only, on Japanese
+    vellum. Reproduced in "Fifty Drawings" and "Later Work." Also used
+    as cover-design for the "Dream and the Business," by John Oliver
+    Hobbes.
+
+    Similar motif, black and white drawing; exhibited at the New English
+    Art Club Exhibition at the New Gallery. (Property of T. Fisher Unwin,
+    Esq.)
+
+78. POSTER FOR MR FISHER UNWIN'S CHILDREN'S BOOKS. Woman reading while
+    seated in a groaning-chair; black purple. Reproduced in black in
+    "Fifty Drawings" and "Later Work."
+
+79. Poster Design. A lady and large sunflower, scheme of colouring purple
+    and yellow. Unpublished. Purchased by Mr Fisher Unwin and destroyed
+    accidentally in New York.
+
+80. SKETCH PORTRAIT OF THE ARTIST, head and shoulders, three-quarter face
+    to left; in imaginary costume with V-shaped opening to his coat and
+    high-shouldered sleeves; in charcoal. First published in _The Sketch_,
+    April 14th, 1894, again in "Early Work."
+
+81. SKETCH PORTRAIT OF HENRY HARLAND, head and shoulders, three-quarter
+    face to right, in charcoal. First published in _The Sketch_, April
+    11th, 1894, again in "Early Work." (Property of John Lane, Esq.)
+
+82. PORTRAIT OF JAMES M'NEILL WHISTLER. (Property of Walter Sickert, Esq.)
+
+83. THE FAT WOMAN (a caricature of Mrs Whistler). First published in
+    _To-Day_, May 12th, 1894, afterwards republished in "Fifty Drawings"
+    and "Later Work"; also in _Le Courrier Francais_, November 11th,
+    1894, with the title "_Une Femme bien Nourrie_." (Formerly the
+    property of the late Mrs Cyril Martineau (Miss K. Savile Clarke)).
+
+84. WAITING, a haggard, expectant woman, wearing V-necked bodice and large
+    black hat, seated in a restaurant, with a half-emptied wine-glass on
+    a small round table before her; black-ink drawing, 7-3/8 x 3-1/2
+    inches, unpublished. (Property of Pickford Waller, Esq.)
+
+85. MASKED PIERROT AND FEMALE FIGURE, water and gondolas in background,
+    small square in black and white, published in _To-Day_, May 12th, 1894.
+
+86. SALOME, A tragedy in one act. Translated by Lord Alfred Douglas from
+    the French of Oscar Wilde. Elkin Mathews and John Lane, 1894.
+    Pictured with the following designs by Aubrey Beardsley:----
+
+    I. The woman (or man) in the moon (Frontispiece).
+
+        Border Design for Title-page (two states, the first cancelled).
+        (Property of John Lane, Esq.)
+
+        Border Design for List of Pictures. (Property of John Lane, Esq.)
+
+   II. The Peacock Skirt. (Property of John Lane, Esq.)
+
+  III. The Black Cape. A burlesque, substituted for a drawing of John
+        and Salome, which was printed but withheld, and subsequently
+        published in "Early Work." (Property of John Lane, Esq.)
+
+   IV. A Platonic Lament. (Property of John Lane, Esq.)
+
+    V. Enter Herodias (two states, the first cancelled). (The drawing
+        in its original state the property of Herbert J. Pollit Esq.)
+        A proof of this drawing in its first state, now the property of
+        Frank Harris, Esq., is inscribed by the artist on the left-hand
+        top corner:
+
+            "Because one figure was undressed
+            This little drawing was suppressed.
+            It was unkind, but never mind,
+            Perhaps it all was for the best."
+
+   VI. The Eyes of Herod. (Note one of Herod's white peacocks.) (Property
+        of John Lane, Esq.)
+
+  VII. The Stomach Dance. (The author makes Salome dance, barefooted, the
+        Dance of the Seven Veils.) (Property of John Lane, Esq.)
+
+ VIII. The Toilette of Salome. Substituted for a former drawing of the
+        same subject, printed in two states but withheld, the second state
+        subsequently published in "Early Work" (Property of Robert Ross,
+        Esq.)
+
+   IX. The Dancer's Reward. (Property of John Lane, Esq.)
+
+    X. The Climax. This is a revised and simpler version of the design
+        which had appeared in the first number of _The Studio_.
+
+        Tailpiece. The corpse of Salome being coffined in a puff-powder
+        box. (Property of John Lane, Esq.)
+
+        NOS. I., IV., V., AND VI. of the above contain caricatures of
+        Oscar Wilde.
+
+   XI. Small design, printed in gold on cloth, front cover of "Salome";
+        another, consisting of an elaboration of the artist's device,
+        for the under side of cover.
+
+  XII. Study of a design of peacock feathers for cover of "Salome," not
+        used at the time, but subsequently reproduced for the first time
+        in facsimile in "Early Work," and again as an illustration
+        following the title-page in reissue of "Salome" (John Lane, 1907);
+        also in gold on light green cloth for ornament of the binding,
+        and in olive green on orange-red for the paper cap. Also in gold
+        on blue cloth for binding of "Under the Hill," 1904. (Property of
+        John Lane, Esq.) This (1907) edition, moreover, contains the two
+        illustrations suppressed in the original edition, viz., "John and
+        Salome" (Property of John Lane, Esq.), now placed in order as
+        No. 8, and "The Toilet of Salome, II.," now placed as No. 13
+        (Property of John Lane, Esq.) and an original title-page.
+
+ XIII. The Salome drawings were reproduced the actual size of the
+        originals, and published in a portfolio. In this was included a
+        design of Salome seated upon a settee. Described in "Early Work"
+        as "Maitresse d'Orchestre." (John Lane, 1907.)
+
+87. DANCER, WITH DOMINO. (The property of His Honour Judge Evans.)
+
+88. PLAYS, BY JOHN DAVIDSON. Elkin Mathews and John Lane, 1894. Design on
+    frontispiece to, containing portrait caricatures of Sir Augustus
+    Harris, and Oscar Wilde and Henry Harland, black and white; the same
+    design in gold on the cloth cover. Reproduced in "Early Work," and
+    again, with Aubrey Beardsley's letter to the _Daily Chronicle_ on
+    the subject, in "Under the Hill," 1904. (Property of John Lane, Esq.)
+
+        Design for Title-Page of the above-named. Black and white;
+        reproduced in "Early Work."
+
+89. THE YELLOW BOOK, 1894 AND 1895.
+
+    I. Design for prospectus of the "Yellow Book": a woman examining books
+        in a box at a bookstall: black on yellow paper. Elkin Mathews
+        and John Lane, 1894. (Property of John Lane, Esq.)
+
+    Vol. I., April 1894. Elkin Mathews and John Lane.
+
+   II. Design on front side of yellow cover. (Property of John Lane, Esq.)
+
+  III. Design on under side of cover; the same repeated in the later
+        volumes. (Property of John Lane, Esq.)
+
+   IV. Design on title-page: a woman playing a piano in a meadow.
+        Reproduced, with Aubrey Beardsley's letter on the subject, to the
+        _Pall Mall Budget_, in "Under the Hill" (1904). (Property of John
+        Lane, Esq.)
+
+    V. L'Education Sentimentale: in line and wash.
+
+   VI. Night Piece.
+
+  VII. Portrait of Mrs Patrick Campbell in profile, to left in outline.
+        Formerly in possession of Oscar Wilde, now in National Gallery
+        at Berlin.
+
+ VIII. Bookplate (designed in 1893) for John Lumsden Propert, Esq.
+
+    Vol. II., July 1894. Elkin Mathews and John Lane.
+
+   IX. Design on front side of cover. (Property of John Lane, Esq.)
+
+    X. Design on title-page.
+
+   XI. The Comedy-Ballet of Marionettes. Three designs.
+
+  XII. Garcons de Cafe. (Property of A. W. King, Esq.)
+
+ XIII. The Slippers of Cinderella. The artist subsequently coloured the
+        original with scarlet and green, in which state it is unpublished.
+        (Property of Brandon Thomas, Esq.)
+
+  XIV. Portrait of Madame Rejane, full-length profile to left, in outline.
+        (Property of Frederick H. Evans, Esq.)
+
+    Volume III., October 1894. John Lane.
+
+   XV. Design on front side of cover. (Property of John Lane, Esq.)
+
+  XVI. Design on title-page.
+
+ XVII. Portrait of Mantegna. Published, for a practical joke, in the name
+        of Philip Broughton. (Property of G. Bernard Shaw, Esq.)
+
+XVIII. Portrait of the artist; fancy portrait of himself in bed. (Property
+        of John Lane, Esq.)
+
+  XIX. Lady Gold's Escort. (Property of Brandon Thomas, Esq.)
+
+   XX. The Wagnerites at the performance of "Tristan und Isolde."
+        Reproduced, on large scale, in _Le Courrier Francais_, December
+        23rd, 1894, with the title "Wagneriens et Wagneriennes."
+
+  XXI. La Dame aux Camelias. Reprinted in _St Paul's_, April 2nd, 1894,
+        with the title "Girl at her Toilet." (Formerly the property of
+        the late Miss K. Savile Clarke [Mrs Cyril Martineau].)
+
+ XXII. From a pastel; half-length study of a woman in white cap, facing
+        to left. (Published, for a practical joke, in the name of Albert
+        Foschter.)
+
+    Volume IV., January 1895. John Lane.
+
+XXIII. Design, on front side of cover.
+
+ XXIV. Design on title-page.
+
+  XXV. The Mysterious Rose Garden, burlesque Annunciation. (Property of
+        John Lane, Esq.)
+
+ XXVI. The Repentance of Mrs ----. (The kneeling figure is a reminiscence
+        of the principal one in "The Litany of Mary Magdalen.")
+
+XXVII. Portrait of Miss Winifred Emery (outline). (Property of Mrs Cyril
+        Maude.)
+
+XXVIII. Frontispiece for Juvenal. Double-page supplement.
+
+ XXIX. Design for "Yellow Book" Cover, not used. First published in "Early
+        Work." (Property of John Lane, Esq.)
+
+  XXX. Show-card to advertise "The Yellow Book"; female figure standing,
+        her hat hanging from her right hand, and daffodils growing
+        at her feet. Dark green on light yellow paper. Reproduced in
+        black-and-white in "Early Work." (The property of John Lane, Esq.)
+
+90. PORTRAIT OF REJANE wearing a broad-brimmed hat with dark bow in front,
+    head and shoulders, full face slightly to left, wash drawing.
+    Reproduced by Swan Electric Engraving Company for the "Yellow Book,"
+    but not used. Unpublished.
+
+91. REJANE, black-and-white design of the actress standing, half length,
+    fan in hand, against a white curtain with conspicuous tassel. First
+    published in "Second Book," and again, in a reduced state, as
+    "Title-page ornament, hitherto unpublished" in "Early Work." 1893-4.
+
+92. MADAME REJANE, full-length portrait sketch, ink and wash. First
+    published in "Second Book," again in "Later Work."
+
+93. MADAME REJANE, profile to left; sitting, legs extended, on a sofa,
+    ink and wash. First published in "Pen Drawing and Pen Draughtsmen,"
+    by Joseph Pennell (Macmillan, 1894), again in "Fifty Drawings," and
+    in the _Idler_ Magazine, March 1897.
+
+94. REJANE, portrait head in profile to left, in red crayon and black ink,
+    7-1/2 x 6 inches. First published in facsimile in _The Studio_, May
+    1898, again in "Later Work." (Property of Frederick H. Evans, Esq.)
+    1894.
+
+95. A POSTER DESIGN. Back view of a woman, her face in profile to right,
+    holding a pigmy in her right hand. First published in "Early Work."
+    (Property of John Lane, Esq.)
+
+96. A POSTER DESIGN (Singer). Woman seated at a piano. First reproduced in
+    _The Poster_, October 1898, again in "Second Book" and in "Later Work."
+
+97. LADY TO RIGHT GAZING AT A HAT ON A MILLINER'S BONNET STAND, headpiece
+    for the "Idlers' Club" section in the _Idler_ Magazine, 1894.
+
+98. PIERROT AND BLACK CAT, small square in black-and-white for a book
+    ornament.
+
+99. HEAD AND SHOULDERS OF A CHINESE PRIEST, together with the Head of a
+    Satyr. 25 copies only printed on folio sheet, and 10 copies only in
+    red. It is not known for what they were intended. Published by James
+    Tregaskis, Caxton Head.
+
+100. LES PASSADES, night scene, in pen-and-ink with ink wash, 10 x 5
+    inches. First published in _To-Day_, November 17, 1894, again in the
+    _Idler_ Magazine, March 1897.
+
+101. VENUS BETWEEN TERMINAL GODS. Frontispiece for a version of the
+    Tannhaeuser legend, to be published by Messrs H. Henry & Co. Ltd.,
+    a project never completed. Design in black-and-white, showing,
+    especially in the treatment of flying dove and of the background
+    of rose-trellis, the influence of Charles Ricketts or Laurence
+    Housman. Reproduced in "Second Book," and again in "Later Work."
+    _Circa_ 1894-5.
+
+102. FRONTISPIECE AND TITLE-PAGE, together forming one complete design, for
+    "The Story of Venus and Tannhaeuser," to be published by John Lane,
+    but never completed. (_Cf._ "Under the Hill" in _The Savoy_, 1896.)
+    Reproduced in "Early Work." Dated 1895. (Property of John Lane, Esq.)
+
+103. THE RETURN OF TANNHAeUSER TO VENUSBERG. A design originally intended
+    for the above-named book. Subsequently presented by the artist to
+    J. M. Dent, Esq. First published, in illustration of an article by
+    Max Beerbohm, in the _Idler_ Magazine for May 1898, and again, in
+    larger format and, as the initials in left hand corner show, reversed,
+    in "Second Book" and again in "Later Work." The _Idler_ version has
+    a slight effect of half-tone in the brambles in the foreground, but
+    the "Later Work" reproduction is pure black-and-white contrast.
+
+104. VENUS. Design for title-page, in black-and-white. First published in
+    _The Studio_, 1898, and afterwards in "Early Work," March 2, 1899,
+    where it is described as "hitherto unpublished." (The property of
+    John Lane, Esq.)
+
+105. DESIGN FOR COVER OF "THE CAMBRIDGE A, B, C." Reproduced in "Early
+    Work."
+
+106. PIERROT AS CADDIE, Golf Club Card, designed for the opening of The
+    Prince's Ladies' Golf Club, Mitcham, pen-and-ink. Published in "Early
+    Work." (Formerly the property of Mrs Falconer-Stuart, now of R.
+    Hippesley Cox, Esq.) Dated 1894.
+
+107. A POSTER DESIGN; two female figures drawn in black-and-white for Mr
+    William Heinemann. Reproduced in "Early Work."
+
+108. THE LONDON GARLAND, published by the Society of Illustrators, 1895.
+    A pen-and-ink drawing of a female in very elaborated dress reaching
+    from her neck to the ground, intended to represent a ballet-dancer
+    with a costume as prescribed by Mrs Grundy. The original drawing,
+    unfinished, contains another figure, not reproduced, on the left.
+    The original title for this drawing was "At a Distance." Reproduced
+    in "Second Book." (Property of Joseph Pennell, Esq.)
+
+109. AUTUMN. Design in black-and-white for a calendar to be published by
+    William Heinemann. Reproduced in "Early Work."
+
+110. TALES OF MYSTERY AND WONDER, by Edgar Allen Poe (Stone & Kimball,
+    Chicago, U.S.A., 1895); four designs in pen-and-ink for large paper
+    edition of----
+
+    I. The Murders in the Rue Morgue.
+
+   II. The Black Cat.
+
+  III. The Masque of the Red Death. First published in the "Chap Book"
+        (Chicago), Aug. 15, 1894, again in same, April 1, 1898.
+
+   IV. The Fall of the House of Usher.
+
+111. OUTLINE PORTRAIT OF THE ARTIST in profile to left; in imaginary
+    costume, with a lace ruff to the neck, and earrings in the ears.
+    Published in "Posters in Miniature," and again in "Early Work."
+    A half-tone block from variant of the same, the earring as well as
+    the button on lappel and waist of coat more pronounced, was published
+    in _The Hour_, March 27, 1895, and reproduced in _Magazine of Art_,
+    November 1896.
+
+112. A CHILD STANDING BY ITS MOTHER'S BED, black-and-white, chiefly
+    outline. First published in _The Sketch_, April 10, 1895. Reproduced
+    in "Early Work." Formerly in the possession of Max Beerbohm, Esq.,
+    but since lost.
+
+113. THE SCARLET PASTORALE, pen-and-ink. First published in _The Sketch_,
+    April 10, 1895. Also printed in scarlet on white. Reproduced in
+    "Fifty Drawings."
+
+114. PORTRAIT OF MISS ETHEL DEVEREUX, pencil drawing. (Property of Mrs
+    Roy Devereux.) _Circa_ 1895.
+
+115. DESIGN FOR AN INVITATION CARD, ink outline; seated Pierrot smoking,
+    a copy of the "Yellow Book," Vol. IV., on the couch at his side.
+    Drawn for Mr John Lane's Sette of Odd Volumes Smoke. Reproduced
+    in _The Studio_, September 1895. (Property of John Lane, Esq.)
+
+116. THREE DECORATIVE DESIGNS from the brown paper cover of Aubrey
+    Beardsley's own copy of "Tristan und Isolde." Two reproduced in
+    "Later Work." (Property of Frederick H. Evans, Esq.)
+
+117. MAX ALVARY AS "TRISTAN" in Wagner's opera "Tristan und Isolde,"
+    half-length profile to left, pen-and-ink and wash with unusual
+    monogram signature. 10 x 5-1/2 inches. First published in "Aubrey
+    Beardsley's Drawings, a catalogue and a list of criticisms," by
+    A. E. Gallatin (New York, 1903). (Formerly the property of Rev.
+    G. H. Palmer, now of A. E. Gallatin, Esq.)
+
+118. FRAU KLAFSKY AS "ISOLDE" in above-named opera, pen-and-ink and pale
+    green water-colour, 13 x 4-3/4 inches. First published in the _Critic_
+    (New York), December, 1902. (Formerly the property of Rev. G. H.
+    Palmer, now of A. E. Gallatin, Esq.)
+
+119. ISOLDE; autolithograph in scarlet, grey, green, and black on white;
+    supplement to _The Studio_, October 1895.
+
+120. WOMAN RECLINING IN A MEADOW BY THE BORDER OF A LAKE, LISTENING TO A
+    FAUN READING OUT OF A BOOK TO HER. Oblong design in ink on white; a
+    variant of the design for wrapper of Leonard Smithers' Catalogue,
+    No. 3. First published in _The Studio_, May 1898, again in "Early
+    Work," where it is described as "hitherto unpublished." (Property
+    of John Lane, Esq.) 1895.
+
+121. DESIGN FOR WRAPPER OF "CATALOGUE OF RARE BOOKS," NO. 3. (Leonard
+    Smithers, September 1895.) The same figures as in the last-named,
+    but the landscape has an urn and additional trees to adapt the
+    design to upright shape. Black on pale blue-green paper.
+
+122. CHOPIN BALLADE III., illustration for. Woman rider, mounted on a
+    prancing white horse to left. Wash drawing. First published in _The
+    Studio_, May 1898, in half tones of grey, with deep purplish black;
+    again in "Second Book." (Property of Charles Holme, Esq.) 1895.
+
+123. CHOPIN'S NOCTURNES, frontispiece to. Pen-and-ink and wash. First
+    published in "Early Work." (Property of John Lane, Esq.)
+
+124. EARL LAVENDER, by John Davidson (Ward & Downey, 1895), design for
+    frontispiece to. Woman scourging a kneeling, barebacked figure.
+    Pen-and-ink outline. Reproduced in "Early Work." (Property of John
+    Lane, Esq.)
+
+125. YOUNG OFEG'S DITTIES, by George Egerton (John Lane, 1895), title-page
+    and cover design for.
+
+126. MESSALINA, with another woman on her left, black-and-white, with black
+    background. First published in "Second Book," again in "Early Work,"
+    where it is described as "hitherto unpublished." 1895.
+
+127. TITLE-PAGE ORNAMENT, standing nude figure playing double-bass, black
+    background. First published in "Early Work."
+
+128. PORTRAIT OF MISS LETTY LIND in "The Artist's Model." Pen-and-ink
+    outline. Published in "Early Work." (Property of Miss Letty Lind.)
+
+129. ATALANTA IN CALYDON, full-length figure to right; pen-and-ink and
+    wash. First published in "Early Work." (Property of John Lane, Esq.)
+
+130. COVER DESIGN FOR FAIRY TALES by Count Hamilton, to be published
+    by Messrs H. Henry & Co., Ltd.
+
+131. BALZAC'S "LA COMEDIE HUMAINE," design (head, full face) for front side
+    and another for the reverse of cover. Reproduced in "Later Work."
+
+132. THE BROOK TRILLS OF PERNICIOUS BY RICHARD LE PHILISTIENNE, title-page
+    to burlesque, that of "The Book Bills of Narcissus," by Richard le
+    Gallienne. Unpublished. (Property of J. M. Dent, Esq.)
+
+133. A SELF-PORTRAIT, grotesque outline profile to left, with diminutive
+    silk hat, from the fly-leaf of an envelope in the possession of
+    J. M. Dent, Esq. Unpublished.
+
+134. THE SHAVING OF SHAGPAT, by George Meredith, small sketch to
+    illustrate, in pen-and-ink, contained in a letter to Frederick
+    H. Evans, Esq. Unpublished.
+
+135. AN EVIL MOTHERHOOD, by Walt Ruding (Elkin Mathews, 1896), frontispiece
+    to. Pen-and-ink. Reproduced in "Early Work."
+
+136. CAFE NOIR. Another design for the frontispiece of the last-named book,
+    pen-and-ink and wash; bound up in six review copies only, and then
+    recalled. Reproduced in "Early Work." (Property of M. Jean Ruelle.)
+
+137. TITLE-PAGE, an architectonic design. First published as the title of
+    "Early Work" (John Lane, 1899). (Property of John Lane, Esq.)
+
+138. ORNAMENTAL TITLE-PAGE FOR "THE PARADE." Messrs H. Henry & Co., Ltd.,
+    1896. Reproduced in "Later Work."
+
+139. TAIL-PIECE to Catalogue of Lord Carnarvon's Library, 1896.
+
+140. SAPPHO, by H. T. Wharton. (John Lane, 1896.) Design for cover in gold
+    on blue. Reproduced in "Early Work." (Property of John Lane, Esq.)
+
+141. PIERROT'S LIBRARY. (John Lane, 1896.) Design for title-page of, two
+    designs for end papers, printed in olive green; design for front
+    cover and vignette for reserve cover, printed in gold on red cloth.
+    Reproduced in "Early Work." (Property of John Lane, Esq.)
+
+142. LOVE ENSHRINED IN A HEART IN THE SHAPE OF A MIRROR, pen-and-ink.
+    First published in "Aubrey Beardsley" by Arthur Symons. (Sign of the
+    Unicorn, 1898.) (Property of Andre Raffalovich, Esq.)
+
+143. THE LYSISTRATA OF ARISTOPHANES. (Leonard Smithers, privately
+    printed, 1896.) Eight pen-and-ink designs to illustrate----
+
+    I. Lysistrata.
+   II. The Toilet of Lampito.
+  III. Lysistrata haranguing the Athenian Women.
+   IV. Lysistrata defending the Acropolis.
+    V. Two Athenian Women in Distress.
+   VI. Cinesias soliciting Myrrhina.
+  VII. The Examination of the Herald.
+ VIII. The Lacedemonian Ambassadors.
+
+        An expurgated version of No. 3 was published in "Second Book,"
+        and was repeated together with expurgated versions or fragments
+        from the remainder of the set in "Later Work."
+
+144. THE RAPE OF THE LOCK, by Alexander Pope. An heroi-comical poem in five
+    cantos, "embroidered with nine drawings by Aubrey Beardsley," 4to.
+    Leonard Smithers, 1896. Now published by John Lane. (Property of
+    Messrs Keppel, New York.)
+
+    I. The Dream.
+
+   II. The Billet-Doux (vignette). Reproduced in _St Paul's_, April 2,
+        1898. (Property of Mrs Edmund Davis.)
+
+  III. The Toilet.
+
+   IV. The Baron's Prayer.
+
+    V. The Barge.
+
+   VI. The Rape of the Lock. (The property of Messrs Keppel, New York.)
+
+  VII. The Cave of Spleen.
+
+ VIII. The Battle of the Beaux and the Belles. Reproduced in the _Idler_,
+        March 1897.
+
+   IX. The New Star (cul-de-lampe).
+
+        Cover design for the original edition.
+
+        Cover design for the Bijou edition. (John Lane.) Reproduced in
+        "Later Work."
+
+145. DESIGN FOR WRAPPER OF CATALOGUE OF RARE BOOKS, No. 7. (Leonard
+    Smithers, 1896.) A lady seated on a striped settee reading; a parrot
+    on stand on the right. Black on leaden-grey paper. Reproduced in
+    "Second Book," 1896, and "Later Work."
+
+146. THE PROSPECTUS OF THE SAVOY. DESIGN FOR.
+
+      I. A burlesque Cupid on a stage with footlights, one hand holding a
+          copy of the book, whence it appears that the original intention
+          was to produce the first number in December 1895. Reproduced
+          in "Later Work." Latter part of 1895. (Property of John Lane,
+          Esq.)
+
+     II. A suppressed variant of the above, same motif reversed, only with
+          John Bull substituted for the Cupid. Reproduced in "Later Work."
+
+    III. Initial letter A in the above Prospectus. Reproduced in "Later
+          Work."
+
+     IV. Publisher's Trade-mark for Leonard Smithers. First published in
+          "Savoy" Prospectus. The same, name omitted, appears in "Later
+          Work" with the title of "Siegfried," 1895.
+
+    THE SAVOY, No. 1, January 1896. (Leonard Smithers.)
+
+      V. Cover design, in two states. The original was suppressed because
+          it depicted too realistically the contempt of the child in the
+          foreground for the "Yellow Book," with which the artist had
+          recently ceased to be connected. The revised version was
+          republished in "Fifty Drawings," and again in "Later Work."
+          (Property of Mrs George Bealby Wright.)
+
+     VI. Title-page. Repeated as title-page in No. 2, and republished in
+          "Later Work."
+
+    VII. Drawing to face Contents. Caricature of John Bull. Republished
+          in "Later Work."
+
+   VIII. The Three Musicians. Illustration of the artist's poem, same
+          title. Republished in "Fifty Drawings" and "Later Work."
+
+     IX. Another drawing to illustrate the above, but withheld.
+          It appeared for the first time in "A Book of Fifty Drawings,"
+          1897. Republished in "Later Work" and "Under the Hill."
+
+      X. Tailpiece to the above. Republished in "Later Work" and "Under
+          the Hill."
+
+     XI. The Bathers (on Dieppe Beach). Republished in "Fifty Drawings"
+          and "Later Work."
+
+    XII. The Moska. This subject was inspired by the children's dance at
+          the Casino, Dieppe. Republished in the _Idler_ Magazine, March
+          1897, and again in "Later Work." (Property of Mrs Edmund Davis.)
+
+   XIII. The Abbe. This and the two designs which follow appeared as
+          illustrations to "Under the Hill," a romantic novel, by Aubrey
+          Beardsley. Republished in "Later Work." All the illustrations
+          of "Under the Hill" reissued with text in a volume bearing same
+          title. John Lane, 1904.
+
+    XIV. The Toilet of Helen. Republished in "Fifty Drawings" and "Later
+          Work."
+
+     XV. The Fruit Bearers. Republished in "Later Work."
+
+    XVI. A large Christmas Card, in black-and-white. Madonna, with
+          fur-edged, richly-flowered mantle. Issued together with, but
+          not bound in, the book. Republished in "Fifty Drawings" and
+          "Later Work."
+
+    THE SAVOY. No. 2. April 1896.
+
+   XVII. Cover Design. Republished in "Later Work."
+
+  XVIII. A Foot-note. (Fancy portrait of the artist.) Republished, with
+          omissions, in "Later Work." Also adapted in gold on scarlet for
+          cloth cover of "Second Book."
+
+    XIX. The Ecstasy of Saint Rose of Lima. Illustration of "Under the
+          Hill." Republished in "Fifty Drawings" and "Later Work."
+
+     XX. The Third Tableau of "Das Rheingold." Republished in "Fifty
+          Drawings" and "Later Work."
+
+          Scene reproduced from "The Rape of the Lock."
+
+    THE SAVOY. No. 3. July 1896.
+
+    XXI. Cover Design. Republished in "Later Work."
+
+   XXII. Title-page. Puck on Pegasus. Repeated for the title of all the
+          succeeding numbers. Republished in "Later Work." Also, reduced,
+          as design for title-page of "Fifty Drawings," and in gold on
+          scarlet for the under side of cloth cover of same.
+
+  XXIII. The Coiffing. This and the following design accompanied Aubrey
+          Beardsley's "Ballad of a Barber." The Coiffing was republished
+          in the _Idler_ Magazine, March 1897, and in "Fifty Drawings"
+          and "Later Work." (Property of Messrs Obach & Co.)
+
+   XXIV. A Cul-de-Lampe. Cupid carrying a gibbet. Republished in "Later
+          Work."
+
+    THE SAVOY. No. 4. August 1896.
+
+    XXV. Cover Design. Republished in "Later Work."
+
+    THE SAVOY. No. 5. September 1896.
+
+   XXVI. Cover Design. (Signed, for a practical joke, Giulio Floriani.)
+          Republished in "Fifty Drawings" and "Later Work."
+
+  XXVII. The Woman in White. A sketch in white on brown paper. Republished
+          in "Fifty Drawings" and "Later Work."
+
+    THE SAVOY. No. 6. October 1896.
+
+  XXVIII. Cover Design; the Fourth Tableau of "Das Rheingold." Republished
+          in "Fifty Drawings" and "Later Work."
+
+   XXIX. The Death of Pierrot. A pen-and-ink sketch. Reproduced in "Later
+          Work." (Property of Messrs Obach & Co.)
+
+    THE SAVOY. No. 7. November 1896.
+
+    XXX. Cover Design. Republished in "Later Work."
+
+   XXXI. Ave atque Vale; Catullus, Carmen C.I. Republished in "Fifty
+          Drawings" and "Later Work."
+
+  XXXII. Tristan und Isolde. Republished in "Later Work."
+
+    THE SAVOY. No. 8 (the last issued). December 1896.
+
+ XXXIII. Cover Design. Republished in "Later Work." The same adapted, with
+          the addition of heavy black bands, and is printed in green and
+          scarlet, for small poster to advertise the completed work.
+
+  XXXIV. A Repetition of "Tristan und Isolde." Republished in "Later Work."
+
+   XXXV. Don Juan, Sganarelle and the Beggar; from Moliere's "Don Juan."
+          Republished in "Later Work."
+
+  XXXVI. Mrs Margery Pinchwife, from William Wycherley's "Country Wife."
+          Republished in "Later Work."
+
+ XXXVII. Frontispiece to "The Comedy of the Rheingold." Republished in
+         "Later Work."
+
+XXXVIII. Flosshilde, a Rhine Maiden; to illustrate "Das Rheingold."
+        Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)
+
+  XXXIX. Erda; to illustrate "Das Rheingold." Republished in "Later Work."
+
+     XL. Alberich; to illustrate "Das Rheingold." Republished in "Later
+          Work." (Property of Herbert J. Pollit, Esq.)
+
+    XLI. Felix Mendelssohn Bartholdy. Republished in "Later Work."
+          (Property of Herbert J. Pollit, Esq.)
+
+   XLII. Carl Maria von Weber. Republished in "Later Work."
+
+  XLIII. Count Valmont, from "Les Liaisons Dangereuses," by Choderlos de
+          Laclos. Republished in "Later Work."
+
+   XLIV. Et in Arcadia Ego. Republished in "Later Work."
+
+    XLV. Small ornament for the cover of bound volumes of "The Savoy."
+
+   XLVI. SKETCH OF A CHILD (young girl), unfinished, in pencil, on
+          the reverse of "A Foot-note." First published in "Early Work."
+          (Property of Frederick H. Evans, Esq.)
+
+147. A SEATED FIGURE. Unpublished design for the Savoy, occurring as a
+    grotesque in "Bon Mots." (Property of G. D. Hobson, Esq.)
+
+148. VERSES, BY ERNEST DOWSON (Leonard Smithers, 1896), cover design for.
+    Reproduced in "Later Work." (Property of John Lane, Esq.)
+
+149. THE PIERROT OF THE MINUTE. A Dramatic Phantasy in one act. By Ernest
+    Dowson. Leonard Smithers, 1897. (Property of John Lane, Esq.) Four
+    designs to illustrate:----
+
+    I. Frontispiece.
+   II. Headpiece.
+  III. Initial letter P.
+   IV. Cul-de-Lampe.
+
+    Reproduced in "Second Book" and "Later Work." Cover design for the
+    same.
+
+150. APOLLO PURSUES DAPHNE. (Property of Herbert J. Pollit, Esq.)
+
+151. THE SOUVENIRS OF LEONARD, Cover design for. Printed in gold on
+    purple. Reproduced in "Later Work." 1897.
+
+152. THE LIFE AND TIMES OF MADAME DU BARRY, by Douglas. Leonard Smithers,
+    1897. Cover design for. Reproduced in "Later Work." 1897.
+
+153. FRONTISPIECE TO A BOOK OF BARGAINS, by Vincent O'Sullivan. Leonard
+    Smithers, 1897. Reproduced in the _Idler_, March 1897.
+
+154. COVER DESIGN FOR A BOOK OF FIFTY DRAWINGS, BY AUBREY BEARDSLEY.
+    Leonard Smithers, 1897. Reproduced in gold on scarlet cloth.
+    Republished on a reduced scale, in black-and-white, in "Later Work."
+
+155. SILHOUETTE OF THE ARTIST. First published as a tailpiece at the end
+    of "Fifty Drawings." Also in _Idler_ Magazine, March 1897, and in
+    "Later Work."
+
+156. BOOK-PLATE OF THE ARTIST. First published in "Fifty Drawings," 1897,
+    also in "Later Work."
+
+157. ALI BABA. COVER DESIGN FOR THE FORTY THIEVES.
+
+    I. First published in "Second Book," again in "Later Work," 1901.
+        (Property of Messrs Robson & Co.)
+
+   II. ALI BABA IN THE WOOD. First published in "Fifty Drawings," 1897.
+         Also in _Idler_, May 1898, and again in "Later Work."
+
+158. ATALANTA IN CALYDON. First published in "Fifty Drawings," 1897; also
+    in the _Idler_ Magazine, March 1897, and again in "Later Work."
+    (This drawing was exhibited at the Carfax Exhibition, October 1904,
+    under the title of "Diana," 77.)
+
+159. MESSALINA RETURNING FROM THE BATH. Pen-and-ink and water colours.
+    First published in "Second Book," again in "Later Work." This drawing,
+    together with the other one of Messalina, drawn in 1895 (see _supra_),
+    two of Bathyllus, and one representing Juvenal scourging a woman
+    (this last, slightly altered, reproduced in "Later Work"), belongs
+    to a series of illustrations to the _Sixth Satire_ of Juvenal.
+    Leonard Smithers, privately printed, 1897.
+
+160. THE HOUSES OF SIN, by Vincent O'Sullivan. Leonard Smithers, 1897.
+    Cover design for. Reproduced in "Second Book," again in "Later Work."
+
+161. LA DAME AUX CAMELIAS. Sketch in water colour to right. On the fly-leaf
+    of a copy of the book given to the artist by M. Alexandre Dumas, fils.
+    First published in "Second Book," again in "Later Work." 1897.
+
+162. BOOK-PLATE FOR MISS OLIVE CUSTANCE (Lady Alfred Douglas). Reproduced
+    in photogravure in "Early Work."
+
+163. ARBUSCULA. Drawing in line and wash, for the _edition de luxe_ of
+    Vuillier's "History of Dancing." William Heinemann, 1897. Reproduced
+    in photogravure; also an early impression of the same printed in a
+    green tint. (Property of John Lane, Esq.)
+
+164. MADEMOISELLE DE MAUPIN, by Theophile Gautier. Leonard Smithers, 1898.
+    Designs to illustrate:----
+
+    I. Mademoiselle de Maupin, frontispiece, water colour. Reproduced in
+        facsimile by Messrs Boussod, Valadon & Co., for limited edition,
+        and, like the rest, in photogravure for ordinary edition.
+        Reproduced as frontispiece to "Later Work."
+
+   II. D'Albert (small design).
+
+  III. D'Albert in search of Ideals. (Property of Mrs George Bealby
+        Wright.)
+
+   IV. The Lady at the Dressing Table. (Property of Walter Pollett, Esq.)
+
+    V. The Lady with the Rose.
+
+   VI. The Lady with the Monkey. All the above reproduced in photogravure
+        in "Later Work."
+
+165. BEN JONSON HIS VOLPONE: OR THE FOXE. 4to. Leonard Smithers, 1898.
+
+    I. Design in gold on blue for the cloth cover. Same in black-and-white
+        for opening page. Frontispiece, design in pen-and-ink.
+
+   II. Vignette to the Argument. Initial letter V, with column and
+        tasselled attachments to the capital. This and the remaining
+        designs were executed in pen and crayon.
+
+  III. Vignette to Act I. Initial letter V, with an elephant, having a
+        basket of fruits on his back. (Property of Herbert J. Pollit, Esq.)
+
+   IV. Vignette to Act II. Initial letter S, with a monster bird, having
+        a pearl chain attached to its head. (Property of Herbert J.
+        Pollit, Esq.)
+
+    V. Vignette to Act III. Initial letter M, with seated Venus and Cupid
+        under a canopy, between two fantastic gynaecomorphic columns.
+        (Property of Herbert J. Pollit, Esq.)
+
+        Vignette to Act IV. (The same as the design for Act II. repeated.)
+
+   VI. Vignette to Act V. Initial letter V, with a horned terminal figure
+        of a man or satyr. (Property of Herbert J. Pollit, Esq.)
+
+    All these Volpone designs were reproduced in "Later Work." Drawn at
+    the close of 1897 and early part of 1898, they constitute the latest
+    designs produced by Aubrey Beardsley before his death.
+
+    In his published List, Mr A. E. Gallatin mentions several sketches
+    and other drawings in private letters which, for lack of detailed
+    information, I have not included in my List. Many of Aubrey
+    Beardsley's drawings are constantly changing hands. In each case
+    the name of the last known owner is given. Where no owner's name
+    appears, no information has been obtainable. Some of the finest
+    drawings, I am informed upon good authority, have now passed into
+    the collection of Herr Waerdofer of Vienna.
+
+    I desire to acknowledge my indebtedness to the artist's mother and
+    sister, to Mr G. R. Halkett, Mr H. C. Marillier, Mr H. A. Payne,
+    and Mr Pickford Waller. To Mr Frederick H. Evans, who kindly placed
+    his collection at my disposal, I am under special obligations.
+
+AYMER VALLANCE
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Aubrey Beardsley, by Robert Ross
+
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