The Early Work of Aubrey Beardsley

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Earl^ work of
242.B3M42
I-
Aubrey Beardsley,
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aflTfl
university of
Connecticut
libraries
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THIS VOLUME:
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DOES NOT
CIRCULATE
THE EARLY WORK OF AUBREY BEARDSLEY
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LONDON:
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INDEX OF CONTENTS.
PORTRAIT OF AUBREY BEARDSLEV.
Plotogravure
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PORTRAIT OF AUBREY BEARDSLEY.

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THE BIRTHDAY OF MADAME CIGALE. From the Studio REVENANTS DE MUSIQUE. SALOME WITH THE HEAD OF JOHN THE BAPTIST
>>
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the
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Aubrey Vincent Beardsley.

Born August 2\, 1872
Died 3iarch
i6, 1898.
/^^NE
^^-^
be
hears
it
asserted,
a
with
that
a
'
confidence
the
it
that
possibly
is
may
dead.'
born
as
;
of
wish,
this
Beardsley
can
it
craze
For such
truly
hold
is
belief
never
have been
very
much
alive
nor
there reason
why
should have been.
The
suddenness of Beardsley's leap into
notoriety,
style,
the curiosity excited

the
by
his
to
his
audacious
invention
and
novel
puzzlement that
work produced on
shocks,
see
in
the minds of a steady-going public, sensitive

justification
in
are
sufficient
themselves
for
those
who
could
is
can
him only
transient
'
craze.'
Beardsley
never
have been, and
never was,
intended for the many.

as
His work
seldom of
it,
a
is
kind that could be described

so
popular.
Much
of
indeed,
deliberately
regardless
of popular
the
prejudices
at
and
conventions that
voice
to
one
cannot
wonder
if
public
large found
protest
against
the effronteries of Beardsley at large, and
objected
to the inroads
as
made upon
their forbearance
by what they
could only regard

tionable
incomprehensible manifestations of an unmen-
phase
of
life.
Making
remains
rising
a
all
possible
that
are
allowance
for
this
kill.
attitude,
however,
a
it
truism
objections
as
do
not
To
as
young and
praise
B
;
artist
they
wholesome
I
nutriment
fre-

quently more wholesome.
praised
exotic
And
hated,
Beardsley had both.
Extravagantly
and
extravagantly
he worked
in
an
atmosphere
of
stimulus which
was largely responsible

in
for
the eccentricities
that developed themselves
his
art
and
in
his character.
Pricked
on
upon
in
one
hand by the
genius
lavish
admiration
of
group which
saw
him more
on
the
than he was really conscious of himself,

the
piqued
other
it
by
is
exclamations
of
his
public
he was
a
delighted
to offend,
small
wonder
that
work presented
to
see-saw appearance, ranging from the nearly sublime
the
more
than frankly ridiculous.
It is this variability,
coupled with an extraadopting
ordinary versatility for changing

that
his
style
and
new
ones,
makes
it
difficult
art.
to estimate
the
true
position of Beardsley in
the pantheon of
quality
still
There
are
some
all
points,
critics
such
as
the exquisite
;
of his drawing, on which
are agreed
alike.
there are
more on which no two of them can think

agree,
Yet, however
much we
his
or
however much we
at
differ
in
our estimation of
work, one thing

of his
least
must be
said in reply to those
who
are
so confident
as
'
extermination,
viz.,
that
to
speak of Beardsley
dead
best
'
in
any but the mere physical

to deplore,
is
sense,
which those who knew
him
as
have most cause

the
art
facts.
an error against Truth as well

to
against
We
it
may
leave
Truth
as
take care of herself.
Time and
often
a
will
vindicate her.
But
regards facts,
which
are
different
thing,
may
be necessary to point out that the

satisfied
demand
few
for Beardsley's
work, which in his lifetime was

in
by
a a
monthly instalments
certain
recognised
periodicals,
and
sporadic sprinkling of casual contributions besides, has
grown within
call
the
last
few months, since
his
death, so
2
much
as
to
for three

distinct
collections,
of which
the
present
is
the largest in
in
size,
as
well
as,
from some points of view, the most important
scope and
interest.
The
Beardsley 'craze,' indeed
if
'
craze
there be
is
really just
beginning.
Those who could appreciate the

so,
sterling qualities of his
work have always done

selves the
and have probably collected for them-
scattered
outpourings (and occasional ofF-scourings) of his
imagination, marred, as they too often were, by faults of printing or
of reproduction.
It
would be interesting
to
know how many such

some
insight into the
collections exist, as they
would probably
afford
number of Beardsley 's genuine
admirers,
whose admiration enabled
him
to
thrive.
The sumptuous
a
compilations
which
or
we
at
It
are
now
a
considering betoken
different
public
to
altogether,
the
is
least
renewed
curiosity
which
requires
be
pampered.
a
'
in
such
that
passive admiration that there lie the
makings of
craze.'
Not
any one need be
less
inclined on
that
account to welcome the re-
appearance of Beardsley 's masterpieces, decently printed, with suitable

margins, and
in
many
cases
shown
subtle
for
the
first
time
on
scale
calculated to do justice to the

able
fineness of the artist's inimitI
line-work.
Nor
will
the
faithful,
at
imagine, have
cause for
regret, seeing
themselves enriched
one swoop by the acquisition
of very
many drawings now
difficult to obtain in the

a
form
in
which
for the
at
all.
they originally appeared, and of not
few others which but

published
opportunity thus afforded would never have been

Educationally,
necessarily
as
moreover, these books should
have some value, not

to
showing the public what they ought

its
admire, for
each generation will have
own views on
3
this
point, but as
sum-

marising in a convenient form for reference a phase of
art
which
is
extremely interesting
over contemporary
in
itself,
and which has exerted an influence

to
its
artists
quite out of proportion
quantity, to
the age and standing of
its
author, and to the dignity of the subjects

is
with which
it
treats.
It
significant
sides
that,
although Beardsley has
had numerous imitators on both

particular line of
of the Atlantic, in his

a
rival.
own
is
work he has remained without
He
not only the inventor, but par excellence the master, of his methods.
How,
so
except by a
a
frealc
of nature, so marvellous an intuition, and

style
perfect
mastery of
ever
tell.
fell
to
the
lot
of an untrained
boyish
hand,
to
we
can
never
Minerva-like, Aubrey Beardsley
seems
have come into the world ready equipped with genius and
the power of execution,
and
so
must take
.
his
place amongst the

is
rapidly grov/ing ranks of Wunderkinder
There
something
in
the
age which tends towards the specialisation of children.

digies have almost ceased to attract attention, so
Musical pro-
numerous have they
become
at
least
and, although precocity in art
is
rarer than in music,
we have
one
classical
little
instance
in
Oliver
Madox Brown, and we

after
see
the
two
Detmolds
exhibiting year
year,
alongside
adult work, pictures of matured expression and technique.
Beardsley
was not
several
so
precocious as
this.
His schoolboy drawings, of which

Past and Present,
the
specimens
appeared in
magazine of
the Brighton
Grammar
desire.
It
School, are as healthily crude and jejune as
any one could

age
was not
are
until
he was eighteen or nineteen, an

to
when most
artists
content
be
grinding
at
the
student
mill, that
Aubrey Beardsley (skipping studenthood) came forward with
the drawings that at once began to
make him
famous.
In the short
Aubrey Vincent Beardshy.

six
years of his artistic
life,
years
quite
unvaried by adventure, and

incapacitated
curtailed
bv
ravaging
disease
that
periodically
him
from working, there are few incidents that have not already been
noted.
It
is
going
over
old
ground
to
relate
how Mr.
are
Joseph
Pennell,
whose
discoveries of latent art in
England
amongst the
triumphs of
critical
first
exploration, also discovered Beardsley, or at least
gave him his
public notice,
(April
glowing eulogy
in
the opening
re-
number of
the
'
Studio
1893)
which was accompanied by

Cigale,'
productions of
The
'
Birthday of
'
Madame
the
'
Revenants
Head,'
de
la
Musique,'
Siegfried,'
Salome with John the

the
'
Baptist's
and
this
some drawings done

time,
for
Morte Darthur.'
Cimabue,
found
Beardsley at
when
things
Mr.
with
Pennell,
his
like
him doing
in
wonderful
hands,
and exploited
as
him, was
his
twentieth year and, although not tending sheep

suggest,
the parallel might
was slaving
as
at
an
uncongenial desk
in
in
an
insurance
office.
Such drawings
amusement.
he had were done
leisure
hours for his
own
Of
training he had had none, unless a brief experience
of an architect's drawing office could count as such.
But now, acting
on the advice of Mr. (the
late
Sir
Edward) Burne-Jones, and of M.

thought they saw
to
in
Puvis de Chavannes, both of

effi:)rts
whom
his early
the
promise
of
brave
recruit
the
ranks
of
art
romantic
as a
illustrators,
Beardsley abandoned business and took to
pro-
fession,
putting in for a time a desultory attendance at the famous
studio
of Mr.
Fred.
Brown.
He
had
little
difficulty
in
obtaining
in
work.
Studio,
Even before the appearance of Mr.

he
had,
Pennell's
article
the
through
of his
the
instrumentality of
friends,
Mr, Frederick H.
into
Evans, always one
warmest
5
entered
an underc

taking
to
'
illustrate
the
J.
two-volume
edition
of
Malory's
'
Morte-
Darthur
have
for Messrs.
M. Dent &
satisfied
Co., a task
for
which might well

some considerable
left
him
reasonably
and busy
time, but which, as events turned out, proved a bitter thorn in the
flesh.
Beardsley, as
cost,
most publishers
who
dealt
fickle
with him knew to

creature.
it
;
their
was a curiously nervous and
If
work
pleased him, he was exultant and prompt with
if
it
bored him,
wild horses could scarcely get

ments,
flicted
it
from him.
failed
to
The most
move him
sacred engageif
the
loudest
imprecations
at
they condifiiculty
with his humour

in
the
moment,
and,
knowing what
he had
*
bringing himself to complete the promised drawings for the

one's only
is
Morte Darthur,'
original
wonder
in
is
that so little falling off
from
his
standard
visible
the second
volume of the work.
Had
the drawings been done in the

it
is
order in which they appeared,

it
the degradation,
actually
is.
said,
would have been more apparent than

all
But,
making
allowances, the
for
'
Morte Darthur
boy of twenty.
'
illus-
trations are a wonderful
accomplishment
The
amount of invention,
the five-hundred
prodigious,
to say
nothing of the execution, lavished upon

is
and forty-eight vignettes and decorative borders,
whilst
some of the full-page and double-page pictures

and
a
show
power of composition
daintiness
of drawing
that
Beardsley himself never
improved upon
It
is
and that
it is
no
imitator has
succeeded in capturing.
pity,
and
one of the things
which discouraged Beardsley

book required
fails
in
the work, that the conditions of the
a scale to
of reduction in the illustrations which totally

the
fine
to
do justice
find'
quality
in
of his
drawing
and those
who
seek to
Beardsley 's
work
6
the vignettes or ornaments of

the
'
Morte
Darthur
'
should
supplement their search
by
turning
up the
later full-sized
reproductions which have been
made of some
of them.
The 'Morte Darthur' was

produced, or on
the
first
not the only
work which Beardsley

the
which
he was
engaged, before
appearance of
left
number of
the Studio.
Mr. Lewis Hind, who had

Budget.,
the
Studio to edit the 'Va// M.(itl
and
in
this
way knew of
occasions
the
a
young
illustrator's
talents,
employed
him on
results
several
in
more
happy.
or
less
topical
capacity.
to
The
can
hardly
'
be
'
called
The drawings done

'
illustrate
Irving's
Becket
and the
or
performance of
other subjects
Orpheus
'
at
the
Lyceum, together with one

'Vail 3\/Lall
two
which the manager of the
Gazette has
allowed to be reprinted here, speak volumes for Beardsley's incapacity

to adapt
himselt to a style of
work requiring
rapid
execution and
affording no play to the imagination.
With
the possible exception

'
of the portraits of Zola, and the four humorous sketches for

Coinage,' Beardsley's incursion
into topical
The New
journalism was a failure,

It
and was abandoned

his
after
few attempts.
was
otherwise
also
with
two contributions
to
the 'Vail 3V[all ^Magazine.,
reprinted
here,
one ot which, the design
published in the second

fictitious
title
number of
the
Magazine (June 1893) under the
of
'A Neophyte
and
how
the Black Art was revealed unto

this
him by
the Fiend Asomuef,'
remains to
ments.
day one of his most powerful and decorative achieve-
Towards
the end of 1893, or the beginning of 1894, Beardsley

a
formed an idea of preparing what he called
Book of Masques, and
he was very
tull
of this amongst his friends.

7
The scheme was
aban-

doned, but revived later on,
to
start T/zt'
in
a
new
shape,
when
it
was proposed
Yellow Book
It is
as
quarterly magazine, with Beardsley as

else,
art editor.
in
The Yellow Boo^, more than anywhere

into contact
that
Beardsley
first
came
one had
almost written conflict
with the public.
It is in
connexion with The Yellow Book, probably,
that he will be most widely
remembered, and
is
it
is
The Yellow Book

in
period of his existence that

collection of his works.
most prominently represented
this
The method adopted by him

efforts,
is
during this
period,
though the outcome of previous

versatility
distinctive,
and
with kaleidoscopic one

after
its
he branched into an altogether different

an illustration from the science
close.
If one
may employ
of embryology
one
was
not inappropriate to Beardsley 's peculiar cast of

like the
thought
at
his art
growth of an unborn organism,
reflecting
it
different stages all the traits of a distant ancestry.
We
to
see
in
crude
ideas
archaic
form, striving with
imperfect
trace
at
its
means
express
the
which
;
are already there.
We
;
Pre-Raphaelite devotional
last
stage
its
ripe classical
period
and
the
a sort of
Romantic
epoch,
very sensitive and delicate, very decorative, and wonderfully
elaborate.
Taking the
period,
'
Rape of the Lock

is
'
drawings
said
for
as
the cream
of
this
last
there
much
to
be
the
judgment
of those
did.
who
I
consider this
work of
if
it
Beardsley's the best that he ever
But
doubt very
much
believe
was the most
characteristic
to the
of
Beardsley.
For
half,
this
one must go back
year, or
year
and a
Yellow
when he was
and
startling the public in
the pages of
The
Book,
frightening
'
even
his
publisher
with
the
boldness of the drawings for
Salome.'
to
The
public nerves, however,
become gradually
insensitive
one particular kind of shock, and

8
Aubrey Vincent Beardsley,

thus
it is
that
it
has
now become
at
possible,
am
glad to say, to
publish
many
things
which
the time were considered inadmissible.

to
'
To
this category
belong two of the illustrations

for reasons difficult to
Salome,' which
were withdrawn
at the
penetrate, but doubtless valid

in Beardsley's
time.
it
Some
other alterations
which were made

if
work
is
impossible to restore even

is
one would, and the wisdom
of doing so
not always unquestionable.
The
TelloVD
Book period
of Beardslev's activity not only includes the

'
fifteen
illustrations for
Salome,' a commission obtained for
him by
the early drawing published
in the Studio, but also the
long
series
of cover designs for the 'Keynotes'
novels, with their initial keys, and a sprinkling of frontispiece drawings

for different books, of
which
that
It
from
is
'
Earl Lavender'
is
one of the
most striking and important.
pleasant to find
among
as
the archives the frontis-
of the Yellow Book several unpublished treasures, such

piece
done
for
projected
in
'
Venus and Tannhauser,' the design of

cover of this book, and
for
which has been used

decorative design
the
another very
which has been reproduced

if
a title-page.
These
alone are almost a justification,

collected
I
one were needed,
for
publishing the
works of Beardsley
to
at
this period.
have ventured
sketch
out
Beardsley's
career
roughly
is
in
stages,
from an embryological standpoint.

I
The
is
reference
opportune
for
mentioning an idea which

admirer,
into
a
know
held by more than

lived
one
sympathetic
developed
that
if
Beardsley
had
he
would have
he
was,
something
totally
different
from
what
possibly into
in
colourist of great subtlety
and originality.
black-and-white
things
He
was
the
common
had
habit
of colouring
reproduced,
9
his
drawings
after
they
been
and
one or two
done
D
in

colour
such
a
as
as
the sketch of Mdlle. de

original
Maupin
in
the possession of
'
Mr. Leonard Smithers, and the

reveal
drawing of
softened
Messalina
'
charming
feeling
for
colour,
and
weakened
Beardsley
this
as
it
down
could
one might expect from such

been
a
a frail constitution.
colourist.
is
hardly have
it is
vigorous
But, be
those
his
may
it
and
sheer
guesswork
there
in
for
who
can
see
remarkable suggestion of colour

This
is
some of
a
best black-and-
whites.
a quality possessed
it.
by only
It
few men, and Beardsley
himself was quite conscious of
has no particular relevance,
however, to the notion

Beardsley
to
have just
a
mentioned, which regards the

just
as
we
all
know
as
beginner cut short
he was about
blossom
forth,
a student just about to

stilled
attain
his
masterhood, an
embryonic being
Beardsley's
before his proper time of birth.
personality
in
Idler.
has
been
admirably
handled
by Mr.
a
Arthur
Symons
the
the
I
Fortnightly,
and
by
'
Max
'
in
recent
their
as
number of
cannot
pretend to
add
anything
to
knowledge, which was more intimate than

I
my
own.
Beardsley,
knew him, was
model of
daintiness in dress,
affected
It
apparently
for
the purpose of concealing his artistic profession.
was part of
his
pose to baffle the world.

as
He
did
it
in
his
exterior
manner
as
effectually
in
his
work.
Those who imagine from the character

that
of some
of
his
subjects
Beardsley went
about
preaching
or
discussing vice are quite beyond the mark.
Externally, at any rate,
he
was
pattern
as
of
moral
decorum,
warped
only
into
such
eccentricities
at
working by
candle-light, with
the shutters closed,
drawings of dubious propriety, when outside the sun was shining

on
a
brightly
healthy,
virtuous
world.
lO
He
preferred
candle-light,
Aubrey Vincent Beardshy.

and he selected the subjects which amused his fancy, or tickled his
instinct
for
gammeru\
and
that's
still
an
that
end
on't.
Max
Beerbohni
at
conceives that his
mind was
rather
it
of the school-boy playing
being
so,
vicious,
at
and
attracted
by naughtiness.
This may be
artists
but
the same time
must be conceded that few
have
had such an extraordinarily deep penetration into the hidden abysses

of
sin,
and such
lurid
power of suggesting them.

if
It
would have
been better for his reputation

to a
he had not
to
but he chose to belong

life
modern school of cynicism, and

or brutish aspects
as
;
depict
is
mostly
in
its
more animal
is
and that again
his
own
affair.
It
the
artist
he
is
that
;
one must reckon with, not the

to
artist
we
could have made
him
and
condemn
man own
for adopting different

is
ideas and a different
standard from one's
as
absurd
as
as
con-
demning him
fact,
for
wearing different clothes
which,
a matter
of
nine out of ten of us are quite ready to do.

It
was
reallv,
as
think
Mr. Symons has pointed
out, a
lack
of reverence that was
at
the bottom of Beardsley's
taste in
subject
I
He
could draw beautiful subjects as beautifully as any one.

flawless
know
few things more
than his design of a

Coiffing,'
Venus standing between

in
Terminal
Certainly
his
Gods,'
there
or
is
'The
no
which appeared
in
the Savoy.
in
suggestion
of vice
these,
or
'
scores
to
of
other
drawings.
His
'
Venus
and
Tannhauser
in
was
have
contained no ugly suggestions.

the
for
Even when
his love
of shocking
true
public
he
deliberately chooses a vicious

itself
it
type, his
his
passion
beauty expresses
in
the
manner of
execution.
to refer
This
to
as
manner of execution
has
not
become
fashionable
first
Beardsley's
line.'
do
know who was

1
responsible
for
Aubrey Vmcent Beardsley.

pointing
was,
I
out
could
the
beauties of the that
Beardsley
'
line,'
but,
it
whoever
it
have wished
is
he had accompanied
with some
explanation
'
of what
meant by the phrase.
Beardsley had
many
lines,' all
exquisite in execution, and of varying degrees of fineness,
the most remarkable
being
somewhat akin
in
to
for
an
'
angler's
line,
as
may
*
be
seen
to
perfection
the drawing
'
Salome,'
is
entitled
The Peacock
Skirt.'
But
a
as
line,'
as
the phrase
now commonly
in
its
understood, such
'line'
that
of Forain,
details,
eloquent
bold
simplicity of manifold unexpressed

at
all
Beardsley does not seem,

hints
events to
me,
in
to
possess.
There may be
instanced
the
of
it,
Mr.
face
Gleeson
of the
White,
dead
the
in
Studio,
wan,
pinched
Pierrot
one of the
of the
Savoy illustrations, which none
would
dispute, and
many
outline
drawings
;
in
this
volume
contain a sense
pression of
feature
of modelling, wonderfully implied

is
but
this
com-
method
certainly not the main, nor even an important
of
Beardsley 's
his
it
work.
forte
is
Paradoxically
rather his
can
imagine
point
some
is
one retorting that
'mass.'
The
not
worth
pursuing,
for
belongs to that slippery region

terms.
of problems
see
for
which depend upon the meaning of

in
Some people may

call
'
Beardsley's
work
'
the perfection
'
of what they
line,'
and
them
Beardsley's
line
all
must possess a
events
is
definite technical
meaning.
Beardsley
One
was
thing
at
clear,
and
that
is,
that
essentially a decorative artist.
All his arrangement and handling
of subjects, his treatment of the
human
figure,
his
use of landscape,
was
'
subordinate
'
to
the
ultimate
decorative
effect.
No
trace
of
naturalism
ever creeps in to
mar
is
the set convention of his work.
In his treatment of nature he
as
formal
as
any missal
scribe of
12
Aubrey Vincent Beards ley,

the
fifteenth
century,
as
mannered
as
the
old
Egyptian
indifferent
or
to
the
modern Japanese.
Conformably, he was quite
what
cheer-
may
fully
be called the dramatic or historical unities.

clothe Isolde in an outre Parisian
'
He would
confection/ or Messalina in
an ostrich-feather hat
all
nay, has done both.
The
decorative effect was
he cared
for,
and, if the public failed to appreciate
the
humour
source of
of his anachronisms, so
his decorative
much
the worse for them.

often been canvassed,
The
inspirations has
fairly
*
though a good
deal
of
it
is
obvious.
In
his
earliest
drawings worthy of
d'Arc,'
mention,
the
Morte Darthur,' the 'Procession of Jeanne

the
Ghost,'
'Hamlet
following
others
'Hail
Mary,'
find
'Perseus
for
and
the
Monstre,' and
which any one can

to
himself,
he was
early
under considerable obligations

patrons.
Sir
the most
generous
of
his
Edward Burne-Jones.
us the
'
Then
the
Japanese
'
caught his
{To-day
wayward fancy and gave

Idler),
Femme
Incomprise
and
'Madame
in
Cigale,'
and
indirectly
much
of The Yellow Book
work,
which, however, he developed a new conceit, which fully

to
as
deserves
rank
well
as as
original.
His
passion
for
Pierrot,
the
most
pathetic
the
most humorous conception

his latest
as
that
in
has
come
his
down
to us, stands evident in
well as
some of
earliest
work, and
friend,
it
is
interesting to
learn,
on the authority of an
affected
I
old
school
that
he
*
was immensely
when
mere
boy by the influence of

another
L'Enfant Prodigue.'
have recently heard

mentioning,
to
theory
advanced
which
may
be
worth
account for the very persistent use of rococo ornamentation in his
drawings of furniture, candelabra, wall-hangings, &c.

is
This peculiarity
inspiration,
so striking as really to suggest
some concrete source of

and,
odd
as
it
may
sound,
this
source of inspiration was

the
interior
not im-
probably
the
florid
gaudiness
of
of
the
Brighton
Pavilion, of which, in his school days,
Beardsley was something of

contributed
also
its
an
habitud.
The
Casino,
at
Dieppe, doubtless
quota of ideas.
One might go on
if
indefinitely proposing
if
models
for
individual pieces of work,
one cared to and

it
the subject were

as
worth pursuing.
Beardsley,
that
if
But,
broadly,
may
be
taken
fact
that
;
himself inimitable, was

a
nevertheless
so
highly imitative
it
he could purloin
;
method,
and
absorb
as
to
render
it
wholly his own
that
when he
apparently changed
his
style
with
lightning rapidity, as in the transition

'
from
his
Yellow Book to his
Rape of the Lock

convention,
instance
'
manner, he did not really evolve some perfectly

merely worked up a fresh
style
'
novel
but
the
rave
'
in
this
particular
of
the
eighteenth-century
French
engravers.
That
ventured
his
transitions
took a
but
not
certain
form
of
and
a
order
have
or
it
to
indicate
above,
the
idea
chronological
far
embryological
is
sequence
qualify
must
almost
be
pushed
too
that
indeed,
be
necessary
to
any
statement
may
made
about so complex and variable a being.

his
Beardsley himself signified
consciousness
successive
is
of
the
breaks
in
his
method
In
his
of
working
by
adopting
forms
'
of
signature.
B.,' or
'
earliest
(juvenile)
drawings he
always
*
A. V.
Aubrey V.
first
Beardsley.'
Later,
he dropped the
his
V.,'
and used only the

illustration
and third
initials
of
to
name.
In
a
the
to
'
Pastor
Sang
'
he
appears
acknowledge
debt to Diirer by ranging his

Diirer
initials
in the
form of
the well-known
monogram.
He
might more appropriately

have
borrowed
the
'
\j.
H.' of Mr.
'
Housman.
'
A
T'all
as
long
series
'
oi
drawings, beginning with the

Darthur,'
'
Quêsting Beast
plate in the
Morte
and
continuing
down
through
the
Mall Budget,
Salome,'
and what
may
with
in
be generically classified
The Yellow Boo\

Japanese
period,
are signed
what has been

a
called
his
mark,
three strokes
or other
ranged
particular
manner, with or without dots

apotheosis of this device will
ornamental accessories.
The
be found on the reverse side of the cover of this volume, reproduced
from the
'
Salome.'
in
full,
In his
in
later
work Beardsley mostly wrote
his
two names
drawing.
capitals,
along the bottom border line of the
All
sorts
of
variations
occur
In
at
different
times,
which
they
may mean
would
and
his
something,
nothing,
or
nothing.
an
ordinary
person
mean
but
Beardsley was
inviting
not an
ordinary person,
often
subtleties
were
infinite,
and
'
yet
defying
analysis.
Separate
mention
should
be
in
made
The
in
this
connexion of the
under
fictitious
two drawings which appeared

signatures.
*
Yellow Book
These were
the
Mantegna head, which
was signed
Philip
Broughton,' and a
pastel
to
study of a Frenchwoman, signed

in
'
Albert Foschter.'
their
Both are
be found reproduced
Beardsley's
off'
as
;
this
volume
in
in
proper
places
chronologically.
purpose
the critics
appeared.
in-
dulging in this freak was an
idea of 'scoring
who
were accustomed
did not care
it
to
attack
his
work
as
soon
it
He
much
;
about
unfavourable criticism
not
resist
he rather enjoyed
temptation,
his
than otherwise
but he could
the
during
style.
one of his transient avatars, of setting a trap
by varying was
Mr.
Max Beerbohm
declares
that
15
the
plot
entirely successful,

and
profit
that
one
reviewer
solemnly advised
Beardsley to
'
study
and
by
the sound
and
scholarly draughtsmanship of
which Mr.
Philip Broughton furnished another example in his familiar manner.'

I
must confess
that,
although
was
in
the
secret
it
;
of the
but, if
alias,
it
never saw this profound piece of criticism upon
really
appeared anywhere,
can
'
well
it.
believe that
Beardsley was 'greatly
amused and delighted

All
by
who knew
traits
:
Beardsley
will
bear witness
to
many
pleasant
personal
his
his
extraordinary love
of music, his rippling wit,
wide range of reading,

be
busy.
his capacity for
hard work without eveli

at
appearing to
He worked
summed up
I
mostly
in
night.
His
many-
sidedness has been briefly
the
first
paragraph of Mr.
Symons's memoir, which
venture to quote.
'He had
the fatal speed of those
who
are to die
young;
that
disquieting completeness and extent of knowledge, that absorption of

a lifetime in an hour,
which we
find
in
those
who
hasten to have
done
their
work
before noon,
knowing
in
that they will
not see the

as
evening. prodigy,
He
as
had played the piano

I
drawing-rooms
an infant
at
before,
a
suppose, he
had
ever
drawn
a line.
Famous
twenty
years
draughtsman, he found
to
time, in
those
incredibly
busy
which remained
him,
its
to deliberately train hirnself as a writer

as
of prose, which was in
way
original
as
his
draughtsmanship,
and into
a writer of verse
which had
have
read
at least
ingenious and original
moments.
ferences
as
He
seemed
to
everything, and
had his preas
adroitly in
;
order, as wittily in evidence,
almost any
a
man
of letters
indeed, he seemed to
;
know more,
a
and was
sounder
critic,
of books than of pictures
with perhaps
i6
deeper feeling for

music than
brilliance,
for
either.
in
His
order,
conversation
had
a peculiar
in
;
kind
to
of
that
different
but scarce inferior master

of that art
quality
salt,
of any
other
contemporary
full
whimsical
dogmatism, equally
keen-sightedness.
of convinced egoism and ot imperturbable

paradoxical,
Generally choosing to be
and vehe-
ment on behalf of any enthusiasm of the mind, he was the dupe

of none of his
own
statements,
or indeed of his
own
enthusiasms,
and, really, very coldly impartial.
He
thought, and
was
right
in
;
thinking, very highly of himself;
he admired himself enormously

itself to
but his intellect

his
would never allow
be deceived even about
own accomplishments.'
What
seek
art
drove
his
him out of
is
his
many
quite
different
clear.
accomplishments
It
to
as
chief field
not
may have been

;
the advice of Burne-Jones and of Puvis de Chavannes
it
may have may have
been the scent of an immediate and satisfying reclame ; been the necessity for making money.
conspired.
it
Probably
all
of these causes
Why,
turned
artist,
is
he
should
have
developed
it
such
grim
satirical
humour,
equally
uncertain,
unless
were
his
affection
for
is
Juvenal grafted on the bitterness

the
life.
of one
evil
who knows
must be the
brave
that
he
of
in
grip
of death, that
all
few and
Pierrot,
days
his
Over
his
this,
like
a
he
wore
mask, and
suffered,
faced
tragedy with
show of
laughter.
to
How
flung
he
how
he worked, he
never permitted
in
be seen.
that
If the
to
irony took a grim
form
sometimes
the jests
he
the public, in the scorn he allowed himself to feel for a world that
had not got
to
die,
can
we wonder
fail
.''
Pierrot's
it.
humour
has mostly
a subacidity, or
we
should
to relish
17
Aubrey
Those who
untroubled
live
Vi7icent Beardsley.
unracked by hemorrhage,
the
life
healthy normal
try
to
lives,'
by genius, may
once.
picture
of one harassed
if
by both
if their
at
They may
built
hate the man's
work
they must, and
souls are
that
way, but they might

for
six
try
and find some

can scarcely
spark of sympathy and admiration

realise
the man.
real
as
One
life,
what
it
means
to
have only
years of
in
and to
as
feel
that they are precarious.

did,
To
is
have done
much
them
Beardsley
of actual
solid
is
is
work,
no mean achievement, apart from the

delicacy.
fact that so
much
one
work of almost microscopic

apt to forget,
traits
is
great
deal of
it
too,
work of
unsullied beauty
his
it
free
from
the
questionable
Finally
it
which have hurt

lost
reputation
with
the public.
must not be
;
sight of that
the
role
he
played was that of a

for scourging
its
;
satirist
that in
its
depicting vice he held
up
that in exaggerating
fanciful side
he but accentuated
squalid and horrible reality.
Poor Beardsley
His death has removed

;
a quaint
at
and amiable
being serious,
personality from amongst us
butterfly
at
who
played
and yet
busy worker
who
played
being a butterfly.
Outwardly
he lived
tell
in
the sunshine, airing bright wings.

strove.
It
is
Inwardly no one can
how
he suffered or
well to avoid self-righteousness
in
judging him.
*
As
the wise pastry-cook says in Cyraiio,

n'insulte pas ces divines cigales.'
Fourmi,
H. C. Marillier.
Kelmscott House,
Hammersmith.
"?*,.
,
fi
V-7rt-/f-
At^t/y^î:
.f
/"/./'
/-:.
'',;f^f^.-/-
J^' I'S
</.*
Early Drawing of Holywell Street

By permission of Mr. C.
B. Cochran.
Hail
Mary
Bv permission of Mr. Frederick H. Evans.
Hail Mary
'
'
Perseus and the Monstre

in the possession of
From
Drawing
Mr. Aymer
Vallance.
By permission of
Messrs. Cassell
&
Co., Ltd.
^/?
:)^"6/J
.ÂtO .^
^'i-
W'
Pencil Sketch of a Child

By
permission of Mr. Frederick
H. Evans.
.://(.
'<tf^
'"^4
'^
:::.^
'
Perseus.'
Design for
a Panel.
Unfinished
By permission of Mr. Frederick H. Evans.
Pencil Sketch of Figures,
from the back
of
By
'
Perseus'
permission of Mr. Frederick H. Evans.
--.;
Two
Figures in an Attic
Evans.
By permission of Mr. Frederick H.
lO
The
Procession of Jeanne
d'x^.rc
By permission of Mr. Frederick H. Evans.
I I
Sandro
From
a
Botticelli
of Mr.
Drawing
in the possession
Aymer
Vallance.
By
permission of Messrs. Cassell
&
Co., Ltd.
12
Angel with Organ

From
a
Sketch
in the possession
of
Mr. Aymer
Vallance.
By
permission of Messrs. Cassell
&
Co., Ltd.
13
Vignette
From
a
Drawing
in the possession
of Mr.
Aymer
Vallance.
By permission of
Messrs. Cassell
&
Co., Ltd.
'Of a Neophyte, and how

By permission of
the Black Art
was revealed unto him'

the Proprietor of The 'Vail 3âll -fMagazine.
15
Vi/i
jfof-ife
r;
rO'
The
By permission of
Kiss of Judas
the Proprietor of The T'all 3/Lall ^Magazine.
i6
|"HL
[<|5S
Of
JVJDAS
Design for Frontispiece to

'Virgilius the Sorcerer'
By permission
of Mr. David Nutt.
17
^^
Design for Frontispiece of Bjornson's Drama,

'Pastor Sang'
By permission of Messrs. Longmans, Green, Mr. Elkin Mathews.
&
Co. and
l8
Cover Design
Reduced.
for
'The Studio'
Two
states.
By permission of Mr. Charles Holme.
19
'
Siegfried
'
From The
'
Studio.'
20
Madame
From 'The
Studio.'
Cigale
21
Revenants de Musique
From 'The
Studio.'
22
Design for
From 'The
Studio.'
'
Salome
'
By
Holme.
23
Isolde
From 'The
Studio.'
24
Design for Front Cover of
'
Salome
'
2K
Design for Title Page of 'Salome.'
26
Contents Border Design.

From
'
Salome.'
27
The Woman
From
'
in
the
Moon.
Salome.'
28
The Peacock
From
'
Skirt.
Salome.'
29
The Black
From
'
Cape.
Salome.'
30
-^
Platonic Lament.
From
'
Salome.'
Enter Herodias.
From
'
Salome.'
32
The Eyes of Herod.

From
'
Salome.'
33
The Stomach Dance.

From
'
Salome.'
3+
The
Toilette of Salome
From
'
Salome.'
35
The
Dancer's Reward
From
'
Salome.'
36
The Climax
From
'
Salome.'
37
Design
for
'
Tail Piece
Salome.'
From
38
The
Toilette of Salome.
First
Drawing
Hitherto unpublished.
39
John and Salome

40
Original Sketch for Cover of Salome

+1
Sketch Portrait of Himself
4^
Sketch Portrait of Mr. Henry Harland
43
i^SP^,-^;?^-
\m
-sii>
'-
V'7"*-
Design for Cover of Tellow Book Prospectus
44
THE YELLOW BOOK

AN
ILLVSTFÂTEJD
QVARTERLY.
Pf\\CE.
ELKIN AAATHEWS
FIVE SHILLINGS
AND JOHN LANE THE BODLEY HEAD

VIG09T.
APf^lL
\5-^
LONDON.
nDCCCXCIV.
Cover Design
for
The Yellow Book

I.
Volume
45
Design for Reverse Cover of The Yellow Book
46
Title-page Ornament for l^he Tellow Book^

Volume
I.
47
L'Education Sentimentale
From The
Yellow Boo\^
Volume
I.
48
Night Piece
From The
Telloiv Book,
Volume
I.
49
Portrait of Mrs.
From
T^he
Patrick Campbell
Volume
I.
Yellow Book,
50
'^M
Book
From
T'he
Plate
Volume
I.
Yellow Book,
51
EX LIBRIS
JOHN
Cover Desiorn
for
The Tellow Book

II.
Volume
52
Title-page Ornament for The Yellow Book^

Volume
II.
53
'D
Comedy- Ballet of Marionettes,

From The
Yellow Book,
I.
Volume
II.
54
r[\O.J
Comedy- Ballet of Marionettes,

From
T^he
II.
Tellow Book,
Volume
II.
55
, r!;-^^'^'^.^[
Comedy-Ballet of Marionettes,
From
'The Telloiv
III.
Book,
Volume
II.
s6
Garcons de Cafe
From The
Tellonv
Book,
Volume
II.
57
The
From
Slippers of Cinderella
'The
Yellow Book,
Volume
II.
58
Portrait of
From The
Madame
Bool^,
Rejane
II.
Yellow
Volume
59
Cover Design
for
Volume
ne
III.
Tellow Book
60
Title-page Design
From The
Yellow Book.
Volume
III.
6i
Portrait of
Mantegna.
From
'The
(By Philip Broughton)

Volume
III.
Yellow Book,
62
f'll!
ANDREAS. MANTECNA,
PÎNTDK.
ANit--
ENCKAVER.OFPAWA
1U91 1506,
Portrait of Himself
From The
Yellow Boo\^
Volume
III.
63
"f
I i^'î
Lady Gold's
From
'The
Escort
Volume
III.
Tellow Book,
6+
The Wagnerites
From The
Telloiv
Book,
Volume
III.
65
La Dame aux Camelias

From The
Yellow Book,
Volume
III.
66
'From
Pastel.'
(By Albert Foschter)

Volume
III.
From The
Yellow Book,
67
Cover Design
for
The Tellow Book
Volume IV.
68
Design for Title-page

From The
Yellow Bool^,
Volume IV.
69
The Mysterious Rose Garden

From
T'he
Yellow Book.
Volume IV.
70
The Repentance of Mrs.

From The
Yellow Book,
Volume IV,
71
Portrait of Miss
From The
Yellow
Winifred Emery
Bool^,
Volume IV.
72
'
Frontispiece for
From The
Yellow Book,
'
Juvenal
Volume IV.
73
Poster for Tellow Book
74
Poster
75
Design for Tellow Book Cover

76
*'"" "'""'
Design for a Book Cover

77
Title-page Ornament
78
:.
":i^
'Messalina'
79
Maitresse d'Orchestre
80
Title-page Ornament
8i
Design
'
for
Frontispiece to
An
Evil
Motherhood
'
By
permission of Mr. Elkin Mathews.
82
'Black Coffee'
83
Portrait of Miss Letty Lind

84
(1
:v
'
'
Atalanta
85
Design
for
Cover of 'The Cambridge A. B.C.'

of the Rev.
By permission
W.
Austen Leigh.
86
Design for Frontispiece of 'Earl Lavender' By permission of Messrs. Ward & Downey.
87
Design for Frontispiece of
Plays
'
by John
Davidson
88
Design
for Title-page of
'
Plays
'
by John
Davidson
89
A
From
the
'
Child at
Sketch.'
Irs
Mother's Bed
Max
Beerbohm.
90
Autumn
From a By
design for a calendar hitherto unpublished.
permission of Mr.
Wm.
Heinemann.
91
'
Frontispiece and Title-page Design for

'
Venus and Tannhauser

92
Design for Title-page (Venus)

Hitherto unpublished
93
Head
By
permission of Mr.
Piece
Henry Reichardt.
94
Head
Piece
By permission of Mr. Henry Reichardt.
95
Head
Piece
Reichardt.
By permission of Mr. Henry
96
Design for Cover of ^Keynotes'
97
Design
for
Cover of 'The Dancing Faun'
98
Desien for Cover of 'Poor Folk'
99
Design for Cover of 'A Child of the Age'
lOO
j'i
rtm^^Â
'
Design for Cover of
'
The Great God Pan
lOI
.1
'
Design
for
Cover of
'
Discords
I02
'
Design
for
Cover of
'
Prince Zaleski
103
Design
for
Cover of
'
The Woman
Who
Did
'
04
;:;.A'
Design for Cover of 'Women's Tragedies'
105
'
^^h'soB-^T
?"ni^'''oW^
^-:-.
'^.s'-^cD
i6\
ti^>h
j^
=^
'
Design for Cover of
'
Grey Roses
io6
rr- ;
'
2W3'Q
J->
Desio;n for
Cover of 'At the
First
Corner'
107
')î^\/j
l't::"*:i
:.>A'^
lA^'io
r-y^f
j'J
loi nsr^îl
Design for Cover of 'Monochromes'
108
Design for Cover of 'At the Relton Arms'
109
Design for Cover of 'The Girl from the Farm'
no
Design
for
Cover of 'The Mirror of Music'
1 1
'
Design
for
Cover of
'
Yellow and White
112
MMMfflMii^M
'
Design
for
Cover of
'
The Mountain Lovers
113
Design
for
Cover of 'The
Woman who
Didn't'
114
Gb^ ^:SI?;j^Î^^
Design for Cover of 'The Three Impostors'
115
'
Design for Cover of
'
Nobody's Fault
ii6
Design
for
Cover of 'The
British
Barbarians'
117
Design
for
Cover of 'The Barbarous
Britishers'
ii8
'
Design
for
Cover of
'
Platonic Affections
119
I^'îlîj^î^^^l
'
Design
for
Cover of
'
Young
Ofeg's Ditties
I20
'
Design for Title-page of
Pagan Papers
121
Unfinished Sketch for
'
The Great God Pan
122
Eight
Initial
Keys, from backs of 'Keynotes'

Series
123
t^
o
k.
Seven
Initial
Keys, from backs of 'Keynotes'

Series
24
7<
Initial
Key, designed
for cutting in
Gold
125
'
Design for Cover of
'
Keynotes Circular
126
Design for an Invitation Card
127
Design for
Menu
of Playgoers' Club
By permission of Mr. Carl Hentschel.
128
Design for Golf Card

By
permission
oi'
Mr. R. Hippesley Cox.
129
AVBREY
Outline Portrait of Himself

From
'
Posters in
Miniature.'
130
Nocturne of
Chopin
'
131
V.G-
Chopin, Ballade
From The
'
III.
Op. 47
Studio.'
32
Oiopui. BalUtSl.X^fJL
Design for Cover of Wharton's 'Sappho'
133
-1
Design
for
Front Cover of
Pierrot'
134
;'
Uv/'
;- 1
Design for Title-page of
Pierrot'
135
'
Design
for
End-paper of
'
Pierrot
136
'
Design for End-paper of
'
Pierrot
137
:"v'*7>
Design for Reverse Cover of
'
Pierrot'
138
'Si
i.
Book
Plate
By permission of Miss Olive Custance
139
EX
LIBR15
OLIVE
CVSTANCE
^^^^
.^
Mr. Henry Arthur Jones and
By permission of the
his
Bauble
Proprietor of The 'âll iMall Budget.
140
Four Designs
By permission of
for
'The
New
Coinage'
the Proprietor of The Tâll IV[all Budget.
141
JONES
Sir
Henry
Irving as 'Becket'
By permission
of the Proprietor of The Pall 3/Lall Budget.
14.2
Miss Ellen Terry

By permission of
in
'Becket'
the Proprietor of The 'âll 3/[all Budget.
143
Four Sketches from

By permission of
'
Becket/ at the
Lyceum
the Proprietor of The Tâll 3Aall Budget.
144.
.^
r1flf^<iEQy
i J- A no^ê ON LV
Two
Sketches from
'
Becket,'
at
the
Lyceum
By permission of
the Proprietor of The Tâll Mall Budget.
H5
Emile Zola and the Academic Francaise

By permission of
the Proprietor of The
'J*all
3J[all Budget.
146
L'ACAt>EJ1IE
^>Y
Portrait of Emile Zola

By
permission of the Proprietor of The Tall 3flall Budget.
H7
ZOLA.
Portrait of Verdi
By
permission of the Proprietor of The Pall 3/lall Budget.
148
Sketches of Mr. and Mrs. Bancroft,

'
in
Diplomacy,' at the Garrick Theatre

the Proprietor of The T'a/l SMall Budget.
By permission of
149
fkôf^-
ro'
'Eneas' on the Links

By permission of the Proprietor of
T'he 'âll
3dall Budget.
150
(^\un3lL
Two
Sketches from 'Orpheus,' at the
Lyceum
By permission of
the Proprietor of T^he Tall ^Mall Budget.
151
Sons D\Esses
IN
THt?
CHO(?VS.
Two
Sketches from
'
Orpheus,' at the
Lyceum
Proprietor of The 'Tall 3/lall Budget.
152
Portrait of Jules
By permission of
Ferry
the Proprietor of The 'Fall 3ilall Buaget.
153
U'i
In'Tu'rc^'l
Mr. Harrison's Ideal Novelist

Proprietor of The lâll <3[Iall Budget.
154
Sketch of Mr. Pennell as 'The Devil of
Notre
Dame
'
Proprietor of The 'âll 3/lall Budget.
155
Poster Design
Wm.
Heinemann.
156
Signature, from the reverse cover of 'Salome'
157
;.
\\Ai/{
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Connecticut
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NC

THE EARLY WORK OF AUBREY BEARDSLEY

CHARING CROSS ROAD.

PORTRAIT OF AUBREY BEARDSLEY.

permission of the Proprietor of the Pall Mall Magazine

THE SORCERER. By permission FRONTISPIECE TO PASTOR SANG.' By

Co., and Mr. Elidn

COVER DESIGN FOR THE STUDIO.

Mr. David Nutt

permission of Messrs. Longmans, Green

permission of Mr. Charles

permission of Mr. Charles

In possession of John Lane

In possession of John Lane

TAILPIECE FOR 'SALOME'

name of Philip Broughton). From

the Yellow Book,Vo\. Ill

ORNAMENT FOR THE YELLOW BOOK.

THE MYSTERIOUS ROSE GARDEN. THE REPENTANCE OF MRS.

the Yellow Book, Vol. IV.

PORTRAIT OF MISS WINIFRED EMERY. FRONTISPIECE FOR JUVENAL. From the

POSTER DESIGN FOR THE YELLOW BOOK.

In possession of John Lane

FRONTISPIECE FOR 'EARL LAVENDER.'

FRONTISPIECE TO TITLE-PAGE ORNAMENT FOR 'PLAYS.'

CHILD AT ITS MOTHER'S BED.

Wm. Heinemann FRONTISPIECE AND TITLE-PAGE FOR VENUS AND TANNH.\USER'

By permission of Messrs. Ward

In possession of John Lane

'DISCORDS' 'PRINCE ZALESKI'

'THE WOMAN WHO DIDN'T' 'THE THREE IMPOSTORS'

....... ........ ........

TWO SKETCHES FROM

Aubrey Vincent Beardsley.

should have been.

suddenness of Beardsley's leap into

the curiosity excited

the minds of a steady-going public, sensitive

have been, and

intended for the many.

kind that could be described

the effronteries of Beardsley at large, and

could only regard

incomprehensible manifestations of an unmen-

Aubrey Vincent Beardsley.

Beardsley had both.

was largely responsible

that developed themselves

than he was really conscious of himself,

see-saw appearance, ranging from the nearly sublime

than frankly ridiculous.

coupled with an extraadopting

ordinary versatility for changing

of his drawing, on which

more on which no two of them can think

work, one thing

said in reply to those

any but the mere physical

which those who knew

have most cause

an error against Truth as well

take care of herself.

be necessary to point out that the

work, which in his lifetime was