Chapter XXI: In Black and White

In no other branch of pictorial art was there so much activity during the whole of the period, and, on the whole, so much undisputed excellence, as in the various pen and pencil drawings which blossomed from innumerable books and periodicals. To a considerable extent this remarkable efflorescence of an art which had remained passive for so many years was an offshoot of the renaissance of decorative art. But not entirely was this so, for there were notable developments also among those artists who were content to illustrate a theme in the usual nineteenth-century manner without any regard for the appearance of the printed page. These artists were not concerned with the ultimate balance and proportion of a book as a work of art; their business was interpretative, and their medium, pictures, and they considered it an achievement to make drawings which, whilst serving their immediate illustrative purpose, remained in themselves separate and even independent pictures. The two tendencies in black and white art had existed side by side in the past; generally, however, one was degenerating whilst the other was developing in power. But in the Nineties both achieved a distinction rarely, if ever, attained before, either individually or together. The Italian Renaissance had its great decorated books, and many years later the Victorian period produced a group of ingenious and capable wood-engravers, who often strove to recapture the lost decorative sense, but without much success. Whilst the Renaissance had no illustrators as we understand them, the Victorian period could boast such masterly comic artists in black and white as John Leech, Charles Keene and George du Maurier. But at no other time were there existing in this country such book decorators as William Morris, Walter Crane, Charles Ricketts, Laurence Housman and Aubrey Beardsley, together with such illustrators as Phil May, S. H. Sime, Bernard Partridge, Linley Sambourne, Harry Furniss, Raven Hill and E. J. Sullivan. It was left for the final decade of the nineteenth century to show, in an outburst of ability as prolific as it was varied, the full strength of our native genius for all forms of black and white art, just as earlier in the century we exhibited a similar facility in the art of landscape painting.

The idea of book decoration which developed to so great an extent in the Nineties was, of course, closely related to the Arts and Crafts movement and the revival of good printing. But with the exception of William Morris and Charles Ricketts few designers had facilities for that intimate association with reproductive methods which was considered so essential. The application of photography to pictorial, reproductive processes further aided in widening this breach between designer and producer and helped to create a separate class of decorative book illustrators who were personally independent of the crafts of reproduction. The weaknesses of the decorated books of the period are due rather to this separation of art and craft than to any absence of capacity on either side. The aim of the book decorators, as in the case of the best printers, was to produce designs which should not be beautiful merely in themselves but beautiful in their relationship to the whole of the book--both from the point of view of appearance and idea. “I think,” wrote Walter Crane, in _Decorative Illustration_ (1896), “that book illustration should be something more than a collection of accidental sketches. Since one cannot ignore the constructive organic element in the formation--the idea of the book itself--it is so far inartistic to leave it out of account in designing work intended to form an essential or integral part of that book. I do not, however, venture to assert that decorative illustration can only be done in _one_ way--if so, there would be an end in that direction to originality or individual feeling. There is nothing absolute in art, and one cannot dogmatise, but it seems to me that in all designs certain conditions must be acknowledged, and not only acknowledged but accepted freely, just as one would accept the rules of a game before attempting to play it.” In short, the desire of those illustrators who were at all conscious of any special desire as designers was for formality within the convention and circumstances of the printed book.

“To rise, to take a little opium, to sleep till lunch, and
after again to take a little opium, and sleep till dinner,
_that_ is a life of pleasure.”

_By L. Raven Hill_]

Throughout the greater part of the century the tradition of the decorated book had been allowed to lapse. The actual renaissance of book decoration began when the leaders of the Pre-Raphaelite Brotherhood, Dante Gabriel Rossetti, John Everett Millais and Holman Hunt, made their illustrations for the famous edition of Tennyson’s _Poems_, published by Moxon in 1857. This book was not, however, a decorated book in the true sense, but its illustrations were essentially designs in spirit. The modern decorated book itself was not born until 1861, when Rossetti designed the title-page of his _Early Italian Poets_. No great enthusiasm was shown for the revived art, and for some years the deliberate arrangement of book illustrations in the form of design was practically confined to the admirable series of children’s books invented by Kate Greenaway and Walter Crane and, to some extent, those of Randolph Caldecott. During the late Eighties and early Nineties _The English Illustrated Magazine_ helped to satisfy a growing taste for formal illustration, and Herbert Horne and Selwyn Image anticipated somewhat the future glories of the Kelmscott and Vale presses, in the handsome and dignified pages of _The Hobby Horse_. Then came the books of the presses named, as recorded in an earlier chapter, and presently publishers were competing with one another in the production of decorated books, a remarkable and distinguished number being issued during the years under review.

It was Walter Crane more than any other artist who consistently and indomitably carried the torch of book decoration through the dark days preceding the full revival. Influenced by Durer and the early German wood-engravers, he developed mastery and individuality of his own. The decorative sense is given freedom in his work, with the result that his drawings are always uncompromising designs in strict relation to the book of which they become parts. There are no illustrated books of the Nineties which satisfy the demands of decorative art more eloquently than Crane’s _Faerie Queene_, _Reynard the Fox_ and _The Shepherd’s Calendar_. In each of these the achievement is greater because the artist succeeds in freeing himself from the convention of the decorated manuscripts by fashioning his design to that of the modern printed page. He thus escaped the archaic tendencies of William Morris and Burne Jones and became more definitely associated with the younger school of draughtsmen who were striving to put the spirit of modernity into their work. His designs were also used in an effective series of Socialist cartoons, notable among which is the fine processional work “The Triumph of Labour,” designed to commemorate the International Labour Day, 1st May 1891, and other examples of his black and white drawings are to be found on the covers of books, and in several notable devices for publishing and other trading concerns.

Walter Crane’s decorative drawings had a marked effect on the younger men of the period, but the influence stimulated the general decorative movement in regard to illustration rather than imitation of the master.

_By Walter Crane_]

Book decoration was striving to become modern at the time the Kelmscott Press was started just as vigorously as Morris strove to link it with tradition. There was no set contest between the conflicting ideas and the original Pre-Raphaelite, and Arts and Crafts influences were too recent for the clear definition of any line of demarcation by intrinsically contending factions. The whole of the decorative revival was under the spell of Morris and the group of painters and poets who in turn influenced him. Walter Crane, though so closely associated with William Morris, came less under his influence as a book decorator than might have been expected, and both Charles Ricketts and C. H. Shannon worked out original ideas in design. So modern a designer as Aubrey Beardsley came, however, under the prevailing influence; and Laurence Housman could hardly have decorated so well had not Morris and Ricketts preceded him. The arabesque borders of William Macdougal were more modern in spirit, though less satisfying in effect, and the happy pictures and head-pieces and tail-pieces of Charles Robinson, as well as the vigorous Japonesque decorations of Edgar Wilson, were altogether novel and appropriate, as were those also of H. Granville Fell. But it was R. Anning Bell who caught the more fanciful decorative spirit of the times with his drawings for _A Midsummer Night’s Dream_ (1895), and other books, including a volume of Keats’ _Poems_. In these drawings Anning Bell departed from the luxuriant effects of Morris, Crane, Ricketts and Beardsley, and, working in the realm of fancy, succeeded in producing illustrations which bridged the decorative and the pictorial methods, whilst retaining a designed balance with the printed page.

Whilst the decoration of books was striving for modern expression in this country, the Scottish group of artists, working with Patrick Geddes at Edinburgh, produced many designs which were at once strong and new, although in some instances based in curious and remote arabesques of Runic origin. Symbolism was the aim of these artists, and the clever head-pieces and tail-pieces of _The Evergreen_ were faithfully drawn “after the manner of Celtic ornament.” Excellent and more illustrative designs were contributed to the same publication by Charles H. Mackie, Robert Burns, Pittendrigh Macgillivray and John Duncan. Later in the period the fantastic work of Jessie M. King came from Scotland, revealing a novel sense of fanciful design based largely upon the Japanese and showing also the influence of Beardsley. Ireland produced no group of Celtic designers, but the work of Althea Giles, with its curiously exotic symbolism, won the enthusiastic appreciation of W. B. Yeats, and the poet’s brother, Jack Yeats, began to make those excellent and delightful wood-blocks which have all the qualities of designs without losing any of the characteristics of pictures. Nor had definite symbolism in black and white decorative art many exponents in this country. The most notable, and he comes hardly within the definition of a decorator, was W. T. Horton, who, with extraordinary economy of materials, the briefest of lines and the flattest masses of black, produced startling revelations of human types in the very few designs he published.

A notable contribution to the ornamental book decorations of the period was made by a group of artists in the Midlands. Originally students at the Birmingham School of Art, these young men and women, inspired by the work and ideals of the elder group of the Arts and Crafts movement, worked diligently within the limits of conventional design. They discountenanced any book illustrations of a realistic type by relegating these to the portfolio or the picture frame. Many books of fairy tales, old romances and poetry were decorated by them, with varying success, and their aims and aspirations were set forth in a magazine of their own, called _The Quest_. William Morris thought so highly of the Birmingham School of decorators that he engaged three of its draughtsmen, E. H. New, C. M. Gere and Arthur Gaskin, to design illustrations for some of the Kelmscott Press books. In the main the artists of this school had little connection with modern life. The bulk of their designs were deliberately archaic, being based upon the work of the fifteenth and sixteenth century wood-engravers, and what modern spirit they possessed was little more than an echo of the Pre-Raphaelite movement and its associates and dependants. Among the more notable members of the group, besides the three artists named above, were Inigo Thomas, Henry Payne, L. Fairfax Muckley, Bernard Sleigh, Mary Newill, Celia Levetus and Mrs Arthur Gaskin. There can be small doubt, however, that the most satisfying and most original draughtsman of the group was E. H. New. His studies of old streets and buildings united the ideas of book decoration and illustration in a successful and altogether pleasing way, and they remain something more than the expressions of a revived method of decoration.

The revival of conventional book decoration did not pass unchallenged, as may be imagined at a time when there were so many vigorous black and white artists of all types striving for recognition. One of the most authoritative and most reasonable pronouncements of the opposition was that made by Joseph Pennell in the 1897 edition of _Pen Drawing and Pen Draughtsmen_. “Decoration is appropriateness,” he wrote, “and it really makes no difference whether it is realistic or conventional, so long as it improves the appearance of the page. But at the same time I consider the modern thoroughly developed realistic work in its best form superior to that of the old men, because it shows most plainly the advances we have made in knowledge and technique.... Nowhere for the moment will such a statement be questioned, except in this country. But here, within the last thirty years, people have been continuously taught to believe that book decoration, like all other art work, to be artistic must have a spiritual, moral, social, political, literary or sixteenth-century value, while beauty of line and perfection of execution have been subordinated to these qualities; as a result the many pay no attention to the real artistic merits or defects of a drawing, but simply consider it from an entirely inartistic standpoint. The excuse is the elevation of the masses and the reformation of the classes. Art will never accomplish either of these desirable ends, its only function being to give pleasure, but this pleasure will be obtained from good work produced in any fashion. If the work is equally well, or, as usually happens, better done in a modern style, it will give more pleasure to a greater number simply because it will be far more widely understood.” But the distinction was not finally between realistic and conventional decoration; it was between the ideas of decoration in the abstract and illustration in the abstract. During the Nineties there were few naturalistic decorators of books, and this was due probably to the emphasis which had been laid upon the independence of all naturalistic art from anything but its own materials and its own rules of excellence. The problem of filling the space of a book-page in such a way as to produce harmony and pleasing proportion was therefore left to the decorative reformers who, to a man, were inspired by a mediæval idea. The results are to be seen in the archaic but admirably illustrated books of the time, which, in their own realm of decoration, are sufficient defences against any criticism that has been, or may be, passed upon them.

The other branch of the art was none the less remarkable in its own sphere, and under conditions of almost unlimited personal freedom in choice of method it naturally encouraged originality undreamt of (and seemingly undesired) in the purely decorative schools. Every phase of life found its pictorial exponents, in spite of the serious limitations imposed by the introduction of photography into press and book illustrations. Where the camera could not operate, in for instance the realm of character study and humour, the modern genius for pen drawing produced surprising and masterly results. The most notable of these, and admittedly the finest pen draughtsmanship of the time, were the drawings of Phil May.

_By Spy_]

This universally appreciated artist, born at New Wortley, Leeds, in 1864, was the son of an engineer. His earliest ambition was to be a jockey, but the wish was not gratified, for when quite a child he was employed as timekeeper in a foundry. There were theatrical associations in the family on his mother’s side, and these led to the boy, whose aptitude with the pencil developed early, being employed as an assistant scene painter and odd-job boy at a Leeds theatre. Subsequently he became an actor, playing juvenile parts in a touring company. At the age of fifteen he set out for London and fortune, but hardship drove him back to Leeds, where he practically began his association with pictorial journalism by contributing drawings to a local paper called _Yorkshire Gossip_. He married at the early age of nineteen, and again returned to try his fortune in London, where ill luck greeted him once more. After suffering extreme poverty, a caricature of his, depicting Bancroft, Irving and Toole leaving the Garrick Club, which was published by a print-seller in Charing Cross Road, attracted the attention of Lionel Brough, the actor, who bought the original and introduced May to the editor of _Society_. This led to work and opened up avenues for the further development of his career in the pages of _The St Stephen’s Review_, where some of the best of his early drawings appeared. But the artist’s health broke down, and he was forced to leave England for Australia. There he remained from 1885 to 1888, becoming one of the most popular contributors to _The Sydney Bulletin_. On his return to Europe he studied art for a while in Paris, and from there renewed his connection with _The St Stephen’s Review_, contributing his first popularly successful series of drawings, “The Parson and the Painter.” This series appeared as a book in 1891. When he returned to London in 1892 he found himself a famous humorous artist, and started the immensely popular _Winter Annuals_, which were published regularly for eleven years. He now contributed drawings to many papers, including _The Graphic_, _The Daily Graphic_, _The Pall Mall Budget_, _The Sketch_, _Pick-me-up_, and in 1896 he joined the staff of _Punch_. Among his more important separate publications were, _Phil May’s Sketch Book_ (1895); _Guttersnipes_ (1896); _Graphic Pictures_ (1897); _Fifty Hitherto Unpublished Pen and Ink Sketches_ and _The Phil May Album_ (1899). During the greater part of this time Phil May was the undisputed king of pictorial humorists in this country. His sketches were a characteristic of the period, and probably no other black and white artist ever won such ungrudging appreciation from both his brother artists and all classes of the public. So severe a critic as Whistler said: “Modern Black and White Art could be summed up in two words--Phil May.” His weekly contributions to _Punch_ came to be anticipated and discussed as a pleasurable event of the first order. This high fame was practically achieved and concluded in the Nineties, for Phil May died in 1903, just before entering his fortieth year. After his death several volumes of his drawings were published, including _Sketches from Punch_ and _A Phil May Picture Book_ (1903); and a _Folio of Caricature Drawings and Sketches_ and _Phil May in Australia_ (1904).

The two outstanding qualities of Phil May’s drawings are their simplicity and their humour. No draughtsman before him had ever succeeded in expressing so much with such apparent ease and such economy of means. He translated the brevity of wit into black and white art, for although he was fundamentally a humorist, and often a humorist of a very primitive type, the most successful of his drawings are as witty as they are funny. His capacity for wit is also revealed in those early caricatures of his, which, if they had been continued, would have won him fame in another direction. But it is as a humorous artist that he will be remembered and loved. Not since Charles Keene had the distinctive qualities of our native humour been caught with such unerring exactitude and force. At the same time May achieved a far greater versatility than Keene. His mind ranged over every phase of the life of his time, and his amazing skill recorded the funniness of Whitechapel or Mayfair with equal inevitability. The wonderful simplicity of these drawings augmented their popular success, and it provoked as well an equally persistent legend about his art, for it was customary to attribute May’s simplicity of line to the belief that whilst he was in Australia he was forced to evolve a simple method of drawing owing to the limitations of local reproductive processes. This illusion had no basis in fact, for the style was as much the man in Phil May’s case as in that of any other artist of equal skill. “For May’s view of life,” wrote his friend and fellow-artist, G. R. Halkett, “with its sharp emphasis of character, and its expression always of the type rather than the individual, an overloading of detail would mean, even in its completeness, a lack of certainty and a halting expression of his idea. In the result, May’s work was always that of the brilliant sketcher who records only those essentials which express ‘the soul’ of the object before him. The accessories he put behind him with no lack of appreciation, and certainly with no lack of study, because he was concerned with deeper things, from which, with unerring instinct, he knew how to discard the merely superfluous.”

“_Are_ you comin’ ’ome?”

“I’ll do ellythikt you _like_ in reason, M’ria--(hic)--but
I _won’t_ come ’ome.”

_By Phil May_]

Next to the directness of his appeal the easy familiarity of his humour made him universally acceptable. It was fundamental, primitive and native humour, reflecting feelings which exist in most adults without respect to class or opinion. And above all it was easier of acceptance because of its whole-hearted geniality and amiable tolerance of human foibles. It never aroused superior laughter; cynicism was as absent as attempt to score off the inferiorities of others; one could laugh and feel comfortable with him, as one could with, say, Charles Dickens or Dan Leno. Phil May made his appreciators feel as they looked and laughed at one of his quaint or preposterous creations that “there, but for the grace of God, go I.” By making you laugh with him at something he had observed or imagined he thus forced you to laugh good-humouredly and with amiable fatalism at yourself. But in spite of all this undoubted geniality the subject of his humour was more often than not fitter for tears than laughter. His “guttersnipes,” his ragamuffins, and all the degraded and unfortunate class-less folk he delineated with such genius in all sorts of laughable situations, might just as easily have been the subjects of weeping or, better, of wrath. In some of the finest of these drawings the humour miscarries in the triumph of a tragic realism; and in most of his studies of low life--studies of drunkards, ragged, dirty and half-starved children, inept old men and unkempt women of all ages--the laughter provoked can be little more than the protective covering of merriment against the pains of impotent sympathy. How far Phil May felt this paradox of his own, and, perhaps, all humour, we do not know; but the misfortunes of his own life, due mainly to personal foibles, must have developed in him that kindly and indifferent fatalism which pervades his work.

The best of the new men worked for _Pick-me-up_ in its early days, and also for _The Butterfly_ and _Eureka_, and in those publications realism, satire, humour, cynicism and caricature flourished with all the spriteliness of a lively age and keen artistic enthusiasm. In many directions one can trace the influence of Phil May both in technique, which is chiefly the concern of the draughtsmen themselves, and in point of view. But many artists developed a _métier_ of their own, and most of them had sufficient originality of technique and subject to arouse critical interest. The renaissance of black and white drawing was not, however, confined to the regular artists in that medium, it gained supporters from among painters, many of whom, such as Dudley Hardy, Walter Sickert, Maurice Greiffenhagen and Sidney H. Sime, doing work which held its own among the best work of the regular pen and pencil draughtsmen. And in this connection the long series of lithographic portraits by William Rothenstein[10] must be remembered, and the early line-drawn caricatures of Max Beerbohm. Cecil Aldin was contributing clever animal studies in wash to the popular illustrated journals, and etchers like Joseph Pennell and painter-etchers like Alfonse Legros and William Strang made incursions into the popular realms of black and white illustrations; and even so essential a colourist as Charles Conder came under the same spell.

Variety was a marked characteristic of the black and white art of the Nineties, and it has to be admitted that apart from the two main schools of illustration--the decorative and the illustrative, which correspond with the romantic and realistic schools of painting--little of the work was other than normal, and, save for the circumstances of the moment, possible during any recent decade. Individual talent, of course, had its say in all directions, and every manifestation of genius and skill found appreciators. The list of draughtsmen whose work is distinctive after the critical winnowing of more than fifteen years, and, in some instances, twenty, is still impressive, including, as it does, such names as Raven Hill, C. E. Brock, F. H. Townsend, G. R. Halkett, Frank L. Emanuel, H. R. Millar, E. J. Sullivan, R. Spence, O. Eckhardt, A. S. Hartrick, Gilbert James, J. W. T. Manuel, Hilda Cowham, E. T. Reed, Charles Pears, Patten Wilson and Bernard Partridge, all of whom either published their first work during the decade or produced such good work as to give them repute. And in addition to this varied array of ability newer men were also coming forward. Among these may be named Henry Ospovat, Carton Moore Park, Gordon Craig, Dion Clayton Calthrop and Joseph Simpson, each of whom published their early work at the close of the period, but whose main work in varied directions belongs to succeeding decades.

_By S. H. Sime_]

All the ideas and “movements” of the time had their devotees among the black and white artists--decadence in Aubrey Beardsley, realism in Phil May, Raven Hill and J. W. T. Manuel; romanticism in Maurice Greiffenhagen, and that urbanity which I have dealt with under the heading of “The New Dandyism,” in Max Beerbohm, Dion Clayton Calthrop and others. Besides these phases there were several artists who combined the realistic and romantic points of view in their work, and, in the true spirit of the moment’s complex intellectualism, added to it that cynicism and doubt of convention which characterises so much of modern thought. Chief among these artists stands Sydney H. Sime, whose contributions to _Pick-me-up_, _The Butterfly_, _Eureka_ and _The Idler_ reveal one of the most original and most gifted artists of the time.

All the varieties of _fin de siècle_ black and white drawing found a capable and prodigal exponent in this artist, who was equally at home with pen, pencil or brush. Few artists of the time had his versatility, and still fewer his mental range. His line drawings illustrating “Jingle’s” theatrical notes in _Pick-me-up_ reveal not only a draughtsman of distinction, but an exact observer of life, and a humorist to boot; some of his covers for _Eureka_, particularly the “White-eyed Kaffir,” prove that he might have won fame as a poster designer had he wished, whilst his little landscapes in the medium of wash, which appeared from time to time in _The Butterfly_, have all the qualities of fine pastel-work. But the phase of Sime’s work which most nearly expresses a distinctive mood of the period is that which reveals him as a sardonic critic of humanity and conventional faith.

From time to time he published drawings in _Pick-me-up_, and elsewhere, which represented a new type of caricature for this country. He could, and did, caricature personality in the traditional manner; but, interesting as these works proved to be, they were not sufficiently distinctive to command more than passing attention. His outstanding work in caricature was independent of personality. It did not pass satiric or humorous comment upon this or that man of note; it said its say about man as man, and about man’s most cherished ideas and beliefs. Sime once described caricature as in the nature of a sarcastic remark, and there is sarcasm enough in these irreverent drawings of his. But neither sarcasm nor irreverence is their aim or outcome. They are obviously the work of an artist and thinker, of one who did not choose to mask his contempt of human weakness. His satires of Heaven and Hell, funny as they are, do not end as jokes. He sees in these popular conceptions of the hereafter mere substitutes for thought and imagination and courageous living, and his attitude resembles that of Rudyard Kipling in “Tomlinson,” which work, significantly enough, he desired above all things to illustrate, although he never produced more than two or three drawings towards that end.

The restless spirit of the time thus found varied expression in its black and white art. From Phil May’s laughter at tragedy to Sime’s laughter at humanity is a far cry; and it is still further to Aubrey Beardsley’s decorated cynicism. Yet each point of view is typical of the period, each in its way an expression of that thirst for reality which characterised the whole art work of the decade.

In the work of no single artist was a final interpretation of reality attained. The art of the time was perhaps too personal for that; just as it was too personal for work within prescribed conventions or formalities. The age favoured experiment and adventure, and it even looked not unkindly upon the various whims of the inquisitive, on the assumption doubtless that discovery was as often the result of accident as of design. In this large tolerance the spirit of renaissance worked through mind and imagination inspiring artists with a new confidence in themselves and courage to take risks. The results were not always happy; but that does not make the spirit in which the risks were taken less admirable, for those who make great effort contribute to life as well as those who achieve.

INDEX

_About the Theatre_, by William Archer, 207

_Academy, The_, 169–170

Achurch, Janet, 207–208

Adams, Francis, 34

Addison, Joseph, 41, 121

“A.E.” (see George Russell)

Æschylus, 167

Æsthetic movement, 28, 67

_Ahab and Jezebel_, by Oscar Wilde, 80

Albert, Prince, 100

Aldin, Cecil, 290

Allen, Grant, 21, 28–29, 35, 39, 40, 44, 131, 147–148, 151–152, 216

_Almanack of Twelve Sports_, by W. E. Henley, illustrated by
William Nicholson, 274

_Almayer’s Folly_, by Joseph Conrad, 225

“An Artist in Attitudes,” 81

Angelo, Michael, 139

_Anthem of Earth_, by Francis Thompson, 175–176

Archer, Charles, 207

Archer, William, 157–158, 205, 207, 208, 213

_À Rebours_, by J. K. Huysmans, 28, 59, 61–62

_Arms and the Man_, by Bernard Shaw, 194

Arnold, Matthew, 128

Art Workers’ Guild, 246

_Arts and Crafts Essays_, 245, 256

Arts and Crafts Exhibition Society, 246

Arts and Crafts Exhibition, 253

Arts and Crafts movement, 244–247, 267, 280, 284

Ashbee, C. R., 265

_Auld Licht Idylls_, by J. M. Barrie, 224

_Autobiography of a Boy, The_, by G. S. Street, 41, 67–69, 228

Aveling, Eleanor Marx, 207

_Aylwin_, by Theodore Watts-Dunton, 39

Bailey, Philip James, 38

Balestier, Wolcott, 232

_Ballad of an Artist’s Wife, The_, by John Davidson, 187

_Ballad of a Nun, The_, by John Davidson, 187

_Ballad of Heaven, A_, by John Davidson, 188

_Ballad of Hell, The_, by John Davidson, 187

_Ballad of Reading Gaol, The_, by Oscar Wilde, 80, 82–83, 88–89

_Ballads and Songs_, by John Davidson, 178, 181

Ballantyne & Hanson, 265

Balzac, 74, 87

_Baptist Lake_, by John Davidson, 178

Baring-Gould, S., 250

Baring, Maurice, 48

Barker, Granville, 214–215

Barlow, Jane, 225

_Barrack-Room Ballads_, by Rudyard Kipling, 232, 241

Barrie, J. M., 35, 40, 42, 224–225, 227–228

Bashkirtseff, Marie, 206

_Battle of the Bays, The_, by Owen Seaman, 159

_Bauble Shop, The_, by Henry Arthur Jones, 209

Baudelaire, Charles, 61, 110, 111, 136, 143, 160, 196, 201

Beardsley, Aubrey, 17, 21, 23, 34, 37, 45, 46, 47, 48, 50, 59, 60,
63, 76, 91–104, 111, 114–115, 117, 130–131, 137–138, 142, 143,
186, 268, 273, 280, 282, 290–292

_Beardsley, The Last Letters of Aubrey_, 94

Beardsley, Miss Mabel, 92

“Beardsley Craze,” 93

Beardsley woman, the, 46, 93

_Beccarius_, by Max Beerbohm, 117

Becke, Louis, 225

Beeching, H. C., 159

Beerbohm, Max, 17, 20, 25, 30, 35, 41, 45, 48, 50, 97, 102, 108,
112, 116, 117–125, 130, 197, 229, 291

_Beerbohm, The Works of Max_, 41, 118–120, 123

Beers Company, the De, 238

Beggarstaff Brothers, 34, 274–275

Bell, R. Anning, 47, 283

_Beltaine_, 150

_Bending of the Bough, The_, by George Moore, 149

Benson, Arthur Christopher, 40, 47

Benson, E. F., 224

Benson, F. R., 212

Benson, W. A. S., 251

Berneval-sur-Mer, 80

Bernhardt, Sarah, 76

Besant, Annie, 26

_Beside the Bonnie Brier Bush_, by Ian Maclaren, 225

Binyon, Laurence, 45, 51, 109, 159

Birmingham School of Art, 284–285

Björnson, Björnstjerne, 133, 209

Black, William, 39

_Black Cat, The_, 209

Blake, William, 50, 91, 99, 167, 174

Bland, Hubert, 26

Blatchford, Robert, 24, 44

Blind, Mathilde, 50

Blomfield, Reginald, 251

Bodley, G. F., 251

Bodley Head, The, 41, 45, 76, 119, 186

_Bogland Studies_, by Jane Barlow, 225

_Book Bills of Narcissus, The_, by Richard le Gallienne, 226

“Bon Mot” series, 103

Booth, Charles, 44

Bottomley, Gordon, 51

_Brand_, by Henrik Ibsen, 209

Brandes, George, 133

Brangwyn, Frank, 268, 270, 276, 277–278

Bridges, Robert, 39

Brieux, Eugene, 201

British South Africa Company, 238

Brock, C. E., 290

Brooke, Emma Frances, 224

Brooke, Stopford, 39

Brown, Ford Madox, 246, 272

Browning, Robert, 25, 38, 128, 157

_Bruce: a Drama_, by John Davidson, 178

Buchanan, Robert, 128

Bullen, Frank T., 225

Burne-Jones, Sir Edward, 33, 100, 103, 259–260, 273, 282

Burns, John, 26

Burns, Robert, 283

Butler, Samuel, 203

_Butterfly, The_, 36, 289, 291

Byron, Lord, 57, 158

Cadenhead, John, 150

_Cæsar and Cleopatra_, by Bernard Shaw, 195

Café Royale, 58

Caine, Hall, 39, 218, 226

Caldecott, Randolph, 281

Calthrop, Dion Clayton, 290–291

Cameron, D. Y., 270

Campbell, Mrs Patrick, 213

_Candida_, by Bernard Shaw, 194

Canterbury Poets, 52

_Canterville Ghost, The_, by Oscar Wilde, 74

_Captain Brassbound’s Conversion_, by Bernard Shaw, 194

_Captains Courageous_, by Rudyard Kipling, 232

_Caricatures of Twenty-five Gentlemen_, by Max Beerbohm, 124

Carlyle, Thomas, 203

Carpenter, Edward, 34, 44, 48

Carroll, Lewis, 227

_Carthusian, The_, 117

Carton, R. C., 214

_Case of Rebellious Susan, The_, by Henry Arthur Jones, 212

_Cashel Byron’s Profession_, by Bernard Shaw, 194

Caslon, 255

Caxton, William, 260

Celtic revival, 42, 147–156

_Celtic Twilight, The_, by W. B. Yeats, 42, 149, 155

Chamberlain, Joseph, 151, 238–239

_Chameleon, The_, 36

Champneys, Basil, 251

Chant, Mrs Ormiston, 24

_Chap-Book, The_, 118

Charrington, Charles, 207–208

Chesterton, G. K., 112

_Child of the Jago, A_, by Arthur Morrison, 43, 130, 216

_Children of the Ghetto_, by Israel Zangwill, 225

Chiswick Press, 255, 257

_Chord, The_, 36

_Christ in Hades_, by Stephen Phillips, 158, 164

_Christmas Day in the Workhouse_, by G. R. Sims, 187

_Christmas Garland, A_, by Max Beerbohm, 120

_Chronicle, The Daily_, 24, 80

_City of Dreadful Night, The_, by Rudyard Kipling, 232

_Clarion, The_, 24

Clausen, George, 270

Clifford, Mrs W. K., 224

Cobden-Sanderson, T. J., 251, 253, 260, 266

Cockerell, Douglas, 251

Coleridge, S. T., 58, 158

Collins, Lottie, 31

_Colour of Life, The_, by Alice Meynell, 139, 145

Colvin, Sydney, 39

Comte, 60

_Comus_, by John Milton, 58

Conder, Charles, 35, 37, 48, 50, 131, 270, 273–274

_Confessions of a Young Man_, by George Moore, 63

Conrad, Joseph, 40, 50, 225

Coppée, François, 178

Corelli, Marie, 225

Couch, Arthur Quiller, 35, 225

_Countess Kathleen, The_, by W. B. Yeats, 41, 149, 156

_Courting of Dinah Shadd, The_, by Rudyard Kipling, 232

Crackanthorpe, Hubert, 35, 47, 131, 142, 144, 220, 223

Craig, Gordon, 51, 207, 290

Crane, Stephen, 229

Crane, Walter, 33, 48, 251, 280–283

Crashaw, Richard, 166

_Critic as Artist, The_, by Oscar Wilde, 75

Crockett, Alexander, 177

Crockett, S. R., 42, 150, 224

Crosland, T. W. H., 51

_Cruelties of Prison Life_, by Oscar Wilde, 80

Custance, Olive, 48, 159

Cyrenaicism, the New, 59

_Daily Express_ (Dublin), _The_, 150

_Daily Graphic, The_, 287

_Daily Mail, The_, 52

_Daily Telegraph, The_, 208

Dalmon, Charles, 48, 159

D’Annunzio, Gabriele, 128

Dante, 272

D’Arcy, Ella, 48

Darwinian idea, 190

D’Aurevilly, Barbey, 13, 110–111, 114–115

Davidson, Alexander, 177

Davidson, John, 20, 35, 41, 45, 47, 91, 106, 129, 131, 158,
177–192, 234

Davies, William H., 170

_Day’s Work, The_, by Rudyard Kipling, 232

Decadents, The, 36

_Decameron, The_, by Boccaccio, 102

_Decay of Lying, The_, by Oscar Wilde, 75

_Decorative Illustration_, by Walter Crane, 280

_Deemster, The_, by Hall Caine, 225

_Defence of Cosmetics, A_, by Max Beerbohm, 117

_Defence of the Revival of Printing_, by Charles Ricketts, 261

Degas, 203

_Degeneration_, by Max Nordan, 195

Dent, J. M., 93

_Departmental Ditties_, by Rudyard Kipling, 231, 232

_De Profundis_, by Oscar Wilde, 80–81, 88

De Quincey, Thomas, 167

_Devil’s Disciple, The_, by Bernard Shaw, 195

_Dial, The_, 257, 260, 261

_Diarmuid and Grania_, by W. B. Yeats and George Moore, 149

_Diary of Lady Willoughby_, by Hannah Mary Rathbone, 255

Dickens, Charles, 33, 43, 107, 217, 289

Dionysos, 58

Dobson, Austin, 39

_Doll’s House, A_, by Henrik Ibsen, 208–209

_Dome, The_, 36, 50–51

“Don’t Read This if You Want to be Happy To-day,” by Oscar Wilde,
80

D’Orsay, Count, 122

Douglas, Lord Alfred, 76, 159

Douglas, Sir George, 150

Doves Press, 255, 266

Dow, T. Millie, 270

Dowie, Menie Muriel, 224

Dowden, Edward, 39

Dowson, Ernest, 35, 48, 58, 70, 91, 158, 162, 166

Doyle, Arthur Conan, 40, 225

_Dream Days_, by Kenneth Graham, 227

_Dream Tryst_, by Francis Thompson, 167

_Dublin Review, The_, 167–168

_Duchess of Padua, The_, by Oscar Wilde, 75

Du Maurier, George, 39, 67, 226, 279

Duncan, John, 150, 283

Durer, Albrecht, 281

_Eagle and the Serpent, The_, 129–130

_Early Italian Poets_, by D. G. Rossetti, 281

_Ebb-Tide, The_, by Robert Louis Stevenson and Lloyd Osbourne, 225

Echegaray, 209

Eckhardt, O., 290

Egerton, George, 45, 47, 129, 143, 144, 217, 224

Eglinton, John, 42, 149

_Elder Conklin and Other Stories_, by Frank Harris, 43

Eliot, George, 217

Ellis, Havelock, 50, 129, 221

_Elsmere, Robert_, by Mrs Humphry Ward, 224

Emanuel, Frank L., 290

Emerson, Ralph Waldo, 132

_Emperor and Galilean_, by Henrik Ibsen, 208

_Endymion_, by John Keats, 58

_Enemy of the People, An_, by Henrik Ibsen, 209–210

_English Episodes_, by Frederick Wedmore, 39

_English Illustrated Magazine_, 281

_English People, Modern History of_, by R. H. Gretton, 53

_Episodes_, by G. S. Street, 144

Eragny Press, 255

Esperance Girls’ Club, 250

Essex House Press, 255, 265–266

_Esther Waters_, by George Moore, 43, 63, 130, 216, 228–230

_Eureka_, 36, 289, 291

Euripides, 212

Evans, Frederick H., 93

_Evelyn Innes_, by George Moore, 230

_Eve of St Agnes, The_, by John Keats, 58

_Evergreen, The_, 36, 43, 150, 283

_Fabian Essays in Socialism_, 194

_Fabianism and the Empire_, by Bernard Shaw, 195

Fabian Society, the, 26, 186, 194, 200, 209

_Faerie Queene_, by Edmund Spenser, 281

Farrar, Archdeacon, 38

_Fathers and Children_, by Ivan Turgenev, 132

_Fat Woman, The_, by Aubrey Beardsley, 101–102

Fell, H. Granville, 283

Fenn, Frederick, 214

Fergusson, John Duncan, 35, 270

_Feverel, The Ordeal of Richard_, by George Meredith, 123

Field, Michael, 45, 159, 209

Fitzgerald, Edward, 135

_Fleet Street Eclogues_, by John Davidson, 41, 106, 178

_Fleet Street Eclogues_, by John Davidson (second series), 178

_Fleet Street and Other Poems_, by John Davidson, 178

Fleming, George, 144

_Fleshly School of Poetry, The_, by Robert Buchanan, 128

_Fortnightly Review, The_, 28, 74, 147

Fletcher, A. E., 24

_Florentine Tragedy, A_, by Oscar Wilde, 75

Forbes, Stanhope, 270

_Forest Lovers, The_, by Maurice Hewlett, 226

_For the Crown_, by John Davidson, 178

Fowler, Robert, 270, 273, 276

Fragonard, 274

France, Anatole, 48, 206

Frederic, Harold, 226

French Revolution, 57

Froude, James Anthony, 38

Fry, Roger, 51

Furniss, Harry, 280

Furse, Charles W., 47

Futurists of Milan, 188

Gale, Norman, 45

Galsworthy, John, 214

Galton, Francis, 38

_Garden Cities of To-morrow_, by Ebenezer Howard, 254

Garnett, Richard, 47

Gaskin, Arthur, 284

Gaskin, Mrs Arthur, 284

Gautier, Théophile, 58, 61, 70, 85, 111, 136, 160, 196

Geddes, Patrick, 42, 150, 283

_Gentle Art of Making Enemies, The_, by James McNeill Whistler, 40

George IV. (caricature of), 48

George, D. Lloyd, 151, 239

Gere, C. M., 284

_Gerontius, The Dream of_, by John Henry Newman, 68

_Ghetto Tragedies_, by Israel Zangwill, 225

_Ghosts_, by Henrik Ibsen, 194, 208

Gide, André, 72, 78–79

Gibson, Wilfred Wilson, 51

Gilbert and Sullivan, 73

Gilbert, W. S., 67, 73, 118

Gilchrist, Murray, 229

Giles, Althea, 51, 283

Gissing, George, 27, 35, 39, 43, 223, 229

_Glasgow Herald, The_, 178

Glasgow School, 269–270

_Gods and Fighting Men_, by Lady Gregory, 149

_Golden Age, The_, by Kenneth Graham, 227

Goncourt, Edmund and Jules de, 58

Gordon, General, 237

Gosse, Edmund, 38, 47, 50, 207

_Goya_, by W. Rothenstein, 277

Graham, R. B. Cunninghame, 35, 44, 225

Grahame, Kenneth, 45, 47, 227

Grand, Sarah, 217, 224

_Graphic, The_, 287

_Graphic Pictures_, by Phil May, 287

Gray, John, 94, 159, 166, 262

_Great God Pan, The_, by Arthur Machen, 226–227

Greenaway, Kate, 92, 281

_Green Carnation, The_, by Robert Hichens, 41, 73, 79, 135, 139,
228

_Green Fire_, by Fiona Macleod, 139

Gregory, Lady, 42, 149

Greiffenhagen, Maurice, 270, 273, 276, 290

Grein, J. T., 194, 205

Gretton, R. H., 31 (footnote), 53

_Grey Roses_, by Henry Harland, 139

Grosvenor Gallery, 25, 270

Grundy, Sidney, 78, 214

Guest, Lady Charlotte, 151

Guild of Handicraft, 265

_Gunga Din_, by Rudyard Kipling, 187

_Gunnlang Saga_, translated by William Morris, 257

Guthrie, Sir James, 270

_Guttersnipes_, by Phil May, 287

Hacon & Ricketts, 51, 257

Haggard, Rider, 39

Halkett, G. R., 288, 290

Hankin, St John, 214

_Happy Hypocrite, The_, by Max Beerbohm, 120, 123, 229

_Happy Prince and Other Tales, The_, by Oscar Wilde, 54, 89

Hardie, M.P., Keir, 26

Hardy, Dudley, 47, 268, 270, 290

Hardy, Thomas, 38, 40, 216, 221–222, 223

_Hardy, The Art of Thomas_, by Lionel Johnson, 38

Harland, Henry, 35–36, 46, 47, 131, 143, 144, 224, 229

_Harlot’s House, The_, by Oscar Wilde, 82, 83, 102

Harmsworth, Alfred, 54

Harraden, Beatrice, 224

Harris, Sir Augustus, 275

Harris, Frank, 43, 225, 228–229

Harrison, Frederic, 38

Hartrick, A. S., 36, 47–48, 290

Hauptmann, Gerhardt, 210

Hayes, Alfred, 47

Headlam, Rev. Stewart, 26

_Heather Field, The_, by Edward Martyn, 149

_Hedda Gabler_, by Henrik Ibsen, 194, 208–209

_Hedonism, The New_, by Grant Allen, 21, 28–29

Heinemann, William, 45

Henley, William Ernest, 34, 38, 108–109, 143, 267

Henry, George, 270

Henry & Co., 45, 129

Herbert, George, 166

_Hernani_, by Victor Hugo, 39, 207

Hewlett, Maurice, 40, 226

Hiatt, Charles, 274–275

Hichens, Robert, 41, 73

Hill, Raven, 36, 37, 280, 290–291

Hind, C. Lewis, 170–172

Hobbes, John Oliver, 35, 47, 144, 224

_Hobby Horse, The_, 36, 257, 281

_Holiday and Other Poems_, by John Davidson, 178, 184

Holmes, C. J., 51

Hope, Anthony, 40

Horace, 121

Horne, Herbert P., 257, 281

Hornel, E. A., 35, 150, 270

Hornung, E. W., 226

Horton, William, T., 50, 284

_Hound of Heaven, The_, by Francis Thompson, 172–173

_House of Pomegranates, The_, by Oscar Wilde, 74, 75, 88, 89, 260,
262

_House of the Wolfings, The_, by William Morris, 257

Housman, A. E., 40, 45, 158, 164–165

Housman, Laurence, 37, 47, 51, 158, 280, 283

Howard, Ebenezer, 254

Hudson, W. H., 40

Hueffer, Ford Madox, 48

Hugo, Victor, 178

Humanitarian League, the, 186

Hunt, Holman, 33, 281

Hunt, Leigh, 41

Huysmans, Joris Karl, 28, 58, 61, 136, 223

Huxley, Thomas Henry, 38

Hyde, Dr Douglas, 42, 149

Hyndman, Henry Mayers, 26, 134

Ibsen, Henrik, 27, 128, 133, 194, 196, 201–203, 205–212, 220

_Ibsenism, the Quintessence of_, by Bernard Shaw, 44, 194, 198, 211

_Ideal Husband, An_, by Oscar Wilde, 76, 88

_Idler, The_, 36

_Idylls of the King, The_, by Lord Tennyson, 100

_Illumination_, by Harold Frederic, 226

Image, Selwyn, 50, 159, 257, 281

_Importance of Being Earnest, The_, by Oscar Wilde, 76, 105–106

_Impossibilities of Anarchism_, by Bernard Shaw, 195

Impressionists, French, 198, 203, 207, 244, 267–269, 272–273, 276

_In a Music Hall_, by John Davidson, 178

_In Black and White_, by Rudyard Kipling, 232

Independent Theatre, the, 205, 209

_Industrial Democracy_, by Sidney and Beatrice Webb, 44

Ingelow, Jane, 38

_Intentions_, by Oscar Wilde, 75, 85, 88

_In the Key of Blue_, by John Addington Symonds, 39, 262

“Iota,” 224

Irish Literary movement, 42, 64, 149–150

_Irish Melodies_, by Thomas Moore, 153

Irish National Theatre, 42, 150

Irving, Sir Henry, 211

“Israfel,” 51

_It’s Never too Late to Mend_, by Charles Reade, 196

Jackson, T. G., 251

Jacobs, W. W., 227

James, Gilbert, 290

James, Henry, 38, 47, 217, 223

Jameson, Dr, 238–239

Jameson Raid, the, 23, 233

Jefferies, Richard, 186

Jenson, Nicholas, 256, 258

Jerome, Jerome K., 40, 227

“Jingle,” 291

_Joan of Arc, The Procession of_, by Aubrey Beardsley, 100

John, Augustus, 270

Johnson, Lionel, 35, 38, 45, 48, 131, 141–142, 149, 158, 160–161,
166

Johnson, Samuel, 41, 107, 115

Jones and Evans, 93

Jones, Henry Arthur, 209, 212–213

_Jude the Obscure_, by Thomas Hardy, 39, 216–217, 221

_Jungle Books, The_, by Rudyard Kipling, 232

_Just-so Stories_, by Rudyard Kipling, 232

“Kail Yard School,” 42

Keats, John, 58, 93, 95, 135, 158, 165, 176, 185, 225

Keene, Charles, 37, 279

Kelmscott Press, 51, 248, 255–262, 264–266, 281–284

Kelmscott Press Books, 258–259, 263, 266

_Keynotes_, by George Egerton, 129, 144

Khartoum, Taking of, 237

Khayyám, Omar, 135

Kidson, Frank, 250

_Kim_, by Rudyard Kipling, 232

_King of the Schnorrers, The_, by Israel Zangwill, 225

King, Jessie M., 283

Kipling, Rudyard, 34, 35, 39, 43, 54, 126, 158, 187, 218, 225,
231–243, 292

_Kiss of Judas, The_, by Aubrey Beardsley, 101

Kitchener, Lord, 237

Krafft-Ebing, 102

Kruger, Paul, 238

Labour Party, Independent, 26

_Lady Windermere’s Fan_, by Oscar Wilde, 77, 133

Lamb, Charles, 41, 107, 121, 123

Lane, John, 35, 45, 51, 93, 119, 186, 262

Lang, Andrew, 38

Lassalle, Ferdinand, 134

_Last Ballad, The_, by John Davidson, 178

_Last Feast of Fraima, The_, by Alice Milligan, 149

Lavery, John, 35, 270, 276–277

Lawrence and Bullen, 45

Lawrence, Emmeline Pethick, 250

Lecky, W. E. H., 38

Lee, Vernon, 144

Leech, John, 37, 279

Le Gallienne, Richard, 31, 35, 38, 41, 45, 46, 47, 91, 106, 108,
139, 142–144, 157, 159, 160, 163–164, 226–228

Legros, Alfonse, 290

Leighton, Sir Frederick, 47

_L’Enfant Prodigue_, 94

Leno, Dan, 275, 289

Lepage, Bastien, 270

Lethaby, W. R., 251, 253

Levetus, Celia, 284

Leyland, Sir James, 268

_Liberty_, 196

Liddon, Canon, 38

_Light That Failed, The_, by Rudyard Kipling, 232, 234

Lindsay, Sir Coutts, 270

_Lippincott’s Monthly Magazine_, 75

_Little Minister, The_, by J. M. Barrie, 224

_Little Novels from Italy_, by Maurice Hewlett, 226

_Liza of Lambeth_, by Somerset Maugham, 43, 130, 224

_Locksley Hall_, by Lord Tennyson, 128

Lombroso, Cesare, 50

_London People, The Life and Labour of the_, by Charles Booth, 45

_London Programme, The_, by Sidney Webb, 44

_London Types_, by W. E. Henley and William Nicholson, 274

_London Visions_, by Laurence Binyon, 109–110

_London Voluntaries_, by W. E. Henley, 108–109, 143

Longmans & Co., 93

_Lord Arthur Saville’s Crime_, by Oscar Wilde, 74

_Love Songs of Connacht, The_, by Douglas Hyde, 149

Lowry, H. D., 144

_Lysistrata_, by Aristophanes, 103

_Mabinogian, The_, translated by Lady Charlotte Guest, 151

“Mabon,” 151

Macdougal, William, 283

Macgillivray, Pittendrigh, 150, 283

Macgregor, W. Y., 270

Mackie, Charles H., 283

“Maffick,” to, 39

Mahdi, the, 237

Maitland, 270

Machen, Arthur, 226

“Maclaren, Ian,” 42, 225

Macleod, Fiona (see also William Sharp), 35, 42, 48, 51, 147, 150,
226

_Mademoiselle de Maupin_, by Théophile Gautier, 59

_Mademoiselle Miss_, by Henry Harland, 144

Maeterlinck, Maurice, 51, 132, 153, 209–210

_Mæve_, by Edward Martyn, 149

Mafeking night, 54

_Major Barbara_, by Bernard Shaw, 200

Mallarmé, Stéphane, 56, 61, 78

Mallock, W. H., 38, 67

_Mammon and His Message_, by John Davidson, 179

_Man of Destiny, The_, by Bernard Shaw, 194

_Man and Superman_, by Bernard Shaw, 199

Manet, Eduard, 63, 99, 203, 268, 276

Mann, Harrington, 270

Mann, Tom, 26

Manning, Cardinal, 38

Manuel, J. W. T., 36, 290

_Margaret Ogilvy_, by J. M. Barrie, 224

Marillier, H. C., 97, 263

_Marius the Epicurean_, by Walter Pater, 118, 140

Marriott-Watson, Rosamund, 159

_Marpessa_, by Stephen Phillips, 158

_Martian, The_, by George du Maurier, 39

Martineau, James, 38

Martyn, Edward, 149

_Mary Glocester, The_, by Rudyard Kipling, 187

Marx, Karl, 134, 207

Marxian theory, 194

Masefield, John, 214

_Masks or Faces?_ by William Archer, 207

_Masks, The Truth about_, by Oscar Wilde, 74

_Massacre of the Innocents, The_, by Maurice Maeterlinck, 54

_Master Builder, The_, by Henrik Ibsen, 209, 211

Mathews, Elkin, 35, 45, 51, 93

Maude, Aylmer, 250

Maugham, W. Somerset, 43, 224, 225

Maupassant, Guy de, 220, 223, 235

May, Phil, 35, 36, 37, 50, 275, 280, 287–292

Melmoth, Sebastian, 80

Melville, Arthur, 270

Meredith, George, 38, 121, 135, 144, 157, 223

_Merrie England_, by Robert Blatchford, 44

Merriman, Henry Seton, 225

_Merry England_, 167

Meynell, Alice, 35, 45, 141, 144–145, 158, 168

Meynell, Wilfrid, 168–169

_Midshipman Easy_, by Captain Marryat, 118

_Midsummer Night’s Dream_, by William Shakespeare, 58

Millais, Sir John Everett, 281

Millar, H. R., 290

Milligan, Alice, 149

Milton, John, 165

Molière, 213

Monet, Claude, 139, 268

Money-Coutts, F. B., 159, 164

Monticelli, 274

Moore, George, 27, 35, 39, 42, 47, 48, 63, 64, 130, 135, 149, 209,
216–217, 223, 229–230, 267–269

Moore, T. Sturge, 51, 159

Moore, Tom, 153

_More_, by Max Beerbohm, 120

Morgan, William de, 251

Morris, Lewis, 38

Morris, May, 251

Morris, William, 26, 33, 38, 39, 51, 100, 103, 134, 157, 196,
244–254, 256–261, 263–266, 280, 282–284

Morrison, Arthur, 43, 130, 216, 223, 225

_Morte d’Arthur_, by Malory, illustrated by Aubrey Beardsley, 93

_Mrs Warren’s Profession_, by Bernard Shaw, 194–196

Muckley, L. Fairfax, 284

Murdoch, W. G. Blaikie, 33

Murger, Henri, 226

Napoleon, 57, 183

_Nation, The_, 170

_National Observer, The_, 22, 228–229

_Nature of Gothic, The_, by John Ruskin, 246–247

_Naulahka, The_, by Rudyard Kipling and Wolcot Balestier, 232

Neal, Mary, 250

Nesbit, E., 159

Nettleship, J. T., 47

New, E. H., 284

_New Age, The_, 22, 24

_New Ballads_, by John Davidson, 178

Newbolt, Henry, 40, 158

New Century Theatre, 209

New English Art Club, 269

_New Grub Street, The_, by George Gissing, 43

New Humour, The, 227

Newill, Mary, 284

Newlyn School, 270

_New Poems_, by Francis Thompson, 169

_New Republic, The_, by W. H. Mallock, 67

_New Review, The_, 22

Newman, John Henry, 38

_News from Nowhere_, by William Morris, 39, 248

Nicholson, William, 34, 35, 268, 270, 274–275

Nietzsche, Friedrich, 50, 61, 88, 128–129, 131–133, 182, 190, 203,
234

_Nigger of the Narcissus, The_, by Joseph Conrad, 225

_Nineteenth Century, The_, 75

_No. 5 John Street_, by Richard Whiteing, 40, 43, 224

“Nonconformist Conscience,” 24, 216

Nordau, Max, 19–20, 30, 34, 195

Nutt, David, 93

O’Connor, T. P., 24

_Octopus, The_, 118

_Of a Neophyte_, by Aubrey Beardsley, 101

Olivier, Sydney, 26

“On Going to Church,” by Bernard Shaw, 50, 204

_Once a Week_, 37

Orpen, William, 35, 270

Osbourne, Lloyd, 225

Ospovat, Henry, 290

O’Sullivan, Vincent, 144, 222–223

_Outcast of the Islands, An_, by Joseph Conrad, 225

_Pagan Review, The_, 22

_Pageant, The_, 41, 160

Pain, Barry, 40, 225, 227

Palace Theatre, 76, 120

_Pall Mall Budget, The_, 118, 287

_Paolo and Francesca_, by Stephen Phillips, 158

_Parade, The_, 36

Park, Carton Moore, 290

Parnassiens, the, 59

_Parson and the Painter, The_, by Phil May, 287

Partridge, Bernard, 280, 290

_Passion of Mary, The_, by Francis Thompson, 167

Pater, Walter, 26, 34, 38, 59, 61, 74, 87, 135, 140

_Patience_, by W. S. Gilbert, 67, 73

Paton, Sir Noel, 150

Payn, James, 39

Payne, Henry, 284

Peacock Room, the, 268

Pears, Charles, 290

_Pearson’s Weekly_, 77–78

_Pelleas and Mélisande_, by Maurice Maeterlinck, 156

_Pen Drawing and Pen Draughtsmen_, by Joseph Pennell, 285

_Pen, Pencil and Poison_, by Oscar Wilde, 74

Pennell, Joseph, 47, 50, 93, 98, 285, 290

Peploe, J. T., 35, 270

_Perfect Wagnerite, The_, by Bernard Shaw, 195

_Perfervid_, by John Davidson, 177, 181

_Peter Ibbetson_, by George du Maurier, 39

Petronius, 107

_Phantom ’Rickshaw, The_, by Rudyard Kipling, 232

_Pharais_, by Fiona Macleod, 42, 150

_Philanderer, The_, by Bernard Shaw, 194

Phillips, Stephen, 51, 158, 164

_Phrases and Philosophies for the Use of the Young_, by Oscar
Wilde, 112

_Pick-me-up_, 36, 37, 118, 287, 289–291

_Picture of Dorian Gray, The_, by Oscar Wilde, 21–22, 27, 59, 62,
63, 68, 75, 84, 88–89, 138, 228

_Pierrot of the Minute, The_, by Ernest Dowson, 141

_Pillars of Society_, by Henrik Ibsen, 202

Pinero, Arthur W., 39, 40, 78, 207, 209, 212–213

Pissarro, 139

_Plain Tales from the Hills_, by Rudyard Kipling, 231

Platonic dialogue, 202

_Playhouse Impressions_, by A. B. Walkley, 206

_Plays Pleasant and Unpleasant_, by Bernard Shaw, 44, 45, 195

Podmore, Frank, 26

Poe, Edgar Allan, 155

_Poems_, by Francis Thompson, 169

_Poems by the Way_, by William Morris, 258

_Poetry of the Celtic Races, The_, by Ernest Renan, 151

_Poets’ Corner, The_, by Max Beerbohm, 124

_Poets of the Younger Generation_, by William Archer, 157–158

Post-Impressionists, 269

_Poster, The_, 36

Poster Exhibition, 275

Posters, 47

_Pour la Couronne_, by François Coppée, 178

Pre-Raphaelite movement, 34, 58, 244, 267, 272, 281, 284

_Prisoner of Zenda, The_, by Anthony Hope, 226

_Prose Fancies_, by Richard le Gallienne, 139, 142

_Prose Poems_, by Oscar Wilde, 88, 89

Pryde, James, 34, 35, 268, 270, 274–275

_Psychopathia Sexualis_, by Krafft-Ebing, 101–102

_Puck of Pook’s Hill_, by Rudyard Kipling, 232

Pugh, Edwin, 225

_Punch_, 36, 37, 67, 74, 287

_Purple Land that England Lost, The_, by W. H. Hudson, 40–41

_Quarto, The_, 36

_Queen’s Romance, A_, by John Davidson, 178

_Quest, The_, 284

_Quest of the Gilt-edged Girl, The_, 228

_Quest of the Golden Girl, The_, by Richard le Gallienne, 41, 226,
228

_Question of Memory, A_, by Michael Field, 209

Quilp, Jocelyn, 22

Radford, Dolly, 47, 159

Radford, Ernest, 159

_Random Itinerary, A_, by John Davidson, 179

Ransome, Arthur, 72

_Rape of the Lock, The_, illustrated by Beardsley, 98, 101, 103

Ray, Catherine, 207

Reade, Charles, 196

Reclus, Élisée, 150

_Red Deer_, by Richard Jefferies, 186

Reeves and Turner, 265

_Renaissance, The_, by Walter Pater, 28, 59–60

_Renaissance, The History of the Italian_, by John Addington
Symonds, 39

_Renaissance of the Nineties, The_, by W. G. Blaikie Murdoch, 33

Renan, Ernest, 147, 151–152, 154

Renoir, 99

_Renunciations_, by Frederick Wedmore, 39

_Review of Reviews, The_, 24

_Reynard the Fox_, 281

Rhodes, Cecil, 54, 238–239

Rhymers, Club, the, 115, 186

Rhys, Ernest, 42, 48

_Richard Yea and Nay_, by Maurice Hewlett, 226

Richards, Grant, 45

Ricketts, Charles, 34, 35, 37, 74, 256, 260–262, 270, 273–274, 276,
280, 282

Ridge, Pett, 40, 225, 227

Rimbaud, Arthur, 61, 63

Roberts, Morley, 225

Robertson, Forbes, 178

Robins, Elizabeth, 224

Robinson, Charles, 283

Rodin, Auguste, 271

_Rodney Stone_, by A. Conan Doyle, 226

_Romance and Reality_, by Holbrook Jackson, 290

_Romantic Farce, A_, 178

Romantic movement, The, 57

_Romaunt of the Rose_, 100

_Roots of the Mountains, The_, by William Morris, 39, 257

Rops, Felicien, 103

_Rose Leaf, The_, 36

_Rosmersholm_, by Henrik Ibsen, 194, 209

Ross, Robert, 72, 80–81, 96

Rossetti, Christina, 38

Rossetti, Dante Gabriel, 58, 128, 135, 157, 160, 162, 281

Rothenstein, William, 35, 47, 50, 270, 276–278, 290

Rousseau, Jean-Jacques, 201

Roussel, 270

Royal Academy, 269

Royal Scottish Academy, 269

Runciman, John F., 51

_Runnable Stag, A_, by John Davidson, 185–186

Ruskin, John, 34, 38, 135, 196, 203, 244–245, 246, 267

Russell (“A. E.”), George, 42, 149

_Ruy Blas_, by Victor Hugo, 178

St James’s Theatre, 76

Salisbury, Marquis of, 238

_Salomé_, by Oscar Wilde, 84–85, 90

_Salomé_, Beardsley’s illustrations to, 103

Sambourne, Linley, 280

_Samhain_, 150

_Sanity of Art, The_, by Bernard Shaw, 195

Santayana, George, 159

Sardou, 76

Sargeant, John S., 270

_Saturday Review, The_, 120, 195, 205

_Savoy, The_, 17, 34, 35, 36, 45–46, 48–49, 91, 118, 129, 204, 221

_Scaramouch in Naxos_, by John Davidson, 178, 181

_School for Saints, The_, by John Oliver Hobbes, 224

Schopenhauer, 203

Schreiner, Olive, 224

_Scots Observer, The_, 267

Scott, Bailey, 251

Scott, Clement, 208

Scott Library, 52

Scott, Sir Walter, 58

Scribe, 76

Seaman, Owen, 40, 159–160

_Second Mrs Tanqueray, The_, by Arthur W. Pinero, 40, 209, 213–214

_Secret Rose, The_, by W. B. Yeats, 155–156

Secular Society, the, 174

_Sentences and Paragraphs_, by John Davidson, 129, 179

_Sentimental Journey_, by Laurence Sterne, 226

_Sentimental Tommy_, by J. M. Barrie, 224

Setoun, Gabriel, 150

_Seven Seas, The_, by Rudyard Kipling, 232, 242–243

Shakespeare, William, 165, 212, 272

Shannon, Charles H., 35, 50, 270, 273–274, 282

Shannon, J. J., 35

Sharp, Cecil, 250

Sharp, William, 22, 30, 42

Shavianism, the quintessence of, 198–201

Shaw, George Bernard, 26, 34, 35, 44, 45, 50, 78, 112, 120, 131,
134, 146, 193–204, 234

Shaw, Norman, 251

Shelley, P. B., 58, 158, 165, 169, 174–175, 185

_Shelley_, by Francis Thompson, 168

_Shepherd’s Calendar, The_, illustrated by Walter Crane, 282

Sherard, Robert H., 72, 79

_Sherlock Holmes_, by Arthur Conan Doyle, 226

_Shropshire Lad, A_, by A. E. Housman, 45

Sickert, Walter, 26, 47, 50, 270, 290

_Silverpoints_, by John Gray, 262

Sime, S. H., 36, 37, 270, 280, 290, 291–292

Simpson, Joseph, 290

_Sinner’s Comedy, The_, by John Oliver Hobbs, 224

_Sister Songs_, by Francis Thompson, 168

_Sketch, The_, 118, 287

Sleigh, Bernard, 284

_Smith: a Tragic Farce_, by John Davidson, 178

Smithers, Leonard, 35, 45

Social Democratic Federation, 26

Socialism, 247–248

_Socialism in England_, by Sidney Webb, 44

Socialist Movement, 44

Socialist Party, the British, 26

_Soldiers Three_, by Rudyard Kipling, 231

_Some Emotions and a Moral_, by John Oliver Hobbes, 144

_Soul of Man, The_, by Oscar Wilde, 27, 88, 89, 134

South African War, 53

_Speaker, The_, 178, 267

Spence, R., 290

Spencer, Herbert, 38, 203

Spenser, Edmund, 251

_Sphinx, The_, by Oscar Wilde, 74, 82–83, 260, 263

_Sphinx without a Secret, The_, by Oscar Wilde, 74

_Spirit Lamp, The_, 22

Spurgeon, Charles, 38

Stage Society, 194, 209, 214

_Stalky & Co._, by Rudyard Kipling, 232

_Star, The_, 24, 193

Stead, W. T., 24

Steele, Sir Richard, 41

Steer, Wilson, 35, 47, 270

Steevens, G. W., 40

Stephen, Leslie, 38

Stephens, Riccardo, 150

Stevenson, Robert Louis, 38, 135, 225, 227

_Stickit Minister, The_, by S. R. Crockett, 224

Stirner, Max, 132

_Stones of Venice, The_, by John Ruskin, 246

_Story of an African Farm, The_, by Ralph Iron (Olive Schreiner),
224

_Story of the Gadsbys, The_, by Rudyard Kipling, 232

_Story of the Glittering Plain, The_, by William Morris, 39, 258,
259

_Story of the Sundering Flood, The_, by William Morris, 39

Strang, William, 290

Street, G. S., 41, 46, 48, 68–69, 91, 112, 144

_Strike at Arlingford, The_, by George Moore, 209

Strindberg, August, 210, 212

_Studio, The_, 36, 93

_Study in Temptations, A_, by John Oliver Hobbs, 224

Sudermann, Hermann, 209–210

Sullivan, E. J., 47, 280, 290

Superman, 190

Swinburne, Algernon Charles, 38, 58, 74, 157, 160, 162

_Sydney Bulletin, The_, 287

_Symbolist Movement in Literature_, by Arthur Symons, 56

Symbolists, the, 59, 244

Symonds, John Addington, 39, 262

Symons, Arthur, 35, 36, 42, 47, 48, 55–56, 70, 81, 85, 91, 95,
96–97, 106, 112–114, 130, 134, 142, 159, 161–162

Synge, J. M., 42, 87

_Tables of the Law, The_, by W. B. Yeats, 156

Tabley, Lord de, 262

_Tales of Mean Streets_, by Arthur Morrison, 43, 130, 216

_Tales of Unrest_, by Joseph Conrad, 225

_Ta-ra-ra-boom-de-ay_, 31

Temple Classics, 52

_Ten O’Clock_, by J. McNeill Whistler, 40, 123

Tennyson, Alfred, Lord, 37, 100, 128, 157, 220, 281

_Tess of the D’Urbervilles_, by Thomas Hardy, 39, 40

_Testament of John Davidson, The_, by John Davidson, 179–181

_Testament of a Vivisector, The_, by John Davidson, 179

Thackeray, William Makepeace, 217

_The Testament of a Man Forbid_, by John Davidson, 179, 189

_The Testament of an Empire Builder_, by John Davidson, 179

_Theatrocrat, The_, by John Davidson, 179

Theosophy, 149

Theosophical movement, 132

Thomas, Inigo, 284

Thompson, Francis, 45, 51, 91, 131, 158, 166–176

_Thompson, The Life of Francis_, by Everard Meynell, 171

_Three Plays for Puritans_, by Bernard Shaw, 195

_Thus Spake Zarathustra_, by Friedrich Nietzsche, 129

_Time Machine, The_, by H. G. Wells, 225

_Times, The_, 34

_To-Day_, 36, 47

Todhunter, John, 209

Tolstoy, Leo, 128, 203, 212, 250

_To-morrow_, 36, 120

“Tomlinson,” by Rudyard Kipling, 292

Toulouse-Lautrec, 274

_Towards Democracy_, by Edward Carpenter, 44

Town planning, 254

Townsend, F. H., 290

_Trades Unionism, The History of_, by Sidney and Beatrice Webb, 44

Traill, H. D., 21, 39, 227

Tree, Herbert Beerbohm, 76, 210, 211

Trench, Herbert, 159

_Trilby_, by George du Maurier, 39, 226

_Triumph of Mammon, The_, by John Davidson, 179

Tupper, Martin, 38

Turgenev, 128, 132

_Twisting of the Rope, The_, by Douglas Hyde, 149

_Two Essays on the Remnant_, by John Eglington, 149

Tyndall, John, 38

_Under the Deodars_, by Rudyard Kipling, 232

_Under the Hill_, by Aubrey Beardsley, 50, 59, 63, 101–102,
114–115, 138, 228

_Unhistorical Pastoral, An_, by John Davidson, 178

Unicorn Press, 45

_Unicorn, The_, 118

Unwin, Fisher, 45

Upward, Allen, 40

Vachell, H. A., 40

Vale Press, 51, 255, 261–263, 281

_Vampire, The_, by Rudyard Kipling, 235

_Vanity_, 118

_Vanity Fair_, 217

Vaughan, Henry, 166

Vedrenne-Barker repertoire season, 195, 214–215

_Vera: or the Nihilists_, by Oscar Wilde, 75

_Verdigris, Baron_, by Jocelyn Quilp, 21

Verhaeren, Emil, 50

Verlaine, Paul, 50, 58, 61, 63, 135, 274

Victor Hugo, 57, 58

Victoria, Queen, 237

_Vignettes_, by Hubert Crackanthorpe, 142

_Vistas_, by William Sharp, 30

Vizetelly, Ernest, 42

Voltaire, 201

Voysey, C. F. A., 251

_Voysey Inheritance, The_, by Granville Barker, 214

Wagner, Richard, 198, 203

_Wagnerians, The_, by Aubrey Beardsley, 101

Walker, Emery, 251, 256–257, 266

Walkley, A. B., 35, 206–207

Wallace, Alfred Russel, 38

Wallas, Graham, 26

_Wanderings of Oisin, The_, by W. B. Yeats, 148

_War of the Worlds, The_, by H. G. Wells, 225

Ward, Mrs Humphry, 26, 224

_Washer of the Ford, The_, by “Fiona Macleod,” 150

_Water of the Wondrous Isles, The_, by William Morris, 39

Watson, William, 34, 40, 46, 47, 158, 163

Watteau, 94, 100, 274

Watts, George Frederick, 33, 99, 268, 277

Watts-Dunton, Theodore, 39

Waugh, Arthur, 47, 218–220

Webb, Beatrice, 44

Webb, Sydney, 26, 44, 200

Webb, Stephen, 251

Wedmore, Frederick, 38, 39, 50, 224

_Wee Willie Winkie_, by Rudyard Kipling, 232

_Well at the World’s End, The_, by William Morris, 39

Wells, H. G., 27, 34, 35, 44, 224, 225, 228–229, 274

Welsh Literary Movement, 42

_Wessex Poems_, by Thomas Hardy, 39

Weyman, Stanley J., 40, 226

_What is Art?_ by Leo Tolstoy, 250

Wheeler & Co., A. H., 231

_Wheels of Chance, The_, by H. G. Wells, 224

_When the Sleeper Wakes_, by H. G. Wells, 225

Whibley, Charles, 41

Whistler, James McNeill, 34, 40, 47, 74, 85, 98, 107, 111, 123,
141, 143, 220, 245, 270, 277, 287

_Whistler, The Life of James McNeill_, by E. R. and J. Pennell, 98

_White Company, The_, by A. Conan Doyle, 226

Whiteing, Richard, 40, 43, 44, 224

Whitman, Walt, 85

Whitten, Wilfred, 169

Whittingham, Charles, 255

_Widowers’ Houses_, by Bernard Shaw, 44, 194–196

Wilde, Oscar, 21, 22, 25, 27–28, 34, 45, 53–54, 58, 63, 66–68, 70,
72–90, 91, 98, 102–103, 105, 107–108, 111–112, 114, 131–132, 134,
136–137, 138–139, 142, 143, 144–145, 146, 195, 205–206, 210, 212,
228, 244, 260, 263

_Wilde, Oscar, The Story of an Unhappy Friendship_, by R. H.
Sherard, 72

Wilson, Edgar, 36, 283

Wilson, Henry, 251

Wilson, Patten, 290

_Window in Thrums, A_, by J. M. Barrie, 224

Wolseley, Viscount, 237

_Woman and Her Son, A_, by John Davidson, 189

_Woman Who Did, The_, by Grant Allen, 40, 131, 216

_Woman Covered with Jewels, The_, by Oscar Wilde, 76

_Woman of No Importance, A_, by Oscar Wilde, 21, 76, 209, 212

_Woman’s World, The_, 74

_Women’s Tragedies_, by George Fleming, 144

_Wonderful Mission of Earl Lavender, The_, by John Davidson, 179,
181

_Wonderful Visit, The_, by H. G. Wells, 224

_Wood Beyond the World, The_, by William Morris, 39

Woods, Margaret L., 159

Worde, Wenkyn de, 260–261

Wordsworth, William, 58, 158, 174

_World, The_, 193

Wratislaw, Theodore, 48, 159

_Wreckage_, By Hubert Crackanthrope, 144

_Wrecker, The_, by Lloyd Osbourne and Robert Louis Stevenson, 225

Yeats, Jack B., 283

Yeats, R.H.A., J. B., 152

Yeats, William Butler, 35, 42, 48, 51, 56, 71, 141, 149, 150–156,
158, 163–164, 283

_Yellow Aster, The_, by Iota, 47, 139

_Yellow Book, The_, 17, 23, 25, 34, 40, 41, 45–46, 49, 52, 91, 93,
98, 118, 139, 178, 186, 219, 228

“Yellow, The Boom in,” 46–47

“Yellow Nineties,” the, 34

“Yellow Press,” the, 23, 52

_Yet Again_, by Max Beerbohm, 120, 123

_You Never Can Tell_, by Bernard Shaw, 194

Zangwill, Israel, 35, 40, 211, 225, 227

Zola, Emile, 27, 42, 128, 130, 201, 203, 216

_Zuleika Dobson_, By Max Beerbohm, 120, 123

FOOTNOTES:

[1] See _A Modern History of the English People_, by R. H. Gretton.

[2] This was true in 1913, but now (1922) a new generation of urchins has arisen in Boulogne and other French towns who know not _Ta-ra-ra-boom-de-ay_. This famous ditty has been declassed by _Tipperairie_.

[3] “The Decadent Movement in Literature.” By Arthur Symons. _Harper’s New Monthly Magazine_, November 1893.

[4] The work of bringing together the complete edition of Ibsen in English was begun in 1888, but long before a complete translation of the works had been dreamt of there was much interest in Ibsen’s plays in this country, and _Emperor and Galilean_ was the first of the plays to be translated into English, by Catherine Ray, in 1876.

[5] Mrs Patrick Campbell.

[6] “Dolores,” by Algernon Charles Swinburne.

[7] _The Country of the Blind and Other Stories_, by H. G. Wells (1912).

[8] The first Kelmscott issue of this book was in quarto.

[9] _The House of the Wolfings_ was printed in 1889, and _The Roots of the Mountains_ in 1890.

[10] For an account of these lithographs see “The Lithographic Portraits of Will Rothenstein” in the author’s _Romance and Reality_.

Transcriber’s Notes:

1. Obvious printers’, punctuation and spelling errors have been corrected silently.

2. Where hyphenation is in doubt, it has been retained as in the original.

3. Some hyphenated and non-hyphenated versions of the same words have been retained as in the original.

4. Italics are shown as _xxx_.