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.
[Illustration: A VOLUPTUARY
“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.
[Illustration: ILLUSTRATION FROM “_THE FAERIE
QUEENE_”
_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.
[Illustration: 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.”
[Illustration: A LECTURE IN STORE
“_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.
[Illustration: THE BANKS OF THE STYX
_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_.