New Publications
and composition of figures, some individual to an upon paper and reproduced by a mechanical pro-
almost dangerous degree, others perhaps slightly cess. A more perilous style to imitate could
hardly be found, for its faults are easier copied
than the astounding fertility and freshness of in-
vention which more than redeem them. Only very
rash or very foolish draughtsmen would attempt to
do so; yet the suggestive influences of this book
will probably affect modern design for some time
to come. As a feast of fantastic and eerie con-
ceptions, some of rare beauty and not a few
wrought with grotesque diablerie, it will delight (or
exasperate as the case may be) all who take an in-
terest in the applied arts. As the work of an
artist who has not long been out of his teens, it
is peculiarly noteworthy; for if one joined Mr.
Beardsley's few detractors and set aside all they
failed to appreciate, the residue would offer
enough motives for the stock-in-trade of a dozen
less prodigal pattern-makers for years to come.
To the publishers, whose enterprise made such a
luxurious edition possible, to the artist, who has put
so much of himself into it, the public should be
grateful. For, like or dislike it, it will be long
before a book so interesting and unconventional
issues from the press, and one is left eagerly
awaiting the remaining portion of the work.
In the new edition of Salome we find the irre-
pressible personality of the artist dominating every-
thing—whether the compositions do or do not
illustrate the text—what may be their exact pur-
a chapter heading from " le morte d'arthur " (j. m. p0se or the meaning of their symbolism, is happily
dent &■ co.). by aubrey beardsley. not necessary to consider here. Nor is it expe-
dient to bring conventional criticism to bear upon
reminiscent of earlier work ; but all these are most them, for nothing in ancient or modern art is so
impressive from their bold use of white upon akin that you could place it side by side for com-
THREE CHAPTER HEADINGS FROM " LE MORTE D'ARTHUR " (j. M. DENT &> CO.). BY AUBREY BEARDSLEY
black. It is curious to see how often the design parison. Audacious and extravagant, with a grim
seems dug out of the wood, rather than drawn purpose and power of achieving the unexpected—
184
and composition of figures, some individual to an upon paper and reproduced by a mechanical pro-
almost dangerous degree, others perhaps slightly cess. A more perilous style to imitate could
hardly be found, for its faults are easier copied
than the astounding fertility and freshness of in-
vention which more than redeem them. Only very
rash or very foolish draughtsmen would attempt to
do so; yet the suggestive influences of this book
will probably affect modern design for some time
to come. As a feast of fantastic and eerie con-
ceptions, some of rare beauty and not a few
wrought with grotesque diablerie, it will delight (or
exasperate as the case may be) all who take an in-
terest in the applied arts. As the work of an
artist who has not long been out of his teens, it
is peculiarly noteworthy; for if one joined Mr.
Beardsley's few detractors and set aside all they
failed to appreciate, the residue would offer
enough motives for the stock-in-trade of a dozen
less prodigal pattern-makers for years to come.
To the publishers, whose enterprise made such a
luxurious edition possible, to the artist, who has put
so much of himself into it, the public should be
grateful. For, like or dislike it, it will be long
before a book so interesting and unconventional
issues from the press, and one is left eagerly
awaiting the remaining portion of the work.
In the new edition of Salome we find the irre-
pressible personality of the artist dominating every-
thing—whether the compositions do or do not
illustrate the text—what may be their exact pur-
a chapter heading from " le morte d'arthur " (j. m. p0se or the meaning of their symbolism, is happily
dent &■ co.). by aubrey beardsley. not necessary to consider here. Nor is it expe-
dient to bring conventional criticism to bear upon
reminiscent of earlier work ; but all these are most them, for nothing in ancient or modern art is so
impressive from their bold use of white upon akin that you could place it side by side for com-
THREE CHAPTER HEADINGS FROM " LE MORTE D'ARTHUR " (j. M. DENT &> CO.). BY AUBREY BEARDSLEY
black. It is curious to see how often the design parison. Audacious and extravagant, with a grim
seems dug out of the wood, rather than drawn purpose and power of achieving the unexpected—
184