In one of his letters to the King, craving for a military appointment, George urges that, whilst his next brother, the Duke of York, commanded the army, and the younger branches of the family were either generals or lieutenant-generals, he, who was Prince of Wales, remained colonel of dragoons. And herein, could he have known it, lay the right limitation of his life. As Royalty was and is constituted, it is for the younger sons to take an active part in the services, whilst the eldest son is left as the ruler of Society. Thousands and thousands of guineas were given by the nation that the Prince of Wales, the Regent, the King, might be, in the best sense of the word, ornamental. It is not for us, at this moment, to consider whether Royalty, as a wholly Pagan institution, is not out of place in a community of Christians. It is enough that we should inquire whether the god, whom our grand-fathers set up and worshipped and crowned with offerings, gave grace to his worshippers.

That George was a moral man, in our modern sense, I do not for one moment pretend. It were idle to deny that he was profligate. When he died there were found in one of his cabinets more than a hundred locks of women's hair. Some of these were still plastered with powder and pomatum, some were mere little golden curls, such as grow low down upon a girl's neck, others were streaked with grey. The whole of this collection subsequently passed into the hands of Adam, the famous Scotch henchman of the Regent. In his family, now resident in Glasgow, it is treasured as an heirloom. I myself have been privileged to look at all these locks of hair, and I have seen a clairvoyante take them one by one, and, pinching them between her lithe fingers, tell of the love that each symbolised. I have heard her tell of long rides by night, of a boudoir hung with grass-green satin, and of a tryst at Windsor; of one, the wife of a hussar at York, whose little lap-dog used to bark angrily whenever the Regent came near his mistress; of a milkmaid who, in her great simpleness, thought her child would one day be King of England; of an arch-duchess with blue eyes, and a silly little flautist from Portugal; of women that were wantons and fought for his favour, great ladies that he loved dearly, girls that gave themselves to him humbly. If we lay all pleasures at the feet of our Prince, we can scarcely hope he will remain virtuous. Indeed, we do not wish our Prince to be an examplar of godliness, but a perfect type of happiness. It may be foolish of us to insist upon apolaustic happiness, but that is the kind of happiness that we can ourselves, most of us, best understand, and so we offer it to our ideal. In Royalty we find our Bacchus, our Venus.

Certainly George was, in the practical sense of the word, a fine king. His wonderful physique, his wealth, his brilliant talents, he gave them all without stint to Society. From the time when, at Madame Cornelys', he gallivanted with rips and demireps, to the time when he sat, a stout and solitary old king, fishing in the artificial pond at Windsor, his life was beautifully ordered. He indulged to the full in all the delights that England could offer him. That he should have, in his old age, suddenly abandoned his career of vigorous enjoyment is, I confess, rather surprising. The Royal voluptuary generally remains young to the last. No one ever tires of pleasure. It is the pursuit of pleasure, the trouble to grasp it, that makes us old. Only the soldiers who enter Capua with wounded feet leave it demoralised. And yet George, who never had to wait or fight for a pleasure, fell enervate long before his death. I can but attribute this to the constant persecution to which he was subjected by duns and ministers, parents and wives.

Not that I regret the manner in which he spent his last years. On the contrary, I think it was exceedingly cosy. I like to think of the King, at Windsor, lying a-bed all the morning in his darkened room, with all the sporting papers scattered over his quilt and a little decanter of the favourite cherry-brandy within easy reach. I like to think of him sitting by his fire in the afternoon and hearing his ministers ask for him at the door and piling another log upon the fire, as he heard them sent away by his servant. It was not, I acknowledge, a life to kindle popular enthusiasm. But most people knew little of its mode. For all they knew, His Majesty might have been making his soul or writing his memoirs. In reality, George was now 'too fat by far' to brook the observation of casual eyes. Especially he hated to be seen by those whose memories might bear them back to the time when he had yet a waist. Among his elaborate precautions of privacy was a pair of avant-couriers, who always preceded his pony-chaise in its daily progress through Windsor Great Park and had strict commands to drive back any intruder. In The Veiled Majestic Man, Where is the Graceful Despot of England? and other lampoons not extant, the scribblers mocked his loneliness. At Whites, one evening, four gentlemen of high fashion vowed, over their wine, they would see the invisible monarch. So they rode down next day to Windsor, and secreted themselves in the branches of a holm-oak. Here they waited perdus, beguiling the hours and the frost with their flasks. When dusk was falling, they heard at last the chime of hoofs on the hard road, and saw presently a splash of the Royal livery, as two grooms trotted by, peering warily from side to side, and disappeared in the gloom. The conspirators in the tree held their breath, till they caught the distant sound of wheels. Nearer and louder came the sound, and soon they saw a white, postillioned pony, a chaise and, yes, girth immensurate among the cushions, a weary monarch, whose face, crimson above the dark accumulation of his stock, was like some ominous sunset.... He had passed them and they had seen him, monstrous and moribund among the cushions. He had been borne past them like a wounded Bacchanal. The King! The Regent!... They shuddered in the frosty branches. The night was gathering and they climbed silently to the ground, with an awful, indispellible image before their eyes.

You see, these gentlemen were not philosophers. Remember, also, that the strangeness of their escapade, the cramped attitude they had been compelled to maintain in the branches of the holm-oak, the intense cold and their frequent resort to the flask must have all conspired to exaggerate their emotions and prevent them from looking at things in a rational way. After all, George had lived his life. He had lived more fully than any other man. And it was better really that his death should be preceded by decline. For every one, obviously, the most desirable kind of death is that which strikes men down, suddenly, in their prime. Had they not been so dangerous, railways would never have ousted the old coaches from popular favour. But, however keenly we may court such a death for ourselves or for those who are near and dear to us, we must always be offended whenever it befall one in whom our interest is aesthetic merely. Had his father permitted George to fight at Waterloo, and had some fatal bullet pierced the padding of that splendid breast, I should have been really annoyed, and this essay would never have been written. Sudden death mars the unity of an admirable life. Natural decline, tapering to tranquillity, is its proper end. As a man's life begins, faintly, and gives no token of childhood's intensity and the expansion of youth and the perfection of manhood, so it should also end, faintly. The King died a death that was like the calm conclusion of a great, lurid poem. Quievit.

Yes, his life was a poem, a poem in the praise of Pleasure. And it is right that we should think of him always as the great voluptuary. Only let us note that his nature never became, as do the natures of most voluptuaries, corroded by a cruel indifference to the happiness of others. When all the town was agog for the fete to be given by the Regent in honour of the French King, Sheridan sent a forged card of invitation to Romeo Coates, the half-witted dandy, who used at this time to walk about in absurd ribbons and buckles, and was the butt of all the streetsters. The poor fellow arrived at the entrance of Carlton House, proud as a peacock, and he was greeted with a tremendous cheer from the bystanding mob, but when he came to the lackeys he was told that his card was a hoax and sent about his business. The tears were rolling down his cheeks as he shambled back into the street. The Regent heard later in the evening of this sorry joke, and next day despatched a kindly-worded message, in which he prayed that Mr. Coates would not refuse to come and 'view the decorations, nevertheless.' Though he does not appear to have treated his inferiors with the extreme servility that is now in vogue, George was beloved by the whole of his household, and many are the little tales that are told to illustrate the kindliness and consideration he showed to his valets and his jockeys and his stable-boys. That from time to time he dropped certain of his favourites is no cause for blaming him. Remember that a Great Personage, like a great genius, is dangerous to his fellow-creatures. The favourites of Royalty live in an intoxicant atmosphere. They become unaccountable for their behaviour. Either they get beyond themselves, and, like Brummell, forget that the King, their friend, is also their master, or they outrun the constable and go bankrupt, or cheat at cards in order to keep up their position, or do some other foolish thing that makes it impossible for the King to favour them more. Old friends are generally the refuge of unsociable persons. Remembering this also, gauge the temptation that besets the very leader of Society to form fresh friendships, when all the cleverest and most charming persons in the land are standing ready, like supers at the wings, to come on and please him! At Carlton House there was a constant succession of wits. Minds were preserved for the Prince of Wales, as coverts are preserved for him to-day. For him Sheridan would flash his best bon-mot, and Theodore Hook play his most practical joke, his swiftest chansonette. And Fox would talk, as only he could, of Liberty and of Patriotism, and Byron would look more than ever like Isidore de Lara as he recited his own bad verses, and Sir Walter Scott would 'pour out with an endless generosity his store of old-world learning, kindness, and humour.' Of such men George was a splendid patron. He did not merely sit in his chair, gaping princely at their wit and their wisdom, but quoted with the scholars and argued with the statesmen and jested with the wits. Doctor Burney, an impartial observer, says that he was amazed by the knowledge of music that the Regent displayed in a half-hour's discussion over the wine. Croker says that 'the Prince and Scott were the two most brilliant story-tellers, in their several ways, he had ever happened to meet. Both exerted themselves, and it was hard to say which shone the most.' Indeed His Royal Highness appears to have been a fine conversationalist, with a wide range of knowledge and great humour. We, who have come at length to look upon stupidity as one of the most sacred prerogatives of Royalty, can scarcely realise that, if Georges birth had been never so humble, he would have been known to us as a most admirable scholar and wit, or as a connoisseur of the arts. It is pleasing to think of his love for the Flemish school of painting, for Wilkie and Sir Thomas Lawrence. The splendid portraits of foreign potentates that hang in the Banqueting Room at Windsor bear witness to his sense of the canvas. In his later years he exerted himself strenuously in raising the tone of the drama. His love of the classics never left him. We know he was fond of quoting those incomparable poets, Homer, at great length, and that he was prominent in the 'papyrus-craze.' Indeed, he inspired Society with a love of something more than mere pleasure, a love of the 'humaner delights.' He was a giver of tone. At his coming, the bluff, disgusting ways of the Tom and Jerry period gave way to those florid graces that are still called Georgian.

A pity that Georges predecessor was not a man, like the Prince Consort, of strong chastening influence! Then might the bright flamboyance which he gave to Society have made his reign more beautiful than any other—a real renaissance. But he found London a wild city of taverns and cock-pits, and the grace which in the course of years he gave to his subjects never really entered into them. The cock-pits were gilded and the taverns painted with colour, but the heart of the city was vulgar, even as before. The simulation of higher things did indeed give the note of a very interesting period, but how shallow that simulation was and how merely it was due to Georges own influence, we may see in the light of what happened after his death. The good that he had done died with him. The refinement he had laid upon vulgarity fell away, like enamel from withered cheeks. It was only George himself who had made the sham endure. The Victorian era came soon, and the angels rushed in and drove the nymphs away and hung the land with reps.

I have often wondered whether it was with a feeling that his influence would be no more than life-long, that George allowed Carlton House, that dear structure, the very work of his life and symbol of his being, to be rased. I wish that Carlton House were still standing. I wish we could still walk through those corridors, whose walls were 'crusted with ormolu,' and parquet-floors were 'so glossy that, were Narcissus to come down from heaven, he would, I maintain, need no other mirror for his beaute.' I wish that we could see the pier-glasses and the girandoles and the twisted sofas, the fauns foisted upon the ceiling and the rident goddesses along the wall. These things would make Georges memory dearer to us, help us to a fuller knowledge of him. I am glad that the Pavilion still stands here in Brighton. Its trite lawns and wanton cupolae have taught me much. As I write this essay, I can see them from my window. Last night, in a crowd of trippers and townspeople, I roamed the lawns of that dishonoured palace, whilst a band played us tunes. Once I fancied I saw the shade of a swaying figure and of a wine-red face.

Brighton, 1894.



The Pervasion of Rouge

Nay, but it is useless to protest. Artifice must queen it once more in the town, and so, if there be any whose hearts chafe at her return, let them not say, 'We have come into evil times,' and be all for resistance, reformation, or angry cavilling. For did the king's sceptre send the sea retrograde, or the wand of the sorcerer avail to turn the sun from its old course? And what man or what number of men ever stayed that inexorable process by which the cities of this world grow, are very strong, fail, and grow again? Indeed, indeed, there is charm in every period, and only fools and flutterpates do not seek reverently for what is charming in their own day. No martyrdom, however fine, nor satire, however splendidly bitter, has changed by a little tittle the known tendency of things. It is the times that can perfect us, not we the times, and so let all of us wisely acquiesce. Like the little wired marionettes, let us acquiesce in the dance.

For behold! The Victorian era comes to its end and the day of sancta simplicitas is quite ended. The old signs are here and the portents to warn the seer of life that we are ripe for a new epoch of artifice. Are not men rattling the dice-box and ladies dipping their fingers in the rouge-pot? At Rome, in the keenest time of her degringolade, when there was gambling even in the holy temples, great ladies (does not Lucian tell us?) did not scruple to squander all they had upon unguents from Arabia. Nero's mistress and unhappy wife, Poppaea, of shameful memory, had in her travelling retinue fifteen—or, as some say, fifty—she-asses, for the sake of their milk, that was thought an incomparable guard against cosmetics with poison in them. Last century, too, when life was lived by candle-light, and ethics was but etiquette, and even art a question of punctilio, women, we know, gave the best hours of the day to the crafty farding of their faces and the towering of their coiffures. And men, throwing passion into the wine-bowl to sink or swim, turned out thought to browse upon the green cloth. Cannot we even now in our fancy see them, those silent exquisites round the long table at Brooks's, masked, all of them, 'lest the countenance should betray feeling,' in quinze masks, through whose eyelets they sat peeping, peeping, while macao brought them riches or ruin! We can see them, those silent rascals, sitting there with their cards and their rouleaux and their wooden money-bowls, long after the dawn had crept up St. James's and pressed its haggard face against the window of the little club. Yes, we can raise their ghosts—and, more, we can see many where a devotion to hazard fully as meek as theirs. In England there has been a wonderful revival of cards. Baccarat may rival dead faro in the tale of her devotees. We have all seen the sweet English chatelaine at her roulette wheel, and ere long it may be that tender parents will be writing to complain of the compulsory baccarat in our public schools.

In fact, we are all gamblers once more, but our gambling is on a finer scale than ever it was. We fly from the card-room to the heath, and from the heath to the City, and from the City to the coast of the Mediterranean. And just as no one seriously encourages the clergy in its frantic efforts to lay the spirit of chance that has thus resurged among us, so no longer are many faces set against that other great sign of a more complicated life, the love for cosmetics. No longer is a lady of fashion blamed if, to escape the outrageous persecution of time, she fly for sanctuary to the toilet-table; and if a damosel, prying in her mirror, be sure that with brush and pigment she can trick herself into more charm, we are not angry. Indeed, why should we ever have been? Surely it is laudable, this wish to make fair the ugly and overtop fairness, and no wonder that within the last five years the trade of the makers of cosmetics has increased immoderately—twentyfold, so one of these makers has said to me. We need but walk down any modish street and peer into the little broughams that flit past, or (in Thackeray's phrase) under the bonnet of any woman we meet, to see over how wide a kingdom rouge reigns.

And now that the use of pigments is becoming general, and most women are not so young as they are painted, it may be asked curiously how the prejudice ever came into being. Indeed, it is hard to trace folly, for that it is inconsequent, to its start; and perhaps it savours too much of reason to suggest that the prejudice was due to the tristful confusion man has made of soul and surface. Through trusting so keenly to the detection of the one by keeping watch upon the other, and by force of the thousand errors following, he has come to think of surface even as the reverse of soul. He seems to suppose that every clown beneath his paint and lip-salve is moribund and knows it (though in verity, I am told, clowns are as cheerful a class of men as any other), that the fairer the fruit's rind and the more delectable its bloom, the closer are packed the ashes within it. The very jargon of the hunting-field connects cunning with a mask. And so perhaps came man's anger at the embellishment of women—that lovely mask of enamel with its shadows of pink and tiny pencilled veins, what must lurk behind it? Of what treacherous mysteries may it not be the screen? Does not the heathen lacquer her dark face, and the harlot paint her cheeks, because sorrow has made them pale?

After all, the old prejudice is a-dying. We need not pry into the secret of its birth. Rather is this a time of jolliness and glad indulgence. For the era of rouge is upon us, and as only in an elaborate era can man, by the tangled accrescency of his own pleasures and emotions, reach that refinement which is his highest excellence, and by making himself, so to say, independent of Nature, come nearest to God, so only in an elaborate era is woman perfect. Artifice is the strength of the world, and in that same mask of paint and powder, shadowed with vermeil tinct and most trimly pencilled, is woman's strength.

For see! We need not look so far back to see woman under the direct influence of Nature. Early in this century, our grandmothers, sickening of the odour of faded exotics and spilt wine, came out into the daylight once more and let the breezes blow around their faces and enter, sharp and welcome, into their lungs. Artifice they drove forth and they set Martin Tupper upon a throne of mahogany to rule over them. A very reign of terror set in. All things were sacrificed to the fetish Nature. Old ladies may still be heard to tell how, when they were girls, affectation was not; and, if we verify their assertion in the light of such literary authorities as Dickens, we find that it is absolutely true. Women appear to have been in those days utterly natural in their conduct—flighty, fainting, blushing, gushing, giggling, and shaking their curls. They knew no reserve in the first days of the Victorian era. No thought was held too trivial, no emotion too silly, to express. To Nature everything was sacrificed. Great heavens! And in those barren days what influence did women exert! By men they seem not to have been feared nor loved, but regarded rather as 'dear little creatures' or 'wonderful little beings,' and in their relation to life as foolish and ineffectual as the landscapes they did in water-colour. Yet, if the women of those years were of no great account, they had a certain charm, and they at least had not begun to trespass upon men's ground; if they touched not thought, which is theirs by right, at any rate they refrained from action, which is ours. Far more serious was it when, in the natural trend of time, they became enamoured of rinking and archery and galloping along the Brighton Parade. Swiftly they have sped on since then from horror to horror. The invasion of the tennis-courts and of the golf-links, the seizure of the bicycle and of the typewriter, were but steps preliminary in that campaign which is to end with the final victorious occupation of St. Stephen's. But stay! The horrific pioneers of womanhood who gad hither and thither and, confounding wisdom with the device on her shield, shriek for the unbecoming, are doomed. Though they spin their bicycle-treadles so amazingly fast, they are too late. Though they scream victory, none follow them. Artifice, that fair exile, has returned.

Yes, though the pioneers know it not, they are doomed already. For of the curiosities of history not the least strange is the manner in which two social movements may be seen to overlap, long after the second has, in truth, given its death-blow to the first. And, in like manner, as one has seen the limbs of a murdered thing in lively movement, so we need not doubt that, though the voices of those who cry out for reform be very terribly shrill, they will soon be hushed. Dear Artifice is with us. It needed but that we should wait.

Surely, without any of my pleading, women will welcome their great and amiable protectrix, as by instinct. For (have I not said?) it is upon her that all their strength, their life almost, depends. Artifices first command to them is that they should repose. With bodily activity their powder will fly, their enamel crack. They are butterflies who must not flit, if they love their bloom. Now, setting aside the point of view of passion, from which very many obvious things might be said (and probably have been by the minor poets), it is, from the intellectual point of view, quite necessary that a woman should repose. Hers is the resupinate sex. On her couch she is a goddess, but so soon as ever she put her foot to the ground—ho, she is the veriest little sillypop, and quite done for. She cannot rival us in action, but she is our mistress in the things of the mind. Let her not by second-rate athletics, nor indeed by any exercise soever of the limbs, spoil the pretty procedure of her reason. Let her be content to remain the guide, the subtle suggester of what we must do, the strategist whose soldiers we are, the little architect whose workmen.

'After all,' as a pretty girl once said to me, 'women are a sex by themselves, so to speak,' and the sharper the line between their worldly functions and ours, the better. This greater swiftness and less erring subtlety of mind, their forte and privilege, justifies the painted mask that Artifice bids them wear. Behind it their minds can play without let. They gain the strength of reserve. They become important, as in the days of the Roman Empire were the Emperor's mistresses, as was the Pompadour at Versailles, as was our Elizabeth. Yet do not their faces become lined with thought; beautiful and without meaning are their faces.

And, truly, of all the good things that will happen with the full revival of cosmetics, one of the best is that surface will finally be severed from soul. That damnable confusion will be solved by the extinguishing of a prejudice which, as I suggest, itself created. Too long has the face been degraded from its rank as a thing of beauty to a mere vulgar index of character or emotion. We had come to troubling ourselves, not with its charm of colour and line, but with such questions as whether the lips were sensuous, the eyes full of sadness, the nose indicative of determination. I have no quarrel with physiognomy. For my own part I believe in it. But it has tended to degrade the face aesthetically, in such wise as the study of cheirosophy has tended to degrade the hand. And the use of cosmetics, the masking of the face, will change this. We shall gaze at a woman merely because she is beautiful, not stare into her face anxiously, as into the face of a barometer.

How fatal it has been, in how many ways, this confusion of soul and service! Wise were the Greeks in making plain masks for their mummers to play in, and dunces we not to have done the same! Only the other day, an actress was saying that what she was most proud of in her art—next, of course, to having appeared in some provincial pantomime at the age of three—was the deftness with which she contrived, in parts demanding a rapid succession of emotions, to dab her cheeks quite quickly with rouge from the palm of her right hand or powder from the palm of her left. Gracious goodness! why do not we have masks upon the stage? Drama is the presentment of the soul in action. The mirror of the soul is the voice. Let the young critics, who seek a cheap reputation for austerity, by cavilling at 'incidental music,' set their faces rather against the attempt to justify inferior dramatic art by the subvention of a quite alien art like painting, of any art, indeed, whose sphere is only surface. Let those, again, who sneer, so rightly, at the 'painted anecdotes of the Academy,' censure equally the writers who trespass on painters' ground. It is a proclaimed sin that a painter should concern himself with a good little girl's affection for a Scotch greyhound, or the keen enjoyment of their port by elderly gentlemen of the early 'forties. Yet, for a painter to prod the soul with his paint-brush is no worse than for a novelist to refuse to dip under the surface, and the fashion of avoiding a psychological study of grief by stating that the owner's hair turned white in a single night, or of shame by mentioning a sudden rush of scarlet to the cheeks, is as lamentable as may be. But! But with the universal use of cosmetics and the consequent secernment of soul and surface, upon which, at the risk of irritating a reader, I must again insist, all those old properties that went to bolster up the ordinary novel—the trembling lips, the flashing eyes, the determined curve of the chin, the nervous trick of biting the moustache, aye, and the hectic spot of red on either cheek—will be made spiflicate, as the puppets were spiflicated by Don Quixote. Yes, even now Demos begins to discern. The same spirit that has revived rouge, smote his mouth as it grinned at the wondrous painter of mist and river, and now sends him sprawling for the pearls that Meredith dived for in the deep waters of romance.

Indeed the revival of cosmetics must needs be so splendid an influence, conjuring boons innumerable, that one inclines almost to mutter against that inexorable law by which Artifice must perish from time to time. That such branches of painting as the staining of glass or the illuminating of manuscripts should fall into disuse seems, in comparison, so likely; these were esoteric arts; they died with the monastic spirit. But personal appearance is art's very basis. The painting of the face is the first kind of painting men can have known. To make beautiful things—is it not an impulse laid upon few? But to make oneself beautiful is an universal instinct. Strange that the resultant art could ever perish! So fascinating an art too! So various in its materials from stimmis, psimythium, and fuligo to bismuth and arsenic, so simple in that its ground and its subject-matter are one, so marvellous in that its very subject-matter becomes lovely when an artist has selected it! For surely this is no idle nor fantastic saying. To deny that 'making up' is an art, on the pretext that the finished work of its exponents depends for beauty and excellence upon the ground chosen for the work, is absurd. At the touch of a true artist, the plainest face turns comely. As subject-matter the face is no more than suggestive, as ground, merely a loom round which the beatus artifex may spin the threads of any golden fabric:

'Quae nunc nomen habent operosi signa Maronis Pondus iners quondam duraque massa fuit. Multa viros nescire decet; pars maxima rerum Offendat, si non interiora tegas,'

and, as Ovid would seem to suggest, by pigments any tone may be set aglow on a woman's cheek, from enamel the features take any form. Insomuch that surely the advocates of soup-kitchens and free-libraries and other devices for giving people what Providence did not mean them to receive should send out pamphlets in the praise of self-embellishment. For it will place Beauty within easy reach of many who could not otherwise hope to attain to it.

But of course Artifice is rather exacting. In return for the repose she forces—so wisely!—upon her followers when the sun is high or the moon is blown across heaven, she demands that they should pay her long homage at the sun's rising. The initiate may not enter lightly upon her mysteries. For, if a bad complexion be inexcusable, to be ill-painted is unforgivable; and, when the toilet is laden once more with the fulness of its elaboration, we shall hear no more of the proper occupation for women. And think, how sweet an energy, to sit at the mirror of coquetry! See the dear merits of the toilet as shown upon old vases, or upon the walls of Roman ruins, or, rather still, read Boettiger's alluring, scholarly description of 'Morgenscenen im Puttzimmer Einer Reichen Roemerin.' Read of Sabina's face as she comes through the curtain of her bed-chamber to the chamber of her toilet. The slavegirls have long been chafing their white feet upon the marble floor. They stand, those timid Greek girls, marshalled in little battalions. Each has her appointed task, and all kneel in welcome as Sabina stalks, ugly and frowning, to the toilet chair. Scaphion steps forth from among them, and, dipping a tiny sponge in a bowl of hot milk, passes it lightly, ever so lightly, over her mistress' face. The Poppaean pastes melt beneath it like snow. A cooling lotion is poured over her brow, and is fanned with feathers. Phiale comes after, a clever girl, captured in some sea-skirmish on the Aegean. In her left hand she holds the ivory box wherein are the phucus and that white powder, psimythium; in her right a sheaf of slim brushes. With how sure a touch does she mingle the colours, and in what sweet proportion blushes and blanches her lady's upturned face. Phiale is the cleverest of all the slaves. Now Calamis dips her quill in a certain powder that floats, liquid and sable, in the hollow of her palm. Standing upon tip-toe and with lips parted, she traces the arch of the eyebrows. The slaves whisper loudly of their lady's beauty, and two of them hold up a mirror to her. Yes, the eyebrows are rightly arched. But why does Psecas abase herself? She is craving leave to powder Sabina's hair with a fine new powder. It is made of the grated rind of the cedar-tree, and a Gallic perfumer, whose stall is near the Circus, gave it to her for a kiss. No lady in Rome knows of it. And so, when four special slaves have piled up the headdress, out of a perforated box this glistening powder is showered. Into every little brown ringlet it enters, till Sabina's hair seems like a pile of gold coins. Lest the breezes send it flying, the girls lay the powder with sprinkled attar. Soon Sabina will start for the Temple of Cybele.

Ah! Such are the lures of the toilet that none will for long hold aloof from them. Cosmetics are not going to be a mere prosaic remedy for age or plainness, but all ladies and all young girls will come to love them. Does not a certain blithe Marquise, whose lettres intimes from the Court of Louis Seize are less read than their wit deserves, tell us how she was scandalised to see 'meme les toutes jeunes demoiselles emaillees comme ma tabatiere? So it shall be with us. Surely the common prejudice against painting the lily can but be based on mere ground of economy. That which is already fair is complete, it may be urged—urged implausibly, for there are not so many lovely things in this world that we can afford not to know each one of them by heart. There is only one white lily, and who that has ever seen—as I have—a lily really well painted could grudge the artist so fair a ground for his skill? Scarcely do you believe through how many nice metamorphoses a lily may be passed by him. In like manner, we all know the young girl, with her simpleness, her goodness, her wayward ignorance. And a very charming ideal for England must she have been, and a very natural one, when a young girl sat even on the throne. But no nation can keep its ideal for ever, and it needed none of Mr. Gilbert's delicate satire in 'Utopia' to remind us that she had passed out of our ken with the rest of the early Victorian era. What writer of plays, as lately asked some pressman, who had been told off to attend many first nights and knew what he was talking about, ever dreams of making the young girl the centre of his theme? Rather he seeks inspiration from the tried and tired woman of the world, in all her intricate maturity, whilst, by way of comic relief, he sends the young girl flitting in and out with a tennis-racket, the poor eidolon amauron of her former self. The season of the unsophisticated is gone by, and the young girl's final extinction beneath the rising tides of cosmetics will leave no gap in life and will rob art of nothing.

'Tush,' I can hear some damned flutterpate exclaim, 'girlishness and innocence are as strong and as permanent as womanhood itself! Why, a few months past, the whole town went mad over Miss Cissie Loftus! Was not hers a success of girlish innocence and the absence of rouge? If such things as these be outmoded, why was she so wildly popular?' Indeed, the triumph of that clever girl, whose debut made London nice even in August, is but another witness to the truth of my contention. In a very sophisticated time, simplicity has a new dulcedo. Hers was a success of contrast. Accustomed to clever malaperts like Miss Lloyd or Miss Reeve, whose experienced pouts and smiles under the sun-bonnet are a standing burlesque of innocence and girlishness, Demos was really delighted, for once and away, to see the real presentment of these things upon his stage. Coming after all those sly serios, coming so young and mere with her pink frock and straightly combed hair, Miss Cissie Loftus had the charm which things of another period often do possess. Besides, just as we adored her for the abrupt nod with which she was wont at first to acknowledge the applause, so we were glad for her to come upon the stage with nothing to tinge the ivory of her cheeks. It seemed so strange, that neglect of convention. To be behind footlights and not rouged! Yes, hers was a success of contrast. She was like a daisy in the window at Solomons'. She was delightful. And yet, such is the force of convention, that when last I saw her, playing in some burlesque at the Gaiety, her fringe was curled and her pretty face rouged with the best of them. And, if further need be to show the absurdity of having called her performance 'a triumph of naturalness over the jaded spirit of modernity,' let us reflect that the little mimic was not a real old-fashioned girl after all. She had none of that restless naturalness that would seem to have characterised the girl of the early Victorian days. She had no pretty ways—no smiles nor blushes nor tremors. Possibly Demos could not have stood a presentment of girlishness unrestrained.

But, with her grave insouciance, Miss Cissie Loftus had much of the reserve that is one of the factors of feminine perfection, and to most comes only, as I have said, with artifice. Her features played very, very slightly. And in truth, this may have been one of the reasons of her great success. For expression is but too often the ruin of a face; and, since we cannot, as yet, so order the circumstances of life that women shall never be betrayed into 'an unbecoming emotion,' when the brunette shall never have cause to blush nor La Gioconda to frown, the safest way by far is to create, by brush and pigments, artificial expression for every face.

And this—say you?—will make monotony? You are mistaken, tots caelo mistaken. When your mistress has wearied you with one expression, then it will need but a few touches of that pencil, a backward sweep of that brush, and ho, you will be revelling in another. For though, of course, the painting of the face is, in manner, most like the painting of canvas, in outcome it is rather akin to the art of music—lasting, like music's echo, not for very long. So that, no doubt, of the many little appurtenances of the Reformed Toilet Table, not the least vital will be a list of the emotions that become its owner, with recipes for simulating them. According to the colour she wills her hair to be for the time—black or yellow or, peradventure, burnished red—she will blush for you, sneer for you, laugh or languish for you. The good combinations of line and colour are nearly numberless, and by their means poor restless woman will be able to realise her moods in all their shades and lights and dappledoms, to live many lives and masquerade through many moments of joy. No monotony will be. And for us men matrimony will have lost its sting.

But that in the world of women they will not neglect this art, so ripping in itself, in its result so wonderfully beneficent, I am sure indeed. Much, I have said, is already done for its full revival. The spirit of the age has made straight the path of its professors. Fashion has made Jezebel surrender her monopoly of the rouge-pot. As yet, the great art of self-embellishment is for us but in its infancy. But if Englishwomen can bring it to the flower of an excellence so supreme as never yet has it known, then, though Old England lose her martial and commercial supremacy, we patriots will have the satisfaction of knowing that she has been advanced at one bound to a place in the councils of aesthetic Europe. And, in sooth, is this hoping too high of my countrywomen? True that, as the art seems always to have appealed to the ladies of Athens, and it was not until the waning time of the Republic that Roman ladies learned to love the practice of it, so Paris, Athenian in this as in all other things, has been noted hitherto as a far more vivid centre of the art than London. But it was in Rome, under the Emperors, that unguentaria reached its zenith, and shall it not be in London, soon, that unguentaria shall outstrip its Roman perfection! Surely there must be among us artists as cunning in the use of brush and puff as any who lived at Versailles. Surely the splendid, impalpable advance of good taste, as shown in dress and in the decoration of houses, may justify my hope of the preeminence of Englishwomen in the cosmetic art. By their innate delicacy of touch they will accomplish much, and much, of course, by their swift feminine perception. Yet it were well that they should know something also of the theoretical side of the craft. Modern authorities upon the mysteries of the toilet are, it is true, rather few; but among the ancients many a writer would seem to have been fascinated by them. Archigenes, a man of science at the Court of Cleopatra, and Criton at the Court of the Emperor Trajan, both wrote treatises upon cosmetics—doubtless most scholarly treatises that would have given many a precious hint. It is a pity they are not extant. From Lucian or from Juvenal, with his bitter picture of a Roman levee, much may be learnt; from the staid pages of Xenophon and Aristophanes' dear farces. But best of all is that fine book of the Ars Amatoria that Ovid has set aside for the consideration of dyes, perfumes, and pomades. Written by an artist who knew the allurement of the toilet and understood its philosophy, it remains without rival as a treatise upon Artifice. It is more than a poem, it is a manual; and if there be left in England any lady who cannot read Latin in the original, she will do well to procure a discreet translation. In the Bodleian Library there is treasured the only known copy of a very poignant and delightful rendering of this one book of Ovid's masterpiece. It was made by a certain Wye Waltonstall, who lived in the days of Elizabeth, and, seeing that he dedicated it to 'the Vertuous Ladyes and Gentlewomen of Great Britain,' I am sure that the gallant writer, could he know of our great renaissance of cosmetics, would wish his little work to be placed once more within their reach. 'Inasmuch as to you, ladyes and gentlewomen,' so he writes in his queer little dedication, 'my booke of pigments doth first addresse itself, that it may kisse your hands and afterward have the lines thereof in reading sweetened by the odour of your breath, while the dead letters formed into words by your divided lips may receive new life by your passionate expression, and the words marryed in that Ruby coloured temple may thus happily united, multiply your contentment.' It is rather sad to think that, at this crisis in the history of pigments, the Vertuous Ladyes and Gentlewomen cannot read the libellus of Wye Waltonstall, who did so dearly love pigments.

But since the days when these great critics wrote their treatises, with what gifts innumerable has Artifice been loaded by Science! Many little partitions must be added to the narthecium before it can comprehend all the new cosmetics that have been quietly devised since classical days, and will make the modern toilet chalks away more splendid in its possibilities. A pity that no one has devoted himself to the compiling of a new list; but doubtless all the newest devices are known to the admirable unguentarians of Bond Street, who will impart them to their clients. Our thanks, too, should be given to Science for ridding us of the old danger that was latent in the use of cosmetics. Nowadays they cannot, being purged of any poisonous element, do harm to the skin that they make beautiful. There need be no more sowing the seeds of destruction in the furrows of time, no martyrs to the cause like Maria, Countess of Coventry, that fair dame but infelix, who died, so they relate, from the effect of a poisonous rouge upon her lips. No, we need have no fears now. Artifice will claim not another victim from among her worshippers.

Loveliness shall sit at the toilet, watching her oval face in the oval mirror. Her smooth fingers shall flit among the paints and powder, to tip and mingle them, catch up a pencil, clasp a phial, and what not and what not, until the mask of vermeil tinct has been laid aptly, the enamel quite hardened. And, heavens, how she will charm us and ensorcel our eyes! Positively rouge will rob us for a time of all our reason; we shall go mad over masks. Was it not at Capua that they had a whole street where nothing was sold but dyes and unguents? We must have such a street, and, to fill our new Seplasia, our Arcade of the Unguents, all herbs and minerals and live creatures shall give of their substance. The white cliffs of Albion shall be ground to powder for Loveliness, and perfumed by the ghost of many a little violet. The fluffy eider-ducks, that are swimming round the pond, shall lose their feathers, that the powder-puff may be moonlike as it passes over Loveliness' lovely face. Even the camels shall become ministers of delight, giving many tufts of their hair to be stained in her splendid colour-box, and across her cheek the swift hares foot shall fly as of old. The sea shall offer her the phucus, its scarlet weed. We shall spill the blood of mulberries at her bidding. And, as in another period of great ecstasy, a dancing wanton, la belle Aubrey, was crowned upon a church's lighted altar, so Arsenic, that 'greentress'd goddess,' ashamed at length of skulking between the soup of the unpopular and the test-tubes of the Queen's analyst, shall be exalted to a place of consummate honour upon the toilet-table of Loveliness.

All these things shall come to pass. Times of jolliness and glad indulgence! For Artifice, whom we drove forth, has returned among us, and, though her eyes are red with crying, she is smiling forgiveness. She is kind. Let us dance and be glad, and trip the cockawhoop! Artifice, sweetest exile, is come into her kingdom. Let us dance her a welcome!

Oxford, 1894.



Poor Romeo!

Even now Bath glories in his legend, not idly, for he was the most fantastic animal that ever stepped upon her pavement. Were ever a statue given him (and indeed he is worthy of a grotesque in marble), it would be put in Pulteney Street or the Circus. I know that the palm trees of Antigua overshadowed his cradle, that there must be even now in Boulogne many who set eyes on him in the time of his less fatuous declension, that he died in London. But Mr. Coates (for of that Romeo I write) must be claimed by none of these places. Bath saw the laughable disaster of his debut, and so, in a manner, his whole life seems to belong to her, and the story of it to be a part of her annals.

The Antiguan was already on the brink of middle-age when he first trod the English shore. But, for all his thirty-seven years, he had the heart of a youth, and his purse being yet as heavy as his heart was light, the English sun seemed to shine gloriously about his path and gild the letters of introduction that he scattered everywhere. Also, he was a gentleman of amiable, nearly elegant mien, and something of a scholar. His father had been the most respectable resident Antigua could show, so that little Robert, the future Romeo, had often sat at dessert with distinguished travellers through the Indies. But in the year 1807 old Mr. Coates had died. As we may read in vol. lxxviii. of The Gentleman's Magazine, 'the Almighty, whom he alone feared, was pleased to take him from this life, after having sustained an untarnished reputation for seventy-three years,' a passage which, though objectionable in its theology, gives the true story of Romeo's antecedents and disposes of the later calumnies that declared him the son of a tailor. Realising that he was now an orphan, an orphan with not a few grey hairs, our hero had set sail in quest of amusing adventure.

For three months he took the waters of Bath, unobtrusively, like other well-bred visitors. His attendance was solicited for all the most fashionable routs, and at assemblies he sat always in the shade of some titled turban. In fact, Mr. Coates was a great success. There was an air of most romantic mystery that endeared his presence to all the damsels fluttering fans in the Pump Room. It set them vying for his conduct through the mazes of the Quadrille or of the Triumph, and blushing at the sound of his name. Alas! their tremulous rivalry lasted not long. Soon they saw that Emma, sole daughter of Sir James Tylney Long, that wealthy baronet, had cast a magic net about the warm Antiguan heart. In the wake of her chair, by night and day, Mr. Coates was obsequious. When she cried that she would not drink the water without some delicacy to banish the iron taste, it was he who stood by with a box of vanilla-rusks. When he shaved his great moustachio, it was at her caprice. And his devotion to Miss Emma was the more noted for that his own considerable riches were proof that it was true and single. He himself warned her, in some verses written for him by Euphemia Boswell, against the crew of penniless admirers who surrounded her:

'Lady, ah! too bewitching lady! now beware Of artful men that fain would thee ensnare Not for thy merit, but thy fortunes sake. Give me your hand—your cash let venals take.'

Miss Emma was his first love. To understand his subsequent behaviour, let us remember that Cupid's shaft pierces most poignantly the breast of middle-age. Not that Mr. Coates was laughed at in Bath for a love-a-lack-a-daisy. On the contrary, his mien, his manner, were as yet so studiously correct, his speech so reticent, that laughter had been unusually inept. The only strange taste evinced by him was his devotion to theatricals. He would hold forth, by the hour, upon the fine conception of such parts as Macbeth, Othello and, especially, Romeo. Many ladies and gentlemen were privileged to hear him recite, in this or that drawing-room, after supper. All testified to the real fire with which he inflamed the lines of love or hatred. His voice, his gesture, his scholarship, were all approved. A fine symphony of praise assured Mr. Coates that no suitor worthier than he had ever courted Thespis. The lust for the footlights' glare grew lurid in his mothish eye. What, after all, were these poor triumphs of the parlour? It might be that contemptuous Emma, hearing the loud salvos of the gallery and boxes, would call him at length her lord.

At this time there arrived at the York House Mr. Pryse Gordon, whose memoirs we know. Mr. Coates himself was staying at number ** Gay Street, but was in the habit of breakfasting daily at the York House, where he attracted Mr. Gordon's attention by 'rehearsing passages from Shakespeare, with a tone and gesture extremely striking both to the eye and the ear.' Mr. Gordon warmly complimented him and suggested that he should give a public exposition of his art. The cheeks of the amateur flushed with pleasure. 'I am ready and willing,' he replied, 'to play Romeoe to a Bath audience, if the manager will get up the play and give me a good "Juliet"; my costume is superb and adorned with diamonds, but I have not the advantage of knowing the manager, Dimonds.' Pleased by the stranger's ready wit, Mr. Gordon scribbled a note of introduction to Dimonds there and then. So soon as he had 'discussed a brace of muffins and so many eggs,' the new Romeo started for the playhouse, and that very day bills were posted to the effect that 'a Gentleman of Fashion would make his first appearance on February 9 in a role of Shakespeare.' All the lower boxes were immediately secured by Lady Belmore and other lights of Bath. 'Butlers and Abigails,' it is said, 'were commanded by their mistresses to take their stand in the centre of the pit and give Mr. Coates a capital, hearty clapping.' Indeed, throughout the week that elapsed before the premiere, no pains were spared in assuring a great success. Miss Tylney Long showed some interest in the arrangements. Gossip spoke of her as a likely bride.

The night came. Fashion, Virtue, and Intellect thronged the house. Nothing could have been more cordial than the temper of the gallery. All were eager to applaud the new Romeo. Presently, when the varlets of Verona had brawled, there stepped into the square—what!—a mountebank, a monstrosity. Hurrah died upon every lip. The house was thunderstruck. Whose legs were in those scarlet pantaloons? Whose face grinned over that bolster-cravat, and under that Charles II. wig and opera-hat? From whose shoulders hung that spangled sky-blue cloak? Was this bedizened scarecrow the Amateur of Fashion, for sight of whom they had paid their shillings? At length a voice from the gallery cried, 'Good evening, Mr. Coates,' and, as the Antiguan—for he it was—bowed low, the theatre was filled with yells of merriment. Only the people in the boxes were still silent, staring coldly at the protege who had played them so odious a prank. Lady Belmore rose and called for her chariot. Her example was followed by several ladies of rank. The rest sat spellbound, and of their number was Miss Tylney Long, at whose rigid face many glasses were, of course, directed. Meanwhile the play proceeded. Those lines that were not drowned in laughter Mr. Coates spoke in the most foolish and extravagant manner. He cut little capers at odd moments. He laid his hand on his heart and bowed, now to this, now to that part of the house, always with a grin. In the balcony-scene he produced a snuff-box, and, after taking a pinch, offered it to the bewildered Juliet. Coming down to the footlights, he laid it on the cushion of the stage-box and begged the inmates to refresh themselves, and to 'pass the golden trifle on.' The performance, so obviously grotesque, was just the kind of thing to please the gods. The limp of Hephaestus could not have called laughter so unquenchable from their lips. It is no trifle to set Englishmen laughing, but once you have done it, you can hardly stop them. Act after act of the beautiful love-play was performed without one sign of satiety from the seers of it. The laughter rather swelled in volume. Romeo died in so ludicrous a way that a cry of 'encore arose and the death was actually twice repeated. At the fall of the curtain there was prolonged applause. Mr. Coates came forward, and the good-humoured public pelted him with fragments of the benches. One splinter struck his right temple, inflicting a scar, of which Mr. Coates was, in his old age, not a little proud. Such is the traditional account of this curious debut. Mr. Pryse Gordon, however, in his memoirs tells another tale. He professes to have seen nothing peculiar in Romeo's dress, save its display of fine diamonds, and to have admired the whole interpretation. The attitude of the audience he attributes to a hostile cabal. John R. and Hunter H. Robinson, in their memoir of Romeo Coates, echo Mr. Pryse Gordon's tale. They would have done well to weigh their authorities more accurately.

I had often wondered at this discrepancy between document and tradition. Last spring, when I was in Bath for a few days, my mind brooded especially on the question. Indeed, Bath, with her faded memories, her tristesse, drives one to reverie. Fashion no longer smiles from her windows nor dances in her sunshine, and in her deserted parks the invalids build up their constitutions. Now and again, as one of the frequent chairs glided past me, I wondered if its shadowy freight were the ghost of poor Romeo. I felt sure that the traditional account of his debut was mainly correct. How could it, indeed, be false? Tradition is always a safer guide to truth than is the tale of one man. I might amuse myself here, in Bath, by verifying my notion of the debut or proving it false.

One morning I was walking through a narrow street in the western quarter of Bath, and came to the window of a very little shop, which was full of dusty books, prints and engravings. I spied in one corner of it the discoloured print of a queer, lean figure, posturing in a garden. In one hand this figure held a snuff-box, in the other an opera-hat. Its sharp features and wide grin, flanked by luxuriant whiskers, looked strange under a Caroline wig. Above it was a balcony and a lady in an attitude of surprise. Beneath it were these words, faintly lettered: Bombastes Coates wooing the Peerless Capulet, that's 'nough (that snuff) 1809. I coveted the print. I went into the shop.

A very old man peered at me and asked my errand. I pointed to the print of Mr. Coates, which he gave me for a few shillings, chuckling at the pun upon the margin.

'Ah,' he said, 'they're forgetting him now, but he was a fine figure, a fine sort of figure.'

'You saw him?'

'No, no. I'm only seventy. But I've known those who saw him. My father had a pile of such prints.'

'Did your father see him?' I asked, as the old man furled my treasure and tied it with a piece of tape.

'My father, sir, was a friend of Mr. Coates,' he said. 'He entertained him in Gay Street. Mr. Coates was my father's lodger all the months he was in Bath. A good tenant, too. Never eccentric under my father's roof—never eccentric.'

I begged the old bookseller to tell me more of this matter. It seemed that his father had been a citizen of some consequence, and had owned a house in modish Gay Street, where he let lodgings. Thither, by the advice of a friend, Mr. Coates had gone so soon as he arrived in the town, and had stayed there down to the day after his debut, when he left for London.

'My father often told me that Mr. Coates was crying bitterly when he settled the bill and got into his travelling-chaise. He'd come back from the playhouse the night before as cheerful as could be. He'd said he didn't mind what the public thought of his acting. But in the morning a letter was brought for him, and when he read it he seemed to go quite mad.'

'I wonder what was in the letter!' I asked. 'Did your father never know who sent it?'

'Ah,' my greybeard rejoined, 'that's the most curious thing. And it's a secret. I can't tell you.'

He was not as good as his word. I bribed him delicately with the purchase of more than one old book. Also, I think, he was flattered by my eager curiosity to learn his long-pent secret. He told me that the letter was brought to the house by one of the footmen of Sir James Tylney Long, and that his father himself delivered it into the hands of Mr. Coates.

'When he had read it through, the poor gentleman tore it into many fragments, and stood staring before him, pale as a ghost. "I must not stay another hour in Bath," he said. When he was gone, my father (God forgive him!) gathered up all the scraps of the letter, and for a long time he tried to piece them together. But there were a great many of them, and my father was not a scholar, though he was affluent.'

'What became of the scraps?' I asked. 'Did your father keep them?'

'Yes, he did. And I used to try, when I was younger, to make out something from them. But even I never seemed to get near it. I've never thrown them away, though. They're in a box.'

I got them for a piece of gold that I could ill spare—some score or so of shreds of yellow paper, traversed with pale ink. The joy of the archaeologist with an unknown papyrus, of the detective with a clue, surged in me. Indeed, I was not sure whether I was engaged in private inquiry or in research; so recent, so remote was the mystery. After two days' labour, I marshalled the elusive words. This is the text of them:

MR. COATES, SIR,

They say Revenge is sweet. I am fortunate to find it is so. I have compelled you to be far more a Fool than you made me at the fete-champetre of Lady B. & I, having accomplished my aim, am ready to forgive you now, as you implored me on the occasion of the fete. But pray build no Hope that I, forgiving you, will once more regard you as my Suitor. For that cannot ever be. I decided you should show yourself a Fool before many people. But such Folly does not commend your hand to mine. Therefore desist your irksome attention &, if need be, begone from Bath. I have punished you, & would save my eyes the trouble to turn away from your person. I pray that you regard this epistle as privileged and private.

E. T. L. 10 of February.

The letter lies before me as I write. It is written throughout in a firm and very delicate Italian hand. Under the neat initials is drawn, instead of the ordinary flourish, an arrow, and the absence of any erasure in a letter of such moment suggests a calm, deliberate character and, probably, rough copies. I did not, at the time, suffer my fancy to linger over the tessellated document. I set to elucidating the reference to the fete-champetre. As I retraced my footsteps to the little bookshop, I wondered if I should find any excuse for the cruel faithlessness of Emma Tylney Long.

The bookseller was greatly excited when I told him I had re-created the letter. He was very eager to see it. I did not pander to his curiosity. He even offered to buy the article back at cost price. I asked him if he had ever heard, in his youth, of any scene that had passed between Miss Tylney Long and Mr. Coates at some fete-champetre. The old man thought for some time, but he could not help me. Where then, I asked him, could I search old files of local news-papers? He told me that there were supposed to be many such files mouldering in the archives of the Town Hall.

I secured access, without difficulty, to these files. A whole day I spent in searching the copies issued by this and that journal during the months that Romeo was in Bath. In the yellow pages of these forgotten prints I came upon many complimentary allusions to Mr. Coates: 'The visitor welcomed (by all our aristocracy) from distant Ind,' 'the ubiquitous,' 'the charitable riche.' Of his 'forthcoming impersonation of Romeo and Juliet' there were constant puffs, quite in the modern manner. The accounts of his debut all showed that Mr. Pryse Gordon's account of it was fabulous. In one paper there was a bitter attack on 'Mr. Gordon, who was responsible for this insult to Thespian art, the gentry, and the people, for he first arranged the whole production'—an extract which makes it clear that this gentleman had a good motive for his version of the affair.

But I began to despair of ever learning what happened at the fete-champetre. There were accounts of 'a grand garden-party, whereto Lady Belper, on March the twenty-eighth, invited a host of fashionable persons.' The names of Mr. Coates and of 'Sir James Tylney Long and his daughter' were duly recorded in the lists. But that was all. I turned at length to a tiny file, consisting of five copies only, Bladud's Courier. Therein I found this paragraph, followed by some scurrilities which I will not quote:

'Mr. C**t*s, who will act Romeo (Wherefore art thou Romeo?) this coming week for the pleasure of his fashionable circle, incurred the contemptuous wrath of his Lady Fair at the Fete. It was a sad pity she entrusted him to hold her purse while she fed the gold-fishes. He was very proud of the honour till the gold fell from his hand among the gold-fishes. How appropriate was the misadventure! But Miss Black Eyes, angry at her loss and her swain's clumsiness, cried: "Jump into the pond, sir, and find my purse instanter!" Several wags encouraged her, and the ladies were of the opinion that her adorer should certainly dive for the treasure. "Alas," the fellow said, "I cannot swim, Miss. But tell me how many guineas you carried and I will make them good to yourself." There was a great deal of laughter at this encounter, and the haughty damsel turned on her heel, nor did shoe vouchsafe another word to her elderly lover.

'When recreant man Meets lady's wrath, &c. &c.'

So the story of the debut was complete! Was ever a lady more inexorable, more ingenious, in her revenge? One can fancy the poor Antiguan going to the Baronet's house next day with a bouquet of flowers and passionately abasing himself, craving her forgiveness. One can fancy the wounded vanity of the girl, her shame that people had mocked her for the disobedience of her suitor. Revenge, as her letter shows, became her one thought. She would strike him through his other love, the love of Thespis. 'I have compelled you,' she wrote afterwards, in her bitter triumph, 'to be a greater Fool than you made me.' She, then, it was that drove him to his public absurdity, she who insisted that he should never win her unless he sacrificed his dear longing for stage-laurels and actually pilloried himself upon the stage. The wig, the pantaloons, the snuff-box, the grin, were all conceived, I fancy, in her pitiless spite. It is possible that she did but say: 'The more ridiculous you make yourself, the more hope for you.' But I do not believe that Mr. Coates, a man of no humour, conceived the means himself. They were surely hers.

It is terrible to think of the ambitious amateur in his bedroom, secretly practising hideous antics or gazing at his absurd apparel before a mirror. How loath must he have been to desecrate the lines he loved so dearly and had longed to declaim in all their beauty and their resonance! And then, what irony at the daily rehearsal! With how sad a smile must he have received the compliments of Mr. Dimonds on his fine performance, knowing how different it would all be 'on the night! 'Nothing could have steeled him to the ordeal but his great love. He must have wavered, had not the exaltation of his love protected him. But the jeers of the mob were music in his hearing, his wounds love-symbols. Then came the girl's cruel contempt of his martyrdom.

Aphrodite, who has care of lovers, did not spare Miss Tylney Long. She made her love, a few months after, one who married her for her fortune and broke her heart. In years of misery the wayward girl worked out the penance of her unpardonable sin, dying, at length, in poverty and despair. Into the wounds of him who had so truly loved her was poured, after a space of fourteen years, the balsam of another love. On the 6th September 1823, at St. Georges, Hanover Square, Mr. Coates was married to Miss Anne Robinson, who was a faithful and devoted wife to him till he died.

Meanwhile, the rejected Romeo did not long repine. Two months after the tragedy at Bath, he was at Brighton, mingling with all the fashionable folk, and giving admirable recitations at routs. He was seen every day on the Parade, attired in an extravagant manner, very different to that he had adopted in Bath. A pale-blue surtout, tasselled Hessians, and a cocked hat were the most obvious items of his costume. He also affected a very curious tumbril, shaped like a shell and richly gilded. In this he used to drive around, every afternoon, amid the gapes of the populace. It is evident that, once having tasted the fruit of notoriety, he was loath to fall back on simpler fare. He had become a prey to the love of absurd ostentation. A lively example of dandyism unrestrained by taste, he parodied in his person the foibles of Mr. Brummell and the King. His diamonds and his equipage and other follies became the gossip of every newspaper in England. Nor did a day pass without the publication of some little rigmarole from his pen. Wherever there was a vacant theatre—were it in Cheltenham, Birmingham, or any other town—he would engage it for his productions. One night he would play his favourite part, Romeo, with reverence and ability. The next, he would repeat his first travesty in all its hideous harlequinade. Indeed, there can be little doubt that Mr. Coates, with his vile performances, must be held responsible for the decline of dramatic art in England and the invasion of the amateur. The sight of such folly, strutting unabashed, spoilt the prestige of the theatre. To-day our stage is filled with tailors'-dummy heroes, with heroines who have real curls and can open and shut their eyes and, at a pinch, say 'mamma' and 'papa.' We must blame the Antiguan, I fear, for their existence. It was he—the rascal—who first spread that scenae sacra fames. Some say that he was a schemer and impostor, feigning eccentricity for his private ends. They are quite wrong; Mr. Coates was a very good man. He never made a penny out of his performances; he even lost many hundred pounds. Moreover, as his speeches before the curtain and his letters to the papers show, he took himself quite seriously. Only the insane take themselves quite seriously.

It was the unkindness of his love that maddened him. But he lived to be the lightest-hearted of lunatics and caused great amusement for many years. Whether we think of him in his relation to history or psychology, dandiacal or dramatic art, he is a salient, pathetic figure. That he is memorable for his defects, not for his qualities, I know. But Romeo, in the tragedy of his wild love and frail intellect, in the folly that stretched the corners of his 'peculiar grin' and shone in his diamonds and was emblazoned upon his tumbril, is more suggestive than some sages. He was so fantastic an animal that Oblivion were indeed amiss. If no more, he was a great Fool. In any case, it would be fun to have seen him.

London, 1896.



Diminuendo

In the year of grace 1890, and in the beautiful autumn of that year, I was a freshman at Oxford. I remember how my tutor asked me what lectures I wished to attend, and how he laughed when I said that I wished to attend the lectures of Mr. Walter Pater. Also I remember how, one morning soon after, I went into Ryman's to order some foolish engraving for my room, and there saw, peering into a portfolio, a small, thick, rock-faced man, whose top-hat and gloves of bright dog-skin struck one of the many discords in that little city of learning or laughter. The serried bristles of his moustachio made for him a false-military air. I think I nearly went down when they told me that this was Pater.

Not that even in those more decadent days of my childhood did I admire the man as a stylist. Even then I was angry that he should treat English as a dead language, bored by that sedulous ritual wherewith he laid out every sentence as in a shroud—hanging, like a widower, long over its marmoreal beauty or ever he could lay it at length in his book, its sepulchre. From that laden air, the so cadaverous murmur of that sanctuary, I would hook it at the beck of any jade. The writing of Pater had never, indeed, appealed to me, all' aiei, having regard to the couth solemnity of his mind, to his philosophy, his rare erudition, tina phota megan kai kalon edegmen [I received some great and beautiful light]. And I suppose it was when at length I saw him that I first knew him to be fallible.

At school I had read Marius the Epicurean in bed and with a dark lantern. Indeed, I regarded it mainly as a tale of adventure, quite as fascinating as Midshipman Easy, and far less hard to understand, because there were no nautical terms in it. Marryat, moreover, never made me wish to run away to sea, whilst certainly Pater did make me wish for more 'colour' in the curriculum, for a renaissance of the Farrar period, when there was always 'a sullen spirit of revolt against the authorities'; when lockers were always being broken into and marks falsified, and small boys prevented from saying their prayers, insomuch that they vowed they would no longer buy brandy for their seniors. In some schools, I am told, the pretty old custom of roasting a fourth-form boy, whole, upon Founder's Day still survives. But in my school there was less sentiment. I ended by acquiescing in the slow revolution of its wheel of work and play. I felt that at Oxford, when I should be of age to matriculate, a 'variegated dramatic life was waiting for me. I was not a little too sanguine, alas!

How sad was my coming to the university! Where were those sweet conditions I had pictured in my boyhood? Those antique contrasts? Did I ride, one sunset, through fens on a palfrey, watching the gold reflections on Magdalen Tower? Did I ride over Magdalen Bridge and hear the consonance of evening-bells and cries from the river below? Did I rein in to wonder at the raised gates of Queen's, the twisted pillars of St. Mary's, the little shops, lighted with tapers? Did bull-pups snarl at me, or dons, with bent backs, acknowledge my salute? Any one who knows the place as it is, must see that such questions are purely rhetorical. To him I need not explain the disappointment that beset me when, after being whirled in a cab from the station to a big hotel, I wandered out into the streets. On aurait dit a bit of Manchester through which Apollo had once passed; for here, among the hideous trains and the brand-new bricks—here, glared at by the electric-lights that hung from poles, screamed at by boys with the Echo and the Star—here, in a riot of vulgarity, were remnants of beauty, as I discerned. There were only remnants.

Soon also I found that the life of the place, like the place, had lost its charm and its tradition. Gone were the contrasts that made it wonderful. That feud between undergraduates and dons—latent, in the old days, only at times when it behoved the two academic grades to unite against the townspeople—was one of the absurdities of the past. The townspeople now looked just like undergraduates and the dons just like townspeople. So splendid was the train-service between Oxford and London that, with hundreds of passengers daily, the one had become little better than a suburb of the other. What more could extensionists demand? As for me, I was disheartened. Bitter were the comparisons I drew between my coming to Oxford and the coming of Marius to Rome. Could it be that there was at length no beautiful environment wherein a man might sound the harmonies of his soul? Had civilisation made beauty, besides adventure, so rare? I wondered what counsel Pater, insistent always upon contact with comely things, would offer to one who could nowhere find them. I had been wondering that very day when I went into Ryman's and saw him there.

When the tumult of my disillusioning was past, my mind grew clearer. I discerned that the scope of my quest for emotion must be narrowed. That abandonment of ones self to life, that merging of ones soul in bright waters, so often suggested in Pater's writing, were a counsel impossible for to-day. The quest of emotions must be no less keen, certainly, but the manner of it must be changed forthwith. To unswitch myself from my surroundings, to guard my soul from contact with the unlovely things that compassed it about, therein lay my hope. I must approach the Benign Mother with great caution. And so, while most of the freshmen 'were doing her honour with wine and song and wreaths of smoke, I stood aside, pondered. In such seclusion I passed my first term—ah, how often did I wonder whether I was not wasting my days, and, wondering, abandon my meditations upon the right ordering of the future! Thanks be to Athene, who threw her shadow over me in those moments of weak folly!

At the end of term I came to London. Around me seethed swirls, eddies, torrents, violent cross-currents of human activity. What uproar! Surely I could have no part in modern life. Yet, yet for a while it was fascinating to watch the ways of its children. The prodigious life of the Prince of Wales fascinated me above all; indeed, it still fascinates me. What experience has been withheld from His Royal High-ness? Was ever so supernal a type, as he, of mere Pleasure? How often he has watched, at Newmarket, the scud-a-run of quivering homuncules over the vert on horses, or, from some night-boat, the holocaust of great wharves by the side of the Thames; raced through the blue Solent; threaded les coulisses! He has danced in every palace of every capital, played in every club. He has hunted eleplants through the jungles of India, boar through the forests of Austria, pigs over the plains of Massachusetts. From the Castle of Abergeldie he has led his Princess into the frosty night, Highlanders lighting with torches the path to the deer-larder, where lay the wild things that had fallen to him on the crags. He has marched the Grenadiers to chapel through the white streets of Windsor. He has ridden through Moscow, in strange apparel, to kiss the catafalque of more than one Tzar. For him the Rajahs of India have spoiled their temples, and Blondin has crossed Niagara along the tight-rope, and the Giant Guard done drill beneath the chandeliers of the Neue Schloss. Incline he to scandal, lawyers are proud to whisper their secrets in his ear. Be he gallant, the ladies are at his feet. Ennuye, all the wits from Bernal Osborne to Arthur Roberts have jested for him. He has been 'present always at the focus where the greatest number of forces unite in their purest energy,' for it is his presence that makes those forces unite.

'Ennuye?' I asked. Indeed he never is. How could he be when Pleasure hangs constantly upon his arm! It is those others, overtaking her only after arduous chase, breathless and footsore, who quickly sicken of her company, and fall fainting at her feet. And for me, shod neither with rank nor riches, what folly to join the chase! I began to see how small a thing it were to sacrifice those external 'experiences,' so dear to the heart of Pater, by a rigid, complex civilisation made so hard to gain. They gave nothing but lassitude to those who had gained them through suffering. Even to the kings and princes, who so easily gained them, what did they yield besides themselves? I do not suppose that, if we were invited to give authenticated instances of intelligence on the part of our royal pets, we could fill half a column of the Spectator. In fact, their lives are so full they have no time for thought, the highest energy of man. Now, it was to thought that my life should be dedicated. Action, apart from its absorption of time, would war otherwise against the pleasures of intellect, which, for me, meant mainly the pleasures of imagination. It is only (this is a platitude) the things one has not done, the faces or places one has not seen, or seen but darkly, that have charm. It is only mystery—such mystery as besets the eyes of children—that makes things superb. I thought of the voluptuaries I had known—they seemed so sad, so ascetic almost, like poor pilgrims, raising their eyes never or ever gazing at the moon of tarnished endeavour. I thought of the round, insouciant faces of the monks at whose monastery I once broke bread, and how their eyes sparkled when they asked me of the France that lay around their walls. I thought, pardie, of the lurid verses written by young men who, in real life, know no haunt more lurid than a literary public-house. It was, for me, merely a problem how I could best avoid 'sensations,' 'pulsations,' and 'exquisite moments' that were not purely intellectual. I would not attempt to combine both kinds, as Pater seemed to fancy a man might. I would make myself master of some small area of physical life, a life of quiet, monotonous simplicity, exempt from all outer disturbance. I would shield my body from the world that my mind might range over it, not hurt nor fettered. As yet, however, I was in my first year at Oxford. There were many reasons that I should stay there and take my degree, reasons that I did not combat. Indeed, I was content to wait for my life.

And now that I have made my adieux to the Benign Mother, I need wait no longer. I have been casting my eye over the suburbs of London. I have taken a most pleasant little villa in ——ham, and here I shall make my home. Here there is no traffic, no harvest. Those of the inhabitants who do anything go away each morning and do it elsewhere. Here no vital forces unite. Nothing happens here. The days and the months will pass by me, bringing their sure recurrence of quiet events. In the spring-time I shall look out from my window and see the laburnum flowering in the little front garden. In summer cool syrups will come for me from the grocer's shop. Autumn will make the boughs of my mountain-ash scarlet, and, later, the asbestos in my grate will put forth its blossoms of flame. The infrequent cart of Buszard or Mudie will pass my window at all seasons. Nor will this be all. I shall have friends. Next door, there is a retired military man who has offered, in a most neighbourly way, to lend me his copy of the Times. On the other side of my house lives a charming family, who perhaps will call on me, now and again. I have seen them sally forth, at sundown, to catch the theatre-train; among them walked a young lady, the charm of whose figure was ill concealed by the neat waterproof that overspread her evening dress. Some day it may be...but I anticipate. These things will be but the cosy accompaniment of my days. For I shall contemplate the world.

I shall look forth from my window, the laburnum and the mountain-ash becoming mere silhouettes in the foreground of my vision. I shall look forth and, in nay remoteness, appreciate the distant pageant of the world. Humanity will range itself in the columns of my morning paper. No pulse of life will escape me. The strife of politics, the intriguing of courts, the wreck of great vessels, wars, dramas, earthquakes, national griefs or joys; the strange sequels to divorces, even, and the mysterious suicides of land-agents at Ipswich—in all such phenomena I shall steep my exhaurient mind. Delicias quoque bibliothecae experiar. Tragedy, comedy, chivalry, philosophy will be mine. I shall listen to their music perpetually and their colours will dance before my eyes. I shall soar from terraces of stone upon dragons with shining wings and make war upon Olympus. From the peaks of hills I shall swoop into recondite valleys and drive the pigmies, shrieking little curses, to their caverns. It may be my whim to wander through infinite parks where the deer lie under the clustering shadow of their antlers and flee lightly over the grass; to whisper with white prophets under the elms or bind a child with a daisy-chain or, with a lady, thread my way through the acacias. I shall swim down rivers into the sea and outstrip all ships. Unhindered I shall penetrate all sanctuaries and snatch the secrets of every dim confessional.

Yes! among books that charm, and give wings to the mind, will my days be spent. I shall be ever absorbing the things great men have written; with such experience I will charge my mind to the full. Nor will I try to give anything in return. Once, in the delusion that Art, loving the recluse, would make his life happy, I wrote a little for a yellow quarterly and had that succes de fiasco which is always given to a young writer of talent. But the stress of creation soon overwhelmed me. Only Art with a capital H gives any consolations to her henchmen. And I, who crave no knighthood, shall write no more. I shall write no more. Already I feel myself to be a trifle outmoded. I belong to the Beardsley period. Younger men, with months of activity before them, with fresher schemes and notions, with newer enthusiasm, have pressed forward since then. Cedo junioribus. Indeed, I stand aside with no regret. For to be outmoded is to be a classic, if one has written well. I have acceded to the hierarchy of good scribes and rather like my niche.

Chicago, 1895.



THE WORKS OF MAX BEERBOHM A BIBLIOGRAPHY

By John Lane

PREFACE

After some considerable experience in the field of bibliography I cannot plead as palliation for any imperfections that may be discovered in this, that it is the work of a 'prentice hand. Difficult as I found my self-imposed task in the case of the Meredith and Hardy bibliographies, here my labour has been still more herculean.

It is impossible for one to compile a bibliography of a great man's works without making it in some sense a biography—and indeed, in the minds of not a few people, I have found a delusion that the one is identical with the other.

Mr. Beerbohm, as will be seen from the page headed Personalia, was born in London, August 24, 1872. In searching the files of the Times I naturally looked for other remarkable occurrences on that date. There was only one worth recording. On the day upon which Mr. Beerbohm was born, there appeared in the first column of the Times, this announcement:

'On [Wednesday], the 21st August, at Brighton, the wife of V.P. Beardsley, Esq., of a son.'

That the same week should have seen the advent in this world of two such notable reformers as Aubrey Beardsley and Max Beerbohm is a coincidence to which no antiquary has previously drawn attention. Is it possible to over-estimate the influence of these two men in the art and literature of the century?

Like two other great essayists, Addison and Steele, Mr. Beerbohm was educated at Charterhouse, and, like the latter, at Merton College, Oxford. At Charterhouse he is still remembered for his Latin verses, and for the superb gallery of portraits of the masters that he completed during his five years' sojourn there. There are still extant a few copies of his satire, in Latin elegiacs, called Beccerius, privately printed at the suggestion of Mr. A. H. Tod, his form-master. The writer has said 'Let it lie,' however, and in such a matter the author's wish should surely be regarded. I have myself been unable to obtain a sight of a copy, but a more fortunate friend has furnished me with a careful description of the opusculum, which I print in its place in the bibliography.

He matriculated at Merton in 1890, and immediately applied himself to the task he had set before him, namely, a gallery of portraits of the Dons.

I am aware that he contributed to The Clown and other undergraduate journals: also that he was a member of the Myrmidons' Club. It was during his residence at Oxford that his famous treatise on Cosmetics appeared in the pages of an important London Quarterly, sets of which are still occasionally to be found in booksellers' catalogues at a high price, though the American millionaire collector has made it one of the rarest of finds. These were the days of his youth, the golden age of 'decadence.' For is not decadence merely a fin de siecle literary term synonymous with the 'sowing his wild oats' of our grandfathers? a phrase still surviving in agricultural districts, according to Mr. Andrew Lang, Mr. Edward Clodd, and other Folk-Lorists.

Mr. Beerbohm, of course, was not the only writer of his period who appeared as the champion of artifice. A contemporary, one Richard Le Gallienne, an eminent Pose Fancier, has committed himself somewhere to the statement that 'The bravest men that ever trod this planet have worn corsets.'

But what is so far away as yester-year? In 1894, Mr. Beerbohm, in virtue of his 'Defence of Cosmetics,' was but a pamphleteer. In 1895 he was the famous historian, for in that year appeared the two earliest of his profound historical studies, The History of the Year 1880, and his work on King George the Fourth. During the growth of these masterpieces, his was a familiar figure in the British Museum and the Record Office, and tradition asserts that the enlargement of the latter building, which took place some time shortly afterwards, was mainly owing to his exertions.

Attended by his half-brother, Mr. Tree, Mrs. Tree and a numerous theatrical suite, he sailed on the 16th of January 1895, for America, with a view, it is said, to establishing a monarchy in that land. Mr. Beerbohm does not appear to have succeeded in this project, though he was interviewed in many of the newspapers of the States. He returned, re infecta, to the land of his birth, three months later.

After that he devoted himself to the completion of his life-work, here set forth.

The materials for this collection were drawn, with the courteous acquiescence of various publishers, from The Pageant, The Savoy, The Chap Book, and The Yellow Book. Internal evidence shows that Mr. Beerbohm took fragments of his writings from Vanity (of New York) and The Unicorn, that he might inlay them in the First Essay, of whose scheme they are really a part. The Third Essay he re-wrote. The rest he carefully revised, and to some he gave new names.

Although it was my privilege on one occasion to meet Mr. Beerbohm—at five-o'clock tea—when advancing years, powerless to rob him of one shade of his wonderful urbanity, had nevertheless imprinted evidence of their flight in the pathetic stoop, and the low melancholy voice of one who, though resigned, yet yearns for the happier past, I feel that too precise a description of his personal appearance would savour of impertinence. The curious, on this point, I must refer to Mr. Sickert's and Mr. Rothenstein's portraits, which I hear that Mr. Lionel Cust is desirous of acquiring for the National Portrait Gallery.

It is needless to say that this bibliography has been a labour of love, and that any further information readers may care to send me will be gladly incorporated in future editions.

I must here express my indebtedness to Dr. Garnett, C.B., Mr. Bernard Quaritch, Mr. Clement K. Shorter, Mr. L. F. Austin, Mr. J. M. Bullock, Mr. Lewis Hind, Mr. and Mrs. H. Beerbohm Tree, Mrs. Leverson, and Miss Grace Conover, without whose assistance my work would have been far more arduous.

J.L. THE ALBANY, May 1896.



THE BIBLIOGRAPHY OF THE WORKS OF MAX BEERBOHM

1886.

A Letter to the Editor. The Carthusian, Dec. 1886, signed Diogenes. A bitter cry of complaint against the dulness of the school paper. [Not reprinted.]

[1890.]

Beccerius a Latin fragment with explanatory notes by M.B. [N.D. About twelve couplets printed on rough yellow paper, pp. 1 to 4, cr. 8vo, notes in double columns at foot of page. No publisher's or printer's name.

1894.

A Defence of Cosmetics. The Yellow Book, Vol. I., April 1894, pp. 65-82. Reprinted in 'The Works' under the title of 'The Pervasion of Rouge.'

Lines suggested by Miss Cissy Loftus. The Sketch, May 9, 1894, p. 71. A Caricature. [Not reprinted.

Mr. Phil May and Mr. Aubrey Beardsley. The Pall Mall Budget, June 7, 1894. Two Caricatures. [Not reprinted.

Two Eminent Statesmen (the Rt. Hon. A. J. Balfour and the Rt. Hon. Sir Wm. Harcourt). Pall Mall Budget, July 5, 1894. Two Caricatures. [Not reprinted.

Two Eminent Actors (Mr. Beerbohm Tree and Mr. Edward Terry). Pall Mall Budget, July 26, 1894. Two Caricatures. [Not reprinted.

A Letter to the Editor. The Yellow Book, Vol. II., July 1894, pp. 281-284. [Not reprinted.

Personal Remarks: Gus Elen (Caricature). Pick-Me-Up, Sept. 15, 1894. [Not reprinted.

Personal Remarks: Oscar Wilde (Caricature). Pick-Me-Up, Sept. 22, 1894. [Not reprinted.

Personal Remarks: R. G. Knowles, 'Theres a picture for you!' (Caricature). Pick-Me-Up, Sept. 29, 1894. [Not reprinted.

M. Henri Rochefort and Mr. Arthur Roberts. Pall Mall Budget, Oct. 4, 1894. Two Caricatures. [Not reprinted.

Personal Remarks: Henry Arthur Jones (Caricature). Pick-Me-Up, Oct. 6, 1894. [Not reprinted.

Personal Remarks: Harry Furniss (Caricature). Pick-Me-Up, Oct. 13, 1894. [Not reprinted.

A Caricature of George the Fourth. The Yellow Book, Vol. III., Oct. 1894. [Not reprinted.

A Note on George the Fourth. The Yellow Book, Vol. III., Oct. 1894, pp. 247-269. Reprinted in 'The Works' under the title of 'King George the Fourth.' A parody of this appeared under the title of 'A Phalse Note on George the Fourth,' in Punch, October 27, 1894, p. 204.

Personal Remarks: Lord Lonsdale (Caricature). Pick-Me-Up, Oct 20, 1894. [Not reprinted.

Personal Remarks: W. S. Gilbert (Caricature). Pick-Me-Up, Oct. 27, 1894. [Not reprinted.

Personal Remarks: L. Raven Hill (Caricature). Pick- Me-Up, Nov. 3, 1894. [Not reprinted.

Personal Remarks: The Marquis of Queensberry (Caricature). Pick-Me-Up, Nov. 17, 1894. [Not reprinted.

Personal Remarks: Ada Reeve (Caricature). Pick-Me-Up, Nov. 24, 1894. [Not reprinted.

Personal Remarks: Seymour Hicks (Caricature). Pick-Me-Up, Dec. 1, 1894. [Not reprinted.

Personal Remarks: Corney Grain (Caricature). Pick-Me-Up, Dec. 8, 1894. [Not reprinted.

Personal Remarks: Lord Randolph Churchill (Caricature). Pick-Me-Up, Dec. 22, 1894. [Not reprinted.

Personal Remarks: Dutch Daly (Caricature). Pick-Me-Up, Dec. 29, 1894. [Not reprinted.

1895.

Character Sketches of 'The Chieftain' at the Savoy. I. Mr. Courtice Pounds. II. Mr. Scott Fishe. III. Mr. Walter Passmore. Pick-Me-Up, Jan. 5, 1895. [Not reprinted.

Personal Remarks: Henry Irving (Caricature). Pick-Me-Up, Jan. 5, 1895.

'1880.' The Yellow Book, Vol. IV., Jan. 1895, pp. 275-283. Reprinted in 'The Works.' A parody of this appeared, under the title of '1894,' by Max Mereboom, in Punch, February 2, 1895, p. 58.

THE END