Volume IV., January 1895. John Lane.

XXIII. Design, on front side of cover.

XXIV. Design on title-page.

XXV. The Mysterious Rose Garden, burlesque Annunciation. (Property of John Lane, Esq.)

XXVI. The Repentance of Mrs ----. (The kneeling figure is a reminiscence of the principal one in "The Litany of Mary Magdalen.")

XXVII. Portrait of Miss Winifred Emery (outline). (Property of Mrs Cyril Maude.)

XXVIII. Frontispiece for Juvenal. Double-page supplement.

XXIX. Design for "Yellow Book" Cover, not used. First published in "Early Work." (Property of John Lane, Esq.)

XXX. Show-card to advertise "The Yellow Book"; female figure standing, her hat hanging from her right hand, and daffodils growing at her feet. Dark green on light yellow paper. Reproduced in black-and-white in "Early Work." (The property of John Lane, Esq.)

90. PORTRAIT OF REJANE wearing a broad-brimmed hat with dark bow in front, head and shoulders, full face slightly to left, wash drawing. Reproduced by Swan Electric Engraving Company for the "Yellow Book," but not used. Unpublished.

91. REJANE, black-and-white design of the actress standing, half length, fan in hand, against a white curtain with conspicuous tassel. First published in "Second Book," and again, in a reduced state, as "Title-page ornament, hitherto unpublished" in "Early Work." 1893-4.

92. MADAME REJANE, full-length portrait sketch, ink and wash. First published in "Second Book," again in "Later Work."

93. MADAME REJANE, profile to left; sitting, legs extended, on a sofa, ink and wash. First published in "Pen Drawing and Pen Draughtsmen," by Joseph Pennell (Macmillan, 1894), again in "Fifty Drawings," and in the _Idler_ Magazine, March 1897.

94. REJANE, portrait head in profile to left, in red crayon and black ink, 7-1/2 x 6 inches. First published in facsimile in _The Studio_, May 1898, again in "Later Work." (Property of Frederick H. Evans, Esq.) 1894.

95. A POSTER DESIGN. Back view of a woman, her face in profile to right, holding a pigmy in her right hand. First published in "Early Work." (Property of John Lane, Esq.)

96. A POSTER DESIGN (Singer). Woman seated at a piano. First reproduced in _The Poster_, October 1898, again in "Second Book" and in "Later Work."

97. LADY TO RIGHT GAZING AT A HAT ON A MILLINER'S BONNET STAND, headpiece for the "Idlers' Club" section in the _Idler_ Magazine, 1894.

98. PIERROT AND BLACK CAT, small square in black-and-white for a book ornament.

99. HEAD AND SHOULDERS OF A CHINESE PRIEST, together with the Head of a Satyr. 25 copies only printed on folio sheet, and 10 copies only in red. It is not known for what they were intended. Published by James Tregaskis, Caxton Head.

100. LES PASSADES, night scene, in pen-and-ink with ink wash, 10 x 5 inches. First published in _To-Day_, November 17, 1894, again in the _Idler_ Magazine, March 1897.

101. VENUS BETWEEN TERMINAL GODS. Frontispiece for a version of the Tannhaeuser legend, to be published by Messrs H. Henry & Co. Ltd., a project never completed. Design in black-and-white, showing, especially in the treatment of flying dove and of the background of rose-trellis, the influence of Charles Ricketts or Laurence Housman. Reproduced in "Second Book," and again in "Later Work." _Circa_ 1894-5.

102. FRONTISPIECE AND TITLE-PAGE, together forming one complete design, for "The Story of Venus and Tannhaeuser," to be published by John Lane, but never completed. (_Cf._ "Under the Hill" in _The Savoy_, 1896.) Reproduced in "Early Work." Dated 1895. (Property of John Lane, Esq.)

103. THE RETURN OF TANNHAeUSER TO VENUSBERG. A design originally intended for the above-named book. Subsequently presented by the artist to J. M. Dent, Esq. First published, in illustration of an article by Max Beerbohm, in the _Idler_ Magazine for May 1898, and again, in larger format and, as the initials in left hand corner show, reversed, in "Second Book" and again in "Later Work." The _Idler_ version has a slight effect of half-tone in the brambles in the foreground, but the "Later Work" reproduction is pure black-and-white contrast.

104. VENUS. Design for title-page, in black-and-white. First published in _The Studio_, 1898, and afterwards in "Early Work," March 2, 1899, where it is described as "hitherto unpublished." (The property of John Lane, Esq.)

105. DESIGN FOR COVER OF "THE CAMBRIDGE A, B, C." Reproduced in "Early Work."

106. PIERROT AS CADDIE, Golf Club Card, designed for the opening of The Prince's Ladies' Golf Club, Mitcham, pen-and-ink. Published in "Early Work." (Formerly the property of Mrs Falconer-Stuart, now of R. Hippesley Cox, Esq.) Dated 1894.

107. A POSTER DESIGN; two female figures drawn in black-and-white for Mr William Heinemann. Reproduced in "Early Work."

108. THE LONDON GARLAND, published by the Society of Illustrators, 1895. A pen-and-ink drawing of a female in very elaborated dress reaching from her neck to the ground, intended to represent a ballet-dancer with a costume as prescribed by Mrs Grundy. The original drawing, unfinished, contains another figure, not reproduced, on the left. The original title for this drawing was "At a Distance." Reproduced in "Second Book." (Property of Joseph Pennell, Esq.)

109. AUTUMN. Design in black-and-white for a calendar to be published by William Heinemann. Reproduced in "Early Work."

110. TALES OF MYSTERY AND WONDER, by Edgar Allen Poe (Stone & Kimball, Chicago, U.S.A., 1895); four designs in pen-and-ink for large paper edition of----

I. The Murders in the Rue Morgue.

II. The Black Cat.

III. The Masque of the Red Death. First published in the "Chap Book" (Chicago), Aug. 15, 1894, again in same, April 1, 1898.

IV. The Fall of the House of Usher.

111. OUTLINE PORTRAIT OF THE ARTIST in profile to left; in imaginary costume, with a lace ruff to the neck, and earrings in the ears. Published in "Posters in Miniature," and again in "Early Work." A half-tone block from variant of the same, the earring as well as the button on lappel and waist of coat more pronounced, was published in _The Hour_, March 27, 1895, and reproduced in _Magazine of Art_, November 1896.

112. A CHILD STANDING BY ITS MOTHER'S BED, black-and-white, chiefly outline. First published in _The Sketch_, April 10, 1895. Reproduced in "Early Work." Formerly in the possession of Max Beerbohm, Esq., but since lost.

113. THE SCARLET PASTORALE, pen-and-ink. First published in _The Sketch_, April 10, 1895. Also printed in scarlet on white. Reproduced in "Fifty Drawings."

114. PORTRAIT OF MISS ETHEL DEVEREUX, pencil drawing. (Property of Mrs Roy Devereux.) _Circa_ 1895.

115. DESIGN FOR AN INVITATION CARD, ink outline; seated Pierrot smoking, a copy of the "Yellow Book," Vol. IV., on the couch at his side. Drawn for Mr John Lane's Sette of Odd Volumes Smoke. Reproduced in _The Studio_, September 1895. (Property of John Lane, Esq.)

116. THREE DECORATIVE DESIGNS from the brown paper cover of Aubrey Beardsley's own copy of "Tristan und Isolde." Two reproduced in "Later Work." (Property of Frederick H. Evans, Esq.)

117. MAX ALVARY AS "TRISTAN" in Wagner's opera "Tristan und Isolde," half-length profile to left, pen-and-ink and wash with unusual monogram signature. 10 x 5-1/2 inches. First published in "Aubrey Beardsley's Drawings, a catalogue and a list of criticisms," by A. E. Gallatin (New York, 1903). (Formerly the property of Rev. G. H. Palmer, now of A. E. Gallatin, Esq.)

118. FRAU KLAFSKY AS "ISOLDE" in above-named opera, pen-and-ink and pale green water-colour, 13 x 4-3/4 inches. First published in the _Critic_ (New York), December, 1902. (Formerly the property of Rev. G. H. Palmer, now of A. E. Gallatin, Esq.)

119. ISOLDE; autolithograph in scarlet, grey, green, and black on white; supplement to _The Studio_, October 1895.

120. WOMAN RECLINING IN A MEADOW BY THE BORDER OF A LAKE, LISTENING TO A FAUN READING OUT OF A BOOK TO HER. Oblong design in ink on white; a variant of the design for wrapper of Leonard Smithers' Catalogue, No. 3. First published in _The Studio_, May 1898, again in "Early Work," where it is described as "hitherto unpublished." (Property of John Lane, Esq.) 1895.

121. DESIGN FOR WRAPPER OF "CATALOGUE OF RARE BOOKS," NO. 3. (Leonard Smithers, September 1895.) The same figures as in the last-named, but the landscape has an urn and additional trees to adapt the design to upright shape. Black on pale blue-green paper.

122. CHOPIN BALLADE III., illustration for. Woman rider, mounted on a prancing white horse to left. Wash drawing. First published in _The Studio_, May 1898, in half tones of grey, with deep purplish black; again in "Second Book." (Property of Charles Holme, Esq.) 1895.

123. CHOPIN'S NOCTURNES, frontispiece to. Pen-and-ink and wash. First published in "Early Work." (Property of John Lane, Esq.)

124. EARL LAVENDER, by John Davidson (Ward & Downey, 1895), design for frontispiece to. Woman scourging a kneeling, barebacked figure. Pen-and-ink outline. Reproduced in "Early Work." (Property of John Lane, Esq.)

125. YOUNG OFEG'S DITTIES, by George Egerton (John Lane, 1895), title-page and cover design for.

126. MESSALINA, with another woman on her left, black-and-white, with black background. First published in "Second Book," again in "Early Work," where it is described as "hitherto unpublished." 1895.

127. TITLE-PAGE ORNAMENT, standing nude figure playing double-bass, black background. First published in "Early Work."

128. PORTRAIT OF MISS LETTY LIND in "The Artist's Model." Pen-and-ink outline. Published in "Early Work." (Property of Miss Letty Lind.)

129. ATALANTA IN CALYDON, full-length figure to right; pen-and-ink and wash. First published in "Early Work." (Property of John Lane, Esq.)

130. COVER DESIGN FOR FAIRY TALES by Count Hamilton, to be published by Messrs H. Henry & Co., Ltd.

131. BALZAC'S "LA COMEDIE HUMAINE," design (head, full face) for front side and another for the reverse of cover. Reproduced in "Later Work."

132. THE BROOK TRILLS OF PERNICIOUS BY RICHARD LE PHILISTIENNE, title-page to burlesque, that of "The Book Bills of Narcissus," by Richard le Gallienne. Unpublished. (Property of J. M. Dent, Esq.)

133. A SELF-PORTRAIT, grotesque outline profile to left, with diminutive silk hat, from the fly-leaf of an envelope in the possession of J. M. Dent, Esq. Unpublished.

134. THE SHAVING OF SHAGPAT, by George Meredith, small sketch to illustrate, in pen-and-ink, contained in a letter to Frederick H. Evans, Esq. Unpublished.

135. AN EVIL MOTHERHOOD, by Walt Ruding (Elkin Mathews, 1896), frontispiece to. Pen-and-ink. Reproduced in "Early Work."

136. CAFE NOIR. Another design for the frontispiece of the last-named book, pen-and-ink and wash; bound up in six review copies only, and then recalled. Reproduced in "Early Work." (Property of M. Jean Ruelle.)

137. TITLE-PAGE, an architectonic design. First published as the title of "Early Work" (John Lane, 1899). (Property of John Lane, Esq.)

138. ORNAMENTAL TITLE-PAGE FOR "THE PARADE." Messrs H. Henry & Co., Ltd., 1896. Reproduced in "Later Work."

139. TAIL-PIECE to Catalogue of Lord Carnarvon's Library, 1896.

140. SAPPHO, by H. T. Wharton. (John Lane, 1896.) Design for cover in gold on blue. Reproduced in "Early Work." (Property of John Lane, Esq.)

141. PIERROT'S LIBRARY. (John Lane, 1896.) Design for title-page of, two designs for end papers, printed in olive green; design for front cover and vignette for reserve cover, printed in gold on red cloth. Reproduced in "Early Work." (Property of John Lane, Esq.)

142. LOVE ENSHRINED IN A HEART IN THE SHAPE OF A MIRROR, pen-and-ink. First published in "Aubrey Beardsley" by Arthur Symons. (Sign of the Unicorn, 1898.) (Property of Andre Raffalovich, Esq.)

143. THE LYSISTRATA OF ARISTOPHANES. (Leonard Smithers, privately printed, 1896.) Eight pen-and-ink designs to illustrate----

I. Lysistrata. II. The Toilet of Lampito. III. Lysistrata haranguing the Athenian Women. IV. Lysistrata defending the Acropolis. V. Two Athenian Women in Distress. VI. Cinesias soliciting Myrrhina. VII. The Examination of the Herald. VIII. The Lacedemonian Ambassadors.

An expurgated version of No. 3 was published in "Second Book," and was repeated together with expurgated versions or fragments from the remainder of the set in "Later Work."

144. THE RAPE OF THE LOCK, by Alexander Pope. An heroi-comical poem in five cantos, "embroidered with nine drawings by Aubrey Beardsley," 4to. Leonard Smithers, 1896. Now published by John Lane. (Property of Messrs Keppel, New York.)

I. The Dream.

II. The Billet-Doux (vignette). Reproduced in _St Paul's_, April 2, 1898. (Property of Mrs Edmund Davis.)

III. The Toilet.

IV. The Baron's Prayer.

V. The Barge.

VI. The Rape of the Lock. (The property of Messrs Keppel, New York.)

VII. The Cave of Spleen.

VIII. The Battle of the Beaux and the Belles. Reproduced in the _Idler_, March 1897.

IX. The New Star (cul-de-lampe).

Cover design for the original edition.

Cover design for the Bijou edition. (John Lane.) Reproduced in "Later Work."

145. DESIGN FOR WRAPPER OF CATALOGUE OF RARE BOOKS, No. 7. (Leonard Smithers, 1896.) A lady seated on a striped settee reading; a parrot on stand on the right. Black on leaden-grey paper. Reproduced in "Second Book," 1896, and "Later Work."

146. THE PROSPECTUS OF THE SAVOY. DESIGN FOR.

I. A burlesque Cupid on a stage with footlights, one hand holding a copy of the book, whence it appears that the original intention was to produce the first number in December 1895. Reproduced in "Later Work." Latter part of 1895. (Property of John Lane, Esq.)

II. A suppressed variant of the above, same motif reversed, only with John Bull substituted for the Cupid. Reproduced in "Later Work."

III. Initial letter A in the above Prospectus. Reproduced in "Later Work."

IV. Publisher's Trade-mark for Leonard Smithers. First published in "Savoy" Prospectus. The same, name omitted, appears in "Later Work" with the title of "Siegfried," 1895.

THE SAVOY, No. 1, January 1896. (Leonard Smithers.)

V. Cover design, in two states. The original was suppressed because it depicted too realistically the contempt of the child in the foreground for the "Yellow Book," with which the artist had recently ceased to be connected. The revised version was republished in "Fifty Drawings," and again in "Later Work." (Property of Mrs George Bealby Wright.)

VI. Title-page. Repeated as title-page in No. 2, and republished in "Later Work."

VII. Drawing to face Contents. Caricature of John Bull. Republished in "Later Work."

VIII. The Three Musicians. Illustration of the artist's poem, same title. Republished in "Fifty Drawings" and "Later Work."

IX. Another drawing to illustrate the above, but withheld. It appeared for the first time in "A Book of Fifty Drawings," 1897. Republished in "Later Work" and "Under the Hill."

X. Tailpiece to the above. Republished in "Later Work" and "Under the Hill."

XI. The Bathers (on Dieppe Beach). Republished in "Fifty Drawings" and "Later Work."

XII. The Moska. This subject was inspired by the children's dance at the Casino, Dieppe. Republished in the _Idler_ Magazine, March 1897, and again in "Later Work." (Property of Mrs Edmund Davis.)

XIII. The Abbe. This and the two designs which follow appeared as illustrations to "Under the Hill," a romantic novel, by Aubrey Beardsley. Republished in "Later Work." All the illustrations of "Under the Hill" reissued with text in a volume bearing same title. John Lane, 1904.

XIV. The Toilet of Helen. Republished in "Fifty Drawings" and "Later Work."

XV. The Fruit Bearers. Republished in "Later Work."

XVI. A large Christmas Card, in black-and-white. Madonna, with fur-edged, richly-flowered mantle. Issued together with, but not bound in, the book. Republished in "Fifty Drawings" and "Later Work."

THE SAVOY. No. 2. April 1896.

XVII. Cover Design. Republished in "Later Work."

XVIII. A Foot-note. (Fancy portrait of the artist.) Republished, with omissions, in "Later Work." Also adapted in gold on scarlet for cloth cover of "Second Book."

XIX. The Ecstasy of Saint Rose of Lima. Illustration of "Under the Hill." Republished in "Fifty Drawings" and "Later Work."

XX. The Third Tableau of "Das Rheingold." Republished in "Fifty Drawings" and "Later Work."

Scene reproduced from "The Rape of the Lock."

THE SAVOY. No. 3. July 1896.

XXI. Cover Design. Republished in "Later Work."

XXII. Title-page. Puck on Pegasus. Repeated for the title of all the succeeding numbers. Republished in "Later Work." Also, reduced, as design for title-page of "Fifty Drawings," and in gold on scarlet for the under side of cloth cover of same.

XXIII. The Coiffing. This and the following design accompanied Aubrey Beardsley's "Ballad of a Barber." The Coiffing was republished in the _Idler_ Magazine, March 1897, and in "Fifty Drawings" and "Later Work." (Property of Messrs Obach & Co.)

XXIV. A Cul-de-Lampe. Cupid carrying a gibbet. Republished in "Later Work."

THE SAVOY. No. 4. August 1896.

XXV. Cover Design. Republished in "Later Work."

THE SAVOY. No. 5. September 1896.

XXVI. Cover Design. (Signed, for a practical joke, Giulio Floriani.) Republished in "Fifty Drawings" and "Later Work."

XXVII. The Woman in White. A sketch in white on brown paper. Republished in "Fifty Drawings" and "Later Work."

THE SAVOY. No. 6. October 1896.

XXVIII. Cover Design; the Fourth Tableau of "Das Rheingold." Republished in "Fifty Drawings" and "Later Work."

XXIX. The Death of Pierrot. A pen-and-ink sketch. Reproduced in "Later Work." (Property of Messrs Obach & Co.)

THE SAVOY. No. 7. November 1896.

XXX. Cover Design. Republished in "Later Work."

XXXI. Ave atque Vale; Catullus, Carmen C.I. Republished in "Fifty Drawings" and "Later Work."

XXXII. Tristan und Isolde. Republished in "Later Work."

THE SAVOY. No. 8 (the last issued). December 1896.

XXXIII. Cover Design. Republished in "Later Work." The same adapted, with the addition of heavy black bands, and is printed in green and scarlet, for small poster to advertise the completed work.

XXXIV. A Repetition of "Tristan und Isolde." Republished in "Later Work."

XXXV. Don Juan, Sganarelle and the Beggar; from Moliere's "Don Juan." Republished in "Later Work."

XXXVI. Mrs Margery Pinchwife, from William Wycherley's "Country Wife." Republished in "Later Work."

XXXVII. Frontispiece to "The Comedy of the Rheingold." Republished in "Later Work."

XXXVIII. Flosshilde, a Rhine Maiden; to illustrate "Das Rheingold." Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)

XXXIX. Erda; to illustrate "Das Rheingold." Republished in "Later Work."

XL. Alberich; to illustrate "Das Rheingold." Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)

XLI. Felix Mendelssohn Bartholdy. Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)

XLII. Carl Maria von Weber. Republished in "Later Work."

XLIII. Count Valmont, from "Les Liaisons Dangereuses," by Choderlos de Laclos. Republished in "Later Work."

XLIV. Et in Arcadia Ego. Republished in "Later Work."

XLV. Small ornament for the cover of bound volumes of "The Savoy."

XLVI. SKETCH OF A CHILD (young girl), unfinished, in pencil, on the reverse of "A Foot-note." First published in "Early Work." (Property of Frederick H. Evans, Esq.)

147. A SEATED FIGURE. Unpublished design for the Savoy, occurring as a grotesque in "Bon Mots." (Property of G. D. Hobson, Esq.)

148. VERSES, BY ERNEST DOWSON (Leonard Smithers, 1896), cover design for. Reproduced in "Later Work." (Property of John Lane, Esq.)

149. THE PIERROT OF THE MINUTE. A Dramatic Phantasy in one act. By Ernest Dowson. Leonard Smithers, 1897. (Property of John Lane, Esq.) Four designs to illustrate:----

I. Frontispiece. II. Headpiece. III. Initial letter P. IV. Cul-de-Lampe.

Reproduced in "Second Book" and "Later Work." Cover design for the same.

150. APOLLO PURSUES DAPHNE. (Property of Herbert J. Pollit, Esq.)

151. THE SOUVENIRS OF LEONARD, Cover design for. Printed in gold on purple. Reproduced in "Later Work." 1897.

152. THE LIFE AND TIMES OF MADAME DU BARRY, by Douglas. Leonard Smithers, 1897. Cover design for. Reproduced in "Later Work." 1897.

153. FRONTISPIECE TO A BOOK OF BARGAINS, by Vincent O'Sullivan. Leonard Smithers, 1897. Reproduced in the _Idler_, March 1897.

154. COVER DESIGN FOR A BOOK OF FIFTY DRAWINGS, BY AUBREY BEARDSLEY. Leonard Smithers, 1897. Reproduced in gold on scarlet cloth. Republished on a reduced scale, in black-and-white, in "Later Work."

155. SILHOUETTE OF THE ARTIST. First published as a tailpiece at the end of "Fifty Drawings." Also in _Idler_ Magazine, March 1897, and in "Later Work."

156. BOOK-PLATE OF THE ARTIST. First published in "Fifty Drawings," 1897, also in "Later Work."

157. ALI BABA. COVER DESIGN FOR THE FORTY THIEVES.

I. First published in "Second Book," again in "Later Work," 1901. (Property of Messrs Robson & Co.)

II. ALI BABA IN THE WOOD. First published in "Fifty Drawings," 1897. Also in _Idler_, May 1898, and again in "Later Work."

158. ATALANTA IN CALYDON. First published in "Fifty Drawings," 1897; also in the _Idler_ Magazine, March 1897, and again in "Later Work." (This drawing was exhibited at the Carfax Exhibition, October 1904, under the title of "Diana," 77.)

159. MESSALINA RETURNING FROM THE BATH. Pen-and-ink and water colours. First published in "Second Book," again in "Later Work." This drawing, together with the other one of Messalina, drawn in 1895 (see _supra_), two of Bathyllus, and one representing Juvenal scourging a woman (this last, slightly altered, reproduced in "Later Work"), belongs to a series of illustrations to the _Sixth Satire_ of Juvenal. Leonard Smithers, privately printed, 1897.

160. THE HOUSES OF SIN, by Vincent O'Sullivan. Leonard Smithers, 1897. Cover design for. Reproduced in "Second Book," again in "Later Work."

161. LA DAME AUX CAMELIAS. Sketch in water colour to right. On the fly-leaf of a copy of the book given to the artist by M. Alexandre Dumas, fils. First published in "Second Book," again in "Later Work." 1897.

162. BOOK-PLATE FOR MISS OLIVE CUSTANCE (Lady Alfred Douglas). Reproduced in photogravure in "Early Work."

163. ARBUSCULA. Drawing in line and wash, for the _edition de luxe_ of Vuillier's "History of Dancing." William Heinemann, 1897. Reproduced in photogravure; also an early impression of the same printed in a green tint. (Property of John Lane, Esq.)

164. MADEMOISELLE DE MAUPIN, by Theophile Gautier. Leonard Smithers, 1898. Designs to illustrate:----

I. Mademoiselle de Maupin, frontispiece, water colour. Reproduced in facsimile by Messrs Boussod, Valadon & Co., for limited edition, and, like the rest, in photogravure for ordinary edition. Reproduced as frontispiece to "Later Work."

II. D'Albert (small design).

III. D'Albert in search of Ideals. (Property of Mrs George Bealby Wright.)

IV. The Lady at the Dressing Table. (Property of Walter Pollett, Esq.)

V. The Lady with the Rose.

VI. The Lady with the Monkey. All the above reproduced in photogravure in "Later Work."

165. BEN JONSON HIS VOLPONE: OR THE FOXE. 4to. Leonard Smithers, 1898.

I. Design in gold on blue for the cloth cover. Same in black-and-white for opening page. Frontispiece, design in pen-and-ink.

II. Vignette to the Argument. Initial letter V, with column and tasselled attachments to the capital. This and the remaining designs were executed in pen and crayon.

III. Vignette to Act I. Initial letter V, with an elephant, having a basket of fruits on his back. (Property of Herbert J. Pollit, Esq.)

IV. Vignette to Act II. Initial letter S, with a monster bird, having a pearl chain attached to its head. (Property of Herbert J. Pollit, Esq.)

V. Vignette to Act III. Initial letter M, with seated Venus and Cupid under a canopy, between two fantastic gynaecomorphic columns. (Property of Herbert J. Pollit, Esq.)

Vignette to Act IV. (The same as the design for Act II. repeated.)

VI. Vignette to Act V. Initial letter V, with a horned terminal figure of a man or satyr. (Property of Herbert J. Pollit, Esq.)

All these Volpone designs were reproduced in "Later Work." Drawn at the close of 1897 and early part of 1898, they constitute the latest designs produced by Aubrey Beardsley before his death.

In his published List, Mr A. E. Gallatin mentions several sketches and other drawings in private letters which, for lack of detailed information, I have not included in my List. Many of Aubrey Beardsley's drawings are constantly changing hands. In each case the name of the last known owner is given. Where no owner's name appears, no information has been obtainable. Some of the finest drawings, I am informed upon good authority, have now passed into the collection of Herr Waerdofer of Vienna.

I desire to acknowledge my indebtedness to the artist's mother and sister, to Mr G. R. Halkett, Mr H. C. Marillier, Mr H. A. Payne, and Mr Pickford Waller. To Mr Frederick H. Evans, who kindly placed his collection at my disposal, I am under special obligations.

AYMER VALLANCE