_Salome_ drawings; for, in refreshing his memory, likely as not, he looked at the first number of _The Studio_ published three months later. Wilde’s _Salome_ did not see print until February, a full month afterwards and was quite unknown. However, Hind at once offered the pages of his new art venture, _The Studio_, to the delighted youth. What was more, he arranged that Beardsley should bring his drawings the next morning to _The Studio_ offices. When he did so, Charles Holme was quick to support Hind; indeed, to encourage the youngster, he there and then bought the drawings themselves from the thrilled Aubrey. Hind commissioned Joseph Pennell, as being one of the widest-read critics, to write the appreciation of the designs, and blazon Beardsley abroad--and whilst Pennell was frankly more than a little perplexed by all the enthusiasm poured into his ears, he undertook the job. But Hind, though he remained to the end the lad’s friend and greatly liked him, was not to be his editor after all. William Waldorf Astor, the millionaire, had bought the daily _Pall Mall Gazette_ and the weekly _Pall Mall Budget_ and was launching a new monthly to be called _The Pall Mall Magazine_. Lord Brownlow’s nephew, Harry Cust, appointed editor of the _Pall Mall Gazette_, asked Hind to become editor of the weekly _Budget_ at a handsome salary; and Hind, thus having to look about of a sudden for someone to replace himself as editor of the new art magazine, about to be launched, found Gleeson White to take command of _The Studio_ in his stead. But even as he set Gleeson White in the vacant editorial chair, Hind took Beardsley with him also to what was to be Hind’s three years editorship of the _Pall Mall Budget_, for which, unfortunately, the young fellow wrought little but such unmitigated trash as must have somewhat dumbfounded Hind. So the first number of _The Studio_ was to appear in the April of 1893 glorifying a wonderful youth--his name Aubrey Beardsley! * * * * * It was thus also, through Lewis Hind, that the young Beardsley had the good fortune to meet Gleeson White. Of the men who made the artistic and literary life of London at this time, Gleeson White was one of the largest of vision, the soundest in taste, the most generous in encouragement. A strangely modest man, he was said to have invented much of the wit of the ’nineties given to others’ tongues, for he had the strange conceit of crediting the man with uttering the witticism who looked as if he ought to have said it. That was usurpation which men like Whistler and Wilde could forgive--and they forgave Gleeson White much. Gleeson White, who was well known in the Arts and Crafts movement of the day that hinged on Morris, leaped with joy at Hind’s offer to make him editor of a magazine that was to voice the aspirations and to blaze forth the achievements of the Arts and Crafts men.