Yet Beardsley left Paris feeling “better and stronger than I have ever been since my school days”; but the fogs that drove him forth made him write his last ominous message from the Paris that he loved so well: “If I don’t take a decided turn for the better now I shall go down hill rather quickly.” At Mentone Beardsley felt happy enough. He liked the picturesque place. Free from hemorrhage, cheered by the sunshine, he rallied again and was rid of all pains in his lungs, was sleeping well, and eating well; was out almost all day; and people noticed the improvement in him, to his great glee. And he was busying himself with illustrations for Ben Jonson’s _Volpone_, and was keenly interested in a new venture by Smithers who proposed a successor to _The Savoy_ which he wished to call _The Peacock_. [Illustration: COVER DESIGN FOR “VOLPONE”] The mountain and the sea suited Beardsley. “I am much happier and more peaceful,” but “the mistral has not blown yet.” So, in this November of 1897 Beardsley wrought for the _Cover of Volpone_ one of the most wonderful decorative designs that ever brought splendour of gold on vellum to the cover of any mortal’s book. He also made a pen drawing for the _Cover of a prospectus for Volpone_, which was after his death published in the book as a _Frontispiece_, for which it was in no way intended and is quite unfitted, and concerning which he gave most explicit instructions that it should not appear in the book at all as he was done with the technique of it and had developed and created a new style for the book wholly unlike it. All the same, it might have been used without hurt to the other designs, or so it seems to me, as a Title Page, since _Volpone_ is lettered on a label upon it. Nevertheless Beardsley never intended nor desired nor would have permitted that it should appear in the body of the book at all; for it is, as he points out, quite out of keeping with the whole style of the decorations. It was only to be employed as an attraction on the _Prospectus_. But in this _Prospectus Cover for Volpone_ his hand’s skill reveals no slightest hesitation nor weakness from his body’s sorry state--its lines are firmly drawn, almost to mechanical severity. And all the marvellous suggestion of material surfaces are there, the white robe of the bewigged figure who stands with hands raised palm to palm suppliant-wise--the dark polished wood of the gilt doorway--the fabric of the curtains--the glitter of precious metals and gems.