Transcriber’s Note Table of Contents added by Transcriber and placed into the Public Domain. CONTENTS Prologue 1 I 13 II 36 III 55 IV 79 V 101 VI 118 Epilogue 131 Index 139 THE MEN OF THE NINETIES THE MEN OF THE NINETIES BY BERNARD MUDDIMAN [Illustration] G. P. PUTNAM’S SONS NEW YORK 1921 _All rights reserved_ THE MEN OF THE NINETIES PROLOGUE The day Beardsley left his stool and ledger in a London insurance office and betook himself seriously to the illustration of that strange comic world of Congreve, a new manifestation of English art blossomed. It had, no doubt, been a long time germinating in the minds of many men, and there had been numerous signs pointing the way on which the artistic tendencies of the nineties would travel. For example, just about the same time as Beardsley’s eighteenth year, a coterie of young men, fresh from the Varsity in many cases, made their appearance in London openly proclaiming the doctrine of art for art’s sake under the ægis of Oscar Wilde. So in the last age of hansom cabs and dying Victorian etiquette, these young men determined that the rather dull art and literary world of London should flower like another Paris. If, for the sake of making a beginning, one must fix on that memorable day when Beardsley burnt his boats as the date of the opening of the period of the nineties, it must be remembered that this arbitrary limitation of the movement is rather a convenience than a necessity. To divide up anything so continuous as literature and art into sections like a bookcase is uncommonly like damming up a portion of a stream to look at the fish in it. It breaks the contact between what was before and what came after. However, as one must go a long way back to investigate accurately how a new movement in art arises, and as it is tedious to follow up all the clues that lead to the source, it will be perhaps as well not to worry too much over the causes of the movement or over the influences from which it arose. Let us accept the fact so well pointed out by Mr. W. G. Blaikie Murdoch in _The Renaissance of the Nineties_, that the output of the nineties was ‘a distinct secession from the art of the previous age ..., in fact the eighties, if they have a distinct character, were a time of transition, a period of simmering for revolt rather than of actual outbreak; and it was in the succeeding ten years that, thanks to certain young men, an upheaval was really made.’