Again, I have not alluded to Edgar Wilson’s bizarre and fascinating decorations of submarine life and Japonesque figures. Like Shannon, Ricketts, Raven Hill, and others, he received his early art education at the Lambeth School of Art. At the end of the eighties he began collecting Japanese prints long before Beardsley had left school. In fact, Edgar Wilson was one of the pioneers of the Japanese print in this country--a love for the strange which came over to England from France. A typical decorative design of Wilson’s[20] is ‘In the Depths of the Sea,’ representing an octopus rampant over a human skull, beneath which are two strange flat fish, and in the background a sunken old three-decker with quaintly carved stern and glorious prow. _Pick-me-Up_ first used his work as it did that of many another young artist, and in its back files much of his best work can be found. For _The Rambler_ he did different designs for each issue, which is probably the only redeeming feature about that early Harmsworth periodical. _The Sketch_, _Cassell’s_, _Scribner’s_, and above all _The Idler_ and _The Butterfly_, are beautified among other papers by his exotic decorations. [20] _Edgar Wilson and his Work_, by Arthur Lawrence, _The Idler_, July, 1899. Once more I have not spoken at all of Miss Althea Gyles’s hectic visions which, in her illustrations for Wilde’s _The Harlot’s House_, probably reached the acme of the period’s realisation of the weird. She is of course really of the Irish symbolists, and not one of the nineties’ group at all; but, in her Wilde illustrations, she almost enters the same field as the men of the nineties. Her connection, too, with the firm of Smithers is another strong excuse for mentioning her work here. In _The Dome_ both her drawings and poems appeared, while in the December number for 1898 there is a note on her symbolism by W. B. Yeats. In all her drawings the fancy that seems to have such free flight is in reality severely ordered by the designer’s symbolism. Sometimes it is merely intriguing, as in drawings like ‘The Rose of God,’ where a naked woman is spread-eagled against the clouds above a fleet of ships and walled city, while in other designs the symbolism is full of suggestive loveliness, as in ‘Noah’s Raven.’ ‘The Ark floats upon a grey sea under a grey sky, and the raven flutters above the sea. A sea nymph, whose slender swaying body drifting among the grey waters is a perfect symbol of the soul untouched by God or by passion, coils the fingers of one hand about his feet and offers him a ring, while her other hand holds a shining rose under the sea. Grotesque shapes of little fishes flit about the rose, and grotesque shapes of larger fishes swim hither and thither. Sea nymphs swim through the windows of a sunken town, and reach towards the rose hands covered with rings; and a vague twilight hangs over all.’ This is explained to represent the