. Modern book-bindings & their designers. ^c&i:u^^^iii^£ sj»i*!; ,^»s3« British Bookbiudiiigs figure-drawing his power verges continualh on thegrotesque—-as perfer\i(l, eon\ulsi\-e, riotous, andrestless ahuost as that of iilake ; liut, as with sonian\- on whose spirit tlie liurden of romantie feehing presses Irard, it is in the beauty of the earthitself that the hea\\- and the wearv weight, theIjurden of the niyster\-, is lightened ; and h\ thechoiee and use of natural lorms a richly sensuousfane\ attunes itself more perfectly to artistic in Laurence Housman and in CharlesRieket
. Modern book-bindings & their designers. ^c&i:u^^^iii^£ sj»i*!; ,^»s3« British Bookbiudiiigs figure-drawing his power verges continualh on thegrotesque—-as perfer\i(l, eon\ulsi\-e, riotous, andrestless ahuost as that of iilake ; liut, as with sonian\- on whose spirit tlie liurden of romantie feehing presses Irard, it is in the beauty of the earthitself that the hea\\- and the wearv weight, theIjurden of the niyster\-, is lightened ; and h\ thechoiee and use of natural lorms a richly sensuousfane\ attunes itself more perfectly to artistic in Laurence Housman and in CharlesRieketts, the pre-Raphaelite tradition persists inspite of and alongside of their own indi\idual work of the latter, indeed, may be said toform a link- theoreticall) inconceivable, but actually undenialjle l)etween the pre-RaphaeliteS and Aubrc) Beardsley. Much of his black-andwhite drawing is curiously reminiscent of krederickSand)s at his best, in the period, say, of Danae inth( Bi-avii Chamber, with its audacious paganism. DESIGNED BY MRS. ;6 EXECUTED KY TUE GUILD OF ^V051E^? of spirit and sumptuous decorative detail. Yet, onthe other hand, lieardslcy himself was hardly moreexotic, more con\-entional, in the treatment of thehuman figure. In the creations of Charles Riekettswe have the ver_\- antithesis of pre-Raphaelitism, ifby that we mean in an) sense a return to Nature,to simpliiit)-, to the passionate dignity of a freeand ardent life. His cover-designs for the mostpart represent a phase of his art distinct fromanything be has done or sought in spontaneous and simple in style, and in-disputably more lieautiful. His symbolism herebecomes more chastened and less laboured, and isalways subservient to decorative effect. Thus hesliares with Laurence Housman the title of a decora-tive s)mbolist, seeking beauty supremely, but pursu-ing it by de\-ious and fanciful ways, mystic, suggestive,and full of intellectual motive and idea. In
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Keywords: ., bookcentury1900, bookdecade1900, bookidcu, booksubjectbookbinding
