THE SEARCH FOR A NEW BEAUTY ‘Stephen Calloway cacophony of enfin thee tht beset the wd of art and poetry. th tecture and des i the mile deca ofthe nineteenth entry in Bitin: the dese to escape the une aed increasing vgs mates othe age and crete 2 new del of beau. The Aesthre Movement, a came o be known, sought nothing Jes than the elevation ofthe nee bear asthe guiding principle ob and the roh= Hone afallhe ans. Arbeeal ale othe precepsof theo esblshment embodied Inthe Royal Academy anc socal convention the adherens ofthe emerging movement spied above allo lve arcscalh and, ough the worship of beau to create new ‘ends of arte fe fom sale pate of thought urwor establishment des and con- fing Vion rules of popieyand bourgeis mor The Aeshetes aimed in thee various ways 40 wit "Pue’ poetry; to pi Baul pictures that had no ned ll, ‘Horie, peach mons, cy up sentmenta cic andro crente euptestht i- Dy ofered visual and ace delight and deed to hin sensuous pleasures, This was to be Ar for A's sl’ ~ ana elf consciously absorbed nisl aware ofthe past but created forthe present gad exstng oly nore o be bea. Inthe 186s noel and exci ‘Cakof eau’ unled, fora wheat est, roman ‘bohemian such as Dare Gabel Rosser and his younger ‘second-generaton’ Pre- Raphacite flowers incudng Willa Mons and Edvard Burne-Jones, maverick gues such s James MeNel Whistles, then fe om Pars and fil of dangerous French des shout modem panting, nd the ‘Oymplans, the panes of gand seal subjects who belonged to the cle of Fedrc Leighton and G.F Was. Choosing unconventional model, such as Roeset’s pale, edad muse Line Sal or Leighton’ four Nanna Rist (La Naan wth he suley Roman feces and glossy black hai, nether of ‘whom rmoely conformed to stereoypial acon of gene! god looks, these painters ‘eae enti new ype of femal besuy, porta them with an wnconctled and at times daconcerngly frank ses (ates 12. In hese yeas of expesiment i the fine ars, something of te same dang spit motivated innovation nthe lave new dicpine f design. Following the poor in preston made by the Bich olerings tthe Gres Fahbion of 185 the aeady broad sroundewel of alls for mform indesign edvston and practice and improvement inthe ‘manviature of fumishngs and domestic goods became increasingly insistent. Ax the Tnterational Exhbionof 1862, staged onthe ste subsequent developed ashe South Kensington Museum (ner the V6, thee was a marly improved showing, with nthinkng bison ging way to progressive relrmed! design. Among the new ims thar made thelr debut w the 1862 Exton, one of the most significant was that of O: [CLEAR AND reotonry sim emerge om the confusion of ses an teh mee ‘Stovcnes sh fle aoend elt ier, ts paced Siete “Moris, Marsal aulner and Comgany, Art Worknen’ founded by Willam Moris with he ass Roses, Bure Jones, Ford Madox Brown and an architect. Philp Web, 1 designe, ‘Mort, Rost and theirimmedte fends ad been among he is oy to eaiae the image word of hei petares nthe creation of ara pieces of painted fia and the evocative decorion of el rams Tel east aremp in their own hows remained esenaly erst in an eartestmedlealing se but hese experiments in ‘ted eno imporant eas; the need fora piney coneem for elour and pte in econ, and pew dee oma esos expressively personal spaces. "Within dhs conte ofboth offi erst and now growing publ awareness fhe decorative ars dung he crucial ecco the 1860 avant gd rchtect aed designe tach as EW. Godin and Chistpber Dresser oth ardent devoees of Japanese art tnd design) sought, thro individu design projects and by diet intervention ito the processes of mas roducon, orator uty the sient, baal and pretends fumishings and mereticiously overwrought domesic objets ofthe middleclas home. ‘Win arefined sett in and geomet far (song ifuenced bythe sais tapas aise model) (lates 4, 5) othe cace of Moni, whan unprecedented fel for az omamen td hamenios colo hese designer sim wa at fist i iy to make cai and bles worthy ofthe name Are Funtr’ an to crete cei, tenes, wallpaper and other Ar Manlacrues’enely une ordinary “ade wares ‘These were tobe howsehold goods of aqui to plese the ee ofthe ars and pace the oases ofthe moat exacing of Aes patrons, colectors and connoiseu. suf ey refined inform, maels ae hetr quality of making and carefully considered ‘sous such ashing ~ and. indeed he deco as general could it as argued, ae oa new evel and chime withthe new beau in ar. 1a the following year, arias! houses and their x tropa liesyesbecetoanunprecedented degee the objet of public fascinaon. The lnfuence of the “Paces of Aré creed by Rosset, BumeJones and Mons, Leighton and ‘Alma Tera was curouely ox fall proportion 0 the numbers of people who ever scually guined aces and sae for themselves these muminovsspac- «5, bt for the any a lod of books and Musa aricks offered ample snepintion whist insructve manuals sph the necesry deta. The del of the House Beal spake revolution in buling and Incr decoraton: i petbaps more absrac terms, ited iki to amore widepread ecgation ofthe neces sy of beaury in everyay Me thar would have lasing, tmpact ot only on achcecture but also on soil theory sd plea thinking for yeas to come“STHE AESTHETIC MOVEMENT ‘As wl be immediately ppen. those who cet be denied in this period as protago- ‘ists ofthe Cult of Beauy ~ the poets and puns, males or thinkers ~ were perhaps ‘more united in ther opposition o prevalirg onthodores concerning an and design than In any comfonaly shared von or prese defnon ofthe beautiful. They ha, indeed, citen quite spate sie and tare and ts ed a eae to a Ses questioning of ‘what, excl, steam was. THis has emained a cena question fr those seeking {ef the movement in its broadest cll ers and a peeblem that has concn in arcu to cece scholars woking in he els of ear anda istry. ‘In 1882, the year in which Dante Gabriel Rosser died nd Oscar Wile came 10 prominence tough his igh publicized err or of Amerie prolamin the Aesthetic spel Walker Haron pushed The Aesthetic Movement i xan In his pone Std, the is © teat the suc seouly and with any breath, Harton elucidated both Aesthetic’ inlet unerpanings and ts more immedi are mnie ‘ons abe saw dem, mang a edible anemp 0 show ar. poem artecture and “mero decoration a elated specs of lager wl, He was however careful to esablish 2s indeed cers noticed tthe time, and ae much recent scholarship has ake pins 1 Mir, that estheciem was ot in ait movement In he modem sense of he em wh a cobesve agenda, a programmatic eof ams or ven any consistent membership. Rather it consisted Halton suggested, ofa lose sociation of he sometimes share to Wrenn————— ie, ennui ond eal of shifting cs of haar united for ihe ost part yes remradely Ese, but also animated by ocasional res and even esi arse cecal honed enmity Only athe protagonists became beer known and thelr sa in rawus media came to the wider nace both of an incressing ating pbc return coud anything epproacting the present defnion of "movement esi Bharceome int extne. nthe eoure of hs maatve exponng Dene wn >in voerpe cat of chaser, Harton also drew ateson to te signa grogaphic and . sec ouings ofthe Aesth [AESTHETICISM IN KENSINGTON, HOLLAND PARK AND CHELSEA trea be egved hat the Aes Movement ad is ese gins in he il emerBing “London cence on South Kensngon (as preiusly noted, these of te ‘Epbins of 1851 and 1862 andthe nascent South Kensingin Museum and ending trough old Kensington (he ‘Cour Subuib’ in the days of Queen Ae) as a sey “ Holand Pak othe wes, and bonded ote south by Brompton andere lage Ntaaniecre tet UUChekea Aad, by the 1860s, arts were forsaking he env radionallyfevored woes ‘Ge the eighteenth cenury by Royal Academician, ars claurmen and the old coP- pelt engravers that lay to the nih of he ester nd of Orlord Sacer sound Rathbone Pace nd ‘Newman See: now fr rom the fashionable dsc it ‘eee had een this ad become ite moe tam et ror of dark, cowed sees ined by tat dae with (ebby tenement houses, Lured y bette Mg and the lens pllted a of the west, many panes sought suds or began to build ter own stodrhowses ina tres tht, val the great bldg boom ofthe 1670s ns overt it, woul eran an almost errr Darna, Here mos all he lay Bgres asocted with the eal phe of Aesthetic eer found temporary sccommedation of made ther permanent homes. “Afi the ecogniabe nes fthe movement as we may convenienly refer oi, conse of He tote han cworelively small, compact, but never ‘esinsiealiloclng goups. Te fir ie Halland Faces, could be sido have erred on the home of the Pnep fami Throwghou our peso the Panseps Lite Holland House, where Leighton and Wt. ei str encountered Tennyson, Jule Marge ‘Cameron ad rhe unary lyre as met ingle for ars and pons, writes and inks, a might jusably be designated one ofthe rst, ter dy and nlectalheadquaers of Vict London *“The stond main group was focused on Rots, whose mage personality ew ascinaingcce of followers to Tador Hous, she dipidred old mansion on Cheyne ‘hk by the erin Celia which he cupid from 1862 uni his death. This rather ‘more bobeian group included Roses panicle props Mors and BumeJones, ‘other fends who were pines, sich at Frederick Sandys, Simeon Solomon and most notably James MeNell While but lo wer and eis including Rose's brother [lin Mica ant he yong Agr Swinhure, hook of whom would make 2 ie nificant conbuion othe deinkion of esthetic a recogiable se of erry and ste atl and aprons. A few other bay Egures were lo auached by complex links of fedship: Albert Moore, though geograpiclly one of the Holand Pack Kersngton goup wih studio nes that of Was, remained the painter closest in arise sympathy wih Whistler, wht the designer EW Gdn, Wher’ inmate collabo tori foriga distin decorve reper, bad orginally rained a an achtect under Rosset ol endothe 1850s, the gens ofthe Gothic Revi, Willa Burges. Ini, tha to ay well no the decade ofthe 18605, the highly atous expe ments ina, erature and eco, decorative desig andthe ‘asc’ ese essjed by this heterogeneous eat of cartes, remained oa surprising degre essen prate caves, sum by ew and a ft, th eign wider infoence- Rosset, caous sete lag hose ral handing hat his ely Pre Raphael pices had received, ‘schowed exibiing in publ. With the exception of Leighton, whose precocious success the Royal Academy with mabe ws spectacular? mortf the ober ater had guned ‘ony ned esogion a the main public edbiions and garnered merely modest rae in the pes oer than fom ends suchas Willa Michel Rose and Swinburne sles thet cite Sney Coin al of whom amped to demonstrate the ats ks berwee seeming spare works by members of he movement and to oer some gen- ral explaton of Aesthetic ies "ART FOR ART'S SAKE” AND AESTHETICISM. estes bad een led of for sometime and the hogan Tat pour ar (astomary tendered n Engh wit sigh ess dah aan for as sake’ had served a sting salhng call ora very diferent band of rl and pelialy engaged ats and weer tn France atest since 1830, when, tthe mous Bae of Hernan’ om he Bist right of the ply. the Romantic and Bohemians, ed by Théophile Gace and the ply’s author Vitor Hugo had cated vitory over the Fores of conservatism and clscsm* Ger tae the pr farther curency in bem impudent place to is novel Maden le Maupn 01835, which became ay text or his own and subsequent generaion of ‘Aeshee romans, eagely devoured by Swinburne and ler mined by Oscar Wilde. By ‘he mile yeas ofthe century Gate himsl and Chas Basel hd established the concep oir pour Tar asthe ena tne of he Pian leary avant gue, Swinbume ‘sired eager upon Baueli’sintence that rt should concer tf oni with bens ree fom alligus, moral and ec consraints. He wate Sto promote ck da Ing and ative French ideas in England‘Aesibetistem coined rom the Gren aches denoting spy ‘pacepton of things bythe senses need philosophical course fst in 1735 nthe woings ofthe (German Aemnder Gotlieb Baumgren and became, raul the accepted em forall decsson concerning the nature of beauty in both is here ae concre aspects ‘Notions of dea beau and cosidenton of ts immponance in fe and art wer: developed in ifering mas in the rings of iumanvel Kann pariclarin his Guo unt, 1790), Fei Schile Gin eters on Aethet Eduction, 1795) and othe ate cightent> snd eat nineteenth entry German thine such as Joana Joachim Wilma who labored quisaccnife systems of analysis o aie at gene principles of beauty and to propor canons of ute dscovenble dough the enmination of pices othe slp tat of he ancient wo 1 England inte 18306 the word was adopted by inlecnals suck a Samuel Tylor Coleridge an, wit stl emainlng something fa specials tem, derby tole on # sigan ery dimension ination os suicter Continental comottos of ‘he sy of beauty i the val and plac ans. Though the deinion was iniliy rejected bythe leading British at theo John Rk who objected at his dat to any potion of beauty drone fom mara and regis consieraions) bythe 1850s and 605 ‘Reshecsn’ care tos na much move general sense the apreciaon of bray in works of ato indeed, in things of many Kinds. Theres. within a decade, the word reply ined wider ciency and squid specie meaning oa pursuit of beauty in both art and Ue, Son, to, embraced the yr suber connotation of a deoion 1 that uri or ts wns, ATTACK Wider public avarenes of Aesthetic ida and any Sense that a movement might xs came fsa esl of the Berry ates of members ofthe group. This, cently, ‘the interpreucon ofr by Wale Haron i is "erin repo’ onthe devon of Aesheoism, and cra actor which feed the ways in which the wider movement was fit reve, As withthe ease ofthe response wo PreRaphelss, rae tions were for the most part characterized by suspicion and often ought Rost. Sinbume' volume Fens nd Ballad, published in 1866, waste fist to tract his Kind of arene ateson The general perception, which, tas tobe sid s for fe most part nly sl, wa that Swinburne's verses, such s'Laus ene ‘Dlos'and many ‘thes in similar vein geal nfunced by Bsudelave, delle o an unhethy degree upon he subj feu ove, hs and eraky and tht their autor, wits edey degenerate obsesions wth fermes tales and thems of Hood, punishment and death, laced what the Vitis led to describes mora fibre’ Following the pubicaon of Rosset's Pens in 1870, the imputation af ought moray was gan ele tthe wits ofthe movement in an ace with the delibentely coded ide "The Feshiy School ‘of Pony’ Wren by the medlace poet Rober Buchanan though published pseudony mou he virioi atporyangoed fargo of special pleading and slectve quotation ‘acted Rosset and Swinburne fm parul, bu alo tempted to impure decadenceand unmanines tothe emorionally complexbut wey robust medieval ballads Mons’ 1857 volume The Dene of Guerre Tei worth dveling upon this incident bensse Buchanan's cowardly anak on Roweit.Svinburte and Monts no only trovght ther parcua nd of pet conser able and altogether unwelcome nto, bt lo served to det much wider atetion to the perceived lack fa mora dimension in Aeshee arn general. By ising this perinent tnd tthe maiaream Vitor mind, crcl re a the ery tne when the leading: its ofthe group, Whiner, Leighton, Wats, Alber Moore, Bume-Jones and of couse Rose hel wee evolving & new kind feconsciosly exquisite pining in wich mood, clo hamany and beau of form were all nd subject played lise of no pa ‘Buchanan did mach seta agenda or dcusing wheter such amoral at and wring sna desinbleor een scepuabl. Ths debte would contin to reerbene throughout the 1870s and come tothe foe aan a he pvt se daring the was of Oscar Wide In the Gal decent phase ofthe movement the 1890s. For the moment it focused considenblestenton upon the compl questons of what war meant by this rouble term‘Astetcen’ and jt what sor fat ae poetry was ha gre under the rc Ar or es ale’ [WALTER PATER AND AESTHETIC RESPONSE tn 1873 a previouty cbacure Class don t Oxford, Wier Pater, published a clleion of sy, Saks nthe Hltry of the Renan" {nado to a hand of lganly pse, highly subjective medaons om alan pate, dhe book ao included seme studs of subjects which appre fl outside the pesod which he le ofthe books: ested dese ged ftom easly French poy ofthe shicen century to hee fhe ‘Sgheemh entry Geman shee znd connaseut Winemann In ft, xin of hese exranous sujet she use seg on the main ea farsi ativiy under ‘conedeton and helped Pert fame his bei that the igrfiance of extended be yond the ast and the work ofa to embrace the india as viewer. Beary, according to Fate snot merely 0 be observed and case, but experienced fly and sppreced through the senses, “The book might well have paused unnxced were knot for he ‘Conchsion a> ‘an shot lee of highly charged wang in which she author somewhat unguarded ‘ta stalingcedo based upon the ned or drecess and inten in one's espoxses otto aon, bu also, he bly assered,o eas well As Pater put it the rst hing is toed one's owm senso and ack wha thi song or pce, this engaging penn shy presented in Me rin book to me Ths poling of entity othe wok a nd insistence upon intent of sesthese respons esa the her of ae’ lsopy, Iced i toward the dangerous postion of arguing that in ar and in if, to, experience ‘all and tht considerations of moni, andthe dcates of convention, shoul pla no pur in consaining da experience, Not suprisingly, uch ‘pasinae aude’ Pater ‘termed them, wer considered appropriate fora don; he was denounced fom the uit Lyte hop of Oxford and cle o acount by the univers shoresPater was flectine forced 0 recat ann second edo of his book. now gen the somewhat mor explanatory te The Renan; studs nara pry, he revue sore key passages, tong down the Concison and later admiting that in aga form tight wel have stay’ the susepuble mids of young men. However hs was not gee thr could ely be pt back ino the bowl: Pate’ parla take om the Tren of Ar for Aas sk and bis eoraton to ‘bur aways with hs hard, en-he ame’ becamealling el fra younger generation of dscipls and decadent ese, mong whom the mest prominent would be Osa Wide THE MOVEMENT WIDENS heft af of the 1670s canbe chartered as pid in which the wok hares aed writer sociated wh Aesthetic became gradually bec nown, ts alot 10 Say that wider knowledge cies and ideas brought realy isle whole ‘public suppor for wha to many observes, sl seemed the preserve of exerting tnd pos immoral ezstc ee. However, almost unexpectedly and with the owing Support of enlightened pros nd incresngy favourble cies response inthe econ Tal ofthe decade the vers nes ake more ose progres. twas neve: lessilla bold move when Sit Couts Lindsay formated plan wo cree galery i which the leading pines wood be invited to show tbl work in a spacious. purpse-bult tnd sympathetically decorated ensronment. Creed specially wo show the newar iso ted as itwee, om te eeming.dbhung mas of poplst and often embarassing bad wrk that asad their atthe Academy's annual Summer Exh, the Grevenoe {Gallery opened for its fs season n 1877 an cause an immediate seston “The opening of te Groswenor rough abou max shin pubic awatenes of the new kindof pres sb, poeed and magia n both conepton and sale, which Teghton and Was, Sune Jones, Whistler and Moore were eveing, With the plus by cach ais grouped elegy together her han seared, was a sexing desires fr the fst time to show ndvdal pines fo the est advange. Bume-ones, who had exited nothing i publ oc the best part of decade, was especialy fevoured nts respect, his new work eve to eat elle, In he Gosvenor’s conspicuously opulent roms he lavish esc ofthe walls ously changed eo generale thesecond erat the request of te anit bt a further enormous expense wo Lindsay) del pla tem, and mailecoppd sdeables bering flowers suggested the ambience of 2 great trite house rath than tha of pbb alley an commercial enterprise. wa tlle precisely callie to endorethe importance ofthe ‘Growrenor ass an i ‘yeh potion in ache of things no longer dominated by te ol esblshnet. tn Spe of Ras’ famous vuperatveatack on Whistler's pers athe fst CGeevenor show and the subsequent alnastluderous fasco ofthe Whisler Ruskin bel acon which followed the genera eller ofthe emergence of new ete London at sword that for theft cne could challenge the Academy in tems of soci prestige Ind confidence ints propo of an enely new asic credo was crucal. AS rest of the immense sucest 2 the Grommenoe Aesthetic panting now became the Gsionabehuss of grand, Somewhat nec and cerainly wellodo ciel, a cenele ‘nous not only acqure the new pcures, bus au to commision porats adopt the ‘ew artistes inher neriorsand eve Aesth manner in tel dress. Although both the aesthexc and ethic valies ofthe new at conned to be discussed, snd Wiser he inane polemicist, ept ups spied dleee ofthe Was of Art for ‘A's Ske both im hs wesings® and by the saging of hs cw exibtions, hee was in fenela owing sense of ate won. As te great wold bought into the movement Aesthetcsm inevocaly passed fom is eal pase asthe vecherché enthsts ofthe few. tan arts and bese eh ofthe many BEAUTIFUL PEOPLE AND AESTHETIC HOUSES 1870s- 60s ‘The eof stem npuning was pared inthe decorate as by 2 new nd in esiogly widespread ines he decoraton of houses. Many ofthe ey arate nce and designer intrested themsees ot only in woeking fr wea cles but slo nthe reform of design for the midle-clshome. The notion of "the Hose Bess became an essential ouchstone of culture ie a #surpismay wide range of levels Ineo ‘tthe upper end a he se, the mao collects and panons who bought Aesthetic anon and fared thes houres inthe ew ele cae i ft om ro inet OUP fone an ol aitocic and ileal cine, the the enim fom the new css of abe slconfden andy race macho enjyed unprecedented sees in mk Vicrn England shough the ellos 2s mawhcres, dusts and envepencs rey‘pen ee er tence urs om both group are wel presented in pore (e plate), Whether motsed bythe dese expres efinemenc of eo wordy sues techies madly members hese ete ces —n rest, famishings ain what we now cll Mee — cried & ‘conde Ience on wide publ "Auracted by the growing popular of Aesth eas, many of the ding firms raking furniture, ceramics, domeric metalwork and teres couned ats such a ‘Wale Cane (gla 10) and a growing ban of profesional product designers such 38 Lewis Foreman Dey, Brace Talbert and, mos notably, Chistopher reser Colnlding vith a period of unprecedented expansion of domestic marks, the ses Ivoured by ‘Aesthetic desiger were among the very Est wo be plied and dseminued widely "tough commercial enterprise. "Alunber conspicuous eet and indeed evidence of he very considentle ten of this tele down, as we now term tof sti ence, can be seen inthe very numberof publcrdone ese around this ine sme at rising awareness of best in the orinary home, Aimed atthe would-be fcionablemiddleelases and ownes of ond my houses with spon to be “ar, trout the 1870s and 80s a constantseam of writen advice and sade mateal appeared in the form of substantial ok fon ose, design mana, ae etslogues and pate books, and avast amy of sheet pieces in more ephemen peed! publcsons ‘THE AESTHETE AND SATIRE OF THE MOVEMENT “The figue ofthe Aesthte, whose super sub seni and ponte response 1 Woks ofan might be expressed throgh ete reaon o connoisseurs, had emerged ily edged nthe 1870s Held ais and perhaps igh tobe tinted by eet and 05 sil dangerous oegn es 28 wel hose of Pate the Ashe was etd with sme onsicabe degre of suspicion by jumalic commenstos and public alk, Hower, by hebeginning ofthe 1860 the Aesthete wih ssl proclaiming atachmet fo post, ictus and othe memces of near decoaon~ in shor, che charac so astuely ‘doped by Oxca Wilde a become the poplar but forthe mos part aisle sie In bt George Du Maurie’ ongoing see of sharply observed eatons in Pinch (whi, had gan as tty 381876) and in iber and Sullivan's enduringly poplar Patene the velvet lad Aesthtes were aged with exracecnar precision, rice or ther ined ase xd’ wey precios speech, and enthusiasm forthe euros ape ola ies’ snlowers, peacock Feathers, gle bie and white china spans ins. SWANSONG AND DECADENCE, LATE 18805 AND 1890s tn may previous acount of Astescsm it has been suggested that a point che 1860s ste and parody 0 verde te red of the movement aso eectvey preclde ay worth development ofthe Aesthetic del According to his ineret- ‘on, vigur = perhaps never ely ¢defnng chance ofthe movement ~ beame wally, panting and oer tered and lost ther momentum and inthe dcortive spe, fumishings were scaled down fr onary fe i he subst A contrary view an however be vanced, for whist the deals of Rosser in 1862 and Godin in 1886 undoubedly deprived the movement of 4 of ts mest nnowtive nd eel protagois,cven wel othe 18605 sever of he reat igues wee il st ‘wrk Mons, who ded very mach i bames' in 1896, hd in addition ois staingy ‘rogresive plc activi, conte to work with astounding ene, embarking only ‘in he ial ive years fh ie on his strat emer, the production of ‘the ook Beal at his Keimscoe Pres Among the mao panes Burne-Jones (ed 1898 who ‘hd been Moni’ Mog colsborar, Leighton (ed 1890, and Was (led 1909 al conned pang the increasingly remy visions on eer grande sae late 11), More than hs, however, thee grand olden ao used ther oso and influence encour psig pnertion of anes who sought contnse many ofthe eas ofthe moverent 1 the way Bue Jones ofered intial help to che bellane young daughisman Asbrey Bea wht Leighton, n his ast years the snglemostimporant igre inthe Landon werd, stems helped promote the cacers of young aris by aqulng works for hs own election. Most rouble among theie muniient ats of encoungenent ‘wee 2uchses Including Chars Rick's ay deawingOedps ond he Spied is icp teeommtsionng ofthe ae tronee gue of kara by Aled Gite, now widely held to be the bey work ofthe sole New Sulu tn considering the arise mille of London inthe 1800s, it becomes eal ap puvent that many ofthe concems of he emerging poets, painters and designers cleaty ‘cho those which shaped te ever phases af the Aesthetic Moverent. The overheln- ing preocepaton with sje epresied in form and colour recalls the search for & new Tonal beat’ ofthe 1860 Silay the 1990 beession withthe concept ofsyaeshe: sie Gee .30) harks back dec to the intrelarionship berwen pling, muse and poety tha had previously facnated Rosser and his clele and also fond peor ‘apesion in the wrk ofboth Leighton and Moore. Fue, acknowledged as a mjor ‘Ste model for waters the period, also through his pilsophy of intensiy of rs- te response informe so any ofthe later Aeshee’ pattems of though ato suggest that ls lence was well univers “Ths the precepts ofthe ery das of the movement were revised by + younger generation, sien played out wih a sharper sensi and ven a darker est that has ‘been conveniently labelled ‘decadent, Bu he Decadence of the 1860s, 2 i calls more than merely the last psp of playedout a theories nd cla enthusiasms atthe tnd of the cenary and fe long gn on elder widowed queen js itis erinly far more than the deling.en ouburs apust anise manners snd soci propriety ogre bye pes och a ‘the naughy anes tis in sho, someting gate Specie: the decadence of he eas of the Aestheve Movement, the fl expression of ‘sensi hat we might dine as the vlimaerefinerent of sesthete espons, tefl an tn Aoweng of Acerca and ar pos. a dandy of the see, —_ perhaps and Iie the dandsan ofthe erly sneer ena isn exert. r= Neon {lows Wl which we oben nis fl pends in Baad’ beau phrase, iter Cr esas ofa dying ar. gus, without het and fal melnco} wv THE CHAPTERS and shores plecesin hs Booka examine the Cal of enya alu phenonenon, lacking at he Astete Movement ether bony o in Bly Focused deta and fm wie vary of perspec eating he material oth isto calyand hema In he ame wa, the eben which ths volume accompanies, {esto preset cberet nara th move 0 dat the major themes and, sow l= in th ap ofthe movement preset the works fa forthe dete of eee “The Ca of ny isthe ea exbin er binge many of he eet esthede pices as we a the fs ore, decorate ars and fashion of this 3 fxmortnay movement. seting them inthe content of 2 henge of cares ae fering ars pore a the moses, he designers and mae of existe tgs eneomee tnd beasts nd clk who deve the es othe pus of Beaty