Page 49 - Studio International - June 1966

A double page spread from The Studio, including part of the text
of Joseph Pennell's article.

figure that were considered to be too provocative. In the
drawing that was actually used in the book, there are no
attendants, and Salome and her barber are elaborately
clothed. In both drawings there is a row of books on a
shelf under the dressing-table, and in the second version
the artist at least had the satisfaction of extending the
range of Salome's anachronistic reading. The only titles
that can be deciphered in the original drawing are Les
Fleurs du Mal and Zola's La Terre, but in the other there
are Zola's Nana, a volume of Fetes Galantes, Manon Lescaut,
The Golden Ass and a book marked 'Marquis de Sade'.
Another drawing intended for the same book depicts a
back view of Salome seated on a settle and conducting an
invisible orchestra, and although I've looked at it very
hard I can't imagine why it was suppressed. It's a spark-
ling drawing. Salome's marvellous hair-do, reminiscent
of a Cambodian temple, and her untied negligee are
blocks of unbroken black, and everything else, including
the glimpse of crisp, white petticoats, is in pure outline.
Salome is a wonderful mixture of the raffiné and the
raffish, but that's all. On the other hand, a drawing
which would certainly have been suppressed if the figure
in the foreground had been thoroughly scrutinized, was