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But (behold!) as we repeat the true words of Teufelsdroeck, there comes Monsieur Barbey D’Aurevilly, that gentle moqueur, drawling, with a wave of his hand, ‘Les esprits qui ne voient pas les choses que par leur plus petit cote, ont imagine que le Dandysme etait surtout l’art de la mise, une heureuse et audacieuse dictature en fait de toilette et d’elegance exterieure. Tres-certainement c’est cela aussi, mais c’est bien d’avantage. Le Dandysme est toute une maniere d’etre et l’on n’est pas que par la cote materiellement visible. C’est une maniere d’etre entierement composee de nuances, comme il arrive toujours dans les societes tres-vieilles et tres-civilisees.’ It is a pleasure to argue with so suave a subtlist, and we say to him that this comprehensive definition does not please us. We say we think he errs.

Not that Monsieur’s analysis of the dandiacal mind is worthless by any means. Nor, when he declares that George Brummell was the supreme king of the dandies and fut le dandysme meme, can I but piously lay one hand upon the brim of my hat, the other upon my heart. But it is as an artist, and for his supremacy in the art of costume, and for all he did to gain the recognition of costume as in itself an art, and for that superb taste and subtle simplicity of mode whereby he was able to expel, at length, the Byzantine spirit of exuberance which had possessed St. James’s and wherefore he is justly called the Father of Modern Costume, that I do most deeply revere him. It is not a little strange that Monsieur D’Aurevilly, the biographer who, in many ways, does seem most perfectly to have understood Mr. Brummell, should belittle to a mere phase that which was indeed the very core of his existence. To analyse the temperament of a great artist and then to declare that his art was but a part–a little part–of his temperament, is a foolish proceeding. It is as though a man should say that he finds, on analysis, that gunpowder is composed of potassium chloride (let me say), nitrate and power of explosion. Dandyism is ever the outcome of a carefully cultivated temperament, not part of the temperament itself. That maniere d’etre, entierement composee de nuances, was not more, as the writer seems to have supposed, than attributory to Mr. Brummell’s art. Nor is it even peculiar to dandies. All delicate spirits, to whatever art they turn, even if they turn to no art, assume an oblique attitude towards life. Of all dandies, Mr. Brummell did most steadfastly maintain this attitude. Like the single-minded artist that he was, he turned full and square towards his art and looked life straight in the face out of the corners of his eyes.

It is not hard to see how, in the effort to give Mr. Brummell his due place in history, Monsieur D’Aurevilly came to grief. It is but strange that he should have fallen into a rather obvious trap. Surely he should have perceived that, so long as Civilisation compels her children to wear clothes, the thoughtless multitude will never acknowledge dandyism to be an art. If considerations of modesty or hygiene compelled every one to stain canvas or chip marble every morning, painting and sculpture would in like manner be despised. Now, as these considerations do compel every one to envelop himself in things made of cloth and linen, this common duty is confounded with that fair procedure, elaborate of many thoughts, in whose accord the fop accomplishes his toilet, each morning afresh, Aurora speeding on to gild his mirror. Not until nudity be popular will the art of costume be really acknowledged. Nor even then will it be approved. Communities are ever jealous (quite naturally) of the artist who works for his own pleasure, not for theirs–more jealous by far of him whose energy is spent only upon the glorification of himself alone. Carlyle speaks of dandyism as a survival of ‘the primeval superstition, self-worship.’ ‘La vanite,’ are almost the first words of Monsieur D’Aurevilly, ‘c’est un sentiment contre lequel tout le monde est impitoyable.’ Few remember that the dandy’s vanity is far different from the crude conceit of the merely handsome man. Dandyism is, after all, one of the decorative arts. A fine ground to work upon is its first postulate. And the dandy cares for his physical endowments only in so far as they are susceptible of fine results. They are just so much to him as to the decorative artist is inilluminate parchment, the form of a white vase or the surface of a wall where frescoes shall be.