BEATEN BY BEATON
Cecil Beaton was an accomplished stage designer and draughtsman as well as a photographer. He designed covers for several of Nancy Mitford's works, books that Evelyn had often read through in manuscript and commented on in detail, invariably suggesting revision. But Nancy had more than one professional helper. When Waugh received a copy of Madame de Pompadour in 1954, he was moved to write to Nancy in an otherwise admiring letter: 'Beaton's drawings always give me goose flesh but the wrapper is easily disposed of.'
Let's imagine that this cover image is one that Cecil had had in mind for some time. Why? Bear with me, while I introduce you to the set of four of Evelyn's early novels that Chapman and Hall had reset and reprinted in 1937.
Let's face it, the dust-covers are underwhelming. To coincide with this supposedly commercial publishing event, Evelyn had arranged - at his own expense, apparently - for his publisher to print twelve copies of the books on large 'rag mould' paper which he then got bound by Maltby of Oxford. Maltby’s being the company that Evelyn had long used to bind his personal diaries, amongst other luxury items.
By early January, 1938, he was able to say that he’d given away six of the twelve copies. I calculate that four of these were to his father, Arthur; his brother, Alec; Graham Greene and Tom Burns of The Tablet. I’m not sure who else received books at this stage, but surely one copy of each went to Cecil Beaton.
Why on earth do I say that? Well, because surely Evelyn insisted that the genius who designed the dustcover to the special limited edition deserved a copy of each book. How do you pay true tribute to a masterpiece? By employing another master to design its wrapper. 'Beaton's drawings always give me goose flesh but these wrappers give wings to my imagination.'
EW: "Your design reminds me that Margot Beste-Chetwynde is the true centre of my novel. Her 'success and rise' counterpoint poor Paul Pennyfeather's plummeting fortunes."
CB: "I'm so glad you like it, Evelyn."
EW: "And this second one is just as good, oddly enough. I see how a letter in your signature even spears the word 'BODIES'.
EW: "Nina at a fancy dress party given by Margot Metroland. 'Beast-Cheating' as was. But let me open the book at random and read from it:
'The topic of the Younger Generation spread through the company like a yawn. Royalty remarked on their absence and those happy mothers who had even one docile daughter in tow swelled with pride and commiseration. "I'm told that they're having another of their parties," said Mrs Mouse, "in an aeroplane this time."
CB: "In an aeroplane? How very extraordinary."
And both men laugh. 
EW: "I wondered why I liked this third cover so much. And then I realised it was because I wrote so much of the book at Madresfield. The reward for my daily labour was to walk into a drawing room for pre-dinner drinks with Mary, Dorothy and Sybell Lygon. Though just occasionally Baby Jungman would be there too.
CB: "And we all love Baby."
EW: "Even the gay maids?"
CB: "Especially we gay blades."
EW: "Marvellous, Cecil. Your crowning achievement. A new scene for the novel comes to mind:
Tony Last: "Get your dirty hands off my wife's tits, Beaver. And stop staring at her hot bottom."
CB: "Or how about?:
Tony Last: "Get your unwashed hands off my wife's pommes de terre, Beaver."
EW: "Pommes de terre is good, Cecil."
CB: "Or how about?:
Tony Last: "Get your bounderishly sticky hands off my wife's petits beurre, Beaver."
And both artists laugh.
The 'Waugh v Beaton' feast is in three courses, of which this is the second. The initial appetiser can be found here, and I trust that slips down nicely. While the main course is waiting to satisfy your hunger for culture wars right here.
