,transcriber's ,note3 ,italic text is denoted by underscores4 ,obvious punctuation errors and typos repaired4 ,footnotes moved to end of relevant chapters4 ,index of ,illustrations adjusted to match ,,html version4 ,two un-indexed illustrations1 ',,whistler',s ,,grave ,,in ,,chiswick ,,cemetery ,,adjoining ,,chiswick ,,churchyard' and ',,monument ,,in ,,whistler',s ,,memory ,,at ,,the ,,united ,,states ,,military ,,academy ,,at ,,west ,,point'1 added to the ,list of ,illustrations4 ,in the original book the ,illustrations are indexed as ,facing ,page nnn4 ,these have been changed to refer to the nearest page4 ,,the ,,life ,,of ,,james ,mc,n,e,i,l,l ,,whistler ,illustration3 ,,portrait ,,of ,,the ,,artist ,fr4 7,by ,himself7 ,,the ,,life ,,of ,,james ,mc,n,e,i,l,l ,,whistler ,,by ,e4 ,r4 ,,and ,j4 ,,pennell ,,new ,,and ,,revised ,,edition ,,the ,,sixth ,,illustrated ,,philadelphia ,j4 ,b4 ,,lippincott ,,company ,,london3 ,,william ,,heinemann ,printed in ,great ,britain ,,preface ,,to ,,the ,,sixth ,,edition ,the ,fifth ,edition of our book was exhausted before war was declared1 and not until peace was declared was it thought by the publishers advisable to issue this ,sixth ,edition1 which has been revised and brought up to date1 and contains new material and new illustrations4 ,all the while we have been collecting and verifying documents1 and all the while we have received suggestions1 facts1 and inquiries4 ,the book has been published in ,french1 but for the war it would have been long since translated into other languages4 ,during these years of needless1 senseless1 useless horrors1 the name and fame of ,whistler have steadily grown4 ,his works have served as propaganda--what a comment6--even the portrait of his mother has been used as a poster by the ,british1 and his own portrait has obtained the glory of appearing as a tribute to the power of advertising4 ,all the while1 endless stories1 most of them garbled from this book1 when not invented1 have gone from end to end of the world4 ,exhibitions of his paintings and prints and of documents relating to him have been held4 ,galleries and private collectors have acquired what little of his work was left to acquire4 ,even the ,national ,gallery of ,great ,britain has accepted three of his pictures from the late ,arthur ,studd though ,whistler had distinctly said that he did not wish to be represented in any ,english gallery4 ,dealers have found in his art inexhaustible attraction and asset for shows4 ,mr4 ,freer's collection in the ,national ,museum1 ,washington1 is about to open4 ,our collection is being installed in the ,library of ,congress1 also in ,washington--though it was damaged by unpardonable and undiscoverable carelessness in transit1 caused by this cursed war4 ,washington must soon be visited to see ,whistler as ,madrid is to see ,velasquez4 ,all the while1 too1 the financial appreciation of ,whistler--the standard by which art and everything is judged to-day--has vastly increased1 the ,mrs4 ,leyland and ,lady ,meux selling for more hundreds of thousands than he asked hundreds of dollars for4 ,his etchings and lithographs have so improved in value in the collector's estimation that persons whom ,whistler did everything to help in forming their collections have considered them too valuable to keep1 and so have parted with them at an enormous rise over even his posthumous prices4 ,what would he have thought of all this1 he who so carefully selected the prints kindly lent their owners8 ,whistler1 fortunately1 has escaped the indignity of commercial popularity1 but he has come into his own2 his name and his fame are world-wide1 he is with the immortals2 we said so in the beginning1 and time has proved us right4 ,there have been no books of importance issued about him of late years1 though contemporary authors who spurned him during his life now claim his acquaintance and add a paragraph or a page1 mostly from our book1 as a bait to sell their own4 ,miss ,philip delays1 or awaits the lapse of twenty years1 before issuing the letters4 ,when she does print them--if properly edited--they will be a great addition to the knowledge of ,whistler4 ,mr4 ,freer announces also a life which is to supersede or expose us1 or ,whistler4 ,still they tarry1 but anything they may issue will add to the success and1 we trust1 the completeness of the authorized ,life of ,whistler4 ,we should be grateful for any further information1 suggestions1 or corrections to that end from any of our readers4 ,we wish to thank1 for the permission to reproduce paintings and drawings1 to consult letters and documents1 ,mrs4 ,a4 ,j4 ,cassatt1 ,mr4 ,mitchell ,kennerley1 ,mr4 ,roland ,knvedler1 ,messrs4 ,keppel and ,company1 ,mr4 ,george ,j4 ,c4 ,grasberger1 ,mr4 ,a4 ,e4 ,gallatin1 ,mr4 ,r4 ,c4 ,frick1 ,mr4 ,west1 ,colonel ,hughes1 ,mr4 ,e4 ,g4 ,kennedy1 ,the ,metropolitan ,museum of ,new ,york1 ,the ,maryland ,institute1 the ,librarian of ,congress1 ,dr4 ,putnam1 and ,dr4 ,koch1 ,mr4 ,roberts1 and ,miss ,wright1 also of the ,library of ,congress4 ,,joseph ,,pennell ,,elizabeth ,,robins ,,pennell ,,washington1 ,july #d1 #aiai ,,publisher',s ,,note ,,to ,,the ,,fifth ,,edition ,mr4 and ,mrs4 ,pennell's authorised ,life of ,james ,mc,neill ,whistler appeared in two volumes in ,october #aijh1 and has had to be reprinted in that form three times since then4 ,its sale even in that comparatively expensive form has been an unexpectedly large one1 proving without doubt that interest in ,whistler's life is alive and growing4 ,during the three years since its first publication much new material has come into the hands of the authors1 and a complete revision of the book has therefore become necessary4 ,the present volume is1 to all intents and purposes1 a new one4 ,many of the older illustrations in the earlier editions have been superseded by new ones1 a number of which are reproduced for the first time4 ,for the new material included in this edition the authors and the publisher are indebted to friends and numerous sympathetic correspondents1 and they wish to express their indebtedness especially to ,mr4 ,john ,w4 ,beatty1 ,director of the ,carnegie ,institute in ,pittsburgh2 ,mr4 ,e4 ,d4 ,brooks2 ,mr4 ,clifford ,gore ,chambers2 ,mr4 ,e4 ,t4 ,cook2 ,mr4 ,leon ,dabo2 ,mr4 ,frederick ,dielmann2 ,messrs4 ,dowdeswell2 ,m4 ,thodore ,duret2 ,mr4 ,a4 ,j4 ,eddy2 ,mrs4 ,wickham ,flower2 ,right ,hon4 ,jonathan ,hogg2 ,mr4 ,h4 ,s4 ,hubbell2 ,mr4 ,will ,h4 ,low2 ,mr4 ,burton ,mansfield2 ,judge ,parry2 ,mr4 ,h4 ,reinhardt2 ,mr4 ,h4 ,s4 ,ridings2 ,mr4 ,albert ,rouiller2 ,miss ,alice ,rouiller2 ,mr4 ,william ,scott2 ,m4 ,strhlen2 ,mr4 ,ross ,turner2 ,mr4 ,c4 ,f4 ,g4 ,turner2 ,mr4 ,c4 ,howard ,walker2 ,mr4 ,j4 ,h4 ,wrenn4 ,,contents ,,page ,,chapter ,i4 ,,the ,,whistler ,,family4 ,,the ,,years ,,eighteen ,,thirty-,,four ,,to ,,eighteen ,,forty-,,three #a ,whistler's ,ancestors--,his ,parents--,birth--,early ,years ,,chapter ,,ii4 ,,in ,,russia4 ,,the ,,years ,,eighteen ,,forty-,,three ,,to ,,eighteen ,,forty-,,nine #f ,life in ,russia--,schooldays--,begins his ,art ,studies in the ,imperial ,academy of ,fine ,arts--,death of ,major ,whistler-- ,return to ,america ,,chapter ,,iii4 ,,schooldays ,,in ,,pomfret4 ,,the ,,years ,,eighteen ,,forty-,,nine ,,to ,,eighteen ,,fifty-,,one #ah ,the ,pomfret ,school and ,schoolmates--,early drawings ,,chapter ,,iv4 ,,west ,,point4 ,,the ,,years ,,eighteen ,,fifty-,,one ,,to ,,eighteen ,,fifty-,,four #bj ,whistler as ,cadet in the ,u4,s4 ,military ,academy-- ,his ,studies--,failure--,stories told of him--,his ,estimate of ,west ,point ,,chapter ,v4 ,,the ,,coast ,,survey4 ,,the ,,years ,,eighteen ,,fifty-,,four ,,and ,,eighteen ,,fifty-,,five #bg ,life in ,washington--,obtains ,position as ,draughtsman in the ,u4,s4 ,coast and ,geodetic ,survey--,first ,plates--,resignation-- ,starts for ,paris ,,chapter ,,vi4 ,,student ,,days ,,in ,,the ,,latin ,,quarter4 ,,the ,,years ,,eighteen ,,fifty-,,five ,,to ,,eighteen ,,fifty-,,nine #cc ,arrival in ,paris--,enters as ,student at ,gleyre's--,his ,fellow ,students--,adventures--,journey to ,alsace ,,chapter ,,vii4 ,,working ,,days ,,in ,,the ,,latin ,,quarter4 ,,the ,,years ,,eighteen ,,fifty-,,five ,,to ,,eighteen ,,fifty-,,nine ,,continued #df ,his ,studies--,work at the ,louvre--,visit to ,art ,treasures ,exhibition at ,manchester--,etchings--,paintings--,rej ection at the ,salon and ,exhibition in ,bonvin's ,studio ,,chapter ,,viii4 ,,the ,,beginnings ,,in ,,london4 ,,the ,,years ,,eighteen ,,fifty-,,nine ,,to ,,eighteen ,,sixty-,,three #ec ,in ,london with the ,hadens--,first ,appearance at ,royal ,academy--,kindness to ,french ,fellow ,students--,shares ,studio with ,du ,maurier--,gaieties--,mr4 ,arthur ,severn's ,reminiscences --,work on the ,river--,jo--,etchings ,published by ,mr4 ,edmund ,thomas ,,chapter ,,ix4 ,,the ,,beginnings ,,in ,,london4 ,,the ,,years ,,eighteen ,,fifty-,,nine ,,to ,,eighteen ,,sixty-,,three ,,continued #fc ,paintings and ,exhibitions--,the ,music ,room--,visits to ,mr4 and ,mrs4 ,edwin ,edwards--,summer in ,brittany--,the ,white ,girl --,berners ,street ,gallery--,baudelaire on his ,etchings-- ,illustrations--,salon des ,refuses--,first ,gold ,medal ,,chapter ,x4 ,,chelsea ,,days4 ,,the ,,years ,,eighteen ,,sixty-,,three ,,to ,,eighteen ,,sixty-,,six #gf ,settles with his ,mother at ,no4 #g ,lindsey ,row1 ,chelsea-- ,the ,greaves ,family--,the ,limerston ,street ,studio and ,mr4 ,j4 ,e4 ,christie--,rossetti--,the ,tudor ,house ,circle1 ,swinburne1 ,meredith1 ,frederick ,sandys1 ,howell--,blue and ,white-- ,w4 ,m4 ,rossetti's ,reminiscences ,,chapter ,,xi4 ,,chelsea ,,days4 ,,the ,,years ,,eighteen ,,sixty-,,three ,,to ,,eighteen ,,sixty-,,four ,,continued #hf ,the ,japanese ,pictures--,the ,princesse du ,pays de la ,porcelaine--,japanese ,influence--,the ,little ,white ,girl --,fantin's ,hommage ,delacroix--,the ,toast--,arrival in ,london of ,dr4 ,whistler--,at ,trouville with ,courbet-- ,journey to ,valparaiso ,,chapter ,,xii4 ,,chelsea ,,days ,,continued4 ,,the ,,years ,,eighteen ,,sixty-,,six ,,to ,,eighteen ,,seventy-,,two #ig ,return to ,london--,removal to ,no4 #b ,lindsey ,row--,the ,house and its ,decorations--,the #ahfg ,exhibition in ,paris-- ,affair at the ,burlington ,fine ,arts ,club--,symphony in ,white1 ,no4 ,,iii4 the ,first ,picture ,exhibited as a ,symphony--,theories --,development--,discouragement--,mr4 ,fred ,jameson's ,reminiscences--,decoration--,hamerton's ,etching and ,etchers --,etchings and ,dry-points--,exhibitions--,rejection at the ,royal ,academy--,first ,exhibition of ,picture as a ,nocturne-- ,relations to the ,royal ,academy ,,chapter ,,xiii4 ,,nocturnes4 ,,the ,,years ,,eighteen ,,seventy-,,two ,,to ,,eighteen ,,seventy-,,eight #aab ,nocturnes--,extent of ,debt to ,japanese--,methods and ,materials--,subjects--,origin of ,title--,his ,explanation in ,the ,gentle ,art ,,chapter ,,xiv4 ,,portraits4 ,,the ,,years ,,eighteen ,,seventy-,,one ,,to ,,eighteen ,,seventy-,,four #aah ,the ,mother--,carlyle--,miss ,alexander-,mr4 and ,mrs4 ,leyland--,mrs4 ,louis ,huth--,show of his own ,work in ,pall ,mall--,indignation roused by his ,titles ,,chapter ,,xv4 ,,the ,,open ,,door4 ,,the ,,year ,,eighteen ,,seventy-,,four ,,and ,,after #abh ,whistler's ,gaiety and ,hospitality--,his ,amusement in ,society--,his ,dinners and ,sunday ,breakfasts--,reminiscences of his ,entertainments--,his ,talk--,clubs--,restaurants-- ,the ,theatre ,,chapter ,,xvi4 ,,the ,,peacock ,,room4 ,,the ,,years ,,eighteen ,,seventy-,,four ,,to ,,eighteen ,,seventy-,,seven #adc ,work at ,exhibitions and in the ,studio--,portrait of ,irving --,rosa ,corder--,the ,fur ,jacket--,connie ,gilchrist-- ,the ,peacock ,room--,mr4 ,leyland's ,house in ,prince's ,gate-- ,its ,decoration--,whistler's ,scheme for the ,dining-room and its ,development--,the ,work ,finished--,quarrel with ,leyland ,,chapter ,,xvii4 ,,the ,,grosvenor ,,gallery4 ,,the ,,years ,,eighteen ,,seventy-,,seven ,,and ,,eighteen ,,seventy-,,eight #aeb ,sir ,coutt ,lindsay's ,new ,gallery--,first ,exhibition at the ,grosvenor--,whistler's ,contributions--,ruskin's ,criticism of ,the ,falling ,rocket in ,fors ,clavigera--,whistler sues him for ,libel--,etchings--,lithographs--,drawin gs of ,blue and ,white for ,sir ,henry ,thompson's ,catalogue-- ,caricatures--,sends a ,second ,time to the ,grosvenor ,,chapter ,,xviii4 ,,the ,,white ,,house4 ,,the ,,year ,,eighteen ,,seventy-,,eight #aei ,paris ,universal ,exhibition of #ahgh--;,harmony in ,yellow and ,gold--,whistler as ,decorator--,lady ,archibald ,campbell's ,appreciation--,plan for ,opening an ,atelier for ,students-- ,no4 #b ,lindsey ,row given up--,e4 ,w4 ,godwin builds the ,white ,house for him--,his ,mother's ,health--,she leaves him for ,hastings--,money ,difficulties--,mezzotints of the ,carlyle and ,rosa ,corder ,,chapter ,,xix4 ,,the ,,trial4 ,,the ,,year ,,eighteen ,,seventy-,,eight #aff ,whistler's ,reasons for the ,action against ,ruskin--,his ,position and ,ruskin's compared--,refusal of ,artists to support ,whistler--,trial in the ,exchequer ,chamber1 ,westminster-- ,verdict--,the ,general ,criticism--,mr4 ,t4 ,armstrong and ,mr4 ,arthur ,severn on the ,trial--,collection to pay ,ruskin's ,expenses--,failure to raise one for ,whistler-- ,whistler v4 ,ruskin ,,chapter ,,xx4 ,,bankruptcy4 ,,the ,,years ,,eighteen ,,seventy-,,eight ,,and ,,eighteen ,,seventy-,,nine #aha ,whistler again at the ,grosvenor--,his ,critics--,his ,financial ,embarrassments--,his ,manner of meeting them--,declared ,bankrupt --,the ,gold ,scab--,commission from the ,fine ,art ,society for the ,venetian ,etchings--,starts for ,venice--,the ,sale of the ,white ,house--,sale of ,blue and ,white1 ,pictures1 ,prints1 c41 at ,sotheby's ,,chapter ,,xxi4 ,,venice4 ,,the ,,years ,,eighteen ,,seventy-,,nine ,,and ,,eighteen-,,eighty #ahi ,whistler's ,arrival in ,venice--,first ,impressions-- ,disappointments and ,difficulties--,his ,friends in ,venice and their ,memories of him--,duveneck and his ,boys--,whistler's ,hard ,work--,his ,lodgings and ,restaurants--,the ,cafs--,stories told of him--,reminiscences of ,mr4 ,harper ,pennington and ,mr4 ,ralph ,curtis ,,chapter ,,xxii4 ,,venice4 ,,the ,,years ,,eighteen ,,seventy-,,nine ,,and ,,eighteen ,,eighty ,,continued #aif ,his ,work in ,venice--,pastels and his ,methods--,etchings-- ,printing--,japanese ,method of ,drawing--,water-colours and ,paintings ,,chapter ,,xxiii4 ,,back ,,in ,,london4 ,,the ,,years ,,eighteen ,,eighty ,,and ,,eighteen ,,eighty-,,one #bjb ,return to ,london and ,sudden ,appearance at ,fine ,art ,society's-- ,prints ,venice ,plates--,exhibition of ,the ,twelve at the ,fine ,art ,society's--,exhibition of ,venice ,pastels--,decoration of ,gallery-- ,bewilderment of ,critics and ,public--,death of his ,mother--,the ,piper ,papers--,the ,portrait of his ,mother exhibited in ,philadelphia--,etchings begin to be shown in ,america ,,chapter ,,xxiv4 ,,the ,,joy ,,of ,,life4 ,,the ,,years ,,eighteen ,,eighty-,,one ,,to ,,eighteen ,,eighty-,,four #baj ,takes a ,studio at ,no4 #ac ,tite ,street--,his ,joyousness-- ,letters to the ,press--,his ,amazing ,costumes--,portrait of ,lady ,meux--,his ,other ,sitters--,mrs4 ,marzetti's ,account of the ,painting of ,the ,blue ,girl--,lady ,archibald ,campbell's ,reminiscences of the ,sittings for her ,portrait--,portrait of ,m4 ,duret--,the ,paddon ,papers--,second ,exhibition of ,venice ,etchings at the ,fine ,art ,society's--,excitement it created-- ,the ,carlyle at ,edinburgh--,proposal to buy it for ,scottish ,national ,portrait ,gallery--,comes to nothing--,whistler involved in a ,church ,congress ,,chapter ,,xxv4 ,,among ,,friends4 ,,the ,,years ,,eighteen ,,eighty-,,one ,,to ,,eighteen ,,eighty-,,seven #bbb ,joseph ,pennell meets ,whistler--,first ,impressions--,the ,sarasate--,sir ,seymour ,haden ,,chapter ,,xxvi4 ,,among ,,friends4 ,,the ,,years ,,eighteen ,,eighty-,,one ,,to ,,eighteen ,,eighty-,,seven ,,continued #bbe ,whistler's ,friends in ,tite ,street--,sir ,rennell ,rodd's ,reminiscences--,oscar ,wilde--,reasons for the ,friendship and for its short ,duration--,the ,followers--,their ,devotion and their ,absurdities--,mr4 ,harper ,pennington's ,reminiscences of ,whistler in ,london ,,chapter ,,xxvii4 ,,the ,,studio ,,in ,,the ,,fulham ,,road4 ,,the ,,years ,,eighteen ,,eighty-,,five ,,to ,,eighteen ,,eighty-,,seven #bcc ,whistler moves to the ,fulham ,road--,description of the new ,studio--,pictures in ,progress--,mr4 ,william ,m4 ,chase1 his ,portrait and his ,reminiscences--,plans to visit ,america ,,chapter ,,xxviii4 ,,the ,,ten ,o',,clock4 ,,the ,,years ,,eighteen ,,eighty-,,four ,,to ,,eighteen ,,eighty-,,eight #bci ,whistler writes the ,ten ,o',clock--,proposes to publish it as ,article--,then to deliver it as ,lecture in ,ireland--,exhibition of his ,work in ,dublin--,arranges with ,mrs4 ,d',oyly ,carte for ,lecture in ,london--,the ,ten ,o',clock given at ,prince's ,hall-- ,the ,audience--,the ,critics--,analysis of the ,ten ,o',clock--,its ,delivery in ,other ,places--,its ,publication--,swinburne's ,criticism ,,chapter ,,xxix4 ,,the ,,british ,,artists4 ,,the ,,rise4 ,,the ,,years ,,eighteen ,,eighty-,,four ,,to ,,eighteen ,,eighty-,,six #bej ,approached by the ,british ,artists--,elected a ,member of the ,society--,his ,position as ,artist at this ,period and the ,position of the ,society--,reasons for the ,invitation and his ,acceptance-- ,his ,interest in the ,society--,his ,contributions to its ,exhibitions--,the ,graham ,sale--,publication of ,twenty-,six ,etchings by ,dowdeswell's--,exhibition of ,notes1 ,harmonies1 ,nocturnes1 at ,dowdeswell's--,elected ,president of the ,british ,artists ,,chapter ,,xxx4 ,,the ,,british ,,artists4 ,,the ,,fall4 ,,the ,,years ,,eighteen ,,eighty-,,six ,,to ,,eighteen ,,eighty-,,eight #bfb ,whistler as ,president--,his ,decoration of the ,gallery and ,hanging of ,pictures--,indignation by ,members--,visit of the ,prince of ,wales--,growing ,dissatisfaction in the ,society--,jubilee of ,queen ,victoria--,whistler's ,congratulatory ,address--,british ,artists made a ,royal ,society--,dissatisfaction becomes ,open ,warfare--,the ,crisis--,wyke ,bayliss elected ,president-- ,whistler's ,resignation ,,chapter ,,xxxi4 ,,marriage4 ,,the ,,year ,,eighteen ,,eighty-,,eight #bga ,whistler's ,wedding--,reception at the ,tower ,house--,his ,wife-- ,his ,devotion--,influence of ,marriage ,,chapter ,,xxxii4 ,,the ,,work ,,of ,,the ,,years ,,eighteen ,,eighty ,,to ,,eighteen ,,ninety-,,two #bgd ,water-colours--,etchings1 ,belgian and ,dutch--,exhibition of ,dutch ,etchings--,lithographs ,,chapter ,,xxxiii4 ,,honours4 ,,exhibitions4 ,,new ,,interests4 ,,the ,,years ,,eighteen ,,eighty-,,nine ,,to ,,eighteen ,,ninety-,,one #bgi ,honours from ,paris1 ,munich1 and ,amsterdam--,dinner to ,whistler --,paris ,universal ,exhibition of #ahhi--;,exhibition of ,whistler's ,work in ,queen ,square--,moves to ,no4 #ba ,cheyne ,walk--,m4 ,harry's ,impressions of the ,house--,portrait of the ,comte de ,montesquiou --,w4 ,e4 ,henley and ,national ,observer--,new ,friends ,,chapter ,,xxxiv4 ,,the ,,gentle ,,art4 ,,the ,,year ,,eighteen ,,ninety #bhh ,whistler ,collects his ,letters and ,writings--,work begun by ,mr4 ,sheridan ,ford--,mr4 ,j4 ,mc,lure ,hamilton's ,account--,action at ,antwerp to suppress ,ford's ,edition--,mr4 ,heinemann publishes ,the ,gentle ,art for ,whistler--,summary of the ,book--,period of unimportant ,quarrels ,,chapter ,,xxxv4 ,,the ,,turn ,,of ,,the ,,tide4 ,,the ,,years ,,eighteen ,,ninety-,,one ,,and ,,eighteen ,,ninety-,,two #bih ,the ,carlyle bought by the ,glasgow ,corporation--,the ,mother bought for the ,luxembourg--,the ,exhibition at the ,goupil ,gallery --,mr4 ,d4 ,croal ,thomson's ,account--,success of the ,exhibition-- ,the ,catalogue--,commissions--,demand for his ,pictures--,mr4 ,h4 ,s4 ,theobald's ,reminiscences--,whistler's ,indignation at ,sale of ,early ,pictures by ,old ,friends--,invited to show in ,chicago ,exhibition--,not known at ,r4,a4--,decorations for ,boston ,public ,library ,,chapter ,,xxxvi4 ,,paris4 ,,the ,,years ,,eighteen ,,ninety-,,two ,,and ,,eighteen ,,ninety-,,three #caj ,whistler goes to ,paris to live--,joseph ,pennell with him there in #ahib and #ahic--,lithographs--,colour work--,studio in ,rue ,notre-,dame-des-,champs--,apartment in the ,rue du ,bac--,etchings printed--,afternoons in the ,garden--,day at ,fontainebleau-- ,wills signed--,mr4 ,e4 ,g4 ,kennedy's ,portrait--,rioting in the ,latin ,quarter ,,chapter ,,xxxvii4 ,,paris ,,continued4 ,,the ,,years ,,eighteen ,,ninety-,,three ,,and ,,eighteen ,,ninety-,,four #cbj ,whistler's ,friends in ,paris--,mr4 ,mac,monnies'1 ,mr4 ,walter ,gay's1 and ,mr4 ,alexander ,harrison's ,reminiscences-- ,mr4 ,a4 ,j4 ,eddy's ,portrait--,portraits of ,women begun ,,chapter ,,xxxviii4 ,,trials ,,and ,,griefs4 ,,the ,,years ,,eighteen ,,ninety-,,four ,,to ,,eighteen ,,ninety-,,six #cbg ,du ,maurier's ,trilby--,apology--,mrs4 ,whistler's ,illness-- ,the ,eden ,trial--,whistler ,challenges ,george ,moore--,in ,lyme ,regis and ,london--,portraits in ,lithography--,mr4 ,s4 ,r4 ,crockett's ,account of the ,sittings for his ,portrait--,mrs4 ,whistler's ,death--,new ,will ,,chapter ,,xxxix4 ,,alone4 ,,the ,,year ,,eighteen ,,ninety-,,six #ccf ,work and ,little ,journeys--,mr4 ,e4 ,g4 ,kennedy's ,reminiscences-- ,evenings with ,whistler--,visit to the ,national ,gallery-- ,whistler goes to live with ,mr4 ,heinemann at ,whitehall ,court-- ,mr4 ,henry ,savage ,landor--,mr4 ,edmund ,heinemann--,eden ,affair-- ,last ,meeting with ,sir ,seymour ,haden--,christmas at ,bournemouth ,,chapter ,,xl4 ,,the ,,lithograph ,,case4 ,,the ,,years ,,eighteen ,,ninety-,,six ,,and ,,eighteen ,,ninety-,,seven #cdf ,mr4 ,walter ,sickert's ,article in ,saturday ,review--,joseph ,pennell sues him for ,libel--,whistler the ,principal ,witness-- ,in the ,witness-box under ,cross-examination--,verdict-- ,whistler's ,pleasure ,,chapter ,,xli4 ,,the ,,end ,,of ,,the ,,eden ,,case4 ,,the ,,years ,,eighteen ,,ninety-,,seven ,,to ,,eighteen ,,ninety-,,nine #cej ,m4 ,boldini's ,portrait of ,whistler--,in ,london--,visits to ,hampton--,journey to ,dieppe--,the ,eden ,case in the ,cour de ,cassation--,whistler's ,triumph--,the ,baronet and the ,butterfly --,the ,whistler ,syndicate3 ,company of the ,butterfly ,,chapter ,,xlii4 ,,between ,,london ,,and ,,paris4 ,,the ,,years ,,eighteen ,,ninety-,,seven ,,to ,,nineteen ,,hundred #ceg ,illness in ,paris--,fever of ,work--,portrait of ,mr4 ,george ,vanderbilt--,other ,portraits and ,models--,pictures of ,children-- ,nudes--,pastels--,spanish ,war--,journey to ,italy--,best ,man at ,mr4 ,heinemann's ,wedding--,impressions of ,rome--,mr4 ,kerr-,lawson's ,account of his ,stay in ,florence--,winter in ,paris--,loneliness-- ,meetings with old ,student ,friends--,dr4 ,whistler's ,death--,dinner at ,mr4 ,heinemann's--,mr4 ,arthur ,symon's ,impressions of ,whistler ,,chapter ,,xliii4 ,,the ,,international4 ,,the ,,years ,,eighteen ,,ninety-,,seven ,,to ,,nineteen ,,hundred ,,and ,,three #cfi ,the ,international ,society of ,sculptors1 ,painters1 and ,gravers-- ,whistler elected ,first ,president--,activity of his ,interest-- ,first ,exhibition at ,knightsbridge--,second ,exhibition-- ,difficulties--,third ,exhibition at the ,royal ,institute-- ,exhibitions on the ,continent and in ,america--,whistler's ,presidency ends only with ,death ,,chapter ,,xliv4 ,,the ,,acad,,mie ,,carmen4 ,,the ,,years ,,eighteen ,,ninety-,,eight ,,to ,,nineteen ,,hundred ,,and ,,one #cgg ,school opened in the ,passage ,stanislas1 ,paris--,whistler and ,mr4 ,frederick ,mac,monnies propose to visit it--,history of the ,school written1 at ,whistler's request1 by ,mrs4 ,clifford ,addams --,her ,account--,his ,methods--,his ,advice--,his ,palette-- ,misunderstandings--,mrs4 ,addam apprenticed to ,whistler--,men's ,class discontinued--,third ,year begins with ,woman's ,class alone --,school closed--,mr4 ,clifford ,addams made an ,apprentice-- ,mr4 ,mac,monnies' ,account--,comparison with ,other ,art ,schools ,,chapter ,,xlv4 ,,the ,,beginning ,,of ,,the ,,end4 ,,the ,,year ,,nineteen ,,hundred #cic ,whistler authorises ,j4 and ,e4 ,r4 ,pennell to write his ,life and ,mr4 ,heinemann to publish it--,whistler gives his ,reminiscences--,photographing began in ,studio--,paris ,universal ,exhibition--,interest in the ,boer ,war--,the ,island and the ,islanders--,the ,pekin ,massacre and ,blue ,pots--,domberg--,visit to ,ireland--,sir ,walter ,armstrong's ,reminiscences of ,whistler in ,dublin--,irritation with ,critics of his ,pictures in ,paris-- ,increasing ,ill-health in the ,autumn--,serious ,illness--,starts for the ,south ,,chapter ,,xlvi4 ,,in ,,search ,,of ,,health4 ,,the ,,years ,,nineteen ,,hundred ,,and ,,one ,,and ,,nineteen ,,hundred ,,and ,,two #djg ,tangier--,algiers--,marseilles--,ajacci o--,winter in ,corsica-- ,visit from ,mr4 ,heinemann--,dominoes--,rests for the ,first ,time-- ,return to ,london in the ,spring--,work in the ,summer--,illness in the ,autumn--,bath--,no4 #gd ,cheyne ,walk--,annoyances--,journey to ,holland--,dangerous ,illness in ,the ,hague--,mr4 ,g4 ,sauter's ,account of his ,last ,visit to ,franz ,hals at ,haarlem ,,chapter ,,xlvii4 ,,the ,,end4 ,,the ,,years ,,nineteen ,,hundred ,,and ,,two ,,and ,,nineteen ,,hundred ,,and ,,three #dbc ,return to ,no4 #gd ,cheyne ,walk--,illness--,gradual ,decline--,work-- ,portraits--,prints--,exhibition of ,silver--,degree of ,,ll4,d4 from ,glasgow ,university--,st4 ,louis ,exposition--,worries--,last ,weeks-- ,death--,funeral--,grave ,,appendix #dcg ,,index #dci ,,list ,,of ,,illustrations ,g41 after an etching1 refers to the ,grolier ,club ,catalogue of ,whistler's ,etchings1 #aiaj ,w41 after a lithograph1 refers to ,mr4 ,t4 ,r4 ,way's ,catalogue of ,whistler's ,lithographs1 #aije ,page ,,portrait ,,of ,,the ,,artist 7,by ,himself7 7,oil7 ,frontispiece ,in the ,george ,mc,culloch ,collection ,,portrait ,,of ,,whistler ,,as ,a ,,boy 7,by ,sir ,william ,boxall7 7,oil7 #ab ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,the ,,two ,,brothers 7,miniature7 #ab ,lent by ,miss ,emma ,palmer2 formerly in the possession of ,mrs4 ,george ,d4 ,stanton and ,miss ,emma ,w4 ,palmer ,,bibi ,,lalouette 7,etching4 ,g4 #ea7 #bj ,,street ,,at ,,saverne 7,etching4 ,g4 #ai7 #bj ,from the ,french ,set ,,la ,m,,re ,g,,rard 7,oil7 #bd ,in the possession of ,william ,heinemann ,,head ,,of ,,an ,,old ,,man ,,smoking 7,oil7 #bd ,in the ,muse du ,luxembourg ,,portrait ,,of ,,whistler 7,etching4 ,g4 #ed7 #dj ,,sketches ,,of ,,the ,,journey ,,to ,,alsace 7,pen ,drawings7 #dj ,,portrait ,,of ,,whistler ,,in ,,the ,,big ,,hat 7,oil7 #dd ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,drouet 7,etching4 ,g4 #ee7 #dd ,,at ,,the ,,piano 7,oil7 #eb ,in the possession of ,edmund ,davis1 ,esq4 ,,wapping 7,oil7 #eb ,in the possession of ,mrs4 ,hutton ,,the ,,thames ,,in ,,ice1 ,,the ,,twenty-,,fifth ,,of ,,december #ahfj 7,oil7 #fj ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,rotherhithe 7,etching4 ,g4 #ff7 #fj ,from the ,sixteen ,etchings ,,the ,,music ,,room--,,harmony ,,in ,,green ,,and ,,rose 7,oil7 #fh ,in the possession of ,colonel ,f4 ,hecker ,,annie ,,haden 7,dry-,point4 ,g4 #fb7 #fh ,,the ,,white ,,girl--,,symphony ,,in ,,white1 ,,no4 ,i4 7,oil7 #gf ,in the possession of ,j4 ,h4 ,whittemore1 ,esq4 ,,jo 7,dry-,point4 ,g4 #gg7 #gf ,,the ,,blue ,,wave 7,oil7 #hd ,in the possession of ,a4 ,a4 ,pope1 ,esq4 ,,the ,,forge 7,dry-,point4 ,g4 #fh7 #hd ,from the ,sixteen ,etchings ,,the ,,morning ,,before ,,the ,,massacre ,,of ,,st4 ,,bartholomew #ib 7,wood-,engraving from ,once a ,week1 vol vii4 p4 #baj7 ,,the ,,last ,,of ,,old ,,westminster 7,oil7 #ib ,in the possession of ,a4 ,a4 ,pope1 ,esq4 ,,portrait ,,of ,,whistler 7,by ,himself7 7,chalk ,drawing7 #ajd ,formerly in the possession of ,thomas ,way1 ,esq4 ,,weary 7,dry-,point4 ,g4 #ib7 #ajd ,,study ,,in ,,chalk ,,for ,,the ,,same ,formerly in the possession of ,b4 ,b4 ,mac,george1 ,esq4 ,,the ,,lange ,,leizen ,,of ,,the ,,six ,,marks--,,purple ,,and ,,rose 7,oil7 #ajh ,in the ,j4 ,g4 ,johnson ,collection1 ,philadelphia ,,the ,,balcony--,,harmony ,,in ,,flesh-,,colour ,,and ,,green 7,oil7 #ajh ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,la ,,princesse ,,du ,,pays ,,de ,,la ,,porcelaine--,,rose ,,and ,,silver 7,oil7 #aab ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,variations ,,in ,,violet ,,and ,,green 7,oil7 #aab ,in the possession of ,sir ,charles ,mc,laren1 ,bart4 ,,the ,,little ,,white ,,girl--,,symphony ,,in ,,white1 ,,no4 ,,ii4 7,oil7 #abd ,in the ,national ,gallery1 ,london ,,portrait ,,of ,,dr4 ,,whistler 7,oil7 #abd ,in the possession of ,burton ,mansfield1 ,esq4 ,,valparaiso ,,bay--,,nocturne3 ,,blue ,,and ,,gold 7,oil7 #acb ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,symphony ,,in ,,white1 ,,no4 ,,iii4 7,oil7 #acb ,in the possession of ,edmund ,davis1 ,esq4 ,,whistler',s ,,table ,,palette 7,photograph7 #add ,in the possession of ,mrs4 ,newmarch ,,sea ,,beach ,,with ,,figures 7,study for the ,six ,projects7 7,pastel7 #add ,,the ,,three ,,figures--,,pink ,,and ,,grey 7,oil7 #add ,in the possession of ,alfred ,chapman1 ,esq4 ,,nocturne--,,blue ,,and ,,green 7,oil7 #adh ,in the ,national ,gallery1 ,london ,,nocturne--,,blue ,,and ,,silver 7,oil7 #adh ,in the possession of the ,executors of ,mrs4 ,f4 ,r4 ,leyland ,,the ,,mother--,,arrangement ,,in ,,grey ,,and ,,black 7,oil7 #afj ,in the ,muse du ,luxembourg ,,portrait ,,of ,,thomas ,,carlyle--,,arrangement ,,in ,,grey ,,and ,,black1 ,,no ,,ii4 7,oil7 #afj ,in the ,corporation ,art ,gallery1 ,glasgow ,,portrait ,,of ,,cicely ,,henrietta1 ,,miss ,,alexander--,,harmony ,,in ,,grey ,,and ,,green 7,oil7 #afd ,in the ,national ,gallery1 ,london ,,portrait ,,of ,f4 ,r4 ,,leyland--,,arrangement ,,in ,,black 7,oil7 #afd ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,portrait ,,of ,,mrs4 ,f4 ,r4 ,,leyland--,,symphony ,,in ,,flesh-,,colour ,,and ,,pink 7,oil7 #agb ,in the possession of ,h4 ,c4 ,finck1 ,esq4 ,,portrait ,,of ,,miss ,,leyland 7,pastel7 #agb ,in the possession of the ,executors of ,mrs4 ,f4 ,r4 ,leyland ,,portrait ,,of ,,mrs4 ,,louis ,,huth--,,arrangement ,,in ,,black1 ,,no4 ,,ii4 7,oil7 #ahj ,in the possession of the ,executors of the ,family ,,fanny ,,leyland 7,study for the ,etching4 ,g4 #ajh7 7,pencil ,sketch7 #ahj ,formerly in the possession of ,j4 ,h4 ,wrenn1 ,esq4 ,,whistler ,,in ,,his ,,studio 7,oil7 #aif ,in the ,chicago ,art ,institute ,,maud ,,standing 7,etching4 ,g4 #aad7 #aif ,,portrait ,,of ,,sir ,,henry ,,irving ,,as ,,philip ,,ii4 ,,of ,,spain--,,arrangement ,,in ,,black1 ,,no4 ,,iii4 7,oil7 #bjj ,in the ,metropolitan ,museum1 ,new ,york ,,portrait ,,of ,,sir ,,henry ,,cole 7,oil7 7,destroyed7 #bjj ,from a photograph lent by ,pickford ,r4 ,waller1 ,esq4 ,,portrait ,,of ,,miss ,,rosa ,,corder--,,arrangement ,,in ,,black ,,and ,,brown #bjh 7,oil7 ,in the possession of ,h4 ,c4 ,finck1 ,esq4 ,,the ,,peacock ,,room 7,photograph7 #bjh ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,drawing ,,in ,,wash ,,for ,a ,,catalogue ,,of ,,blue ,,and ,,white ,,nankin ,,porcelain1 ,,forming ,,the ,,collection ,,of ,,sir ,,henry ,,thompson4 ,,london3 ,,ellis ,,and ,,white4 #ahgh #baf ,in the possession of ,pickford ,r4 ,waller1 ,esq4 ,,study 7,lithotint4 ,w4 #b7 #baf ,from a print lent by ,t4 ,r4 ,way1 ,esq4 ,,tall ,,bridge 7,lithograph4 ,w4 #i7 #bbd ,from a print lent by ,t4 ,r4 ,way1 ,esq4 ,,nocturne 7,lithotint4 ,w4 #e7 #bbd ,from ,notes published by ,goupil ,from a print lent by ,t4 ,r4 ,way1 ,esq4 ,,old ,,battersea ,,bridge--,,nocturne ,,in ,,blue ,,and ,,gold 7,oil7 #bcb ,in the ,national ,gallery of ,british ,art1 ,tate ,gallery ,,the ,,falling ,,rocket--,,nocturne ,,in ,,black ,,and ,,gold 7,oil7 #bcb ,in the possession of ,mrs4 ,s4 ,untermeyer ,,the ,,bridge 7,etching4 ,g4 #bjd7 #bdd ,from the ,second ,venice ,set ,by the permission of ,messrs4 ,dowdeswell ,,the ,,doorway 7,etching4 ,g4 #ahh7 #bdd ,from the ,first ,venice ,set ,by the permission of the ,fine ,art ,society ,,the ,,beggars 7,etching4 ,g4 #aid7 #beb ,from the ,first ,venice ,set ,by permission of the ,fine ,art ,society ,,the ,,rialto 7,etching4 ,g4 #baa7 #beb ,from the ,second ,venice ,set ,by the permission of ,messrs4 ,dowdeswell ,,portraits ,,of ,,maud 7,oil7 7,destroyed7 #beh ,from photographs lent by ,pickford ,r4 ,waller1 ,esq4 ,,jubilee ,,memorial ,,from ,,the ,,society ,,of ,,british ,,artists ,,to ,,queen ,,victoria1 #ahhg 7,illumination7 #beh ,in the ,royal ,collection at ,windsor ,,portrait ,,of ,,lady ,,meux--,,harmony ,,in ,,pink ,,and ,,grey 7,oil7 #bfh ,in the possession of ,h4 ,c4 ,finck1 ,esq4 ,,the ,,salute1 ,,venice 7,water-,colour7 #bfh ,in the possession of ,b4 ,b4 ,mac,george1 ,esq4 ,,the ,,yellow ,,buskin--,,arrangement ,,in ,,black 7,oil7 #bgf ,in the ,wilstach ,collection1 ,memorial ,hall1 ,philadelphia ,,portrait ,,of ,m4 ,,th,,odore ,,duret--,,arrangement ,,in ,,flesh-,,colour ,,and ,,pink 7,oil7 #bgf ,in the ,metropolitan ,museum1 ,new ,york ,,portrait ,,of ,,pablo ,,sarasate--,,arrangement ,,in ,,black 7,oil7 #cjd ,in the ,carnegie ,institute1 ,pittsburgh ,,portrait ,,of ,,lady ,,colin ,,campbell--,,harmony ,,in ,,white ,,and ,,ivory 7,oil7 7,destroyed7 #cjd ,from a photograph lent by ,pickford ,r4 ,waller1 ,esq4 ,,annabel ,,lee 7,pastel7 #cab ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,the ,,convalescent 7,water-,colour7 #cab ,in the possession of ,dr4 ,j4 ,w4 ,mac,intyre ,,portrait ,,of ,,miss ,,kinsella--,,the ,,iris1 ,,rose ,,and ,,green 7,oil7 #cbh ,in the possession of ,miss ,kinsella ,,whistler ,,at ,,his ,,printing ,,press ,,in ,,the ,,studio1 ,,rue ,,notre-,,dame-,,des-,,champs1 ,,paris #cbh ,from a photograph by ,m4 ,dornac ,,illustration ,,to ,,little ,,johannes #ccf ,,portrait ,,of ,a ,,lady 7,drawings on ,wood7 ,in the ,pennell ,collection1 ,library of ,congress1 ,washington ,,water-,,colour ,,landscape #ccf ,loaned by ,mrs4 ,mortimer ,menpes ,,the ,,master ,,smith ,,of ,,lyme ,,regis 7,oil7 #cdj ,in the ,boston ,museum of ,fine ,arts ,,the ,,smith1 ,,passage ,,du ,,dragon 7,lithograph4 ,w4 #gc7 #cdj ,,portrait ,,of ,,mrs4 ,a4 ,j4 ,,cassatt #cdd ,,the ,,beach 7,water-,colour7 #cdd ,in the possession of ,mrs4 ,knowles ,,shop ,,window ,,at ,,dieppe 7,water-,colour7 #cdd ,,the ,,thames 7,lithotint4 ,w4 #abe7 #cdh ,,firelight--,,joseph ,,pennell1 ,,no4 ,i4 7,lithograph4 ,w4 #ajd7 #cdh ,from ,lithography and ,lithographers ,by the permission of ,t4 ,fisher ,unwin1 ,esq4 ,,study ,,in ,,brown 7,oil7 #cef ,in the possession of the ,baroness de ,meyer ,,study ,,of ,,the ,,nude 7,pen ,drawing7 #cef ,in the possession of ,william ,heinemann1 ,esq4 ,,the ,,little ,,blue ,,bonnet--,,blue ,,and ,,coral 7,oil7 ,formerly in the possession of ,wm4 ,heinemann1 ,esq4 #cfj ,,rose ,,and ,,gold--,,little ,,lady ,,sophie ,,of ,,soho 7,oil7 #cfj ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art ,,model ,,with ,,flowers 7,pastel7 #cfh ,in the possession of ,j4 ,p4 ,heseltine1 ,esq4 ,,girl ,,with ,a ,,red ,,feather 7,oil7 #cfh ,in the possession of the ,executors of ,j4 ,staats ,forbes ,a ,,freshening ,,breeze 7,oil7 #cgf ,in the possession of ,j4 ,s4 ,ure1 ,esq4 ,,lillie ,,in ,,our ,,alley--,,brown ,,and ,,gold 7,oil7 #cgf ,in the possession of ,j4 ,j4 ,cowan1 ,esq4 ,,the ,,sea1 ,,pourville 7,oil7 #chh ,in the possession of ,a4 ,a4 ,hannay1 ,esq4 ,,the ,,coast ,,of ,,brittany--,,alone ,,with ,,the ,,tide 7,oil7 #chh ,formerly in the possession of ,ross ,winans1 ,esq4 ,,the ,,fur ,,jacket--,,arrangement ,,in ,,black ,,and ,,brown 7,oil7 #chh ,picture in ,progress3 ,from a photograph lent by ,pickford ,r4 ,waller1 ,esq4 ,completed ,picture3 ,in the ,worcester ,museum1 ,massachusetts ,,portrait ,,of ,,mrs4 ,,walter ,,sickert #djd ,in the possession of ,mrs4 ,cobden-,sanderson ,,portrait ,,of ,,miss ,,woakes #djd ,in the possession of ,messrs4 ,knvedler and ,co4 ,,the ,,chelsea ,,girl #daf ,,portrait ,,of ,e4 ,s4 ,,kennedy #daf ,in the ,metropolitan ,museum1 ,new ,york ,,gallery ,,at ,,the ,,london ,,memorial ,,exhibition #dbh ,,gallery ,,at ,,the ,,boston ,,memorial ,,exhibition #dbh ,,whistler',s ,,grave ,,in ,,chiswick ,,cemetery ,,adjoining ,,chiswick ,,churchyard #dbh ,,monument ,,in ,,whistler',s ,,memory ,,at ,,the ,,united ,,states ,,military ,,academy ,,at ,,west ,,point #dbh ,,chapter ,i3 ,,the ,,whistler ,,family4 ,,the ,,years ,,eighteen ,,thirty-,,four ,,to ,,eighteen ,,forty-,,three4 ,james ,abbott ,mc,neill ,whistler was born on ,july #aj1 #ahcd1 at ,lowell1 ,massachusetts1 in the ,united ,states of ,america4 ,whistler1 in the witness-box during the suit he brought against ,ruskin in #ahgh1 gave ,st4 ,petersburg as his birthplace--or the reporters did--and he never denied it4 ,baltimore was given by ,m4 ,thodore ,duret in the ,gazette des ,beaux-,arts 7,april #ahha71 and ,m4 ,duret's mistake1 since corrected by him1 has been many times repeated4 ,the late ,mrs4 ,livermore1 who knew ,whistler as a child at ,lowell1 asked him why he did not contradict this4 ,his answer was3 ,if any one likes to think ,i was born in ,baltimore1 why should ,i deny it8 ,it is of no consequence to me6 ,on entering ,west ,point he stated that ,massachusetts was his place of birth4 ,but1 as a rule1 he met any one indiscreet enough to question him on the subject as he did the ,american who came up to him one evening in the ,carlton ,hotel1 ,london1 and by way of introduction said1 ,you know1 ,mr4 ,whistler1 we were both born at ,lowell1 and at very much the same time4 ,there is only the difference of a year--you are sixty-seven and ,i am sixty-eight4 ,and ,i told him1 said ,whistler1 from whom we had the story the next day1 ',very charming6 ,and so you are sixty-eight and were born at ,lowell6 ,most interesting1 no doubt1 and as you please6 ,but ,i shall be born when and where ,i want1 and ,i do not choose to be born at ,lowell1 and ,i refuse to be sixty-seven6' ,whistler was christened at ,st4 ,anne's ,church1 ,lowell1 ,november #i1 #ahcd4 ,baptized1 ,james ,abbott1 infant son of ,george ,washington and ,anna ,mathilda ,whistler3 ,sponsors1 the parents4 ,signed1 ,t4 ,edson2 so it is recorded in the church register4 ,he was named after ,james ,abbott1 of ,detroit1 who had married his father's elder sister1 ,sarah ,whistler4 ,mc,neill 7his mother's name7 was added shortly after he entered ,west ,point4 ,abbott he always kept for legal and official documents4 ,but1 eventually1 he dropped it for other purposes1 ,j4 ,a4 ,m4 pleasing him no better than ,j4 ,a4 ,w41 and he signed himself ,james ,mc,neill ,whistler or ,j4 ,m4 ,n4 ,whistler4 ,the ,rev4 ,rose ,fuller ,whistler1 in his ,annals of an ,english ,family 7#ahhg71 says that ,john le ,wistler de ,westhannye 7#abgb-acjg7 was the founder of the family4 ,most of the ,whistlers lived in ,goring1 ,whitchurch1 or ,oxford1 and are buried in many a church and churchyard of the ,thames ,valley4 ,brasses and tablets to the memory of several are in the church of ,st4 ,mary at ,goring3 one to ,hugh ,whistler1 the son of ,master ,john ,whistler of ,goring1 who departed this life the #ag ,day of ,januarie ,anno ,dominie #afge being aged #baf years--an amazing statement1 but there it is in the parish church durable as brass can make it1 and it would have delighted ,whistler4 ,the solemn antiquary1 however1 has decided that the #ba is only a badly cut #d4 ,this remarkable ancestor figures as a family ghost at ,gatehampton1 where he is said to have been buried with his money1 and there he still walks1 guarding the treasure he lived so many years to gather4 ,the position of the ,whistlers entitled them to a coat of arms1 described in the ,harleian ,,mss41 ,no4 #aeef1 and thus in ,gwillim's ,heraldry3 ,gules1 five mascles1 in bend between two ,talbots passant argent2 and the motto ,forward4 ,the men were mostly soldiers and parsons4 ,a few made names for themselves4 ,the shield of ,gabriel ,whistler1 of ,combe1 ,sussex1 is one of six in ,king's ,college ,chapel1 ,cambridge4 ,anthony ,whistler1 poet1 friend of ,shenstone1 belonged to the ,whitchurch family4 ,dr4 ,daniel ,whistler 7#afai-afhd71 of the ,essex branch1 was a ,fellow of ,merton1 an original ,fellow of the ,royal ,society1 a member and afterwards ,president of the ,college of ,physicians1 friend of ,evelyn and ,pepys4 ,evelyn often met him in select companie at supper1 and once ,din'd at ,dr4 ,whistler's at the ,physicians ,colledge1 and found him not only learned but the most facetious man in nature1 the legitimate ancestor of ,whistler4 ,pepys1 who also dined and supped with him many times1 pronounced him good company and a very ingenious man4 ,he fell under a cloud with the officials of the ,college of ,physicians1 and his portrait has been consigned to a back stairway of the ,hall in ,pall ,mall4 ,in the seventeenth century ,ralph ,whistler1 of the ,salters' ,company1 ,london1 was one of the colonisers of ,ulster1 and ,francis ,whistler was a settler of ,virginia4 ,when ,whistler saw the name ,francis ,whistler1 ,gentleman1 in the ,genesis of the ,united ,states1 he said to us1 ,there is an ancestor1 with the hall-mark ,f4,f4,v4 ,first ,families of ,virginia1 who tickles my ,american snobbery1 and washes out the taint of ,lowell4 ,the ,american ,whistlers are descended from ,john ,whistler of the ,irish branch4 ,in his youth he ran away and enlisted4 ,sir ,kensington ,whistler1 an ,english cousin1 was an officer in the same regiment1 and objected to having a relative in the ranks4 ,john ,whistler1 therefore1 was transferred to another regiment starting for the ,american colonies4 ,he arrived in time to surrender at ,saratoga with ,burgoyne4 ,he went back to ,england1 received his discharge1 eloped with ,anna1 daughter of ,sir ,edward ,bishop or ,bischopp1 and1 returning to ,america1 settled at ,hagerstown1 ,maryland4 ,he again enlisted1 this time in the ,united ,states army4 ,he rose to the brevet rank of major and served in the war of #ahab against ,great ,britain4 ,he was stationed at ,fort ,dearborn1 which he helped to build1 and ,fort ,wayne4 ,according to ,mr4 ,a4 ,j4 ,eddy 7,recollections and ,impressions of ,whistler71 ,whistler once said to a visitor from ,chicago3 ,chicago1 dear me1 what a wonderful place6 ,i really ought to visit it some day2 for1 you know1 my grandfather founded the city1 and my uncle was the last commander of ,fort ,dearborn6 ,in #ahae1 upon the reduction of the army1 ,major ,john ,whistler was retired4 ,he died in #ahag1 at ,bellefontaine1 ,missouri4 ,of his fifteen children1 three sons are remembered as soldiers1 and three daughters married army officers4 ,george ,washington1 the most distinguished son1 was the father of ,james ,abbott ,mc,neill ,whistler4 ,george ,washington ,whistler was born on ,may #ai1 #ahjj1 at ,fort ,wayne4 ,he was educated mostly at ,newport1 ,kentucky2 and from ,kentucky1 when a little over fourteen1 he received his appointment to the ,military ,academy1 ,west ,point1 where he is remembered for his gaiety4 ,mr4 ,george ,l4 ,vose1 his biographer1 and others tell stories that might have been told of his son4 ,one is of some breach of discipline1 for which he was made to bestride a gun on the campus4 ,as he sat there he saw1 coming towards him1 the ,miss ,swift he was before long to marry4 ,out came his handkerchief1 and1 leaning over the gun1 he set to work cleaning it so carefully that he was honoured1 not disgraced1 in her eyes4 ,he was number one in drawing1 and his playing on the flute won him the nickname ,pipes4 ,he graduated on ,july #a1 #ahai4 ,he was appointed second lieutenant in the ,first ,artillery1 and1 in #ahbi1 first lieutenant in the ,second ,artillery4 ,he served on topographical duty1 and for a few months he was assistant professor at the ,academy4 ,there was not much fighting for ,american officers of his generation4 ,but railroads were being built1 and so few were the civil engineers that ,west ,point graduates were allowed by ,government to work for private corporations1 and he was employed on the ,baltimore and ,ohio ,railroad1 the ,baltimore and ,susquehanna1 and the ,paterson and ,hudson ,river4 ,for the ,baltimore and ,ohio he went to ,england in #ahbh to examine the railway system4 ,he was building the line from ,stonington to ,providence1 when1 in #ahcc1 he resigned from the army with the rank of major1 to carry on his profession as a civil engineer4 ,in the meanwhile ,major ,whistler had married twice4 ,his first wife was ,mary ,swift1 daughter of ,dr4 ,foster ,swift1 of the ,united ,states army4 ,she left three children3 ,george1 who became a well known civil engineer2 ,joseph1 who died in youth2 and ,deborah1 ,lady ,haden4 ,his second wife was ,anna ,mathilda ,mc,neill1 daughter of ,dr4 ,charles ,donald ,mc,neill1 of ,wilmington1 ,north ,carolina1 and sister of ,william ,gibbs ,mc,neill1 a ,west ,point classmate and an associate in ,major ,whistler's engineering work4 ,the ,mc,neills were descended from the ,mc,neills of ,skye4 ,their chief1 ,donald1 emigrated with sixty of his clan to ,north ,carolina in #agdf1 and bought land on ,cape ,fear ,river4 ,charles ,donald ,mc,neill was his grandson and was twice married2 his second wife1 ,martha ,kingsley1 was the mother of ,anna ,mathilda ,mc,neill1 who became ,mrs4 ,george ,washington ,whistler4 ,the ,mc,neills were related by marriage to the ,fairfaxes and other ,virginia families1 and ,whistler1 on his mother's side1 was the ,southerner he loved to call himself4 ,in #ahcd ,major ,whistler accepted the post of engineer of locks and canals at ,lowell1 and to this town he brought his family4 ,there1 in the ,paul ,moody ,house on ,worthen ,street1 ,james ,mc,neill ,whistler was born1 and the house is now a ,whistler ,memorial ,museum4 ,two years later the second son1 ,william ,gibbs ,mc,neill1 was born4 ,in #ahcg ,major ,whistler moved to ,stonington1 ,connecticut1 and ,miss ,emma ,w4 ,palmer and ,mrs4 ,dr4 ,stanton1 his wife's nieces1 still remember his pleasant house on ,main ,street4 ,it is said that he had a chaise fitted with car wheels in which he and his family drove every ,sunday on the tracks to church at ,westerly2 also that a locomotive named ,whistler was in use on the road until recently4 ,he was consulted in regard to many new lines1 among them the ,western ,railroad of ,massachusetts1 for which he was consulting engineer from #ahcf to #ahdj4 ,in #ahdj he was made chief engineer1 and he removed to ,springfield1 ,massachusetts1 where he lived in the ,ethan ,chapin ,homestead on ,chestnut ,street1 north of ,edward ,street4 ,a third son1 ,kirk ,booth1 born at ,stonington in #ahch1 died at ,springfield in #ahdb1 and here a fourth son1 ,charles ,donald1 was born in #ahda4 ,in #ahdb ,nicholas ,i4 of ,russia sent a commission1 under ,colonel ,melnikoff1 round ,europe and ,america to find the best method and the best man to build a railroad from ,st4 ,petersburg to ,moscow1 and they chose the ,american1 ,george ,washington ,whistler4 ,the honour was great and the salary large1 #ab1jjj dollars a year4 ,he accepted1 and started for ,russia in ,midsummer #ahdb1 leaving his family at ,stonington4 ,the life of a child1 for the first nine years or so1 is not of much interest to any save his parents4 ,an idea can be formed of ,whistler's early training4 ,his father was a ,west ,point man1 with all that is fine in the ,west ,point tradition4 ,mrs4 ,whistler1 described as one of the saints upon earth1 was as strict as a ,puritan4 ,dr4 ,whistler--,willie--often told his wife of the dread with which he and ,jimmie looked forward to ,saturday afternoon1 with its overhauling of clothes1 emptying of pockets1 washing of heads1 putting away of toys1 and preparation for ,sunday1 when the ,bible was the only book they read4 ,of the facts of his childhood there are few to record4 ,mrs4 ,livermore remembered his baby beauty1 so great that her father used to say it was enough to make ,sir ,joshua ,reynolds come out of his grave and paint ,jemmie asleep4 ,in his younger years he was called ,jimmie1 ,jemmie1 ,jamie1 ,james1 and ,jim1 and we use these names as we have found them in the letters written to us and the books quoted4 ,mrs4 ,livermore dwelt on the child's beautiful hands1 which belong to so many of the ,whistlers4 ,when she returned to ,lowell in #ahcf from the ,manor ,school at ,york1 ,england1 ,mrs4 ,whistler's son1 ,willie1 had just been born3 ,as soon as ,mrs4 ,whistler was strong enough1 she sent for me to go and see her boy1 and ,i did see her and her baby in bed6 ,and then ,i asked1 ',where is ,jemmie1 of whom ,i have heard so much8' ,she replied1 ',he was in the room a short time since1 and ,i think he must be here still4' ,so ,i went softly about the room till ,i saw a very small form prostrate and at full length on the shelf under the dressing-table1 and ,i took hold of an arm and a leg and placed him on my knee1 and then said1 ',what were you doing1 dear1 under the table8' ',i'se drawrin'1' and in one very beautiful little hand he held the paper1 in the other the pencil4 ,the pencil drawings which we have seen1 owned by ,mrs4 ,livermore1 are curiously firm and strong for a child of four4 ,,chapter ,,ii3 ,,in ,,russia4 ,,the ,,years ,,eighteen ,,forty-,,three ,,to ,,eighteen ,,forty-,,nine4 ,in #ahdc1 when ,whistler was nine years old1 ,major ,whistler sent for his wife and children4 ,mrs4 ,whistler sailed from ,boston in the ,arcadia1 ,august #ab1 #ahdc1 taking with her ,deborah and the three boys1 ,james1 ,william1 and ,charles4 ,george ,whistler1 ,major ,whistler's eldest son1 and her good maid ,mary went with them4 ,the story of their journey and their life in ,russia is recorded in ,mrs4 ,whistler's journal4 ,they arrived at ,liverpool on the #bith of the same month4 ,mrs4 ,whistler's two half-sisters1 ,mrs4 ,william ,winstanley and ,miss ,alicia ,mc,neill1 lived at ,preston1 and there they stayed a fortnight4 ,then1 after a few days in ,london1 they sailed for ,hamburg4 ,there was no railroad from ,hamburg1 so they drove by carriage to ,lbeck1 by stage to ,travemnde1 where they took the steamer ,alexandra for ,st4 ,petersburg1 and ,george ,whistler left them4 ,between ,travemnde and ,cronstadt1 ,charles1 the youngest child1 fell ill of seasickness and died within a day4 ,there was just time to bury him at ,cronstadt--temporarily2 he was afterwards buried at ,stonington--and his death saddened the meeting between ,major ,whistler and his wife and children4 ,mrs4 ,whistler objected to hotels and to boarding1 and a house was found in the ,galernaya4 ,she did her best to make it not only a comfortable1 but an ,american home1 for ,major ,whistler's attachment to his native land1 she said1 was so strong as to be almost a religious sentiment4 ,their food was ,american1 ,american holidays were kept in ,american fashion4 ,many of their friends were ,americans4 ,major ,whistler was nominally consulting engineer to ,colonel ,melnikoff1 but actually in charge of the construction and equipment of the line1 and as the material was supplied by the firm of ,winans of ,baltimore1 ,mr4 ,winans and his partners1 ,messrs4 ,harrison and ,eastwick1 of ,philadelphia1 were in ,russia with their families4 ,mrs4 ,whistler's strictness did not mean opposition to pleasure4 ,yet at times she became afraid that her boys were not keeping to the straight and narrow way4 ,there were evenings of illuminations that put off bedtime2 there were afternoons of skating and coasting2 ,christmas gaieties1 with ,christmas dinners of roast turkey and pumpkin pie2 visits to ,american friends2 parties at home1 when the two boys behaved like gentlemen1 and their father commended them upon it2 there were presents of guns from the father1 returning from long absences on the road2 there were dancing lessons1 which ,jemmie would have done anything rather than miss4 ,whistler as a boy was exactly what those who knew him as a man would expect2 gay and bright1 absorbed in his work when that work was art1 brave and fearless1 selfish if selfishness is another name for ambition1 considerate and kindly1 above all to his mother4 ,the boy1 like the man1 was delightful to those who understood him2 startling1 alarming1 to those who did not4 ,mrs4 ,whistler's journal soon becomes extremely interesting3 ,march #bi 7#ahdd74 ,i must not omit recording our visiting the ,gastinnoi to-day in anticipation of ,palm ,sunday4 ,our two boys were most excited1 ,jemmie's animation roused the wonder of many1 for even in crowds here such decorum and gravity prevails that it must be surprising when there is any ebullition of joy4 ,april #bb 7#ahdd74 ,jemmie is confined to his bed with a mustard plaster on his throat2 he has been very poorly since the thawing season commenced1 soon becoming overheated1 takes cold2 when he complained of pain first in his shoulder1 then in his side1 my fears of a return of last year's attack made me tremble1 and when ,i gaze upon his pale face sleeping1 contrasted to ,willie's round cheeks1 my heart is full2 our dear ,james said to me the other day1 so touchingly1 ',oh1 ,i am sorry the ,emperor ever asked father to come to ,russia1 but if ,i had the boys here1 ,i should not feel so impatient to get back to ,stonington1' yet ,i cannot think the climate here affects his health2 ,willie never was as stout in his native land1 and ,james looks better than when we brought him here4 ,at eight o'clock ,i am often at my reading or sewing without a candle1 and ,i cannot persuade ,james to put up his drawing and go to bed while it is light4 ,the journal explains that ,whistler as a boy suffered from severe rheumatic attacks that added to the weakness of his heart1 the eventual cause of his death4 ,major and ,mrs4 ,whistler rented a country-house on the ,peterhoff ,road in the spring of #ahdd4 ,there is an account of a day at ,tsarsko ,sel1 when ,colonel ,todd1 ,american ,minister to ,russia1 showed them the ,palace3 ,may #f 7#ahdd74 ,rode to the station1 and took the cars upon the only railroad in ,russia1 which took us the twenty versts to the pretty town4 ,it would be ungenerous in me to remark how inferior the railroad1 cars1 c41 seemed to us ,americans4 ,the boys were delighted with it all4 ,jemmie wished he could stay to examine the fine pictures and know who painted them1 but as ,i returned through the grounds ,i asked him if he should wish to be a grand duke and own it all for playgrounds3 he decided there could be no freedom with a footman at his heels4 ,july #a 7#ahdd74 444 ,i went with ,willie to do some shopping in the ,nevski4 ,he is rather less excitable than ,jemmie1 and therefore more tractable4 ,they each can make their wants known in ,russ41 but ,i prefer this gentlest of my dear boys to go with me4 ,we had hardly reached home when a tremendous shower came up1 and ,jemmie and a friend1 who had been out in a boat on a canal at the end of our avenue1 got well drenched4 ,just as we were seated at tea1 a carriage drove up and ,mr4 ,miller entered1 introducing ,sir ,william ,allen1 the great ,scotch artist1 of whom we have heard lately1 who has come to ,st4 ,petersburg to revive on canvas some of the most striking events from the life of ,peter the ,great4 ,they had been to the monastery to listen to the chanting at vespers in the ,greek chapel4 ,mr4 ,miller congratulated his companion on being in the nick of time for our excellent home-made bread and fresh butter1 but1 above all1 the refreshment of a good cup of tea4 ,his chat then turned upon the subject of ,sir ,william ,allen's painting of ,peter the ,great teaching the mujiks to make ships4 ,this made ,jemmie's eyes express so much interest that his love for art was discovered1 and ,sir ,william must needs see his attempts4 ,when my boys had said good night1 the great artist remarked to me1 ',your little boy has uncommon genius1 but do not urge him beyond his inclination4' ,i told him his gift had only been cultivated as an amusement1 and that ,i was obliged to interfere1 or his application would confine him more than we approved4 ,of these attempts there remain few examples4 ,one is the portrait of his aunt ,alicia ,mc,neill1 who visited them in ,russia in #ahdd1 sent to ,mrs4 ,palmer at ,stonington1 with the inscription3 ,james to ,aunt ,kate4 ,in a letter to ,mrs4 ,livermore1 written in ,french1 when he was ten or eleven1 he enclosed some pretty pen-and-ink drawings1 each on a separate bit of paper1 and each surrounded by a frame of his own designing4 ,he told us he could remember wonderful things he had done during the years in ,russia4 ,once1 he said1 when on a holiday in ,london with his father1 he was not well1 and was given a hot foot-bath1 and he could never forget how he sat looking at his foot1 and then got paper and colours and set to work to make a study of it1 and in ,russia1 he added1 ,i was always doing that sort of thing4 ,july #d 7#ahdd74 ,i have given my boys holiday to celebrate the ,independence of their country4444 ,this morning ,jemmie began relating anecdotes from the life of ,charles ,,xii4 of ,sweden1 and rather upbraided me that ,i could not let him do as that monarch had done at seven years old--manage a horse6 ,i should have been at a loss how to afford my boys a holiday1 with a military parade to-day1 but there was an encampment of cadets1 about two estates off1 and they went with ,colonel ,t4's sons to see them4 ,july #aj 7#ahdd74 ,a poem selected by my darling ,jamie and put under my plate at the breakfast-table1 as a surprise on his tenth birthday4 ,i shall copy it1 that he may be reminded of his happy childhood when perhaps his grateful mother is not with him4 ,august #bj 7#ahdd74 444 ,jemmie is writing a note to his ,swedish tutor on his birthday4 ,jemmie loves him sincerely and gratefully4 ,i suppose his partiality to this ,swede makes him espouse his country's cause and admire the qualities of ,charles ,,xii4 so greatly to the prejudice of ,peter the ,great4 ,he has been quite enthusiastic while reading the life of this ,king of ,sweden1 this summer1 and too willing to excuse his errors4 ,august #bc 7#ahdd74 ,i wish ,i could describe the gardens at ,peterhoff where we were invited to drive to-day4 ,the fountains are1 perhaps1 the finest in the world4 ,the water descends in sheets over steps1 all the heathen deities presiding4 ,jemmie was delighted with the figure of ,samson tearing open the jaws of the lion1 from which ascends a jet d'eau one hundred feet4444 ,there are some fine pictures1 but ,peter's own paintings of the feathered race ought to be most highly prized1 though our ,jemmie was so saucy as to laugh at them4 ,august #bh 7#ahdd74 ,i avail myself of ,col4 ,todd's invitation to visit ,tsarsko ,sel to-day with ,aunt ,alicia1 ,deborah1 and the two dear boys1 who are always so delighted at these little excursions4444 ,my little ,jemmie's heart was made sad by discovering swords which had been taken in the battle between ,peter and ,charles ,,xii41 for he knew1 from their rich hilts set in pearls and precious stones1 that they must have belonged to noble ,swedes4 ',oh6' he exclaimed1 ',i'd rather have one of these than all the other things in the armoury6 ,how beautiful they are6'444 ,i was somewhat annoyed that ,col4 ,todd had deemed it necessary to have a dinner party for us4 444 ,the colonel proposed the ,emperor's health in champagne1 which not even the ,russian general1 who declined wine1 could refuse1 and even ,i put my glass to my lips1 which so encouraged my little boys that they presented their glasses to be filled1 and1 forgetting at their little side-table the guests at ours1 called out aloud1 ',sant l',empereur6' ,the captain clapped his hands with delight1 and afterwards addressed them in ,french4 ,all at the table laughed and called the boys ',bons sujets4' ,they were at ,st4 ,petersburg again in ,september1 preparing their ,christmas gifts for ,america4 ,whistler1 sending one to his cousin ,amos ,palmer1 wrote in an outburst of patriotism that the ,english were going to ,america to be licked by the ,yankees3 it was at the time of the disagreement over ,oregon ,territory4 ,in another letter he gives the ,fourth of ,july as his birthday4 ,ash ,wednesday 7#ahde74 ,i avail myself of this ,lenten season to have my boys every morning before breakfast recite a verse from the ,psalms1 and ,i1 who wish to encourage them1 am ready with my response4 ,how very thankful ,i shall be when the weather moderates so that ,jemmie's long imprisonment may end1 and ,willie have his dear brother with him in the skating grounds and ice-hills4 ,here comes my good boy ,jemmie now1 with his history in hand to read to me1 as he does every afternoon1 as we fear they may lose their own language in other tongues1 and thus ,i gain a half-hour's enjoyment by hearing them read daily4 ,april #e 7#ahde74 ,our boys have left the breakfast table before eight o'clock to trundle their new hoops on the ,quai with their governess1 and have brought home such bright red cheeks and buoyant spirits to enter the schoolroom with and to gladden my eyes4 ,jemmie began his course of drawing lessons at the ,academy of ,fine ,arts just on the opposite side of the ,neva1 exactly fronting my bedroom window4 ,he is entered at the second room4 ,there are two higher1 and he fears he shall not reach them1 because the officer who is still to continue his private lesson at home is a pupil himself in the highest1 and ,jemmie looks up to him with all the reverence an artist merits4 ,he seems greatly to enjoy going to his class1 and yesterday had to go by the bridge on account of the ice1 and felt very important when he told me he had to give the ,isvshtclk fifteen copecks silver instead of ten4 ,in the archives of the ,imperial ,academy of ,science there is a ,list of ,scholars of the ,imperial ,academy of ,fine ,arts1 and in this and the ,class ,journal of the ,inspector for #ahde ,james ,whistler is entered as belonging to the drawing class1 heads from ,nature4 ,in #ahdf he was on ,march #b examined and passed as first in his class1 the number being twenty-eight4 ,from #ahde to #ahdi ,professors ,vistelious and ,voivov were the masters of the life class4 ,on ,may #ad 7#ahde7 there was a review of troops in ,st4 ,petersburg1 and the ,whistlers saw it from a window in the ,prince of ,oldenburg's palace4 ,jemmie's eagerness to attain all his desires for information and his fearlessness often makes him offend1 and it makes him appear less amiable than he really is4 ,the officers1 however1 seemed to find amusement in his remarks in ,french or ,english as they accosted him4 ,they were soon informed of his military ardour1 and that he hoped to serve his country4 ,england8 ,no1 indeed6 ,russia1 then8 ,no1 no2 ,america1 of course6 ,may #b 7#ahdf74 ,the boys are in the schoolroom now1 reading the ,roman history in ,french to ,m4 ,lamartine1 promising themselves the pleasure of reviewing the pictures at the ,academy of ,fine ,arts at noon1 which they have enjoyed almost every day this week4 ,it is the ,triennial ,exhibition1 and we like them to become familiar with the subjects of the modern artists1 and to ,james especially it is the greatest treat we could offer4 ,i went last ,wednesday with ,whistler and was highly gratified4 ,i should like to take some of the ,russian scenes so faithfully portrayed to show in my native land4 ,my ,james had described a boy's portrait said to be his likeness1 and although the eyes were black and the curls darker1 we found it so like him that his father said he would be glad to buy it1 but its frame would only correspond with the furniture of a palace4 ,the boy is taken in a white shirt with crimped frill1 open at the throat2 it is half-length1 and no other garment could show off the glow of the brunette complexion so finely4 ,may #cj 7#ahdf74 ,yesterday the ,empress was welcomed back to ,st4 ,petersburg4 ,last night the illumination which my boys had been eagerly expecting took place4 ,when at #aj4cj they came in1 ,jamie expressed such an eager desire that ,i would allow him to be my escort just to take a peep at the ,nevski that ,i could not deny him4 ,the effect of the light from ,vasili ,ostrow was very beautiful1 and as we drove along the ,quai1 the flowers and decorations of large mansions were1 ,i thought1 even more tasteful4 ,we had to fall into a line of carriages in the ,isaac ,square to enter that ,broadway1 and just then a shout from the populace announced to us that the ,empress was passing4 ,i was terrified lest the poles of their carriage should run into our backs1 or that some horses might take fright or bite us1 we were so close1 but ,jamie laughed heartily and aloud at my timidity4 ,he behaved like a man4 ,with one arm he guarded me1 and with the other kept the animals at a proper distance2 and1 ,i must confess1 brilliant as the spectacle was1 my great pleasure was derived from the conduct of my dear and manly boy4 ,illustration3 ,,portrait ,,of ,,whistler ,,as ,a ,,boy ,by ,sir ,william ,boxall ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art 7,see page #ah7 ,illustration3 ,,the ,,two ,,brothers4 ,,miniature ,lent by ,miss ,emma ,palmer ,formerly in the possession of ,mrs4 ,george ,d4 ,stanton and ,miss ,emma ,w4 ,palmer ,artist unknown 7,see page #ai7 ,july #g 7#ahdf74 ,my two boys found much amusement in propelling themselves on the drawbridge to and from the fancy island in the pond at ,mrs4 ,g4's1 where we went to spend the day2 they find it such a treat to be in the country1 and just run wild1 chasing butterflies and picking the wild flowers so abundant4 ,but nothing gave them so much pleasure as their #dth ,july1 spent with their little ,american friends at ,alexandrovsky1 the ,eastwicks2 the fireworks1 percussion caps1 muskets1 horseback riding1 c41 made them think it the most delightful place in ,russia4 ,in some way ,james caught cold1 and his throat was so inflamed that leeches were applied1 and he has been in consequence confined to his room4444 ,we spend our mornings in reading1 drawing1 c4 ,then the boys take their row with good ,john across the ,neva1 to the morning bath1 and in the cool of the afternoon a drive to the island1 or a range in the summer gardens1 or a row on the river4 ,july #bg 7#ahdf74 ,last ,wednesday they had another long day in the country1 and got themselves into much mischief4 ,they had at last broken the ropes of the drawbridge1 by which it was drawn to and from the island1 and there were my wild boys prisoners on it4 ,i thought it best for them to remain so1 as they were so unruly1 but the good-natured dominie was pressed into their service1 and swimming to their rescue1 ere ,i could interfere2 ,jemmie was so drenched by his efforts that dear ,mrs4 ,r4 took him away to her room to coax him to lie down awhile and to rub him dry1 lest his sore throat return to tell a tale of disobedience4 444 ,on ,thursday there was another grand celebration of the birthday of the ,grand ,duchess ,olga4 ,i gladly gave ,mary permission to take the boys in our carriage4444 ,they were gone so long that ,i grew anxious about them1 but finally they arrived very tired1 and poor ,mary said she never wanted to go in such a crowd again4 ,james had protected her as well as he was able1 but she was glad to get home safely4 ,the boys1 however1 enjoyed it immensely1 as they saw all the ,imperial family within arm's length1 as they alighted from their pony chaises to enter the ,new ,palace4444 ,we were invited to go to the ,new ,palace1 and went immediately to the apartment occupied by his lamented daughter4 ,on one side is the lovely picture painted by ,buloff1 so like her in life and health1 though taken after death1 as representing her spirit passing upwards to the palace above the blue sky4 ,she wears her ,imperial robes1 with a crown on her head2 at the back of the crown is a halo of glory--the stars surround her as she passes through them4 ,no wonder ,james should have thought this picture the most interesting of all the works of art around us4 ,in the autumn of #ahdf ,major ,whistler placed the boys1 as boarders1 at ,m4 ,jourdan's school4 ,my dear boys almost daily exchange billet-doux with mother1 since their absence of a week at a time from home4 ,james reported everything 'first-rate1' even to brown bread and salt for breakfast1 and greens for dinner1 and both forbore to speak of homesickness1 and welcome1 indeed1 were they on their first ,saturday at home1 when they opened the front door and called ',mother1 ,mother6' as they rushed in all in a glow1 and they looked almost handsome in their new round black cloth caps1 set to one side of their cropped heads1 and the tight school uniform of grey trousers and black jacket makes them appear taller and straighter2 ,jamie found the new suit too tight for his drawing lesson1 so he sacrificed vanity to comfort1 and was not diverted from his two hours' drawing by the other boys' frolics1 which argues well for his determination to improve1 as he promised his father4 ,how ,i enjoyed having them back and listening to all their chat about their school--they seemed to enjoy their nice home tea4 ,when it came time for them to go back1 ,willie broke down and told me all he had suffered from homesickness1 and when ,i talked to my more manly ,james1 ,i unfortunately said1 ',you do not know what he feels4' ,then ,jamie's wounded love melted him into tears1 as he said1 ',oh6 mother1 you think ,i don't miss being away from home6' ,he brushed away the shower with the back of his hand as if he was afraid of being seen weeping4 ,dear boys1 may they never miss me as ,i miss them6 ,shortly after this1 ,mrs4 ,whistler's youngest son1 ,john ,bouttatz1 born in the summer of #ahde1 died4 ,november #ad 7#ahdf74 ,jamie was kept in until night last ,saturday1 and made to write a given portion of ,french over twenty-five times as a punishment for stopping to talk to a classmate after their recitation1 instead of marching back to his seat according to order--poor fellow1 it was rather severe when he had looked only for rewards during the week2 as he had not had one mark of disapprobation in all that time1 and was so much elated by his number of good balls for perfect recitations that he forgot disobedience of orders is a capital offence under military discipline4 ,he lost his drawing lesson1 and made us all unhappy at home4 ,we tried to keep his dinner hot1 but his appetite had forsaken him1 although only having eaten a penny roll since breakfast--he dashed the tears of vexation from his eyes at losing his drawing lesson1 but his cheerfulness was soon restored and we had our usual pleasant evening4 ,january #bc 7#ahdg74 ,it is three weeks this afternoon since the dear boys came home from school to spend the ,russian ,christmas and holidays1 and it seems not probable that they shall return again to ,m4 ,jourdan's this winter4 ,james was drooping from the close confinement1 and for two days was confined to his bed4 ,then ,willie was taken4 ,they are quite recovered now1 and skate almost daily on the ,neva1 and ,jamie often crosses on the ice to the ,academy of ,fine ,arts to spend an hour or two4 ,january #cj 7#ahdg74 ,jamie was taken ill with a rheumatic attack soon after this1 and ,i have had my hands full1 for he has suffered much with pain and weariness1 but he is gradually convalescing1 and to-day he was able to walk across the floor2 he has been allowed to amuse himself with his pencil1 while ,i read to him2 he has not taken a dose of medicine during the attack1 but great care was necessary in his diet4 ,february #bg 7#ahdg74 ,never shall ,i cease to record with deep gratitude dear ,jamie's unmurmuring submission these last six weeks4 ,he still cannot wear jacket or trousers1 as the blistering still continues on his chest4 ,what a blessing is such a contented temper as his1 so grateful for every kindness1 and rarely complains4 ,he is now enjoying a huge volume of ,hogarth's engravings1 so famous in the ,gallery of ,artists4 ,we put the immense book on the bed1 and draw the great easy-chair close up1 so that he can feast upon it without fatigue4 ,he said1 while so engaged yesterday1 ',oh1 how ,i wish ,i were well2 ,i want so to show these engravings to my drawing-master2 it is not everyone who has a chance of seeing ,hogarth's own engravings of his originals1' and then added1 in his own happy way1 'and if ,i had not been ill1 mother1 perhaps no one would have thought of showing them to me4' ,from this time until his death1 ,whistler maintained that ,hogarth was the greatest ,english artist1 and never lost an opportunity of saying so4 ,his long illness in #ahdg is therefore memorable as the beginning of his love of ,hogarth and also as a proof of his early appreciation of great art4 ,curiously1 in his mother's diary there is no mention of the ,hermitage1 nor in his talks with us did he ever refer to it and to the pictures there by ,velasquez1 the artist he later grew to admire so enormously4 ,march #bc 7#ahdg74 ,after many postponements1 the ,emperor finally inspected the ,railroad 444 and many of the ,court were invited4 ,the day after his visit 444 the ,court held a leve1 my husband was invited2 when he arrived was summoned to a private audience in an inner apartment2 the ,emperor met him with marked kindness1 kissed him on each side his face1 and hung an ornament suspended by a scarlet ribbon around his neck1 saying the ,emperor thus conferred upon him the ,order of ,st4 ,anne4 ,whistler1 as such honours are new to ,republicans1 was somewhat abashed1 but when he returned with the ,court to the large circle in the outer room1 he was congratulated by the officers generally4 ,it is said that when ,major ,whistler was asked to wear the ,russian uniform he refused4 ,the decoration he could not decline4 ,whistler told us that the ,emperor was most impressed with the way his father met every difficulty4 ,when ,major ,whistler asked the ,czar how the line should be built1 showing him the map of the country between ,st4 ,petersburg and ,moscow1 the ,czar1 as everybody now knows1 took a ruler1 drew a straight line from one city to the other1 and the railroad follows that ruled line4 ,but everybody does not know that when the rolling stock was ready it was found to have been made of a different gauge from the rails4 ,the people who supplied it demanded to be paid4 ,major ,whistler not only refused1 but burnt it1 and took the responsibility4 ,mrs4 ,whistler and the three children spent the summer of #ahdg in ,england1 where ,major ,whistler joined them4 ,they visited their relations1 and before their return ,deborah was married4 ,she had met ,seymour ,haden1 a young surgeon1 while staying with friends1 the ,chapmans1 at ,preston4 ,october #aj 7#ahdg74 ,deborah's wedding day4 ,bright and pleasant4 ,james the only groomsman1 and very proud of the honour4 ,the next summer 7#ahdh7 ,mrs4 ,whistler went back to ,england4 ,jamie had had another of his bad attacks of rheumatic fever1 cholera broke out in ,st4 ,petersburg2 at its very name1 she wrote1 my heart failed me4 ,on ,july #f she left for ,london with her boys4 ,jamie was better1 and anxious to make a portrait of a young ,hindu aboard4 ,july #bb 7#ahdh74 ,shanklin1 ,isle of ,wight4 ,this is ,willie's twelfth birthday and has been devoted to his pleasure2 poor ,jamie was envious that he could not bathe with us in the beautiful summer sea1 for the doctors think the bracing air as much as he can bear2 we three had a seaside ramble and then returned to rest at our cottage4 ,i plied the needle1 while my boys amused themselves1 ,willie in making wax flowers and ,jemmie in drawing4 ,monday no date4 ,this day being especially fine1 ,mrs4 ,p4 took the boys on a pedestrian excursion along the shore to ,culver ,cliffs4 ,in the hope that ,jamie might finish his sketch of ,cook's ,castle1 we started the next day after an early dinner1 taking a donkey with us for fear of fatigue for ,james or ,deborah4444 ,we availed ourselves of a lovely bright morning to take a drive1 said to be the most charming in ,england1 along the south coast of the ,isle as far as ',black ,gang ,chine1' where we alighted at the inn4 ,jamie flew off like a sea-fowl1 his sketch-book in hand1 and when ,i finally found him1 he was seated on the red sandy beach1 down1 down1 down1 where it was with difficulty ,willie and ,i followed him4 ,he was attempting the sketch of the waterfall and cavern up the side of the precipice2 he came back later1 glowing with the exercise of climbing1 with sketch-book in hand1 and laughing at being ',jacky last1' as we were all assembled for our drive back4 ,james did not return with ,mrs4 ,whistler4 ,it was feared his health would not stand another ,russian winter4 ,he stayed with the ,hadens at #fb ,sloane ,street1 and studied with a clergyman who had one other pupil4 ,it was then that ,boxall1 commissioned by ,major ,whistler1 painted his portrait1 when he was fourteen years old1 ,mrs4 ,thynne1 his niece1 says4 ,mr4 ,alan ,s4 ,cole1 ,c4,b41 recalls that ,whistler1 as early as #ahdi1 was staying with the ,hadens in ,sloane ,street1 and went to one or two children's parties given by the old ,dilkes4 ,to these also went my elder sisters and ,miss ,thackeray and so met ,jimmy4 ,seymour ,haden was our family doctor--with whose family ours was intimate--very much on account of the early relations between my father1 his brothers1 and ,seymour ,haden1 dating from schooldays at ,christ's ,hospital4 ,major ,whistler1 through the summer of #ahdh1 continued his work1 though cholera raged4 ,in ,november he was attacked4 ,he recovered1 but his health was shaken2 he overtaxed his strength1 and on ,april #i1 #ahdi1 he died3 the immediate cause heart trouble1 which his son inherited4 ,he had been employed or consulted also in the building of the iron roof of the ,riding ,house at ,st4 ,petersburg and the iron bridge over the ,neva1 in the improvement of the ,dvina at ,archangel1 and the fortifications1 the arsenal1 and the docks at ,cronstadt4 ,he was buried in ,evergreen ,cemetery1 ,stonington1 with three of his sons1 and a monument was erected to his memory by his fellow officers in ,greenwood ,cemetery1 ,brooklyn4 ,the ,emperor suggested1 ,whistler told us1 that the boys should be educated in the school for ,court pages4 ,but ,mrs4 ,whistler determined to take them home1 and the ,emperor sent her in his ,state barge to the ,baltic4 ,she went to the ,hadens1 where she found ,james grown tall and strong4 ,in ,london they forgot for a moment their sorrow in their visit to the ,royal ,academy 7#ahdi71 in ,trafalgar ,square1 where ,boxall's portrait of ,james was exhibited4 ,a short visit to ,preston followed1 the two boys carried off by kind ,aunt ,alicia to ,edinburgh and ,glasgow1 and then they met in ,liverpool4 ,economy made ,mrs4 ,whistler hesitate between steamer and sailing-packet1 but1 by the advice of ,george ,whistler1 she took the steamer ,america1 ,july #bi1 #ahdi1 for ,new ,york1 where they arrived on ,august #i1 at once going by boat to ,stonington4 ,,chapter ,,iii3 ,,schooldays ,,in ,,pomfret4 ,,the ,,years ,,eighteen ,,forty-,,nine ,,to ,,eighteen ,,fifty-,,one4 ,the boys were brought up like little princes until their father's death1 which changed everything1 ,miss ,emma ,w4 ,palmer writes us4 ,major ,whistler's salary was large1 so were his expenses2 we have never heard there was a pension4 ,he left his family comparatively poor--fifteen hundred dollars a year4 ,mrs4 ,whistler would have preferred to stay at ,stonington1 but for her two sons' sake she went to ,pomfret1 ,connecticut1 where there was a good school1 ,christ ,church ,hall4 ,the principal was ,rev4 ,dr4 ,roswell ,park1 a ,west ,point engineer before he became parson and school teacher4 ,at ,pomfret ,mrs4 ,whistler made herself a home4 ,she could only afford part of an old farmhouse1 and she felt keenly the discomfort for her boys4 ,yet she kept up the old discipline4 ,on ,christmas ,day she wrote to her mother that they had been busy all morning bringing in wood and listing draughty doors1 though she allowed them to lighten their task by hanging up evergreens and to sweeten it with ,stuart's ,candy4 ,after a snowstorm1 they had1 like other boys1 to shovel paths1 and all the while they had to study4 ,jimmie was still an excitable spirit with little perseverance1 she wrote2 however1 she would not faint but labour1 and ,i urged them on daily1 and could see already their exertions to overcome habits of indolence4 ,the ,bible was read and the two boys were made to recite a verse every morning before breakfast4 ,miss ,palmer1 their schoolmate1 during the winter of #ahej1 remembers that ,mrs4 ,whistler was very strict with them1 and describes ,whistler at this period as tall and slight1 with a pensive1 delicate face1 shaded by soft brown curls1 one lock of which fell over his forehead4444 ,he had a somewhat foreign appearance and manner1 which1 aided by his natural abilities1 made him very charming even at that age4444 ,he was one of the sweetest1 loveliest boys ,i ever met1 and was a great favourite4 ,the deepest impression he left at ,pomfret was as a draughtsman4 ,he made caricatures and illustrations to the books he read1 portraits of his friends1 and landscapes4 ,many of his sketches have been preserved4 ,the late ,mrs4 ,louise ,chandler ,moulton1 also one of his schoolmates1 describes him as a man as fascinating as he was great1 with a charm which from the very beginning everyone who knew him recognised4 ,whistler told us that he used to walk to school with her1 carrying her books and basket1 and she wrote us3 ,he was very attentive and kind2 full of fun in those days4 ,the master of the school--,rev4 ,dr4 ,roswell ,park--was one of the stiffest and most precise of clergymen1 and dressed the part4 ,one day ,whistler came to school with a high1 stiff collar and a tie precisely copied from ,dr4 ,park's4 ,of course1 the schoolroom was full of suppressed laughter4 ,the reverend gentleman was very angry1 but he could hardly take open notice of an offence of that sort4 ,so he bottled up his wrath1 but when ,jimmy--as we used to call him in those schooldays--gave him some trifling cause of offence1 the ,rev4 ,dr4 went for him with a ferrule4 ,the school was in two divisions--the girls sitting on one side of the large hall1 and the boys on the other4 ,jimmy1 pursued by the ,dr4 and the ferrule1 went round back of the girls' row1 and threw himself down on the floor1 and the ,dr4 followed him and whacked him1 more1 ,i think1 to ,jimmy's amusement than to his discomfort4 ,mrs4 ,moulton had further recollections of the maps he drew1 which were at once the pride and the envy of all the rest of us--they were so perfect1 so delicate1 so exquisitely dainty in workmanship4 ,the work done at ,pomfret by ,whistler which we have seen does not strike us as remarkable4 ,it has its historic importance1 but shows no greater evidence of genius than the early work of any great artist4 ,,chapter ,,iv3 ,,west ,,point4 ,,the ,,years ,,eighteen ,,fifty-,,one ,,to ,,eighteen ,,fifty-,,four4 ,though ,whistler's mother was proud of his drawing1 she did not see in art a career for him4 ,she thought he had inherited a profession more distinguished4 ,many ,whistlers and ,mc,neills had been soldiers4 ,west ,point had made of them men--,americans4 ,west ,point must do the same for him4 ,through the influence of ,george ,whistler with ,daniel ,webster1 he was appointed cadet ,at ,large by ,president ,fillmore1 and on ,july #a1 #ahea1 after two years at ,pomfret school1 within ten days of his seventeenth birthday1 he entered the ,united ,states ,military ,academy1 ,west ,point1 where ,colonel ,robert ,e4 ,lee was ,commandant4 ,whistler was not made for the army any more than ,giotto for ,tuscan pastures1 or ,corot for a ,paris bonnet shop4 ,it was inevitable that he should fail4 ,yet his three years at ,west ,point were an experience he would not have missed4 ,illustration3 ,,bibi ,,lalouette ,,etching4 ,g4 #ea 7,see page #ch7 ,illustration3 ,,street ,,at ,,saverne ,,etching4 ,g4 #ai 7,see page #dc7 ,the record sent to us from ,west ,point by ,colonel ,c4 ,w4 ,larned is3 ,he entered ,july #a1 #ahea1 under the name of ,james ,a4 ,whistler2 aged sixteen years and eleven months4 ,he was appointed ,at ,large4444 ,at the end of his second year1 in #ahec1 he was absent with leave on account of ill-health4 ,on ,june #af1 #ahed1 he was discharged from the ,academy for deficiency in chemistry4 ,at that time he stood at the head of his class in drawing and ,no4 #ci in philosophy1 the total number in the class being #dc4 ,the ,professor of ,drawing was ,robert ,w4 ,weir4 ,mr4 ,j4 ,alden ,weir1 his son1 remembers1 as a boy1 my father showing me his work1 which at that time hung in what was known as the ,gallery of the ,drawing ,academy4 ,there were about ten works by him framed4 ,from the start he showed evidences of a talent which later proved to be unique in those fine and rare qualities hard to be understood by the majority4 ,brigadier-,general ,alexander ,s4 ,webb1 one of ,whistler's classmates1 says3 ,in the art class one day1 while ,whistler was busy over an ,india-ink drawing of a ,french peasant girl1 ,weir walked1 as usual1 from desk to desk1 examining the pupils' work4 ,after looking over ,whistler's shoulder he stepped back to his own desk1 filled his brush with ,india-ink ,general ,webb says he can see him now1 rubbing the colour on the slab1 and approached ,whistler with a view of correcting some of the lines in the latter's drawing4 ,when ,whistler saw him coming1 he raised his hands as if to ward off the strokes of his brush1 and called out1 ',oh1 don't1 sir1 don't6 ,you'll spoil it6' ,mr4 ,william ,m4 ,chase told the story to ,whistler and asked if there was any truth in it4 ,well1 you know he would have6 said ,whistler4 ,colonel ,larned writes us3 ,i have here two drawings made by ,whistler in his course of instruction in drawing1 one of which is a water-colour copy of a coloured print1 without special merit1 and much touched up by ,professor ,weir1 as was his wont2 another1 a pen-and-ink copy also of a colour print1 quite brilliant and masterful in execution1 which ,i presented to the officers' mess4 ,the colour sketch bears the ear-marks all over it of ,weir's retouching4 ,it was his habit to touch up all water-colours of the cadets for the examination exhibition1 and ,i don't believe ,whistler at that time had any such facility in colour work as is indicated in this drawing4 ,with my knowledge of my predecessor's practice1 which we instructors follow to the best of our ability1 ,i have always been suspicious of its integrity4 ,at the same time ,whistler was head in drawing1 and it may be that ,weir forbore in his case4 ,the pen-and-ink1 however1 must have been his own interpretation of a colour lithograph1 and shows such facility that it makes me hesitate4 ,whistler did another water-colour of a monk seated at a table by a window writing4 ,this is also a copy of an old print which was used by ,weir through successive classes4 ,i think it was ---- who saw the thing and wrote a lot of tommy-rot and hi-falutin about it and ,whistler's satiric genius1 and his introduction in the monk's face of that of his room-mate1 assuming it to have been an original production4 ,as a matter of fact ,i have copies of the same thing by cadets in the gallery1 all touched up by ,weir1 and ,i fancy about as good as ,whistler's4 ,of these ,west ,point drawings1 copies probably of lithographs by ,nash or ,haghe1 only the pen drawing gives any promise4 ,the water-colour is worthless4 ,the pen drawing has in it the beginning of the handling of his etchings4 ,five drawings1 four of ,an ,hour in the ,life of a ,cadet in pen-and-ink1 and one of ,an ,encampment in wash1 have lately been found at ,west ,point4 ,the cadet drawings are far the best of his early work that we have seen4 ,the ,century ,magazine published 7,march #aiaj7 a lithograph1 called ,the ,song of the ,graduates1 said to be by ,whistler4 ,it is evident1 however1 that if ,whistler did make the sketch1 it was re-drawn by a professional lithographer at ,sarony's1 who printed it4 ,the ,century also published 7,september #aiaj7 a wood-engraving of some class function for which he is given the credit as draughtsman and engraver4 ,but the work is that of a professional wood-engraver and could not have been done by ,whistler at any period of his life4 ,the attribution of these published prints to him is altogether unjustified4 ,of his other studies there is little to record4 ,this is ,colonel ,larned's account of his failure in chemistry3 ,whistler said3 ',had silicon been a gas1 ,i would have been a major-general4' ,he was called up for examination in chemistry 444 and given silicon to discuss4 ,he began3 ',i am required to discuss the subject of silicon4 ,silicon is a gas4' ',that will do1 ,mr4 ,whistler1' and he retired quickly to private life4 ,according to ,colonel ,larned1 ,whistler then appealed to ,general ,lee1 but ,lee answered1 ,i can only regret that one so capable of doing well should so have neglected himself1 and must suffer the penalty4 ,another story is of an examination in history4 ,what6 said his examiner1 you do not know the date of the battle of ,buena ,vista8 ,suppose you were to go out to dinner1 and the company began to talk of the ,mexican ,war1 and you1 a ,west ,point man1 were asked the date of the battle1 what would you do8 ,do1 said ,whistler1 why1 ,i should refuse to associate with people who could talk of such things at dinner6 ,whistler's horsemanship was little better4 ,it was not unusual1 ,general ,webb says1 for him at cavalry drill to go sliding over his horse's head4 ,then ,major ,sackett1 the commander1 would call out3 ,mr4 ,whistler1 aren't you a little ahead of the squad8 ,whistler said to us ,major ,sackett's remark was3 ,mr4 ,whistler1 ,i am pleased to see you for once at the head of your class6 ,but ,i did it gracefully1 he insisted4 ,there are traditions of his fall when trotting in his first mounted drill1 and the astonishment of the dragoon who ran to carry him off to hospital1 when he rose unhurt with the complaint that he didn't see how any man could keep a horse for amusement4 ,once ,whistler had to ride a horse called ,quaker4 ,dragoon1 what horse is this8 ',quaker1' said the soldier ,well1 he's no friend6 said ,whistler4 ,his observance of the regulations was often as bad as his horsemanship1 and his excuses worse4 ,general ,ruggles1 a classmate1 tells of the discovery of a pair of boots which were against the regulations1 and of his writing a long explanation1 winding up with the argument that1 as this demerit added but a little to the whole number1 what boots it8 ,general ,langdon writes us3 ,the widow of a ,colonel ,thompson occupied a set of officer's quarters at the ',point1' and1 to eke out her pension1 was allowed to take ten or twelve cadets to board4 ,very soon after his admission to the ,academy ,whistler discovered that the fare of the cadets was not of his taste1 and he applied for permission to take his meals at ,mrs4 ,thompson's4 ,now1 though her house was in the row of officers' quarters and the nearest to the cadet barracks1 it was 'off cadet limits1' except for the boarders at meals4 ,one evening1 long after supper1 ,whistler was discovered by ,mrs4 ,thompson1 leaning over her fence1 talking with her pretty ,french maid4 ,mrs4 ,thompson inquired his business there4 ,whistler replied3 ',i am looking for my cat6' ,it was well known that cadets were not allowed to keep cats1 dogs1 or other beasts4 ,the old lady nearly had a fit4 ,as soon as she could recover she gasped out3 ',young man1 go 'way6' and sent her pretty maid indoors4 ,of course1 ,whistler took no more meals at ,mrs4 ,thompson's1 but in the mess hall1 where the fare in those days was far from inviting4 ,whistler told ,sir ,rennell ,rodd another story3 ,the cadets were out early one morning1 engaged in surveying4 ,it was cold and raw1 and ,jimmy1 finding a line of deep ditch through which he could make a retiring movement1 got back into college and his warm quarters unperceived4 ,by accident a roll-call was held that morning4 ,cadet ,whistler not being present1 a report was drawn up and his name was sent to the commanding officer as absent from parade without the knowledge or permission of his instructor4 ,the report was shown him1 and he said to the instructor3 ',have ,i your permission to speak8' ',speak on1 ,cadet ,whistler4' ',you have reported me1 sir1 for being absent from parade without the knowledge or permission of my instructor4 ,well1 now1 if ,i was absent without your knowledge or permission1 how did you know ,i was absent8' ,they got into terms after that1 and the incident closed4 ,the stories of ,whistler at ,west ,point might be multiplied4 ,many have been published4 ,the few we tell show that at the ,military ,academy1 as everywhere1 he left his mark4 ,we have a stronger proof in the letters written to us by officers who were his fellow cadets4 ,it is half a century since they and ,whistler were together1 and1 with one exception1 they never saw him in later years1 yet their memory of him is fresh4 ,general ,d4 ,mc,n4 ,gregg and ,general ,c4 ,b4 ,comstock1 his classmates1 ,general ,loomis ,l4 ,langdon1 ,general ,henry ,l4 ,abbott1 ,general ,oliver ,otis ,howard1 ,general ,g4 ,w4 ,c4 ,lee1 in the class before his1 have sent us their recollections4 ,these distinguished officers agree in their affection and their appreciation of him4 ,he was a vivacious and likeable little fellow1 ,general ,comstock says1 and we get a picture of him1 short and slight1 not over military in his bearing1 somewhat foreign in appearance1 near-sighted1 and with thick1 black curls that won him the name of ,curly4 ,others remember his wit1 his pranks1 his fondness for cooking and the excellence of his dishes2 his excursions after taps1 for buckwheat cakes and oysters or ice-cream and soda-water to ,joe's1 and1 for heavier fare1 to ,benny ,haven's a mile away1 a serious offence2 they remember his indifference to discipline1 and the number of his demerits1 which they excuse as not indicating any moral obliquity1 but due to such harmless faults as lates1 absences1 clothing out of order2 most of all1 they remember his drawings--his caricatures of the cadets1 the ,board of ,visitors1 the masters1 his sketches scribbled over his text-books1 his illustrations to ,dickens1 ,dumas1 ,victor ,hugo4 ,general ,langdon recalls a picture that he and ,whistler painted together4 ,whistler gave these drawings away1 and many have been preserved4 ,even the cover of a geometry book1 on which he sketched and noted bets with ,general ,webb1 was kept by his room-mate1 ,frederick ,l4 ,childs--,les ,enfants ,whistler called him4 ,illustration3 ,,la ,m,,re ,g,,rard ,,oil ,in the possession of ,william ,heinemann1 ,esq4 7,see page #ci7 ,illustration3 ,,head ,,of ,,an ,,old ,,man ,,smoking ,,oil ,in the ,muse du ,luxembourg 7,see page #eb7 ,whistler looked back to ,west ,point with equal affection4 ,he failed1 but ,west ,point was the basis of his code of conduct4 ,as a ,west ,point man he met every emergency1 and his bearing1 his carriage1 showed the influence of those days when he liked to look back to himself very dandy in grey4 ,for the discipline1 the tradition1 the tone of the ,academy he never lost his respect4 ,he knew what it could do in making men of boys4 ,from the moment we came1 he said to us1 we were ,united ,states officers1 not schoolboys1 not college students4 ,we were ruled1 not by little school or college rules1 but by our honour1 by our deference to the unwritten law of tradition4 ,he resented the least innovation that threatened the hold of this tradition over the cadets4 ,to take a cadet into court was destruction to the morale of ,west ,point2 it was such a disgrace to offend against the unwritten laws that the offender's career was ruined4 ,in the most trivial matters he deplored deviation from the old standard4 ,that was the reason of his indignation when he heard that cadets were playing football1 and1 worse1 playing against college teams2 to put themselves on the level of students was beneath the dignity of officers of the ,united ,states4 ,during our war with ,spain1 and the ,boers' struggle in ,south ,africa1 there was not an event1 not a rumour1 that he did not refer to ,west ,point and its code4 ,the ,spanish ,war1 though1 no doubt1 we should never have gone into it1 was the most wonderful1 the most beautiful war since ,louis ,,xiv4 ,never in modern times has there been such a war2 it was conducted on correct ,west ,point principles1 with the most perfect courtesy and dignity on both sides1 and the greatest chivalry4 ,when he came back to ,london from ,corsica in #aija1 and was telling us of the people and the way they clung to old custom and ceremonial1 he said that he had found the ,roman tradition almost as fine as the ,west ,point tradition1 and this was a concession4 ,we never knew him to show the least desire to return to ,lowell or ,stonington1 to ,pomfret or ,washington1 but he said1 ,if ,i ever make the journey to ,america1 ,i will go straight to ,baltimore1 then to ,west ,point1 and then sail for ,england again4 ,one evening we asked him to meet an officer just from ,west ,point4 ,his interest could not have been keener1 had he left the ,academy the day before4 ,he wanted to know about everything--the buildings1 the life1 the discipline4 ,he deplored every innovation1 always1 above all1 football3 ,west ,point to him was in danger when cadets could stoop to dispute with college students for a dirty ball kicked round a muddy field4 ,this was the shadow thrown over his pleasure when he heard of the pride the ,academy took in claiming him1 of his reputation there1 of his drawings hanging in places of honour4 ,it was the military side of the ,academy1 however1 that stirred him to enthusiasm4 ,his face fell when1 asking the officer1 who1 like ,major ,whistler1 was in the artillery1 ,professor of ,tactics1 ,i suppose8 the officer answered1 ,no1 of ,french4 ,he showed his affection for the ,military ,academy by sending to the library a copy of ,whistler v4 ,ruskin3 ,art and ,art ,critics1 with autograph notes and on the title-page the inscription3 ,from an old cadet whose pride it is to remember his ,west ,point days4 ,this is signed with the butterfly1 and newspaper cuttings about the trial are pasted at the end of the book4 ,the authorities at ,west ,point have honoured him by placing a memorial tablet1 one of ,st4 ,gaudens' last works1 in the library of the ,academy1 and at the suggestion of the late ,major ,zalinski1 a number of ,american artists have given a series of works to the ,academy in his honour4 ,in this collection ,whistler alone is not represented1 we believe4 ,but it needs more than respect and love for the ,military ,academy to make a soldier1 and ,whistler1 like ,poe before him1 was an alien at ,west ,point4 ,it was no question of the number of his demerits1 or of his ignorance of chemistry and history2 he had something else to do in life4 ,,chapter ,v3 ,,the ,,coast ,,survey4 ,,the ,,years ,,eighteen ,,fifty-,,four ,,and ,,eighteen ,,fifty-,,five4 ,when ,whistler left ,west ,point in #ahed he had not only to face the disappointment of his mother1 but to find another career4 ,the plan now was to apprentice him to ,mr4 ,winans1 in the locomotive works at ,baltimore4 ,mr4 ,frederick ,b4 ,miles writes us3 ,it was in #ahed that ,i first met ,whistler in ,baltimore1 after he left ,west ,point1 at the house of ,thomas ,winans1 who had returned from ,russia4 ,i was apprenticed to the loco4 works of old ,mr4 ,ross ,winans1 ,thomas ,winans' father4 ,his elder brother1 ,george ,whistler1 was a friend of my family2 had been superintendent of the ,new ,york and ,new ,haven ,railroad1 and had married ,miss ,julia ,winans1 sister of ,thomas ,winans1 then came into the loco4 works as partner and superintendent4 ,i was in the drawing-room under him4 ,whistler was staying with ,tom ,winans or his brother1 ,george ,whistler4 ,they were perplexed at his 'flightiness'--wanted him to enter the loco4 works4 ,his younger brother ,william was an apprentice along with me4 ,but ,jem never really worked4 ,he spent much of his several short stays and two long ones in ,baltimore loitering about the drawing-office and shops1 and at my drawing-desk in ,tom ,winans' house4 ,we all had boards with paper1 carefully stretched1 which ,jem would cover with sketches1 to our great disgust1 obliging us to stretch fresh ones1 but we loved him all the same4 ,he would also ruin all our best pencils1 sketching not only on the paper1 but also on the smoothly finished wooden backs of the drawing-boards1 which1 ,i think1 he preferred to the paper side4 ,we kept some of the sketches for a long time4 ,i had a beauty--a cavalier in a dungeon cell1 with one small window high up4 ,in all his work at that time he was very ,rembrandtesque1 but1 of course1 only amateurish4 ,nevertheless he was studying and working out effects4 ,whistler saw enough of the locomotive works to know that he did not want to be an apprentice1 and it was not long before he left ,baltimore for ,washington4 ,to us he spoke as if he had gone to ,washington straight from ,west ,point4 ,he was with us on the evening of ,september #ae1 #aijj1 after the news had come from the ,transvaal of ,president ,kruger's flight1 and our talking of it led him back to ,west ,point1 and so to the story of his days in the service of the ,government4 ,he followed the ,boer ,war with intense interest3 ,the ,boers are as fine as the ,southerners--their fighting would be no discredit to ,west ,point1 and he was indignant with us for looking upon ,kruger's flight as diplomatically a blunder4 ,diplomatically it was right1 you know1 the one thing ,kruger should have done1 just as1 in that other amazing campaign1 flight had been the one thing for ,jefferson ,davis1 a ,southern gentleman who had the code4 ,i shall always remember the courtesy shown me by ,jefferson ,davis1 through whom ,i got my appointment in the ,coast ,survey4 ,it was after my little difference with the ,professor of ,chemistry at ,west ,point4 ,the ,professor would not agree with me that silicon was a gas1 but declared it was a metal2 and as we could come to no agreement in the matter1 it was suggested--all in the most courteous and correct ,west ,point way--that perhaps ,i had better leave the ,academy4 ,well1 you know1 it was not a moment for the return of the prodigal to his family or for any slaying of fatted calves4 ,i had to work1 and ,i went to ,washington4 ,there ,i called at once on ,jefferson ,davis1 who was ,secretary of ,war--a ,west ,point man like myself4 ,he was most charming1 and ,i--well1 from my ,russian cradle1 ,i had an idea of things1 and the interview was in every way correct1 conducted on both sides with the utmost dignity and elegance4 ,i explained my unfortunate difference with the ,professor of ,chemistry--represented that the question was one of no vital importance1 while on all really important questions ,i had carried off more than the necessary marks4 ,my explanation made1 ,i suggested that ,i should be reinstated at ,west ,point1 in which case1 as far as ,i was concerned1 silicon should remain a metal4 ,the ,secretary1 courteous to the end1 promised to consider the matter1 and named a day for a second interview4 ,before ,i went back to the ,secretary of ,war1 ,i called on the ,secretary of the ,navy1 also a ,southerner1 ,james ,c4 ,dobbin1 of ,south ,carolina1 suggesting that ,i should have an appointment in the ,navy4 ,the ,secretary objected that ,i was too young4 ,in the confidence of youth1 ,i said age should be no objection2 ,i 'could be entered at the ,naval ,academy1 and the three years at ,west ,point could count at ,annapolis4' ,the ,secretary was interested1 for he1 too1 had a sense of things4 ,he regretted1 with gravity1 the impossibility4 ,but something impressed him2 for1 later1 he reserved one of six appointments he had to make in the marines and offered it to me4 ,in the meantime1 ,i had returned to the ,secretary of ,war1 who had decided that it was impossible to meet my wishes in the matter of ,west ,point2 ,west ,point discipline had to be observed1 and if one cadet were reinstated1 a dozen others who had tumbled out after me would have to be reinstated too4 ,but if ,i would call on ,captain ,benham1 of the ,coast ,survey1 a post might be waiting for me there4 ,captain ,benham was a friend of his father1 and ,whistler was engaged in the drawing division of the ,united ,states ,coast and ,geodetic ,survey1 at the salary of a dollar and a half a day4 ,this appointment he received on ,november #g1 #ahed1 six months after he had left ,west ,point4 ,there was nothing to appeal to him in the routine of the office4 ,what he had to do he did1 but with no enthusiasm4 ,i was apt to be late1 ,i was so busy socially4 ,i lived in a small room1 but it was amazing how ,i was asked and went everywhere--to balls1 to the ,legations1 to all that was going on4 ,labouchere1 an attach at the ,british ,legation1 has never ceased to talk of me1 so gay1 and1 when ,i had not a dress suit1 pinning up the tails of my frock-coat1 and turning it into a dress-coat for the occasion4 ,shocking6 ,mr4 ,labouchere has told this story in a letter to us3 ,i did know ,whistler very well in ,america about fifty years ago4 ,but he was then a young man at ,washington1 who--if ,i remember rightly--had not been able to pass his examination at ,west ,point and had given no indication of his future fame4 ,he was rather hard up1 ,i take it1 for ,i remember that he pinned back the skirt of a frock-coat to make it pass as a dress-coat at evening parties4 ,washington was then a small place compared with what it is now1 where everybody--so to say--knew everybody1 and the social parties were of a simple character4 ,this is really all that ,i remember of ,whistler at that time1 except that he was thought witty and paradoxically amusing6 ,but long before something in his dress drew attention to him4 ,though he was never seen in the high-standing collar and silk hat of the time1 some remember him in a ,scotch cap and a plaid shawl thrown over his shoulder1 then the fashion2 others recall a slouch hat and cloak1 his coat1 unbuttoned1 showing his waistcoat2 while traditions of his social charm come from every side4 ,adjutant-,general ,breck is responsible for the story of ,whistler having invited the ,russian ,minister--others say the ,charg d',affaires--,edward de ,stoeckl1 to dine with him1 carrying the ,minister off in his own carriage1 doing the marketing by the way1 and cooking the dinner before his guest in the room where he lived4 ,and it has been said that never was the ,minister entertained by so brilliant a host while in ,washington4 ,mr4 ,john ,ross ,key1 a fellow draughtsman in the ,coast ,survey1 says that this room was in a house in ,thirteenth ,street1 near ,pennsylvania ,avenue1 and that ,whistler usually dined in a restaurant close by1 kept by a ,mr4 and ,mrs4 ,a4 ,gautier4 ,according to the late ,a4 ,lindenkohl1 another fellow draughtsman1 ,whistler also lived for a while in a house at the north-east corner of ,e4 and ,twelfth ,streets1 a two-storey brick building which has lately been pulled down4 ,he occupied a plainly but comfortably furnished room1 for which he paid ten dollars a month4 ,the office records show that he worked six and one-half days in ,january1 and five and three-fourths in ,february4 ,he usually arrived late1 but1 he would say1 it was not his fault4 ,i was not too late2 the office opened too early4 ,lindenkohl described an effort to reform him3 ,captain ,benham took occasion to tell me that he felt great interest in the young man1 not only on account of his talents1 but also on account of his father1 and he told me that he would be highly pleased if ,i could induce ,whistler to be more regular in his attendance4 ',call at his lodgings on your way to the office1' he said1 'and see if you can't bring him along4' ,accordingly1 one morning1 ,i called at ,whistler's lodgings at half-past eight4 ,no doubt he felt somewhat astonished1 but received me with the greatest bonhomie invited me to make myself at home1 and promised to make all possible haste to comply with my wishes4 ,nevertheless he proceeded with the greatest deliberation to rise from his couch and put himself into shape for the street and prepare his breakfast1 which consisted of a cup of strong coffee brewed in a steam-tight ,french machine1 then a novelty1 and also insisted upon treating me with a cup4 ,we made no extra haste on our way to the office1 which we reached about half-past ten--an hour and a half after time4 ,i did not repeat the experiment4 ,lindenkohl said that ,whistler spoke of ,paris with enthusiasm1 that he sketched sometimes from the office windows1 and made studies of people1 taking the greatest interest in the arrangement and folds of their clothes4 ,whistler showed him several examples done with the brush in sepia1 in old ,french or ,spanish styles1 whatever this may mean4 ,mr4 ,key describes ,whistler as painfully near-sighted1 and always sketching1 even on the walls as he went downstairs4 ,though in ,washington only a few months1 he left the impression of his indifference to work except in the one form in which work interested him--his art4 ,if nothing else were known of this period1 it would be memorable for the technical instruction he received in the ,coast ,survey4 ,his work was the drawing and etching of ,government topographical plans and maps1 which have to be made with the utmost accuracy and sharpness of line4 ,his training1 therefore1 was in the hardest and most perfect school of etching in the world1 a fact never until now pointed out4 ,the work was dull1 mechanical1 and he sometimes relieved the dullness by filling empty spaces on the plates with sketches4 ,captain ,benham told him plainly1 ,whistler said1 that he was not there to spoil ,government coppers1 and ordered all the designs to be immediately erased4 ,this was ,whistler's account to us4 ,but ,mr4 ,key1 in his ,recollections of ,whistler1 published in the ,century ,magazine 7,april #aijh71 says that these sketches were confined to the experimental plate given to ,whistler1 as to all beginners1 and he adds that he watched ,whistler through the process of preparing and etching it4 ,only two plates have been as yet1 or probably ever will be1 found in the office that can be attributed1 wholly or in part1 to ,whistler3 the ,coast ,survey1 ,no4 #a1 and ,coast ,survey1 ,no4 #b1 ,anacapa ,island1 first described in the ,catalogue of the ,whistler ,memorial ,exhibition in ,london1 #aije4 ,the ,coast ,survey1 ,no4 #a1 is a plate giving two parallel views1 one above the other1 of the coast-line of a rocky shore1 the lower showing a small town in a deep bay with1 below them both to the extreme left1 a profile map4 ,whistler was unable to confine himself to the ,government requirements4 ,in the lower design1 chimneys are gaily smoking1 and on the upper part of the plate several figures1 obviously reminiscent of prints and drawings1 are sketched3 an old peasant woman2 a man in a tall ,italian hat1 or1 ,mr4 ,key says1 ,whistler himself as a ,spanish hidalgo2 another in a ,sicilian bonnet2 a mother and child in an oval1 meant for ,mrs4 ,partington and ,ike1 as ,mr4 ,key remembers2 a battered ,french soldier2 a bearded monk in a cowl4 ,the drawing is schoolboy-like1 though it shows certain observation1 but the biting is remarkable4 ,the little figures are bitten as well and in the same way as ,la ,vieille aux ,loques1 etched three or four years afterwards2 to look at them is to know that ,whistler was a consummate etcher technically before he left the ,coast ,survey4 ,there is no advance in the biting of the ,french series4 ,so astonishing is this mastery that1 if the technique in some of the ,french plates were not similar1 one would be tempted to doubt whether ,whistler etched those little figures in ,washington1 especially as the plate is unsigned4 ,the plate escaped by chance4 ,mr4 ,key1 to whom it was given to clean off and use again1 asked to keep it1 and it was sold to him for the price of old copper4 ,it is still in existence4 ,the second plate1 ,anacapa ,island1 is signed with several names4 ,whistler etched the view of the eastern extremity of the island1 for many lines on the rocky shore resemble the work in the ,french series1 and also the two flights of birds which1 though they enliven the design1 have no topographical value4 ,this plate was finished and published in the ,report of the ,superintendent of the ,coast ,survey1 #ahee4 ,there is said to be a third plate1 a chart of the ,delaware ,river1 but we have never seen it and can find out nothing about it4 ,one other record of ,whistler at the ,coast ,survey remains1 but of a different kind4 ,he liked to tell the story4 ,captain ,benham used to come and look through the small magnifying glass each draughtsman in this department had to work with4 ,one day1 ,whistler etched a little devil on the glass1 and ,captain ,benham looked through it at the plate4 ,whistler described himself to us1 lying full length on a sort of mattress or trestle1 so as not to touch the copper4 ,but he saw ,captain ,benham give a jump4 ,the captain said nothing4 ,he pocketed the glass1 and that was all ,whistler heard of it until many years afterwards1 when1 one day1 an old gentleman appeared at his studio in ,paris1 and by way of introduction took from his watch-chain a tiny magnifying glass1 and asked ,whistler to look through it--and1 he said1 well--we recognised each other perfectly4 ,captain ,benham is dead1 but his son1 ,major ,h4 ,h4 ,benham1 writes us3 ,i have heard my father tell the story4 ,he was very fond of ,whistler1 and thought most highly of his great ability--or rather genius1 ,i should say4 ,genius like ,whistler's served him as little at the ,coast ,survey as at ,west ,point4 ,he resigned in ,february #ahee4 ,his brother1 ,george ,whistler1 and ,mr4 ,winans tried again to make him enter the locomotive works in ,baltimore4 ,he was twenty-one1 old enough to insist upon what he wanted2 and what he wanted was to study art4 ,already at ,st4 ,petersburg his ability had struck his mother's friends4 ,at ,pomfret and ,west ,point he owed to his drawing whatever distinction he had attained4 ,and there had been things done outside of school and ,academy and office work1 he told us--portraits of my cousin ,annie ,denny and of ,tom ,winans1 and many paintings at ,stonington that ,stonington people remembered so well they looked me up in ,paris afterwards4 ,indeed1 all the while1 ever since my ,russian days1 there had been always the thought of art1 and when at last ,i told the family that ,i was going to ,paris1 they said nothing4 ,there was no difficulty4 ,they just got me a ticket4 ,i was to have three hundred and fifty dollars 7seventy pounds7 a year1 and my stepbrother1 ,george ,whistler1 who was one of my guardians1 sent it to me after that every quarter4 ,,chapter ,,vi3 ,,student ,,days ,,in ,,the ,,latin ,,quarter4 ,,the ,,years ,,eighteen ,,fifty-,,five ,,to ,,eighteen ,,fifty-,,nine4 ,whistler arrived in ,paris in the summer of #ahee4 ,there he fell among friends4 ,the ,american ,legation was open to the son of ,major ,whistler4 ,it was the year of the first ,international ,exhibition1 and ,sir ,henry ,cole1 the ,british ,commissioner1 the ,thackerays1 and the ,hadens were there4 ,lady ,ritchie 7,miss ,thackeray7 writes3 ,i wish ,i had a great deal more to tell you about ,whistler4 ,i always enjoyed talking to him when we were both hobbledehoys at ,paris2 he used to ask me to dance1 and rather to my disappointment perhaps1 for1 much as ,i liked talking to him1 ,i preferred dancing1 we used to stand out while the rest of the party polkaed and waltzed by ,there was a certain definite authority in the things he said1 even as a boy4 ,i can't remember what they were1 but ,i somehow realised that what he said mattered4 ,when ,i heard afterwards of his fanciful freaks and quirks1 ,i could not fit them in with my impression of the wise young oracle of my own age4 ,george ,whistler wanted him to go to the ,ecole des ,beaux-,arts1 but there is no record of his having been admitted4 ,he went instead to the studio ,gleyre inherited from ,delaroche and handed on to ,grme1 which drew to it all the students who did not crowd to ,couture and ,ary ,scheffer4 ,it was not extraordinary1 as some have said1 that ,whistler should have gone there2 it would have been extraordinary had he stayed away4 ,he arrived in ,paris when ,courbet1 slighted at the ,international1 was defying convention with his first show and his first ,manifesto1 and many of the younger men were throwing over ,romanticism for ,realism4 ,whistler found himself more in sympathy with the followers of ,courbet than with ,gleyre's pupils1 and he became so intimate with the group1 among whom were ,fantin and ,degas1 who studied under ,lecocq de ,boisbaudran1 that it is sometimes thought he must have worked in that school4 ,but on his arrival in ,paris the young ,american had heard neither of ,lecocq de ,boisbaudran nor ,courbet1 and ,gleyre was the popular teacher4 ,fantin-,latour and ,m4 ,duret both have said that they seldom heard ,whistler speak of ,gleyre's4 ,when we asked him about it1 he only recalled the dignified principles upon which it was conducted4 ,there was not even the case of the nouveau ,if a man was a decent fellow1 and would sing his song1 and take a little chaff1 he had no trouble4 ,whistler could remember only one disagreeable incident1 in connection1 not with a nouveau1 but an unpopular student who had been there some time and put on airs4 ,one morning1 ,whistler told us1 he came to the studio late1 and there were all the students working away very hard1 the unpopular one among them1 and there1 at the end of the room1 on the model's stand was an enormous catafalque1 the unpopular one's name on it in big letters4 ,and no one said a word4 ,but that killed him4 ,he was never again seen in the place4 ,gleyre was by no means colourless as a teacher4 ,he is remembered as the successor of ,david and the ,classicists1 but he held theories disquieting to academic minds4 ,he taught that before a picture was begun the colours should be arranged on the palette3 in this way1 he said1 difficulties were overcome1 for attention could be given solely to the drawing and modelling on canvas in colour4 ,he taught also that ivory-black is the base of tone4 ,upon this preparation of the palette and this base of black--upon black1 the universal harmoniser--,whistler founded his practice as painter1 and as teacher when he visited the pupils of the ,acadmie ,carmen4#a ,as he has told us over and over again1 his practice of a lifetime was derived from what he learned in the schools1 and the master's methods he never abandoned4 ,he only developed methods1 misunderstood by those ,british prophets who have said he had but enough knowledge for his own needs4 ,whistler spoke often to us of the men he met at ,gleyre's3 ,poynter1 ,du ,maurier1 ,lamont1 ,joseph ,rowley4 ,leighton1 in #ahee1 was studying at ,couture's1 developing his theory that the best dodge is to be a devil of a clever fellow1 and ,mrs4 ,barrington says he made ,whistler's acquaintance at the time and admired ,whistler's etchings4 ,but ,whistler never recalled ,leighton among his fellow students1 though he spoke often with affection of ,thomas ,armstrong1 who worked at ,ary ,scheffer's1 and ,aleco ,ionides1 not an art student but studying1 no one seemed to know what or where4 ,this is the group in ,du ,maurier's novel of ,paris student life1 ,trilby4 ,it is regrettable that ,du ,maurier cherished his petty spite against ,whistler for twenty-five years and then printed it1 and so wrecked what ,whistler imagined a genuine friendship4 ,lamont1 the ,laird1 ,rowley1 the ,taffy1 ,aleco ,ionides1 the ,greek1 and ,thomas ,armstrong are dead4 ,sir ,edward ,j4 ,poynter remains1 and also ,mr4 ,luke ,ionides1 who was then often in ,paris4 ,he has given us his impressions of ,whistler at the time3 ,i first knew ,jimmie ,whistler in the month of ,august #ahee4 ,my younger brother was with a tutor1 and had made friends with ,jimmie4 ,he was just twenty-one years old1 full of life and go1 always ready for fun1 good-natured and good-tempered4 ,he wore a peculiar straw hat1 slightly on the side of his head--it had a low crown and a broad brim4 ,whistler etched himself in this hat1 which startled even artists and students1 and became a legend in the ,latin ,quarter4 ,mr4 ,rowley wrote us3 ,it was in #aheg-h that ,i knew ,whistler1 and a most amusing and eccentric fellow he was1 with his long1 black1 thick1 curly hair1 and large felt hat with a broad black ribbon round it4 ,i remember on the wall of the atelier was a representation of him1 ,i believe done by ,du ,maurier1 a sketch of him1 then a fainter one1 and then merely a note of interrogation--very clever it was and very like the original4 ,in those days he did not work hard1 and ,i have a faint recollection of seeing a head painted by him in deep ,rembrandtish tones which was thought very good indeed4 ,he was always smoking cigarettes1 which he made himself1 and his droll sayings caused us no end of fun4 ,i don't think he stayed long in any rooms4 ,one day he told us he had taken a new one1 and he was fitting it up peu peu and he had already got a tabouret and a chair4 ,he told me tales of being invited to a reception at the ,american ,minister's1 but1 as he had no dress suit to go in1 he had to borrow ,poynter's1 who fitted him out1 all except his boots4 ,so he waited until the guests at the hotel had retired1 when he went round the corridors1 found what he wanted1 and left them at the door on his return4 ,it was more his manner and the clever way he told the tale that amused us4444 ,i have his first twelve etchings1 which he did in #aheh4 ,i never saw him after ,i left ,paris that year4 ,he was never a friend of mine1 and it was only occasionally he came to see us at the atelier in ,notre-,dame-des-,champs4 ,whistler was intimate for awhile with ,sir ,edward ,j4 ,poynter1 who scarcely seems to have understood him4 ,to ,poynter ,whistler was the ,idle ,apprentice4 ,in his speech at the first ,royal ,academy ,banquet 7,april #cj1 #aijd7 after ,whistler's death1 ,poynter said3 ,thrown very intimately in ,whistler's company in early days1 ,i knew him well when he was a student in ,paris--that is1 if he could be called a student1 who1 to my knowledge1 during the two or three years when ,i was associated with him1 devoted hardly as many weeks to study4 ,his genius1 however1 found its way in spite of an excess of the natural indolence of disposition and love of pleasure of which a certain share has been the hereditary attribute of the art student4 ,and this bit of insolence was the final tribute to his memory paid by ,british ,official ,art4 ,whistler was never wholly one of us1 ,armstrong told us4 ,whistler laughed at the ,englishmen and their ways1 above all at the boxing and sparring matches in their studios2 he could not see why they didn't hire the concierges to do their fighting for them4 ,but he understood the ,french1 and they understood him4 ,he could speak their language1 he knew ,murger by heart before he came to ,paris1 and there got to know him personally4 ,mr4 ,ionides says that once1 on the rive gauche1 they met ,murger1 and ,whistler introduced him4 ,whistler delighted in the humour and picturesqueness of it1 and was always quoting ,murger4 ,the ,englishmen at ,gleyre's were puzzled by him and his no shirt friends as he called one group of students4 ,every now and then they palled1 even on him1 and he would then tell the ,englishmen that he must give up the 'no shirt' set and begin to live cleanly4 ,the end came when1 during an absence from ,paris1 he lent them his room1 luxurious from the student standpoint1 with a tin bath and blue china4 ,the no shirt friends could not change their habits with their surroundings4 ,they made grogs in the bath2 they never washed a plate1 but when one side was dirty1 ate off the other1 and ,whistler had not bargained to make his room the background for a new chapter in the ,vie de ,bohm4 ,but this was later1 after his adventures with them had been the gossip of the ,quarter1 and had confirmed the diligent ,english in their impressions of his idleness4 ,among the ,french he made friends3 ,aubert1 the first man he knew in ,paris1 a clerk in the ,crdit ,fonder2 ,fantin2 ,legros2 ,becquet1 a musician2 ,henri ,martin1 son of the historian2 ,drouet1 the sculptor2 ,henry ,oulevey and ,ernest ,delannoy1 painters4 ,from ,fantin we have notes made just before his death4 ,legros prefers to remember nothing1 the friendship in his case ending many years ago4 ,drouet and ,oulevey have told us almost as much as ,whistler did of those days4 ,when ,oulevey first knew him1 ,whistler lived in a little hotel in the ,rue ,st4 ,sulpice2 then he moved to ,no4 #a ,rue ,bourbon-le-,chteau1 near ,st4 ,germain-des-,prs2 and then to ,no4 #c ,rue ,campagne-,premire1 where ,drouet had a studio4 ,when remittances ran out1 he climbed six flights and shared a garret with ,delannoy1 the ,ernest of the stories ,whistler liked best to tell4 ,mr4 ,miles writes us that he came to ,paris in ,may #aheg1 with letters from ,whistler's family and a draft for him3 ,at the ,beaux-,arts he was not to be found1 but ,i got his address4 ,he had gone from that4 ,i was in despair1 but went to the ,luxembourg1 hoping to find some trace of him4 ,in looking at a picture1 ,i backed into an easel1 heard a muttered damn behind me--and there was ,whistler painting busily4 ,he took me to his quarters in a little back street1 up ten flights of stairs--a tiny room with a brick floor1 a cot bed1 a chair on which were a basin and pitcher--and that was all6 ,we sat on the cot and talked as cheerfully as if in a palace--and he got the draft4 ',now1' said he1 ',i shall move downstairs1 and begin all over again--furnish my room comfortably4 ,you see1 ,i have just eaten my washstand and borrowed a little1 hoping the draft would arrive4 ,have been living for some time on my wardrobe4 ,you are just in time2 don't know what ,i should have done1 but it often happens this way6 ,i first eat a wardrobe1 and then move upstairs a flight or two1 but seldom get so high as this before the draft comes6' ,how true this is ,i can't say1 but it sounds probable and very like ,whistler at that age--he was then about twenty-three or just twenty-four at most--,may #aheg4 ,then ,whistler showed me ,paris3 ,i met some of his painter friends4 ,i remember only ,lambert 7,french7 and ,poynter 7,english7--now a great swell4 ,whistler didn't care much for ,poynter at that time1 but was witty and amusing1 as usual4 ,he dined with me at the best restaurant in ,paris1 which he had not done for a long time1 and dined me1 the next day1 at a little crmerie to show what his usual fare had been1 and1 indeed1 usually was when the time was approaching for the arrival of his allowance4 ,the restaurant to which ,whistler and his friends usually went was ,lalouette's1 famous for a wonderful ,burgundy at one franc the bottle1 le cachet vert1 ordered on great occasions1 and more famous now for ,bibi ,lalouette1 the subject of the etching1 the child of the patron4 ,lalouette1 like ,siron at ,barbizon1 understood artists1 and gave credit4 ,whistler1 when he left ,paris1 owed ,lalouette three thousand francs1 every sou of which was paid1 though it took a long time4 ,today1 unfortunately1 such debts are not always discharged1 and the charming system of other days exists no longer4 ,they also dined at ,madame ,bachimont's in the ,place de la ,sorbonne1 a crmerie1 where ,whistler once gave a dinner to the ,american ,consul1 and invited ,canichon1 the daughter of the house1 and bought her a new hat for the occasion--a tremendous sensation through the ,quarter4 ,drouet did not think that ,whistler worked much4 ,he was every evening at the students' balls1 and never got up until eleven or twelve in the morning1 so where was the time for work8 ,oulevey cannot remember his doing much at ,gleyre's1 or in the ,luxembourg1 or at the ,louvre1 but he was always drawing the people and the scenes of the ,quarter4 ,in the memory of both his work is overshadowed by his gaiety and his wit1 his blague1 his charm3 tout fait un homme part1 is ,oulevey's phrase1 with un coeur de femme et une volont d'homme4 ,anything might be expected of him1 and ,drouet added that he was quick to resent an insult1 always un petit rageur4 ,george ,boughton1 of a younger generation1 when he came to the ,quarter1 found that all stories of larks were put down to ,whistler4 ,mr4 ,luke ,ionides writes3 ,he was a great favourite among us all1 and also among the grisettes we used to meet at the gardens where dancing went on4 ,i remember one especially--they called her the ,tigresse4 ,she seemed madly in love with ,jimmie and would not allow any other woman to talk to him when she was present4 ,she sat to him several times with her curly hair down her back4 ,she had a good voice1 and ,i often thought she had suggested ,trilby to ,du ,maurier4 ,she was the model for ,fumette1 ,eloise1 a little modiste1 who knew ,musset by heart and recited his verses to ,whistler1 and who one day in a rage tore up1 not his etchings as ,mr4 ,wedmore says1 as often1 wrongly1 but his drawings4 ,whistler was living in the ,rue ,st4 ,sulpice1 and the day he came home and found the pieces piled high on the table he wept4 ,another figure was ,la ,mre ,grard4 ,she was old and almost blind1 was said to have written verse1 and so come down in the world4 ,she sold violets and matches at the gate of the ,luxembourg4 ,she was very paintable as she sat huddled up on the steps1 and he got her to pose for him many times4 ,she said she had a tapeworm1 and if in the studio he asked her what she would eat or drink1 her answer was1 ,du lait3 il aim a6 ,they used to chaff him about her in the ,quarter4 ,once1 ,lalouette invited all his clients to spend a day in the country1 and ,whistler accepted on condition that he could bring ,la ,mre ,grard4 ,she arrived1 got up in style1 sat at his side in the carriage in which they all drove off1 and grew livelier as the day went on4 ,he painted her in the afternoon3 the portrait a success1 he promised it to her1 but first took it back to the studio to finish4 ,then he fell ill and was sent to ,england4 ,when he returned and saw the portrait again1 he thought it too good for ,la ,mre ,grard4 ,he made a copy for the old lady1 who saw the difference and was furious4 ,not long after he was walking past the ,luxembourg with ,lamont4 ,the old woman1 huddled on the steps1 did not look up3 ,eh bien1 ,madame ,grard1 comment a va8 ,lamont asked4 ,assez bien1 ,monsieur1 assez bien4 ,it votre petit ,amricain8 ,to which she replied1 not looking up1 ,lui8 ,on dit qu'il a craqu6 ,encore une espce de canaille de moins6 ,and ,whistler laughed1 and she knew him1 as so many were to know him1 by that laugh all his life4 ,for ages after1 in the ,quarter1 he was called ,espce de canaille4 ,and this is where ,du ,maurier got the story which he tells in ,trilby--as he got all ,trilby1 in fact4 ,another character in the ,quarter of whom ,whistler never tired of telling us was the ,count de ,montezuma1 the delightful1 inimitable1 impossible1 incredible ,montezuma1 not a student1 not a painter1 but one after ,whistler's heart4 ,he never had a sou1 but always cheek enough to see him through4 ,whistler told us of him3 ,this is the sort of thing he would do1 and with an air--amazing6 ,he started one day for ,charenton on the steamboat1 his pockets1 as usual1 empty1 and he was there for as long as he could stay4 ,the boat broke down1 a sergent de ville came on board and ordered everybody off except the captain and his family1 who happened to be with him4 ,the ,montezuma paid no attention4 ,with arms crossed1 he walked up and down1 looking at no one4 ,they waited1 but he walked on1 up and down1 up and down1 looking at no one4 ,the sergent de ville repeated1 ',tout le monde terre6' ,the ,montezuma gave no sign4 ',et vous8' the sergent de ville asked at last4 ',je suis de la famille6' said the ,montezuma4 ,opposite1 staring at him1 stood the captain with his wife and children4 ',you see1' said the sergent de ville1 'the captain does not know you1 he says you are not of the family4 ,you must go4' ',moi1' and the ,montezuma drew himself up proudly1 ',moi6 je suis le btard6' ,illustration3 ,,portrait ,,of ,,whistler ,,etching4 ,g4 #ed 7,see page #ej7 ,illustration3 ,,sketches ,,of ,,the ,,journey ,,to ,,alsace ,,pen ,,drawings 7,see page #dd7 ,though he was frequently hard up1 ,whistler's income seemed princely to students who lived on nothing4 ,when there was money in his pockets1 ,mr4 ,ionides says1 he spent it royally on others4 ,when his pockets were empty1 he managed to refill them in a way that still amazes ,oulevey1 who told us of the night when1 after the caf where they had squandered their last sous on kirsch had closed1 he and ,lambert and ,whistler adjourned to the ,halles for supper1 ordered the best1 and ate it4 ,then he and ,lambert stayed in the restaurant as hostages1 while ,whistler1 at dawn1 went off to find the money4 ,he was back when they awoke1 with three or four hundred francs in his pocket4 ,he had been to see an ,american friend1 he said1 a painter3 ,and do you know1 he had the bad manners to abuse the situation2 he insisted on my looking at his pictures6 ,there were times when everybody failed1 even ,mr4 ,lucas1 ,george ,whistler's friend1 who was living in ,paris and often came to his rescue4 ,one summer day he pawned his coat when he was penniless and wanted an iced drink in a buvette across the way from his rooms in ,rue ,bourbon-le-,chteau4 ,what would you8 he said4 ,it is warm6 ,and for the next two or three days he went in shirt-sleeves4 ,from ,mr4 ,ionides we have heard how ,whistler and ,ernest ,delannoy carried their straw mattresses to the nearest ,mont-de-,pit1 stumbling up three flights of stairs under them1 and were refused an advance by the man at the window4 ,c'est bien1 said ,ernest with his grandest air4 ,c'est bien4 ,j'enverrai un commissionnaire6 ,and they dropped the mattresses and walked out with difficulty1 to go bedless home4 ,then there was a bootmaker to whom ,whistler owed money1 and who appeared with his bill1 refusing to move unless he was paid4 ,whistler was courtesy itself1 and1 regretting his momentary embarrassment1 begged the bootmaker to accept an engraving of ,garibaldi1 which he ventured to admire4 ,the bootmaker was so charmed that he spoke no more of his bill1 but took another order on the spot1 and made new shoes into the bargain4 ,many of the things told of ,whistler he used to tell us of ,ernest or the others4 ,ernest he said it was1 though some say it was ,whistler1 who had a commission to copy in the ,louvre1 but no canvas1 paints1 or brushes1 and not a sou to buy them with4 ,however1 he went to the gallery in the morning1 the first to arrive1 and his businesslike air disarmed the gardien as he picked out an easel1 a clean canvas1 a palette1 a brush or two1 and a stick of charcoal4 ,he wrote his name in large letters on the back of the canvas1 and1 when the others began to drop in1 was too busy to see anything but his work4 ,presently there was a row4 ,what6 an easel missing1 a canvas gone1 brushes not to be found6 ,the gardien bustled round4 ,everybody talked at once4 ,ernest looked up in a fury--shameful6 ,why should he be disturbed8 ,what was it all about1 anyhow8 ,when he heard what had happened no one was louder4 ,it had come to a pretty pass in the ,louvre when you couldn't leave your belongings overnight without having them stolen6 ,things at last quieted down4 ,ernest finished his charcoal sketch1 but his palette was bare4 ,he stretched1 jumped down from his high stool1 strolled about1 stopped to criticise here1 to praise there1 until he saw the colours he needed4 ,the copy of the man who owned them ravished him4 ,astonishing6 ,he stepped back to see it better4 ,he advanced to look at the original1 he grew excited1 he gesticulated4 ,the man1 who had never been noticed before1 grew excited too4 ,ernest talked the faster1 gesticulated the more1 until down came his thumb on the white or the blue or the red he wanted1 and1 with another sweep of his arm1 a lump of it was on his palette4 ,farther on another supply offered4 ,in the end1 his palette well set1 he went back to his easel1 painting his copy4 ,in some way he had supplied himself most plentifully with turps1 so that several times the picture was in danger of running off his canvas4 ,at last it was finished and shown to his patron1 who refused to have it4 ,whistler succeeded in selling it for ,ernest to a dealer2 and1 ,do you know1 he said1 ,i saw the picture years afterwards1 and ,i think it was rather better than the original6 ,oulevey's version is that ,whistler helped himself to a box of colours1 and1 when discovered by its owner1 was all innocence and surprise and apology3 why1 he supposed1 of course1 the boxes of colour were there for the benefit of students4 ,on another occasion1 when ,ernest1 according to ,whistler1 had finished a large copy of ,veronese's ,marriage ,feast at ,cana1 he and a friend1 carrying it between them1 started out to find a buyer4 ,they crossed the ,seine and offered it for five hundred francs to the big dealers on the right bank4 ,then they offered it for two hundred and fifty to the little dealers on the left4 ,then they went back and offered it for one hundred and twenty-five4 ,then they came across and offered it for seventy-five4 ,and back again for twenty-five1 and over once more for ten4 ,and they were crossing still again1 to try to get rid of it for five1 when1 on the ,pont des ,arts1 an idea3 they lifted it2 ,un1 they said with a great swing1 deux1 trois1 v'lan6 and over it went into the river4 ,there was a cry from the crowd1 a rush to their side of the bridge1 sergents de ville came running1 omnibuses and cabs stopped on both banks1 boats pushed out4 ,it was an immense success1 and they went home enchanted4 ,ernest was ,whistler's companion in the most wonderful adventure of all1 the journey to ,alsace when most of the ,french ,set of etchings were made4 ,mr4 ,luke ,ionides thinks it was in #ahef4 ,fantin1 who did not meet ,whistler until #aheh1 remembered him just back from a journey to the ,rhine1 coming to the ,caf ,molire1 and showing the etchings made on the way4 ,the ,french ,set was published in ,november of that year1 and if ,whistler returned late in the autumn1 the series could scarcely have appeared so soon4 ,however1 more important than the date is the fact that on his journey the ,liverdun1 the ,street at ,saverne1 and ,the ,kitchen were etched4 ,he had made somehow two hundred and fifty francs1 and he and ,ernest started out for ,nancy and ,strasburg4 ,mr4 ,leon ,dabo tells us that his father was a fellow student of ,whistler's at ,gleyre's and lived at ,saverne1 in ,alsace1 and that it was to see him ,whistler went there4 ,and from ,mr4 ,dabo we have the story of excursions that ,whistler and ,ernest made with his father and several friends3 one to the ruins of the castle near the village of ,dabo1 where it is said their signatures may still be seen on a rock of brown sandstone2 another to ,gross ,geroldseck1 and the sketches ,whistler made there were afterwards presented to the ,saverne ,museum4 ,it may be that a third excursion was to ,pfalzburg1 the birthplace of ,erckmann and ,chatrian1 whom ,whistler knew and possibly then met for the first time4 ,on the way back1 at ,cologne1 one morning1 ,whistler and ,ernest woke up to find their money gone4 ,what is to be done8 asked ,ernest4 ,order breakfast1 said ,whistler1 which they did4 ,there was no ,american ,consul in the town1 and after breakfast he wrote to everybody who might help him3 to a fellow student he had asked to forward letters from ,paris1 to ,seymour ,haden in ,london1 to ,amsterdam1 where he thought letters might have been sent by mistake4 ,then they settled down to wait4 ,every day they would go to the post-office for letters1 every day the official would say1 ,nichts6 ,nichts6 until they got known to the town--,whistler with his long hair1 ,ernest with his brown hollands and straw hat fearfully out of season4 ,the boys of the town would follow to the post-office1 where1 before they were at the door1 the official was shaking his head and saying ,nichts6 ,nichts6 and all the crowd would yell1 ,nichts6 ,nichts6 ,at last1 to escape attention1 they spent their days sitting on the ramparts4 ,at the end of a fortnight ,whistler took his knapsack1 put his plates in it1 and carried it to the landlord1 ,herr ,schmitz1 whose daughter1 ,little ,gretchen he had etched--probably the plate called ,gretchen at ,heidelberg4 ,he said he was penniless1 but here were his copper-plates in his knapsack upon which he would set his seal4 ,what was to be done with copper-plates8 the landlord asked4 ,they were to be kept with the greatest care as the work of a distinguished artist1 ,whistler answered1 and when he was back in ,paris1 he would send the money to pay his bill1 and then the landlord would send him the knapsack4 ,herr ,schmitz hesitated1 while ,whistler and ,ernest were in despair over the necessity of trusting masterpieces to him4 ,the bargain was struck after much talk4 ,the landlord gave them a last breakfast4 ,lina1 the maid1 slipped her last groschen into ,whistler's hand1 and the two set out to walk from ,cologne to ,paris with paper and pencils for baggage4 ,whistler used to say that1 had they been less young1 they could have seen only the terror of that tramp4 ,a portrait was the price of every plate of soup1 every egg1 every glass of milk on the road4 ,the children who hooted them had to be drawn before a bit of bread was given to them4 ,they slept in straw4 ,and they walked until ,whistler's light shoes got rid of most of their soles and bits of their uppers1 and ,ernest's hollands grew seedier and seedier4 ,but they were young enough to laugh1 and one day ,whistler1 seeing ,ernest tramping ahead solemnly through the mud1 the rain dripping from his straw hat1 his linen coat a rag1 shrieked with laughter as he limped4 ,que voulez-vous8 ,ernest said mournfully1 les saisons m'ont toujours devanc6 ,but it was the time of the autumn fairs1 and1 joining a lady who played the violin and a gentleman who played the harp1 they gave entertainments in every village1 beating a big drum1 announcing themselves as distinguished artists from ,paris1 offering to draw portraits1 five francs the full length1 three francs the half-length4 ,at times they beat the big drum in vain1 and ,whistler was reduced to charging five sous apiece for his portraits1 but he did his best1 he said1 and there was not a drawing to be ashamed of4 ,illustration3 ,,portrait ,,of ,,whistler ,,in ,,the ,,big ,,hat ,,oil ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art 7,see page #eb7 ,illustration3 ,,drouet ,,etching4 ,g4 #ee 7,see page #di7 ,at last they came to ,aix1 where there was an ,american ,consul who knew ,major ,whistler1 and advanced fifty francs to his son4 ,at ,lige1 poor1 shivering1 ragged ,ernest got twenty from the ,french ,consul1 and the rest of the journey was made in comfort4 ,on his return1 ,whistler's first appearance at the ,caf ,molire was a triumph4 ,they had thought him dead1 and here he was1 le petit ,amricain6 ,and what blague1 what calling for coffee pour le petit ,whistler1 pour notre petit ,amricain6 ,and what songs6 ,car il n'est pas mort1 larifla6 fla6 fla6 ,non1 c'est qu'il dort4 ,pour le rveiller1 trinquons nos verres6 ,pour le rveiller1 trinquons encore6 ,that ,herr ,schmitz was paid and delivered up the plates the prints are the proof4 ,some years after ,whistler went back to ,cologne with his mother4 ,in the evening he slipped away to the old1 little hotel1 where the landlord and the landlord's daughter1 grown up1 recognised him and rejoiced4 ,these stories1 and hundreds like them1 still float about the ,quarter1 told not only by ,whistler1 but by les vieux1 who shake their heads over the present degeneracy of students and the tameness of student life--stories of the clay model of the heroic statue of ,gricault1 left1 for want of money1 swathed in rags1 and sprinkled every morning until at last even the rags had to be sold1 and then1 when they were taken off1 ,gricault had sprouted with mushrooms that paid for a feast in the ,quarter and enough clay to finish the statue3 stories of a painter1 in his empty studio1 hiring a piano by the month that the landlord might see it carried upstairs and get a new idea of his tenant's assets2 stories of the monkey tied to a string1 let loose in other people's larders1 then pulled back1 clasping loaves of bread and bottles of wine to its bosom2 stories of students1 with bedclothes pawned1 sleeping in chests of drawers to keep warm2 stories of ,courbet's ,baigneuse in wonderful ,highland costume at the students' balls2 stories of practical jokes at the ,louvre4 ,it was the day of practical jokes1 les charges3 and ,courbet1 whom they worshipped1 was the biggest blageur of them all1 eventually signing his death-warrant with that last terrible charge1 the fall of the ,column ,vendme1 which ,paris never forgave4 ,in this atmosphere1 ,whistler's spirit1 so alarming to his mother1 found stimulus1 and it is not to be wondered if his gaiety struck everyone in ,paris as in ,st4 ,petersburg and ,pomfret1 ,west ,point and ,washington4 ,footnote #a3 ,see ,chapter ,,xliv4 ,,chapter ,,vii3 ,,working ,,days ,,in ,,the ,,latin ,,quarter4 ,,the ,,years ,,eighteen ,,fifty-,,five ,,to ,,eighteen ,,fifty-,,nine ,,continued4 ,the stories cannot be left out of ,whistler's life as a student1 for they lived in his memory4 ,the ,english students brought back the impression that he was an idler1 the ,french thought so too1 and the ,english believe to-day that he was an idler always4 ,and yet he worked in ,paris as much as he played4 ,his convictions1 his preferences1 his prejudices1 were formed during those years4 ,his admiration for ,poe1 a ,west ,point man1 was strengthened by the hold ,poe had taken of ,french men of letters4 ,his disdain of nature1 his contempt for anecdote in art as a concession to the ignorant public1 his translation of the subjects of painting into musical terms1 and much else charged against him as deliberate pose1 can be traced to ,baudelaire4 ,it is incomprehensible how he found time to read while a student1 and yet he knew the literature of the day4 ,with artists and their movements he was more familiar4 ,he mastered all that ,gleyre could teach on the one hand1 ,courbet on the other4 ,he came under the influence of ,lecocq de ,boisbaudran1 who was occupied with the study of values1 effects of night1 and training of memory4 ,it is absurd for anyone to say that ,whistler idled away his four full years in ,paris4 ,the younger men in their rebellion against official art were not so foolish as to disdain the ,old ,masters4 ,they went to the ,louvre to learn how to use their eyes and their hands4 ,there they copied the pictures1 and there they met each other4 ,to ,whistler the ,frenchmen were more sympathetic than the ,english1 and he joined them at the ,louvre4 ,respect for the great traditions of art always was his standard3 ,what is not worthy of the ,louvre is not art1 he said4 ,rembrandt1 ,hals1 and ,velasquez were the masters by whom he was influenced4 ,there are only a few pictures by ,velasquez in the ,louvre1 and ,whistler's early appreciation of him has been a puzzle to some1 who1 to account for it1 have credited him with a journey when a student to ,madrid4 ,but that journey was not made in the fifties or ever1 though he planned it more than once4 ,a great deal could be learned about ,velasquez without going to ,spain4 ,whistler knew the ,london galleries1 and in #aheg he visited the ,art ,treasures ,exhibition at ,manchester1 taking ,henri ,martin with him4 ,there was a difficulty about the money for their railway fares1 and he suggested to ,t4 ,armstrong that he might borrow it from a friend of the family who was manager of the ,north-,western4 ,but have you paid him the three hundred francs he has already lent you8 ,armstrong asked4 ,why1 no1 ,whistler answered2 ought that to make any difference8 ,and he consulted the friend as to whether it would not be the right thing to ask for another loan4 ,from this friend1 or somebody1 he managed to get the money1 and ,miss ,emily ,chapman finds in her diaries1 which she has consulted for us1 that on ,september #aa1 #aheg1 ,rose1 her sister1 went to ,darwen and found ,whistler and ,henri ,martin staying at ,earnsdale with another sister1 ,mrs4 ,potter2 a merry evening1 the note finishes4 ,fourteen fine examples of ,velasquez were in the ,manchester ,exhibition1 lent from private collections in ,england1 among them the ,venus1 ,admiral ,pulido ,pareja1 ,duke ,olivarez on ,horseback1 ,don ,balthazar in the ,tennis ,court1 some of them now in the ,british ,national ,gallery4 ,whistler once described himself to us as a surprising youth1 suddenly appearing in the group of ,french students from no one knew where1 with my ,mre ,grard and the ,piano ,picture ,at the ,piano for introduction1 and making friends with ,fantin and ,legros1 who had already arrived1 and ,courbet1 whom they were all raving about1 and who was very kind to me4 ,the ,piano ,picture was painted toward the end of his student years in ,paris1 the ,mre ,grard a little earlier1 so that this agrees with ,fantin's notes4 ,in #aheh1 ,fantin says1 ,i was copying the ,marriage ,feast at ,cana in the ,louvre when ,i saw passing one day a strange creature--personnage trange1 le ,whistler en chapeau bizarre1 who1 amiable and charming1 stopped to talk1 and the talk was the beginning of our friendship1 strengthened that evening at the ,caf ,molire4 ,carolus ,duran writes us1 from the ,acadmie de ,france in ,rome1 that he and ,whistler met as students in ,paris2 after that he lost sight of ,whistler until the days of the new ,salon1 but1 though there were a few meetings then1 his memories are altogether of the student years4 ,bracquemond has recalled for us that he was making the preliminary drawing for his etching after ,holbein's ,erasmus in the ,louvre when he first saw ,whistler4 ,their meetings were cordial1 but never led to intimacy4 ,with ,legros ,whistler's friendship did become intimate1 and the two1 with ,fantin1 formed at that date what ,whistler called their ,society of ,three4 ,fantin was somewhat older1 and had been studying much longer1 and had1 among students1 a reputation for wide and sound knowledge3 a learned painter1 ,armstrong says4 ,m4 ,bndite thinks that the friendship was useful to ,fantin1 but of the greatest importance to ,whistler1 on whose art in its development it had a marked influence4 ,mr4 ,luke ,ionides1 on the other hand1 insists that even in those early days1 ,whistler's influence was very much felt4 ,he had decided views1 which were always listened to with respect and regard by many older artists1 who seemed to recognise his genius4 ,the truth probably is that ,whistler and ,fantin influenced each other4 ,they worked in sympathy1 and the understanding between them was complete4 ,they not only studied in the ,louvre1 but joined the group at ,bonvin's studio to work from the model under ,courbet4 ,with ,courbet1 we come to an influence which cannot be doubted1 much as ,whistler regretted it as time went on4 ,oulevey remembers ,whistler calling on ,courbet once1 and saying enthusiastically as he left the house1 ,c'est un grand homme6 and for several years his pictures showed how strong this influence was4 ,m4 ,duret even sees in ,courbet's ,manifestoes forerunners of ,whistler's letters at a later date to the papers4 ,courbet1 whatever mad pranks he might play with the bourgeois1 was seriousness itself in his art1 and the men who studied under him learned to be serious1 ,whistler most of all4 ,the proof of ,whistler's industry is in his work--in his pictures and prints1 which are amazing in quality and quantity for the student who1 ,sir ,edward ,poynter believes1 worked in two or three years only as many weeks4 ,it would be nearer the truth to say that he never stopped working4 ,everything that interested him he made use of4 ,the women he danced with at night were his models by day3 ,fumette1 who1 as she crouches1 her hair loose on her shoulders1 in that early etching1 looks the ,tigresse who tore up his drawings in a passion2 and ,finette1 the dancer in a famous quadrille1 who1 when she came to ,london1 was announced as ,madame ,finette in the cancan1 the national dance of ,france4 ,his friends had to pose for him3 ,drouet1 in the plate1 done1 he told us1 in two sittings1 one of two and a half hours1 the other of an hour and a half2 ,axenfeld1 the brother of a famous physician2 ,becquet1 the sculptor-musician1 the greatest man who ever lived to his friends1 to the world unknown2 ,astruc1 painter1 sculptor1 poet1 editor of ,l',artiste1 of whom his wife said that he was the first man since the ,renaissance who combined all the arts1 but who is only remembered in ,whistler's print2 ,deltre1 the printer2 ,riault1 the engraver4 ,bibi ,valentin was the son of another engraver4 ,and there is the amusing pencil sketch of ,fantin in bed on a winter day1 working away in his overcoat1 muffler1 and top hat1 trying to keep warm3 one kept among a hundred lost4 ,the streets where ,whistler wandered1 the restaurants where he dined1 became his studios4 ,at the house near the ,rue ,dauphine he etched ,bibi ,lalouette4 ,his ,soupe ,trois ,sous was done in a cabaret kept by ,martin1 whose portrait is in the print at the extreme left1 and who was famous in the ,quarter for having won the ,cross of the ,legion of ,honour at an earlier age than any man ever decorated1 and then promptly losing it4 ,mr4 ,ralph ,thomas says3 ,while ,whistler was etching this1 at twelve o'clock at night1 a gendarme came up to him and wanted to know what he was doing4 ,whistler gave him the plate upside down1 but officialism could make nothing of it4 ,there is hardly one of these etchings that is not a record of his daily life and of the people among whom he lived1 though to make it such a record was the last thing he was thinking of4 ,whistler's first set of etchings was published in ,november #aheh4 ,the prints were not the first he made after leaving ,washington4 ,on the rare ,au ,sixime1 supposed to be unique1 ,haden1 to whom it had belonged1 wrote1 ,probably the first of ,whistler's etchings1 but then ,haden wrote these things on others1 and knew little about them4 ,a portrait of himself1 another of his niece ,annie ,haden1 the ,dutchman holding the ,glass1 are as early1 if not earlier4 ,there were twelve plates1 some done in ,paris1 some during the journey to the ,rhine1 some in ,london4 ,there was also an etched title with his portrait1 for which ,ernest1 putting on the big hat1 sat4 ,etched above is ,douze ,eaux ,fortes d'aprs ,nature par ,james ,whistler1 and to one side1 ,imp4 ,deltre1 ,rue ,st4 ,jacques1 #aga1 ,paris1 ,nov4 #aheh4 ,whistler dedicated the set to mon vieil ami ,seymour ,haden1 and issued and sold it himself for two guineas4 ,deltre printed the plates1 and1 standing at his side1 ,drouet said1 ,whistler learned the art4 ,deltre's shop was the room described by the ,de ,goncourts1 with the two windows looking on a bare garden1 the star wheel1 the man in grey blouse pulling it1 the old noisy clock in the corner1 the sleeping dog1 the children peeping in at the door2 the room where they waited for their first proof with the emotion they thought nothing else could give4 ,drouet said that ,whistler never printed at this time4 ,but ,oulevey remembers a little press in the ,rue ,campagne-,premire1 and ,whistler pulling the proofs for those who came to buy them4 ,he was already hunting for old paper1 loitering at the boxes along the quais1 tearing out fly-leaves from old books4 ,passages in many plates of the series1 especially in ,la ,mre ,grard and ,la ,marchande de ,moutarde1 are1 as we have said1 like his work in ,the ,coast ,survey1 ,no4 #a4 ,for the only time1 and as a result of his training at ,washington1 his handling threatened to become mannered4 ,but in the ,street at ,saverne he overcame his mannerism1 while in others1 not in the series but done during these years1 the ,drouet1 ,soupe ,trois ,sous1 ,bibi ,lalouette1 he had perfected his early style of drawing1 biting1 and dry-point4 ,we never asked him how the ,french plates were bitten1 but1 no doubt1 it was in the traditional way by biting all over and stopping out4 ,they were drawn directly from ,nature1 as can be seen in his portraits of places which are reversed in the prints4 ,so far as we know1 he scarcely ever made a preliminary sketch4 ,we can recall none of his etchings at any period that might have been done from memory or sketches1 except the ,street at ,saverne1 the ,venetian ,nocturnes1 the ,nocturne1 ,dance ,house1 ,amsterdam1 ,weary1 and ,fanny ,leyland portraits4 ,his first commissions in ,paris were1 he told us1 copies made in the ,louvre4 ,they were for ,captain ,williams1 a ,stonington man1 familiarly known as ,stonington ,bill1 whose portrait he had painted before leaving home4 ,stonington ,bill must have liked it1 for when he came to ,paris shortly afterwards he gave ,whistler a commission to paint as many copies at the ,louvre as he chose for twenty-five dollars apiece4 ,whistler said he copied a snow scene with a horse and soldier standing by and another at its feet1 and never afterwards could remember who was the painter2 the busy picture detective may run it to ground for the edification of posterity4 ,there was a ,st4 ,luke with a halo and draperies2 a woman holding up a child towards a barred window beyond which1 seen dimly1 was the face of a man2 and an inundation1 no doubt ,the ,deluge or ,the ,wreck4 ,he was sure he must have made something interesting out of them1 he knew there were wonderful things even then--the beginnings of harmonies and of purple schemes--he supposed it must have been intuitive4 ,another ,stonington man commissioned him to paint ,ingres' ,andromeda chained to the rock--probably the ,angelina of ,ingres which he and ,tissot are said to have copied side by side1 though a copy of an ,andromeda by him has been shown in ,new ,york1 and other alleged copies are now turning up4 ,all1 he said1 might be still at ,stonington1 and shown there as marvellous things by ,whistler4 ,to these may be added the ,diana by ,boucher in the ,london ,memorial ,exhibition1 owned by ,mr4 ,louis ,winans1 and the group of cavaliers after ,velasquez1 the one copy ,fantin remembered his doing4 ,a study of a nun was sent to the ,london ,exhibition1 but not shown1 with the name ,wisler on the back of the canvas1 not a bad study of drapery1 which may have been1 despite the name1 another of his copies or done in a sketch class4 ,the first original picture in ,paris was1 he assured us1 the ,mre ,grard1 in white cap1 holding a flower1 which he gave to ,swinburne4 ,there is another painting of her1 we believe1 and from ,drouet we heard of a third1 which has vanished4 ,whistler painted a number of portraits2 some it would probably be impossible to trace1 a few are well known4 ,one--a difficult piece of work1 he said--was of his father1 after a lithograph sent him for the purpose by his brother ,george1 and he began another of ,henry ,harrison1 whom he had known in ,russia4 ,a third was of himself in his big hat4 ,two were studies of models3 the ,tte de ,paysanne1 a woman in a white cap1 younger than the ,mre ,grard1 and the ,head of an ,old ,man ,smoking1 a pedlar of crockery whom ,whistler came across one day in the ,halles1 a full face with large brown hat1 for long the property of ,drouet and left by him to the ,louvre4 ,but the finest is ,at the ,piano1 ,the ,piano ,picture as ,whistler called it4 ,it is the portrait of his sister and his niece1 the wonderful little ,annie of the etchings1 now ,mrs4 ,charles ,thynne1 who gave him many sittings1 and to whom1 in return1 he gave his pencil sketches made on the journey to ,alsace4 ,mr4 ,gallatin1 in ,portraits of ,whistler1 and ,m4 ,duret1 in the second edition of ,whistler1 have reproduced an oil portrait entitled ,whistler ,smoking1 which was bought from a ,french family in #aiac4 ,the most cursory glance at even the reproduction is enough to show that the portrait is devoid of merit1 while the statement that it was hidden from #ahfj to #aiac would require considerable further proof4 ,the whole thing is but a clumsy attempt to imitate the ,whistler in the ,big ,hat1 as well as the etching of the same subject4 ,every part of it is stolen from some other work1 down to the hand or handkerchief1 just indicated1 which is taken from the portrait of his mother4 ,it is true that the signature is on the painting1 but this no longer proves anything1 as a signature is the easiest part of a work of art to forge4 ,the portraits smell of the ,louvre4 ,the method is acquired from close study of the ,old ,masters4 ,rembrandtish is the usual criticism passed on these early canvases1 with their paint laid thickly on and their heavy shadows4 ,indeed1 it is evident that his own portrait1 ,whistler in the ,big ,hat1 was suggested by ,rembrandt's ,young ,man in the ,louvre4 ,to his choice of subjects1 in his pictures as in his etchings1 he brought the realism of ,courbet1 painting people as he saw them1 and not in clothes borrowed from the classical and medival wardrobes of the fashionable studio4 ,yet there is the personal note3 ,whistler does not efface himself in his devotion to the masters4 ,this is felt in the way a head or a figure is placed on the canvas4 ,the arrangement of the pictures on the wall and the mouldings of the dado in ,at the ,piano1 the harmonious balance of the black and white in the dresses of the mother and the little girl1 show the sense of design1 of pattern1 which he brought to perfection in the ,mother1 ,carlyle1 and ,miss ,alexander4 ,there was nothing like it in the painting of the other young men1 of ,degas1 ,fantin1 ,legros1 ,ribot1 ,manet2 nothing like it in the work of the older man1 their leader1 when painting ,l',enterrement ,ornans and ,bonjour1 ,monsieur ,courbet4 ,m4 ,duret says that ,whistler's fellow students1 who had immediately recognised his etchings1 now accepted his paintings1 which confirms ,whistler's statement to us4 ,illustration3 ,,at ,,the ,,piano ,,oil ,in the possession of ,edmund ,davis1 ,esq4 7,see page #eb7 ,illustration3 ,,wapping ,,oil ,in the possession of ,mrs4 ,hutton 7,see page #fc7 ,at the ,piano was sent to the ,salon of #ahei with two etchings the titles of which are not given4 ,the etchings were hung1 the picture was rejected4 ,it may have been because of what was personal in it2 strong personality in the young usually fares that way at official hands4 ,fantin's story is3 ,one day ,whistler brought back from ,london the ,piano ,picture1 representing his sister and niece4 ,he was refused with ,legros1 ,ribot1 and myself at the ,salon4 ,bonvin1 whom ,i knew1 interested himself in our rejected pictures1 and exhibited them in his studio1 and invited his friends1 of whom ,courbet was one1 to see them4 ,i recall very well that ,courbet was struck with ,whistler's picture4 ,two portraits by ,fantin1 some studies of still life by ,ribot1 and ,legros' portrait of his father1 which had also been rejected1 were shown4 ,the rejection was a scandal4 ,the injustice was flagrant1 the exhibitors at ,bonvin's found themselves famous1 and ,whistler's picture impressed many artists besides ,courbet4 ,with its exhibition ,whistler ceased to be the student1 though he was a student all his life2 it was only in his last years that he felt he was beginning to understand1 he often said to us4 ,,chapter ,,viii3 ,,the ,,beginnings ,,in ,,london4 ,,the ,,years ,,eighteen ,,fifty-,,nine ,,to ,,eighteen ,,sixty-,,three4 ,it was now that ,whistler began his endless journeys between ,paris and ,london4 ,at first he stayed with his sister1 ,lady ,haden1 at #fb ,sloane ,street1 sometimes bringing with him ,henri ,martin or ,legros4 ,in #ahei he invited ,fantin1 promising him glory and fortune4 ,in his notes ,fantin wrote3 ,whistler talked about me at this moment to his brother-in-law1 ,seymour ,haden1 who urged me to come to ,london2 he had also talked about me to ,boxall4 ,i should like it known that it was ,whistler who introduced me to ,england4 ,fantin arrived in time for them to go to the ,academy1 then still in the east end of the ,national ,gallery4 ,whistler exhibited for the first time1 and ,two ,etchings from ,nature--a perplexing title1 for all his etchings were from ,nature--were hung in the little octagon room1 or dark cell1 reserved for black-and-white4 ,les souvenirs les plus vifs que j'ai conservs de ce temps ,londres1 ,fantin wrote taient notre admiration pour l'exposition des tableaux de ,millais l',academy4 ,millais showed ,the ,vale of ,rest1 and the two young men1 fresh from ,paris studios1 recognised in his work the realism which1 though conceived and expressed so differently1 was the aim of the ,pre-,raphaelites as of ,courbet4 ,seymour ,haden1 who had already etched some of his finest plates1 was kind to his visitors4 ,he not only ordered copies from ,fantin--amongst them one of the many ,fantin made of ,veronese's ,marriage ,feast at ,cana--but he bought the pictures of ,legros1 who was at one moment in so deplorable a condition1 ,whistler said to us1 that it needed ,god or a lesser person to pull him out of it4 ,and so ,i brought him over to ,london1 and for a while he worked in my studio4 ,he had1 before coming1 sold a church interior to ,haden1 who liked it1 though he found the floor out of perspective4 ,one day he took it to the room upstairs where he did his etchings1 and turned the key4 ,when it reappeared the floor was in perspective according to ,haden4 ,a gorgeous frame was bought1 and the picture was hung conspicuously in the drawing-room4 ,whistler thought ,haden restive when he heard that ,legros was coming1 but nothing was said4 ,the first day ,legros was impressed2 he had been accustomed to seeing himself in cheap frames1 if in any frame at all4 ,but gradually he looked inside the frame1 and ,haden's work dawned upon him4 ,that he could not stand4 ,what was he to do8 he asked ,whistler4 ,run off with it1 ,whistler suggested4 ,we got it down1 called a four-wheeler1 and carried it away to the studio--our own little kopje1 for ,whistler told us the story in the days of the ,boer ,war4 ,haden discovered his loss as soon as he got home1 and in a rage hurried after them to the studio4 ,but when he saw it on an easel1 ,legros repainting the perspective according to his idea1 well1 there was nothing to say4 ,where the studio was we do not know4 ,haden even endured ,ernest1 who had not yet caught up with the seasons1 and who went about in terror of the butler1 taking his daily walks in slippers rather than expose his boots to the servants1 and enchanting ,whistler by asking ,mais1 mon cher1 qu'est-ce que c'est que cette espce de cataracte de ,niagara8 when ,haden turned on the shower-bath in the morning4 ,fantin was almost as dismayed by the luxury at the ,hadens'4 ,what lunches6 he wrote home1 what roast beef and sherry6 ,and what dinners--always champagne6 ,and if he was distressed by the street organs grinding out the ,misrr of ,verdi1 he could console himself by listening to ,lady ,haden's brilliant playing on the piano1 until paradisiaque was the adjective he found to describe his life there to his parents4 ,whistler fell in at once with the ,english students whom he had known in ,paris3 ,poynter1 ,armstrong1 ,luke and ,aleco ,ionides4 ,du ,maurier came back from ,antwerp in #ahfj1 and for several months he and ,whistler lived together in ,newman ,street4 ,armstrong remembers their studio1 with a rope like a clothes-line stretched across it and1 floating from it1 a bit of brocade no bigger than a handkerchief1 which was their curtain to shut off the corner used as a bedroom4 ,there was hardly ever a chair to sit on1 and often with the brocade a towel hung from the line3 their decoration and drapery4 ,du ,maurier's first ,punch drawing--in a volume full of crinolines and ,leech 7vol4 ,,xxxix41 ,october #f1 #ahfj7--shows the two1 shabby1 smoking1 calling at a photographer's to be met with an indignant1 ,no smoking here1 sirs6 followed by a severe1 ,please to remember1 gentlemen1 that this is not a common ,hartist's ,studio6 ,the figure at the door1 with curly hair1 top hat1 glass in his eye1 hands behind his back smoking a cigarette1 is ,whistler4 ,probably it was then also that ,du ,maurier made a little drawing1 in ,mr4 ,howard ,mansfield's collection1 of ,whistler1 ,charles ,keene1 and himself1 with their autographs below2 ,whistler again with a glass in his eye4 ,nearly always1 on ,sunday1 he used to come to our house1 ,mr4 ,ionides tells us1 and there was no more delightful house in ,london4 ,alexander ,ionides1 the father1 was a wealthy merchant with a talent for gathering about him all the interesting people in town or passing through1 artists1 musicians1 actors1 authors4 ,mr4 ,luke ,ionides says that ,whistler came to their evenings and played in their private theatricals1 and there remains a programme designed by ,du ,maurier with a drawing of himself1 ,whistler1 and ,aleco ,ionides at the top1 while ,luke ,ionides and his sister1 ,mrs4 ,coronio1 stand below with the list of dramatis person between4 ,and ,whistler also took part in their masquerades and fancy-dress balls1 once mystifying everybody by appearing in two different costumes in the course of the evening and winding up as a sweep4 ,he never lost his joy in the memory of ,alma-,tadema1 on another of these occasions1 as an ,ancient ,roman in toga and eye-glasses1 crowned with flowers3 amazing1 ,whistler said1 with his bare feet and ,romano-,greek ,st4 ,john's ,wooden eye6 ,mr4 ,arthur ,severn writes us3 ,my first recollection of ,whistler was at his brother-in-law's1 ,seymour ,haden 7he and ,du ,maurier were looking over some ,liber ,studiorum engravings71 and then at ,arthur ,lewis' parties on ,campden ,hill1 charming gatherings of talented men of all kinds1 with plenty of listeners and sympathisers to applaud4 ,the ,moray ,minstrels used to sing1 conducted by ,john ,foster1 and when they were resting anyone who could do anything was put up4 ,du ,maurier with ,harold ,sower would sing a duet1 ,les ,deux ,aveugles2 ,grossmith half killed us with laughter 7it was at these parties he first came out74 ,stacy ,marks was a great attraction1 but towards the end of the evening1 when we were all in accord1 there were yells for ,whistler1 the eccentric ,whistler6 ,he was seized and stood up on a high stool1 where he assumed the most irresistibly comic look1 put his glass in his eye1 and surveyed the multitude1 who only yelled the more4 ,when silence reigned he would begin to sing in the most curious way1 suiting the action to the words with his small1 thin1 sensitive hands4 ,his songs were in argot ,french1 imitations of what he had heard in low cabarets on the ,seine when he was at work there4 ,what ,whistler and ,marks did was so entirely themselves and nobody else1 so original or quaint1 that they were certainly the favourites4 ,breezy1 buoyant and debonair1 sunny and affectionate1 he seemed to ,george ,boughton1 who could not remember the time when ,whistler's sayings and doings did not fill the artistic air1 nor when he failed to give a personal touch1 a something distinct to his appearance4 ,his cool suit of linen duck and his jaunty straw hat were conspicuous in ,london1 where personality of dress was more startling than in ,paris4 ,boughton refers to a flying trip to ,paris at this period1 when he was flush of money and lovely in attire4 ,others recall meeting him1 armed with two umbrellas1 a white and a black1 his practical preparation for all weathers4 ,val ,prinsep speaks of the pink silk handkerchief stuck in his waistcoat1 but this must have been later4 ,a brisk little man1 conspicuous from his swarthy complexion1 his gleaming eye-glass1 and his shock of curly black hair1 amid which shone his celebrated white lock1 is ,val ,prinsep's description of him in the fifties4 ,but the white lock is not seen in any contemporary painting or etching4 ,it was first introduced1 as far as we can discover1 in his portrait owned by the late ,mr4 ,mc,culloch--the portrait a few years ago was in ,detroit--and in the etching ,whistler with the ,white ,lock1 #ahgi1 though there may be earlier work showing it4 ,we never asked him about it1 and his family1 friends1 and contemporaries1 whom we have asked1 cannot explain it4 ,some say that it was a birthmark1 others that he dyed all his hair save the one lock4 ,but he did not dye his hair4 ,du ,maurier1 according to ,dr4 ,williamson1 attributed it to a wound1 either by bullet or sword-cut1 received at ,valparaiso3 the wound was sewn up1 the white lock appeared almost immediately4 ,mr4 ,theodore ,roussel tells a somewhat similar story4 ,but we think if this were so1 ,whistler would have told us of it4 ,in an exhibition of oil paintings and pastels by ,whistler held in the ,metropolitan ,museum1 ,new ,york1 in ,march #aiaj1 a painting was shown entitled ,sketch of ,mr4 ,whistler4 ,it was lent by ,mr4 ,charles ,l4 ,freer and was sold to him by an art dealer4 ,we are by no means certain that it is genuine1 though we have only seen the reproduction1 the frontispiece of the catalogue4 ,j4 recently went to ,detroit1 but in ,mr4 ,freer's absence he was not allowed to see the painting4 ,if it is genuine1 it is most likely a study by ,whistler of the ,chinese dress in which he posed for ,fantin4 ,in ,freer's sketch the white lock appears4 ,though it could easily have been added later1 its presence to us seems proof that the picture is most probably not genuine1 and certainly is not contemporary1 because in ,fantin's head of ,whistler from the ,toast1 in ,hommage ,delacroix1 and ,whistler's own portraits of that time the white lock is not shown4 ,many1 seeing him for the first time1 mistook the white lock for a floating feather4 ,he used to call it the ,mche de ,silas1 and it amused him to explain that the ,devil caught those whom he would preserve by a lock of hair which turned white4 ,whatever its origin1 ,whistler cherished it with greatest care4 ,whistler had stumbled upon a period in ,england when1 though painters prospered1 art was at a low ebb4 ,pre-,raphaelitism was on the wane4 ,a few interesting young men were at work3 ,charles ,keene1 ,boyd ,houghton1 ,albert ,moore2 ,fred ,walker and ,george ,mason4 ,but ,academicians were at the high tide of mid-,victorian success and sentiment4 ,they puzzled ,whistler no less than he puzzled them4 ,well1 you know1 it was this way4 ,when ,i came to ,london ,i was received graciously by the painters4 ,then there was coldness1 and ,i could not understand4 ,artists locked themselves up in their studios--opened the doors only on the chain2 if they met each other in the street they barely spoke4 ,models went round with an air of mystery4 ,when ,i asked one where she had been posing1 she said1 ',to ,frith and ,watts and ,tadema4' ',golly6 what a crew6' ,i said4 ',and that's just what they says when ,i told 'em ,i was a-posing to you6' ,then ,i found out the mystery2 it was the moment of painting the ,royal ,academy picture4 ,each man was afraid his subject might be stolen4 ,it was the era of the subject4 ,and1 at last1 on ,varnishing ,day1 there was the subject in all its glory--wonderful6 ,the ,british subject6 ,like a flash the inspiration came--the ,inventor6 ,and in the ,academy there you saw him3 the familiar model--the soldier or the ,italian--and there he sat1 hands on knees1 head bent1 brows knit1 eyes staring2 in a corner1 angels and cogwheels and things2 close to him his wife1 cold1 ragged1 the baby in her arms2 he had failed6 ,the story was told2 it was clear as day--amazing6 ,the ,british subject6 ,what4 ,into this riot of subject1 to the ,academy of #ahfj1 ,at the ,piano was sent1 with five prints3 ,monsieur ,astruc1 ,rdacteur du ,journal ',l',artiste1' portrait1 and three of the ,thames ,set4 ,whistler had given ,at the ,piano1 the portrait of his sister and niece1 to ,seymour ,haden1 in a way1 he said3 ,well1 you know1 it was hanging there1 but ,i had no particular satisfaction in that4 ,haden just then was playing the authority on art1 and he could never look at it without pointing out its faults and telling me it never would get into the ,academy--that was certain4 ,however1 at the ,academy it was accepted1 ,whistler's first picture in an ,english exhibition4 ,the ,salon was not held then every year1 and he could not hope to repeat his success in ,paris4 ,but in ,london ,at the ,piano was as much talked about as at ,bonvin's4 ,it was bought by ,john ,phillip1 the ,academician 7no relation to the family into which ,whistler afterwards married74 ,phillip had just returned from ,spain with1 well1 you know1 ,spanish notions about things1 and he asked who had painted the picture1 and they told him a youth no one knew about1 who had appeared from no one knew where4 ,phillip looked up my address in the catalogue and wrote to me at once to say he would like to buy it1 and what was its price8 ,i answered in a letter which1 ,i am sure1 must have been very beautiful4 ,i said that1 in my youth and inexperience1 ,i did not know about these things1 and ,i would leave to him the question of price4 ,phillip sent me thirty pounds2 when the picture was last sold1 to ,edmund ,davis1 it brought two thousand eight hundred6 ,thackeray1 ,lady ,ritchie tells us1 went to see the picture of ,annie ,haden standing by the piano1 and admired it beyond words1 and stood looking at it with real delight and appreciation4 ,it was the only thing ,george ,boughton brought vividly away in his memories of the ,academy4 ,the critics could not ignore it4 ,it at once made an impression1 ,mr4 ,w4 ,m4 ,rossetti wrote4 ,as an eccentric1 uncouth1 smudgy1 phantom-like picture of a lady at a pianoforte1 with a ghostly-looking child in a white frock looking on1 it struck the ,daily ,telegraph4 ,but the ,athenum1 having discovered the admirable etchings in the octagon room1 managed to see in the ,piano ,picture1 despite a recklessly bold manner and sketchiness of the wildest and roughest kind1 a genuine feeling for colour and a splendid power of composition and design1 which evince a just appreciation of nature very rare among artists4 ,if the observer will look for a little while at this singular production1 he will perceive that it 'opens out' just as a stereoscopic view will--an excellent quality due to the artist's feeling for atmosphere and judicious gradation of light4 ,we quote these criticisms because the general idea is that ,whistler waited long for notice4 ,he was always noticed1 praised or blamed1 never ignored1 after #ahei4 ,whistler went back to ,paris late in that year4 ,december #ahei is the date of his ,isle de la ,cit1 etched from the ,galerie d',apollon in the ,louvre1 with ,notre ,dame in the distance and the ,seine and its bridges between4 ,it was his only attempt to rival ,mryon1 and he succeeded badly4 ,the fact that he gave it up when half done shows that he thought so and was too big an artist to be an imitator1 especially of a little man like ,mryon4 ,besides1 he was much less in ,paris now1 for1 though he preferred life there1 he found his subjects in ,london1 which he soon made his home1 as it continued to be1 except for a few intervals1 until his death4 ,it was not the people he cared for1 nor the customs4 ,he was drawn by the beauty that no one had felt with the same intensity and understanding4 ,he went to work on the river4 ,in these first years he dated his prints and pictures1 as he seldom did later1 and #ahei is bitten on many of the ,thames plates4 ,he saw the river as no one had seen it before1 in its grime and glitter1 with its forest of shipping1 its endless procession of barges1 its grim warehouses1 its huge docks1 its little water-side inns4 ,and as he saw it so he rendered it1 as no one ever had before--as it is4 ,it was left to the ,american youth to do for ,london what ,rembrandt had done for ,amsterdam4 ,there were eleven plates on the ,thames during this year4 ,to make them he wandered from ,greenwich to ,westminster2 they included ,black ,lion ,wharf1 ,tyzac1 ,whiteley and ,co41 which he never excelled at any period2 and in each the warehouses or bridges1 the docks or ships1 are worked out with a mass and marvel of detail4 ,the ,pre-,raphaelites were not so faithful to ,nature1 so minute in their rendering4 ,the series was a wonderful achievement for the young man of twenty-five never known to work by his ,english fellow students1 a wonderful achievement for an artist of any age4 ,illustration3 ,,the ,,thames ,,in ,,ice ,,oil ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art 7,see page #fc7 ,illustration3 ,,rotherhithe ,,etching4 ,g4 #ff 7,see page #fc7 ,those who thought he idled in ,paris were as sure of his application in ,london4 ,on the ,thames he worked tremendously1 ,armstrong said1 not caring then to have people about or to let anyone see too much of his methods4 ,he stayed for months at ,wapping to be near his subjects1 though not cutting himself off entirely from his friends4 ,sir ,edward ,poynter1 ,mr4 ,ionides1 ,m4 ,legros1 ,du ,maurier visited him4 ,mr4 ,ionides recalls long drives down by the ,tower and the ,london ,docks to get to the place1 as out of the way now as then4 ,he says ,whistler lived in a little inn1 rather rough1 frequented by skippers and bargees1 close to ,wapping steamboat pier4 ,but there is no doubt that much of his work was done from ,cherry ,gardens1 on the other side of the river4 ,unfortunately it was not until after his death that we looked into this matter4 ,at any rate1 if he lived at ,wapping1 he worked a great deal at ,cherry ,gardens1 also often from boats and barges1 he told us1 and this one can see in the prints4 ,sometimes he would get stranded in the mud1 and at others cut off by the tide4 ,when his friends came1 ,armstrong wrote us1 they dined at an ordinary there used to be4 ,people who had business at the wharves in the neighbourhood dined there1 and ,jimmie's descriptions of the company were always humorous4 ,mr4 ,ionides drove down once for a dinner-party ,whistler gave at his inn3 ,the landlord and several bargee guests were invited4 ,du ,maurier was there also1 and after dinner we had songs and sentiments4 ,jimmie proposed the landlord's health2 he felt flattered1 but we were in fits of laughter4 ,the landlord was very jealous of his wife1 who was rather inclined to flirt with ,jimmie1 and the whole speech was chaff of a soothing kind that he never suspected4 ,another and more frequent visitor to ,wapping was ,serjeant ,thomas1 one of those patrons who recognise the young artist and appear when recognition is most needed4 ,he bought drawings and prints from ,holman ,hunt and ,legros when they were scarcely known1 and he helped ,millais through difficult days4 ,whistler had issued his ,french ,set of etchings in ,london in #ahei3 ,twelve ,etchings from ,nature by ,james ,abbott ,whistler1 ,london4 ,published by ,j4 ,a4 ,whistler1 ,at ,no4 #fb ,sloane ,street 7,haden's house74 ,the price1 as in ,paris1 for ,artist's ,proofs on ,india1 two guineas4 ,serjeant ,thomas saw the prints1 got to know ,whistler1 and arranged to publish them1 and also the ,thames etchings which he sold separately at #ci ,old ,bond ,street1 where he had opened a shop with his son1 ,edmund ,thomas1 as manager4 ,mr4 ,percy ,thomas1 a younger son1 has told us that1 as a little fellow1 he often went with his father by boat to ,wapping1 and that his father and brother posed for two of the figures--the third is ,whistler--in ,the ,little ,pool1 used as an invitation card4 ,he has also told us that much of the printing was done at #ci ,old ,bond ,street1 where the family lived in the upper part of the house4 ,a press was in one of the small rooms1 and ,whistler would come in the evening1 when he happened to be in town1 to bite and prove his plates4 ,sometimes he would not get to work until half-past ten or eleven4 ,in those days he put his plate in a deep bath of acid1 keeping to the technical methods of the ,coast ,survey1 though it is said that the ,coast ,survey plates were banked up with wax and the acid poured over them4 ,this is supposed to have been the method of ,rembrandt4 ,serjeant ,thomas1 in his son's words1 was great for port wine1 and he would fill a glass for ,whistler1 and ,whistler would place the glass by the bath1 and then work a little on the plate and then stop to sip the port1 and he would say1 ,excellent6 ,very good indeed6 and they never knew whether he meant the wine or the work4 ,and the charm of his manner and his courtesy made it delightful to do anything for him4 ,serjeant ,thomas brought ,deltre from ,paris1 the only man1 he thought1 who could print ,whistler's etchings as the artist would have printed them himself4 ,nobody1 ,ralph ,thomas wrote1 has ever printed ,mr4 ,whistler's etchings with success except himself and ,m4 ,deltre1 and to-day many people are of the same opinion4 ,whistler's relations with the firm were pleasant while they lasted4 ,but they did not last long4 ,edmund ,thomas cared less for art than the law1 and in the shop he would sit at his desk reading his law books1 never looking up nor leaving them1 unless someone asked the price of a print or drawing4 ,a successful business is not run on those lines1 and in a few years he gave up art for the law1 to his great advantage4 ,,chapter ,,ix3 ,,the ,,beginnings ,,in ,,london4 ,,the ,,years ,,eighteen ,,fifty-,,nine ,,to ,,eighteen ,,sixty-,,three ,,continued4 ,whistler1 in #ahfj1 devoted more time to painting on the river and less to etching1 though the ,rotherhithe belongs to this year4 ,one picture he described in a letter to ,fantin4 ,chut6 n'en parle pas ,courbet was his warning1 as if afraid to trust so good a subject to anyone4 ,it was to be a masterpiece1 he had painted it three times1 and he sent a sketch which ,m4 ,duret reproduced in his ,whistler4 ,m4 ,duret1 unable to trace the picture1 thought he might never have carried it beyond the sketch4 ,but it was finished3 the ,wapping shown in the ,academy of #ahfd1 a proof how long ,whistler kept his pictures before exhibiting them4 ,in #ahfg he sent it to the ,paris ,exhibition4 ,it was bought by ,mr4 ,thomas ,winans1 taken to ,baltimore1 where it has remained4 ,whistler wanted to exhibit it at ,goupil's in #ahib1 but could not get it4 ,never seen in ,europe since #ahfg1 it has been forgotten4 ,it was painted from an inn1 probably ,the ,angel on the water-side at ,cherry ,gardens which exists to-day1 one of a row of old houses with overhanging balconies4 ,in the foreground1 in a shadowy corner of the inn balcony1 is a sailor for whom a workman from ,greaves' boat-building yard1 ,chelsea1 sat2 next1 ,m4 ,legros2 and on the other side of ,m4 ,legros1 with her back turned to the river1 the girl with copper-coloured hair1 ,jo1 the model for ,the ,white ,girl and ,the ,little ,white ,girl4 ,on the river are the little square-rigged ships that still anchor there2 on the opposite side is the long line of ,wapping warehouses1 which give the name4 ,artists feared ,jo's slightly open bodice would prevent the picture being hung in the ,royal ,academy4 ,but ,whistler insisted1 if it was rejected on that account1 he would open the bodice more and more every year until he was elected and hung it himself4 ,he painted ,the ,thames in ,ice this year 7#ahfj7 from the same inn4 ,it was called1 when first exhibited1 ,the ,twenty-fifth of ,december1 #ahfj1 on the ,thames4 ,for an idle apprentice it was a strange way of spending ,christmas4 ,whistler told us that ,haden bought it for ten pounds--ample pay1 ,haden said3 three pounds for each of the three days he spent painting it1 and a pound over4 ,to ,whistler the pay seemed anything but ample4 ,you know1 my sister was in the house1 and women have their ideas about things1 and ,i did what she wanted1 to please her6 ,two other pictures of #ahfj are the portrait of ,mr4 ,luke ,ionides and ,the ,music ,room4 ,in both the influence of ,courbet is evident4 ,the portrait1 painted in the ,newman ,street studio1 has the heavy handling of ,the ,piano1 though much more brilliant4 ,but the other picture is a tremendous advance4 ,fantin could not have been more conscientious in rendering the life about him as he found it than ,whistler in ,the ,music ,room2 only1 the room in the ,london house1 with its gay chintz curtains1 has none of the sombre simplicity of the interior where ,fantin's sisters sit4 ,fantin's home had an austerity he made beautiful2 the ,haden's house had colour--,harmony in ,green and ,rose was ,whistler's later title for the picture4 ,he emphasised the gaiety by introducing a strong black note in the standing figure1 ,miss ,boot1 while the cool light from the window falls on wonderful little ,annie1 in the same white frock she wears in ,the ,piano ,picture4 ,mrs4 ,thynne 7,annie ,haden7 says3 ,i was very young when ,the ,music ,room was painted1 and beyond the fact of not minding sitting1 in spite of the interminable length of time1 ,i do not know that ,i can say more4 ,it was a distinctly amusing time for me4 ,he was always so delightful and enjoyed the 'no lessons' as much as ,i did4 ,one day in ,the ,morning ,call 7the first name of ,the ,music ,room7 ,i did get tired without knowing it1 and suddenly dissolved into tears1 whereupon he was full of the most tender remorse1 and rushed out and bought me a lovely ,russia leather writing set1 which ,i am using at this very moment6 ,the actual music-room still exists in ,sloane ,street1 though the present owners have enlarged it1 and the date of the picture must have been '#fj or '#fa1 after his return from ,paris4 ,it was then he gave me the pencil sketches ,i lent to the ,london ,memorial ,exhibition4 ,i had kept them in an album he had also brought me from ,paris1 with my name in gold stamped outside1 of which ,i was very proud4 ,we were always good friends1 and ,i have nothing all through those early days but the most delightful remembrance of him4 ,this picture is described under three titles3 ,the ,morning ,call1 ,the ,music ,room1 and ,harmony in ,green and ,rose1 ,the ,music ,room2 the present confusion in ,whistler's titles is usually the result of his own vagueness4 ,it became the property of ,mrs4 ,rveillon1 ,george ,whistler's daughter1 and was carried off to ,st4 ,petersburg1 never to return to ,london until the exhibition at the ,goupil ,gallery in #ahib4 ,it has become the fashion to say that ,whistler had not mastered his trade and could not use oil paint4 ,these early pictures are technically as accomplished as the work of any of his contemporaries4 ,he never was taught1 few artists are1 the elements of his trade1 and some of his paintings have suffered4 ,the ,music ,room and ,the ,thames in ,ice1 so far as we can remember1 are wonderfully fresh4 ,they were painted more directly1 more thinly1 than the ,wapping1 in which the paint is thickly piled1 as in the ,piano ,picture1 which has cracked1 no doubt the result of his working over it probably on a bad ground4 ,of two pictures painted at the same period1 the ,wapping is badly cracked1 and the ,thames in ,ice is in perfect condition4 ,but this is due to his want of knowledge of the chemical properties of paints and mediums4 ,later1 he gave great attention to these matters4 ,he kept the ,wapping four years before he showed it4 ,though started down the river in #ahfj1 it contains a portrait of ,greaves' man1 whom he did not see for two or three years after4 ,walter ,greaves stated1 or allowed to be stated1 in a preface to the catalogue of his exhibition in ,may #aiaa1 that he met ,whistler in the late fifties when ,whistler lived in ,chelsea and made the ,thames series of etchings4 ,but the statement was proved to be inaccurate1 and the preface was withdrawn4 ,we have quoted ,greaves on several occasions1 but1 before doing so1 we have verified every statement of importance he made to us1 and we first met him some few years ago when his memory was clearer and more reliable1 and when he possessed letters from ,whistler which we have seen4 ,mr4 ,thynne stood in #ahfj for the beautiful dry-point ,annie ,haden1 in big crinoline and soup-plate hat1 the print ,whistler told ,mr4 ,e4 ,g4 ,kennedy he would choose by which to be remembered4 ,it was the year also of the portraits of ,axenfeld1 ,riault1 and ,mr4 ,mann4 ,in #ahfa there were more plates on the ,upper as well as the ,lower ,thames4 ,two of the plates of #ahfa were published as illustrations by the ,junior ,etching ,club in ,passages from ,modern ,english ,poets1 and ,whistler proved the plates at the press of ,day and ,son1 and met the lad he called the best professional printer in ,england1 ,frederick ,goulding4 ,whistler told us that he worked about three weeks on each of the ,thames plates4 ,he therefore must have spent on dated plates alone thirty-six weeks in #ahfa1 leaving but fourteen weeks for other work and for play4 ,some of them are much less elaborate than the ,drouet1 which1 ,drouet said1 was done in five hours1 so that it seems difficult to reconcile the two statements4 ,but it was about the ,black ,lion ,wharf1 one of the fullest of detail1 that we asked ,whistler4 ,we had many discussions with him about them4 ,whistler maintained that they were youthful performances1 and ,j4 as strongly maintained that that had nothing to do with the matter2 that he never surpassed the wonderful drawing and composition and biting4 ,he insisted that his later work in ,venice and in ,holland was a great development1 a great advance1 and his final answer was3 ,well1 you like them more than ,i do6 ,but there is no doubt that the ,thames plates1 notably the ,black ,lion ,wharf1 have1 for artistic rendering of inartistic subjects and for perfect biting1 never been approached4 ,another thing that astonished ,j4 was that he could see such detail and put it on a copper-plate4 ,h'm1 was ,whistler's comment1 that's what they all say4 ,whistler got to know the ,upper ,thames when he stayed with ,mr4 and ,mrs4 ,edwin ,edwards at ,sunbury4 ,edwards figures in his dry-point ,encamping with ,m4 ,w4 ,ridley1 who was ,whistler's first pupil1 and ,traer1 ,haden's assistant1 not ,freer1 as he has long masqueraded in ,mr4 ,wedmore's catalogue4 ,ridley also is in ,the ,storm and ,the ,guitar-,player4 ,to these visits we owe an etching of ,whistler at ,moulsey1 by ,edwards4 ,whistler introduced ,fantin1 who1 in a note for #ahfa1 refers to the jolies journes chez ,edwards ,sunbury4 ,mrs4 ,edwards wrote us shortly before her death3 ,whistler often came to see me1 turning up always when least expected1 perhaps driving down in a hansom cab from ,london4 ,at that time there was no railway at ,sunbury2 ,hampton ,court three miles distant4 ,he might send a line to be met by boat at ,hampton ,court4 ,he was always very eccentric4 ,doubtless the driving down was an eccentricity4 ,but ,whistler knew he might see some foolish sunset1 or a ,nocturne1 on the way4 ,we had a large boat with waterproof cover1 ,mrs4 ,edwards added2 my husband and friends several times went up the river and slept in the boat4 ,whistler went once1 when he did the plate ,encamping and possibly ,sketching and ,the ,punt1 and in ,mrs4 ,edwards' words1 got rheumatism4 ,it had been his trouble since ,st4 ,petersburg4 ,he could not risk exposure4 ,whistler1 though not settled in ,london1 sent work regularly to the ,academy1 where it was an unfailing shock to the critics4 ,he showed his ,mre ,grard in #ahfa4 ,the ,athenum described the picture as a fine1 powerful-toned1 and eminently characteristic study4 ,the ,daily ,telegraph thought it far fitter hung over the stove in the studio than exhibited at the ,royal ,academy1 though it is replete with evidence of genius and study4 ,if ,mr4 ,whistler would leave off using mud and clay on his palette and paint cleanly1 like a gentleman1 we should be happy to bestow any amount of praise on him1 for he has all the elements of a great artist in his composition4 ,but we must protest against his soiled and miry ways4 ,it seemed a good1 serious study of an old woman and nothing more1 when we saw it in the ,london ,memorial ,exhibition1 and the appallingly low level of the ,academy alone can explain the attention it attracted4 ,whistler was in ,france in the summer of #ahfa1 painting ,the ,coast of ,brittany1 or ,alone with the ,tide1 which might have been signed by ,courbet--an arrangement in brown under a cloudy sky1 a stretch of sand at low tide in the foreground1 water-washed rocks against which a peasant girl sleeps1 a deep blue sea beyond4 ,it was a beautiful thing1 ,whistler said years afterwards4 ,at ,perros ,guirec he made his splendid dry-point ,the ,forge4 ,another print of this year is the rare dry-point of ,jo1 who1 for awhile1 appeared in ,whistler's work as often as ,saskia in ,rembrandt's4 ,she was ,irish4 ,her father has been described to us as a sort of ,captain ,costigan1 and ,jo--,joanna ,heffernan1 ,mrs4 ,abbott--as a woman of next to no education1 but of keen intelligence1 who1 before she had ceased to sit to ,whistler1 knew more about painting than many painters1 had become well read1 and had great charm4 ,her value to ,whistler as a model was enormous1 and she was an important element in his life during the first ,london years4 ,she was with him in ,france in #ahfa-b1 going to ,paris in the winter to give him sittings for the big ,white ,girl1 which he painted in a studio in the ,boulevard des ,batignolles hung all in white4 ,there ,courbet met her1 and1 looking at the copper-coloured hair1 saw beauty in the beautiful4 ,he painted her1 though perhaps not that winter1 as ,la ,belle ,irlandaise1 and as ,jo1 femme d',irlande4 ,whistler's study of ,jo1 ,note ,blanche1 lent by ,mrs4 ,sickert to the ,paris ,memorial ,exhibition1 was doubtless done in #ahfa1 for the technique is like ,courbet's4 ,drouet remembered breakfasts in the studio which ,whistler cooked4 ,he fell ill before the end of the winter4 ,miss ,chapman says he was poisoned by the white lead used in the picture4 ,her brother1 a doctor1 recommended a journey to the ,pyrenees4 ,at ,guthary ,whistler was nearly drowned when bathing4 ,he wrote to ,fantin3 ,it was sunset1 the sea was very rough1 ,i was caught in the huge waves1 swallowing gallons of salt water4 ,i swam and ,i swam1 and the more ,i swam the less near ,i came to the shore4 ,ah6 my dear ,fantin1 to feel my efforts useless and to know people were looking on saying1 ',but the ,monsieur amuses himself1 he must be strong6' ,i cry1 ,i scream in despair--,i disappear three1 four times4 ,at last they understand4 ,a brave railroad man rushes to me1 and is rolled over twice on the sands4 ,my model hears the call1 arrives at a gallop1 jumps in the sea like a ,newfoundland1 manages to catch me by the foot1 and the two pull me out4#b ,at ,biarritz he painted ,the ,blue ,wave1 a great sea rolling in and breaking on the shore under a fine sky1 but quite unlike the ,coast of ,brittany4 ,whistler painted few pictures in which the composition1 the arrangement1 is more obvious4 ,it is an extraordinary piece of work4 ,it has lately been said that he painted this picture after he had seen ,courbet's ,vague1 now in the ,louvre4 ,but the ,vague was not shown until #ahgj4 ,if there was any influence1 it was all the other way4 ,at ,fuenterrabia ,whistler was in ,spain1 for the only time2 ,spaniards from the ,opra-,comique in the street1 men in brets and red blouses1 children like little ,turks4 ,he wanted to go farther1 to ,madrid1 and he urged ,fantin to join him4 ,together they would look at ,the ,lances and ,the ,spinners as together they had studied at the ,louvre4 ,in another letter he promised to describe ,velasquez to ,fantin1 to bring back photographs4 ,such glorious painting should be copied4 ,ah6 mon cher1 comme il a du travailler1 he winds up in his enthusiasm4 ,but the journey ended at ,fuenterrabia4 ,fantin could not join him4 ,madrid was put off for another spring1 for ever1 though the journey was for ever being planned anew4 ,illustration3 ,,the ,,music ,,room ,,harmony ,,in ,,green ,,and ,,rose ,,oil ,in the possession of ,colonel ,f4 ,hecker 7,see page #fd7 ,illustration3 ,,annie ,,haden ,,dry-,,point4 ,g4 #fb 7,see page #fe7 ,whistler sent ,the ,white ,girl to the ,academy of #ahfb1 with ,the ,twenty-fifth of ,december1 #ahfj1 on the ,thames2 ,alone with the ,tide2 and one etching1 ,rotherithe4 ,the ,white ,girl was rejected4 ,the two other pictures and the print were accepted1 hung1 and praised4 ,the ,athenum compared the ,rotherithe to ,rembrandt4 ,whistler could scarcely be mentioned as an etcher without this comparison2 since ,rembrandt his were the most striking and original etchings1 everyone then said1 ,mr4 ,w4 ,m4 ,rossetti being among the first in ,england to say it boldly4 ,alone with the ,tide was approved as perfectly expressed1 and ,the ,twenty-fifth of ,december as broad and vigorous1 though perhaps vigour was pushed over the bounds of coarseness to become mere dash4 ,other work he showed elsewhere was praised4 ,the ,punt and ,sketching1 published in ,passages from ,modern ,english ,poets1 were singled out for admiration4 ,thames ,warehouses and ,black ,lion ,wharf won him recognition as the most admirable etcher of the present day1 at ,south ,kensington ,museum1 where in #ahfb an ,international ,exhibition was held4 ,whistler had no pictures1 but the collection of modern continental art was one of the finest ever seen in ,england4 ,in nothing had ,whistler been so completely himself as in ,the ,white ,girl1 and it failed to please4 ,the artist is born to pick and choose1 and group with science1 the elements in ,nature that the result may be beautiful1 he wrote in ,the ,ten ,o',clock1 and ,the ,white ,girl was his first attempt to conform to a principle no one ever put so clearly into words4 ,it was an attempt1 we know now1 comparing the painting to the symphonies and harmonies that came after4 ,but at the time it was disquieting in its defiance of modern conventions4 ,it was without subject according to ,victorian standards1 and the bold massing of white upon white was more bewildering than the minute detail of the ,pre-,raphaelites4 ,this summer 7#ahfb7 the ,berners ,street ,gallery was opened1 with the avowed purpose of placing before the public the works of young artists who may not have access to the ordinary galleries4 ,maclise1 ,egg1 ,frith1 ,cooper1 ,poynter forced their way in4 ,but the ,manager had the courage to exhibit ,the ,white ,girl1 stating in the catalogue that the ,royal ,academy had refused it4 ,the ,athenum was independent enough to say that it was the most prominent picture in the collection1 though not the most perfect1 for1 able as this bizarre production shows ,mr4 ,whistler to be1 we are certain that in a very few years he will recognize the reasonableness of its rejection4 ,it is one of the most incomplete paintings we ever met with4 ,a woman in a quaint morning dress of white1 with her hair about her shoulders1 stands alone in the background of nothing in particular4 ,but for the rich vigour of the textures1 we might conceive this to be some old portrait by ,zucchero1 or a pupil of his1 practising in a provincial town4 ,the face is well done1 but it is not that of ,mr4 ,wilkie ,collins' ,woman in ,white4 ,the criticism brought from ,whistler his first letter to the press1 published in the ,athenum1 ,july #e3 #fb ,sloane ,street4 ,july #a1 #ahfb4 ,may ,i beg to correct an erroneous impression likely to be confirmed in your last number8 ,the ,proprietors of the ,berners ,street ,gallery have1 without my sanction1 called my picture ',the ,woman in ,white4' ,i had no intention whatever of illustrating ,mr4 ,wilkie ,collins' novel2 it so happens1 indeed1 that ,i have never read it4 ,my painting simply represents a girl dressed in white1 standing in front of a white curtain4--,i am1 c41 ,,james ,,whistler4 ,the critics were spared the sting of his wit1 but they disapproved strongly enough for him to tell his friends that ,the ,white ,girl enjoyed a succs d'excration4 ,a different success awaited his ,thames etchings in ,paris1 where they were shown in a dealer's gallery4 ,baudelaire saw them and understood1 as he was the first to understand the work of ,manet1 ,poe1 ,wagner1 and many others4 ,he wrote3 ,tout rcemment1 un jeune artiste amricain1 ,m4 ,whistler1 exposait la galerie ,martinet une srie d'eaux fortes1 subtiles1 veilles comme l'improvisation et l'inspiration1 reprsentant les bords de la ,tamise2 merveilleux fouillis d'agrs1 de vergues1 de cordages2 chaos de brumes1 de fourneaux et de fumes tire-bouchonnes2 posie profonde et complique d'une vaste capitale4 ,according to ,mr4 ,w4 ,m4 ,rossetti1 ,whistler soon moved to ,queen's ,road1 ,chelsea3 ,i fancy that the houses in ,queen's ,road have been much altered since ,whistler was there in #ahfb-fc4 ,they were then low 7say two-storeyed71 quite old-fashioned houses1 of a cosy1 homely character1 with small forecourts4 ,i have a kind of idea that ,whistler's house was ,no4 #ab1 but this is quite uncertain to me4#c ,as my brother and ,i were much in that neighbourhood1 to and fro1 prior to settling down in ,no4 #af ,cheyne ,walk1 we came into contact with ,whistler1 who every now and then accompanied us on our jaunts4 ,i forget how it was exactly that we got introduced to him2 possibly by ,mr4 ,algernon ,swinburne1 who was also to be an inmate of ,no4 #af4 ,either 7as ,i think7 before meeting ,whistler or just about the time we met him1 we had seen one or two of his paintings4 ,at the ,piano must have been one1 and we most heartily admired him1 and discerned unmistakably that he was destined for renown4 ,the friendship may have led to ,whistler's interest in black-and-white1 for in ,england it was ,rossetti and the ,pre-,raphaelite ,brotherhood who revolutionised illustration and proved it a dignified and serious form of art4 ,the more brilliant of the younger men were working for the illustrated magazines1 and ,whistler found a place among them4 ,he made six drawings in #ahfb4 ,four appeared in ,once a ,week3 ,the ,morning before the ,massacre of ,st4 ,bartholomew1 ,count ,burckhardt1 ,the ,major's ,daughter1 ,the ,relief ,fund in ,lancashire1 intended to be used as an illustration to the reprint of an address by ,tennyson on the subject of the famine in ,lancashire1 but never written because of his illness4 ,to this fund we believe ,whistler contributed a drawing4 ,the two other illustrations1 for ,the ,first ,sermon1 were published in ,good ,words4 ,they were drawn on wood in pencil1 pen and wash1 are full of character1 and1 in the use of line1 are like his etchings4 ,they were engraved by the ,dalziel ,brothers and ,joseph ,swain1 and from ,mr4 ,strahan1 the publisher of ,once a ,week1 we have these additional facts3 ,they were arranged for by ,edward ,dalziel1 and ,i cannot say how he came to know the artist or his work1 as ,mr4 ,whistler was young then1 and1 as far as ,i know1 had not contributed to any magazine4 ,the average price we paid to artists was nine pounds1 and we reckoned that the same amount had to be paid for engravings4 ,as a matter of fact1 the sum paid to ,mr4 ,whistler was nine pounds for each drawing4 ,we showed ,whistler once ,the ,morning before the ,massacre of ,st4 ,bartholomew4 ,well1 now1 not bad1 you know--not bad even then6 and he followed1 with his expressive little finger1 the flowing line1 pointing to the hand lost in the draperies4 ,this and ,the ,major's ,daughter were the two he preferred1 and when ,j4 was preparing ,the ,history of ,modern ,illustration ,whistler picked them out as very pretty ones that should be reproduced1 though1 if but a single example of his work could be used1 he wished ,the ,morning before the ,massacre to be selected1 for it was as delicate as an etching1 and altogether characteristic and personal4 ,count ,burckhardt he did not care for1 insisting that he would rather not be represented if this were to be the only example in the book4 ,it was never a favourite1 he added4 ,the four drawings of ,once a ,week were reprinted in ,thornbury's ,legendary ,ballads1 #ahgf4 ,thornbury implied that the drawings were made for the book1 and thought that the startling drawings by ,mr4 ,whistler prove his singular power of hand1 strong artistic feeling1 and daring manner4 ,our copy belonged to ,george ,augustus ,sala4 ,on the margin of ,the ,morning before the ,massacre he wrote3 ,jemmy ,whistler4--,clever1 sketchy1 and incomplete1 like everything he has done4 ,a loaf of excellent1 fine flour1 but slack-baked4 ,so ,sala believed in #ahhc1 and it is typical of the time4 ,another important work of #ahfb was ,the ,last of ,old ,westminster4 ,mr4 ,arthur ,severn knows more about it than anyone1 as his account to us explains3 ,on my return from ,rome to join my brother in his rooms in ,manchester ,buildings1 on the ,thames at ,westminster ,bridge 7where the ,new ,scotland ,yard now is71 ,i found ,whistler beginning his picture of ,westminster ,bridge4 ,my brother had given him permission to use our sitting-room1 with its bow-windows looking over the river and towards the bridge4 ,he was always courteous and pleasant in manner1 and it was interesting to see him at work4 ,the bridge was in perspective1 still surrounded with piles1 for it had only just been finished4 ,it was the piles with their rich colour and delightful confusion that took his fancy1 not the bridge1 which hardly showed4 ,he would look steadily at a pile for some time1 then mix up the colour1 then1 holding his brush quite at the end1 with no mahlstick1 make a downward stroke and the pile was done4 ,i remember his looking very carefully at a hansom cab that had pulled up for some purpose on the bridge1 and in a few strokes he got the look of it perfectly4 ,he was long over the picture1 sometimes coming only once a week1 and we got rather tired of it4 ,one day some friends came to see it4 ,he stood it against a table in an upright position for them to see2 it suddenly fell on its face1 to my brother's disgust1 as he had just got a new carpet4 ,luckily ,whistler's sky was pretty dry1 and ,i don't think the picture got any damage1 and the artist was most good-natured about my brother's anxiety lest the carpet should have suffered4 ,the ,last of ,old ,westminster was ready for the ,academy of #ahfc1 to which it was sent with six prints3 ,weary1 ,old ,westminster ,bridge1 ,hungerford ,bridge1 ,monsieur ,becquet1 ,the ,forge1 ,the ,pool4 ,the dignity of composition in the picture and the vigour of handling impressed all who saw it in the ,london ,memorial ,exhibition1 though they had to regret its shocking condition1 cracked from end to end4 ,it failed to impress ,academicians in #ahfc1 and was badly hung1 as were the prints1 reproductive work being then1 as now1 preferred to original etching4 ,the ,white ,girl1 after its ,berners ,street success1 was sent by ,whistler to the ,salon4 ,he took it to ,paris1 to ,fantin's studio1 there having it unrolled and framed4 ,it is hard to say why the strongest work of the strongest young men was rejected from the ,salon of #ahfc4 ,fantin1 ,legros1 ,manet1 ,bracquemond1 ,jongkind1 ,harpignies1 ,cazin1 ,jean-,paul ,laurens1 ,vollon1 ,whistler were refused4 ,it was a scandal2 #ahei was nothing to it4 ,the town was in an uproar that reached the ears of the ,emperor4 ,martinet1 the dealer1 offered to show the rejected pictures in his gallery4 ,but before this was arranged1 ,napoleon ,,iii ordered that a ,salon des ,refuss should be held in the same building as the official ,salon1 the ,palais de l',industrie4 ,the decree was published in the ,moniteur for ,april #bd1 #ahfc4 ,the notice was issued by the ,directeur-,gnral of the ,imperial ,museums1 and the exhibition opened on ,may #ae4 ,the success was as great as the scandal4 ,the exhibition was the talk of the town1 it was caricatured as the ,exposition des ,comiques1 and parodied as the ,club des ,refuss at the ,varits2 everyone rushed to the galleries4 ,the rooms were crowded by artists1 because1 in the midst of much no doubt weak and foolish1 the best work of the day was shown2 by the public1 because of the stir the affair made4 ,the public laughed with the idea that it was a duty to laugh1 and because the critics said that never was succs pour rire better deserved4 ,zola described in ,l',oeuvre the gaiety and cruelty of the crowd1 convulsed and hysterical in front of ,la ,dame en ,blanc4 ,hamerton wrote in the ,fine ,arts ,quarterly3 ,the hangers must have thought her particularly ugly1 for they have given her a sort of place of honour1 before an opening through which all pass1 so that nobody misses her4 ,i watched several parties1 to see the impression ,the ,woman in ,white made on them4 ,they all stopped instantly1 struck with amazement4 ,this for two or three seconds1 then they always looked at each other and laughed4 ,here1 for once1 ,i have the happiness to be quite of the popular way of thinking4 ,on the other hand1 ,fernand ,desnoyers1 who wrote a pamphlet on the ,salon des ,refuss1 thought that ,whistler was le plus spirite des peintres1 and the painting the most original that had passed before the jury of the ,salon1 altogether remarkable1 at once simple and fantastic1 the portrait of a spirit1 a medium1 though of a beauty so peculiar that the public did not know whether to think it beautiful or ugly4 ,paul ,mantz considered it the most important picture in the exhibition1 full of knowledge and strange charm1 and his article in the ,gazette des ,beaux-,arts is the more interesting because he described the picture as a ,symphonie du ,blanc some years before ,whistler called it so1 and pointed out that it carried on ,french tradition1 for1 a hundred years earlier1 painters had shown in the ,salon studies of white upon white4 ,the picture hardly explained the sensation of its first appearance when we saw it with ,miss ,alexander1 the ,mother1 ,carlyle1 ,the ,fur ,jacket1 and ,irving in the ,london ,memorial ,exhibition4 ,but it seemed revolutionary enough in the sixties1 to become the clou of the ,salon des ,refuss1 though nothing was further from ,whistler's intention4 ,it eclipsed ,manet's ,djeuner sur l'herbe1 then called ,le ,bain4 ,whistler was in ,amsterdam with ,legros1 looking at ,rembrandt with delight1 at ,van der ,helst with disappointment1 etching ,amsterdam from the ,tolhuis1 no doubt hunting for old paper and adding to his collection of blue and white1 when the news came of the reception of his picture in ,paris1 and he wrote to ,fantin that he longed to be there and in the movement4 ,it was a satisfaction that the picture1 slighted in ,london1 should be honoured in ,paris4 ,he was all impatience to know what was said in the ,caf de ,bade1 the caf of ,manet1 and by the critics4 ,to add to his triumph in ,paris1 official honours were coming to him in ,holland and ,england4 ,some of his etchings were in an exhibition at ,the ,hague1 though he said he did not know how they got there1 and he was given one of three gold medals awarded to foreigners--his first medal4 ,though atrociously hung at the ,academy1 his prints were honoured at the ,british ,museum1 where twelve were bought for the ,print ,room this year4 ,the excitement did not keep him from work1 to which1 as he wrote to ,fantin1 wandering was a drawback4 ,he felt the need of his studio1 of the familiar all about him4 ,the familiar he loved best was in ,london1 and when he returned he began to look for a house of his own4 ,it was fortunate for him that his mother was in ,england4 ,at the beginning of the ,civil ,war1 in which ,whistler took the keenest interest as a patriot and a ,west ,point man1 she had been in ,richmond with her son ,william1 serving as surgeon in the ,confederate ,army1 had run the blockade1 and come to join her other children in ,london4 ,whistler no longer made the ,hadens' house his home4 ,the relations of the brothers-in-law had become strained1 both being of strong character4 ,haden had had much to put up with1 while ,whistler1 the artist1 resented the criticism of ,haden1 the surgeon4 ,one story we have from ,whistler explains the situation1 and though he never gave a date1 it can be told here4 ,haden was the schoolmaster ,whistler found him when they first met2 one's older relatives have a way of forgetting one can grow up4 ,once1 when ,whistler had done something more enormous than ever in ,haden's eyes1 he was summoned to the workroom upstairs1 and lectured until he refused to listen to another word4 ,he started down the four flights of stairs1 with ,haden close behind still lecturing4 ,at last the front door was reached4 ,and then3 ,oh1 dear1 said ,whistler1 ,i've left my hat upstairs1 and now we have got to go all through this again6 ,as there was no further question of ,whistler living with the ,hadens1 it was decided that he and his mother should live together1 and some of his most delightful years were those that followed4 ,footnote #b3 ,see ,duret's ,whistler4 ,footnote #c3 ,not only have the houses been much altered1 but the name of the street has changed1 and ,queen's ,road is now ,royal ,hospital ,road4 ,the present ,no4 #ab corresponds to ,mr4 ,rossetti's description1 but we think it more likely--and he does too--that ,whistler lived in one of the little brick cottages of ,paradise ,row4 ,in any case1 we doubt if he had more than rooms or lodgings4 ,he gave us to understand that the house he took shortly after1 in ,lindsey ,row1 was his first in ,london4 ,,chapter ,x3 ,,chelsea ,,days4 ,,the ,,years ,,eighteen ,,sixty-,,three ,,to ,,eighteen ,,sixty-,,six4 ,whistler's first house in ,london was ,no4 #g ,lindsey ,row1 ,chelsea1 now #aja ,cheyne ,walk4 ,it adjoins the old palace of ,lord ,lindsey1 which still stands1 the original building divided into several houses1 stuccoed and modernised1 much of its stateliness gone1 though the spacious stairway and part of the panelling have been preserved4 ,whistler's was a three-storey house1 with a garden in front1 humble compared with the palaces ,academicians were building4 ,all these artists complain of nothing but the too great prosperity of the profession in these days1 ,hamerton wrote to his wife2 they tell me an artist's life is a princely one now4 ,but ,whistler lived his own life1 and from his windows he could paint what he wanted4 ,only the road separated the house from the river2 opposite was ,battersea ,church and a group of factory chimneys2 old ,battersea ,bridge stretched across1 and at night he could see the lights of ,cremorne4 ,at the end of the ,row the boat-builder ,greaves lived4 ,he had worked in ,chelsea for years4 ,he had rowed ,turner about on the river1 and his two sons were to row ,whistler4 ,one of the sons1 ,mr4 ,walter ,greaves1 has told us that ,mrs4 ,booth1 a big1 hard1 coarse ,scotchwoman1 was always with ,turner when he came for a boat4 ,turner would ask ,greaves what kind of a day it was going to be1 and if ,greaves answered ,fine1 he would get ,greaves to row them across to ,battersea ,church1 or to the fields1 now ,battersea ,park4 ,if ,greaves was doubtful ,turner would say3 ,well1 ,mrs4 ,booth1 we won't go far1 and afterwards for the sons--boys at the time--,turner in their memory was overshadowed by her4 ,they had also known ,martin1 the painter of big ,scriptural machines1 whose house was in the middle of the ,row4 ,it had a balcony1 and on fine moonlight nights1 or nights of dramatic skies1 ,greaves or one of the sons would knock him up1 and keep on knocking until they saw the old man in his nightcap on the balcony1 where he would get to work and sketch the sky until daylight4 ,greaves remembered1 too1 ,brunel1 who built the ,great ,eastern1 living at the end of the ,row4 ,of other associations1 dating a couple of centuries before1 the little ,moravian graveyard at the back was a reminder1 for ,lindsey ,palace was one of the first refuges of ,zinzendorf and the ,brotherhood4 ,a hundred years or so later ,mrs4 ,gaskell was born there4 ,the ,row1 indeed1 was a place of history4 ,but ,whistler was to make it more famous4 ,illustration3 ,,the ,,white ,,girl ,,symphony ,,in ,,white4 ,,no4 ,i ,,oil ,in the possession of ,j4 ,h4 ,whittemore1 ,esq4 7,see page #fg7 ,illustration3 ,,jo ,,dry-,,point4 ,g4 #gg 7,see page #fh7 ,the two ,greaves1 ,walter and ,harry1 painted1 and ,whistler let them work with and for him4 ,we have often heard him speak of them as his pupils4 ,from them he learned to row4 ,he taught us to paint1 and we taught him the waterman's jerk1 ,mr4 ,walter ,greaves says4 ,whistler would start with them in the twilight1 ,albert ,moore sometimes his companion1 and they would stay on the river for hours1 often all night1 lingering in the lights of ,cremorne1 drifting into the shadows of the bridge4 ,or else he was up with the dawn1 throwing pebbles at their windows to wake them and make them come and pull him up or down stream4 ,at night1 on the river and at ,cremorne1 he was never without brown paper and black and white chalk1 with which he made his notes for the ,nocturnes and the seemingly simple1 but really complicated1 firework pictures4 ,in the ,gardens it was easy to put down what he wanted under the lamps4 ,on the river he had to trust to his memory1 only noting the reflections in white chalk4 ,walter ,greaves1 in his exhibition of #aiaa1 made the statement1 or allowed it to be made1 that before he and his brother knew ,whistler1 they were painting pictures of the ,thames and ,cremorne ,gardens1 both day and night effects4 ,this statement ,mr4 ,greaves was unable to substantiate by dates and facts1 and as other dates and facts given in his catalogue were wrong1 little reliance can be placed upon it4 ,he and his brother were ,whistler's pupils1 and they worked for ,whistler for many years1 helping him1 at any rate until after ,the ,peacock ,room4 ,whistler naturally wished to control his pupils in their work as any other master would1 as he controlled and directed the work of ,mr4 and ,mrs4 ,clifford ,addams1 his last pupils4 ,he also did his best to prevent ,mr4 ,walter ,greaves and his brother from appropriating his subjects1 which letters from ,whistler to ,greaves prove was exactly what they were doing4 ,they were to carry on his tradition1 and this included his methods and even at times his colours which they used1 while ,whistler as undoubtedly worked on their canvases and plates as he worked on those of other pupils at later dates4 ,but the statement that he refused to allow them to exhibit is untrue1 for on the few occasions when we are able to find that ,greaves did exhibit1 it was because ,whistler1 in his generosity1 got the pictures hung4 ,in his recent exhibition ,greaves showed a painting called ,passing under ,old ,battersea ,bridge1 signed and dated #ahfb1 and he stated that he had exhibited it in the ,international ,exhibition at ,south ,kensington of that year4 ,no other picture we have seen by him has any such date or signature on it1 and his statement that it was in the ,international ,exhibition of #ahfb has been proved false4 ,it is now admitted that he did not show until #ahgc4 ,there are two distinct qualities of work in the picture which must be the work either of two people or of two periods4 ,the piers of the bridge are hard and tight1 the background resembles ,whistler's work of years later1 for neither ,whistler nor ,greaves had painted a ,nocturne in that manner at the time4 ,nevertheless1 these misstatements of ,greaves were used by critics all over the world to belittle ,whistler4 ,at one time1 master and pupils attended a life class held in the evening by ,m4 ,barthe1 a ,frenchman1 in ,limerston ,street1 not far from the ,row4 ,mr4 ,j4 ,e4 ,christie was another student1 and from him we have the following account3 ,whistler was not a regular attender1 but came occasionally1 and always accompanied by two young men--brothers--,greaves by name4 ,they simply adored ,whistler1 and were not unlike him in appearance1 owing to an unconscious imitation of his dress and manner4 ,it was amusing to watch the movements of the trio when they came into the studio 7always late74 ,the curtain that hung in front of the door would suddenly be pulled back by one of the ,greaves1 and a trim1 prim little man1 with a bright1 merry eye1 would step in with ',good evening1' cheerfully said to the whole studio4 ,after a second's survey1 while taking off his gloves1 he would hand his hat to the other brother1 who hung it up carefully as if it were a sacred thing1 then he would wipe his brow and moustache with a spotless handkerchief1 then in the most careful way he arranged his materials1 and sat down4 ,then1 having imitated in a general way the preliminaries1 the two ,greaves sat down on either side of him4 ,there was a sort of tacit understanding that his and their studies should not be subjected to our rude gaze4 ,i1 however1 saw1 with the tail of my eye1 as it were1 that ,whistler made small drawings on brown paper with coloured chalks1 that the figure 7always a female figure7 would be about four inches long1 that the drawing was bold and fine1 and not slavishly like the model4 ,the comical part was that his satellites didn't draw from the model at all1 that ,i saw1 but sat looking at ,whistler's drawing and copying that as far as they could4 ,he never entered into the conversation1 which was unceasing1 but occasionally rolled a cigarette and had a few whiffs1 the ,greaves brothers always requiring their whiffs at the same time4 ,the trio packed up1 and left before the others always4 ,sometimes in the evening ,whistler1 with his mother1 would go to the ,greaves' house after dinner1 and work there4 ,often he sent in dessert1 that they might enjoy and talk over it together4 ,then he would bring out his brown paper and chalks and make studies of the family and of himself1 or sketches of pictures he had seen1 working until midnight and after4 ,in those days he never went to bed until he had drawn a portrait of himself1 he told us4 ,many of the portraits are in existence4 ,the sister was an accomplished musician1 and ,whistler delighted in music1 though he was not critical1 for he was known to call the passing hurdy-gurdy into his front garden1 and have it ground under his windows4 ,occasionally the brothers played so that ,whistler might dance4 ,he was always full of drolleries and fun4 ,he would imitate a man sawing1 or two men fighting at the door so cleverly that ,mrs4 ,greaves never ceased to be astonished when he walked into the room alone and unhur4 ,he delighted in ,american mechanical toys1 and his house was full of ,japanese dolls4 ,one great doll1 dressed like a man1 he would take with him not only to the ,greaves'1 but to dinners at ,little ,holland ,house1 where the ,prinseps then lived1 and to other houses1 where he put it through amazing performances4 ,dante ,gabriel ,rossetti was1 by this time1 settled in ,tudor ,house 7now ,queen's ,house71 not far from ,lindsey ,row1 and ,swinburne and ,george ,meredith were living with him4 ,mr4 ,w4 ,m4 ,rossetti came for two or three nights every week1 and ,frederick ,sandys1 ,charles ,augustus ,howell1 ,william ,bell ,scott1 and1 several years later1 ,mr4 ,theodore ,watts-,dunton were constant visitors4 ,for ,rossetti ,whistler had a genuine affection1 and1 in his early enthusiasm1 wrote of him as une grand artiste to ,fantin4 ,but later his enthusiasm did not blind him4 ,a charming fellow1 the only white man in all that crowd of painters1 he assured us2 not an artist1 you know1 but charming and a gentleman4 ,mr4 ,watts-,dunton says that ,rossetti got tired of ,whistler after awhile1 and considered him a brainless fellow1 who had no more than a malicious quick wit at the expense of others1 and no genuine philosophy or humour4 ,but ,whistler never realised any change in ,rossetti's feelings towards him4 ,it was inevitable that ,whistler and ,rossetti should disagree in matters of art4 ,whistler asked ,rossetti why he did not frame his sonnets4 ,rossetti thought that the new ,french ,school1 in which ,whistler had been trained1 was simply putrescence and decomposition4 ,it is said that ,rossetti influenced ,whistler4 ,whistler influenced him as much4 ,they influenced each other in the choice of models1 in a certain luxuriance of type and the manner of presenting it1 an influence which was superficial and transitory4 ,upon many other subjects they agreed4 ,rossetti shared ,whistler's delight in drollery and his love of the fantastic4 ,no one understood better than ,whistler why ,rossetti filled his house and garden with strange beasts4 ,it was from ,whistler we heard of the peacock and the gazelle1 who fought until the peacock was left standing desolate1 with his tail strewed upon the ground4 ,from ,whistler1 too1 we had the story of the bull of ,bashan1 bought at ,cremorne1 and tied to a stake in the garden1 and ,rossetti would come every day and talk to him1 until once the bull got so excited that he pulled up the stake and made for ,rossetti1 who went tearing round and round a tree1 a little fat person with coat-tails flying1 finally1 by a supreme effort1 rushing up the garden steps just in time to slam the door in the bull's face4 ,rossetti called his man and ordered him to tie up the bull1 but the man1 who had looked out for the menagerie1 who had gone about the house with peacocks and other creatures under his arms1 who had rescued armadilloes from irate neighbours1 who had captured monkeys from the tops of chimneys1 struck when it came to tying up a bull of ,bashan on the rampage1 and gave a month's warning4 ,from ,whistler also we first had the story of the wombat1 bought at ,jamrach's by ,rossetti for its name4 ,whistler was dining at ,tudor ,house1 and the wombat was brought on the table with coffee and cigars1 while ,meredith talked brilliantly1 and ,swinburne read aloud passages from the ,leaves of ,grass4 ,but ,meredith was witty as well as brilliant1 and the special target of his wit was ,rossetti1 who1 as he had invited two or three of his patrons1 did not appreciate the jest4 ,the evening ended less amiably than it began1 and no one thought of the wombat until late1 and then it had disappeared4 ,it was searched for high and low4 ,days passed1 weeks passed1 months passed1 and there was no wombat4 ,it was regretted1 forgotten4 ,long afterwards ,rossetti1 who was not much of a smoker1 got out the box of cigars he had not touched since that dinner4 ,he opened it4 ,not a cigar was left1 but there was the skeleton of the wombat4 ,whistler and ,rossetti also agreed about many of the group who met at ,tudor ,house1 though eventually ,whistler felt what appeared to him the disloyalty of ,swinburne and ,burne-,jones4 ,he was never1 at any time1 so intimate with ,burne-,jones as with ,swinburne1 who often came to the house in ,lindsey ,row1 not only for ,whistler's sake1 but out of affection for ,whistler's mother4 ,miss ,chapman tells us that ,swinburne was once taken ill there suddenly1 and ,mrs4 ,whistler nursed him till he was well4 ,miss ,chapman also remembers ,swinburne sitting at ,mrs4 ,whistler's feet1 and saying to her3 ,mrs4 ,whistler1 what has happened8 ,it used to be ,algernon6 ,mrs4 ,whistler1 who had accepted ,whistler's friends and their ways1 said quietly1 ,you have not been to see us for a long while1 you know4 ,if you come as you did1 it will be ,algernon again4 ,and he came1 and the friendship lasted until the eighties1 when he published the article in the ,fortnightly ,review which ,whistler could not forgive4 ,meredith wrote us of these ,chelsea days3 ,i knew ,whistler and never had a dissension with him1 though merry bouts between us were frequent4 ,when ,i went to live in the country1 we rarely met4 ,he came down to stay with me once4 ,he was a lively companion1 never going out of his way to take offence1 but with the springs in him prompt for the challenge4 ,his tales of his student life in ,paris1 and of one ,ernest1 with whom he set forth on a holiday journey with next to nothing in his purse1 were impayable4 ,quarrels and distrust never made ,whistler deny the charm of ,charles ,augustus ,howell1 remembered for the part he played in the lives of some of the most distinguished people of his generation4 ,who he was1 where he came from1 nobody knew4 ,he was supposed to be associated with high1 but nameless1 personages in ,portugal1 and sent by them on a secret mission to ,england3 he was said to have been involved in the ,orsini conspiracy1 and obliged to fly for his life across the ,channel4 ,according to ,mr4 ,e4 ,t4 ,cook1 he was descended from ,boabdil il ,chico1 though ,rossetti called him the cheeky4 ,mr4 ,cook says that in his youth1 as he used to tell1 he had supported his family by diving for treasure1 and had lived in ,morocco as the ,sheik of a ,tribe4 ,but ,ford ,madox ,brown described him as the ,mnchausen of the ,pre-,raphaelite circle4 ,the unquestionable fact is that he was a man of great personal charm and unusual business capacity4 ,mr4 ,w4 ,m4 ,rossetti has written of him3 ,as a salesman--with his open manner1 winning address1 and his exhaustless gift of amusing talk1 not innocent of high colouring and of actual blague--,howell was unsurpassable4 ,he was secretary to ,ruskin2 he was ,rossetti's man of affairs2 he became ,whistler's1 though on a less definite basis4 ,he appears in published reminiscences as the magnificent prototype of the author's agent4 ,his talk was one of his recommendations to both ,rossetti and ,whistler4 ,rossetti rejoiced in ,howell's ,niagara of lies1 and immortalised them3 ,there's a ,portuguese person called ,howell1 ,who lays on his lies with a trowel2 ,when ,i goggle my eyes1 ,and start with surprise1 ',tis at the monstrous big lies told by ,howell4 ,whistler described him as the wonderful man1 the genius1 the ,gil ,blas-,robinson ,crusoe hero out of his proper time1 the creature of top-boots and plumes1 splendidly flamboyant1 the real hero of the ,picaresque novel1 forced by modern conditions into other adventures1 and along other roads4 ,whistler gave ,howell credit for more than picturesqueness4 ,he had the instinct for beautiful things1 ,whistler said3 ,he knew them and made himself indispensable by knowing them4 ,he was of the greatest service to ,rossetti2 he helped ,watts to sell his pictures and raise his prices2 he acted as artistic adviser to ,mr4 ,howard1 ,lord ,carlisle4 ,he had the gift of intimacy2 he was at once a friend1 on closest terms of confidence4 ,he introduced everybody to everybody else1 he entangled everybody with everybody else1 and it was easier to get involved with ,howell than to get rid of him4 ,many years passed before there was any wish on ,whistler's part to get rid of him4 ,he was soon as frequent a visitor at ,lindsey ,row as at ,tudor ,house4 ,for a time he lived at ,putney1 and ,whistler used to take his morning pull up the river to breakfast with him4 ,of none of the ,rossetti group did ,whistler so often talk to us as of ,howell1 telling us his adventures--adventures in pursuit of old furniture and china until he was known to1 and loved and hated by1 every pawnbroker in ,london1 and seemed to spend all his time with rare and beautiful things2 adventures with creditors and bailiffs3 once his collection of blue pots saved by a device only ,howell could have invented1 forty blue pots carried off in forty four-wheelers to the law-courts1 where he was complimented by the judge and awarded heavy damages by the jury2 adventures as vestryman1 giving teas to hundreds of schoolchildren2 adventures at ,selsea ,bill1 where three cottages were turned into a house for himself and he swaggered in the village as a great personage1 finding an occupation in stripping the copper from an old wreck that had been there for years and possibly selling it to etchers2 adventures ending eventually in ,the ,paddon ,papers1 of which there will be something to say when the date of their publication is reached4 ,frederick ,sandys' work never interested ,whistler1 but ,sandys the man was a delight to him1 though the two lost sight of each other for many years4 ,sandys was usually without a penny in his pocket1 but he faced the situation with calm and swagger4 ,accidents never separated him from his white waistcoat1 though he might have to carry it himself to the laundry1 or get his model1 the little girl he called her1 to carry it for him4 ,you were always meeting them with the brown-paper parcel1 ,whistler said1 and at the nearest friend's house he would stop for five minutes and emerge from it splendid in a clean waistcoat4 ,in money matters he reckoned like a ,rothschild4 ,it was always1 ,huh6 five hundred1 that he wanted4 ,late one afternoon1 as ,whistler was going into ,rossetti's1 he met ,sandys coming out unusually depressed4 ,he stopped ,whistler3 ,do1 do try and reason with ,gabriel1 huh6 ,he is most thoughtless4 ,he says ,i must go to ,america1 and ,i must have five hundred1 huh1 and go6 ,but1 if ,i could go1 huh1 ,i could stay6 ,once ,whistler1 ,sandys1 and ,rossetti are said to have gone to ,winchelsea with ,w4 ,g4 ,wills1 ,irving1 and ,alfred ,calmour1 from whom the story comes4 ,whistler and ,rossetti wanted to see a beautiful old house4 ,a grumpy old man lived in it1 but ,irving warned them that he would probably ask them all to dinner4 ,rossetti said they must refuse1 he hated dining with strangers2 ,whistler was sure the wine would be bad1 ,sandys as certain they would be bored by infernal chatter4 ,but they went to the house4 ,whistler knocked4 ,the servant opened4 ,whistler asked him to tell his master that ,mr4 ,whistler and ,mr4 ,rossetti and ,mr4 ,irving wish to see the place4 ,a rough voice was heard3 ,shut the door1 ,roger1 ,i don't want these damned show people stealing my silver4 ,whistler and ,rossetti were furious1 and thought they should demand an apology4 ,he thinks we are confounded actors1 ,whistler said4 ,my dear ,james1 he's never heard of you6 was ,irving's comment4 ,the only drawback to the story is that we doubt if ,whistler knew ,irving until after he had ceased to see anything of ,rossetti and ,sandys4 ,whistler got to know other friends of ,rossetti's1 and he drifted to ,ford ,madox ,brown's1 in ,fitzroy ,square3 ,once in a long while ,i would take my gaiety1 my sunniness1 to ,madox ,brown's receptions4 ,and there were always the most wonderful people--the ,blinds1 ,swinburne1 anarchists1 poets and musicians1 all kinds and sorts1 and1 in an inner room1 ,rossetti and ,mrs4 ,morris sitting side by side in state1 being worshipped1 and1 fluttering round them1 ,howell with a broad red ribbon across his shirt-front1 a ,portuguese decoration hereditary in the family4 ,according to his grandson1 ,mr4 ,ford ,madox ,hueffer1 ,ford ,madox ,brown thought so much of ,whistler's work that once1 knowing ,whistler wanted money1 he sent round among his friends a circular praising ,whistler's etchings and urging their purchase4 ,whistler shared ,rossetti's interest in the spiritual manifestations that1 for several years1 agitated the circle at ,tudor ,house4 ,he told us once of the strange things that happened when he went to sances at ,rossetti's with ,jo1 and also when he and ,jo tried the same things in his studio1 and a cousin from the ,south1 long dead1 talked to him and told him much that no one else could have known4 ,he believed1 but he gave up the sances when they threatened to become engrossing1 for he felt that he would be obliged to sacrifice to them the work he had to do in the world4 ,illustration3 ,,the ,,blue ,,wave ,,oil ,in the possession of ,a4 ,a4 ,pope1 ,esq4 7,see page #fh7 ,illustration3 ,,the ,,forge ,,dry-,,point4 ,g4 #fh 7,see page #fg7 ,the chief bond between ,whistler and ,rossetti was their love for blue and white and ,japanese prints4 ,whistler was in ,paris in #ahef1 when ,bracquemond discovered ,japan in a little volume of ,hokusai used for packing china1 and rescued by ,deltre1 the printer4 ,it passed into the hands of ,laveille1 the engraver1 and from him ,bracquemond obtained it4 ,after that1 ,bracquemond had the book always by him2 and when in #ahfb ,madame ,desoye1 who1 with her husband1 had lived in ,japan1 opened a shop under the arcades of the ,rue de ,rivoli1 the enthusiasm spread to ,manet1 ,fantin1 ,tissot1 ,jacquemart and ,solon1 ,baudelaire and the ,de ,goncourts4 ,rossetti was supposed to have made it the fashion4 ,but the fashion in ,paris began before ,rossetti owned his first blue pot or his first colour-print4 ,whistler brought the knowledge and the love of the art to ,london4 ,it was he who invented blue and white in ,london1 ,mr4 ,murray ,marks assured us1 and ,mr4 ,w4 ,m4 ,rossetti was as certain that his brother was inspired by ,whistler1 who bought not only blue and white1 but sketch-books1 colour-prints1 lacquers1 kakemonos1 embroideries1 screens4 ,in his house in ,chelsea1 facing ,battersea ,bridge1 ,mr4 ,severn writes1 he had lovely blue and white1 ,chinese and ,japanese4 ,the only decorations1 except the harmony of colour1 were the prints on the walls1 a flight of ,japanese fans in one place1 in another shelves of blue and white4 ,people1 copying him1 stuck up fans anywhere1 and hung plates from wires4 ,whistler's fans were arranged for colour and line4 ,his decorations bewildered people even more than the work of the new firm of ,morris1 ,marshall1 ,faulkner and ,co4 ,the ,victorian artist covered his walls with tapestry1 filled his studio with costly things1 and made the public measure beauty by price1 a fact overlooked by ,whistler1 but never by ,morris4 ,rossetti joined in the hunt for blue and white4 ,henry ,treffy ,dunn1 in his ,recollections of ,rossetti1 whose assistant he was1 writes that ,rossetti and ,whistler each tried to outwit the other in picking up the choicest pieces of blue to be met with2 that both were for ever hunting for ,long ,elizas1 a name in which ,mr4 ,w4 ,m4 ,rossetti thought possibly a witticism of ,whistler's may be detected4 ,howell rushed in and met with the most astounding experiences and adventures4 ,a little shop in the ,strand was one of their favourite haunts1 another was near ,london ,bridge where a ,japanese print was given away with a pound of tea4 ,farmer and ,rogers had an ,oriental warehouse in ,regent ,street4 ,the manager1 ,mr4 ,lazenby ,liberty1 afterwards opened one on the other side of the street1 and here1 too1 ,whistler went1 introduced to ,mr4 ,liberty by ,rossetti4 ,mr4 ,liberty rendered him many a service1 and visited him to the last4 ,mr4 ,murray ,marks imported blue and white1 and he has told us how the fever spread from ,whistler and ,rossetti to the ever-anxious collector4 ,rossetti asked ,mr4 ,marks if he knew anything about blue and white4 ,mr4 ,marks said yes2 he could get ,rossetti a shipload if he chose4 ,mr4 ,marks often ran over to ,holland1 where blue and white was common and cheap1 and he picked up a lot1 offering it to ,rossetti for fifty pounds4 ,rossetti happened to be hard up and could not afford it4 ,but he came with ,mr4 ,huth1 who bought as much as ,rossetti could not take1 and the rage for it began in ,england1 ,sir ,henry ,thompson1 among others1 commencing to collect4 ,the rivalry between ,whistler and ,rossetti lasted for several years1 until ,rossetti1 ill and broken1 hardly saw his friends1 and until ,mr4 ,marks1 in the early seventies1 bought back from ,whistler and ,rossetti all he had sold them4 ,,chapter ,,xi3 ,,chelsea ,,days4 ,,the ,,years ,,eighteen ,,sixty-,,three ,,to ,,eighteen ,,sixty-,,six ,,continued4 ,in ,whistler's correspondence with ,fantin between #ahfj and #ahfe1 published in part by ,m4 ,bndite in the ,gazette des ,beaux-,arts 7#aije71 it can be seen that he was outgrowing the influence of ,courbet1 and that his reaction against realism was bitter4 ,in his revolt he deliberately built up subjects that had nothing to do with life as he knew it1 and he borrowed the motives from ,japan4 ,it was in the studio at ,no4 #g ,lindsey ,row--no huge1 gorgeous1 tapestry-hung1 bric--brac crowded hall1 but a little second storey1 or ,english first floor1 back room--that the ,japanese pictures were painted4 ,the method was a development of his earlier work4 ,the difference was in the subjects4 ,he did not conceal his machinery4 ,the ,lange ,leizen1 ,the ,gold ,screen1 ,the ,balcony1 the ,princesse du ,pays de la ,porcelaine were endeavours to render a beauty he had discovered which was unknown in ,western life4 ,there was no attempt at the learning of ,tadema or the morality of ,holman ,hunt4 ,whistler's models were not ,japanese4 ,the lady of ,the ,lange ,leizen sits on a chair as she never would have sat in the land from which her costume came1 and the pots and trays and flowers around her are in a profusion never seen in the houses of ,tokio or ,canton4 ,in ,the ,gold ,screen pose and arrangement are equally inappropriate4 ,the ,princesse1 in her trailing robes1 is as little ,japanese4 ,when he left the studio and took his canvas to the front of the house and painted ,the ,balcony1 though he clothed the ,english models in ,eastern dress and gave them ,eastern instruments to play upon1 and placed them before ,japanese screens and ,anglo-,japanese railings1 their background was the ,thames with the chimneys of ,battersea4 ,we have heard of a ,chinese bamboo rack he used for these railings1 though some remember it as a studio property made from his design4 ,nothing save the beauty of the detail mattered to ,whistler4 ,it was not the real ,japan he wanted to paint1 but his idea of it1 just as ,rembrandt painted his idea of the ,holy ,land4 ,the titles he afterwards found for these pictures are ,purple and ,rose1 ,caprice in ,purple and ,gold1 ,harmony in ,flesh ,colour and ,green1 ,rose and ,silver4 ,harmony was what he sought1 though no ,dutchman surpassed their delicacy of detail1 truth of texture1 intricacy of pattern4 ,and yet we are conscious in them of artificial structure as in none of his other work2 the models do not live in their ,japanese draperies2 ,eastern detail is out of place on the banks of the ,thames2 the device is too obvious4 ,the ,princesse du ,pays de la ,porcelaine is the portrait of ,miss ,christine ,spartali1 daughter of the ,greek ,consul-,general in ,london1 whom ,whistler met at ,ionides'1 and to whose dinners and parties he often went4 ,there were two daughters1 ,christine 7,countess ,edmond de ,cahen7 and ,marie 7,mrs4 ,w4 ,j4 ,stillman71 both beautiful4 ,whistler and ,rossetti were struck by their beauty1 and ,whistler asked the younger sister1 ,christine1 to sit to him4 ,mrs4 ,stillman1 who always accompanied her1 has told us the story of the picture4 ,before they came to the studio ,whistler had his scheme prepared4 ,the ,japanese robe was ready1 the rug and screen were in place1 and he posed her at once4 ,there are a number of small studies and sketches in oil and pastel that show he knew what he wanted4 ,she sat twice a week during the winter of #ahfc-fd4 ,at first the work went quickly1 then it began to drag4 ,whistler often rubbed it out just as she thought it finished1 and day after day she returned to find that everything was to be done over again4 ,the parents got tired1 but not the two girls4 ,mrs4 ,stillman remembers that ,whistler partly closed the shutters so as to shut out the direct light2 that her sister stood at one end of the room1 the canvas beside her2 that ,whistler would look at the picture from a distance1 then dash at it1 give one stroke1 then dash away again4 ,as a rule1 they arrived about half-past ten or a quarter to eleven2 he painted steadily1 forgetting everything else1 and it was often long after two before they lunched4 ,when lunch was served1 it was brought into the studio1 placed on a low table1 and they sat on stools4 ,there were no such lunches anywhere4 ,mrs4 ,whistler provided ,american dishes1 strange in ,london2 among other things1 raw tomatoes1 a surprise to the ,greek girls1 who had never eaten tomatoes except over-cooked as the ,greeks liked them1 and canned apricots and cream1 which they had never eaten at all4 ,one menu was roast pheasants1 followed by tomato salad1 and the apricots and cream1 usually with champagne4 ,one cannot wonder that there were occasional deficits in the bank account at ,lindsey ,row4 ,but it was not only the things to eat and drink that made the hour a delight4 ,whistler1 silent when he worked1 was gay at lunch4 ,perhaps better than his charm1 ,mrs4 ,stillman remembers his devotion to his mother1 who was calm and dignified1 with something of the sweet peacefulness of the ,friends4 ,after lunch work was renewed1 and it was four and later before they were released4 ,the sittings went on until the sitter fell ill4 ,whistler was pitiless with his models4 ,the head in the ,princesse gave him most trouble4 ,he kept ,miss ,spartali standing while he worked at it1 never letting her rest2 she must keep the entire pose1 and she would not admit her fatigue as long as she could help it4 ,during her illness a model stood for the gown1 and when she was getting better he came one day and made a pencil drawing of her head1 though what became of it ,mrs4 ,stillman never knew4 ,there were a few sittings after this1 and at last the picture was finished4 ,the two girls wanted their father to buy it1 but ,mr4 ,spartali did not like it4 ,he objected to it as a portrait of his daughter4 ,appreciation of art was not among the virtues of the ,london ,greeks4 ,alexander ,ionides and his sons were almost alone in preferring a good thing4 ,rossetti1 glad to be of service1 tried to sell the picture4 ,whistler agreed to take a hundred pounds1 and ,rossetti placed the canvas in his studio1 where it would be seen by a collector who was coming to look at his work4 ,the collector came1 saw the ,princesse1 liked it1 wanted it4 ,there was one objection3 ,whistler's signature in big letters across the canvas4 ,if ,whistler would change the signature he would take the picture4 ,rossetti1 enchanted1 hurried to tell ,whistler4 ,whistler was indignant4 ,the request showed what manner of man the patron was1 one in whose possession he did not care to have any work of his4 ,however1 ,rossetti sold the ,princesse to another collector1 who died shortly afterwards1 and then it was bought by ,frederick ,leyland1 and so led to the decoration of ,the ,peacock ,room4 ,it is possible that this objection helped ,whistler to realise the inharmonious effect of a large signature on a picture4 ,it is sure that1 about this time1 he began to arrange his initials somewhat after the ,japanese fashion4 ,they were first interlaced in an oblong or circular frame like the signatures of ,japanese artists4 ,he signed his name to the earliest pictures1 even to some of the ,japanese4 ,but with the ,nocturnes and the large portraits the ,butterfly appeared1 made from working the letters ,j4 ,m4 ,w4 into a design1 which became more fantastic until it evolved into the ,butterfly in silhouette1 and continued in various forms4 ,in the ,carlyle the ,butterfly is enclosed in a round frame1 like a cut-out silhouette1 behind the figure1 and repeats the prints on the wall4 ,in the ,miss ,alexander it is in a large semicircle and is far more distinctly a butterfly4 ,then it grew like a stencil1 though in no sense was it one1 as may be seen in ,m4 ,duret's portrait1 where the ,butterfly is made simply in silhouette1 on the background1 by a few touches of the rose of the opera cloak and the fan4 ,it was introduced as a note of colour1 as important in the picture as any other detail1 and at times it was put in almost at the first painting to judge the effect1 scraped out with the whole thing1 put in again somewhere else1 this repeated until he got it right4 ,we have seen many an unfinished picture with a wonderfully finished ,butterfly1 because it was just where ,whistler wanted it4 ,the same development can be traced in his etchings1 in which it began to appear as a bit of decoration4 ,he originally signed the prints1 and signed the plates with his name and date bitten in4 ,but later the prints were signed with the ,butterfly1 followed by imp1 while the ,butterfly alone was etched on the copper or drawn on the stone4 ,then he added the ,butterfly to his signature to letters and his dedication on prints4 ,and the ,butterfly found its way to his invitation cards1 and at last his correspondence1 public and private1 was usually signed with the ,butterfly alone4 ,this was elaborated ingeniously in ,the ,gentle ,art of ,making ,enemies1 the ,butterfly not only decorating1 but punctuating the paragraphs4 ,rumour says that ,whistler went so far as to sign his cheques with the ,butterfly1 and that once1 having signed a cheque for thirty-two francs in this manner1 the man to whom it was paid demanded a more conventional signature4 ,whistler1 provoked by the suggestion of doubt1 wrote his name1 knowing the bank would not then accept it1 and was more provoked when he found the rare autograph had been sold within a day for eleven hundred and fifty francs4 ,but rumour is probably wrong3 on all the formal letters and documents we have seen1 his name1 and not the ,butterfly1 is used4 ,on the frames of early pictures ,japanese patterns were painted in red or blue on the flat gold1 and a ,butterfly placed on them1 in relation to the picture4 ,he designed the frames1 and they were carried out by the ,greaves1 who also copied his designs at ,streatham ,town ,hall1 which they decorated thirty years later4 ,shortly before his death1 a few were done by his stepson1 ,e4 ,godwin4 ,the ,sarasate1 in ,pittsburg1 is an excellent example1 and so is the ,battersea ,bridge at the ,tate ,gallery4 ,whistler applied a similar scheme to his etchings1 water-colours1 and pastels1 reddish or bluish lines1 and at times the ,butterfly1 appearing on the white or gold of their frames4 ,certain people want to make out that ,whistler got the idea from ,rossetti4 ,it might as well be said that ,rossetti got it from the beginning of the world4 ,there is nothing new in the idea4 ,artists always have decorated special frames for special pictures1 and ,whistler only carried on tradition when he designed frames in harmony with his work and varied them according to the pictures for which they were used4 ,in after years he gave up almost entirely these painted frames1 and for his paintings substituted a simple gold frame1 with parallel reeded lines1 now universally known as the ,whistler frame4 ,for his etchings and lithographs he chose a plain white frame in two planes4 ,his canvases and his panels were always of the same sizes2 consequently they always fitted his frames4 ,and in his studio1 as in few1 if any others1 frequently there might be half a hundred canvases with their faces to the wall1 and only half a dozen frames4 ,but they all fitted1 and ,whistler never showed his work unframed4 ,this was the outcome of ,japanese influence1 and of his knowledge of the way the ,japanese display their art4 ,his deference to ,japanese convention went so far that he put a branch of a tree or a reed into the foreground of his seas and rivers as decoration1 in early work1 with no reference to the picture1 sometimes the only ,japanese suggestion in the design4 ,the ,lange ,leizen--of the ,six ,marks went to the ,academy of #ahfd1 with ,wapping4 ,the critic of the ,athenum1 to whom the ,japanese subject seemed quaint and the drawing preposterously incorrect1 could not deny the superb colouring and the beautiful harmonies1 nor fail to see in ,wapping an incomparable view of the ,lower ,pool of ,london4 ,never before was that familiar scene so triumphantly well painted1 ,mr4 ,w4 ,m4 ,rossetti wrote4 ,whistler did not send to the ,salon of #ahfd1 in which ,fantin showed his now famous ,hommage ,delacroix1 who had died in #ahfc4 ,whistler was among the several admirers whom ,fantin painted round the portrait of the dead master4 ,whistler wanted ,fantin to find a place for ,rossetti1 who would be proud to pose1 and ,fantin was willing1 but ,rossetti could not get to ,paris4 ,there was also talk of including ,swinburne4 ,unfortunately for both1 they were left out of one of the most celebrated portrait groups of modern times1 now in the ,moreau-,nlaton ,collection in the ,louvre4 ,the distinguished artists and men of letters were there nominally out of respect to ,delacroix1 but really to enable ,fantin to justify his belief in the beauty of life as it is1 and his protest against the classical dictionary and studio properties4 ,most of them were1 or have since become1 famous3 ,whistler1 ,manet1 ,legros1 ,bracquemond1 ,fantin1 ,baudelaire1 ,duranty1 ,champfleury1 ,cordier1 ,de ,balleroy4 ,fantin painted them in the costume of the time1 as ,rembrandt and ,hals and ,van der ,helst1 from whom he is said to have taken the idea1 painted the regents and archers of seventeenth-century ,holland4 ,fantin's white shirt is the one concession to picturesqueness1 and the one relief to the severity of detail are the flowers held by ,whistler1 a lithe1 erect1 youthful figure1 with fine1 keen face and abundant hair4 ,that the young ,american should be the centre of the group was a distinction4 ,when ,rossetti saw the picture1 he wrote to his brother that it had a great deal of very able painting in parts1 but it is a great slovenly scrawl after all1 like the rest of this incredible new school4 ,whistler was already working out of the artificial scheme of the ,japanese pictures into a phase in which he was more himself than he had ever been4 ,the next year1 #ahfe1 he sent to the ,academy the most complete1 the most perfect picture he ever painted1 ,the ,little ,white ,girl1 which will always be recognised as one of the few great pictures of the world4 ,it was dated #ahfd1 and there are reproductions showing the date4 ,but about #aijj he painted it out4 ,he had been working on the picture1 he told us1 and did not see the use of those great figures sprawling there4 ,jo was the model4 ,now1 there was no masquerading in foreign finery4 ,whistler painted her as he must often have seen her1 in her simple white gown1 leaning against the mantel1 her beautiful face reflected in the mirror4 ,the room was not littered with his purchases from the little shops in the ,strand and the ,rue de ,rivoli4 ,japan is in the detail of blue and white on the mantel2 the girl holds a ,japanese fan2 a spray of azalea trails across her dress4 ,but these were part of ,whistler's house1 part of the reality he had created for himself1 and he made them no more beautiful than the mantel1 the grate1 the reflection in the mirror4 ,there was no building up1 he painted what he saw4 ,and there was in the handling an advance4 ,the paint is thinner on the canvas1 the brush flows more freely4 ,swinburne saw the picture and wrote ,before the ,mirror3 ,verses under a ,picture4 ,the poem was printed on gold paper1 pasted on the frame1 which has disappeared1 but we have a contemporary photograph showing the arrangement1 and two verses were inserted in the ,academy catalogue as sub-title4 ,what ,swinburne thought of the picture may be read in a letter he wrote to ,ruskin in the summer of #ahfe 7,library ,edition of the ,works of ,ruskin71 in which he says that many1 especially ,dante ,rossetti1 told him his verses were better than the painting1 and that ,whistler ranked them far above it4 ,but a closer examination of the picture only convinced him of its greater beauty1 and he would stand up for ,whistler against ,whistler and everybody else4 ,illustration3 ,,the ,,morning ,,before ,,the ,,massacre ,,of ,,st4 ,,bartholomew ,,wood-,,engraving ,,by ,j4 ,,swain ,,from ,,once ,a ,,week1 ,,vol4 ,,vii1 ,p4 #baj 7,see page #ga7 ,illustration3 ,,the ,,last ,,of ,,old ,,westminster ,,oil ,in the possession of ,a4 ,a4 ,pope1 ,esq 7,see page #gb74 ,swinburne's poem and praise could not make ,the ,little ,white ,girl at the ,academy better understood than ,the ,white ,girl had been in ,berners ,street4 ,the rare few could appreciate its charm and exquisiteness with ,mr4 ,w4 ,m4 ,rossetti1 who found that it was crucially tested by its proximity to the flashing white in ,mr4 ,millais' ,esther1 but that it stood the test1 retorting delicious harmony for daring force1 and would shame any other contrast4 ,but the general opinion was the other way4 ,the ,athenum distinguished itself by regretting that ,whistler should make the most 'bizarre' of bipeds out of the women he painted4 ,there was praise for two other pictures4 ,subtle beauty of colour and almost mystical delicacy of tone were discovered in ,the ,gold ,screen1 and colour such as painters love in the ,old ,battersea ,bridge1 afterwards ,brown and ,silver4 ,this is the beautiful ,battersea1 with the touch of red in the roofs of the opposite shore1 the link between the early paintings on the river and the ,nocturnes that were to follow4 ,the ,scarf1 a picture we do not recognise1 attracted less attention1 and ,whistler1 the year before1 declared one of the most original artists of the day was now dismissed as one who might be called half a great artist4 ,stranger than this was the change in the attitude of the ,french critics4 ,in #ahfc they overwhelmed him with praise4 ,two years later they had hardly a good word for him4 ,levi ,legrange1 forgotten as he merits1 wrote the criticism of the ,royal ,academy of #ahfe for the ,gazette des ,beaux-,arts1 and all he could see in ,the ,little ,white ,girl was a weak repetition of ,the ,white ,girl1 a wearisome variation of the theme of white2 really1 he said1 it was quite witty of the ,academicians1 who could have refused it and the two ,japanese pictures1 to give them good places and so deliver them to judgment4 ,and then he praised ,horsley and ,prinsep1 ,leslie and ,landseer4 ,the ,princesse du ,pays de la ,porcelaine1 in the ,salon1 made no more favourable impression4 ,it seemed a study of costume to ,paul ,mantz1 who1 in the ,gazette des ,beaux-,arts1 decided to forget it and remember merely the mysterious seduction of ,the ,white ,girl of two years before4 ,its eccentricity was only possible if taken in small doses like the homoeopathist's pills1 according to the incredible ,jules ,claretie1 who1 in the same article in ,l',artiste1 laughed at ,manet's ,olympia4 ,for more than twenty years ,whistler was hated in ,france4 ,in this ,salon1 #ahfe1 ,fantin showed his ,hommage la ,vrit--,le ,toast1 the second of his two large groups including ,whistler's portrait4 ,in it he strayed so far from the real as to introduce an allegorical figure of ,truth1 and to allow ,whistler to array himself in a gorgeous ,chinese robe4 ,pense la robe1 superbe faire1 et donne la moi6 ,whistler urged from ,london1 and ,fantin yielded4 ,je l'ai encore revu dans l'atelier en #ahfe1 il me posa dans un tableau aujourd'hui dtruit1 ',le ,toast1' o il tait costum d'une robe japonaise1 is ,fantin's story of it in the notes to us1 but ,whistler1 writing at the time1 speaks of the costume as ,chinese4 ,he brought it to ,paris for the sittings4 ,fantin was quick to regret his concessions4 ,an allegorical figure could not be made real1 the whole thing was absurd4 ,when he got the canvas back he destroyed it1 all but the portraits of ,whistler1 ,vollon1 and himself4 ,whistler's is now in the ,freer ,collection4 ,in the spring of #ahfe ,whistler was joined in ,london by his younger brother4 ,dr4 ,whistler had distinguished himself in the ,confederate ,army as a surgeon and by bravery in the field4 ,he had served in ,richmond ,hospitals and in ,libby ,prison2 he had been assistant-surgeon at ,drewry's ,bluff1 and in #ahfd1 when ,grant made his move against ,richmond1 he had been assigned to ,orr's ,rifles1 a celebrated ,south ,carolina regiment4 ,in the early winter of #ahfe a few months' furlough was given him1 and he was entrusted by the ,confederate ,government with important despatches to ,england4 ,sherman's advance prevented his running the blockade from ,charleston1 nor was there any passing through the lines from ,wilmington by sea4 ,he was obliged to go ,north through ,maryland1 which meant making his way round ,grant's lines4 ,the difficulties and dangers were endless4 ,he had to get rid of his ,confederate uniform1 and in the state of ,confederate finance the most modest suit of clothes cost fourteen hundred dollars2 for a seat in a waggon he had to pay five hundred4 ,the trains were crowded with officials and soldiers1 and he could get a ride in them only by stealth4 ,the roads were abominable1 for driving or riding or walking4 ,often he was alone1 and his one companion toward the ,north was a fellow soldier who had lost a leg at ,antietam and was trying to get to ,philadelphia for repairs to an artificial one4 ,stanton's expedition filled the country near the ,rappahannock with snares and pitfalls2 to cross ,chesapeake ,bay was to take one's life in one's hand2 and north of the ,bay were the enrolling officers of the ,union in search of conscripts4 ,however1 ,philadelphia was at last reached and a ticket for ,new ,york bought at the railroad depot1 where two sentries1 with bayonets fixed1 guarded the ticket-office1 and might1 for all ,dr4 ,whistler knew1 have seen him in ,libby ,prison4 ,in ,new ,york he took passage on the ,city of ,manchester1 and from ,liverpool he hurried to ,london4 ,one week later came the news of the fall of ,richmond and the ,confederacy4 ,the furlough was over4 ,there was no going back4 ,it was probably about this time1 from the costume and the technical resemblance to ,mr4 ,luke ,ionides' portrait1 that ,whistler painted a head of ,dr4 ,whistler--,portrait of my ,brother--now owned by ,mr4 ,burton ,mansfield1 though it should and might have been in the ,national ,gallery in ,washington4 ,early in ,september #ahfe1 ,whistler's mother was suffering from trouble with her eyes1 and went with her two sons to ,coblentz to consult an oculist1 and this gave ,whistler the chance to revisit some of the scenes of the ,french ,set of etchings4 ,after that he spent a month or two at ,trouville1 where he was joined by ,courbet4 ,whistler's work shows how far he had drifted away1 though the two were always friends4 ,in ,sea and ,rain1 done at ,trouville1 there is not a suggestion of ,courbet4 ,but we have seen a sea by ,courbet1 owned by ,m4 ,duret1 that ,whistler might have signed4 ,jo was there too4 ,the sea-pieces he had begun1 including ,courbet on the ,shore1 promised great things1 he wrote to ,mr4 ,luke ,ionides1 and as the autumn went on the place was more quiet for work1 and the seas and skies more wonderful4 ,he did not get back to ,london until ,november4 ,a few months later1 early in #ahff1 he sailed for ,valparaiso4 ,this journey to ,valparaiso is the most unaccountable adventure in his sometimes unaccountable career4 ,various reasons for it have been given3 health1 a quarrel1 restlessness1 a whim4 ,but we tell the story as he told it to us3 ,it was a moment when many of the adventurers the war had made of many ,southerners were knocking about ,london hunting for something to do1 and1 ,i hardly knew how1 but the something resolved itself into an expedition to go and help the ,chilians and1 ,i cannot say why1 the ,peruvians1 too4 ,anyhow1 there were ,south ,americans to be helped against the ,spaniards4 ,some of these people came to me1 as a ,west ,point man1 and asked me to join--and it was all done in an afternoon4 ,i was off at once in a steamer from ,southampton to ,panama4 ,we crossed the ,isthmus1 and it was all very awful--earthquakes and things--and ,i vowed1 once ,i got home1 that nothing would ever bring me back again4 ,i found myself in ,valparaiso and in ,santiago1 and ,i called on the ,president1 or whoever the person then in authority was4 ,after that came the bombardment4 ,there was the beautiful bay with its curving shores1 the town of ,valparaiso on one side1 on the other the long line of hills4 ,and there1 just at the entrance of the bay1 was the ,spanish fleet1 and1 in between1 the ,english fleet1 and the ,french fleet1 and the ,american fleet1 and the ,russian fleet1 and all the other fleets4 ,and when the morning came1 with great circles and sweeps1 they sailed out into the open sea1 until the ,spanish fleet alone remained4 ,it drew up right in front of the town1 and bang went a shell1 and the bombardment began4 ,the ,chilians didn't pretend to defend themselves4 ,the people all got out of the way1 and ,i and the officials1 rode to the opposite hills1 where we could look on4 ,the ,spaniards conducted the performance in the most gentlemanly fashion2 they just set fire to a few of the houses1 and once1 with some sense of fun1 sent a shell whizzing over toward our hills4 ,and then ,i knew what a panic was4 ,i and the officials turned and rode as hard as we could1 anyhow1 anywhere4 ,the riding was splendid1 and ,i1 as a ,west ,point man1 was head of the procession4 ,by noon the performance was over4 ,the ,spanish fleet sailed again into position1 the other fleets sailed in1 sailors landed to help put out the fires1 and ,i and the officials rode back into ,valparaiso4 ,all the little girls of the town had turned out1 waiting for us1 and as we rode in called us ',cowards6' ,the ,henriquetta1 the ship fitted up in ,london1 did not appear till long after1 and then we breakfasted1 and that was the end of it4 ,mr4 ,theodore ,roussel says ,whistler told him that1 on another occasion1 he got on one of the defending gunboats and had his baptism of fire amid a rain of shot and shell1 and that then1 as we have said1 the white lock appeared1 a fact which1 fine as it is1 ,whistler omitted from his story to us4 ,he made good use of his time in ,valparaiso1 and painted the three pictures of the harbour which are known and two others which have disappeared4 ,these he gave to the steward or the purser of the ship to bring home1 and the purser kept them4 ,once they were seen in his house in ,london by someone who recognised ,whistler's work4 ,why1 they must be by ,whistler6 he said4 ,who's ,whistler8 asked the purser4 ,an artist1 said the other4 ,oh1 no1 said the purser1 they were painted by a gentleman4 ,the purser started back for ,south ,america1 and took them with him4 ,and then a tidal wave met the ship and swept off the purser1 the cabin1 and the ,whistlers4 ,but we believe that one of these pictures is now in the ,united ,states4 ,the voyage back was vaguer than the voyage out4 ,from this vagueness looms one figure3 the ,marquis de ,marmalade1 a black man from ,hayti1 who made himself obnoxious to ,whistler1 apparently by his colour and his swagger4 ,one day ,whistler kicked him across the deck to the top of the companion way1 and there sat a lady who proved an obstacle for the moment4 ,but ,whistler just picked up the ,marquis de ,marmalade1 dropped him on the step below her1 and finished kicking him downstairs4 ,after that ,whistler spent the rest of the journey1 not exactly in irons1 but chiefly in his cabin4 ,the final adventure of the journey was in ,london4 ,whistler never told us1 but everybody else says that when he got out of the train at ,euston1 or ,waterloo1 someone besides his friends was waiting3 whether the captain of the ship1 or relations of the ,marquis de ,marmalade1 or an old enemy makes little difference4 ,somebody got a thrashing1 and this was the end to the most unaccountable episode in ,whistler's life4 ,,chapter ,,xii3 ,,chelsea ,,days ,,continued4 ,,the ,,years ,,eighteen ,,sixty-,,six ,,to ,,eighteen ,,seventy-,,two4 ,it was late in #ahff when ,whistler returned from ,valparaiso4 ,soon after he moved into ,no4 #b1d at the east end of ,lindsey ,row1 now ,no4 #if ,cheyne ,walk4 ,it was a three-storey house with an attic1 part of the old palace remodelled1 and1 like ,no4 #g1 it looked on the river4 ,here he lived longer than anywhere else2 here he painted the ,nocturnes and the great portraits2 here he gave his ,sunday breakfasts4 ,he had a house-warming on ,february #e 7#ahfg71 when the two ,rossettis dined with him1 and ,mr4 ,w4 ,m4 ,rossetti wrote in his diary3 ,there are some fine old fixtures1 such as doors1 fireplaces1 and ,whistler has got up the rooms with many delightful ,japanesisms4 ,saw for the first time his pagoda cabinet4 ,he has two or three sea-pieces new to me3 one1 on which he particularly lays stress1 larger than the others1 a very grey unbroken sea probably ,sea and ,rain1 also a clever vivacious portrait of himself begun4 ,no doubt this is the portrait in round hat1 with paint-brushes in his hand4 ,mr4 ,greaves says that the dining-room at ,no4 #b was blue1 with a darker blue dado and doors1 and purple ,japanese fans tacked on the walls and ceiling2 other friends remember a fluttering of purple fans4 ,one evening ,miss ,chapman was dining1 and ,whistler1 wanting her to see the view up the river from the other end of the bridge1 told her he would show her something as lovely as a fan6 ,the studio1 again the second-storey back room1 was grey1 with black dado and doors2 from the ,mother and the ,carlyle one knows that ,japanese hangings and his prints were on the walls2 and in it was the big screen he painted for ,leyland but kept for himself1 with ,battersea ,bridge across the top1 ,chelsea ,church beyond1 and a great gold moon in the deep blue sky4 ,the stairs were covered with ,dutch metal4 ,he slept in a huge ,chinese bed4 ,beautiful silver was on his table4 ,he ate off blue and white4 ,suppose one of these plates was smashed8 ,miss ,chapman asked ,whistler once4 ,why1 then1 you know1 he said1 we might as well all take hands and go throw ourselves into the ,thames6 ,the beauty of the decoration1 as at ,no4 #g1 was its simplicity4 ,rossetti's house was a museum1 an antiquity shop1 in comparison4 ,the simplicity seemed the more bewildering because it was the growth1 not of weeks1 but of years4 ,the drawing-room was not painted until the day of ,whistler's first dinner-party4 ,in the morning he sent for the brothers ,greaves to help him4 ,it will never be dry in time6 they feared4 ,what matter8 said ,whistler1 it will be beautiful6 ,we three worked like mad1 is ,mr4 ,walter ,greaves' account1 and by evening the walls were flushed with flesh-colour1 pale yellow1 and white spread over doors and woodwork1 and we have heard gowns and coats too were touched with flesh-colour and yellow before the evening was at an end4 ,one ,sunday morning ,whistler1 after he had taken his mother to ,chelsea ,church1 as he always did1 again sent for his pupils and painted a great ship with spreading sails in each of the two panels at the end of the hall2 the ships are said to be still on the wall covered up4 ,his mother was not so pleased when1 on her return1 she saw the blue and white harmony1 for she would have had him put away his brushes on ,sunday as once she put away his toys4 ,but she had many other trials and revelations3 coming into the studio one day1 she found the parlour-maid posing for the all-over6 ,the ships were in place long before the dado of hall and stairway was covered with gold and sprinkled with rose and white chrysanthemum petals4 ,miss ,alexander 7,mrs4 ,spring-,rice7 saw ,whistler at work upon it when she came to sit1 and he had lived six years at ,no4 #b4 ,whistler's houses were never completely decorated and furnished2 they had a look as if he had just moved in or was just moving out4 ,but what was decorated was beautiful4 ,whistler sent to the exhibitions of #ahfg1 in ,london and ,paris4 ,he began the year by showing at the ,french ,gallery1 in ,january1 one of the paintings of ,valparaiso3 ,crpuscule in ,flesh ,colour and ,green4 ,it is the long picture of ,valparaiso ,harbour in the early evening1 ships moored with partly furled sails2 the first painting of twilight1 and one of the first paintings carried out in the liquid manner of the ,nocturnes4 ,there were critics to call it a poem in colour1 though ,whistler had not taught them to look for the painter's poetry in his work4 ,the upright ,valparaiso1 a perfect ,nocturne1 was done at the same time1 #ahff1 but not exhibited until later1 and there is an unfinished version of the same subject4 ,in the ,salon of #ahfg1 where it had been rejected eight years before1 ,at the ,piano was accepted1 and also ,the ,thames in ,ice--,sur la ,tamise3 l',hiver4 ,it was the year of the ,french ,universal ,exhibition4 ,m4 ,duret writes that probably ,mr4 ,george ,lucas spoke of ,whistler to ,mr4 ,avery1 the ,united ,states ,art ,commissioner at the ,exhibition4 ,the result was that a number of his etchings and four pictures were hung3 ,the ,white ,girl1 ,wapping or ,on the ,thames1 ,old ,battersea ,bridge1 ,twilight on the ,ocean1 the title then of the ,crpuscule in ,flesh ,colour and ,green4 ,the ,hudson ,river ,school dominated ,american art1 and ,whistler's paintings had to compete with the big machines of ,church and ,bierstadt4 ,tuckerman1 in his ,book of the ,artists1 quotes an unnamed ,american critic who1 in #ahfg1 found that ,whistler's etchings differed from his paintings in meriting the attention they attracted1 but he could see in the ,marines only blurred1 foggy imperfections1 and in ,the ,white ,girl only a powerful female with red hair1 and a vacant stare in her soulless eyes4 ,she is standing on a wolfskin hearthrug1 for what reason is unrecorded4 ,the picture evidently means vastly more than it expresses--albeit expressing too much4 ,notwithstanding an obvious want of purpose1 there is some boldness in the handling1 and singularity in the glare of the colours which cannot fail to divert the eye and weary it4 ,americans were not treated with respect by the ,hanging ,committee4 ,their work was put in corridors and dark corners1 and ,whistler suffered4 ,french critics1 enthusiastic over his pictures four years earlier1 were now no more appreciative than the ,american4 ,paul ,mantz was distressed by the strange white apparition upon which1 at the ,salon des ,refuss1 he had lavished his praise4 ,burty thought that either time exaggerated the defects of the prints or else critical eyes had lost their indulgence1 for the etchings were photographic and had a dryness and minuteness due to the early training of ,mr4 ,whystler4 ,both wrote in the ,gazette des ,beaux-,arts4 ,mr4 ,avery1 however1 had the sense to appreciate the etchings1 and it was probably at this time he commenced his great collection1 now in the ,new ,york ,public ,library4 ,whistler and his brother1 the ,doctor1 went to ,paris in ,april4 ,there they heard of the sudden death of ,traer1 ,seymour ,haden's assistant1 and a member of the ,british ,jury1 on which ,haden also served4 ,whistler liked ,traer1 and the circumstances of his death and burial led to a misunderstanding between the two brothers and the brother-in-law4 ,the three met4 ,the dispute was short and sharp2 the result1 a summons for the brothers to appear before a juge de paix4 ,whistler had been in the same court a few days earlier4 ,a workman had dropped plaster on him as he passed through a narrow street in the ,latin ,quarter1 and he had met the offence in the only way possible according to his code4 ,whistler sent for the ,american ,minister1 and the magistrate apologised4 ,when he appeared again1 ,connu6 said the judge1 and there was no apology1 but a fine4 ,haden said he fell through a plate-glass window1 ,whistler that he knocked him through4 ,haden maintained that both brothers were against him1 ,whistler that he demolished ,haden single-handed4 ,it happened just when ,london gossip got hold of the story of the ,marquis de ,marmalade and ,whistler's return from ,valparaiso4 ,dr4 ,moncure ,conway1 in his ,reminiscences1 recalls a dinner given by ,dante ,rossetti to ,w4 ,j4 ,stillman1 in the winter of #ahfg1 when ,whistler 7a ,confederate7 related with satisfaction his fisticuff with a ,yankee really the black ,marquis on shipboard1 ,william ,rossetti remarked3 ',i must say1 ,whistler1 that your conduct was scandalous4' 7,stillman and myself were silent47 ,dante ,gabriel promptly wrote3 ',there's a combative ,artist named ,whistler ,who is1 like his own hog-hairs1 a bristler3 ,a tube of white lead ,and a punch on the head ,offer varied attractions to ,whistler4' ,it was at this time1 too1 that ,whistler had a difference with ,legros1 to which no reference would be made had it not also become a legend4 ,friends tried to reconcile them and succeeded badly4 ,the rumours spread1 and ,whistler began to be talked of as quarrelsome4 ,haden1 when he got back to ,london1 resigned his post as ,honorary ,surgeon to ,south ,kensington ,museum1 printed a pamphlet to explain1 and threatened to resign from the ,burlington ,fine ,arts ,club1 of which both he and ,whistler were members1 unless ,whistler was expelled4 ,the ,burlington ,club wrote to ,whistler that if he did not resign they would have to consider his expulsion4 ,both the ,rossettis considered this very improper1 and when ,whistler's expulsion was voted by eighteen against eight1 ,william ,michael ,rossetti handed in his resignation at once and ,dante ,rossetti sent in his two or three days later4 ,whistler's manner of resenting injury had a great deal to do with the way he was later treated in ,england4 ,he explained his code to a friend3 ,if a man gives you the lie to your face1 why1 naturally you hit him4 ,people who did not know him became afraid of him1 and this fear grew and was the reason of the reputation that clung to him for years and clings to his memory4 ,before ,whistler's pictures went to the ,royal ,academy1 ,mr4 ,w4 ,m4 ,rossetti saw them3 ,march #ca 7#ahfg74 ,to see ,whistler's pictures for the ,r4,a4 ,to the ,r4,a4 he means to send ,symphony in ,white1 ,no4 ,,iii4 7heretofore named ,the ,two ,little ,white ,girls71 and a ,thames picture2 possibly also one of the four sea pictures2 and ,i rather recommend him to select the largest of these1 which he regards with predilection1 of a grey sea and a very grey sky4 ,battersea was the ,thames picture2 ,sea and ,rain1 painted while ,whistler and ,courbet worked together at ,trouville1 the sea picture2 and ,the ,two ,little ,white ,girls was sent under its new name1 ,symphony in ,white1 ,no4 ,,iii4--the first time one of his pictures was catalogued as a ,symphony1 his first use of a title borrowed from musical terms to explain his pictorial intention4 ,baudelaire had given the hint in prose1 ,gautier had written ,symphonies in verse1 ,murger's ,bohemians had composed a ,symphonie sur l'influence de bleu dans les arts4 ,in #ahfc ,paul ,mantz had described ,the ,white ,girl as a ,symphony in ,white4 ,there can be no doubt that from these things ,whistler got the idea4 ,it was the third variation of white upon white4 ,the difference was in the thin liquid paint4 ,the critic of the ,athenum had the sense to thank the painter who endeavours by any means to show people what he really aims at4 ,but he was almost alone4 ,burty1 in noticing the ,academy of #ahfg for the ,gazette des ,beaux-,arts1 thought the ,academy's hanging ,whistler at all a fine piece of irony1 and regretted the painter's failure to fulfil his early promise4 ,hamerton1 in the ,saturday ,review1 ,june #a1 #ahfg1 represented the feeling of the insulted1 solemn1 bewildered ,islanders3 ,there are many dainty varieties of tint1 but it is not precisely a symphony in white4 ,one lady has a yellowish dress and brown hair and a bit of blue ribbon2 the other has a red fan1 and there are flowers and green leaves4 ,there is a girl in white on a white sofa1 but even this girl has reddish hair2 and1 of course1 there is the flesh-colour of the complexions4 ,whistler answered in a letter1 not printed1 however1 until it appeared in the ,art ,journal 7,april #ahhg73 ,bon ,dieu6 did this wise person expect white hair and chalked faces8 ,and does he then1 in his astounding consequence1 believe that a symphony in ,f contains no other note1 but shall be a continued repetition of ,f ,f ,f8444 ,fool6 ,whistler knew that to carry on tradition was the artist's business4 ,rembrandt1 ,hals1 ,velasquez1 ,claude1 ,canaletto1 ,guardi1 ,hogarth1 ,courbet1 the ,japanese1 in turn influenced him4 ,some see1 at this period1 the influence of ,albert ,moore1 which1 if it existed1 was as ephemeral and superficial as ,rossetti's4 ,it could be argued with more truth that ,whistler influenced ,albert ,moore1 who1 in at least two pictures1 ,harmony of ,orange and ,pale ,yellow1 ,variation of ,blue and ,gold1 borrowed ,whistler's titles4 ,whistler also knew that the end of all study of the masters should be to evolve something personal1 and1 in the endeavour to develop his personality1 he was passing through experiments and working through difficulties4 ,all this is in his letters to ,fantin4 ,a fourth ,symphony in ,white was started3 the ,three ,figures4 ,in the ,two ,girls1 he wrote to ,fantin1 the harmony was repeated in line and in colour1 and he sent a sketch of it4 ,he exulted in the rhythm of line2 he despaired because he could not get it right4 ,the picture was scraped out and rubbed down1 then repainted1 and with each fresh difficulty he deplored the mistakes of his early training4 ,mr4 ,eddy writes that ,whistler used to call ,ingres the bourgeois ,greek4 ,this we never heard him say1 nor is there any such want of respect in his letters to ,fantin1 for there he expresses regret that he did not study under ,ingres1 whose work he may have liked moderately1 but from whom ,i would have learned to draw3 which was absurd modesty1 for he drew better than ,ingres1 if not so academically1 as his etchings prove4 ,he never execrated ,courbet and denounced ce damn ,ralisme so violently as in the autumn of #ahfg4 ,this was not quite fair1 for ,realism had brought ,courbet to the conclusions which ,whistler1 unaided1 was now reaching3 that knowledge of art1 ancient and modern1 has no end save the development of individuality1 and that the artist is to go to ,nature for inspiration1 but to take from her only life and beauty4 ,whistler1 in his impatience1 recalled ,realism as practised by the young enthusiasts gathered about ,courbet1 and denied that ,courbet influenced him4 ,ca ne pouvait pas tre autrement1 parce que je suis trs personnel1 et que j'ai t riche en qualits qu'il n'avait pas et qui me suffisaient4 ,the cry of ,nature had appealed to his vanity1 ,whistler said1 and so he had mocked at tradition1 and in his early work had copied ,nature with the self-confidence of l'colier dbauch4 ,if at one moment he boasted that the race was for ,fantin and himself1 because in art1 as at the ,derby1 c'est le pur sang qui gagn1 the next he chafed over the time he had lost before discovering that art is not the exact reproduction of ,nature1 but its interpretation1 and that the artist must seek his motives in ,nature and weave from them a pattern on his canvas4 ,he praised ,fantin's flowers because he saw in them this pattern4 ,passages in the letters are the basis of ,the ,ten ,o',clock4 ,his definition of the relation of drawing to colour--son amant1 mais aussi son matre--suggests the later definition of the relation of the artist to ,nature3 her son in that he loves her1 her master in that he knows her4 ,whistler used the same ideas in his talk1 in his letters1 in his pamphlets1 perfecting it4 ,it was the period of transition4 ,those who saw him know how hard he worked1 and how he was discouraged4 ,for a while he lived with ,mr4 ,frederick ,jameson4 ,he never spoke to us of this interval away from ,lindsey ,row4 ,mr4 ,jameson says it was #ahfh or #ahfi2 most likely the winter of #ahfg-fh1 when ,mrs4 ,whistler went home to visit her family1 left poor by the war4 ,mr4 ,jameson lived at #fb ,great ,russell ,street1 ,bloomsbury1 in rooms that had first been ,burne-,jones'1 and afterwards ,poynter's4 ,mr4 ,jameson writes us3 ,the seven months ,whistler and ,i lived together were unproductive and uneventful4 ,he was working at some ,japanese pictures1 one of which1 quite unfinished1 was hung at the ,london ,memorial ,exhibition4 ,i have seen large portions of it apparently finished1 but they never satisfied him1 and were shaved down to the bed-rock mercilessly4 ,the man1 as ,i knew him1 was so different from the descriptions and presentations ,i have read of him that ,i would like to speak of the other side of his character4 ,it is impossible to conceive of a more unfailingly courteous1 considerate1 and delightful companion than ,whistler1 as ,i found him4 ,we lived in great intimacy1 and the studio was always open to me1 whatever he was doing4 ,we had all our meals together1 except when elsewhere engaged1 and ,i never heard a complaint of anything in our simple household arrangements from him4 ,any little failure was treated as a joke4 ,his courtesy to servants and models was particularly charming2 indeed1 ,i can't conceive of his quarrelling with anyone without real provocation4 ,his talk about his own work revealed a very different man to me from the self-satisfied man he is usually believed to have been4 ,he knew his powers1 of course1 but he was painfully aware of his defects--in drawing1 for instance4 ,i can remember with verbal accuracy some very striking talks we had on the subject4 ,to my judgment he was the most absolutely truthful man about himself that ,i ever met4 ,i never knew him to hide an opinion or a thought1 nor to try to excuse an action4 ,illustration3 ,,portrait ,,of ,,whistler ,,by ,,himself ,,chalk ,,drawing ,formerly in the possession of ,thomas ,way1 ,esq4 7,see page #gi7 ,illustration3 ,,dry-,,point4 ,g4 #ib ,,study ,,in ,,chalk ,formerly in the possession of ,b4 ,b4 ,mac,george1 ,esq4 ,,weary 7,see page #gc7 ,the picture ,mr4 ,jameson refers to was called ,three ,figures1 ,pink and ,grey1#e in the ,london ,memorial ,exhibition4 ,it alone was carried out of the ,six or ,eight ,schemes or ,projects in which ,whistler was trying to combine ,japanese and classical motives1 expressing a beauty of form and design that haunted him1 and was perhaps best realised in some of the pastel studies4 ,he never ceased to make these studies4 ,there are pastels1 chalk drawings1 and etchings in which the separate figures of the ,projects may be found1 studies for the series2 one was worked out as a fan1 another like a cameo4 ,the second version of the ,three ,figures1 enlarged from a smaller design1 ,whistler explained to ,mr4 ,alan ,s4 ,cole1 was an arrangement he wanted to paint1 and he then drew1 with a sweep of the brush1 the back of the stooping figure to show what he meant4 ,w4 ,m4 ,rossetti most likely referred to it when he wrote in his diary for ,july #bh1 #ahfg3 ,whistler is doing on a largish scale for ,leyland the subject of women with flowers1 and has made coloured sketches of four or five other subjects of the like class1 very promising in point of conception of colour and arrangement4 ,the ,projects were his first scheme of decoration for ,leyland4 ,the canvases are about the same size4 ,they are painted with liquid colour1 the canvas often showing through4 ,the handling in all save the ,venus1 shown in the ,paris ,memorial ,exhibition and worked on in his later years1 is more direct than anything he ever did4 ,they have the same relation to his pictures as the sketches of ,rubens and ,tiepolo to their decorations4 ,the ,venus is a single figure1 the rest are groups arranged against a balustrade1 round a vase of flowers1 or on the sands by the sea4 ,their floating draperies give the scheme of colour4 ,the experience gained in making these designs was of immense use in the ,nocturnes1 for the technique is the same1 and the same treatment is in the pile of drapery of the ,miss ,alexander4 ,he did not give up until much later this method of painting4 ,the complete series had never been seen publicly before the ,paris ,memorial ,exhibition4 ,they belong to ,mr4 ,freer4 ,during all his life1 till he was given a commission for a panel in the ,boston ,public ,library1 ,whistler hoped to have the chance to execute a great decorative scheme4 ,when the ,central ,gallery at the ,victoria and ,albert ,museum was being decorated1 ,sir ,henry ,cole asked him to design one of the mosaic panels4 ,for this1 in the winter of #ahgc1 he made a pastel1 a richly robed figure carrying a ,japanese umbrella4 ,the scheme was in blue1 purple1 and gold1 and a pastel study for it was shown at the ,london ,memorial ,exhibition as ,design for a ,mosaic4 ,he spoke of it at the time as ,the ,gold ,girl4 ,the design was to be enlarged and put on canvas by the brothers ,greaves4 ,sir ,henry ,cole offered him a studio in the ,museum when he was ready to begin his cartoon4 ,you know1 ,sir ,henry ,cole always liked me1 and ,i told him he ought to provide me with a fine studio--it would be an honour to me--and to the ,museum6 ,but models broke down1 the fog settled over ,london1 he wanted to get through his ,academy picture1 he was called to ,paris4 ,whether the cartoon was finished1 or whether it was found out of keeping with the machines of ,royal ,academicians in the ,central ,gallery1 is not known4 ,but the decoration was never done4 ,hamerton's ,etching and ,etchers was published in #ahfh4 ,shortly before1 he wrote to ,whistler3 ,i wonder whether you would object to lend me a set of proofs for a few weeks4 ,as the book is already advanced ,i should be glad of an early reply4 ,my opinion of your work is1 on the whole1 so favourable that your reputation could only gain by your affording me the opportunity of speaking of your work at length4 ,whistler took no notice of the request at the time1 but printed it years afterwards as the ,unanswered ,letter in ,the ,gentle ,art4 ,hamerton1 unused to being ignored by artists1 expressed his astonishment in his book3 ,i have been told that1 if application is made by letter to ,mr4 ,whistler for a set of his etchings1 he may1 perhaps1 if he chooses to answer the letter1 do the applicant the favour to let him have a copy for about the price of a good horse4 ,his praise was never without qualification4 ,he saw in ,whistler a strikingly imperfect artist1 self-concentrated1 without range or poetical feeling1 whose work was rarely affecting1 and most of these remarks were reprinted by ,whistler with the ,unanswered ,letter as ,inconsequences4 ,in the end ,whistler let ,hamerton have a plate1 ,billingsgate1 in its third state1 published in the ,portfolio 7,january #ahgh71 and1 two years after1 in the third edition of ,etching and ,etchers 7#ahhj74 ,hamerton1 patronising in his estimate of ,whistler's work1 exaggerated in his comments on ,whistler's prices4 ,success never induced ,whistler deliberately to increase the price of his etchings by making them rare1 in the fashion of the young men of to-day4 ,it was different with his dry-points1 the number of impressions being limited4 ,mr4 ,percy ,thomas says that ,whistler would throw them on the floor at ,lindsey ,row and consider them4 ,i think for this we must say five guineas1 and for this six1 and for this ,i must say--ten6 ,but ,mr4 ,thomas remembers only one attempt to create a price4 ,he had been sent from ,bond ,street to ,lindsey ,row with prints for ,whistler to sign1 and the next day he returned for them4 ,whistler and ,mrs4 ,whistler were sitting together1 silent and sad1 and ,whistler hurried from the studio without a word4 ,but what is it8 ,what has happened8 ,mr4 ,thomas asked1 and ,mrs4 ,whistler explained that ,whistler had thrown the prints into the fire1 thinking it would be a good thing to make them rare1 and had been miserable since4 ,if he destroyed work he was sure to regret it4 ,j'ai tant pleur aprs1 as he wrote to ,fantin4 ,another incident remembered by ,mr4 ,thomas would have altered ,hamerton's idea of ,whistler's business methods4 ,edmund ,thomas had gone to the studio and offered a sum for all the prints in it4 ,whistler accepted the offer1 ,mr4 ,thomas drew a cheque1 and carried off the prints4 ,a couple of hours later a messenger appeared with a bundle of proofs4 ,whistler had come upon them1 and sent word that1 according to the bargain1 they belonged to ,mr4 ,thomas4 ,towards the end of the sixties1 or beginning of the seventies1 ,mr4 ,murray ,marks tried to start a ,fine ,art ,company with ,alexander ,ionides1 ,rossetti1 ,burne-,jones1 and ,morris to deal in pictures1 prints1 blue and white1 and decorative work4 ,they were to sell ,watts'1 ,burne-,jones'1 and ,rossetti's pictures1 and ,whistler's etchings1 possibly his paintings4 ,ionides1 who was to advance two or three thousand pounds1 bought the sixteen plates by ,whistler now known as the ,thames ,set1 and the prints from them4 ,the sum paid was three hundred pounds4 ,a secretary was engaged for the company1 but that was the end of it4 ,the plates became the absolute property of ,ionides4 ,he had a hundred sets printed2 he gave one set to each of his children2 the others were taken over by ,messrs4 ,ellis and ,green1 and published in #ahga as ,sixteen ,etchings of ,scenes on the ,thames1 price twelve guineas4 ,later1 the plates came into the possession of the ,fine ,art ,society1 who sold the prints unsigned as a set in a portfolio for fourteen guineas1 or1 singly1 from half a guinea to two guineas and a half4 ,finally ,mr4 ,keppel1 of ,new ,york1 bought the coppers1 had the steel facing removed1 for they had been steeled1 ,goulding printed a number from each1 and some good prints were obtained4 ,the plates were then destroyed4 ,official recognition of ,whistler1 the etcher1 continued4 ,the ,british ,museum bought his prints and only stopped when1 some years ago1 it was discovered that the work of living artists could not be purchased for the ,print ,room4 ,the ignorance of this regulation was of value to the ,museum1 where there are now one hundred and nine etchings by ,whistler4 ,at the ,victoria and ,albert ,museum1 ,south ,kensington1 there are sixty-one prints1 besides several issued in various publications and a second ,thames ,set in the ,ionides ,collection4 ,for several years the late ,sir ,richard ,r4 ,holmes purchased prints for ,windsor ,castle ,library1 about one hundred and forty in all4 ,he wrote us3 ,it is difficult to say when1 or how1 ,i first began collecting ,whistler's etchings4 ,i had a few1 and then ,i met several while ,i was looking after other things at ,thibaudeau's1 and1 gradually1 ,i found ,i had so many that ,i thought it best to make the collection as complete as ,i could1 and got a number from ,whistler himself4 ,illustration3 ,,the ,,lange ,,leizen ,,of ,,the ,,six ,,marks ,,purple ,,and ,,rose ,,oil ,in the ,john ,g4 ,johnson ,collection1 ,philadelphia 7,see page #hg7 ,illustration3 ,,harmony ,,in ,,flesh-,,colour ,,and ,,green ,,the ,,balcony ,,oil ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art 7,see page #hg7 ,often ,sir ,richard went to the studio2 often ,whistler sent to ,windsor prints he thought should be there4 ,the ,venetian series was bought4 ,finally1 after ,sir ,richard's retirement1 they were sold to improve the collection at what was supposed the height of the ,whistler boom1 and after they had been praised in the ,memorial ,exhibitions of ,london and ,paris4 ,as ,king ,edward ,,vii4 on his visit to the ,london ,memorial ,exhibition expressed surprise at the few he looked at1 it is certain that his ,majesty was unaware that the collection was at ,windsor4 ,even the portfolio1 presented by ,whistler to ,queen ,victoria with his autograph letter asking her acceptance1 was first lost1 and1 when found1 sold in #aijf1 the few prints in ,princess ,victoria's apartments only being kept4 ,the disposal of the etchings was so badly managed that the ,jubilee series brought more1 when re-sold a few weeks after the ,king parted with them1 than his ,majesty got for the whole collection4 ,during ,whistler's lifetime important collections of his etchings were acquired also by the ,museums of ,dresden1 ,venice1 and ,melbourne1 and the ,new ,york ,public ,library4 ,the success of ,whistler's plates during the following years is a contrast to the fate of his pictures1 which for a long period were neglected4 ,he had nothing in the ,academy of #ahfh4 ,mr4 ,jameson has told us of his despair because the ,three ,girls was not finished in time1 and of their wandering together about town1 in and out of galleries and museums1 until at last1 before ,velasquez in the ,national ,gallery1 ,whistler took heart again4 ,and he delighted in the admiration of ,swinburne in ,notes on ,some ,pictures of #ahfh4 ,the paintings which had not been submitted to the loose and slippery judgment of an academy1 but had been seen by ,swinburne in the studio and seemed to him to have grown as a flower grows1 were evidently the ,projects4 ,a special quality of ,whistler's genius1 ,swinburne said1 is a freshness and fullness of the loveliest life of things1 with a high1 clear power upon them which seems to educe a picture as the sun does a blossom or a fruit4 ,in #ahfi the ,academy moved to ,burlington ,house1 and there in #ahgj ,whistler showed ,the ,balcony4 ,from #ahfg to #ahgj he did not show in the ,salon4 ,whistler1 like ,rossetti1 was never without his public1 though many years passed before he received ,rossetti's rewards4 ,he could rely on the ,ionides1 ,leathart1 ,frederick ,leyland1 ,huth1 ,alexander1 ,rawlinson1 ,anderson ,rose1 ,jameson1 ,chapman1 ,potter4 ,but1 unlike ,rossetti1 he wanted to show his work and receive for it rewards4 ,as far back as #ahfd ,fantin wrote to ,edwin ,edwards of ,whistler's perseverance1 his determination to get into the ,salon1 a phase of his character ,fantin said he had not known4 ,whistler's absence from exhibitions was not his fault4 ,it was his hatred of rejection and fear of being badly hung that drove him from them4 ,the tyranny of the ,academy was no new thing4 ,the opening of the exhibition was every year the occasion of scandal and of protest against an institution that rejected and still rejects distinguished artists4 ,one gallery after another took up the outsiders4 ,after the ,berners ,street ,gallery came the ,dudley1 which1 in #ahfg1 added to its show of water-colours a show of oils2 in #ahfh1 the ,corinthian ,gallery in ,argyll ,street2 in #ahfi1 the ,select ,supplementary ,exhibition in ,bond ,street--these last two poor affairs more apt to justify than expose the ,academy4 ,dealers came to the rescue3 the ,french ,gallery in ,pall ,mall1 and the ,society of ,french ,artists1 where ,durand-,ruel brought his collection in #ahgj1 and1 under the management of ,m4 ,charles ,deschamps1 gave exhibitions until #ahgg4 ,in the ,french ,gallery and with ,m4 ,deschamps ,whistler showed many times4 ,he contributed often to the ,dudley from #ahga1 and there the next year1 #ahgb1 exhibited for the first time a ,nocturne4 ,his use of titles to explain his intention was now so well established that in #ahgb1 when ,the ,white ,girl and the ,princesse were in the ,international ,exhibition at ,south ,kensington1 they were catalogued as ,symphony in ,white1 ,no4 #a41 and ,variations in ,flesh ,colour1 ,blue1 and ,grey1 later changed to ,grey and ,rose2 and he supplied the explanation1 printed in the ,programme of ,reception4 ,they were the complete results of harmonies obtained by employing the infinite tones and variations of a limited number of colours4 ,his portrait of his mother was sent to the ,academy of #ahgb--;,arrangement in ,grey and ,black3 ,portrait of the ,painter's ,mother4 ,it was refused4 ,madox ,brown wrote to ,george ,rae3 ,i hear that ,whistler has had the portrait of his mother turned out4 ,if so1 it is a shame1 because ,i saw the picture1 and know it to be good and beautiful1 though1 ,i suppose1 not to the taste of ,messrs4 ,ansdell and ,dobson4 ,sir ,william ,boxall threatened to resign from the ,council if the portrait was not hung1 for he would not have it said that a committee to which he belonged had rejected it4 ,similar threats have been heard in recent years1 and the rejected work has stayed out1 and the ,academicians have stayed in4 ,boxall would not yield1 and the picture was hung1 not well1 yet not out of sight2 groups1 it is said1 were always gathered before it to laugh4 ,still1 there it was1 the last picture by ,whistler at the ,academy1 where nothing of his was again seen1 save one etching in #ahgi3 ,putney ,bridge1 published by the ,fine ,art ,society and probably sent by them4 ,the whole affair made talk4 ,but #ahgb is interesting1 above all1 as the year when ,whistler first exhibited a portrait as an ,arrangement and an impression of night as a ,nocturne4 ,as it was the last year he showed a picture in the ,academy1 it may be as well to complete here our account of his relations with this institution4 ,it is said that he put his name down1 or allowed it to be put down1 for election4 ,he was never elected4 ,other ,americans were1 for the ,royal ,academy is so broad in its constitution that an artist need not be an ,englishman1 need not be resident in ,great ,britain1 need not have shown on its walls to become a member or honorary member4 ,but though during all these years and until the day of his death ,whistler would have accepted election1 we have never heard that he obtained a single vote4 ,george ,boughton1 an ,american artist and a member of the ,royal ,academy1 explained the ,academic attitude when he said that if ,whistler had behaved himself he would have been ,president4 ,even this concession ,boughton qualified3 ,now1 if anyone knowing ,whistler and me should go about thinking me serious in imagining that he would make a good ,president--even of an ,east ,end boxing club--such persons live in dense error4 ,the only comment to make is that ,boughton did not understand ,whistler1 and1 in company with the ,academy1 had not the least artistic sense1 or even business appreciation in this matter4 ,whistler would have accepted election for one reason only--because of the official rank it would have given him in ,england4 ,other ,americans hustled to get it2 he expected it as an honour which he deserved4 ,he knew himself to be more distinguished than any member of the ,royal ,academy4 ,though recognition was withheld during his lifetime1 several ,academicians attempted to secure for the ,academy a posthumous glory by endeavouring to get together an exhibition of his works the winter after his death4 ,it would1 indeed1 have been irony if the ,academy had1 in return for its neglect of ,whistler1 got the kudos and cash as their reward4 ,another instance of what ,americans call graft is in the absence from the ,chantrey ,collection of a picture by ,whistler1 and the presence of the work of the ,academicians who administer the ,fund4 ,the ,trustees1 although they have bought their own work1 paying as much as one thousand pounds to ,sir ,edward ,j4 ,poynter1 three thousand to ,sir ,hubert von ,herkomer1 three thousand and fifty to ,lord ,leighton1 two thousand to ,sir ,j4 ,e4 ,millais1 ,bart41 over two thousand to ,mr4 ,frank ,dicksee1 two thousand to ,sir ,w4 ,q4 ,orchardson1 two thousand to ,vicat ,cole1 who are or were members of the ,council of the ,academy1 never even offered the sixty pounds for which they might have bought ,whistler's ,nocturne in ,blue and ,gold3 ,old ,battersea ,bridge1 since purchased for two thousand by public subscription and given to the ,tate ,gallery4 ,is it any wonder that ,whistler1 disgusted with such conduct1 especially on the part of his fellow countrymen1 members of the ,academy1 and others1 who might have elected him1 left as his only written request relative to his pictures we have seen1 the wish that none should ever find a place in any ,english ,gallery8 ,death did not spare him ,academical jealousy4 ,not content with ignoring him during his lifetime1 officially insulting his memory after his death1 ,sir ,edward ,poynter1 then ,director1 when he hung ,old ,battersea ,bridge in the ,national ,gallery1 affixed to it1 or allowed to be affixed1 a label on which ,whistler's name was misspelt1 ,whistler described as of the ,british ,school1 the title of the picture incorrectly given1 while ,whistler's decorated frame was hung upside down4 ,the picture has since1 by the irony of fate1 been placed in the ,gallery of ,modern ,british ,art6 ,footnote #d3 ,he never lived at ,no4 #c1 as ,walter ,greaves has wrongly stated4 ,footnote #e3 ,see ,chapter ,,xxxv4 ,,chapter ,,xiii3 ,,nocturnes4 ,,the ,,years ,,eighteen ,,seventy-,,two ,,to ,,eighteen ,,seventy-,,eight4 ,whistler was the first to paint the night4 ,the blue mystery that veils the world from dusk to dawn is in the colour-prints of ,hiroshige4 ,but the wood-block cannot give the depth of darkness1 the method makes a convention of colour4 ,hiroshige saw and felt the beauty and invented a scheme by which to suggest it on the block1 but he could not render the night as ,whistler rendered it on canvas4 ,though colour-prints suggested the ,nocturnes1 they were only the suggestion4 ,whistler never copied ,japanese technique4 ,but ,japanese composition impressed him--the arrangement1 the pattern1 and at times the detail4 ,the high or low horizon1 the line of a bridge over a river1 the spray of foliage in the foreground1 the golden curve of a falling rocket1 the placing of a figure on the shore1 the signature in the oblong panel1 show how much he learned4 ,he abandoned the ,japanese convention in a few years1 but he never gave up1 he developed rather1 what he always spoke of as the ,japanese method of drawing4#f ,he translated ,japanese art--translate is the word--though he said that he carried on tradition4 ,his idea was not to go to the ,japanese as greater than himself1 but to learn what he could from them and make another work of art2 a work founded on tradition no less than theirs1 and yet as ,western as theirs was ,eastern4 ,illustration3 ,,la ,,princesse ,,du ,,pays ,,de ,,la ,,porcelaine ,,rose ,,and ,,silver ,,oil ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art 7,see page #hg7 ,illustration3 ,,variations ,,in ,,violet ,,and ,,green ,,oil ,in the possession of ,sir ,charles ,mc,laren1 ,bart4 ,showing frame designed by ,whistler ,plaque inscribed ,whistler at bottom not by artist 7,see page #ij7 ,night1 beautiful everywhere from ,valparaiso to ,venice1 is never more beautiful than in ,london4 ,first he painted the ,thames in the grey day1 but1 as time went on1 he painted it in the blue night4 ,only those who have lived by the river for years1 as we have1 can realise the truth as well as the beauty of the ,nocturnes4 ,he still1 like ,courbet1 loved things for what they were1 but he chose the exquisite1 the poetic4 ,the foolishness of ,nature never appealed to him4 ,but ,courbet was no more a realist than ,whistler if realism means truth4 ,the long nights on the river were followed by long days in the studio4 ,in the end he gave up making notes4 ,it was impossible for him to work in colour at night1 and he had to trust to his memory4 ,in his portraits and his pictures done by day he had a model4 ,but looking at colour and arrangement by night1 and retaining the memory until the next morning simply means a longer interval between observation and execution4 ,and1 carrying on the tradition of the ,japanese and the method of drawing from memory advocated by ,lecoq de ,boisbaudran1 and practised by many of his most distinguished contemporaries in ,france1 ,whistler developed his powers of observation4 ,even then1 as he said1 to retain the memory of the subject required as hard training as a football player goes through4 ,his method was to go out at night1 and all his pupils or followers agree in this1 stand before his subject and look at it1 then turn his back on it and repeat to whoever was with him the arrangement1 the scheme of colour1 and as much of the detail as he wanted4 ,the listener corrected errors when they occurred1 and1 after ,whistler had looked long enough1 he went to bed with nothing in his head but his subject4 ,the next morning1 as he told his apprentice1 ,mrs4 ,clifford ,addams1 if he could see upon the untouched canvas the completed picture1 he painted it2 if not1 he passed another night in looking at the subject4 ,however1 it was not two nights' observation alone1 but the knowledge of a lifetime that enabled him to paint the ,nocturnes4 ,this power to see a finished picture on a bare canvas is possessed by all great artists4 ,but the greater the artist the more he sees and the better he presents it4 ,whistler said ,nature put him out1 because the arrangement as he found it put him out2 ,nature is never right4 ,few painters have understood the art of selection1 and here ,hiroshige and the other ,japanese were of use4 ,he went to ,nature for the motive1 to the ,japanese for the design4 ,this was why he said ,nature was at once his master and his servant4 ,the ,nocturnes looked so simple to a public trained by ,ruskin to believe that signs of labour are the chief merits in a picture1 that they seemed unfinished--just knocked off4 ,yet his letters to ,fantin are full of regret for his slowness3 ,je suis si lent4444 ,les choses ne vont pas vite4444 ,je produis peu parceque j'efface tout6 ,no one knew the hard work that produced the simplicity4 ,in no other paintings was ,whistler as successful in following his own precepts and concealing traces of toil4 ,one touch less and nothing would be left2 one touch more and the spell would be broken1 and night stripped of mystery4 ,to give the silhouette of bridge or building against the sky2 the lines of light trailing through the water or leading to infinite distance2 the boats1 ghosts fading into the ghostly river2 the fall of rockets through shadowy air--to give all these things1 and yet to keep them shrouded in the transparency of darkness was the problem he set himself in the ,nocturnes painted in the little second-storey back room at ,chelsea4 ,it was the night he saw and studied at ,cremorne1 darker1 more mysterious for the sudden flare of the fireworks1 for the glow in which little figures danced1 for the hint of draperies passing in and out of the shadows--night that toned the tawdry gardens and their vulgar crowd into beauty4 ,now everyone can see1 and night is like a ,whistler1 for ,whistler compelled people to look at his pictures1 until it has become impossible to look at night without seeing the ,nocturnes4 ,he painted the impression that night made on him1 and the great artist1 like the great author1 moves people until they think they see things as he does4 ,even in that ever-quoted passage from ,the ,ten ,o',clock1 he does not pretend to see ,nature as people see her or as ,nature seems to be2 his concern is with the impression that ,nature at night made on him1 and in this he was an impressionist4 ,the brothers ,greaves bought his materials and prepared his canvas and colours4 ,i know all these things because ,i passed days and weeks in the place standing by him1 ,walter ,greaves has said to us4 ,whistler remade his brushes1 heating them over a candle1 melting the glue and pushing the hair into the shape he wanted4 ,greaves says that the colours were mixed with linseed oil and turpentine4 ,whistler told us that he used a medium composed of copal1 mastic1 and turpentine4 ,the colours were arranged upon a palette1 a large oblong board some two feet by three1 with the butterfly inlaid in one corner and sunken boxes for brushes and tubes round the edges4 ,this palette was laid upon a table4 ,he had at various periods two or three2 and at least one stand1 with many tiny drawers1 upon which the palette fitted4 ,at the top of the palette the pure colours were placed1 though1 more frequently1 there were no pure colours at all4 ,large quantities of different tones of the prevailing colour in the picture to be painted were mixed1 and so much of the medium was used that he called it sauce4 ,greaves says that the ,nocturnes were mostly painted on a very absorbent canvas1 sometimes on panels1 sometimes on bare brown holland1 sized4 ,for the blue ,nocturnes1 the canvas was covered with a red ground1 or the panel was of mahogany1 which the pupils got from their boat-building yard1 the red forcing up the blues laid on it4 ,others were done on a warm black1 and for the fireworks there was a lead ground4 ,or1 if the night was grey1 then1 ,whistler said1 the sky is grey1 and the water is grey1 and1 therefore1 the canvas must be grey4 ,only once within ,greaves' memory was the ground white4 ,the ground for his ,nocturnes1 like the paper for his pastels1 was chosen of the prevailing tone of the picture he wanted to paint or of a colour which would give him that tone1 not to save work1 but to avoid fatiguing the canvas4 ,when ,whistler had arranged his colour-scheme on the palette1 the canvas1 which the pupils prepared1 was stood on an easel1 but so much sauce was used that frequently it had to be thrown flat on the floor to keep the whole thing from running off4 ,he washed the liquid colour on1 lightening and darkening the tones as he worked4 ,in the ,nocturnes1 the sky and water are rendered with great sweeps of the brush of exactly the right tone4 ,how many times he made and wiped out that sweeping tone is another matter4 ,when it was right1 there it stayed4 ,with his life's knowledge of both the effects he wanted to paint and the way to paint them1 at times1 as he admits himself1 he completed a ,nocturne in a day4 ,in some he got his effect at once1 in others it came only after endless failures4 ,if the tones were right1 he took them off his palette and kept them until the next day1 in saucers1 or gallipots1 under water1 so that he might carry on his work in the same way with the same tones4 ,mrs4 ,anna ,lea ,merritt tells us that when she lived in ,cheyne ,walk1 she remembers seeing the ,nocturnes set out along the garden wall to bake in the sun4 ,some were laid aside to dry slowly in the studio1 some were put in the garden or on the roof to dry quickly4 ,sometimes they dried out like body-colour in the most unexpected fashion4 ,it was a time of tireless research4 ,he had to invent everything1 though he profited by the technical training he had gained in painting the ,six ,projects4 ,whistler first called his paintings of night ,moonlights4 ,nocturne was ,mr4 ,leyland's suggestion1 as we have heard from ,mrs4 ,leyland1 and her son-in-law1 ,val ,prinsep1 stated in the ,art ,journal 7,august #ahib71 that ,whistler wrote to ,leyland3 ,i can't thank you too much for the name ,nocturne as the title for my ,moonlights4 ,you have no idea what an irritation it proves to the critics1 and consequent pleasure to me2 besides it is really so charming1 and does so poetically say all ,i want to say and no more than ,i wish4 ,whether to mystify1 or because he saw something new in his pictures1 ,whistler repeatedly changed their titles1 especially of the ,nocturnes1 and repeatedly exhibited different pictures with the same title4 ,it is true1 as ,mr4 ,bernard ,sickert writes3 such alterations made by the artist himself stultify the whole idea1 and prove that the analogy with music does not hold consistently4 ,any musician would tell us that we could not change the title of ,symphony in ,c minor to ,sonata in ,g major without making it an absurdity4 ,that he should either not have realised this fact1 or else have disregarded it deliberately1 is the more extraordinary because every ,nocturne represents a different effect rendered in a different fashion4 ,although he altered his titles1 nothing offended him more than when others tampered with them or stole them4 ,the painting of the ,nocturnes continued for many years1 and in many places4 ,but the greater number were painted when he lived at ,lindsey ,row1 most from his windows1 and few took him beyond ,battersea and ,westminster4 ,he resented it when people suggested literary titles for them1 and he put his resentment into words that make history in ,the ,red ,rag1 one of the most interesting documents in ,the ,gentle ,art1 published originally in the ,world 7,may #bb1 #ahgh73 ,my picture of a ,harmony in ,grey and ,gold is an illustration of my meaning--a snow scene with a single black figure and a lighted tavern4 ,i care nothing for the past1 present1 or future of the black figure1 placed there because the black was wanted at that spot4 ,all that ,i know is that my combination of grey and gold is the basis of the picture4 ,now this is precisely what my friends cannot grasp4 ,they say1 ',why not call it ,trotty ,veck1 and sell it for a round harmony of golden guineas8' ,lord ,redesdale told us that it was he who suggested this title1 gaily4 ,whistler assured another of his friends that he had only to write ,father1 dear ,father1 come home with me now on the painting for it to become the picture of the year4 ,subject1 sentiment1 meaning were for him in the night itself--the night in its loveliness and mystery4 ,there is no doubt that he carried tradition further and made greater advance in the ,nocturnes than in any of his paintings4 ,the subjects are the simplest--factories1 bridges1 boats and barges1 shops1 gardens--but in his hands they became things of beauty that will live for ever4 ,the ,nocturnes are not all moonlights2 we remember only a few in which the moon appears1 some are illumined only by flickering lamplight4 ,they are not invariably pictures of night1 but at times of dawn or of twilight4 ,nocturnes1 however1 is the name ,whistler chose for all1 and by it they will always be known4 ,footnote #f3 ,see ,chapter ,,xxii4 ,,chapter ,,xiv3 ,,portraits4 ,,the ,,years ,,eighteen ,,seventy-,,one ,,to ,,eighteen ,,seventy-,,four4 ,while ,whistler was painting the ,nocturnes1 he was working on the large portraits4 ,the ,mother was the first4 ,we cannot say when he began it4 ,he wrote of it to ,fantin1 promising to send a photograph1 in #ahga1 but it was not shown until #ahgb4 ,how many were the sittings1 how often the work was scraped down or wiped out1 no one will ever know4 ,we have some interesting technical details from ,walter ,greaves4 ,the portrait was painted on the back of a canvas1 as ,j4 saw when it was sent to the ,london ,memorial ,exhibition1 as ,otto ,bacher saw when the picture was in ,whistler's studio in #ahhc3 ,i noticed that it was painted on the back of a canvas1 on the face of which was the portrait of a child4 ,my remark1 ',why1 you have painted your mother on the back of a canvas6' received simply the reply3 ',isn't that a good surface8' ,there was scarcely any paint used1 ,greaves says1 the canvas being simply rubbed over to get the dress1 and1 as at first the dado had been painted across the canvas1 it shows through the skirt4 ,harper ,pennington says that the canvas1 being absorbent1 was stained all through from the painting on the face4 ,but this does not alter ,greaves' statement4 ,that wonderful handkerchief in the tired old hands1 ,greaves describes as nothing but a bit of white and oil4 ,what ,whistler wanted was to place upon canvas a beautiful arrangement1 a beautiful pattern1 of colour and line4 ,no painter since ,hals and ,velasquez thought so much of placing his figure on the canvas inside the frame4 ,no painter since ,velasquez understood so well the value of restrained line and restrained colour4 ,the long1 vertical and horizontal lines in the background1 the footstool1 the matting1 the brushwork on the wall1 add quietness to the portrait1 tranquillity to the pose that could be kept for ever2 a contrast to the frenzied squirms preferred by his predecessors1 contemporaries1 and successors4 ,hamerton thought he must have found this pose1 or the hint for it1 in the ,agrippina at the ,capitol in ,rome1 or in ,canova's statue of ,napoleon's mother at ,chatsworth4 ,if ,whistler found it anywhere1 except in his own studio1 it could only have been at ,haarlem1 where ,franz ,hals' old ladies sit together with the same serenity and are painted in much the same scheme4 ,whistler had been to ,holland and seen the beautiful group1 and he was haunted by it4 ,whistler wrote to ,fantin that if the ,mother marked any progress1 it was in the science of colour4 ,what he wanted people to see in it1 he explained in ,the ,red ,rag3 ,take the picture of my mother1 exhibited at the ,royal ,academy as an ,arrangement in ,grey and ,black4 ,now that is what it is4 ,to me it is interesting as a picture of my mother2 but what can or ought the public to care about the identity of the portrait8 ,and yet ,swinburne was not alone in realising its intense pathos of significance and tender depth of expression1 while to a few ,whistler gave a glimpse of the other side1 as to ,mr4 ,harper ,pennington3 ,did ,i ever tell you of an occasion when ,whistler let me see him with the paint off--with his brave mask down8 ,once standing by me in his studio--,tite ,street--we were looking at the ,mother4 ,i said some string of words about the beauty of the face and figure1 and for some moments ,jimmy looked and looked1 but he said nothing4 ,his hand was playing with that tuft upon his nether lip4 ,it was1 perhaps1 two minutes before he spoke4 ',yes1' very slowly1 and very softly--',yes1 one does like to make one's mummy just as nice as possible6' ,whistler told us that ,madame ,venturi1 a friend of ,carlyle's1 determined that he too should be painted4 ,i used to go often to ,madame ,venturi's--,i met ,mazzini there1 and ,mazzini was most charming--and ,madame ,venturi often visited me1 and one day she brought ,carlyle4 ,the ,mother was there1 and ,carlyle saw it1 and seemed to feel in it a certain fitness of things1 as ,madame ,venturi meant he should--he liked the simplicity of it1 the old lady sitting with her hands in her lap--and he said he would be painted4 ,and he came one morning soon1 and he sat down1 and ,i had the canvas ready and the brushes and palette1 and ,carlyle said3 ',and now1 mon1 fire away6' ,that wasn't my idea how work should be done4 ,carlyle realised it1 for he added3 ',if ye're fighting battles or painting pictures1 the only thing to do is to fire away6' ,one day he told me of others who had painted his portrait4 ',there was ,mr4 ,watts1 a mon of note4 ,and ,i went to his studio1 and there was much meestification1 and screens were drawn round the easel1 and curtains were drawn1 and ,i was not allowed to see anything4 ,and then1 at last1 the screens were put aside and there ,i was4 ,and ,i looked4 ,and ,mr4 ,watts1 a great mon1 he said to me1 ,how do you like it8 ,and then ,i turned to ,mr4 ,watts1 and ,i said1 ,mon1 ,i would have ye know ,i am in the hobit of wurin' clean lunen6' ,carlyle told people that he sat there talking and talking1 and that ,whistler went on working and working and paid no attention to him whatever4 ,whistler found ,carlyle a delightful person1 and ,carlyle found him a workman4 ,and it has been said that they used to take walks together1 but of this we have no record4 ,before the portrait was finished1 ,whistler had begun to paint ,miss ,alexander1 and another story is of a meeting at the door between the old man coming out and the little girl going in4 ,who is that8 he asked the maid4 ,miss ,alexander1 who is sitting to ,mr4 ,whistler4 ,carlyle shook his head4 ,puir lassie6 ,puir lassie6 ,mrs4 ,leyland1 at whose portrait also ,whistler was working1 remembered that ,carlyle grumbled a good deal4 ,whistler1 in the end1 had1 it is said1 to get ,phil ,morris to sit for the coat4 ,walter ,greaves' memories are of impatience in the studio1 especially when ,carlyle saw ,whistler working with small brushes1 so that ,whistler either worked with big brushes or pretended to4 ,william ,allingham wrote of the sittings in his diary3 ,carlyle tells me he is sitting to ,whistler4 ,if ,c4 makes signs of changing his position1 ,w4 screams out in an agonised tone3 ',for ,god's sake1 don't move6' ,c4 afterwards said that all ,w4's anxiety seemed to be to get the coat painted to ideal perfection2 the face went for little4 ,he had begun by asking two or three sittings1 but managed to get a great many4 ,at last ,c4 flatly rebelled4 ,he used to define ,w4 as the most absurd creature on the face of the earth4 ,around this portrait many legends are gathering4 ,mr4 ,f4 ,ernest ,jackson has told us that a few years ago1 one evening in ,hyde ,park1 he was seated on a bench sketching1 and an old man came up to him and1 seeing he was an artist1 asked if he knew ,whistler4 ,then the old man said that his father had posed for the picture4 ,whether this was ,carlyle revisiting the haunts of his walks or a pure invention we do not know4 ,another tale is that ,whistler never painted the picture1 which is the work of an anonymous ,academician1 done as a bet that he could do a ,whistler--it is a pity the ,academician never did any more4 ,if ,carlyle liked the portrait of the ,mother1 he must have liked his own4 ,there is the same quiet balance1 the same careful spacing4 ,take away either the circular print or the ,butterfly in its circle1 and the repose is gone4 ,but with such care has every detail been arranged1 one never thinks of the balance1 the arabesque1 the pattern4 ,it is done1 and all traces of the thought and the work are gone4 ,one sees only the result ,whistler meant should be seen4 ,it has been criticised for showing a want of invention4 ,but if the background and the arrangement are somewhat the same as in the ,mother1 it was because he was deliberately carrying out the same scheme4 ,it was his ,arrangement in ,grey and ,black1 ,no4 ,,ii4 ,in the ,london ,memorial ,exhibition it hung opposite the ,mother1 and as they were seen together1 the pose and colour and design belonged as inevitably to the nervous old man as to the old lady in her beautiful tranquillity4 ,whistler is also said to have made a study of ,carlyle's head1 owned by ,mr4 ,burton ,mansfield1 and there is a small study of the pose on the back of a canvas1 once owned by ,greaves4 ,the ,harmony in ,grey and ,green2 ,portrait of ,miss ,alexander1 a commission from ,mr4 ,w4 ,c4 ,alexander1 was painted at the same time1 and proves how little ,whistler's invention was at fault4 ,there was no repetition4 ,the little girl1 in her white and green frock1 holding at her side her grey feathered hat1 butterflies hovering about her1 the weariness of the pose expressed in the pouting red lips1 as she stands by the grey wall with its long lines of black1 is as familiar as ,velasquez' ,infantas4 ,less known is ,whistler's care in every detail to make it a masterpiece4 ,he1 or his mother1 gave ,mrs4 ,alexander directions as to the quality of the muslin for the gown1 where it was to be bought1 the width of the frills1 the ruffles at the neck1 the ribbon bows1 the way the gown was to be laundried4 ,and only after repeatedly seeing and studying the picture1 does one learn his care in weaving the colour through the design4 ,he called the portrait ,harmony in ,grey and ,green1 but the colours which bind the arrangement together1 which play all through it1 are green and gold4 ,so wonderfully are these colours used like threads in tapestry that one does not see them1 one feels the result4 ,as always1 there was the great simple design2 the pose of ,velasquez1 the decoration of ,japan1 worked out in his own way4 ,the gold runs along the top of the dado2 tiny gold buckles fasten the rosettes of the shoes2 there is a gold pin in the hair2 the gold of the daisies is repeated in the butterflies which flutter above the head2 a note of gold is in the pile of drapery1 and the floor has a suggestion of gold in the matting4 ,green plays the same note4 ,the green sash is carried down by the green feather of the hat1 lost in the shadow1 which is filled with green and gold4 ,and the green of the daisies is repeated in the green of the drapery4 ,it is not until one has gone all over the picture that these things become evident4 ,the shoes look perfectly black1 and so does the dado1 and yet there is no pure black anywhere4 ,the whole is bound together by this grey1 green1 black1 and gold scheme running through the composition4 ,it is a perfect harmony4 ,and so subtle is it1 that only the result is evident1 never the means by which it was obtained4 ,the story of the sittings we have from ,miss ,cicely ,alexander 7,mrs4 ,spring-,rice73 ,my father wanted him to paint us all1 ,i believe1 beginning with the eldest 7my sister1 whom he afterwards began to paint1 but whose portrait was never finished74 ,but after coming down to see us1 he wrote and said he would like to begin with 'the light arrangement1' meaning me1 as my sister was dark4 ,so ,i was the first victim1 and ,i'm afraid ,i rather considered that ,i was a victim all through the sittings1 or rather standings1 for he never let me change my position1 and ,i believe ,i sometimes used to stand for hours at a time4 ,i know ,i used to get very tired and cross1 and often finished the days in tears4 ,this was especially when he had promised to release me at a given time to go to a dancing-class1 but when the time came ,i was still standing1 and the minutes slipped away1 and he was quite absorbed and had quite forgotten all about his promise1 and never noticed the tears2 he used to stand a good way from his canvas1 and then dart at it and then dart back1 and he often turned round to look in a looking-glass that hung over the mantelpiece at his back--,i suppose1 to see the reflection of his painting4 ,although he was rather inhuman about letting me stand on for hours and hours1 as it seemed to me at the time1 he was most kind in other ways4 ,if a blessed black fog came up from the river1 and ,i was allowed to get down1 he never made any objection to my poking about among his paints1 and ,i even put charcoal eyes to some of his sketches of portraits done in coloured chalks on brown paper1 and he also constantly promised to paint my doll1 but this promise was never kept4 ,i was painted at the little house in ,chelsea1 and at the time he was decorating the staircase2 it was to have a dado of gold1 and it was all done in gold-leaf1 and laid on by himself1 ,i believe2 he had numberless little books of gold-leaf lying about1 and any that weren't exactly of the old-gold shade he wanted1 he gave to me4 ,mrs4 ,whistler was living then1 and used to preside at delightful ,american luncheons1 but ,i don't remember that she ever came into the studio--a servant used to be sent to tell him lunch was ready1 and then he went on again as before4 ,he painted1 and despair filled my soul1 and ,i believe it was generally teatime before we went to those lunches1 at which we had hot biscuits and tinned peaches1 and other unwholesome things1 and ,i believe the biscuits came out of a little oven in the chimney1 though ,i can't quite think how that could have been4 ,the studio was at the back of the house1 and the drawing-room looked over the river1 and we seldom went into it1 but ,i remember that he had matting on the floor1 and a large ,japanese basin with water and goldfish in it4 ,i never met ,mr4 ,carlyle in the studio1 although he was being painted at the same time1 but he shook hands with me at the private view at the ,grosvenor ,gallery1 where the two portraits were exhibited for the first time4 ,this must have been at ,whistler's own exhibition in #ahgd4 ,i didn't appreciate that honour at the time1 any more than ,i appreciated being painted by ,mr4 ,whistler1 and ,i'm afraid all my memories only show that ,i was a very grumbling disagreeable little girl4 ,of course1 ,i was too young to appreciate ,mr4 ,whistler himself1 though afterwards we were very good friends when ,i grew older1 and when he used to come to my father's house and make at once for the portrait with his eye-glass up4 ,it is said that tears were not only the little girl's1 but ,whistler's1 and that there were seventy sittings before he finished4 ,mrs4 ,spring-,rice writes nothing about the number of times the picture was rubbed out and recommenced4 ,he was beginning to put in the entire scheme at once1 but on such large canvases this was difficult4 ,walter ,greaves says that the picture was painted on an absorbent canvas1 and on a distemper ground4 ,there is also a study for the head4 ,whistler was as minute in his directions for the portrait of ,miss ,may ,alexander4 ,he recommended to ,mrs4 ,alexander a milliner who sold wonderful picture hats2 he suggested that he should paint the portrait in the house at ,campden ,hill1 so that he could see the effect of the picture in the drawing-room where it was to hang4 ,but it remains a sketch of a girl in riding-habit1 drawing on her gloves1 at her side a pot of flowers1 the one detail carried out4 ,he made a number of other sketches in oils1 chalk1 pen and ink1 of the children1 and there is a study for ,miss ,may's head also4 ,but only the ,arrangement in ,grey and ,green was finished4 ,frederick ,leyland1 the wealthy shipowner1 who had met ,whistler as early as #ahfg1 about this time commissioned ,whistler to paint his four children1 ,mrs4 ,leyland1 and himself4 ,leyland had not yet bought his ,london house1 but often came up to town1 and ,whistler made long visits at ,speke ,hall1 ,leyland's place near ,liverpool4 ,mrs4 ,whistler spent months there4 ,the record of his visits is in the etchings and dry-points of ,speke ,hall and ,speke ,shore1 ,shipping at ,liverpool1 ,the ,dam ,wood1 and the portraits in many mediums4 ,speke ,hall1 ,whistler said1 put him in better mood for work4 ,the house was not far from the sea1 where he found much to do4 ,but the beach was flat1 at low tide the sea ran away from him1 and at high tide the skies were wrong or the wind blew1 and when the sea failed he turned to the portraits4 ,the big canvases travelled with him1 backward and forward1 from ,speke ,hall to ,london1 and the sittings were continued in both places4 ,they all sat to him4 ,the children hated posing as much as they delighted in the painter4 ,the son1 after three sittings1 refused to sit again1 which is to be regretted1 for the pastel of him1 lounging in a chair1 with big hat pushed back and long legs stretched out1 is full of boyhood4 ,there are pastels of the three little girls1 sketches in pen and ink and pencil1 one among the few studies for etchings1 and the dry-points4 ,of ,florence ,leyland1 a large1 full-length oil was started1 the first of his ,blue ,girls in which he wished to paint blue on blue as he had painted white on white4 ,another portrait of her was never finished and1 we believe1 never exhibited until it was purchased1 in #aijf1 for the ,brooklyn ,museum4 ,the full-length of ,leyland was the only one completed4 ,of this there is a small oil study4 ,illustration3 ,,symphony ,,in ,,white4 ,,no4 ,,ii ,,the ,,little ,,white ,,girl ,,oil ,in the ,national ,gallery1 ,london ,showing the original frame with early ,butterflies and ,swinburne's verses on it4 ,photograph loaned by ,w4 ,h4 ,low1 ,esq4 7,see page #ib7 ,illustration3 ,,portrait ,,of ,,dr4 ,,whistler ,,oil ,in the possession of ,burton ,mansfield1 ,esq4 7,see page #ie7 ,whistler painted ,leyland standing1 in evening dress1 with the ruffled shirt he always wore1 against a dark background1 the first arrangement of black on black4 ,leyland was good about standing1 we know from ,mrs4 ,leyland1 but he had not much time1 and few portraits gave ,whistler more trouble4 ,leyland told ,val ,prinsep that ,whistler nearly cried over the drawing of the legs4 ,greaves says that he got into an awful mess over it1 painted it out again and again1 and finally had in a model to pose for it nude4 ,it was finished in the winter of #ahgc4 ,in the portrait of ,leyland he began to suppress the background1 to put the figures into the atmosphere in which they stood1 without accessories4 ,the problem was the atmospheric envelope1 to make the figures stand in this atmosphere1 as far within their frames as he stood from them when he painted1 a problem at which he worked as long as he lived4 ,mrs4 ,leyland had more leisure than her husband1 and the sittings amused her4 ,she had sat to ,rossetti1 she was to sit to others4 ,she was beautiful1 with wonderful red hair4 ,whistler made a dry-point of her1 ,the ,velvet ,gown1 and in black velvet she wanted to be painted4 ,but he preferred a dress in harmony with her hair1 and designed rose draperies falling in sweeping curves1 and he placed her against a rose-flushed wall with a spray of rose almond blossoms at her side4 ,in no other portrait did he attempt a scheme of colour at once so sumptuous and so delicate4 ,the pose was natural to her1 she said1 though he made a number of pastel schemes before he painted it4 ,her back is turned1 her arms fall loosely1 her hands clasped behind her1 her head in profile4 ,mrs4 ,leyland remembered days when1 at the end of the pose1 the portrait looked as if it needed only a few hours' work4 ,but in the morning she would find it rubbed out and all the work to be done again4 ,notwithstanding the innumerable sittings1 one of ,whistler's models1 ,maud ,franklin1 whom he so often etched and painted1 was called in to pose for the gown4 ,whistler knew what he wanted1 and nothing else would satisfy him4 ,it must be beautiful to be worthy of the weariness it caused her1 he told ,mrs4 ,leyland1 and he was trying for the little more that meant perfection4 ,the portrait was never finished1 and yet it could not be lovelier4 ,it was a problem1 not of luminous dark1 but of luminous light1 and the accessories have not been suppressed4 ,the matting on the floor1 the dado1 and the spray of almond blossoms are more elaborately carried out than the detail of any other portrait4 ,what worried him1 and probably prevented the picture being finished1 were the hands1 almost untouched4 ,it was not that he could not draw hands1 for they are beautifully drawn sometimes1 notably in the etchings4 ,but he rarely painted them well4 ,he nearly always left them to the last1 and some of his later pictures were unfinished because he could not get the hands right4 ,in the ,sarasate1 ,the ,little ,white ,girl1 the ,symphony in ,white1 ,no4 ,,iii41 the hands are beautifully painted4 ,some one has said that an artist is known by his painting of hands4 ,these three pictures prove that ,whistler could paint hands1 but it is as true that he did not paint them when he could help it4 ,the portrait of ,mrs4 ,louis ,huth was not only begun but finished during these years4 ,it is ,holbein-like in its dignity1 its sobriety1 the flat modelling1 the exquisite rendering of the lace at the throat and the wrists4 ,mrs4 ,huth wears the black velvet ,mrs4 ,leyland wanted to wear1 and the background is black of wonderful1 luminous1 intense depth4 ,she1 too1 stands with her back turned1 and her head in profile4 ,in this portrait1 as in the full-length ,leyland1 ,whistler carried out his method of putting in the whole subject at once4 ,the background was as much a part of the design as the figure4 ,if anything went wrong anywhere the whole had to come out and be started again4 ,it was a difficult problem1 but the theory taught by ,gleyre1 and developed in the ,nocturnes1 was perfected in the portraits of ,frederick ,leyland and ,mrs4 ,huth4 ,mrs4 ,leyland sometimes met ,mrs4 ,huth as they came and went1 and this fixes the date of the portrait4 ,mrs4 ,huth was not strong1 and ,whistler exhausted the strongest who posed for him4 ,almost daily1 during one summer1 he kept her standing for three hours without rest4 ,at last she rebelled4 ,watts1 she said1 who had painted her had not treated her in that way4 ,and still1 you know1 you come to me6 was ,whistler's comment4 ,he had some mercy1 however1 and at times a model stood for her dress4 ,after the ,academy of #ahgd opened with nothing of his in it1 ,whistler took matters into his own hands1 and1 like ,courbet in #ahee1 and ,manet in #ahfg1 organised a show of his own--his first one man show4 ,the gallery was at ,no4 #dh ,pall ,mall1 and the collection included these large portraits1 a few ,nocturnes1 one or two earlier paintings1 and one or two of the ,projects4 ,thirteen in all4 ,there were fifty etchings4 ,the walls were grey1 the exhibits were well spaced1 there were palms and flowers1 blue pots and bronzes4 ,he designed the card of invitation1 the simple card he always used1 and his mother and ,greaves wrote the names and addresses1 all making ,butterflies as hard as we could1 ,walter ,greaves says1 rushing out and posting the cards until the letter-boxes of ,chelsea were in a state of congestion4 ,the private view was on ,june #f4 ,the catalogue is vague4 ,the exhibition was a shock to ,london4 ,the decorations seemed an indiscretion1 for no one before had suggested to people1 whose standard was the ,academy1 that a show of pictures might be beautiful4 ,the work scandalised a generation blinded by the yearly ,academic bazaar2 they could not see the beauty of flat modelling and flesh low in tone1 they preferred the foolish sunset to the poetry of night4 ,but the pictures could have been forgiven more easily than the titles4 ,from the moment he exhibited them as ,arrangements and ,nocturnes1 his reputation for eccentricity was established4 ,he wrote in ,the ,gentle ,art3 ,i know that many good people think my nomenclature funny and myself 'eccentric'4 ,yes1 'eccentric' is the adjective they find for me4 ,the vast majority of ,english folk cannot and will not consider a picture as a picture1 apart from any story which it may be supposed to tell4444 ,as music is the poetry of sound1 so is painting the poetry of sight1 and the subject-matter has nothing to do with harmony of sound or of colour4 ,well received at first1 his position in public favour had of late hung in the balance4 ,the exhibition weighed in the scales against him1 and for almost twenty years to come1 ridicule was his portion4 ,the ,athenum and the ,saturday ,review ignored the show4 ,the ,pall ,mall saw in it more intellect than imagination4 ,here and there was a polite murmur of noble conception and ,velasquez touch4 ,of all that was said ,whistler singled out for notice then1 and preservation afterwards1 the comments of a forgotten journal1 the ,hour4 ,it has been wondered why he noticed papers of small importance4 ,when he answered the critics and kept the correspondence1 it was to make history1 he said1 and he selected what he thought important1 though it might come from an unimportant source4 ,the ,hour suggested that the best work was not of recent date2 ,whistler wrote to remove the melancholy impression2 and notice and letter make history1 for it was about this time that ,english critics1 following the lead of the ,french1 were beginning to say that he did not fulfil his early promise1 and it is recorded in ,the ,gentle ,art4 ,the pictures of this period that remain may seem few in number4 ,but others were completed or in progress1 and disappeared before they were exhibited or seen outside the studio4 ,we have reason to believe1 however1 that some have been recently discovered and eventually will not be lost to the world4 ,,chapter ,,xv3 ,,the ,,open ,,door4 ,,the ,,year ,,eighteen ,,seventy-,,four ,,and ,,after4 ,whistler laughed all his troubles away1 it has been said4 ,when the ,academy rejected him1 and the critics sneered at his pictures hung in other galleries1 and the public took the critics seriously1 he laughed the louder1 and felt the more4 ,english ears shrank from his laugh--his strident peacock laugh1 ,sir ,sidney ,colvin called it4 ,he was a man who could never bear to be alone1 ,mr4 ,percy ,thomas remembers4 ,the door in ,lindsey ,row was always open1 and ,whistler liked to think that his friends' doors were open to him4 ,lord ,redesdale1 who came to live in the ,row in #ahge1 said that ,whistler was always running in and out4 ,through his own open door strange people drifted4 ,if they amused him he forgave them however they presumed1 and they usually did presume4 ,there was a man who1 he told us1 came to dine one evening1 and1 asking to stay overnight1 remained three years3 ,well1 you know1 there he was2 and that was the way he had always lived--the prince of parasites6 ,he was a genius1 a musician1 the first of the 'sthetes1' before the silly name was invented4 ,he hadn't anything to do2 he didn't do anything but decorate the dinner-table1 arrange the flowers1 and then play the piano and talk4 ,he hadn't any enthusiasm2 that's why he was so restful4 ,he was always ready to go to ,cremorne with me4 ,at moments my mother objected to such a loafer about the house4 ,and ,i would say to her1 ',well1 but1 my dear mummy1 who else is there to whom we could say1 ,play1 and he would play1 and ,stop playing1 and he would stop right away6' ,then ,i was ill4 ,he couldn't be trusted with a message to the doctor or the druggist1 and he was only in the way4 ,but he had the good sense to see it1 and to suggest it was time to be going2 so he left for somebody else6 ,it never occurred to him there was any reason he shouldn't live like that4 ,we have heard of many others4 ,one1 to whom ,whistler entrusted the money for the weekly bills1 gave lunches to his friends and sent flowers and chocolates right and left1 while ,whistler's debt multiplied4 ,artists and art students came in through the open door to see and to learn1 and were welcomed4 ,if they came to loaf and to play1 they paid for it4 ,they ran errands1 posted letters1 sat in the corner1 interviewed greater bores than themselves4 ,they had to give up their time1 and then the end came1 and out they went4 ,one story in ,chelsea is of ,barthe1 who not only taught art but sold tapestry4 ,whistler bought a number of things from him4 ,but vill he pay1 zis ,vistlaire1 vill he pay8 ,barthe asked1 and at last one evening he went to ,lindsey ,row4 ,a cab was at the door4 ,the maid said ,whistler was not in1 but ,barthe heard his voice and pushed past1 and said afterwards3 ,upstairs1 ,i find him1 before a little picture painting1 and behind him ze bruzzers ,greaves holding candle4 ,and ,vistlaire he say1 ',you ze very man ,i vant2 hold a candle6' ,and ,i hold a candle4 ,and ,vistlaire he paint1 and he paint1 and zen he take ze picture1 and he go downstair1 and he get in ze cab1 and he drive off1 and we hold ze candle1 and ,i see him no more4 ,mon ,dieu1 il est terrible1 ce ,vistlaire6 ,but he was paid the next day4 ,few men depended more on companionship than ,whistler1 and to few was the companionship women alone can give more essential4 ,all his life he retained his coeur de femme1 and most of his friends were women4 ,for years1 until her health broke down1 his mother was with him4 ,many wondered1 with ,val ,prinsep1 who thought ,whistler always acting a part1 whether behind the poseur1 there was not quite a different ,whistler4 ,those who saw him with his mother were conscious of the fact that the irrepressible ,jimmy was very human4 ,no one could have been a better son1 or more attentive to his mother's wishes4 ,sometimes old ,mrs4 ,whistler1 who was a stern ,presbyterian in her religion1 must have been very trying to her son4 ,yet ,jimmy1 though he used to give a queer smile when he mentioned them1 never in any way complained of the old lady's strict ,sabbatarian notions1 to which he bowed without remonstrance4 ,the models drifting in and out of the open door were mostly women4 ,he liked to have them with him1 and felt it necessary to see them about the studio1 for1 as he watched their movements1 they would take the pose he wanted1 or suggest a group1 an arrangement4 ,an admirable example is the ,whistler in his ,studio1 done in the first house in ,lindsey ,row4 ,it was a beautiful study1 he wrote to ,fantin1 for a big picture like the ,hommage ,delacroix1 with ,fantin1 ,albert ,moore1 and himself1 the ,white ,girl on a couch1 and la ,japonaise walking about1 grouped together in his studio3 all that would shock the ,academicians4 ,the colour was to be dainty2 he in pale grey1 ,jo in white1 la ,japonaise in flesh-colour1 ,albert ,moore and ,fantin to give the black note4 ,the canvas was to be ten feet by six4 ,if he ever did more than the study of the two girls and himself1 it has disappeared4 ,the painting was owned by ,mr4 ,douglas ,freshfield1 and now belongs to the ,chicago ,art ,institute1 and is as dainty as ,whistler described it4 ,he holds the small palette he sometimes used with raised edges to keep the liquid colour from running off1 he wears the long-sleeved white waistcoat in which he worked1 and he painted from the reflection in the mirror1 for his brush is in his left hand4 ,the two women most likely are the two models for ,symphony in ,white1 ,no4 ,,iii41 who have stopped posing4 ,another version of this studio interior is in the ,city of ,dublin ,art ,gallery1 but ,whistler repudiated it4 ,mr4 ,gallatin says that ,sir ,hugh ,lane1 who presented the picture to the ,dublin ,gallery1 gave it a very different record1 holding that it was well known in ,chelsea1 that ,whistler liked it1 and eventually painted for ,mr4 ,freshfield the version now in the ,chicago ,art ,institute4 ,the truth of the matter1 however1 is that not only did ,whistler repudiate the ,dublin picture1 but1 when it was shown as the original in the ,whistler ,memorial ,exhibition in ,london1 ,mr4 ,freshfield demanded that this description be at once withdrawn or he would remove the picture and sue the ,international ,society1 who organised the ,exhibition1 for false statements and damages4 ,sir ,hugh ,lane did not produce during his lifetime one scrap of proof in corroboration of statements denied by ,whistler1 nor has any proof been produced since his death4 ,another reason to doubt ,lane's description is that ,whistler never copied one of his pictures1 and the ,dublin ,gallery's version is a slavish copy1 save in the colour scheme4 ,whistler never painted it4 ,there is nothing else of the kind so complete as ,whistler in his ,studio1 but there are innumerable studies of figures1 reading or sewing1 not posing1 though the minute he started to draw them they had to pose4 ,everybody who was with him1 and somebody always was1 had to sit and be painted1 etched1 or drawn4 ,refugees from ,france in #ahgj drifted through the open door1 artists whose work was stopped by the ,commune and who came to ,england to take it up again4 ,there were ,dalou1 ,professor ,lantri1 and ,tissot who1 at ,lindsey ,row1 found the inspiration for his pictures on the river4 ,fantin stayed in ,paris1 but later told stories of the siege which ,whistler repeated to us4 ,he asked ,fantin what he did4 ,me8 replied ,fantin1 ,i hid in the cellar4 ,je suis poltron1 moi4 ,one of ,fantin's many letters to ,edwin ,edwards shows ,whistler's hold over those who were drawn to him for a better reason than curiosity4 ,it was long since ,fantin had heard from ,whistler1 for whom1 however1 he wrote1 his affection was that of a man for a mistress still loved despite the trouble she might give4 ,he did not understand women1 they frightened him1 mais au fond1 tout au fond1 je sens que si j'tais aim1 je serais l'esclave le plus soumis et serais peut-tre capable de toutes les plus grandes folies4 ,je sens que c'est la mme chose pour ,whistler3 s'il savait comme il pourrait avoir un ami dvou et aimant en moi4 ,malgr tout1 il est sduisant4 ,and yet they saw less of each other as the years went on1 perhaps because ,fantin became more of a hermit1 while ,whistler's door opened wider4 ,journalists and critics hurried to ,lindsey ,row once they knew the door was open4 ,mr4 ,walter ,greaves1 who sometimes showed the studio1 remembers doing the honours for ,tom ,taylor4 ,whistler told ,mr4 ,sidney ,starr that1 while the ,miss ,alexander was in the studio1 ,tom ,taylor came3 ,there were other visitors4 ,taylor said1 ',ah1 yes1 um1' then remarked that the upright line in the panelling of the wall was wrong1 and the picture would be better without it1 adding1 ',of course1 it's a matter of taste4' ,to which ,whistler replied1 ',i thought that perhaps for once you were going to get away without having said anything foolish2 but remember1 so that you may not make the mistake again1 it's not a matter of taste at all1 it is a matter of knowledge4 ,good-bye4' ,journalists and critics filled columns with praise of forgotten masterpieces by unknown ,academicians1 but seldom spared space for the work in ,whistler's studio4 ,their gossip after the visit was about the man1 not his pictures4 ,poets1 the younger literary men1 came in through the open door4 ,mr4 ,edmund ,gosse1 introduced by ,mr4 ,w4 ,m4 ,rossetti1 has described to us his impressions of the bare room with little in it but the easel1 and of the small1 alert1 nervous man with keen eyes and beautiful hands who sat before it1 looking at his canvas1 never moving but looking steadily for twenty minutes or half an hour1 perhaps1 and then1 of a sudden1 dashing at it1 giving it one touch1 and saying1 ,there1 well1 ,i think that will do for to-day6 an astonishing experience to one used to tapestried studios and painters more industrious with their hands than their brains4 ,the fashionable world1 royalty1 crowded through the open door4 ,lindsey ,row was lined with the carriages of ,mayfair and ,belgravia4 ,whistler was the fashion1 if his pictures were not1 and he could say nothing1 he could do nothing1 that did not go the rounds of drawing-rooms and dinner-tables4 ,ha1 ha6 ,i have no private life6 he told a man who threatened him with exposure4 ,and1 from this time onward1 he never had4 ,he knew what his popularity meant4 ,it was among the numbers who gathered about him because he was the fashion1 that he could not afford to have friends4 ,if the frequent use of the name ,jimmie by people in speaking and writing of him implies a friendliness on his part with every ,tom1 ,dick1 and ,harry1 nothing could be further from the fact4 ,his friends1 who were his contemporaries1 called him ,jimmie1 but rarely to his face1 and the rest who did once had not the courage to a second time4 ,we remember a foolish youth who1 meeting him at our table1 addressed him in free and easy fashion as ,whistler4 ,he said nothing4 ,he only looked1 but the youth did not forget the ,mr4 after that4 ,whistler was the last man to allow familiarity or to make friends4 ,he understood how to keep at a distance those he did not know or did not want to know4 ,illustration3 ,,nocturne ,,blue ,,and ,,gold1 ,,valparaiso ,,bay ,,oil ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art 7,see page #ii7 ,illustration3 ,,symphony ,,in ,,white4 ,,no4 ,,iii ,,oil ,in the possession of ,edmund ,davis1 ,esq4 7,see page #ajb7 ,it was thought that he could not live without fighting1 that to him battle was the spice of life4 ,but he never fought until fighting was forced upon him4 ,there were no fights1 just as there was no mystery1 at first4 ,every man was a friend until he proved himself an enemy4 ,whistler's temper was violent4 ,few who ever saw him roused can forget the fire of his eyes1 the fury of his face1 the sting of his tongue4 ,he was terrible then1 and lost all control of himself4 ,but there was always good cause for his rage1 and once the storm had passed he laughed this1 as all his other troubles1 away and when the fighting began enjoyed it4 ,he liked a fight1 roared over it4 ,lord ,redesdale told us ,whistler would come to him in the morning at breakfast1 or in the evening after dinner1 to read the latest correspondence1 discovering the dullness of the enemy4 ,whistler delighted in society1 finding in it the change most men find in sport or travel4 ,he hated anything that stopped his work4 ,hunting and fishing were an abomination4 ,we never heard of his attempting to shoot1 except once at the ,leylands'1 when1 he said3 ,i rather fancied ,i shot part of a hare1 for ,i thought ,i saw the fluff of its fur flying4 ,i knew ,i hit a dog1 for ,i saw the keeper taking out the shot6 ,his solicitor1 ,mr4 ,william ,webb1 tried once to teach him to ride a bicycle4 ,learn it8 ,no1 he said to us4 ,why1 ,i fell right off--but ,i fell in a rose-bush6 ,motoring offended him and he abused ,j4 for taking it up4 ,but people amused him1 and he enjoyed the parade of life4 ,this is the explanation of the dandyism that has shocked more than one of his critics4 ,whistler was never content with half-measures4 ,he would not have played the social game at all had he not been able to play it well1 and if taking infinite pains with his appearance means dandyism1 then he was a dandy4 ,the very word pleased him1 and he used it often1 in ,american fashion1 to express perfection or charm or beauty4 ,never was any man more particular about his person and his dress4 ,he was as careful of his hair as a woman1 though there was no need of the curling-tongs with which he has been reproached2 the difficulty was to restrain his curls and keep them in order4 ,the white lock gave just the right touch4 ,however fashion changed1 he always wore the moustache and little imperial which other ,west ,point men of his generation retained through life4 ,even his thick bushy eyebrows were trained1 and they added to the humorous or sardonic expression of the deep blue eyes from which many shrank4 ,his beautiful hands and nails were beautifully kept4 ,in his dress was always something a little different from that of other men4 ,his clothes were speckless1 faultless1 fitting irreproachably4 ,he preferred pumps to boots1 short sack-coats to tailed coats4 ,his linen was of the finest1 and a little ,butterfly was embroidered on his handkerchief2 and his near-sightedness was a reason for the monocle of which he knew how to make such good use4 ,he was long at his toilet1 minute in every detail4 ,before entering a drawing-room we have seen him pause to adjust his curls and his cravat4 ,so it was with everything4 ,there was dandyism in his delicate handwriting1 and the same care went to the arrangement of his cards of invitation and his letters2 he would consider even the placing of his signature on a receipt4 ,and he devoted no less attention to his breakfasts and dinners that made the talk of the town4 ,he respected the art of cookery--the ,family ,bible he called the cook-book2 he ate little1 but that little had to be perfect both in cooking and serving4 ,from the beginning at ,lindsey ,row he gave these breakfasts and dinners4 ,mr4 ,luke ,ionides remembers calling one afternoon when ,jimmy was busy putting things straight2 he asked me if ,i had any money4 ,i told him ,i had twelve shillings4 ,he said that was enough4 ,we went out together1 and he bought three chairs at two-and-sixpence each1 and three bottles of claret at eighteenpence each1 and three sticks of sealing-wax of different colours at twopence each4 ,on our return he sealed the top of each bottle with a different coloured wax4 ,he then told me he expected a possible buyer to dinner1 and two other friends4 ,when we had taken our seats at the table1 he very solemnly told the maid to go down and bring up a bottle of wine1 one of those with the red seal4 ,the maid could hardly suppress a grin1 but ,i alone saw it4 ,then1 after the meat1 he told her to fetch a bottle with the blue seal2 and with dessert the one with the yellow seal was brought1 and all were drunk in perfect innocence and delight4 ,he sold his picture1 and said he was sure the sealing-wax had done it4 ,all his life he invented wines and was continually making finds4 ,we remember his discovery of a wonderful ,crote ,mallard at the ,caf ,royal1 and an equally wonderful ,pouilly supplied by his ,french barber1 who had been one of ,napoleon ,,iii4's generals or ,maximilian's aides-de-camp4 ,another thing at the ,caf ,royal besides the menu was the ,n on the wine-glasses1 which were said to have come from the ,tuileries in #ahgj1 but1 no matter how many have been broken1 it is still there4 ,though he liked good wine1 he drank as little as he ate4 ,one of the innumerable stories often repeated may give a different idea4 ,after a dinner in somebody's new house he slipped on the stairs and fell4 ,as he was helped up1 he was asked if he had hurt himself4 ,no1 he said1 but it's all the fault of the damned teetotal architect4 ,those who dined with him1 or with whom he dined1 knew that he was one of the most abstemious of men4 ,on the other hand1 it was astonishing how quickly some things went to his head4 ,in later days when ,j4 would stop with him at ,frascati's1 on the way home from the studio1 the talk grew gayer1 the ,ha6 ,ha6 louder with the first sip of his absinthe4 ,we have the story of his first dinner-party from ,mr4 ,walter ,greaves1 whose workman was sent to ,madame ,venturi's to borrow1 and came back hung about with1 pots and kettles and pans1 and from ,mrs4 ,leyland1 who lent her butler and at the last moment1 with her sister1 put up muslin curtains at the windows4 ,guests remember ,whistler's alarm when a near-sighted young lady in white mistook the ,japanese bath1 filled with water-lilies1 for a divan1 and tried to sit on the goldfish2 and ,leyland's disgust when ,grisi's daughter1 whom he took in to dinner1 would talk to him not of music1 but of ,ouida's novels4 ,everyone found the menu a little eccentric1 but excellent4 ,the earliest menu we have seen is one1 in ,mr4 ,walter ,dowdeswell's possession1 of a dinner in the eighties1 as simple as it is characteristic of ,whistler1 and we give it3 ,potage ,potiron2 ,soles ,frites2 ,boeuf la ,mode2 ,chapon au ,cresson2 ,salade ,laitue2 ,marmalade de ,pommes2 ,omelette au ,fromage4 ,mr4 ,alan ,s4 ,cole's diary is the record of dinners in the seventies1 of the company1 and the talk3 ,november #af 7#ahge74 ,dined with ,jimmy2 ,tissot1 ,a4 ,moore1 and ,captain ,crabb4 ,lovely blue and white china1 and capital small dinner4 ,general conversation and ideas on art unfettered by principles4 ,lovely ,japanese lacquer4 ,december #g 7#ahge74 ,dined with ,jimmy2 ,cyril ,flower1 ,tissot1 ,story4 ,talked ,balzac--,pre ,goriot--,cousine ,bette--,cousin ,pons--,jeune ,homme de ,province ,paris--,illusions perdues4 ,january #f 7#ahgf74 ,with my father and mother to dine at ,whistler's4 ,mrs4 ,montiori1 ,mrs4 ,stansfield1 and ,gee there4 ,my father on the innate desire or ambition of some men to be creators1 either physical or mental4 ,whistler considered art had reached a climax with ,japanese and ,velasquez4 ,he had to admit natural instinct and influence1 and the ceaseless changing in all things4 ,march #ab 7#ahgf74 ,dined with ,jimmy4 ,miss ,franklin there4 ,great conversation of ,spiritualism1 in which ,j4 believes4 ,we tried to get raps1 but were unsuccessful1 except in getting noises from sticky fingers on the table4 ,march #be 7#ahgf74 ,round to ,whistler's to dine4 ,mrs4 ,leyland and ,mrs4 ,galsworthy and others4 ,september #af 7#ahgf74 ,dined with ,w4 ,eldon there4 ,hot discussion about ,napoleon 7,napolon le petit1 by ,hugo74 ,the ,commune1 with which ,j4 sympathised some fellow-feeling for ,courbet1 the reason perhaps4 ,spiritualism4 ,december #bi 7#ahgf74 ,to dine with ,j4--the ,doctor4 ,goldfish in bowl4 ,japanese trays--storks and birds4 ,he read out two or three stories by ,bret ,harte3 ,luck of ,roaring ,camp1 ,the ,outcasts of ,poker ,flat1 ,tennessee's ,partner4 ,chatted as to doing illustration for a catalogue for ,mitford1 and as to his ,japanese woman1 and a decorated room for the ,museum4 ,february #ah 7#ahgh74 ,to ,whistler's4 ,mark ,twain's haunting jingle in the tramcar3 ',punch1 brothers1 punch with care2 punch in the presence of the passenjaire6' ,march #bg 7#ahgh74 ,dined with ,whistler1 young ,mills and ,lang1 who writes4 ,he seemed shocked by much that was said by ,jimmy and ,eldon4 ,whistler delighted not only in ,mark ,twain's1 but in all jingles4 ,he had an endless stock and recited them in the most unexpected places and at the most inappropriate moments4 ,he went to the trouble to write down for us the lines of the ,woodchuck3 ,how much wood would the woodchuck chuck ,if the woodchuck could chuck wood8 ,why6 just as much as the woodchuck would ,if the woodchuck could chuck wood6 ,and as we read them in the familiar writing1 we wonder why they never seemed foolish1 but quite right1 as he chanted them4 ,in the ,haden correspondence1 published in ,the ,gentle ,art1 a new version of ,peter ,piper may be found4 ,he loved to quote the ,danbury ,news man and the ,detroit ,free ,press4 ,he never lost his joy in ,american humour1 and because there is something of the same spirit in ,rossetti's limericks he never tired of repeating them1 especially the two beginning3 ,there is an old person named ,scott ,who thinks he can paint and cannot1 and ,there is an old painter called ,sandys ,who suffers from one of his glands4 ,whistler invented ,sunday breakfasts4 ,the day was unusual in ,london and also the hour--twelve instead of nine4 ,nothing exactly like them has ever been in the world4 ,they were as much himself as his work1 ,george ,boughton wrote4 ,whistler arranged the table1 seeing that everything placed on it was beautiful3 the blue and white1 the silver1 the linen1 the ,japanese bowl of goldfish or the vase of flowers in the centre4 ,if his resources failed1 he borrowed from ,lord ,redesdale1 or1 after his brother was married1 from ,mrs4 ,william ,whistler1 whose ,japanese lacquer was his admiration4 ,he prepared the menu1 partly ,american1 partly ,french1 and wholly bewildering to joint-loving ,britons4 ,his description of the ,british breakfasts he was asked to were amazing3 ,beef1 the people or the rats had been gnawing1 beer1 and cheese rinds1 salad without dressing and tarts without taste4 ,quite ,british6 ,his buckwheat cakes are not forgotten4 ,he would make them himself1 if the party were informal1 and he never spoke again to one man who ventured to dislike them4 ,sometimes eighteen or twenty sat down to breakfast1 more often half that number4 ,all were people ,whistler wanted to meet1 people who talked1 people who painted1 people who wrote1 people who bought1 people who were distinguished1 people who were royal1 people who were friends4 ,from ,mr4 ,cole we have notes of the company and talk at some of the breakfasts3 ,june #ag 7#ahgg74 ,to breakfast at ,j4's4 ,f4 ,dicey1 young ,potter1 and ,huth there4 ,he showed some studies from figures--light and elegant--to be finished4 ,june #bi 7#ahgi74 ,to ,whistler's for breakfast4 ,much talk about ,comdie-,franaise and ,sarah ,bernhardt4 ,july #h 7#ahhc74 ,breakfast at ,w4's4 ,lord ,houghton1 ,oscar ,wilde1 ,mrs4 ,singleton1 ,mrs4 ,moncrieff1 ,mrs4 ,gerald ,potter1 ,lady ,archie ,campbell1 the ,storys1 ,theodore ,watts1 and some others4 ,mrs4 ,moncrieff sang well afterwards4 ,lord ,houghton asked me about my father's memoirs4 ,margie ,mrs4 ,cole sat by him4 ,the breakfasts remain charming in ,mrs4 ,moncrieff's memory4 ,and charming is ,lady ,colin ,campbell's word4 ,lady ,wolseley writes us that she remembers a flight of fans fastened up on the walls1 and also that the table had a large flat blue china bowl1 or dish1 with goldfish and nasturtiums in it4 ,mrs4 ,alan ,s4 ,cole recalls a single tall lily springing from the bowl2 though invited for twelve1 it was wiser1 she adds1 not to arrive much before two1 for to get there earlier was often to hear ,whistler splashing in his bath somewhere close to the drawing-room4 ,this was ,mr4 ,w4 ,j4 ,rawlinson's experience once4 ,he had been asked for twelve1 and got there a few minutes before as for breakfast in ,paris4 ,several guests had come1 others followed1 a dozen perhaps2 one was ,lord ,wolseley4 ,for ,whistler they waited--and they waited and they waited4 ,at about half-past one they heard a splashing behind the folding-doors4 ,there was a moment of indignation4 ,then ,howell hurried in1 beaming on them4 ,it's all right1 it's all right6 he said1 ,jimmie won't be long now2 he is just having his bath6 ,howell talked and they waited1 and two struck before ,whistler appeared1 smiling1 gracious1 all in white1 for it was hot1 and they went down to breakfast4 ,as soon as he came in he was so fascinating that the waiting was forgotten4 ,we have heard but of one person who did not like the breakfasts1 an artist who went one morning1 and his story was that he drove down to ,chelsea from ,st4 ,john's ,wood1 and found ,whistler alone1 and they went into the dining-room1 and there was an egg on toast for ,whistler and another egg on toast for himself1 and that was all4 ,then ,whistler wanted to show him pictures1 but he was furious1 and he said1 ,no1 ,whistler1 ,i have paid three shillings and sixpence for a cab to come here1 and ,i have eaten one egg1 and ,i will look at no pictures6 ,sir ,rennell ,rodd writes us of the breakfasts at #ac ,tite ,street1 with the inevitable buckwheat cakes1 and green corn1 and brilliant talk4 ,one ,i remember particularly1 for we happened to be thirteen4 ,there were two ,miss ,c4's1 the younger of whom died within a week of the breakfast2 and an elderly gentleman1 whose name ,i forget1 who was there1 when he heard of it at his club1 said1 ',god bless my soul6' had a stroke1 and died too4 ,j4 was once only at a ,chelsea breakfast1 in #ahhd1 at ,tite ,street1 when ,mr4 ,menpes was present4 ,but we often breakfasted in ,paris at the ,rue du ,bac1 and in ,london at the ,fitzroy ,street studio4 ,it made no difference who was there1 who sat beside you1 ,whistler dominated everybody and everything in his own as in every house he visited4 ,though short and small--a man of diminutive stature the usual description--his was the commanding presence4 ,when he talked everyone listened4 ,at his table he had a delightful way of waiting upon his guests4 ,he would go round with a bottle of ,burgundy in its cradle1 talking all the while1 emphasising every point with a dramatic pause just before or just after filling a glass4 ,we remember one ,sunday in ,paris in #ahic--,mr4 and ,mrs4 ,edwin ,a4 ,abbey and ,dr4 ,d4 ,s4 ,mac,coll the other guests--when he told how he hung the pictures at the annual ,liverpool exhibition in #ahia3 ,you know the ,academy baby by the dozen had been sent in1 and ,i got them all in my gallery2 and in the centre1 at one end1 ,i placed the birth of the baby--splendid2 and opposite1 the baby with the mustard-pot1 and opposite that the baby with the puppy2 and in the centre1 on one side1 the baby ill1 doctor holding its pulse1 mother weeping4 ,on the other by the door1 the baby dead1 the baby's funeral1 baby from the cradle to the grave1 baby in heaven1 babies of all kinds and shapes all along the line2 not crowded1 you know1 hung with proper respect for the baby4 ,and on varnishing day1 in came the artists1 each making for his own baby4 ,amazing6 ,his baby on the line4 ,nothing could be better6 ,and they all shook my hand1 and thanked me1 and went to look--at the other men's babies4 ,and then they saw babies in front of them1 babies behind them1 babies to right of them1 babies to left of them4 ,and then1 you know1 their faces fell2 they didn't seem to like it--and--well--ha6 ha6--they never asked me to hang the pictures again at ,liverpool6 ,what6 ,as he told it he was on his feet1 pouring out the ,burgundy1 minutes sometimes to fill a glass4 ,there were minutes between one guest and the next2 he seemed never to be in his chair2 it was fully two hours before the story and breakfast came to an end together4 ,but though no one else had a chance to talk1 no one was bored4 ,it was the same wherever he went if the people were sympathetic4 ,if they were not1 he could be as glum as anybody1 especially if he was expected to show off2 or1 he could go fast asleep4 ,in sympathetic houses he not only led the talk1 he controlled it4 ,there is a legend that he and ,mark ,twain met for the first time at a dinner1 when they simultaneously asked their hostess who that noisy fellow was8 ,for there was noise1 there was gaiety1 and everybody was carried away by it1 even the servants4 ,whistler was an artist in his use of words and phrases1 making them as much a part of his personality as the white lock and the eye-glass4 ,his sudden ,what1 his familiar ,well1 you know1 his eloquent ,h'm6 h'm6 were placed as carefully as the ,butterfly on his card of invitation1 the blue and white on his table4 ,no man was ever so eloquent with his hands1 he could tell a whole story with his fingers1 long1 thin1 sensitive--alive to the tips1 like the fingers of a mesmerist1 ,mr4 ,arthur ,symons writes of them4 ,no man ever put so much into words as he into the pause for the laugh1 into the laugh itself1 the loud1 sharp ,ha1 ha6 and into the deliberate adjusting of his eye-glass4 ,so much was in his manner that it is almost impossible to give an idea of his talk to those who never heard it4 ,we have listened to him with wonder and delight1 and afterwards tried to repeat what he said1 to find it fall flat and lifeless without the play of his expressive hands1 without the malice or the music of his laugh4 ,this is why the stories of him in print often make people marvel at the reputation they have brought him4 ,not that the talk was not good2 it was4 ,his wit was quick1 spontaneous4 ,providence is very good to me sometimes1 was his answer when we asked him how he found the telling word4 ,he has been compared to ,degas1 who1 it is said1 led up the talk to a witticism prepared beforehand2 ,whistler's wit met like a flash the challenge he could not have anticipated4 ,he loved a good story1 made the most of it1 treated it with a delicacy1 a humour that was irresistible4 ,he could be fantastic1 malicious1 audacious1 serious1 everything but dull or gross4 ,he shrank from grossness4 ,no one1 not his worst enemies1 can recall a story from him with a touch or taint of it4 ,the ugly1 the unclean revolted him4 ,we have heard of ,sundays when ,whistler sketched the people who were there1 hanging the sketches in his drawing-room4 ,one ,sunday he made the dry-point of ,lord 7then ,sir ,garnet7 ,wolseley4 ,lord ,wolseley himself has forgotten it3 ,i fear1 beyond the recollection of an agreeable luncheon at his house at ,chelsea1 ,i have no reminiscence1 he wrote to us4 ,and ,lady ,wolseley thinks ,lord ,wolseley may have gone to him for sittings early1 and have breakfasted with him4 ,i have a vague impression4 ,but ,howell was summoned that ,sunday from ,putney to amuse the sitter and prevent his hurrying off1 and he put the date in his diary3 ,november #bd 7#ahgg74 ,went to ,whistler's1 met ,sir ,garnet ,wolseley4 ,whistler etched him2 got two first proofs1 second one touched1 #dbs4 ,met ,pellegrini and ,godwin4 ,whistler went everywhere1 and knew everybody1 though he did not allow everybody to know him4 ,when somebody said to him1 ,the ,prince of ,wales says he knows you1 ,whistler's answer was1 ,that's only his side4 ,he lived at a rate that would have killed most men1 and at an expense in details that was fabulous4 ,i never dined alone for years1 he said4 ,if no one was coming to him1 if no one had invited him1 he dined at a club4 ,he was a familiar figure1 at different periods1 in the ,arts1 ,chelsea1 and ,hogarth ,clubs1 the ,arundel1 the ,beaufort ,grill ,club1 or1 for supper1 at the ,beefsteak ,club4 ,many of his letters1 for a period1 were dated from ,the ,fielding4 ,he was once put up at the ,savile1 he told us1 but heard no more about it2 and at the ,savage1 but that1 he said1 is a club to belong to1 never to go to4 ,at the ,reform1 had he thought of it1 he lost all chance of election one night when his laugh woke up the old gentleman whose snores were equally loud in the reading-room4 ,an amusing proof of the number of his clubs is ,mr4 ,alden ,weir's story of passing through ,london and being asked to dine by ,whistler1 who suggested first one club1 then another1 and drove him about to half a dozen or more1 at each getting out of the cab alone and coming back to say nobody of any account was there1 or the dinner was not good1 or some other excuse2 and1 at last1 with an apology1 driving him home to ,chelsea1 where a large party waited and an excellent dinner was served1 and ,mr4 ,weir was the one guest not in evening dress1 for ,whistler kept the party waiting still longer while he changed4 ,in the ,lindsey ,row days ,whistler sometimes dined in a cheap ,french restaurant1 good of its kind1 with ,albert ,moore and ,homer ,martin1 a man he delighted in4 ,many artists dined there1 he said1 and would sit and talk until late4 ,but then1 you know1 the sort of ,englishman who is entirely outside all these things1 and likes to think he is 'in it1' began to come too1 and that ruined it4 ,to ,pagani's1 in ,great ,portland ,street1 a tiny place then1 he went with ,pelligrini and others4 ,he was often at the ,caf ,royal in the eighties with ,oscar ,wilde2 towards the end1 ,mr4 ,heinemann1 ,mr4 ,e4 ,g4 ,kennedy1 and we were apt to be with him1 when1 if he ordered the dinner1 ,poulet en casserole was the principal dish1 and sweet champagne the wine4 ,never shall we forget a dinner there1 in #ahii1 to ,mr4 ,freer1 who had just bought a picture4 ,we and ,mr4 ,heinemann were the other guests4 ,much as ,whistler wished to be amiable to ,mr4 ,freer1 he was tired1 and1 somehow1 the dinner was not right1 and there were scenes in our corner behind the screen4 ,mr4 ,freer felt it necessary to entertain the party1 which he did by talking pictures like a new critic1 and ,japanese prints like a cultured school-ma'am4 ,whistler slept loudly and we tried to be attentive1 until at length1 at some psychological moment in ,hiroshige's life or in ,mr4 ,freer's collection1 ,whistler snored such a tremendous snore that he woke himself up1 crying3 ,good ,heavens6 ,who is snoring8 ,whistler had the faculty of being late when invited to dinner4 ,one official evening1 he arrived an hour after the time4 ,we are so hungry1 ,mr4 ,whistler6 said his host4 ,what a good sign6 was his answer4 ,at times he felt like a little devil1 and he told us of one of these occasions3 ,i arrived4 ,in the middle of the drawing-room table was the new ,fortnightly ,review1 wet from the press2 in it an article on ,mryon by ,wedmore1 and there was ,wedmore--the distinguished guest4 ,i felt the excitement over the great man1 and the great things he had been doing4 ,wedmore took the hostess in to dinner2 ,i was on her other side1 seeing things1 bent on making the most of them4 ,and ,i talked of critics1 of ,wedmore1 as though ,i did not know who sat opposite4 ,and ,i was nudged1 my foot kicked under the table4 ,but ,i talked4 ,and whenever the conversation turned on ,mryon1 or ,wedmore's article1 or other serious things1 ,i told another story1 and ,i laughed--ha ha6--and they couldn't help it1 they all laughed with me1 and ,wedmore was forgotten1 and ,i was the hero of the evening4 ,and ,wedmore has never forgiven me4 ,whistler went a great deal to the theatre in the seventies and eighties1 and was always at first nights4 ,occasionally he acted in amateur theatricals4 ,in #ahgf he played in ,under the ,umbrella1 at the ,albert ,hall1 and was elated by a paragraph on his performance in the ,daily ,news4 ,he showed himself at private views and at the ceremonies society approves4 ,to see and to be seen was part of the social game1 and the world1 meeting him everywhere1 mistook him for the ,butterfly for which he seemed to pose4 ,,chapter ,,xvi3 ,,the ,,peacock ,,room4 ,,the ,,years ,,eighteen ,,seventy-,,four ,,to ,,eighteen ,,seventy-,,seven4 ,for a year after the exhibition in ,pall ,mall1 ,whistler did not show any paintings4 ,artists said his pictures were not serious because not finished4 ,whistler retorted that theirs might be finished1 but--well--they never had been begun4 ,such remarks were not favoured by hanging committees4 ,probably ,royal ,academicians were honest1 though malicious4 ,lord ,redesdale remembered one whose work is forgotten1 who used to say that ,whistler was losing his eyesight1 that he could not see there was no paint on his canvas4 ,mr4 ,g4 ,a4 ,holmes told us that a few artists in ,chelsea1 though they disliked him personally1 thought him a man with new ideas who threw new light on art2 ,henry ,moore said to ,mr4 ,holmes that ,whistler put more atmosphere into his pictures than any man living4 ,but ,academicians1 as a rule1 were afraid of him and ,whistler would tell ,mr4 ,holmes3 ,well1 you know1 they want to treat me like a sheet of note-paper1 and crumple me up6 ,his prints were hung in exhibitions1 many lent by ,anderson ,rose to the ,liverpool ,art ,club in ,october #ahgd1 and a few months afterwards to the ,hartley ,institution at ,southampton4 ,shortly before the ,liverpool show opened1 ,mr4 ,ralph ,thomas issued the first catalogue of ,whistler's etchings3 ,a ,catalogue of the ,etchings and ,dry-points of ,james ,abbott ,mac,neil ,whistler1 ,london1 ,privately ,printed by ,john ,russell ,smith1 of #cf ,soho ,square4 ,of the fifty copies printed1 only twenty-five were for sale1 so that it became at once rare4 ,mr4 ,percy ,thomas etched ,whistler's portrait of himself with his brushes as frontispiece4 ,mr4 ,ralph ,thomas described the plates1 and as he had been with ,whistler when many were made and printed1 he was far better qualified than any of his successors4 ,it is much to be regretted that ,wedmore did not follow ,thomas's excellent beginning4 ,in #ahge1 ,whistler exhibited pictures in the few galleries that would hang him4 ,in ,october he sent to the ,winter ,exhibition at the ,dudley ,gallery a ,nocturne in ,blue and ,gold1 ,no4 ,,iii41 which is impossible to identify1 and ,nocturne in ,black and ,gold--,the ,falling ,rocket1 which ,ruskin presently identified beyond possibility of doubt3 the impression of fireworks in the gardens of ,cremorne4 ,but at the ,dudley it created no sensation4 ,f4 ,g4 ,stephens1 in the ,athenum1 was almost alone in its praise4 ,a month later1 ,november #ahge1 ,chelsea ,reach--,harmony in ,grey1 and many studies of figures on brown paper were at the ,winter ,exhibition of the ,society of ,french ,artists1 and three ,nocturnes in the ,spring ,exhibition 7#ahgf7 of the same ,society4 ,thus ,whistler managed without the ,royal ,academy4 ,illustration3 ,,sea ,,beach ,,with ,,figures ,,study ,,for ,,the ,,six ,,projects ,,pastel 7,see page #aje7 ,illustration3 ,,whistler',s ,,table ,,palette 7,see page #aae7 ,illustration3 ,,the ,,three ,,figures ,,pink ,,and ,,grey ,,oil ,in the possession of ,alfred ,chapman1 ,esq4 7,see page #aje7 ,when ,irving appeared as ,philip ,,ii4 in #ahgd1 ,whistler was struck with the tall1 slim1 romantic figure in silvery greys and blacks1 and got him to pose4 ,mr4 ,bernhard ,sickert thinks it extraordinary that ,whistler failed to suggest ,irving's character4 ,we think it more extraordinary for ,mr4 ,sickert to forget that ,whistler was painting ,irving made up as ,philip ,,ii4 and not as ,henry ,irving4 ,mr4 ,cole saw the picture on ,may #e1 #ahgf1 and found ,whistler quite madly enthusiastic about his power of painting such full-lengths in two sittings or so4 ,the reproduction in ,m4 ,duret's ,whistler differs in so many details from the picture to-day1 that at first we wondered if two portraits were painted4 ,m4 ,duret tells us that his reproduction is from a photograph lent him by ,george ,lucas4 ,probably1 ,m4 ,duret writes1 the photograph was taken while ,whistler was painting the picture1 which afterwards he must have altered4 ,on comparing the photograph carefully with the picture1 we do not believe there were two portraits1 but there were many changes4 ,in the photograph the cloak is thrown back over the actor's right shoulder1 showing his arm4 ,in the exhibited picture his arm is hidden by the cloak1 and his hand1 which before seems to have been thrust into his doublet1 rests upon the collar of an order4 ,the trunks1 apparently1 were much altered1 especially the right1 and the legs are far better drawn1 the left foot entirely repainted4 ,though ,whistler was acquiring more certainty in putting in these big portraits at once1 he was becoming more exacting1 and he made repeated changes4 ,when the ,irving was hung at the ,grosvenor ,gallery1 ,mrs4 ,stillman remembers that three different outlines of the figure were visible4 ,the portrait was not a commission4 ,it is said that ,irving refused the small price ,whistler asked for it1 but later1 seeing his legs sticking out from under a pile of canvases in a ,wardour ,street shop1 recognised them and bought the picture for ten guineas4 ,mr4 ,bram ,stoker writes that1 at the time of the bankruptcy1 ,whistler sold it to ,irving for either twenty or forty pounds--,i forget which4 ,the facts are that ,whistler sold the ,irving to ,howell1 for ten pounds and a sealskin coat1 ,howell recorded in his diary1 and that from him it passed into the hands of ,mr4 ,graves1 the printseller in ,pall ,mall1 who sold it to ,irving for one hundred pounds4 ,after ,irving's death1 it came up for sale at ,christie's1 and fetched five thousand pounds1 becoming the property of ,mr4 ,thomas1 of ,philadelphia4 ,on the death of ,mr4 ,thomas it was purchased for the ,metropolitan ,museum in ,new ,york4 ,a portrait of ,sir ,henry ,cole was begun this spring4 ,mr4 ,alan ,s4 ,cole1 in his diary 7,may #ai1 #ahgf71 speaks of a strong commencement upon a nearly life-size portrait of my father4 ,looking at it reflected in a glass1 and how the figure stood within the frame4 ,this was never finished4 ,whistler's executrix says it was burned4 ,lord ,redesdale told us of a beautiful full-length of his wife in ,chinese blue silk ,whistler called fair1 his word then for everything he liked4 ,with two or three more sittings and a little work1 it would have been finished4 ,but it was a difficult moment1 men were in possession at ,no4 #b ,lindsey ,row1 and he slashed the canvas4 ,the debt was small1 thirty pounds or so1 and the price agreed upon for the portrait was two hundred guineas4 ,lord ,redesdale would gladly have settled the matter1 but ,whistler said nothing4 ,a portrait started of ,lord ,redesdale1 in ,van ,dyck costume1 and several ,nocturnes were torn off stretchers and slashed4 ,the ,fur ,jacket1 ,rosa ,corder1 ,connie ,gilchrist with the ,skipping ,rope--,the ,gold ,girl1 ,effie ,deans1 were being painted4 ,the ,fur ,jacket1 ,arrangement in ,black and ,brown his final name for it1 is the portrait of ,maud1 ,miss ,franklin1 who now becomes more important in his life and in his art4 ,it is of great dignity4 ,the dress is put in with a full1 sweeping brush in long flowing lines1 classic in the fall of the folds2 the pale1 beautiful face looks out like a flower from the depth of the background4 ,in many portraits ,whistler was rebuked for sacrificing the face to the design2 here the interest is concentrated on the face1 and that is why the shadowy figure has been criticised as a mere ghost1 a mere rub-in of colour1 on the canvas4 ,that he carried the work as far as he thought it should be carried is certain when it is contrasted with ,rosa ,corder1 also an ,arrangement in ,black and ,brown1 in which the jacket1 the feathered hat in her hand1 the trailing skirt1 the face in severe profile1 are more solidly modelled4 ,m4 ,blanche has stated that ,whistler1 in ,cheyne ,walk1 saw ,miss ,rosa ,corder in her brown dress pass a door painted black1 and was struck with the scheme of colour4 ,this may be true1 for1 as we have shown1 chance often suggested the effect or arrangement4 ,connie ,gilchrist--,the ,gold ,girl1 a popular dancer at the ,gaiety1 attracted ,whistler by her stage dress1 which revealed her slight girlish form in its delicate youthful beauty4 ,he posed her in the studio as he had seen her on the stage1 skipping4 ,but the movement which told on the stage by its simplicity its spontaneity1 became in the picture artificial4 ,the figure has the elegance of the little pastels1 it is placed with the distinction of the ,miss ,alexander1 but the suspended action gives the sense of incompleteness4 ,a long line swept down the back of the figure proves he meant to change it4 ,the above was written before the painting was bought by ,george ,a4 ,hearn and presented to the ,metropolitan ,museum of ,new ,york4 ,whistler for years had been endeavouring to get possession of it in order to destroy it4 ,it had been seized at his bankruptcy1 and for long was the property of ,henry ,labouchere4 ,that ,whistler was dissatisfied is shown by that long black line from the girl's head to her heels4 ,after it had hung for some time in the ,metropolitan ,museum the line was removed1 and what is left of the picture ,whistler wanted to destroy can now be seen on the walls4 ,always the pictures he was painting were in his mind4 ,he memorised them as he did the ,nocturnes1 and over and over1 instead of telling what he was painting1 he would make1 to show those he knew would understand1 pen or wash sketches of the work he was engaged on1 leaving the sketches1 many of which exist1 with his friends4 ,there are records of the kind of most of these portraits4 ,no portraits were shown in #ahgf1 for other work engrossed him4 ,it was the year of ,the ,peacock ,room4 ,we do not know how he got the idea of the peacock as a motive for decoration1 or where he obtained his knowledge of it4 ,but the scheme was first proposed to ,mr4 ,w4 ,c4 ,alexander for his house on ,campden ,hill1 and ,whistler put down a few notes in pen and ink4 ,the work went no further1 and he arranged1 instead1 a harmony in white for the drawing-room1 replaced afterwards by ,eastern tapestries4 ,then ,leyland bought his house in ,prince's ,gate4 ,leyland's ambition was to live the life of an ancient ,venetian merchant in modern ,london1 and he began to remodel the interior and fill it with beautiful things4 ,he bought the gilded staircase from ,northumberland ,house1 which was being pulled down4 ,he commissioned ,whistler to suggest the colour in the hall1 and paint the detail of blossom and leaf on the panels of the dado4 ,to ,leyland's house to see ,whistler's colouring of ,hall--very delicate cocoa colour and gold--successful1 ,mr4 ,cole wrote1 ,march #bd4 ,leyland covered the walls of drawing- and reception-rooms with pictures4 ,he had work by ,filippo ,lippi1 ,botticelli1 ,crivelli4 ,he owned ,rossetti's ,blessed ,damosel and ,lady ,lilith1 ,millais' ,eve of ,st4 ,agnes1 ,ford ,madox ,brown's ,chaucer at ,king ,edward's ,court1 ,windus' ,burd ,helen1 ,burne-,jones' ,mirror of ,venus and ,wine of ,circe4 ,he bought ,legros1 ,watts1 and ,albert ,moore4 ,whistler's ,princesse du ,pays de la ,porcelaine was his1 and he hung it in the dining-room amidst his splendid collection of blue and white china4 ,norman ,shaw was making the alterations to the house1 and another architect1 ,jeckyll1 was suggested by ,mr4 ,murray ,marks to decorate the dining-room and arrange the blue and white4 ,some say that originally ,morris and ,burne-,jones were to do the dining-room1 but that when ,whistler stepped in they vanished4 ,jeckyll put up shelves to hold the china1 and ,whistler designed the sideboard4 ,the ,princesse was placed over the mantel1 and space left at the opposite end of the room for another painting by ,whistler1 who wished the ,three ,figures1 ,pink and ,grey to face the ,princesse4 ,the walls were hung with ,norwich leather4 ,the shelves were divided by perpendicular lines endlessly repeated1 and the panelled ceiling1 with its pendant lamps1 was heavy4 ,whistler maintained that the red border of the rug and the red flowers in the centre of each panel of the leather killed the delicate tones of his picture4 ,leyland agreed4 ,the red border was cut off the rug1 and ,whistler gilded1 or painted1 the flowers on the leather with yellow and gold4 ,the result was horrible2 the yellow paint and gilding swore at the yellow tone of the leather4 ,something else must be done1 and again ,leyland agreed4 ,the something else developed into the scheme of decoration first submitted to ,mr4 ,alexander3 ,the ,peacock ,room4 ,he told us one evening1 when talking of it3 ,well1 you know1 ,i just painted as ,i went on1 without design or sketch--it grew as ,i painted4 ,and towards the end ,i reached such a point of perfection--putting in every touch with such freedom--that when ,i came round to the corner where ,i had started1 why1 ,i had to paint part of it over again1 or the difference would have been too marked4 ,and the harmony in blue and gold developing1 you know1 ,i forgot everything in my joy in it6 ,he had planned a journey to ,venice1 and new series of etchings there and in ,france and ,holland4 ,the journey was postponed4 ,at the end of the season1 the ,leylands went to ,speke ,hall4 ,whistler remained at ,prince's ,gate4 ,town emptied1 he was still there1 spending his days on ladders and scaffolding1 or lying in a hammock painting4 ,his two pupils helped him3 ,we laid on the gold1 ,mr4 ,walter ,greaves says1 and there were times when the three were found with their hair and faces covered with it4 ,whistler's description of this whirlwind of work was the show's afire1 an expression he used for years when things were going4 ,he was up before six1 at ,prince's ,gate an hour or so after1 at noon jumping into a hansom and driving home to lunch1 then hurrying back to his work4 ,at night he was fit for nothing but bed1 so full were my eyes of sleep and peacock feathers1 he told us4 ,he thought only of the beauty growing in his hands4 ,autumn came4 ,lionel ,robinson and ,sir ,thomas ,sutherland1 with whom he was to have gone to ,venice1 started without him4 ,he could not drop the work at ,prince's ,gate4 ,illustration3 ,,nocturne ,,blue ,,and ,,green ,,oil ,in the ,national ,gallery1 ,london 7,see page #aab7 ,illustration3 ,,nocturne ,,blue ,,and ,,silver ,,oil ,in the possession of the ,executors of ,mrs4 ,f4 ,r4 ,leyland 7,see page #aab7 ,a record of his progress is in the short notes of ,mr4 ,cole's diary3 ,september #aa 7#ahgf74 ,whistler dined4 ,most entertaining with his brilliant description of his successful decorations at ,leyland's4 ,september #bj4 ,to see ,peacock ,room4 ,peacock feather devices--blues and golds--extremely new and original4 ,october #bf4 ,to see room which is developing4 ,the dado and panels greatly help it4 ,met ,poynter1 who spoke highly of ,whistler's decoration4 ,october #bg4 ,again to see room with ,moody4 ,he did not like the varnished surface and blocky manner of laying on the gold4 ,october #bi4 ,to ,peacock ,room4 ,mitford 7,lord ,redesdale7 came4 ,november #aj4 ,the blue over the brown 7leather7 background is most admirable in effect1 and the ornament in gold on blue fine4 ,w4 quite mad with excitement4 ,november #bj4 ,with ,prince ,teck to see ,whistler and the room4 ,left ,p4 ,t4 with ,jimmy4 ,november #bi4 ,golden ,peacocks promise to be superb4 ,december #d4 ,peacocks superb4 ,december #h4 ,article in ,morning ,post on ,peacock ,room4 ,december #i4 ,whistler in a state over article in ,morning ,post4 ,leyland much perturbed as ,i heard4 ,december #ae4 ,whistler now thinking of cutting off the pendant ceiling lamps in ,peacock ,room4 ,december #ag4 ,my father and ,probyn to see room4 ,jimmy much disgusted at my father's telling him that1 in taking so much pains over his work1 and in the minuteness of his etched work1 he really was like ,mulready1 who was equally scrupulous4 ,lord ,redesdale told us that1 returning from ,scotland1 he went to ,prince's ,gate4 ,whistler was on top of a ladder1 looking like a little imp--a gnome4 ,but what are you doing8 ,i am doing the loveliest thing you ever saw6 ,but what of the beautiful old ,spanish leather8 ,and ,leyland8 ,have you consulted him8 ,why should ,i8 ,i am doing the most beautiful thing that ever has been done1 you know1 the most beautiful room6 ,everybody wanted to see it4 ,whistler held a succession of receptions at ,prince's ,gate4 ,he was flattered when the ,princess ,louise and the ,marquis of ,westminster came1 he wrote to his mother at ,hastings1 for they set the fashion1 kept up the talk in ,london4 ,boughton said in his ,reminiscences3 ,he often asked me round to ,the ,peacock ,room1 and ,i see him still up on high1 lying on his back often1 working in 'gold on blue' and 'blue on gold' over the whole expanse of the ceiling1 and1 as far as ,i could see1 he let no hand touch it but his own4 ,mrs4 ,stillman1 however1 remembers the two pupils working while she drank tea with ,whistler4 ,lady ,ritchie let us have her impressions of a visit3 ,long1 long after the ,paris days1 ,mr4 ,whistler danced when ,i would rather have talked4 ,some one1 ,i cannot remember who1 it was probably one of ,mr4 ,cole's family1 told me one day when ,i was walking up ,prince's ,gate that he was decorating a house by which we were passing1 and asked me if ,i should like to go in4 ,we found ourselves--it was like a dream--in a beautiful ,peacock ,room1 full of lovely lights and tints1 and romantic1 dazzling effects4 ,james ,whistler1 in a painter's smock1 stood at one end of the room at work4 ,seeing us1 he laid down his brushes1 and greeted us warmly1 and ,i talked of old ,paris days to him4 ',i used to ask you to dance1' he said1 'but you liked talking best4' ,to which ,i answered1 ',no1 indeed1 ,i liked dancing best1' and suddenly ,i found myself whirling half-way down the room4 ,jeckyll came1 and his visit was tragic4 ,when he saw what had been done to his work1 he hurried home1 gilded his floor1 and forgot his grief in a mad-house4 ,whistler received the critics on ,february #i1 #ahgg4 ,a leaflet1 for distribution1 was written1 it is said1 by ,whistler1 though the wording does not suggest it1 and printed by ,thomas ,way4 ,it explains that1 with the ,peacocks as motive1 two patterns1 derived from the eyes and the breast feathers1 were invented and repeated throughout1 sometimes one alone1 sometimes both in combination2 along the dado1 blue on gold1 over the walls1 gold on blue1 while the arrangement was completed by the birds1 painted in their splendour1 in blue on the gold shutters1 in gold on the blue space opposite the chimney-place4 ,called and found ,whistler elated with the praises of the ,press of ,the ,peacock ,room1 is ,mr4 ,cole's note on the #ahth of the month4 ,even then it was not finished4 ,on ,march #e1 ,mr4 ,cole was late at ,prince's ,gate with ,whistler1 consoling him4 ,he trying to finish the peacocks on shutters4 ,with him till #b ,a4,m41 and walked home4 ,whistler made no change in the architectural construction of the room4 ,it was far from beautiful1 with its perpendicular lines1 its heavy ceiling1 its hanging lamps1 and its spaces so broken up that only on the wall opposite the ,princesse and on the shutters could he carry out his design in its full splendour and stateliness1 and give gorgeousness of form as well as colour2 only there could he paint the peacocks that were his motive1 so that it is by artificial light1 with the shutters closed1 that the room is seen in completeness4 ,he could do no more than adapt in marvellous fashion the eye of the peacock1 the throat and breast feathers to the broken surfaces4 ,but in spite of drawbacks1 ,the ,peacock ,room is the noble work he called it to his mother1 the one perfect mural decoration of modern times4 ,it was his first chance1 and it is a lasting reproach to his contemporaries that there was no one to offer him another until too late4 ,whistler1 who in his pictures avoided literary themes1 resorted to symbolism in his gold peacocks on the wall facing the ,princesse4 ,one1 standing amid flying feathers and gold1 clutches in his claws a pile of coins2 the other spreads his wings in angry but triumphant defiance3 the ,rich ,peacock and the ,poor ,peacock1 ,whistler said1 symbolising the relations between patron and artist4 ,leyland had been away from ,prince's ,gate for months4 ,he had seen his beautiful leather disappear beneath ,whistler's blue and gold4 ,he had heard of receptions and press views to which no invitations had been issued by him or to him1 and he was annoyed at having his private house turned into a public gallery4 ,the crisis came when ,whistler1 thinking himself justified by months of work1 asked two thousand guineas for the decoration of the room4 ,leyland1 who had sanctioned only the retouching of the leather1 could restrain himself no longer4 ,like many generous men1 he had a strict1 if narrow1 sense of justice4 ,the original understanding was that ,whistler should receive five hundred guineas4 ,this grew to a thousand as the scheme developed4 ,but when1 at the end1 ,whistler demanded two thousand1 and there was no contract1 ,leyland sent ,whistler one thousand pounds1 not even guineas4 ,to ,whistler this was an insult4 ,he felt he had been treated not as an artist1 but as a tradesman4 ,he never forgave ,leyland1 though1 at one moment1 ,leyland was prepared to pay the whole sum if ,whistler would leave the house4 ,whistler refused1 preferring to make ,leyland a gift of the decoration than not finish the panel of the ,peacocks1 and he told ,mr4 ,cole3 ,you know1 there ,leyland will sit at dinner1 his back to the ,princesse1 and always before him the apotheosis of l'art et l'argent6 ,and this was what happened4 ,leyland knew that1 in return for the loss of his leather and his irritation with ,whistler1 he had been given something beautiful1 and he kept the dining-room as ,whistler left it1 toning down not a flying feather1 not a piece of gold in that triumphant caricature4 ,until the colour fades from the panel1 the world cannot forget the quarrel4 ,whistler never forgot it1 and his resentment against ,leyland never lessened4 ,it may be that he was over-sensitive1 certainly he put himself in the wrong by his conduct to ,leyland4 ,but he could no more help his manner of avenging what he thought an insult1 than the meek man can refrain from turning the other cheek to the chastiser4 ,it will ever be to ,leyland's credit that he left the work alone4 ,a few years ago the room was removed from the house in ,prince's ,gate1 bought by ,messrs4 ,brown and ,phillips1 sold by them to ,messrs4 ,obach1 who exhibited it in their ,bond ,street gallery1 and it was then purchased by ,mr4 ,charles ,l4 ,freer and taken to ,detroit4 ,as he owns the ,princesse1 ,the ,peacock ,room is probably once again just as it was when ,whistler finished it4 ,,chapter ,,xvii3 ,,the ,,grosvenor ,,gallery4 ,,the ,,years ,,eighteen ,,seventy-,,seven ,,and ,,eighteen ,,seventy-,,eight4 ,many exhibitions had been organised in opposition to the ,royal ,academy1 but on too small a scale to contend against that rich and powerful institution4 ,sir ,coutts ,lindsay1 the founder of the ,grosvenor ,gallery1 brought to it money1 a talent for organisation1 and a determination to show the best work in the right way4 ,nothing could have been more in accord with ,whistler's ideas4 ,he dropped in to smoke with ,mr4 ,cole on the evening of ,march #ai1 #ahgf1 in great excitement over ,sir ,coutts ,lindsay's gallery for pictures--very select exhibition1 which he carried to an extreme by saying that it might be opened with only one picture worthy of being shown that season4 ,sir ,coutts ,lindsay proposed to exhibit no pictures save those he invited1 and he might have succeeded had he ignored the ,academy1 and made the ,grosvenor as distinct from it as the ,international ,society of ,sculptors1 ,painters and ,gravers was under ,whistler's presidency4 ,he had the daring to invite ,whistler1 ,rossetti1 ,burne-,jones1 ,holman ,hunt1 ,walter ,crane1 ,watts2 but the weakness to include ,millais1 ,alma-,tadema1 ,poynter1 ,richmond1 ,leighton4 ,to those whose work he wanted1 he gave little dinners1 ,mr4 ,hall has told us1 and a very strange lot some of them seemed to ,sir ,coutts probably1 to his butler certainly4 ,one evening the butler could endure it no longer1 and he came into the drawing-room and whispered3 ,there's a gent downstairs says 'e 'as come to dinner1 wot's forgot 'is necktie and stuck a fevver in his 'air1 for at this period ,whistler1 ,mr4 ,hall says1 never wore a necktie when in evening dress4 ,the white lock bewildered others4 ,mrs4 ,leyland remembered his going to her box at the opera once1 where the attendant leaned over and said3 ,beg your pardon1 sir1 but there's a white feather in your hair1 just on top6 ,at first1 ,burne-,jones and the followers of the ,pre-,raphaelites were most in evidence at ,sir ,coutts ,lindsay's exhibitions1 and the greenery-yallery1 ,grosvenor ,gallery element prevailed4 ,but the ,grosvenor1 by the time its traditions were taken over by the ,new ,gallery1 was little more than an overflow from the ,academy4 ,shortly before the first exhibition in #ahgg1 ,whistler's brother1 the doctor1 was married to ,miss ,helen ,ionides1 a cousin of ,aleco and ,luke ,ionides4 ,the wedding 7,april #ag1 #ahgg7 was at ,st4 ,george's1 ,hanover ,square1 and the ,greek ,church1 ,london ,wall4 ,it brought to ,whistler a good friend for the troubled years that were to come1 and ,mrs4 ,whistler's house in ,wimpole ,street was for long a home to him4 ,the first ,grosvenor was a loan exhibition1 and opened in ,may #ahgg4 ,whistler sent ,nocturne in ,black and ,gold--,the ,falling ,rocket shown at the ,dudley2 ,harmony in ,amber and ,black1 the first title of ,the ,fur ,jacket2 ,arrangement in ,brown2 ,irving as ,philip ,,ii4 of ,spain1 with the title ,arrangement in ,black1 ,no4 ,,iii4 ,from ,mrs4 ,leyland came ,nocturne in ,blue and ,silver2 from ,mr4 ,w4 ,graham another ,nocturne in ,blue and ,silver--changed later by ,whistler to ,blue and ,gold1 ,old ,battersea ,bridge1 now at the ,tate ,gallery2 from the ,hon4 ,mrs4 ,percy ,wyndham1 ,nocturne in ,blue and ,gold1 at ,westminster4 ,the ,carlyle was included1 but it arrived too late to be catalogued4 ,boehm lent his bust of ,whistler in terra-cotta1 done in #ahgb1 considered at the time a good portrait4 ,whistler's work was also seen in a frieze1 described by ,mr4 ,walter ,crane3 ,whistler designed the frieze--the phases of the moon on the coved ceiling of the ,west ,gallery which has disappeared since its conversion into the olian ,hall1 with stars on a subdued blue ground1 the moon and stars being brought out in silver1 the frieze being divided into panels by the supports of the glass roof4 ,the 'phases' were sufficiently separated from each other4 ,we have heard of this decoration from no one else4 ,probably it was overshadowed by the crimson silk damask and green velvet hangings1 the gilded pilasters and furniture1 the monumental chimneypiece1 of which complaints were heard from every side4 ,the sumptuousness of the background was disastrous to the pictures4 ,whistler's suffered less than others1 but were not liked the more on that account4 ,before the private view 7,april #cj1 #ahgg71 ,sir ,coutts ,lindsay had expressed his disappointment in the ,irving and the ,nocturnes4 ,at the private view the crowd gathered in front of ,alma-,tadema1 ,burne-,jones1 ,millais1 ,leighton1 ,poynter1 ,richmond4 ,the critics sneered at ,whistler1 or patronised him4 ,the ,athenum grudged meagre lines to this whimsical1 if capable1 artist and his vagaries4 ,the ,times smiled with condescension at ,mr4 ,whistler's compartment1 musical with strange ,nocturnes1 wondered how ,irving enjoyed being reduced to a mere arrangement1 and deplored the theory that1 in practice1 covered an entire absence of details1 even details generally considered so important to a full-length portrait as arms and legs4 ,in fact1 ,mr4 ,whistler's full-length arrangements suggest to us a choice between materialised spirits and figures in a ,london fog4 ,but no criticism was so insolent as the notice of the ,grosvenor which ,ruskin delivered from his circulating pulpit1 ,fors ,clavigera 7,july #b1 #ahgg74 ,ruskin1 though social subjects engrossed him1 was still the art critic powerful to the public1 to himself infallible4 ,he had made the ,pre-,raphaelites1 he set to work to unmake ,whistler4 ,already he was attacked by the mental malady1 the morbid excitement in ,mr4 ,collingwood's words1 that obscured the last years of his life2 he had been very ill in the winter of #ahgg4 ,nothing else could pardon his malice and insolence4 ,he reserved his chief abuse for ,whistler's ,falling ,rocket at ,cremorne1 with the sudden burst of fire and shower of gold and detail disappearing in the illimitable darkness of night4 ,that fireworks in a place of entertainment could have in them the elements of beauty was a truth ,ruskin could not grasp1 and with this wonderful canvas before him1 he remained blind to the splendour of the subject and the mastery of the painter3 ,i have seen and heard much of cockney impudence before now1 but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face4 ,boughton1 in his ,reminiscences1 tells that ,whistler first chanced upon this criticism when they were alone together in the smoking-room of the ,arts ,club4 ,it is the most debased style of criticism ,i have had thrown at me yet1 ,whistler said4 ,sounds rather like libel1 ,boughton suggested4 ,well--that ,i shall try to find out6 ,whistler replied4 ,till now1 his answer to abuse of his work had been the lash of his wit4 ,but if critics had tried him by their stupidity1 never1 before ,ruskin1 had they outraged him by their venom4 ,the insult appeared in a widely read print2 he sought redress in the most public fashion possible in ,england1 and sued ,ruskin for libel4 ,the immediate result was that he found it harder to sell his pictures4 ,to buy his ,nocturnes was to be ridiculed1 ,mr4 ,rawlinson1 one of the few who risked it1 assures us4 ,whistler laughed away the new anxiety1 and devoted more time to black-and-white4 ,he had hoped to go to ,venice1 but the preparations for the trial kept him in ,london4 ,and now ,howell made himself as useful to ,whistler as he had been to ,rossetti3 ,well1 you1 know1 it happened one summer evening1 in those old days when there was real summer1 ,i was sitting looking out of the window in ,lindsey ,row1 and there was ,howell passing1 and ,rosa ,corder was with him4 ,and ,i called to them and they came in1 and ,howell said3 ',why1 you have etched many plates1 haven't you8 ,you must get them out1 you must print them1 you must let me see to them--there's gold waiting4 ,and you have a press6' ,and so ,i had1 in a room upstairs1 only it was rusty1 it hadn't been used for so long4 ,but ,howell wouldn't listen to an objection4 ,he said he would fix up the press1 he would pull it4 ,and there was no escape4 ,and the next morning1 there we all were1 ,rosa ,corder1 too1 and ,howell was pulling at the wheel1 and there were basins of water1 and paper being damped1 and prints being dried1 and then ,howell was grinding more ink1 and1 with the plates under my fingers1 ,i felt all the old love of it come back4 ,in the afternoon ,howell would go and see ,graves1 the printseller1 and there were orders flying about1 and cheques--it was all amazing1 you know6 ,howell profited1 of course4 ,but he was so superb4 ,one evening we had left a pile of eleven prints just pulled1 and the next morning only five were there4 ',it's very strange1' ,howell said1 'we must have a search4 ,no one could have taken them but me1 and that1 you know1 is impossible6' ,there is a record of this period in the etching1 ,lady at a ,window1 with ,rosa ,corder1 or ,maud1 by the garret window1 looking at a print1 the press behind her4 ,it was a period of what he called his fiendish slavery to the press4 ,there were new plates4 ,in #ahgh ,st4 ,james's ,street was reproduced by lithography in the ,season ,number of ,vanity ,fair4 ,the ,athenum objected to it because it was not done as ,leech or ,hogarth would have done it4 ,the ,world mistook the reproduction for the original1 and so invited from ,whistler one of the letters following each other fast3 ,atlas has the wisdom of ages1 and need not grieve himself with mere matters of art4 ,adam and ,eve--,old ,chelsea has a special interest1 for it marks the transition from his early manner in the ,thames ,set to the later handling in the ,venetian4 ,a plate was made from the ,irving as ,philip of ,spain1 the only portrait ,whistler reproduced on copper1 and it was not a success4 ,his plates of ,jo and ,maud were never from pictures1 though often studies for pictures he proposed to paint4 ,the dry-point of his ,mother has no relation to the portrait4 ,he was bored to death with copying himself1 he would say1 and1 twenty years afterwards1 when he undertook a lithograph of his ,montesquiou and failed1 he said that it was impossible to produce the same masterpiece twice over1 that the inspiration would not come1 that when he was not working at a new thing from ,nature he was not applying himself1 it was as difficult as for a hen to lay the same egg twice4 ,in #ahgh he made his first experiments in lithography4 ,his attention had been called to it by ,mr4 ,thomas ,way1 who did more than any other man to revive the art in ,england4 ,lithography1 appropriated by commerce1 was almost forgotten as a means of artistic expression4 ,in ,france1 it was given over for cheaper and quicker methods of illustration2 in ,england it was overweighted by the ponderous performances of ,haghe and ,nash1 hedged about by trade unions1 and reduced to the perfection of commonplace4 ,lithographers here and there preserved its best traditions and regretted the degradation4 ,mr4 ,thomas ,way determined to interest artists again in a medium that had yielded such splendid results4 ,he prepared stones for them1 explained processes1 and would not hear of difficulties4 ,some artists experimented1 but lithography did not pay while the anecdote in paint fetched a fortune4 ,mr4 ,way appealed to ,whistler1 who tried the stone1 grasped its possibilities1 and was delighted4 ,in his first five lithographs he did things never attempted before and found the medium adapted to him4 ,he made nine this year on the stone1 though his later work was mostly done on lithographic paper4 ,he proposed to publish this first series as ,art ,notes1 but there was no demand1 and the plan fell through4 ,the ,toilet and the ,broad ,bridge were printed in ,piccadilly 7#ahgh71 edited by ,mr4 ,watts-,dunton1 and they had hardly appeared when the magazine came to an end4 ,neither ,whistler nor lithography then meant success for any enterprise4 ,in #ahgh1 the ,catalogue of ,blue and ,white ,nankin ,porcelain ,forming the ,collection of ,sir ,henry ,thompson was published4 ,mr4 ,murray ,marks and ,mr4 ,w4 ,c4 ,alexander own delicate little designs of blue and white by ,whistler for ,mr4 ,marks1 but never used4 ,they were a good preparation for the drawings which1 in collaboration with ,sir ,henry ,thompson1 he made to illustrate the ,catalogue4 ,some are in brown1 some in blue1 reproduced by the ,autotype ,company4 ,nineteen of the twenty-six are by ,whistler1 simple and direct1 the modelling in the drawing by the brush as the ,japanese would have given it4 ,as a rule there are neither shadows nor attempts at relief4 ,the series is a refutation of the assertion that he could not draw4 ,whenever he attempted drawing of this sort1 or etchings like ,the ,wine ,glass1 he eclipsed ,jacquemart and all his contemporaries4 ,worried1 anxious1 the libel case hanging over him1 his debts increasing1 the general distrust in his work growing1 ,whistler1 nevertheless1 gave to the catalogue his usual care4 ,we have seen another set of the drawings1 which differ slightly from those reproduced1 and with which1 evidently1 he was not satisfied4 ,the book was edited by ,mr4 ,murray ,marks1 and issued by ,messrs4 ,ellis and ,white1 of #bi ,new ,bond ,street1 in ,may1 and ,mr4 ,marks exhibited the drawings and the porcelain1 with the book1 in his shop1 #cie ,oxford ,street4 ,the show was not a success1 the book was a loss1 though only two hundred and twenty copies were printed4 ,now it is almost impossible to get4 ,of personal notice1 ,whistler had more than enough4 ,he was caricatured this year in ,the ,grasshopper at the ,gaiety--it was in the days of ,edward ,terry and ,nellie ,farren4 ,a large full-length1 thought by many more a portrait than a caricature1 was painted by ,carlo ,pellegrini1 an ,italian artist who lived in ,england and1 under the names of ,singe and ,ape1 contributed to ,vanity ,fair caricatures which1 unlike the characterless1 artless scrawls of his more popular amateur successors1 were works of art and1 therefore1 appreciated by ,whistler4 ,the painting shows ,whistler in evening dress1 no necktie1 and a gold chain to his monocle2 and in a scene parodying the studios and artists of the day1 it was pushed in on an easel1 some say by ,pellegrini1 with the announcement1 ,here is the inventor of black-and-white6 ,it was a failure1 and no wonder4 ,it was impossible to see the point4 ,the painting now belongs to ,mr4 ,john ,w4 ,simpson of ,new ,york4 ,whistler was also caricatured in ,vanity ,fair by ,spy1 ,leslie ,ward1 then rapidly rivalling ,ape in popularity1 and to be so caricatured was1 in ,london1 to achieve notoriety4 ,to the second ,grosvenor in #ahgh he sent1 in defiance to ,ruskin1 another series of ,nocturnes1 ,harmonies1 and ,arrangements4 ,among them was the ,arrangement in ,white and ,black1 ,no4 ,i41 the large1 full-length portrait of ,miss ,maud ,franklin1 that sometimes figures in catalogues and articles as ,l',amricaine4 ,we believe it was never shown in ,england again4 ,it passed in the early eighties into the collection of ,dr4 ,linde1 at ,lbeck1 where it remained until #aijd1 was then sold through ,paris dealers to an ,american1 and remains one of the least known of ,whistler's large full-lengths4 ,we saw it in the spring of #aijd at ,m4 ,duret's apartment in the ,rue ,vignon4 ,it is the only portrait1 except the ,connie ,gilchrist and ,the ,yellow ,buskin1 in which ,whistler attempted to give movement to the figure4 ,miss ,franklin wears a white gown in the ugly fashion of the late seventies1 and walks forward1 one hand on her hip1 the other holding up her skirt4 ,but she fails to fulfil ,whistler's precept that the figure must keep within the frame4 ,she seems walking out of the depths of the background1 breaking through the envelope of atmosphere4 ,the problem was difficult1 an unusual one for ,whistler1 and1 interesting as is the result1 the portrait hardly ranks with the greatest4 ,when shown in #ahgh1 it did not help to reconcile the critics4 ,the ,athenum said3 ,mr4 ,whistler is in great force4 ,last year some of his life-size portraits were without feet2 here we have a curiously shaped young lady1 ostentatiously showing her foot1 which is a pretty large one4 ,it was a vaporous full-length in the opinion of the ,times1 babbling nonsense about the ,nocturnes and glad to turn from ,whistler's diet of fog to the broad table of substantial landscape spread for us by ,cecil ,g4 ,lawson4 ,whistler contributed a drawing of the ,arrangement in ,white and ,black to ,blackburn's ,grosvenor ,notes1 an illustrated catalogue published for the first time in #ahgh4 ,for many years ,whistler made these little sketches in pen and ink after his pictures for illustrated catalogues1 and for papers that illustrated notices of the exhibitions1 an aid to the identification of works where the titles fail4 ,,chapter ,,xviii3 ,,the ,,white ,,house4 ,,the ,,year ,,eighteen ,,seventy-,,eight4 ,in the ,paris ,universal ,exhibition of #ahgh1 ,whistler's only exhibit was the section of a room that may have been his design for ,mr4 ,alexander1 or more likely was his decoration for the ,white ,house which ,e4 ,w4 ,godwin1 the architect1 was building for him in ,tite ,street1 ,chelsea4 ,he called it a ,harmony in ,yellow and ,gold1 and others spoke of it as the ,primrose ,room4 ,it seems to have been simply a room painted in gold and yellow1 the peacock pattern again used1 but this time in gold on yellow and yellow on gold4 ,there was simple furniture in yellow of a darker tone than the walls1 also a chimneypiece which1 twelve years or so afterwards1 was found by ,mr4 ,pickford ,waller in a second-hand furniture shop and bought4 ,the stove was taken out2 two panels1 with a pattern suggested for the dado1 were turned into doors1 and the chimneypiece is now a cabinet with ,whistler's decorations almost untouched4 ,a few years ago ,messrs4 ,obach had in their possession a set of glass panels for a door from the house of ,anderson ,rose1 stated to be by ,whistler1 but there is no evidence of ,whistler's work in them4 ,recently a set of ,empire chairs were shown in ,new ,york said to have been decorated by ,whistler for ,wickham ,flower1 and so described at ,christie's where they were sold1 but ,messrs4 ,christie do not guarantee the articles in their sales4 ,to those who know ,whistler's work there was no trace of it in the chairs1 and we have it on ,mrs4 ,flower's authority that the decorations were by ,henry ,treffy ,dunn4 ,mr4 ,sheridan ,ford1 in the suppressed edition of ,the ,gentle ,art1 writes that1 at ,sir ,thomas ,sutherland's request1 ,whistler designed a scheme of decoration for his house1 but that its startling novelty caused such evident anxiety1 ,whistler carried it no further4 ,some houses he did decorate later on--those of ,mrs4 ,william ,whistler1 ,mr4 ,william ,heinemann1 ,senor ,sarasate1 ,mrs4 ,walter ,sickert1 ,mrs4 ,d',oyly ,carte1 ,mr4 ,menpes4 ,but the decoration was simply the colour-scheme4 ,whistler mixed the colour1 which was usually put on by house-painters4 ,he frequently suggested the furniture1 but of design1 as in ,the ,peacock ,room1 there was nothing1 not even in any of his own houses after the ,white ,house4 ,to one friend1 thinking of decorating1 who asked his advice1 his answer was1 ,well1 first burn all your furniture4 ,often he gave elaborate directions as to what colours should be used and how they were to be applied4 ,mrs4 ,d',oyly ,carte wrote us3 ,illustration3 ,,the ,,mother ,,arrangement ,,in ,,grey ,,and ,,black ,,oil ,in the ,muse du ,luxembourg 7,see page #aah7 ,illustration3 ,,portrait ,,of ,,thomas ,,carlyle ,,arrangement ,,in ,,grey ,,and ,,black4 ,,no4 ,,ii ,,oil ,in the ,corporation ,art ,gallery1 ,glasgow 7,see page #aai7 ,it would not be quite correct to say that ,mr4 ,whistler designed the decorations of my house1 because it is one of the old ,adam houses in ,adelphi ,terrace1 and it contained the original ,adam ceiling in the drawing-room and a number of the old ,adam mantelpieces1 which ,mr4 ,whistler much admired1 as he did also some of the cornices1 doors and other things4 ,what he did do was to design a colour-scheme for the house1 and he mixed the colours for distempering the walls in each case1 leaving only the painters to apply them4 ,in this way he got the exact shade he wanted1 which made all the difference1 as ,i think the difficulty in getting any painting satisfactorily done is that painters simply have their stock shades which they show you to choose from1 and none of them seem to be the kind of shades that ,mr4 ,whistler managed to achieve by the mixing of his ingredients4 ,he distempered the whole of the staircase light pink2 the dining-room a different and deeper shade2 the library he made one of those yellows he had in his drawing-room at the ,vale1 a sort of primrose which seemed as if the sun was shining1 however dark the day1 and he painted the woodwork with it green1 but not like the ordinary painters' green at all4 ,he followed the same scheme in the other rooms4 ,his idea was to make the house gay and delicate in colour4 ,when he left ,no4 #b ,lindsey ,row he suggested the colour arrangement throughout the house for the new tenants1 ,mr4 and ,mrs4 ,sydney ,morse1 got his man ,cossens to do the distempering1 and1 ,mrs4 ,morse writes us1 was so afraid that we should do it wrongly that he personally superintended the work and mixed the colour himself1 though in consequence of this a whole wash for the dining-room was spoilt1 as he forgot to stir it up at the right moment4 ,there was great discussion about gold size4 ,to decoration ,whistler applied his scientific method of painting1 and on his walls1 as in his pictures1 black was often the basis4 ,colour for him was as much decoration as pattern was for ,william ,morris1 and in the use of flat colour for wall decoration ,whistler has triumphed4 ,his theory of interior decoration1 though people do not realise it1 has been universally adopted1 even his use of distemper1 in which he was only carrying on the beautiful tradition of whitewashing walls4 ,not only can this simple scheme be made more appropriate as a background than ,morris' hangings and stencillings1 but it has the virtue of utility and cheapness1 which ,morris for ever preached but never practised4 ,in the painting of pictures1 the idea of the ,pre-,raphaelites was decoration--that is1 convention4 ,their decoration was either wilfully or ignorantly founded on the realism of the ,middle ,ages4 ,the great decorators of ,italy were the realists of their day1 their realism1 except in the case of the greatest1 ,piero della ,francesca1 is now regarded as convention1 and it is the ,pre-,raphaelites who stirred up these dead bones4 ,in ,france1 ,puvis de ,chavannes developed ,italian methods1 adapting them to modern subjects and modern wants1 retaining the convention of flatness and simplicity4 ,whistler believed that a portrait or a ,nocturne should be as decorative as a conventional design2 that1 by the arrangement of his subjects1 and by their colour1 they should be made decorative1 and not by conventional setting and conventional lines4 ,he also believed that walls should be in flat tones and not covered with pattern4 ,pictures then placed upon them were shown properly and did not struggle with the pattern4 ,lady ,archibald ,campbell writes us a few lines proving that he could make people understand his aims when they were willing to learn from him3 ,the fundamental principles of decorative art with which ,whistler impressed me1 related to the necessity of applying scientific methods to the treatment of all decorative work2 that to produce harmonious effects in line and colour grouping1 the whole plan or scheme should have to be thoroughly thought out so as to be finished before it was practically begun4 ,i think he proved his saying to be true1 that the fundamental principles of decorative art1 as in all art1 are based on laws as exact as those of the known sciences4 ,he concluded that what the knowledge of a fundamental base has done for music1 a similarly demonstrative method must do for painting4 ,the musical vocabulary which he used to distinguish his creations always struck me as singularly appropriate1 though he had no knowledge of music4 ,before the ,ruskin case came into court1 the idea of opening an atelier for students occurred to ,whistler1 and it was because the painting-room at ,no4 #b ,lindsey ,row was too small that he asked ,godwin to build the house1 ever since known as the ,white ,house1 in ,tite ,street4 ,up to this time he had never had a studio in ,chelsea4 ,his pictures had been painted in rooms without a top-light1 partly1 no doubt1 that he might paint his sitters under natural conditions4 ,even in his later studios of the ,rue ,notre-,dame des ,champs in ,paris1 and ,fitzroy ,street in ,london1 shades and screens were drawn so that the light might come in as from an ordinary window4 ,he was trying to put the figure into the atmosphere that surrounded it1 not to cut it out of this atmosphere4 ,but he needed more space for the atelier1 which promised success4 ,among artists1 there were always a few who believed in ,whistler4 ,duranty only expressed the prevailing feeling when1 in the ,gazette des ,beaux-,arts 7#ahgh71 he referred to ,whistler's influence on ,british painters represented in the ,universal ,exhibition4 ,the ,white ,house1 low1 three-storeyed1 simple in ornament1 is modest compared to many houses in ,tite ,street4 ,it has been much changed1 but the general plan survives4 ,when it was built1 it shared the fate1 of everything associated with ,whistler4 ,the white brick of the walls1 the green slate of the roof1 the stone facings1 the blue door and woodwork were as eccentric and fantastic as ,whistler himself to art-critical journalists4 ,to architectural papers they were the cause of debate and calling of names4 ,to the ,metropolitan ,board of ,works the simplicity of design was suspiciously plain1 and mouldings in specified places were insisted upon in return for the licence to build4 ,discussion followed discussion1 because the studio was the most important feature of the interior and placed at the top of the house1 because windows and doors were made where they were wanted and not with ,baker ,street regularity1 because ,godwin and ,whistler liked the lovely effect of the green tiles with the white walls4 ,harry ,quilter1 who bought the house in #ahgi and altered it1 probably ruined the colour-scheme which ,whistler had arranged1 and the interior decoration1 if it was ever carried out1 does not now exist4 ,whistler's tenancy of the ,lindsey ,row house came to an end on ,june #be 7#ahgh71 but he could not leave it in time for the new tenants4 ,he did not get out of the studio until ,october4 ,it was surprising that he moved at all4 ,the moment was one of debts and difficulties4 ,he was alone4 ,his mother was ill at ,hastings1 he had just broken his engagement with ,leyland's sister-in-law1#g and he had quarrelled with ,leyland4 ,the criticism of the last few years told severely upon the sale of his pictures--upon himself4 ,howell1 who had started cheques and orders flying about and attended to business details1 kept a diary during part of #ahgg and all of #ahgh4 ,to look through it is to share ,whistler's indignation that so great an artist should be reduced to such shifts4 ,in ,kensington and ,st4 ,john's ,wood palaces1 ,academicians could not turn pictures out fast enough for the competing crowd2 ,whistler was often compelled to borrow a few shillings4 ,there are legends of his taking a hansom and driving to find somebody to lend him half a crown to pay for it1 and before he had found anybody and could get rid of the cab the fare had mounted to half a guinea4 ,howell's diary shows that he had to raise money before he could lend it to ,whistler4 ,sometimes larger sums than he could manage were arranged by ,anderson ,rose1 ,whistler's patron and solicitor4 ,as ill and worried1 ,howell describes ,whistler on one of the visits to ,mr4 ,rose1 and there was every reason he should be4 ,a ,mr4 ,blott figures in other transactions4 ,whistler's letters to him have been sold and published1 and it would be useless to ignore their relations4 ,money for the ,white ,house had to be obtained4 ,to ,mr4 ,blott he gave his ,carlyle as security for a hundred and fifty pounds1 agreeing to pay interest1 offering other pictures as security if a sum of four hundred could be advanced4 ,cheques were protested1 writs were threatened4 ,the pictures he could not sell went wandering about as hostages4 ,the ,mother for awhile was with ,mrs4 ,noseda1 the ,strand printseller4 ,we have heard that she would have sold it for a hundred pounds4 ,mr4 ,rawlinson1 who saw it either there or at ,mr4 ,graves'1 has told us that nobody could have bought it under such circumstances1 after having seen it in ,whistler's bedroom1 where it had hung and been shown by him with reverence4 ,when ,whistler heard that ,mrs4 ,noseda was offering the picture for this price1 he is said to have gone at once to remonstrate1 and by his vehemence to have made her ill4 ,one man who helped him through these troubled times was ,henry ,graves1 head of the firm in ,pall ,mall4 ,graves1 introduced to ,whistler by ,howell1 agreed to engrave the portrait of ,carlyle in mezzotint1 and ,howell bought the copyright of the engraving from ,whistler for eighty pounds and six proofs4 ,w4 ,josey was commissioned to make the plate4 ,three hundred signed proofs of a first state were to be printed4 ,the plate would not stand so large an edition2 it was steel-faced and1 as the steel-facing of mezzotint was not possible1 turned out a failure4 ,the attempt to remove the steel ruined the ground1 and ,josey had to be called in to go over it again4 ,in the first state1 the floor was perfectly smooth1 but1 the steel-facing taken off1 a spot appeared in the plate which never could be got out and remained there through the edition4 ,after every seventy proofs printed1 ,josey had to work on the plate and bring it back1 as well as he could1 to its original condition4 ,whistler did not like the first proofs and offered to show the printers how to do them4 ,mr4 ,a4 ,graves went with him to ,holdgate's1 the printer1 in ,london ,street4 ,whistler brought his own ink1 put on an apron1 inked the plate as he would an etched one1 while the whole shop looked on4 ,when the plate1 wiped and ready1 was put through the press1 it came out a shadow1 the ink being far too weak4 ,whistler did not try a second time4 ,mr4 ,graves preserved the proof1 writing on it that ,whistler pulled it1 and sold it for three guineas1 to whom he does not remember4 ,eventually ,whistler was satisfied1 for ,howell1 on ,december #b1 #ahgh1 gave ,whistler what he calls his first proof1 and the diary says3 ,whistler and the ,doctor were delighted4 ,it is also recorded in the diary that one of ,whistler's six proofs was sold to ,lord ,beaconsfield4 ,illustration3 ,,portrait ,,of ,,cicely ,,henrietta1 ,,miss ,,alexander ,,harmony ,,in ,,grey ,,and ,,green ,in the ,national ,gallery1 ,london 7,see page #aba7 ,illustration3 ,,portrait ,,of ,f4 ,r4 ,,leyland ,,arrangement ,,in ,,black ,,oil ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art 7,see page #abd7 ,the print of the ,carlyle was very successful4 ,at ,howell's suggestion1 ,graves agreed to give ,whistler a thousand pounds for a portrait of ,disraeli1 and the copyright3 a plate to be made from it also4 ,mr4 ,alan ,s4 ,cole says ,whistler went to see ,disraeli3 ,september #ai 7#ahgh74 ,called on ,j41 who told me of his interview with ,lord ,beaconsfield as to painting a portrait of him4 ,he had been down at ,hughenden--saw the old gentleman1 who1 however1 declined4 ,whistler's version was3 ,everything was most wonderful4 ,we were the two artists together--recognising each other at a glance6 ',if ,i sit to any one1 it will be to you1 ,mr4 ,whistler1' were ,disraeli's last words as he left me at the gate4 ,and then he sat to ,millais6 ,this scheme falling through1 ,graves commissioned ,josey to engrave the ,mother1 and afterwards the ,rosa ,corder1 painted as a commission from ,howell4 ,whistler told us he offered the portrait as a present to ,howell1 who declined and insisted on paying a hundred guineas for it1 the amount entered in ,howell's diary as paid to ,whistler on ,september #i1 #ahgh4 ,it was sold to ,r4 ,a4 ,canfield in #aijc for two thousand pounds1 and now belongs to ,mr4 ,henry ,c4 ,frick4 ,though these mezzotints were successful when published1 collectors thought as little of them as they did at the time of those of a century earlier1 and for years proofs signed by both artist and engraver could be picked up for less than the published price4 ,after the two pictures had been engraved by ,josey1 ,howell deposited in the same way three of the ,nocturnes with ,graves3 ,the ,falling ,rocket1 ,the ,fire ,wheel1 ,old ,battersea ,bridge--,blue and ,gold1 and also ,the ,fur ,jacket4 ,these pictures were not engraved4 ,whistler had not a minute to spare from legal troubles and impatient creditors4 ,poor ,j4 turned up depressed--very hard up1 and fearful of getting old1 ,mr4 ,cole wrote in his diary for ,october #af1 #ahgh4 ,whistler had reason for depression4 ,it was now that ,howell's diary records his purchase of the ,irving for ten pounds and a sealskin coat4 ,there is nothing more tragic in the story of ,rembrandt's bankruptcy4 ,footnote #g3 ,mrs4 ,leyland told us of this engagement4 ,we know nothing more about it4 ,,chapter ,,xix3 ,,the ,,trial4 ,,the ,,year ,,eighteen ,,seventy-,,eight4 ,the action ,whistler v4 ,ruskin1 was heard on ,november #be-bf1 #ahgh4 ,john ,ruskin1 leader of taste1 critic of art1 prophet1 and propounder of the gospel of the ,beautiful1 led not only a devout following1 but that enormous public which believes blindly in ,britons4 ,whistler knew that either he or ,ruskin must settle the question whether an artist may paint what he wants in his own way1 though this may not be understood by the patron1 the critic1 the ,academy1 or the real ,british judge1 the man in the street2 whether the artist should rule or be ruled4 ,the case was1 ,whistler said1 between the ,brush and the ,pen4 ,his motives were ignored1 the proceedings made a jest1 and the verdict treated as a farce4 ,few could1 or do1 realise that he was in earnest1 that the trial was a defence of his principles1 and the verdict a justification of his belief4 ,at the time ,whistler was to the ,british public a charlatan1 a mountebank4 ,ruskin was to the ,people a preacher1 the professor of art4 ,whistler denied the right of ,ruskin1 master of ,english literature1 populariser of pictures1 to declare himself infallible1 as he did1 his head turned by his success in defence of the ,pre-,raphaelites and booming of ,turner4 ,as to his discoveries1 ,turner was a full ,r4,a4 and ,carpaccio had been accepted for centuries before he discovered them4 ,ruskin did but popularise ,carpaccio1 and buy and sell ,turner4 ,so good a friend of ,ruskin's as ,w4 ,m4 ,rossetti said that he was substantially wrong in the ,whistler matter1 that his mind broke down at times1 and that his mental troubles began in #ahfj4 ,his conceit and his vanity can be explained in no other way4 ,unfortunately he lived in the only country where his arrogant pretensions would then have been countenanced1 though1 owing to the present acceptance of ,england and everything ,english1 he has become something of a fetish abroad1 now that he is exposed and discredited at home4 ,he was rich1 he was a ,university man1 he contributed long letters to the ,times4 ,he was a typical new ,british patron of the arts1 for to him the financial side of connoisseurship was of the greatest importance--two hundred guineas for flinging a pot of paint4 ,moreover1 he was a master of ,english2 therefore he could commit any absurdity4 ,as ,whistler said1 political economists considered him a great art critic1 and artists looked upon him as a great political economist4 ,sometimes we have wondered if there was not another reason for ,ruskin's venom4 ,he never appreciated the great artists of the world1 save certain ,italians recognised long before4 ,his estimate of ,velasquez and ,rembrandt1 and his comparison between ,turner and ,constable1 prove how little his now unheeded sermons were ever worth4 ,while he failed to comprehend ,charles ,keene1 he went into ecstasies over ,kate ,greenaway4 ,he loved ,stacy ,marks and hated ,snyders4 ,whistler1 knowing this1 may have laughed4 ,mr4 ,collingwood wrote that1 long before the trial1 ,whistler had made overtures to the great critic through ,mr4 ,swinburne1 the poet2 but he had not been taken seriously4 ,it is certain ,ruskin was not taken seriously by the great artist4 ,swinburne suggested a meeting in a letter of ,august #aa1 #ahfe1 to which we have referred 7published in the ,library ,edition of the ,works of ,john ,ruskin71 but in such words that we gather there must have been some sort of misunderstanding already between ,whistler and ,ruskin4 ,swinburne wanted to take ,ruskin to the studio and represented ,whistler as desirous of meeting him4 ,it is likely that ,whistler1 knowing ,ruskin's power in the ,press1 was willing to be written about by him1 and also that ,ruskin cherished whatever reason for dislike he had for ,whistler4 ,anderson ,rose prepared the case1 and we know the pains and trouble ,whistler took over it4 ,judge ,parry has shown us letters to his father which prove this4 ,whistler warned ,rose there was no use in making him out a popular painter2 better show the jury that the ,academy and ,academicians were against him4 ,he thought1 at first1 that the artists would be on his side and would unite with him to drive the false prophet out of the temple4 ,but ,ruskin the critic was to them more powerful than ,whistler the painter1 and when the time came they sneaked away1 all except ,albert ,moore4 ,besides1 there was the hope that the ,yankee would lose4 ,whistler told us they hoped they could drive me out of the country1 or kill me6 ,and if ,i hadn't had the constitution of a ,government mule1 they would6 ,charles ,keene1 whom ,whistler considered the greatest ,english artist since ,hogarth1 could write on ,november #bd1 #ahgh3 ,whistler's case against ,ruskin comes off1 ,i believe1 on ,monday4 ,he wants to subpoena me as a witness as to whether he is 7as ,ruskin says7 an impostor or not4 ,i told him ,i should be glad to record my opinion1 but begged him to do without me if he could4 ,they say it will most likely be settled on the point of law without going into evidence1 but if the evidence is adduced1 it will be the greatest lark that has been known for a long time in the courts4 ,keene did not dare to stand up for ,whistler and for art1 and the bitterness is in those last words--a lark6 ,in the ,exchequer ,division at ,westminster the action for libel1 in which ,mr4 ,james ,abbott ,mc,neill ,whistler1 an artist1 seeks to recover damages against ,mr4 ,john ,ruskin1 the well-known author and art critic1 came up before ,baron ,huddleston and a special jury4 ,our account is compiled chiefly from the reports published in the ,times and the ,daily ,news1 ,november #bf and #bg1 #ahgh1 from ,the ,gentle ,art1 and from what ,whistler1 ,mr4 ,rossetti1 ,armstrong1 ,mr4 ,graves1 and others who were present have told us4 ,according to ,lady ,burne-,jones1 ,ruskin had been delighted at the prospect of the trial3 ,it's nuts and nectar to me1 the notion of having to answer for myself in court1 and the whole thing will enable me to assert some principles of art economy which ,i've never got into the public's head by writing3 but may get sent over all the world vividly in a newspaper report or two4 ,meanwhile ,i've heard nothing of the matter yet1 and am only afraid the fellow will be better advised4 ,nuts and nectar turned to gall and vinegar4 ,in the early winter of #ahgh rumours of his ill-health reached the papers4 ,lady ,burne-,jones adds that1 when the action was brought1 although he had quite recovered from his illness1 he was not allowed to appear--a curious sort of recovery4 ,but he was well enough on the morning of the #bfth to write to ,charles ,eliot ,norton that to-day ,i believe the comic ,whistler lawsuit is to be decided4 ,the court was crowded4 ,mr4 ,serjeant ,parry and ,mr4 ,petheram were counsel for the plaintiff1 and the ,attorney-,general 7,sir ,john ,holker7 and ,mr4 ,bowen for the defendant4 ,mr4 ,serjeant ,parry opened the case for ,whistler1 who has followed the profession of an artist for many years1 while ,mr4 ,ruskin is a gentleman well known to all of us1 and holding perhaps the highest position in ,europe or ,america as an art critic4 ,some of his works are destined to immortality1 and it is the more surprising1 therefore1 that a gentleman holding such a position could traduce another in a way that would lead that other to come into a court of law to ask for damages4 ,the jury1 after hearing the case1 will come to the conclusion that a great injustice has been done4 ,mr4 ,whistler1 in the ,united ,states1 has earned a reputation as a painter and an artist4 ,he is not merely a painter1 but has likewise distinguished himself in the capacity of etcher1 achieving considerable honours in that department of art4 ,he has been an unwearied worker in his profession1 always desiring to succeed1 and if he had formed an erroneous opinion1 he should not have been treated with contempt and ridicule4 ,mr4 ,ruskin edits a publication called ,fors ,clavigera1 that has a large circulation among artists and art patrons4 ,in the ,july number of #ahgg appeared a criticism of the pictures in the ,grosvenor1 containing the paragraph which is the defamatory matter complained of4 ,sir ,coutts ,lindsay is described as an amateur1 both in art and shopkeeping1 who must take up one business or the other4 ,mannerisms and errors are pointed out in the work of ,burne-,jones1 but whatever their extent1 his pictures 'are never affected or indolent4 ,the work is natural to the painter1 however strange to us1 wrought with the utmost conscience and care1 however far1 to his or our desire the result may seem to be incomplete4 ,scarcely so much can be said for any other pictures of the modern schools4 ,their eccentricities are almost always in some degree forced1 and their imperfections gratuitously1 if not impertinently1 indulged4 ,for ,mr4 ,whistler's own sake1 no less than for the protection of the purchaser ,sir ,coutts ,lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approaches the aspect of wilful imposture4 ,i have seen and heard much of cockney impudence before now1 but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face4' ,mr4 ,ruskin pleaded that the alleged libel was privileged as being a fair and bona fide criticism upon a painting which the plaintiff had exposed to public view4 ,but the terms in which ,mr4 ,ruskin has spoken of the plaintiff are unfair and ungentlemanly1 and are calculated to do1 and have done him1 considerable injury1 and it will be for the jury to say what damages the plaintiff is entitled to4 ,whistler was the first witness4 ,he said3 ,i studied in ,paris with ,du ,maurier1 ,poynter1 ,armstrong4 ,i was awarded a gold medal at ,the ,hague4444 ,my etchings are in the ,british ,museum and ,windsor ,castle collections4 ,i exhibited eight pictures at the ,grosvenor ,gallery in the summer of #ahgg4 ,no pictures were exhibited there save on invitation4 ,i was invited by ,sir ,coutts ,lindsay to exhibit4 ,the first was a ,nocturne in ,black and ,gold--,the ,falling ,rocket4 ,the second1 a ,nocturne in ,blue and ,silver since called ,blue and ,gold--,old ,battersea ,bridge4 ,the third1 a ,nocturne in ,blue and ,gold1 belonging to the ,hon4 ,mrs4 ,percy ,wyndham4 ,the fourth1 a ,nocturne in ,blue and ,silver1 belonging to ,mrs4 ,leyland4 ,the fifth1 an ,arrangement in ,black--,irving as ,philip ,,ii4 of ,spain4 ,the sixth1 a ,harmony in ,amber and ,black4 ,the seventh1 an ,arrangement in ,brown4 ,in addition to these1 there was a portrait of ,mr4 ,carlyle4 ,that portrait was painted from sittings ,mr4 ,carlyle gave me4 ,it has since been engraved1 and the artist's proofs were all subscribed for4 ,the ,nocturnes1 all but two1 were sold before they went to the ,grosvenor ,gallery4 ,one of them was sold to the ,hon4 ,percy ,wyndham for two hundred guineas--the one in ,blue and ,gold4 ,one ,i sent to ,mr4 ,graham in lieu of a former commission1 the amount of which was a hundred and fifty guineas4 ,a third one1 ,blue and ,silver1 ,i presented to ,mrs4 ,leyland4 ,the one that was for sale was in ,black and ,gold--,the ,falling ,rocket4 ,curiously1 the only one for sale was pounced on by ,ruskin4 ,the coxcomb was trying to get two hundred guineas1 and the ,british commercial critic spotted it4 ,asked whether1 since the publication of the criticism1 he had sold a ,nocturne1 ,whistler answered3 ,not by any means at the same price as before4 ,the portraits of ,irving and ,carlyle were produced in court1 and he is said to have described the ,irving as a large impression--a sketch2 it was not intended as a finished picture4 ,we do not believe he said anything of the sort4 ,he was then asked for his definition of a ,nocturne3 ,i have perhaps1 meant rather to indicate an artistic interest alone in the work1 divesting the picture from any outside sort of interest which might have been otherwise attached to it4 ,it is an arrangement of line1 form1 and colour first1 and ,i make use of any incident of it which shall bring about a symmetrical result4 ,among my works are some night pieces2 and ,i have chosen the word ,nocturne because it generalises and simplifies the whole set of them4 ,the ,falling ,rocket1 though it is difficult here to follow the case1 was evidently produced at this point upside down2 ,whistler describing it as a night piece1 said it represented the fireworks at ,cremorne4 ,attorney-,general3 ,not a view of ,cremorne8 ,whistler3 ,if it were called a view of ,cremorne1 it would certainly bring about nothing but disappointment on the part of the beholders4 7,laughter47 ,it is an artistic arrangement4 ,attorney-,general3 ,why do you call ,mr4 ,irving an ,arrangement in ,black8 7,laughter47 ,the judge interposed1 though in jest1 for there was more laughter1 and explained that the picture1 not ,mr4 ,irving1 was the ,arrangement4 ,whistler3 ,all these works are impressions of my own4 ,i make them my study4 ,i suppose them to appeal to none but those who may understand the technical matter4 ,and he added that it would be possible to see the pictures in ,westminster ,palace ,hotel close by1 where he had placed them for the purpose4 ,attorney-,general3 ,i suppose you are willing to admit that your pictures exhibit some eccentricities4 ,you have been told that over and over again8 ,whistler3 ,yes1 very often4 7,laughter47 ,attorney-,general3 ,you send them to the gallery to invite the admiration of the public8 ,whistler3 ,that would be such vast absurdity on my part that ,i don't think ,i could4 7,laughter47 ,attorney-,general3 ,can you tell me how long it took you to knock off that ,nocturne8 ,whistler3 ,i beg your pardon8 7,laughter47 ,attorney-,general3 ,i am afraid that ,i am using a term that applies rather perhaps to my own work4444 ,whistler3 444 ,let us say then1 how long did ,i take to 'knock off'--,i think that is it--to knock off that ,nocturne2 well1 as well as ,i remember1 about a day4444 ,i may have still put a few more touches to it the next day if the painting were not dry4 ,i had better say1 then1 that ,i was two days at work on it4 ,attorney-,general3 ,the labour of two days1 then1 is that for which you ask two hundred guineas8 ,whistler3 ,no2 ,i ask it for the knowledge of a lifetime4 ,attorney-,general3 ,you don't approve of criticism8 ,whistler3 ,i should not disapprove in any way of technical criticism by a man whose life is passed in the practice of the science which he criticises2 but for the opinion of a man whose life is not so passed1 ,i would have as little regard as you would if he expressed an opinion on law4 ,attorney-,general3 ,you expect to be criticised8 ,whistler3 ,yes1 certainly2 and ,i do not expect to be affected by it until it comes to be a case of this kind4 ,the ,nocturne1 the ,blue and ,silver1 was then produced4 ,whistler3 ,it represents ,battersea ,bridge by moonlight4 ,the ,judge3 ,is this part of the picture at the top ,old ,battersea ,bridge8 ,are those figures on the top of the bridge intended for people8 ,whistler3 ,they are just what you like4 ,the ,judge3 ,that is a barge beneath8 ,whistler3 ,yes1 ,i am very much flattered at your seeing that4 ,the picture is simply a representation of moonlight4 ,my whole scheme was only to bring about a certain harmony of colour4 ,the ,judge3 ,how long did it take you to paint that picture8 ,illustration3 ,,portrait ,,of ,,mrs4 ,f4 ,r4 ,,leyland ,,symphony ,,in ,,flesh-,,colour ,,and ,,pink ,,oil ,in the possession of ,h4 ,c4 ,finch1 ,esq4 7,see page #abe7 ,illustration3 ,,portrait ,,of ,,miss ,,leyland ,,pastel ,in the possession of the ,executors of ,mrs4 ,f4 ,r4 ,leyland 7,see page #abd7 ,whistler3 ,i completed the work in one day1 after having arranged the idea in my mind4#h ,the court adjourned1 and the jury went to see the pictures at the ,westminster ,palace ,hotel4 ,when1 on their return1 the ,nocturne in ,black and ,gold--,the ,falling ,rocket1 was produced1 the ,attorney-,general asked3 ,how long did it take you to paint that8 ,whistler3 ,one whole day and part of another4 ,attorney-,general3 ,what is the peculiar beauty of that picture8 ,whistler3 ,it would be impossible for me to explain to you1 ,i am afraid1 although ,i dare say ,i could to a sympathetic ear4 ,attorney-,general3 ,do you not think that anybody looking at the picture might fairly come to the conclusion that it had no particular beauty8 ,whistler3 ,i have strong evidence that ,mr4 ,ruskin did come to that conclusion4 ,attorney-,general3 ,do you think it fair that ,mr4 ,ruskin should come to that conclusion8 ,whistler3 ,what might be fair to ,mr4 ,ruskin1 ,i cannot answer4 ,no artist of culture would come to that conclusion4 ,attorney-,general3 ,do you offer that picture to the public as one of particular beauty1 fairly worth two hundred guineas8 ,whistler3 ,i offer it as a work that ,i have conscientiously executed and that ,i think worth the money4 ,i would hold my reputation upon this1 as ,i would upon any of my other works4 ,mr4 ,w4 ,m4 ,rossetti was the next witness4 ,he was ,ruskin's friend as well as ,whistler's1 and the position was not pleasant4 ,but1 he has written us1 he was compelled to act1 willy-nilly1 in opposition to ,ruskin's interest in the action4 ,rossetti3 ,i consider the ,blue and ,silver an artistic and beautiful representation of a pale but bright moonlight4 ,i admire ,mr4 ,whistler's pictures1 but not without exception4 ,i appreciate the meaning of the titles4 ,the ,falling ,rocket is not one of the pictures ,i admire4 ,attorney-,general3 ,is it a gem8 7,laughter47 ,rossetti3 ,no4 ,attorney-,general3 ,is it an exquisite painting8 ,rossetti3 ,no4 ,attorney-,general3 ,is it very beautiful8 ,rossetti3 ,no4 ,attorney-,general3 ,is it a work of art8 ,rossetti3 ,yes1 it is4 ,attorney-,general3 ,is it worth two hundred guineas8 ,rossetti3 ,yes4 ,albert ,moore said that ,whistler's pictures were beautiful1 and that no other painter could have succeeded in doing them4 ,the ,black and ,gold he looked upon as simply marvellous1 the most consummate art4 ,asked if there was eccentricity in the picture1 he said he should call it originality4 ,w4 ,g4 ,wills testified to the knowledge shown in the pictures2 they were the works of a man of genius4 ,mr4 ,algernon ,graves was in court to give evidence to the popularity of the ,carlyle4 ,as the picture was not catalogued when exhibited at the ,grosvenor1 ,baron ,huddleston ruled that there was no proof of its having been exhibited in #ahgg1 and he was not called4 ,these were the only witnesses for ,whistler1 though we have seen a letter he wrote to ,anderson ,rose suggesting ,haweis1 who had preached a poem of praise about ,the ,peacock ,room1 and ,prince ,teck1 who might be asked to swear that he thought it a great piece of art4 ,we have also seen the draft of a letter to ,tissot upon whose aid he relied4 ,the ,attorney-,general submitted there was no case4 ,but ,baron ,huddleston could not deny that the criticism held ,whistler's work up to ridicule and contempt2 that so far it was libellous1 and must1 therefore1 go to the jury4 ,it was for the ,attorney-,general to prove it fair and honest criticism4 ,the ,attorney-,general's address to the jury began with praise of ,ruskin1 it went on with ridicule of the testimony for the plaintiff1 it finished with contempt for ,whistler and his work4 ,the ,nocturnes were not worthy the name of great works of art4 ,he had that morning looked into the dictionary for the meaning of coxcomb1 and found that the word carried the old idea of the licensed jester who had a cap on his head with a cock's comb in it4 ,if that were the true definition1 ,mr4 ,whistler should not complain1 because his pictures were capital jests which had afforded much amusement to the public4 ,he said1 without fear of contradiction1 that if ,mr4 ,whistler founded his reputation on the pictures he had shown in the ,grosvenor ,gallery1 the ,nocturne in ,black and ,gold1 the ,nocturne in ,blue and ,silver1 his ,arrangement of ,irving in ,black1 his representation of the ,ladies in ,brown1 and his ,symphonies in ,grey and ,yellow1 he was a mere pretender to the art of painting4 ,in ,ruskin's absence1 ,burne-,jones was the first witness called for the defence4 ,lady ,burne-,jones says1 in her ,memorials of ,edward ,burne-,jones1 that on ,november #b1 ,ruskin had written to him3 ,i gave your name to the blessed lawyer1 as chief of men to whom they might refer for anything which1 in their wisdom1 they can't discern unaided concerning me4 ,she adds that for her husband3 ,few positions could have been more annoying or difficult for the paragraph containing the sentence in question--one of ,ruskin's severest condemnations--was practically a comparison between ,mr4 ,whistler's work and ,edward's own4 ,but the subject covered so much wider ground than any personality that ,edward was finally able to put this thought aside1 and did with calmness what he had undertaken to do1 namely--endorse ,ruskin's criticism that good workmanship was essential to a good picture4 ,walter ,crane stated in his ,reminiscences that he met ,burne-,jones at dinner at ,leyland's not long before the trial2 and that then ,burne-,jones would not see ,whistler's merit as an artist4 ,he seemed to think there was only one right way of painting4444 ,under the circumstances he could hardly afford to allow any credit to ,whistler4 ,in court ,burne-,jones temporised4 ,he admitted ,whistler's art1 but regretted the want of finish in ,whistler's pictures2 so strengthening the impression of the laziness1 levity1 or looseness of ,whistler4 ,in his deliberate judgment ,mrs4 ,leyland's ,blue and ,silver was a work of art1 but a very incomplete one4 ,it did not show the finish of a complete work of art1 yet it is masterly4 ,neither in composition1 detail1 nor form has the picture any quality whatever1 but in colour it has a very fine quality4444 ,blue and ,silver--,old1 ,battersea ,bridge1 in colour is even better than the other4 ,it is more formless1 it is bewildering in form4 ,as to composition and detail1 there is none whatever4 ,it has no finish4 ,i do not think ,mr4 ,whistler intended it to be regarded as a finished picture4 ,mr4 ,bowen3 ,now1 take the ,nocturne in ,black and ,gold--,the ,falling ,rocket1 is that1 in your opinion1 a work of art8 ,burne-,jones3 ,no1 ,i cannot say that it is4 ,it is only one of a thousand failures that artists have made in their efforts to paint night4 ,mr4 ,bowen3 ,is that picture in your judgment worth two hundred guineas8 ,burne-,jones3 ,no1 ,i cannot say it is1 seeing how much careful work men do for much less4 ,mr4 ,whistler gave infinite promise at first1 but ,i do not think he has fulfilled it4 ,i think he has evaded the great difficulty of painting1 and has not tested his powers by carrying it out4 ,the difficulties in painting increase daily as the work progresses1 and that is the reason why so many of us fail4 ,we are none of us perfect4 ,the danger is this1 that if unfinished pictures become common1 we shall arrive at a stage of mere manufacture and the art of the country will be degraded4 ,mr4 ,frith1 ,r4,a41 was next called4 ,truly1 ,ruskin found himself with strange supporters4 ,frith was chosen1 we have been told1 because ,ruskin wanted some one who could not be thought biased in his favour4 ,mr4 ,bowen3 ,are the pictures works of art8 ,frith3 ,i should say not4 ,mr4 ,bowen3 ,is the ,nocturne in ,blue and ,gold a serious work of art8 ,frith3 ,not to me4 ,it is not worth1 in my opinion1 two hundred guineas4 ,old ,battersea ,bridge does not convey the impression of moonlight to me in the slightest degree4 ,the colour does not represent any more than you could get from a bit of wallpaper or silk4 ,in cross-examination he contradicted himself1 and said that he thought ,mr4 ,whistler had very great power as an artist4 ,ruskin's final supporter was ,tom ,taylor1 critic of the ,times4 ,no1 he said1 the ,nocturne in ,black and ,gold was not a good picture1 and1 to prove it1 he read his own criticism in the ,times1 and his assertion there that the ,nocturnes were worth doing because they were the only things that ,whistler could do4 ,a portrait by ,titian was then shown1 in order to explain ,burne-,jones' idea of finish1 and the jury1 mistaking it for a ,whistler1 would have none of it4 ,mr4 ,bowen1 in summing up the case1 said that all that ,ruskin had done was to express an opinion on ,whistler's pictures--an opinion to which he adhered4 ,this was about all he could say except1 in conclusion1 to appeal to the jury4 ,there was no defence4 ,mr4 ,serjeant ,parry1 in his reply1 pointed out that they had not dared to ask if ,whistler deserved to be stigmatised as a wilful impostor1 and that even if ,ruskin had not been well enough to attend the court he might have been examined before a commission4 ,his decree has gone forth that ,whistler's pictures were worthless4 ,he has not supported that by evidence4 ,he has not condescended to give reasons for the view he has taken1 he has treated us with contempt1 as he treated ,whistler4 ,he has said3 ',i1 ,mr4 ,ruskin1 seated on my throne of art1 say what ,i please and expect all the world to agree with me4' ,mr4 ,ruskin is a great writer1 but not as a man2 as a man he has degraded himself4 ,his tone in writing the article is personal and malicious4 ,mr4 ,ruskin's criticism of ,mr4 ,whistler's pictures is almost exclusively in the nature of a personal attack1 a pretended criticism of art which is really a criticism upon the man himself1 and calculated to injure him4 ,it was written recklessly1 and for the purpose of holding him up to ridicule and contempt4 ,mr4 ,ruskin has gone out of his way to attack ,mr4 ,whistler personally1 and must answer for the consequences of having written a damnatory attack upon the painter4 ,this is what is called pungent criticism1 stinging criticism1 but it is defamatory1 and ,i hope the jury will mark their disapproval by their verdict4 ,the ,judge pointed out that there are certain words by ,mr4 ,ruskin1 about which ,i should think no one would entertain a doubt3 those words amount to a libel4 ,the critic should confine himself to criticism and not make it a veil for personal censure or for showing his power4 ,the question for the jury is1 did ,mr4 ,whistler's ideas of art justify the language used by ,mr4 ,ruskin8 ,and the further question is whether the insult offered--if insult there has been--is of such a gross character as to call for substantial damages8 ,whether it is a case for merely contemptuous damages to the extent of a farthing1 or something of that sort1 indicating that it is one which ought never to have been brought into court1 and in which no pecuniary damage has been sustained2 or whether the case is one which calls for damages in some small sum as indicating the opinion of the jury that the offender has gone beyond the strict letter of the law4 ,after an hour's deliberation1 the jury gave their verdict for the plaintiff--damages one farthing4 ,the ,judge emphasised his contempt by giving judgment for ,whistler without costs2 that is1 both sides had to pay4 ,it is said that ,whistler wore the farthing on his watch-chain4 ,we never saw it1 we never knew him to wear a watch-chain4 ,but he made a drawing of the farthing for ,the ,gentle ,art4 ,the whole thing was a hateful affair1 ,burne-,jones wrote to ,rossetti1 and many agreed with him1 though for other reasons4 ,the ,times1 the ,spectator1 and the ,portfolio pronounced the verdict satisfactory to neither party1 virtually a censure upon both4 ,mr4 ,graves1 who watched the trial without the responsibility he was disposed to meet1 says3 ,i have always felt that1 had the plaintiff's counsel impressed upon the jury that ,mr4 ,ruskin had mentioned the price asked for the picture1 a matter that has always been outside the critic's province1 as well as criticising them as works of art1 the result to ,mr4 ,whistler would have been more in his favour4 ,mr4 ,tom ,taylor was never asked whether he had ever criticised the price as well as the quality4 ,armstrong has told us of the suppression of important letters3 ,a little while before the trial ,i met ,whistler one evening at the ,arts ,club1 and he told me of his hopes of a favourable result4 ,my sympathies were entirely on his side4 ,he assured me that he had evidence1 which ,i believe could not fail to be effective1 in the shape of letters from ,leighton1 ,p4,r4,a42 ,burton1 ,director of the ,national ,gallery2 and ,poynter1 ,r4,a41 then ,director for ,art at ,s4,k41 speaking highly of the moonlight pictures4 ,these letters seemed to me most important1 for they were from people in official positions1 whose good words would have weighed with the ,british jurymen4 ,nothing was said about these letters in the newspaper reports1 and ,i asked ,jimmie the reason for this omission of the strongest evidence on his side4 ,he told me that the writers of the letters had objected to their being put in1 and so he had refrained from using them1 and without the personal testimony of the writers they would not have been accepted as evidence in court4 ,after the trial ,i saw ,holker and asked him if he had been helping to smirch any more poor artists4 ,he replied that he was bound to do the best he could for his client4 ,i told him he would never have allowed the exhibition of the pictures in court if he had been ,whistler's counsel1 and he asked3 ',why didn't ,jimmie have me8' ,i explained that ,i had recommended his being retained1 but it was objected that his fee would be too heavy1 and he said1 ',i'd have done it for nothing for ,jimmie4' ,i was very sorry that ,mr4 ,ruskin was not punished4 ,arthur ,severn wrote us that1 at the ,ruskin trial1 he was on the opposite side1 although my sympathies were rather with ,whistler1 whose ,nocturne in ,black and ,gold ,i knew to be carefully painted4 ,whenever we met he was most courteous1 understanding my position4 ,during the trial one of the ,nocturnes were handed across the court over the people's heads1 so that ,whistler might verify it as his work4 ,on its way1 an old gentleman with a bald head got a tap from the frame1 then the picture showed signs of falling out of its frame1 and when ,serjeant ,parry turned to ,whistler and said ',is that your work1 ,mr4 ,whistler8' the artist1 putting his eye-glass up and with his slight ,american twang1 said1 ',well1 it was1 but if it goes on much longer in that way1 ,i don't think it will be4' ,and when ,ruskin's ,titian was shown1 ',oh1 come1 we've had enough of those ,whistlers1' said a juryman4 ,i thought ,whistler looked anxious whilst the jury was away4 ,another trial came on so as not to waste time4 ,the court was dark1 and candles had to be brought in--it seemed to be about some rope1 and huge coils were on the solicitors' table4 ,a stupid clerk was being examined4 ,nothing intelligent could be got out of him1 and at last ,mr4 ,day1 one of the counsel 7afterwards the judge71 said1 ',give him the rope's end1' which produced great laughter in court1 in which ,whistler heartily joined4 ,then1 suddenly1 a hush fell2 the jury returned a verdict for ,whistler1 damages one farthing4 ,there was a report of an application for a new trial4 ,a desire was expressed that friends of artist and critic might adjust the dispute4 ,but ,whistler made no application1 called for no arbitration4 ,he accepted his farthing damages4 ,the ,british public rallied to their prophet1 and got up a subscription for the rich man4 ,it was managed by the ,fine ,art ,society4 ,the account was opened at the ,union ,bank of ,london in the names of ,burne-,jones1 ,f4 ,s4 ,ellis1 and ,mr4 ,marcus ,b4 ,huish1 and by ,december #aj a subscription list was published1 amounting already to one hundred and fifty-one pounds1 five shillings and sixpence1 headed by ,burne-,jones1 five guineas4 ,the costs were estimated at three hundred and eighty-five pounds1 and ,mr4 ,e4 ,t4 ,cook says that eventually they were paid by his friends4 ,according to ,w4 ,m4 ,rossetti1 ,whistler wrote to ,anderson ,rose1 saying it would be at least equally appropriate for a band of subscribers to pay his costs2 and1 he added1 ',and in the event of a subscription ,i would willingly contribute my own mite4' ,mr4 ,j4 ,p4 ,heseltine started a fund for ,whistler1 and a list was opened at the office of ,l',art1 #acd ,new ,bond ,street4 ,but nothing came of it1 except that ,whistler sent one of his pastels to ,mr4 ,heseltine4 ,for ,whistler1 the poor man1 the costs were not paid1 and he went through the bankruptcy court4 ,letters flowed into the papers4 ,there were interviews4 ,witticisms went the rounds4 ,whistler is reported to have said1 ,well1 you know1 ,i don't go so far as to ,burne-,jones1 but really somebody ought to burn ,jones' pictures6 ,a few journalists did not forget that ,whistler was an artist1 a few people were sympathetic1 a few congratulations were received at the ,white ,house4 ,if ,whistler was disappointed he kept it to himself4 ,he would have liked better to get his costs and damages1 he said4 ,but the verdict was a moral triumph4 ,he had gone into court not for damages but to vindicate his position1 and1 therefore1 that of artists4 ,whistler explained this position in ,whistler v4 ,ruskin--,art and ,art ,critics 7,december #ahgh71 the first of his series of pamphlets in brown-paper covers4 ,it was printed by ,spottiswoode1 though his idea was to have it lithographed by ,way1 and published by ,chatto and ,windus4 ,he dedicated it to ,albert ,moore4 ,it is a protest against the folly of the ,pen in venturing to criticise the ,brush4 ,literature is left to the literary man1 science to the scientist1 why then should art be at the mercy of the one who was never in it1 but whose boast it is that he is doing good to art4 ,the critics are all 'doing good'--yes1 they all do good to ,art4 ,poor ,art6 what a sad state the slut is in1 and these gentlemen shall help her4 ,ruskin resigned the ,slade ,professorship4 ,he wrote to ,dean ,liddell from ,brantwood 7,november #bh1 #ahgh7 that the result of the ,whistler trial left him no option4 ,i cannot hold a chair from which ,i have no power of expressing judgment without being taxed for it by ,british ,law4 ,unless he continued to be the ,pope and the ,prophet he believed himself1 he could not go on4 ,he could not stand criticism1 and he collapsed when his criticism was questioned4 ,the trial1 he wrote1 made his professorship a farce4 ,whistler suggested that ,ruskin might fill a ,chair of ,ethics instead4 ,il faut vivre1 was the cry of the art critic but ,whistler said1 ,je n'en vois pas la ncessit4 ,whistler won4 ,the trial was a triumph4 ,but he had to pay heavily for his victory4 ,illustration3 ,,portrait ,,of ,,mrs4 ,,louis ,,huth ,,arrangement ,,in ,,black4 ,,no4 ,,ii ,,oil ,in the possession of the ,executors of the ,family 7,see page #abf7 ,illustration3 ,,fanny ,,leyland ,,study ,,for ,,the ,,etching4 ,g4 #ajh ,,pencil ,,sketch ,formerly in the possession of ,j4 ,h4 ,wren1 ,esq4 7,see page #abd7 ,footnote #h3 ,this picture then belonged to ,mr4 ,graham1 and some years after at his sale at ,christie's was received with hisses4 ,it was purchased by ,mr4 ,robert ,h4 ,c4 ,harrison for sixty pounds1 and at the close of the ,london ,whistler ,memorial ,exhibition was sold for two thousand guineas to the ,national ,arts ,collection ,fund1 by whom it was presented to the nation4 ,it now hangs in the ,national ,gallery4 ,see ,chapter ,,xxix4 ,,chapter ,,xx3 ,,bankruptcy4 ,,the ,,years ,,eighteen ,,seventy-,,eight ,,and ,,eighteen ,,seventy-,,nine4 ,whistler's financial affairs were in hopeless confusion4 ,the builder's estimate for the ,white ,house was largely exceeded1 the cost of the trial had to be paid for1 the atelier waited for pupils1 and the debts brought from ,lindsey ,row were many4 ,he wrote to his mother at ,hastings of his economies and his hopes to pay his debts1 but he did not know the meaning of economy4 ,there is a legend of a grocer who had let a bill for tomatoes and fruit run up to six hundred pounds1 and when1 after the trial1 he insisted on settlement1 ,whistler said3 ,how--what--why--why1 of course1 you have sent these things--most excellent things--and they have been eaten1 you know1 by most excellent people4 ,think what a splendid advertisement4 ,and sometimes1 you know1 the tomatoes are not quite up to the mark1 the fruit1 you know1 not quite fresh4 ,and if you go into these unseemly discussions about the bill--well1 you know1 ,i shall have to go into discussions about all this--and think how it would hurt your reputation with all these extraordinary people4 ,i think the best thing is not to refer to the past--,i'll let it go1 and in the future we'll have a weekly account--wiser1 you know4 ,the grocer left without his money1 but was offered in payment two ,nocturnes1 one the upright ,valparaiso4 ,another story of the same grocer is that he arrived with his account as a grand piano was being carried in4 ,whistler said he was so busy he couldn't attend to the matter just then1 and the grocer thought if grand pianos were being bought1 it must be all right4 ,to a dealer in rugs ,whistler would have given three ,nocturnes in payment1 but the dealer refused and spent the rest of his life regretting it4 ,it was nothing unusual for bailiffs to be in possession1 or for bills to cover the walls4 ,the first time this happened1 ,whistler said to the people whom he invited to dine that they might know his house by the bills on it4 ,when someone complained that creditors kept him walking up and down all night1 ,whistler was amused3 ,dear me6 ,do as ,i do6 ,leave the walking up and down to the creditors6 ,of the bailiffs he made a new feature at his breakfasts4 ,mrs4 ,lynedoch ,moncrieff has told us of a ,sunday when two or three men waited with ,whistler's servant1 ,john1 and she said to ,whistler3 ,i am glad to see you've grown so wealthy4 ,ha1 ha6 ,bailiffs6 ,you know1 ,i had to put them to some use6 ,mr4 ,rossetti and his wife once found the same liveried attendants4 ',your servants seem to be extremely attentive1 ,mr4 ,whistler1 and anxious to please you1' one of the guests said4 ',oh yes1' was his answer1 ',i assure you they wouldn't leave me4' ,others remember a ,sunday when the furniture was numbered for a sale4 ,when breakfast was announced by a bailiff1 ,whistler said3 ,they are wonderful fellows4 ,you will see how excellently they wait at table1 and to-morrow1 you know1 if you want1 you can see them sell the chairs you sit on every bit as well4 ,amazing4 ,mrs4 ,edwin ,edwards wrote us that when three men were in possession1 he treated them while his friends carted away his pictures out of the back door4 ,others say that the bailiffs1 multiplied to seven1 were invited into the garden1 and given beer with a little something in it4 ,no sooner had they tasted than down went their heads on the table round which they sat4 ,people dining with ,whistler that evening were taken into the garden to see the seven sleepers of ,ephesus3 ,stick pins in them1 shout in their ears--see--you can't wake them6 ,all evening it rained and it rained1 and it thundered1 and it lightened1 and it hailed4 ,all night they slept4 ,morning came and they slept4 ,but at the hour when he had given them their glass the day before1 they all woke up and asked for more4 ,one of the bailiffs at the end of a week1 demanded his money4 ,whistler said3 ,if ,i could afford to keep you ,i would do without you4 ,but what is to become of my wife and family if ,i don't get my wages1 sir8 ,ha ha6 ,you must ask those who sent you here to answer that question4 ,really1 ,mr4 ,whistler1 sir1 ,i need the money4 ,oh ho6 ,have a man in yourself4 ,whistler said it was kind of them to see to such tedious affairs4 ,one he asked3 ,and how long will you be 'the man in possession8' ,that1 ,mr4 ,whistler1 sir1 depends on your paying ,mr4 ----'s bill4 ,awkward for me1 but perhaps more for you6 ,i hope you won't mind it1 though1 you know1 ,i fear your stay with me will be a lengthy one4 ,however1 you will find it not entirely unprofitable1 for you will see and hear much that may be useful to you4 ,when things got more desperate1 bills covered the front of the house1 announcing the sale4 ,whistler1 begging the bailiffs to be at home1 went one night to dine4 ,it was stormy1 and1 returning late1 he found that the rain had washed the bills loose and they were flapping in the wind4 ,he woke up the bailiffs1 made them get a ladder1 and paste every bill down again4 ,he had allowed them to cover his house with their posters1 but1 so long as he lived in it1 no man should sleep with it in a slovenly condition4 ,early in ,may #ahgi1 ,whistler was declared bankrupt4 ,his liabilities were four thousand six hundred and forty-one pounds1 nine shillings and three pence1 and his assets1 one thousand nine hundred and twenty-four pounds1 nine shillings and four pence4 ,in his long overcoat1 longer than ever1 swinging his cane lengthening in defiance1 his hat set jauntily on his curls1 he appeared in the ,city3 ,ha ha6 ,well1 you know1 here ,i am in the ,city6 ,amazing6 ,you know1 on the way1 ,i dropped in to see ,george ,lewis1 being in the neighbourhood1 and1 you know1 ha ha1 he gave me a paper for you to sign6 ,it was a petition in bankruptcy4 ,the creditors met at the ,inns of ,court ,hotel in ,june4 ,sir ,thomas ,sutherland was in the chair1 and ,leyland1 the chief creditor1 and various ,chelsea tradesmen attended4 ,the only novelty in the proceedings was a speech by ,whistler on plutocrats1 men with millions1 and what he thought of them1 and it was with difficulty he was called to order4 ,a committee of examiners was appointed1 composed of ,leyland1 ,howell1 and ,thomas ,way4 ,leyland was not let off by ,whistler4 ,as ,michael ,angelo1 painting the walls of the ,sistine ,chapel1 plunged the critic who had offended him into hell1 so ,whistler immortalised the man by whom he thought himself wronged4 ,he painted three pictures4 ,the first was ,the ,loves of the ,lobsters--an ,arrangement in ,rats1 the most prominent lobster in the shirt-frills of ,leyland4 ,whom the gods wish to make ridiculous1 they furnish with a frill6 he said1 and the saying was repeated until it reached ,leyland1 as he meant it should4 ,the second was ,mount ,ararat1 ,noah's ,ark on a hill1 with little figures all in frills4 ,the third was the ,gold ,scab--,eruption in ,frilthy ,lucre1 a creature1 breaking out in scabs of golden sovereigns1 wearing the frill1 seated on the ,white ,house playing the piano4 ,the hideousness of the figure is more appalling because of the colour1 the design4 ,a malicious joke begun in anger1 ,mr4 ,arthur ,symons has described it1 from which beauty exudes like the scent of a poisonous flower4 ,years after1 when it was exhibited at the ,goupil ,gallery1 one of the serious new critics regretted that ,whistler allowed himself to be influenced by ,beardsley4 ,these caricatures alone were in the studio when ,leyland and the committee made the inventory4 ,augustus ,hare wrote 7,may #ac1 #ahgi7 of a visit in the meantime3 ,this morning ,i went with a very large party to ,whistler's studio4 ,we were invited to see the pictures1 but there was only one there1 ,the ,loves of the ,lobsters4 ,it was supposed to represent ,niagara1 and looked as if the artist had upset the inkstand1 and left ,providence to work out its own results4 ,in the midst of the black chaos were two lobsters curveting opposite each other1 and looking as if they were done with red sealing-wax4 ',i wonder you did not paint the lobsters making love before they were boiled1' aptly observed a lady visitor4 ',oh1 ,i never thought of that1' said ,whistler4 ,it was a joke1 ,i suppose4 ,the little man1 with his plume of white hair 7'the ,whistler tuft' he calls it7 waving on his forehead1 frisked about the room1 looking most strange and uncanny1 and rather diverted himself over our disappointment in coming so far and finding nothing to see4 ,people admire like sheep his pictures in the ,grosvenor ,gallery1 following each other's lead because it is the fashion4 ,worried as he was1 ,whistler sent to the ,grosvenor of #ahgi the ,portrait of ,miss ,rosa ,corder1 ,portrait of ,miss ,connie ,gilchrist1 ,the ,pacific1 ,nocturne in ,blue and ,gold1 six etchings1 two studies in chalk1 and three pastels4 ,his etching1 ,old ,putney ,bridge1 was at the ,royal ,academy4 ,the critics talked the usual nonsense1 and have since repented it4 ,mr4 7now ,sir7 ,frederick ,wedmore distinguished himself by an article3 ,mr4 ,whistler's ,theories and ,mr4 ,whistler's ,art1 in the ,nineteenth ,century 7,august #ahgi71 and afterwards reprinted in ,four ,masters of ,etching 7#ahhc74 ,he could appreciate ,whistler's work as little as he could understand ,art and ,art ,critics1 and from its wit was--and is--still smarting4 ,whistler he placed as3 ,long ago an artist of high promise4 ,now he is an artist often of agreeable1 though sometimes of incomplete and seemingly wayward performance4444 ,that only the artist should write on art by continued reiteration may convince the middle-class public that has little of the instinct of art4 ,but1 sirs1 not so easily can you dispense with the services of ,diderot and ,ruskin4 ,wedmore had apparently never heard of ,cennini and ,drer1 ,vasari and ,cellini1 ,da ,vinci and ,reynolds and ,fromentin1 who remain1 while ,diderot and ,ruskin and ,wedmore himself are discredited or forgotten4 ,he regretted that ,whistler's painted work is somewhat apt to be dependent on the innocent error that confuses the beginning with the end4 ,he condemned the ,portrait of ,henry ,irving as a murky caricature of ,velasquez1 the ,carlyle as a doleful canvas4 ,the ,nocturnes were encouraging sketches1 with an effect of harmonious decoration1 so that a dozen or so of them on the upper panels of a lofty chamber would afford even to the wallpapers of ,william ,morris a welcome and justifiable alternative4444 ,they suffer cruelly when placed against work not1 of course1 of petty and mechanical finish1 but of patient achievement4 ,but they have a merit of their own1 and ,i do not wish to understate it4 ,whistler had never mastered the subtleties of accurate form2 the interest of life--the interest of humanity had little occupied him1 but ,wedmore hoped that the career1 begun with promise1 might not close in work too obstinately faithful to eccentric error4 ,by his etchings his name might aspire to live1 though1 for his fame1 ,mr4 ,whistler has etched too much1 or at least has published too much1 though there is commonness and vulgarity in the figures in many prints1 though he lacked the art1 the patience1 or the will to continue others4 ,the future will forget his disastrous failures1 to which in the present has somehow been accorded1 through the activity of friendship1 or the activity of enmity1 a publicity rarely bestowed upon failures at all4 ,in the same month and year1 ,august #ahgi1 an ,american1 ,mr4 ,w4 ,c4 ,brownell1 published in ,scribner's ,monthly an article on ,whistler in ,painting and ,etching4 ,he treated ,whistler and his work with a seriousness in significant contrast to ,wedmore's clumsy flippancy4 ,this was the first intelligent ,american article in ,whistler's support1 and it was illustrated by wood-engravings of his paintings and prints4 ,amidst the torrent of abuse1 it came when ,whistler most needed it4 ,but it was not taken seriously1 and much was made of ,mr4 ,brownell's slip in describing the dry-point ,jo as a portrait of ,whistler's brother4 ,whistler1 left homeless by his bankruptcy1 revived the plan for the journey to ,venice1 and a series of etchings there4 ,he suggested it to ,ernest ,g4 ,brown1 ,messrs4 ,seeley's representative when the ,billingsgate was published in the ,portfolio1 and now with the ,fine ,art ,society who1 at his persuasion1 had brought out four of the ,london plates this year3 ,free-,trade ,wharf1 ,old ,battersea ,bridge1 ,old ,putney ,bridge1 and ,the ,little ,putney1 ,no4 #a4 ,they liked the new scheme so well that they gave ,whistler a commission for twelve plates in ,venice to be delivered in three months' time4 ,one hundred proofs of each were to be printed1 and he was to receive1 we believe1 twelve hundred pounds4 ,by ,september #g 7#ahgi71 ,whistler apparently in great spirits1 though everything was to be sold up1 was arranging his route to ,venice says ,mr4 ,cole4 ,from the receiver he had permission to destroy unfinished work4 ,copperplates were scratched and pictures smeared with glue1 stripped off their stretchers and rolled up4 ,then he packed his trunk1 wrote over his front door3 ,except the ,lord build the house1 they labour in vain that build it4 ,e4 ,w4 ,godwin1 ,f4,s4,a41 built this one1 and started for ,venice4 ,the ,white ,house was sold on ,september #ah1 #ahgi1 to ,mr4 ,harry ,quilter1 who paid for it two thousand seven hundred pounds in money at the time1 and later in ,whistler's jeers4 ,the public laughed at the furniture and effects1 at which even a broker's man would turn up his nose4 ,if ever the seamy side of a fashionable artist's existence was shown1 it was during that auction in ,chelsea4444 ,truly1 if ,ruskin had wished to have his revenge1 he might have enjoyed it at the ,white ,house1 when his prosecutor's specially built-to-order abode was characterised as a disgrace to the neighbourhood by ,philistinic spectators1 and its contents supplied material for the rude jokes of ,hebrew brokers and the special correspondent of the ,echo4 ,two wooden spoons1 a rusty knife handle and two empty oil tins1 was one of the lots4 ,rolls of canvases were carried off for a few shillings4 ,out of them came a ,valparaiso1 a ,cremorne ,gardens1 the portrait of ,sir ,henry ,cole1 a ,white ,girl and a ,blue ,girl1 the portrait of ,miss ,florence ,leyland1 in such a condition that nothing now remains but the two blue pots of flowers on either side4 ,the ,cremorne ,gardens1 a few years after ,whistler's death1 was sold by ,t4 ,r4 ,way for twelve hundred pounds to ,mr4 ,a4 ,h4 ,hannay4 ,then an effort was made to sell it1 through ,london dealers1 for almost four times the price to the ,melbourne ,gallery1 where there were no ,whistlers and where1 therefore1 those who had ,whistler's interests at heart thought it would not represent him worthily4 ,later on the painting was sold to the ,metropolitan ,museum1 ,new ,york4 ,it was first cleaned by ,t4 ,r4 ,way1 and when we saw it and had it photographed for the earlier edition of this book1 it contained portraits of both ,leyland and ,whistler4 ,it has since been cleaned again and the portraits have completely disappeared4 ,whether the ,metropolitan is responsible for the vandalism we do not know4 ,but we do know that it is this way history is wiped from the face of the earth by the restorer4 ,thomas ,way1 at the sale1 bought ,the ,lobsters and ,mount ,ararat4 ,other pictures went astray or disappeared temporarily1 for a few intelligent people were at the sale4 ,whistler wrote to ,mrs4 ,william ,whistler from ,venice begging her to trace and find them1 which she was unable to do4 ,but they are turning up now4 ,whistler's china1 prints1 and a few pictures were reserved for a sale at ,sotheby's1 on ,thursday1 ,february #ab1 #ahhj4 ,the title-page of the catalogue is3 ,in ,liquidation4 ,by order of the ,trustees of ,j4 ,a4 ,mc,n4 ,whistler4 ,catalogue of the ,decorative ,porcelain1 ,cabinets1 ,paintings and other ,works of ,art of ,j4 ,a4 ,mc,n4 ,whistler4 ,received from the ,white ,house1 ,fulham1 comprising ,numerous ,pieces of ,blue and ,white ,china2 the ,painting in ,oil of ,connie ,gilchrist1 ,dancing with a ,skipping-,rope1 styled ,a ,girl in ,gold1 by ,whistler2 ,a ,satirical painting of a ,gentleman1 styled ,the ,creditor1 by ,whistler4 ,crayon ,drawings and ,etchings1 ,cabinets1 and ,miscellaneous ,articles4 ,when ,leyland learned that the ,gold ,scab--,the ,creditor1 was in the sale he did his best to have it removed4 ,dealers and amateurs were there3 ,way1 ,oscar ,wilde1 ,huish1 ,the ,fine ,art ,society1 ,dowdeswell1 ,lord ,redesdale1 ,deschamps1 ,wickham ,flower1 and ,howell were purchasers4 ,howell secured the ,japanese screen1 the background of the ,princesse du ,pays de la ,porcelaine4 ,the ,japanese bath fell to ,mr4 ,jarvis4 ,the ,creditor was bought by ,messrs4 ,dowdeswell for twelve guineas1 vanished1 turned up in the ,king's ,road1 ,chelsea1 years later1 and was purchased by ,mr4 ,g4 ,p4 ,jacomb-,hood for ten pounds1 and is now in the collection of ,mrs4 ,spreckles in ,san ,francisco4 ,it is one of the documents ,mr4 ,freer should have--and could have had--as he should have the ,whistler with the brushes1 the ,mrs4 ,leyland1 the ,dr4 ,whistler1 and others which would add enormously to the historic value as well as artistic completeness of his collection4 ,connie ,gilchrist was sold to ,mr4 ,wilkinson for fifty guineas4 ,whistler's bust by ,boehm was bought by ,way for six guineas4 ,a crayon sketch1 catalogued as a portrait of ,sarah ,bernhardt1 was knocked down for five guineas to ,oscar ,wilde1 who asked her to sign it1 which she did1 writing that it was very like her4 ,it might have been handed down as her portrait1 had it not appeared at ,oscar ,wilde's sale1 and found its way back to ,whistler1 who declared that ,madame ,bernhardt never sat to him4 ,the sale at ,sotheby's realised three hundred and twenty-eight pounds1 nineteen shillings4 ,,chapter ,,xxi3 ,,venice4 ,,the ,,years ,,eighteen ,,seventy-,,nine ,,and ,,eighteen ,,eighty4 ,for years ,whistler wanted to go to ,venice4 ,when he got there he found it a difficult place to work in4 ,it was cold1 and he felt the cold4 ,it is almost impossible to hold a copper-plate or a needle with numbed fingers1 and ,venice in ice made him long for ,london in fog4 ,he would gladly have exchanged the ,square of ,st4 ,mark's for ,piccadilly1 a gondola for a hansom4 ,even ,ruskin says this4 ,affairs in ,london worried him4 ,he wrote for news of the vanished pictures4 ,he knew that his letters had got into second-hand bookshops--even letters to his mother4 ,he was ill and the ,doctor was far away4 ,venice he thought beautiful1 most beautiful after rain when1 he wrote his mother1 the colour and reflections were gorgeous4 ,the ,venetian masters interested him4 ,at the ,scuola di ,san ,rocco he is remembered climbing up for a closer look at the ,tintorettos4 ,veronese and ,titian were great swells2 ,canaletto and ,guardi1 great masters4 ,he went to ,st4 ,mark's for ,mass at ,christmas1 though he wrote that the ceiling of ,the ,peacock ,room was more splendid than the dome4 ,but1 as he told ,fantin years before1 it was a waste of time to search for new subjects1 and all subjects were new to him in ,venice4 ,countess ,rucellai 7,miss ,edith ,bronson7 writes that he used to say ,venice was an impossible place to sit down and sketch1 'there was something still better round the corner4' ,mr4 ,henry ,woods says3 ,he wandered for motives1 but no matter how much he wandered1 and appeared to loaf1 when he found a subject he worked with a determination that no cold and cheerlessness could daunt4 ,i remember his energy--and suffering--when doing those beautiful pastels1 nearly all done during the coldest winter ,i have known in ,venice1 and mostly towards evening when the cold was bitterest6 ,he soon found out the beautiful quality of colour there is here before sunset in winter4 ,he had a strong constitution4 ,he was only unwell once with a bad cold4 ,the ,fine ,art ,society asked him to make twelve plates in three months4 ,the plates were not started for weeks1 and the ,fine ,art ,society demanded what he was doing4 ,the answer was at first silence and then a request for more money4 ,the ,fine ,art ,society began to doubt and ,whistler was furious4 ,then reports came that he was doing enormous plates they had not ordered4 ,howell and others said that ,whistler would never come back1 and ,academicians laughed at the idea of the ,society getting either plates or their money from such a charlatan4 ,with each new suggestion of doubt1 ,whistler's fury grew4 ,amazing their letters and mine1 but1 perhaps1 not for the public4 ,the delay was his care4 ,even ,frank ,duveneck1 most procrastinating of mortals1 made his ,venetian etchings1 and ,otto ,bacher changed his style and did his ,venetian plates1 before ,whistler found his subjects4 ,it amused him to tell the ,american ,consul that idleness is the virtue of the artist1 but it was a virtue he denied himself4 ,it was the same old story he wrote his mother1 ,i am at my work the first thing at dawn and the last thing at night4 ,he could not stand the ,venetian crowd1 and he worked as much as possible out of windows4 ,he did little from gondola or sandolo4 ,to the tourist1 a gondola is a thing of joy2 to the worker1 it is a terrible1 unstable studio1 and even in the old days it cost a hundred francs a month1 but then1 the gondolier was your slave4 ,he mostly left the monuments of ,venice1 as of ,london1 alone4 ,in ,london he preferred ,battersea and ,wapping to ,westminster and ,st4 ,paul's2 in ,venice little canals and calli1 doorways and gardens1 beggars and bridges made a stronger appeal to him than churches and palaces4 ,he deliberately avoided the motives of ,guardi and ,canaletto4 ,to reproduce the masterpieces of the masters is1 he said1 an impertinence1 and he found for himself a ,venice in ,venice4 ,whistler1 ,mr4 ,howard ,walker tells us1 took a room in the ,palazzo ,rezzonico1 where he would paint the sunset and then swear at the sun for setting4 ,we know of no work done from the palace1 though ,the ,palaces which he etched are on the opposite side of the ,grand ,canal4 ,mr4 ,ross ,turner remembers that he found ,whistler in a small house with a small garden in front near the ,frari1 no doubt the quarters of which ,otto ,bacher speaks1 and ,mr4 ,turner remembers1 too1 that canvases were hanging on the wall1 and a large one1 with a big gondolier sketched on it1 stood by the door4 ,he was living then in the ,rio ,san ,barnaba1 and there ,maud came to join him4 ,she could tell the whole story1 but she will not4 ,bacher says ,whistler wore a large1 wide-brimmed1 soft1 brown hat tilted far back1 suggesting a brown halo4 ,it was a background for his curly black hair and singular white lock4444 ,a dark sack-coat almost covered an extremely low turned-down collar1 while a narrow black ribbon did service as a tie1 the long1 pennant-like ends of which1 flapping about1 now and then hit his single eye-glass4 ,bacher describes him in evening dress without a tie1 and ,mr4 ,forbes recalls his coming without one to the ,bronson's1 and ,bronson saying it was sad to see artists so poor that they could not afford a necktie4 ,bacher also quotes ,whistler as always substituting ,whistler for ,i in his talk1 which we never knew him to do and it seems little like him4 ,several of ,duveneck's pupils followed on from ,florence in #ahhj1 and they lived in the ,casa ,jankovitz1 the house that juts out squarely at the lower end of the ,riva degli ,schiavoni1 all ,venice in front of it4 ,whistler was enchanted with the place when he went to see them1 and moved there4 ,he had one room1 the windows looking over the ,lagoon1 and from them the etchings and pastels of the ,riva and the ,lagoon were made4 ,many things are told of this room1 of plates bitten on the top of the bureau1 the acid running down1 and the scramble to save his shirts in the drawers beneath4 ,other stories are of the printing-press on which ,canaletto's plates may have been pulled and many of ,duveneck's and ,bacher's were2 the press which used to work up to a certain point and then go with such a rush that it had to be stopped1 for fear the bed would come out on the floor4 ,there was a large colony of foreign artists and art lovers and a club1 ,english in name1 really cosmopolitan1 in ,venice1 where ,whistler met ,rico1 ,wolkoff1 ,van ,haanen1 ,tito1 ,blaas1 if he had not already met them on the ,piazza4 ,alexander1 ,rolshoven1 ,de ,camp1 and ,bacher were with ,duveneck4 ,harper ,pennington came in the autumn1 and ,scott1 ,ross ,turner1 ,blum1 ,woods1 ,bunney1 ,jobbins1 and ,logsdail were amongst the other men he knew4 ,the ,american ,consul ,grist1 and the ,vice-,consul ,graham1 were persons of importance1 and the ,united ,states ,consulate a meeting-place4 ,mrs4 ,bronson lived in ,casa ,alvisi1 the ,brownings and the ,curtises had houses in ,venice1 and with all three families ,whistler became intimate4 ,londoners turned up4 ,harry ,quilter told of one encounter3 ,in the spring of #ahhj ,i spent a few weeks in ,venice4 ,i had been drawing for about five days1 in one of the back canals1 a specially beautiful doorway1 when one morning ,i heard a sort of war-whoop1 and there was ,whistler1 in a gondola1 close by1 shouting out as nearly as ,i can remember3 ',hi1 hi6 ,what6 ,what6 ,here1 ,i say1 you've got my doorway6' ',your doorway8 ,confound your doorway6' ,i replied4 ',it's my doorway1 ,i've been here for the last week4' ',i don't care a straw1 ,i found it out first4 ,i got that grating put up4' ',very much obliged to you1 ,i'm sure2 it's very nice4 ,it was very good of you4' ,and so for a few minutes we wrangled1 but seeing that the canal was very narrow1 and that there was no room for two gondolas to be moored in front of the chosen spot1 mine being already tied up exactly opposite1 ,i asked him if he would not come and work in my gondola4 ,he did so1 and1 ,i am bound to say1 turned the tables on me cleverly4 ,for1 pretending not to know who ,i was1 he described me to myself1 and recounted the iniquities of the art critic of the ,times1 one '',arry ,quilter4' ,everybody says ,whistler was penniless in ,venice1 always borrowing1 why1 we do not know1 unless the money went to pay for things in ,london4 ,but there were dinners and ,sunday breakfasts4 ,many were given in a little open-air trattoria1 near the ,via ,garibaldi4 ,the ,panada1 the noisiest of noisy restaurants1 was one of his haunts1 and there was another opposite the old post-office4 ,the food1 nothing but fowl1 he wrote1 tired him so that he surprised himself by spending a fortune on tea1 and carrying home strange pieces of fat1 which he tried to fry into resemblance of the slices of bacon served by ,mrs4 ,cossens1 his ,chelsea housekeeper4 ,mr4 ,scott says3 ,if ,whistler could not lay a table1 he knew how to turn out tasty little dishes over a spirit-lamp2 and it was not long before the inevitable ,sunday breakfasts were instituted in that little room4 ,polenta l' ,amricaine1 which he had induced the landlady to prepare under his direction1 we used to eat with such sort of treacle1 alias golden syrup1 as could be obtained4 ,fish was cheaper and more plentiful then than now in the ,water ,city1 and the lanky serving-women could fry with the best of the famous ,ciozzotte4 ,the 'thin red wine' of the country1 in large flasks at about sixpence a quart1 was plentiful1 and these simple things1 with the accompanying 'flow of soul' made a feast for the gods4 ,there was no room for many guests at one time1 but ,henry ,woods1 ,ruben1 ,w4 ,graham1 ,butler1 and ,roussoff were often with us4 ,days were spent on the ,lido1 and1 doubtless he went to ,chioggia1 ,murano1 ,burano1 and ,torcello4 ,these little journeys were more costly and difficult then than now1 and there are no plates except of the ,lido and the ,murano ,glass-,furnace1 and no pastels except one or two on the ,lido4 ,whistler loved the nights at the never-closed clubs in the ,piazza1 ,florian's and the ,quadri1 or the ,orientale on the ,riva1 where the coffee was just as good and two centessimi cheaper4 ,around these nights endless legends are growing1 and like all the legends1 they are such a part of ,whistler they cannot be ignored4 ,no one delighted in them more than he1 no one ever told them so well4 ,they became the favourite yarns of ,duveneck's boys1 to which we listened many an evening when we came to ,venice four years later4 ,it was then we first heard of ,wolkoff1 or ,roussoff as he is known in ,bond ,street1 and his boast that he could make pastels like ,whistler's and the ,americans' bet of a champagne dinner that he couldn't1 and the evening in the ,casa ,jankovitz1 when ,rico1 ,duveneck1 ,curtis1 ,bacher1 ,woods1 and ,van ,haanen recognised ,wolkoff's work and every time one of his pastels was produced cried3 ,take it away6 ,the ,russian said to ,whistler after dinner3 ,you know1 you scratch a ,russian1 and you find a ,tartar6 ,ha ha6 said ,whistler1 ,i've scratched an artist and found an ama-,tartah6 ,another story was of the tiny glass figure1 or maybe a little black baby from the shrine of ,st4 ,anthony at ,padua1 dropped into ,whistler's glass of water at the caf1 where it looked like a little devil bobbing up and down1 so that ,whistler1 when he saw it1 thought something was wrong with his eyes1 and sipped the water and shook the glass1 and the more he sipped and shook the more the little devil danced1 and finally he upset the glass over everybody1 and the little demon fell in his lap4 ,and there was another of the night when a barca1 with a transparency showing ,nocturnes and a band playing ,yankee-,doodle1 moved up and down the ,grand ,canal and along the ,riva1 never stopping until it was greeted with a loud ,ha ha6 from the darkness4 ,and we heard of the day when ,whistler1 seeing ,bunney on a scaffold struggling with ,st4 ,mark's1 his life-work for ,ruskin1 fastened a card1 ,i am totally blind1 to his coat-tail4 ,and we were told of the hot noon when ,whistler1 leaning out of his window1 discovering a bowl of goldfish below on the window-ledge of his landlady1 against whom he had a grudge1 let down a fishing-line1 caught the fish1 fried them1 dropped them back into the bowl1 and watched the return of their owner1 who was sure her fish had been fried by the sun4 ,and the story of ,blum and ,whistler1 without a schei1 crossing the ,academy ,bridge1 ,blum sticking in his eye a little watch with a split second-hand that went round so fast the keeper thought he had the evil eye1 and they got over without paying2 or of the boys' farewell fte to ,whistler in ,august when it was rumoured he was going1 and in a coal barge1 which ,bacher transforms into a fairy-like floating bower festooned with the wealth of autumn1 a feast of melons and salads and ,chianti was spread and eaten as they drifted up the ,grand ,canal with the tide1 the lights of their lanterns bringing everyone to stare1 until the rain drove them under the ,rialto1 where they spent the rest of the night1 and then ,whistler didn't go after all4 ,when ,whistler left they say he asked the authors of these adventures up to his room and showed them a number of prints1 and said1 ,now1 you boys have been very good to me all this time and ,i want to do something for you1 and he turned over his prints carefully1 and said1 ,i have thought it out1 and he took one1 a spoiled one1 and he counted their heads1 and he cut it into as many pieces as there were people1 and presented a fragment to each1 and as they marched downstairs all they heard was ,ha ha6 ,these1 and hundreds like them1 are the legends you hear on the ,piazza4 ,two friends of the ,venetian days1 ,mr4 ,harper ,pennington and ,mr4 ,ralph ,curtis1 have sent us their impressions4 ,mr4 ,harper ,pennington writes us3 ,he gave me many lessons there in ,venice4 ,he would hook his arm in mine and take me off to look at some ,nocturne that he was studying or memorising1 and then he would show me how he went about to paint it--in the daytime4 ,he let me--invited me1 indeed1 to stand at his elbow as he set down in colour some effect he loved from the natural things in front of us4 ,what became of many such--small canvases1 all of them--,i do not know4 ,the ,st4 ,george ,nocturne1 ,canfield has4 ,who owns ,the ,faade of ,san ,marco8#i ,there was an upright sunset1 too1 looking from my little terrace on the ,riva degli ,schiavoni over towards ,san ,giorgio1 and others that ,i saw him work on in #ahhj4 ,mr4 ,curtis gives us other details3 ,shortly before his return to ,england with some of the etchings and the pastels1 he gave his friends a tea-dinner4 ,as seeing the best of his ,venetian work was the real feast1 the hour for the hors d'oeuvre1 consisting of sardines1 hard-boiled eggs1 fruit1 cigarettes1 and excellent coffee prepared by the ever-admirable ,maud1 was arranged for six o'clock4 ,effective pauses succeeded the presentation of each masterpiece4 ,during these entr'actes ,whistler amused his guests with witty conjectures as to the verdict of the grave critics in ,london on 'these things4' ,one of his favourite types for sarcasm used to be the eminently respectable ,londoner who is 'always called at #h4cj1 closed-shaved at a quarter to #i1 and in the ,city at #aj4' ',what will he make of this8 ,serve him right too6 ,ha ha6' ,whistler was a constant and ever-welcome guest at ,casa ,alvisi1 the hospitable house of ,mrs4 ,bronson1 whom he often called ,santa ,cattarina ,seconda4 ,during happy years1 from lunch till long past bedtime1 her house was the open rendezvous for the rich and poor1 the famous and the famished1 les rois en exil and the heirs-presumptive to the thrones of fame4 ,whistler there had his place1 and he held the floor4 ,one night a curious contrast was the great and genial ,robert ,browning commenting on the projected form of a famous ',jimmy letter' to the ,world4 ,very late1 on hot scirocco nights1 long after the concert crowd had dispersed1 one little knot of men might often been seen in the deserted ,piazza1 sipping refreshment in front of ,florian's4 ,you might be sure that was ,whistler in white duck1 praising ,france1 abusing ,england1 and thoroughly enjoying ,italy4 ,he was telling how he had seen painting in ,paris revolutionised by innovators of powerful handling3 ,manet1 ,courbet1 ,vollon1 ,regnault1 ,carolus ,duran4 ,he felt far more enthusiasm for the then recently resuscitated popularity of ,velasquez and ,hals4 ,the ars celare artem of ,terborgh and ,vermeer always delighted him--the mysterious technique1 the discreet distinction of execution1 the 'one skin all over it1' of the minor masters of ,holland was one of his eloquent themes4 ,to ,whistler it was a treat when a ,frenchman arrived in ,venice4 ,if he could not like his paint1 he certainly enjoyed his language4 ,french seemed to give him extra exhilaration4 ,from beginning to end he owed much to the ,french for first recognising what he had learned from ,japan4 ,footnote #i3 ,mr4 ,j4 ,j4 ,cowan was for some years the owner1 and he sold it to the ,french ,gallery4 ,,chapter ,,xxii3 ,,venice4 ,,the ,,years ,,eighteen ,,seventy-,,nine ,,and ,,eighteen ,,eighty ,,continued4 ,nothing in ,whistler's life is more astonishing than the praise and blame raised by the ,venetian pastels on their exhibition in ,london4 ,artists fought over them4 ,to some1 they were original1 they gave the character of ,venice2 to others1 they were cheap1 anybody could do them4 ,both were wrong1 as both always were4 ,anybody cannot do them2 he had been making pastels3 the subject1 not the method1 was new4 ,had some of the combatants visited the ,academy at ,venice1 they might have discovered his inspiration in the drawings of the ,old ,masters1 where he had found it years before at the ,louvre4 ,he was only carrying on tradition4 ,whistler used coloured paper for the pastels because it gave him1 without any work1 the foundation of his colour-scheme in the simplest manner1 and because he could work straight away on it1 and not ruin the surface and tire himself getting the tone4 ,bacher describes him in his gondola laden with pastels4 ,but his materials were so few that he could wander on foot in the narrow streets1 the best way to work as everyone who has worked in ,venice knows4 ,for it is difficult to find again a place1 and impossible to see again the effect1 that fascinated you4 ,he carried only a little portfolio or drawing-board1 some sheets of tinted paper1 black chalk1 half a dozen pastels1 and varnished or silver-coated paper to cover the drawing when finished4 ,once he found what he wanted1 he made a sketch in black chalk and then with pastel hinted the colour of the walls1 the shutters1 the spots of the women's dresses1 putting in the colour as in mosaic or stained glass between the black lines1 never painting1 but noting the right touch in the right place1 keeping the colour pure4 ,it looked so easy1 only the doing it was the difficulty1 he would say4 ,when he finished the drawings he showed them4 ,mr4 ,scott recalls that the latest pastels used to be brought out for inspection4 ,whistler would always show his sketches in his own way or not at all4 ,in the absence of a proper easel and a proper light1 they were usually laid on the floor4 ,illustration3 ,,whistler ,,in ,,his ,,studio ,,oil ,in the ,chicago ,art ,institute 7,see page #acj7 ,illustration3 ,,maud ,,standing ,,etching4 ,g4 #aad 7,see page #abe7 ,the painter fellows were startled by their brilliancy1 ,whistler told his mother1 and he thought rather well of them himself4 ,the pastels have been praised with the inconsequence characteristic of so much praise of his work4 ,the drawing often is either not good in itself or so slight as to be of little importance4 ,the beauty is in the suggestion of colour or the arrangement of line4 ,though he passed the spring1 summer1 winter1 and part of two autumns in the city there is no attempt1 save in a few sunsets1 to give atmospheric effect1 or the season1 or the time of year4 ,what he saw that pastel would do1 what he made it do1 was to record certain lines and to suggest certain colours4 ,critics and artists1 having never studied pastel1 were unaware of what had been done with it4 ,the revival did not come for some years after ,whistler showed his ,venetian series1 when there was a boom all over the world1 and pastel societies were started1 most of which have since collapsed4 ,the boom in etching commenced years before ,whistler went to ,venice4 ,there were standards3 ,whistler had already accomplished great things1 after a formula laid down by ,drer1 ,rembrandt1 and ,hollar4 ,therefore1 when he made etchings which struck the uncritical1 and even those who cared1 as something new1 the uncritical were shocked because their preconceived notions were upset1 and those who cared were astonished4 ,the difference between the ,venetian and the ,london plates was so great that the two series might be attributed to two men4 ,this was due partly to the difference between ,london and ,venice seen by an artist sensitive to the character of places1 but more to the difference of technique between the earlier and the later plates4 ,not so many years ago1 talking to him about this subject1 we said that the ,venetian plates seemed to be done in a new way4 ,it so happened that the ,adam and ,eve--,old ,chelsea and ,the ,traghetto were1 as they are now1 hanging almost side by side on our walls4 ,in five minutes he proved that one was the outgrowth of the other1 and that there was a natural development from the beginning of his work4 ,until the ,london ,memorial ,exhibition it was impossible to trace this1 because the prints had never been hung together chronologically1 not even at the ,grolier ,club1 in ,new ,york1 where1 for want of space1 two separate shows were made4 ,before ,whistler exhibited his ,venetian plates most people knew nothing but the ,french ,set and the ,thames ,set4 ,the intermediate stages had not been followed1 and the ,venetian plates seemed a new thing4 ,but the difference between them and the ,thames series is one of development4 ,whistler always spoke of the ,black ,lion ,wharf as boyish1 though it is impossible to conceive of anything of its kind more complete4 ,his estimate has been accepted by many4 ,mr4 ,bernhard ,sickert1 in writing of it1 thinks it misleading to say that every tile1 every beam has been drawn4 ,these details are merely filled in with a certain number of strokes of a certain shape1 accepted as indicating the materials of which they are constructed4 ,when an etching is in pure line and owes little to the printer1 as in this case1 it is the wonderful arrangement of lines1 the wonderful lines themselves1 which make you feel that everything1 every beam and every tile1 has been drawn2 that every detail actually has been drawn we did not suppose anybody would be so absurd as to imagine4 ,the character of the lines gives you this impression1 which is exactly what the artist wanted1 and this is what proved ,whistler an impressionist4 ,another critic has said that ,whistler exhausted all his blacks on the houses4 ,he did nothing of the sort4 ,he concentrated them there1 and did not take away from the interest of the wharf he was drawing by an equal elaboration in the boats1 the barges1 and the figures4 ,as he learned more he gave up his literal1 definite method4 ,instead of drawing the panes of a window in firm outline1 he suggested them by drawing the shadows and the reflected lights with short strokes1 and scarcely any outline4 ,in the ,london plates he got the effect on his buildings by different bitings4 ,in ,venice he suggested the shadows4 ,in both1 the figures in movement are nearly the same1 but there is a great advance in the drawing in the ,venice plates1 where they give the feeling of life4 ,in the ,millbank and the ,lagoon1 the subjects1 or the dominating lines in the subjects1 are the same1 a series of posts carrying the eye from the foreground to the extreme distance1 but their treatment in the ,venetian plate1 as well as the drawing of the figures1 is more expressive4 ,simplicity of expression has never been carried further4 ,probably the finest plate1 in its simplicity and directness1 is ,the ,bridge4 ,whistler now obtained the quality of richness by suggesting detail1 and also by printing4 ,in ,the ,traghetto there is the same scheme as in ,the ,miser and ,the ,kitchen1 but the ,venice plate is more painter-like4 ,without taking away from the etched line he has given a fullness of tone which makes the background of ,the ,burgomaster ,six weak in comparison4 ,and he knew this4 ,he was doing his own printing for the first time to any extent4 ,there were a hundred prints of the first ,venice ,set4 ,all were not pulled by him1 and the difference between his printing and ,goulding's1 done after his death1 is unmistakable4 ,in the hand of any professional printer plates like ,the ,traghetto and ,the ,beggars would be a mass of scratches1 though scratches of interest to the artist2 it required ,whistler's printing to bring out what he wanted4 ,and it is the more surprising that he could print in ,venice1 so primitive was the press4 ,bacher had a portable press1 but most was done on the old press4 ,whistler protested against the professional printer1 his pot of treacle and his couches of ink4 ,but no great artist ever carried the printing of etchings so far or made such use of printer's ink as he did in these plates4 ,without the wash of ink1 they would be ghosts1 and he was justified in printing as he wanted to get what he wished4 ,and he used ink in all sorts of ways on the same plate1 he tried endless experiments with ever-varying results1 even to cover up the weak lines of an indifferent design1 as in ,nocturne--,palaces1 prized highly by collectors1 but one of his poorest ,venice plates4 ,it1 and ,the ,garden1 ,nocturne--,shipping1 and one or two besides are by no means equal to the others in line1 though some of his prints of these are superb4 ,but there are no such perfect plates in the world as ,the ,beggars1 ,the ,traghetto1 the two ,rivas1 ,the ,bridge1 and ,rialto4 ,while printing ,whistler continually worked on his plates1 and instead of there being--as the authorities say--half a dozen states there are a hundred2 only the authorities cannot see4 ,a curious fact about ,the ,traghetto is that there were two plates4 ,he was displeased with the first and etched it again4 ,bacher writes that ,the ,traghetto troubled him very much4 ,he pulled one fine proof and then overworked the plate so that he had to make a second4 ,he got copper of the same size and thickness made by the ,venetian from whom they had their plates4 ,when this was ready1 the first plate was inked with white paint instead of black ink4 ,this was placed on the second varnished plate1 and they were then run through the press4 ,the result was a replica in white upon the black etching ground4 ,bacher says that on the new plate ,whistler worked for days and weeks with the first proof before him1 that he might find and etch only the original lines4 ,when the second was printed ,whistler placed the two proofs side by side and minutely compared them4 ,and he was pleased1 for the examination ended in the one song he allowed himself in ,venice3 ,we don't want to fight1 ,but1 by jingo6 if we do1 ,we've got the ships1 ,we've got the men1 ,and got the money too-oo-oo6 ,the early proofs of others plates were unsatisfactory4 ,each proof was a trial1 and1 as each was pulled1 he worked upon the plate1 not generally taking out large slabs or putting in new passages to make a new state of it1 but strengthening lines or lightening them1 giving richness to a shadow or modelling to a little figure4 ,it would be impossible1 if the hundred proofs of each of these ,venetian plates were not shown together1 to say how much he did or what he did to each1 but the first proof is quite different from the last and no two are alike4 ,some of them1 from ghosts1 became solid facts4 ,illustration3 ,,portrait ,,of ,,sir ,,henry ,,irving ,,as ,,philip ,,ii ,,of ,,spain ,,arrangement ,,in ,,black4 ,,no4 ,,iii ,,oil ,in the ,metropolitan ,museum1 ,new ,york 7,see page #add7 ,illustration3 ,,portrait ,,of ,,sir ,,henry ,,cole ,,oil 7,,destroyed7 ,from a photograph lent by ,pickford ,r4 ,waller1 ,esq4 7,see page #ade7 ,in his ,venice etchings ,whistler also developed what he called the ,japanese method of drawing1 ,bacher calls his secret1 and ,mr4 ,menpes the secret of drawing4 ,whistler always spoke frankly about it to us1 from the first time ,j4 saw him etching1 and he followed the same method in his lithographs4 ,in etching or lithography it is difficult to make corrections1 the surface of the plate or the stone should not be disturbed1 it is not easy1 by the ordinary manner in which drawing is taught1 to put a complicated design on the plate without elaborate spacing1 tracing1 or a preliminary sketch4 ,frequently1 when the design is half made in the usual fashion1 the artist finds that the point of greatest interest1 the subject of his picture1 will not come on the plate where he wants it4 ,the ,japanese always seem to get the design in their colour-prints in the right place1 and yet their technique adds to the difficulty of changing or altering a design1 especially in their wood blocks4 ,but whether this is because they have the method of drawing ,whistler attributed to them1 whether he got his idea from their completed prints or evolved it1 we do not know4 ,we do know that the idea was his long before he painted the ,japanese pictures4 ,you can see the beginning of it in the ,isle de la ,cit4 ,the system1 scientific as all his systems were1 is to select the exact spot on the canvas1 the lithographic stone1 the copper plate1 or the piece of paper1 where the focus of interest is to be1 and to draw this part of the subject first4 ,it might be near the side of a plate1 though he insisted that the composition should be placed well within the frame or on the plate1 contrary as such treatment is to ,japanese methods and his early practice4 ,in the early paintings1 sprays of flowers or branches of trees run into the picture to give the impression that it is carried beyond the frame1 as the ,japanese do4 ,but his theory1 perfected before the ,venetian period and adhered to as long as he lived1 was that everything should be well within the frame or plate mark1 as far within as the subject was from him4 ,having selected the point of interest1 he drew that1 and drew it completely1 and there1 on his canvas1 plate1 or stone1 was a picture4 ,it might be a distant view of palaces or shipping beneath a bridge2 in ,london1 a shop window2 in ,paris1 a dark doorway2 in portraits1 the sitter's head4 ,once he put it down1 he drew in the objects next in importance1 all the while carrying out the work completely and making one harmonious whole4 ,the result was that the picture was finished--finished from the beginning--and there was on the plate1 paper1 or stone a space which he could fill with less important details or leave as he chose4 ,with his painting it was a different problem4 ,when the subject was arranged1 it grew together all over1 at the same time4 ,in some of the earlier pictures1 ,old ,battersea ,bridge for example1 a piece of canvas seems to have been added1 though he maintained that the artist should confine himself to the size of the canvas he selected1 and not get over his blunders1 as many do1 by adding to or taking from the canvas4 ,all this requires the greatest care in just what ,whistler considered most important1 the placing of the subject4 ,working in this manner1 always with the completed picture in his mind1 he could return again1 add further work if he thought it was needed1 knowing he had his subject drawn4 ,it sounds simple1 so simple that one day1 when he had been explaining it to ,mr4 ,e4 ,a4 ,walton1 and the latter said1 ,but there is no secret6 ,whistler's answer was1 ,yes1 the secret is in doing it4 ,it is just this1 in doing it1 that the excellence of his work lies4 ,as a matter of fact the difficulty is restraint in drawing the heart of a subject1 while in painting still more restraint is necessary1 the restraint imposed by colour and the medium4 ,besides etchings and pastels ,whistler made water-colours in ,venice1 but as they were never shown together it is impossible to say how many4 ,there were also a few oils4 ,the most important is ,nocturne1 ,blue and ,gold1 ,st4 ,mark's4 ,bacher speaks of one from the windows of the ,casa ,jankovitz1 the ,salute and a great deal of sky and water1 with the buildings very small1 and of a scene at night from a caf near the ,royal ,gardens4 ,then there is the upright sunset from the ,riva referred to by ,mr4 ,pennington1 and two others painted from ,mr4 ,ross ,turner's terrace1 one looking down the ,riva to ,san ,biagio1 the other up to ,san ,marco1 both full of little figures1 and with boats and a suggestion of the ,lagoon1 in the background2 studies left hanging in sunlight after he had done one day's work until he came to do the next4 ,mr4 ,forbes recalls a ,nocturne of the ,giudecca1 with shipping1 on a panel1 which ,whistler gave to ,jobbins1 who1 as he told us1 thought so little of it that he painted a sketch on the back and then sold it to ,forbes1 who still has it4 ,canfield was said to have another of ,s4 ,giorgio4 ,doubtless there are more1 but we know of none that were exhibited4 ,,chapter ,,xxiii3 ,,back ,,in ,,london4 ,,the ,,years ,,eighteen ,,eighty ,,and ,,eighteen ,,eighty-,,one4 ,at the end of ,november #ahhj ,whistler was back in ,london4 ,years of battle1 ,m4 ,duret calls the period that followed1 and ,whistler was ready to fight4 ,he arrived when the ,fine ,art ,society had a show of ,twelve ,great ,etchers1 a press was in the gallery1 ,goulding was printing1 etching was upon the town4 ,well1 you know1 ,i was just home2 nobody had seen me1 and ,i drove up in a hansom4 ,nobody expected me4 ,in one hand ,i held my long cane2 with the other ,i led by a ribbon a beautiful little white ,pomeranian dog2 it too had turned up suddenly4 ,as ,i walked in ,i spoke to no one1 but putting up my glass ,i looked at the prints on the wall4 ',dear me6 dear me6' ,i said1 'still the same old sad work6 ,dear me6' ,and ,haden was there1 talking hard to ,brown1 and laying down the law1 and as he said ',rembrandt1' ,i said ',ha ha6' and he vanished1 and then----6 ,he was without house or studio1 and stopped in ,wimpole ,street with his brother until he took lodgings in ,langham ,street and then in ,alderney ,street4 7,the record of this is in the etching published in the ,gazette des ,beaux-,arts1 ,april #ahha47 ,he set to work printing the plates1 for few had been pulled in ,venice4 ,the ,fine ,art ,society moved ,goulding's press upstairs and friends came to see him1 and here ,mr4 ,mortimer ,menpes says he first met ,whistler1 and1 dropping ,poynter1 ,south ,kensington1 and his ambition1 threw himself at the feet of the ,master and called himself pupil4 ,it was not an ideal workshop1 and the ,fine ,art ,society took two rooms for ,whistler in ,air ,street1 ,regent ,street1 on the first floor1 with a bow window under the colonnade1 now the ,piccadilly ,hotel3 the window from which he etched the plate of the ,quadrant4 ,t4 ,way and his son came to ,air ,street to help ,whistler print4 ,the press was in the front room1 and ,t4 ,r4 ,way made a sketch of it in colour1 his father damping paper1 ,whistler inking a plate1 the press between them3 an interesting document4 ,the work was interrupted by excitement4 ,one day ,whistler placed on the heater a bottle of acid tightly stopped up4 ,the stopper blew out1 steaming acid fumes filled the room1 and they ran for their lives4 ,another time1 they took caustic potash1 or something as deadly1 to get the dried ink out of the lines of the plates1 and they dropped the bottle on the floor1 and there was not much left of the carpet4 ,why anything was left of the floor or of them is a mystery4 ,then1 ,mr4 ,menpes says3 ,whistler drifted into a room in my house1 which ,i had fitted up with printing materials1 and it was in this little printing-room of mine that most of the series of ,venetian etchings were printed4 ,the edition of a hundred sets was1 however1 not completed during ,whistler's lifetime4 ,it was only after his death that ,goulding finished the work4 ,the first series of twelve ,venetian plates was shown in ,december #ahhj at the ,fine ,art ,society's4 ,the ,twelve were selected from the forty plates ,whistler brought back4 ,the critics could see nothing in them4 ,they were dismissed as another crop of ,whistler's little jokes4 ,one after another the people's authorities repeated the ,attorney-,general's decision that ,whistler was amusing1 and ,burne-,jones' regret that he had not fulfilled his early promise1 and ,whistler collected the criticisms for future use4 ,brown1 of the ,fine ,art ,society1 took to ,new ,york a set of the proofs4 ,whistler spent a ,sunday pulling them4 ,but the etchings were no more appreciated in ,new ,york than in ,london4 ,only eight sets were ordered4 ,in the meanwhile ,whistler was preparing his exhibition of pastels4 ,mr4 ,cole notes in his diary3 ,january #b 7#ahha74 ,jimmy called1 as self-reliant and sure as ever1 full of confidence in the superlative merit of his pastels1 which we are to go and see4 ,this exhibition also was held at the ,fine ,art ,society's4 ,whistler designed the frames2 he wrote the catalogue1 which had the brown paper cover1 but not quite the form eventually adopted1 and it was printed by ,way2 he decorated the gallery1 an arrangement in gold and brown1 which was enjoyed as another of his little jokes by the critics4 ,godwin was one of the few who admitted the beauty1 and his description in the ,british ,architect 7,february #ahha7 is on record3 ,first1 a low skirting of yellow gold1 then a high dado of dull yellow-green cloth1 then a moulding of green gold1 and then a frieze and ceiling of pale reddish brown4 ,the frames are arranged on the line2 but here and there one is placed over another4 ,most of the frames and mounts are of rich yellow gold1 but a dozen out of the fifty-three are in green gold1 dotted about with a view of decoration1 and eminently successful in attaining it4 ,on the evening of the ,press view ,mr4 ,cole says3 ,january #bh 7#ahha74 ,whistler turned up for dinner very full of his private view to-morrow4 ,later on1 we concocted a letter inviting ,prince ,teck to come to it4 ,his last draft was all right1 but he would insist on beginning it ',prince1' although ,i assured him ',sir' was the usual way of addressing him in a letter4 ,the private view 7,january #bi7 was a crush1 ,bond ,street blocked with carriages1 the sidewalk crowded2 nothing like it was ever known at the ,fine ,art ,society's4 ,millais1 showing forgotten machines in the adjoining room1 was one of the first to see the pastels4 ,magnificent1 fine2 very cheeky1 but fine6 he bellowed1 and afterwards said so to ,whistler1 who was pleased4 ,the crowd did not know what to say1 and1 had they known1 would have been afraid to say it4 ,for ,whistler was there1 his laugh louder1 shriller than ever4 ,he let no one forget the trial4 ,an admirer asked the price of a pastel3 ,sixty guineas6 ,that's enormous6 ,whistler heard1 though he was not meant to2 he heard everything4 ,ha ha6 ,enormous6 ,why1 not at all6 ,i can assure you it took me quite half an hour to do it6 ,people laughed at ,whistler's work1 because they thought they were expected to4 ,because he was the gayest man they refused to see that he was the most serious artist4 ,when they laughed at his art1 it hurt2 when they laughed at him1 they suffered2 and he had his revenge in mystifying them3 ,well1 you know1 they thought it was an amiability to me for them to be amused4 ,one day1 when ,i was on my way to the ,fine ,art ,society's1 while the show was going on1 ,i met ,sir and ,lady ---- face to face1 at the door1 as they were coming out4 ,both looked very much bored1 but they couldn't escape me4 ,so the old man grasped my hand and chuckled1 ',we have just been looking at your things1 and have been so much amused6' ,he had an idea that the drawings on the wall were drolleries of some sort1 though he could not understand why1 and that it was his duty to be amused4 ,i laughed with him4 ,i always did with people of that kind1 and then they said ,i was not serious4 ,the critics1 too1 laughed1 but there was venom in their laughter4 ,they liked to take themselves1 if they couldn't take ,whistler1 seriously1 and they hated work they could not understand4 ,the pastels were sensational1 ,whistler was clever with a sort of transatlantic impudence4 ,they objected to the brown paper1 to the technique1 to the frames1 to the decorations1 to the subjects2 they became unexpectedly concerned for the past glory of ,venice4 ,godwin1 again1 was an exception ,no one who has listened1 as the writer of these notes has1 to ,whistler's descriptions of the open-arcaded1 winding staircase that lifts its tall stem far into the blue sky1 or of the faades1 yet unrestored1 that speak of the power of the ,venetian architect1 can doubt that he who can so remember and describe has failed to admire4 ,it is by reason of the strength of this admiration and appreciation that he holds back in reverence1 and exercises this reticence of the pencil1 the needle1 and the brush4 ,a number of people showed their belief in the pastels by buying them1 and the exhibition was a success financially4 ,the prices ranged from twenty to sixty guineas1 the total receipts amounted to eighteen hundred pounds4 ,bacher quotes a letter written to him just after the show opened signed ,maud ,whistler3 ,the best of it is1 all the pastels are selling4 ,four hundred pounds' worth the first day2 now over a thousand pounds' worth are sold4 ,before the show closed1 at the end of ,january1 ,whistler was summoned to ,hastings4 ,his mother had been there since her illness of #ahgf-gg1 from which she never entirely recovered1 though there were intervals between the attacks when her family had no cause for anxiety4 ,but her death was sudden4 ,those who refused to see in ,whistler any other good quality could not deny his devotion to his mother2 those to whom he revealed the tenderness under the defiant masque with which he faced the world knew what his love for her meant to him4 ,she had lived with him whenever it was possible4 ,his visits and letters to ,hastings had been frequent4 ,he never forgot her birthday4 ,he told her of all his success1 all his hopes1 and made as light as he could of his debts and disappointments4 ,but in the miserable week before the funeral at ,hastings he was full of remorse2 he should have been kinder and more considerate1 he said2 he had not written often enough from ,venice4 ,dr4 ,whistler was with him part of the time1 and the ,doctor's wife the rest4 ,in the afternoons they wandered on the windy cliffs above the town1 and there was one drear afternoon when he broke down3 ,it would have been better had ,i been a parson as she wanted6 ,yet he had nothing to reproach himself with4 ,the days in ,chelsea were for her as happy as for him1 and she whose pride had been in his first childish promise at ,st4 ,petersburg lived to see the development of his powers4 ,she is buried at ,hastings4 ,it was fortunate that when he got back to town there were events to distract his thoughts4 ,the ,society of ,painter-,etchers opened their first exhibition in ,april at the ,hanover ,gallery4 ,american artists who were just starting etching and had never shown prints in ,london were invited4 ,frank ,duveneck sent a series of ,venetian proofs4 ,this was the occasion of the storm in an sthetic teapot1 which1 had not ,whistler thought it important as history1 would be forgotten4 ,we quote1 as he did1 from ,the ,cuckoo 7,april #aa1 #ahha73 ,some etchings1 exceedingly like ,mr4 ,whistler's in manner1 but signed ',frank ,duveneck1' were sent to the ,painter-,etchers' ,exhibition from ,venice4 ,the ,painter-,etchers appear to have suspected for a moment that the works were really ,mr4 ,whistler's1 and1 not desiring to be the victims of an easy hoax on the part of that gentleman1 three of their members--,dr ,seymour ,haden1 ,dr4 ,hamilton1 and ,legros--went to the ,fine ,art ,society's ,gallery in ,bond ,street1 and asked one of the assistants there to show them some of ,mr4 ,whistler's ,venetian plates4 ,from this assistant they learned that ,mr4 ,whistler was under an arrangement to exhibit and sell his ,venetian etchings only at the ,fine ,art ,society's ,gallery4 ,whistler heard of this4 ,he called on ,mr4 ,cole1 highly incensed with ,haden and ,legros conspiring to make out he was breaking his contract with the ,fine ,art ,society1 and went at once to the ,hanover ,gallery1 ,mr4 ,menpes with him4 ,the three members fortunately were not there4 ,then ,haden wrote to the ,fine ,art ,society that they had found out about ,mr4 ,duveneck and said they were delighted with his etchings1 and expressed regret4 ,but it is incredible that ,haden and ,legros should have mistaken the work of ,duveneck for that of ,whistler4 ,the story was published by ,whistler in ,the ,piker ,papers4 ,with its interest a little dulled by time1 the correspondence may be read in ,the ,gentle ,art4 ,whistler had not forgotten the pictures left with ,graves in ,pall ,mall4 ,by degrees he bought them back4 ,when ,mr4 ,algernon ,graves consulted his father about letting ,whistler have the pictures upon which the full amount was not paid1 after ,whistler had repaid a hundred pounds for three1 the father said1 ,let him take the whole lot1 and don't be a fool2 the pictures aren't worth twenty-five pounds apiece4 ,the ,rosa ,corder was sold at ,christie's with ,howell's effects1 ,mr4 ,algernon ,graves agreeing that1 if it brought more than ,howell's debt to the firm1 ,howell's executors could have the balance4 ,the father maintained the picture wouldn't fetch ten pounds1 but it brought more than the amount of their bill1 some hundred and thirty pounds4 ,the ,irving was sold to ,sir ,henry for a hundred pounds--at ,irving's sale it was bought by ,mr4 ,thomas of ,philadelphia for five thousand guineas--and the ,miss ,franklin went to ,messrs4 ,dowdeswell4 ,whistler continued to pay his bills regularly as they came due1 to ,graves' astonishment2 there was only one exception1 and then ,whistler came to ask to have the payment postponed1 and this was not settled until long after the pictures were in ,whistler's possession4 ,when ,whistler paid the final instalment ,graves expressed his surprise4 ,but ,whistler said3 ,you have been a very good friend to me2 in fact1 you have been my banker4 ,you have acted honourably to me in the whole matter4 ,i meant to pay1 and ,i have done so4 ,these business details and his exhibitions left ,whistler no time in #ahha for the ,salon1 where he had nothing1 or for the ,grosvenor1 to which he sent only ,miss ,alexander4 ,in the autumn1 borrowing the ,mother from ,graves1 he lent it to the ,academy in ,philadelphia1 the arrangements being made by ,mrs4 ,anna ,lea ,merritt1 and this is her account3 ,illustration3 ,,portrait ,,of ,,miss ,,rosa ,,corder ,,arrangement ,,in ,,black ,,and ,,brown ,,oil ,in the possession of ,h4 ,c4 ,finch1 ,esq4 7,see page #adf7 ,illustration3 ,,the ,,peacock ,,room ,photograph of the room at ,prince's ,gate1 showing the ,princesse du ,pays de la ,porcelaine in place 7,see page #adg7 ,in the autumn of #ahha ,i was asked by the ,pennsylvania ,academy of ,fine ,arts to receive pictures by ,american artists1 and have them forwarded for exhibition1 and especially they entreated me to persuade ,mr4 ,whistler to send a picture4 ,he had never been represented in any ,american exhibition4 ,i obtained a chance when meeting him at a dinner of pressing the subject more vigorously than ,i could have done by writing1 and he promised to send his mother's portrait4 ,it was collected in due course and deposited in my studio1 then in the ,avenue4 ,mr4 ,whistler came immediately after1 and as the canvas was breaking away from the stretcher1 he directed the packing agents1 who were skilful frame-makers1 to restrain it1 and then left me4 ,as soon as the canvas was made tight1 spots of crushed varnish appeared on the surface4 ,the varnish1 in fact1 broke or crumbled and ,i feared the canvas might have broken4 ,i flew down the street1 overtook him1 and brought him back1 dreading that he would blame us and even that some injury had been done4 ,to my surprise1 he took the misfortune with perfect composure and kindness1 and stippled the spots with some solvent varnish that soon restored the even surface4 ,and there was never a word of suggestion that we had done any harm4 ,of course1 ,i knew the fault was not in anything that had been done1 and it was by his own order1 but from all ,i had heard about him ,i trembled4 ,the greatest difficulty in connection with that exhibition was to persuade him to journey to the ,american ,consulate in ,st4 ,helen's ,place and make his affidavit for the invoice4 ,it had to be done by himself2 and it was not pleasant1 as we know1 to waste a day1 the very middle of the day1 in this dull declaration of ,american citizen sojourning in ,england4 ,after the cases were ready for shipment there was still delay to get his task accomplished1 and ,i think the ,pennsylvania ,academy hardly guess how much persuading it took4 ,what a pity they did not secure the beautiful picture for his own country6 ,now that it hangs in the ,luxembourg1 they envy it4 ,the ,mother was exhibited at the ,pennsylvania ,academy in #ahha1 and1 on the suggestion of ,mr4 ,alden ,weir1 at the ,society of ,american ,artists in ,new ,york in #ahhb1 and it could have been bought for a thousand dollars4 ,although nobody wanted it1 it made him known in his own country as a painter4 ,he was elected a member of the ,society of ,american ,artists that year4 ,at this time1 owing to the visit of ,seymour ,haden to the ,united ,states1 ,american artists became interested in etching1 and societies were formed and exhibitions held all over the country4 ,there was a show in the ,boston ,museum in #ahha4 ,another1 the first of a series1 was given by the ,new ,york ,etching ,club in #ahhb4 ,and the ,philadelphia ,society of ,etchers organised in the same year an ,international ,exhibition at the ,academy of ,fine ,arts4 ,articles in ,scribner's on ,whistler and ,haden and ,american ,etchers added to the interest4 ,messrs4 ,cassell and others issued portfolios of prints1 and every painter became an etcher4 ,the result was a boom1 then a slump1 out of which ,whistler and ,haden almost alone emerged1 for the reason that their work was not done to please the public or the publishers4 ,we remember the excitement made by ,haden's lectures which prepared ,america for ,whistler1 whose prints were in both the ,new ,york and ,philadelphia ,exhibitions4 ,mr4 ,james ,l4 ,claghorn1 almost the only ,philadelphian who then cared for etchings1 had already many ,whistlers4 ,mr4 ,avery1 in ,new ,york1 had some years before begun his collection and secured for it many of the rarest proofs1 and he was followed by ,mr4 ,howard ,mansfield1 who later on interested ,mr4 ,charles ,l4 ,freer4 ,but in ,america more had been heard of ,whistler's eccentricities than his work4 ,it could no longer remain unknown1 once his etchings and the portrait of the ,mother were seen and ,the ,white ,girl was lent to the ,metropolitan ,museum in ,new ,york1 where it hung for some time4 ,and the young men who had been with him in ,venice1 coming back1 spread his fame at home1 and when ,americans got to know his work they became the keenest to possess it4 ,even at this time ,avery owned the ,whistler in the ,big ,hat1 ,mr4 ,whittemore ,the ,white ,girl1 and ,mrs4 ,hutton the ,wapping4 ,that an ,american artist's works should be bought at all by ,americans at that date was extraordinary4 ,tadema1 ,bouguereau1 ,meyer von ,bremen were the standard1 soon1 however1 to be exchanged for ,whistler1 the ,impressionists1 and the ,dutch and ,barbizon ,schools4 ,,chapter ,,xxiv3 ,,the ,,joy ,,of ,,life4 ,,the ,,years ,,eighteen ,,eighty-,,one ,,to ,,eighteen ,,eighty-,,four4 ,on ,may #bf1 #ahha1 ,mr4 ,cole met ,jimmie1 who is taking a new studio in ,tite ,street1 where he is going to paint all the fashionables2 views of crowds competing for sittings2 carriages along the streets4 ,it was ,no4 #ac1 close to the ,white ,house4 ,whistler decorated it in yellow3 one felt in it as if standing inside an egg1 ,howell said4 ,he again picked up blue and white1 and old silver2 he again gave ,sunday breakfasts1 and they again became the talk of the town and he the fashion4 ,if the town was determined to talk1 ,whistler was willing it should4 ,he was never so malicious1 never so extravagant1 never so joyous4 ,he wrapped himself in a species of misunderstanding4 ,he filled the papers with letters4 ,london echoed with his laugh4 ,his white lock stood up defiantly above his curls2 his cane lengthened2 a series of collars sprang from his long overcoat2 his hat had a curlier brim1 a lower tilt over his eyes2 he invented amazing costumes3 in great form1 with a new fawn-coloured long-skirted frock-coat1 and extraordinary long cane1 ,mr4 ,cole found him one summer day in #ahhb4 ,he was known to pay calls with the long bamboo stick in his hand and pink bows on his shoes4 ,he allowed no break in the gossip4 ,the carriages brought crowds1 but not sitters4 ,few would sit to him before the trial2 after it there were fewer4 ,in the seventies it needed courage to be painted by ,whistler2 now it was to risk notoriety and ridicule4 ,lady ,meux was the first to give him a commission4 ,two of his three large full-lengths of her are amongst his most distinguished portraits4 ,she was handsome1 of a luxuriant type1 her full-blown beauty a contrast to the elusive loveliness of ,maud in the ,fur ,jacket1 or ,mrs4 ,leyland1 or ,mrs4 ,huth4 ,whistler found appropriate harmonies4 ,one was an ,arrangement in ,white and ,black4 ,there is a sumptuousness in the velvet gown and the long cloak he never surpassed1 and the firm modelling of the face1 neck1 and arms gives to the regal figure more solidity than he ever got before4 ,whistler was pleased with it1 spoke of it as his beautiful ,black ,lady1 and ,lady ,meux was so well pleased that she posed a second time4 ,in this1 the ,harmony in ,flesh ,colour and ,pink1 afterwards changed to ,pink and ,grey1 she wears a round hat low over her face1 and a pink bodice and skirt1 and stands against a pink background1 and the ugly fashion of the day cannot conceal the beauty4 ,the third portrait1 as far as we can find out1 was never finished4 ,mr4 ,walter ,dowdeswell has a pen-and-ink drawing of it4 ,she wears a fur cap1 a sable coat1 and carries a muff4 ,for this1 it is said1 after differences1 a maid posed and ,whistler painted her face over the ,lady's4 ,mr4 ,harper ,pennington says3 ,the only time ,i saw ,jimmy stumped for a reply was at a sitting of ,lady ,meux 7for the portrait in sables74 ,for some reason ,jimmy became nervous1 exasperated1 and impertinent4 ,touched by something he had said1 her ladyship turned softly towards him and remarked1 quite softly1 ',see here1 ,jimmy ,whistler6 ,you keep a civil tongue in that head of yours1 or ,i will have in some one to finish those portraits you have made of me6' with the faintest emphasis on 'finish4' ,jimmy fairly danced with rage4 ,he came up to ,lady ,meux1 his long brush tightly grasped1 and actually quivering in his hand1 held tight against his side4 ,he stammered1 spluttered1 and finally gasped out1 ',how dare you8 ,how dare you8' but that1 after all1 was not an answer1 was it8 ,lady ,meux did not sit again4 ,jimmy never spoke of the incident afterwards1 and ,i was sorry to have witnessed it4 ,at the time of the ,london ,memorial ,exhibition ,lady ,meux offered the ,committee the two portraits in her possession on condition that the third should be returned to her4 ,this the ,committee were unable to do1 and it was not until her will was published after her death1 in ,january #aiaa1 in which she bequeathed the missing picture and the correspondence relating to it to the ,national ,gallery1 that any more was heard about it4 ,then a statement appeared in a ,new ,york paper that the portrait was in the collection of ,mr4 ,freer1 and ,miss ,birnie ,philip stated in the ,times that ,whistler had destroyed the picture which1 according to ,lady ,meux in her will1 was ordered and paid for by her husband1 but it had never come into his possession nor could it be found4 ,sir ,henry ,cole posed for a second portrait and ,whistler got back from ,mr4 ,way the first1 discovered in one of the rolls of canvases he bought at the sale4 ,mr4 ,cole saw the second portrait in the studio3 ,february #bf 7#ahhb74 ,found his commencement of my father1 good but slight1 full length1 evening clothes1 long dark cloak thrown back1 red ribbon of ,bath4 ,april #ag 7#ahhb74 ,in spite of his illness1 my father to ,whistler's1 who fretted him by not painting2 my father thought that ,jimmy had merely touched the light on his shoes1 and nothing else1 although he stood and sat for over an hour and a half4 ,this was the last sitting4 ,the next day ,sir ,henry ,cole died suddenly3 a distinguished official lost to ,england1 a friend lost to ,whistler4 ,eldon1 an artist much with ,whistler at the time1 was in the studio on the #agth1 and recalled afterwards that ,sir ,henry ,cole's last words on leaving were1 ,death waits for no man6 ,whistler meant to go on with the portrait4 ,on ,may #b ,mr4 ,cole went again to ,tite ,street3 ,after a long delay1 ,jimmy showed me his painting of my father1 which ,j4 can make into a very good thing4 ,it is said not to have been finished1 but we possess a photograph of it which shows no want of finish4 ,this also1 ,mr4 ,cole was informed1 ,whistler destroyed4 ,neither was a full-length of ,eldon finished3 a fine thing1 to judge from the photograph we have seen4 ,it also has vanished1 though a small half-length1 sent to the ,london ,memorial ,exhibition1 but not hung--it may be a copy--is now in ,new ,york4 ,during the next few years other portraits were begun1 and of several we have photographs which it is not possible to identify4 ,an ,arrangement in ,yellow was of ,mrs4 ,langtry4 ,for a new version of his scheme of blue upon blue ,miss ,maud ,waller posed4 ,mrs4 ,marzetti1 her sister1 who went with her to the studio1 writes3 ,the sittings commenced in the early part of #ahhb4 ,we went two or three times1 and then ,whistler painted the face out1 as it was not to his liking1 although most people thought it excellent4 ,in those days ,maud was very beautiful4 ,the picture was started on a canvas that already had a figure on it1 and it was turned upside down1 and the ,blue ,girl's head painted in between the legs4 ,the dress was made by ,mme4 ,alias1 the theatrical costumier1 to ,whistler's design1 and ,i believe cost a good deal4 ,in the end the picture was finished from another model 7,i do not know who71 and was hung in one of ,whistler's exhibitions in ,bond ,street ,notes1 ,harmonies1 ,nocturnes1 ,may #ahhd1 at ,dowdeswell's3 it is ,no4 #ca in the catalogue1 and called ,scherzo in ,blue--,the ,blue ,girl4 ,this was the same exhibition in which he hung the picture he gave me1 and which in the end ,i never got 7,no4 #ff1 ,bravura in ,brown74 ,i should have treasured it for two reasons3 ,whistler's painting1 and also that it was a portrait of ,mr4 ,ridley4 ,the picture of ,maud was to have been at the ,grosvenor ,gallery1 but was not finished4 ,however1 it was sent in for the private view1 and taken away again the same night or next morning4 ,we used thoroughly to enjoy our visits to the studio--that is to say1 ,i did1 because ,i sat and looked on4 ,i can't say whether ,maud enjoyed them as much2 probably not1 as we used to get down there about eleven o'clock1 have lunch1 and stay all the afternoon1 most of which time she was standing4 ,i cannot remember all the callers we used to see there1 as there were so many1 but some of the more frequent visitors ,i remember well4 ,there was one man who was always there1 all day long1 and we just hated him2 ,i don't know why1 as he seemed very harmless4 ,he was ,whistler's shadow4 ,i don't know who he was1 but have an idea that he used to write a bit4 ,i think he was very poor1 and that ,whistler pretty well kept him4 ,i heard some few years ago that he died in a lunatic asylum4 ,oscar ,wilde was a frequent visitor1 also ,walter ,sickert4 ,whistler used to say1 ',nice boy1 ,walter6' he was very fond of him then4 ,others ,i remember were two brothers named ,story1 ,frank ,miles 7who had a studio just opposite ,whistler's7--,rene ,rodd as ,whistler used to call him--,major ,templar1 ,lady ,archie ,campbell1 and ,mrs4 ,hungerford4 ,whistler was just finishing the portrait of ,lady ,meux1 and ,i stood for him one day for about five minutes4 ,it was a full-length portrait in black evening dress1 with a big white cloak over the shoulders4 ,whistler was a most entertaining companion2 he was very fond of telling us ,edgar ,allan ,poe's stories1 and also of reciting ,the ,lost ,lenore1 which he said was his favourite poem4 ,he dined with us several times in ,lyall ,street2 he was always late for dinner1 sometimes half an hour1 and ,i think on more than one occasion was sound asleep at the table before the end of the dinner4 ,whistler's usual breakfast1 which he often had after we arrived at the studio1 was two eggs in a tumbler1 beaten up with pepper1 salt1 and vinegar1 bread and coffee4444 ,whistler stood yards away from the picture with his brush1 and would move it as though he were painting2 he would then jump across the room1 and put a dab of paint on the canvas2 he also used to wet his finger and gently rub portions of his picture4 ,i have often seen him take a sponge with soap and water and wash the ,blue ,girl's face 7on the canvas1 ,i mean74 ,lady ,archibald ,campbell1 also posing for ,whistler1 said3 ,he was a great friend of ours4 ,i think ,i sat to him during a year or so1 off and on1 for a great many studies in different costumes and poses4 ,his first idea was to paint me in court dress4 ,the dress was black velvet1 the train was silver satin with the ,argyll arms embroidered in appliqu in their proper colours4 ,he made a sketch of me in the dress4 ,the fatigue of standing with the train was too great1 and he abandoned the idea4 ,in all these studies he called my attention to his method of placing his subject well within the frame1 explaining that a portrait must be more than a portrait1 must be of value decoratively4 ,he never patched up defects1 but1 if dissatisfied with any portion of his work1 covered the canvas afresh with his first impression freshly recorded4 ,the first impression thrown on the canvas he often put away1 often destroyed4 ,among others1 he made in oils an impression of me as ,orlando1 in the forest scene of ,as ,you ,like ,it1 at ,coombe4 ,he considered this successful4 ,a picture he called ,the ,grey ,lady was a harmony in silver greys4 ,i remember thinking it a masterpiece of drawing1 giving the impression of movement4 ,i was descending a stair1 the canvas was of a great height1 and the general effect striking4 ,it was almost completed when my absence from town prevented a continuance of the sittings4 ,when ,i returned he asked to make a study of me in the dress in which ,i called upon him4 ,this is the picture which he exhibited under the name of ,the ,brodequin ,jaune1 or ,the ,yellow ,buskin4 ,as far as ,i remember it was painted in a few sittings4 ,when ,i saw him shortly before his death ,i asked after ,the ,grey ,lady4 ,he laughed and said he had destroyed her4 ,mr4 ,walter ,sickert has recorded a number of interesting details about these pictures1 though his statements are vague4 ,he says that the canvases had a grey ground made with black and white mixed with turpentine1 and that ,whistler used a medium of oil and turpentine1 and covered thinly the whole canvas with his prepared tones1 using house-painters' brushes for the surfaces1 and drawing lines with round hogshair brushes nearly a yard long4444 ,his object was to cover the whole canvas at one painting--either the first or the hundredth4 ,lady ,archibald asked him if he was going to touch up her portrait at the last sitting4 ,whistler said1 ,not touch it up1 give it another beautiful skin4 ,mr4 ,sickert also very aptly suggests the reason why some of the portraits were never completed4 ,whistler did them all over1 again and again1 till they were finished--or wrecked1 as often happened1 from the sitter getting tired1 or growing up1 or growing old4 ,almost the only new fact in ,mr4 ,frank ,rutter's ,whistler is given him by ,mr4 ,sickert1 who says he remembers once ,whistler standing on a chair with a candle at the end of a sitting from ,lady ,archibald ,campbell1 looking at his work1 but undecided whether he should take it out or leave it4 ,they started to dinner1 and in the street he decided1 saying1 ,you go back4 ,i shall only be nervous and begin to doubt again4 ,go back and take it all out4 ,this1 ,mr4 ,sickert says he did1 with a rag and benzoline4 ,m4 ,duret suggests that the ridicule of her friends had an effect on ,lady ,archibald ,campbell1 or perhaps her beauty made her critical2 anyhow1 she suggested changes to ,whistler1 who1 though he seldom accepted suggestions from his sitters1 did his best to meet her1 until it seemed as if1 to please her1 he must repaint the picture1 and he was discouraged4 ,we have heard of a scene outside the studio3 ,lady ,archibald in a hansom on the point of driving away never to return2 ,m4 ,duret springing on the step and representing the loss to the world of the masterpiece1 and arguing so well that she came back1 and ,the ,yellow ,buskin was saved from the fate of ,the ,grey ,lady and ,the ,lady in ,court ,dress4 ,some think the portrait that was finished is ,whistler's greatest4 ,it has distinction and character4 ,it is another ,arrangement in ,black in which critics could then discover but dinginess and dirt4 ,one wit described it as a portrait of a lady pursuing the last train through the smoke of the ,underground4 ,people have learned to see1 or at least to think they should see1 beauty1 and to-day they hardly dare deny it is a masterpiece4 ,whistler called it first the ,portrait of ,lady ,archibald ,campbell1 but afterwards ,the ,yellow ,buskin1 the title in the ,wilstach ,collection1 ,philadelphia1 where it now hangs4 ,mr4 ,walter ,sickert tells an amusing story of ,whistler's way sometimes of meeting the suggestions of sitters3 ,i remember an occasion when ,whistler1 yielding to persuasion1 allowed himself to introduce1 step by step1 certain modifications in the scheme of a portrait that he was painting4 ,as time went on he saw his own conception overlaid with an image that he had never intended4 ,at last he stopped and put his brushes slowly down4 ,taking off his spectacles1 he said1 ',very well1 that will do4 ,this is your portrait4 ,we will put it aside and finish it another day4' ',now1 if you please1' he added1 dragging out a new grey canvas1 'we will begin mine4' ,m4 ,duret posed to ,whistler at the same time as ,lady ,archibald ,campbell4 ,when she could not come ,whistler would telegraph him1 and day by day he watched the progress of her portrait while his was growing4 ,business brought ,m4 ,duret to ,london4 ,he had always been much with artists in ,paris1 had been intimate with ,courbet1 was still with ,fantin1 ,manet1 and ,bracquemond4 ,he recognised the genius of men at whom the world scoffed1 and it was he who by an article in the ,gazette des ,beaux-,arts 7,april #ahha7 made the ,french realise their mistake of years1 and again give ,whistler the place so long denied him4 ,illustration3 ,,drawing ,,in ,,wash ,,for ,a ,,catalogue ,,of ,,blue ,,and ,,white ,,nankin ,,porcelain ,in the possession of ,pickford ,r4 ,waller1 ,esq4 7,see page #aeg7 ,illustration3 ,,study ,,lithotint4 ,w4 #b ,from a print lent by ,t4 ,r4 ,way1 ,esq4 7,see page #aeg7 ,one evening in #ahhc1 after a private view1 ,whistler and ,duret were talking over the pictures they had seen1 and in discussing the portrait of the ,president of some society1 ,whistler declared that red robes of office were not in character with modern heads1 and that a man should be painted in the costume of his time1 and he asked ,duret to pose to him that he might show what could be done with evening dress1 the despair of painters4 ,the experiment was not so original as ,duret seemed to think4 ,leyland was painted in this way ten years before1 when ,whistler proved the truth of ,baudelaire's assertion that the great colourist can get colour from a black coat1 a white shirt1 against a dark background4 ,sir ,henry ,cole also posed in evening dress4 ,whistler did not rely entirely upon so simple a scheme in his portrait of ,duret1 who has a pink domino over his arm1 a red fan in his hand4 ,his portrait is called ,arrangement in ,flesh ,colour and ,black4 ,m4 ,duret describes ,whistler at work4 ,he marked slightly with chalk the place for the figure on the canvas1 and began at once to put it in1 in colour2 at the end of the first sitting the scheme was there4 ,this was the method that delighted ,whistler4 ,the difficulty with him was not to begin a portrait1 but to finish it4 ,the painting was brought almost to completion1 rubbed out1 begun again1 and repainted ten times4 ,duret saw that it was a question not only of drawing1 but of colour1 of tone1 and understood ,whistler's theory that to bring the whole into harmony and preserve it the whole must be repainted as a whole1 if there was any repainting to be done4 ,there are finer portraits1 but not many that show so well ,whistler's meaning when he said that colour is the arrangement of colour4 ,the rose of the domino1 the fan1 and the flesh is so managed that the cold grey of the background seems to be flushed with rose4 ,duret1 when he showed the picture1 took a sheet of paper1 cut a hole in it1 and placed it against the background1 to prove that the grey1 when surrounded by white1 is pure and cold without a touch of rose1 and that ,whistler got his effect by his knowledge of the relation of colour and his mastery of tone4 ,the ,lady ,meux--,black and ,white went to the ,salon of #ahhb1 catalogued as ,portrait de ,m4 ,harry--,men1 to the confusion of commentators4 ,the ,harmony in ,flesh ,colour and ,pink was shown at the ,grosvenor with ,nocturne in ,blue and ,silver1 ,scherzo in ,blue--,the ,blue ,girl1 ,nocturne in ,black and ,gold--,southampton ,water1 ,harmony in ,black and ,red1 ,note in ,black and ,opal--,jersey1 ,blue and ,brown--,san ,brelade's ,bay4 ,the ,times was unable to decide whether ,whistler was making fun of them or whether something was wrong with his eyes4 ,the ,pall ,mall regretted that if the ,lady ,meux was full of fine and subtle qualities of drawing1 the ,scherzo in ,blue ,miss ,waller was the sketch of a scarecrow in a blue dress without form and void4 ,it is very difficult to believe that ,mr4 ,whistler is not openly laughing at us when he holds up before us such a piece as this4 ,his counterpart in ,paris1 the eccentric ,m4 ,manet1 has at least more sincerity than to exhibit his work in such an imperfect condition4 ,but ,whistler now had defenders4 ,an ,art ,student wrote the next day to the ,pall ,mall to point out that at the private1 and therefore1 presumably1 the ,press1 view1 ,the ,blue ,girl was seen in an unfinished state1 having been sent there merely to take up its space on the wall4 ,it was removed immediately1 and has been since finished4 ,had the critic seen it since he would hardly have called it without form and void4 ,the want of artistic sincerity is certainly the last charge that can be brought against a man who has followed his artistic intention with such admirable and unswerving singleness of purpose4 ,from this time onward ,whistler no longer fought his battles alone4 ,eighteen eighty-two was the year of ,the ,paddon ,papers4 ,mr4 ,cole noted in his diary3 ,september #bd4 ,to ,jimmy's4 ,he lent me proof of his ,paddon and ,howell correspondence4 ,amusing1 but too personal for general interest4 ,we agree with ,mr4 ,cole4 ,there were complications of no importance with ,howell1 in which ,paddon1 a diamond merchant1 figured1 and complications over a ,chinese cabinet which ,mr4 ,morse bought from ,whistler when he moved from ,no4 #b ,lindsey ,row4 ,for long ,mr4 ,morse had only the lower part1 while ,howell kept the top4 ,whistler1 who thought nothing concerning him trivial1 published this correspondence in a pamphlet1 called ,the ,paddon ,papers3 ,the ,owl and the ,cabinet1 interesting now only because it is rare and because it was the end of all relations between himself and ,howell4 ,in the early winter of #ahhc ,whistler gave the second exhibition of his ,venetian etchings at the ,fine ,art ,society's4 ,the prints1 fifty-one in number1 included several ,london subjects4 ,he decorated the gallery in white and yellow4 ,the wall was white with yellow hangings1 the floor was covered with pale yellow matting and the couches with pale yellow serge4 ,the cane-bottomed chairs were painted yellow4 ,there were yellow flowers in yellow pots1 a white and yellow livery for the attendant1 and white and yellow ,butterflies for his friends4 ,at the private view ,whistler wore yellow socks just showing above his shoes1 and the assistants wore yellow neckties4 ,he prepared the catalogue2 the brown paper cover1 form1 and size now established4 ,he printed after each number a quotation from the critics of the past1 and on the title-page1 ,out of their own mouths shall ye judge them4 ,a friend who looked over the proofs for him writes us3 ,we came to 'there is merit in them1 and ,i do not wish to understand it4' ,a quotation from the article in the ,nineteenth ,century which ,sir ,frederick ,wedmore must wish could be forgotten4 ,jimmy yelled with joy1 and thanked the printer for his intelligent misreading of understate4 ',i think we will let that stand as it is1' he said4 ,i was amused at the private view to see him discussing the question with ,wedmore1 who1 naturally1 did not think it quite fair4 ,before the show opened it was1 ,whistler told us1 ,well1 you know1 a source of constant anxiety to everybody and of fun to me4 ,on the ladder1 when ,i was hanging the prints1 ,i could hear whispers3 no one would be able to see the etchings6 ,and then ,i would laugh1 ',dear me1 of course not6 that's all right4 ,in an exhibition of etchings the etchings are the last things people come to see6' ,and then there was the private view1 and ,i had my box of wonderful little ,butterflies1 and ,i distributed them only among the select few1 so that1 naturally1 everybody was eager to be decorated4 ,and when the crowd was greatest ,royalty appeared1 quite unprecedented at a private view1 and the crowd was hustled into another room while the ,prince and ,princess of ,wales went round the gallery1 looking at everything1 the ,prince chuckling over the catalogue4 ',i say1 ,mr4 ,whistler1 what is this8' he asked when he came to the ,nocturne--,palaces4 ',i am afraid you are very malicious1 ,mr4 ,whistler1' the ,princess said4 ,those who received the little ,butterflies thought them charming4 ,mrs4 ,marzetti writes us3 ,i have a few treasures which ,i guard most jealously2 one is the golden ,butterfly that he made us wear at the private view of his exhibition in ,bond ,street1 in the original little card box in which he sent them 7three ,i think7 to mother1 with a message written on the lid1 and signed with his ,butterfly4 ,the public laughed4 ,they thought the ,butterflies added to the screaming farce1 the foppery of the whole thing4 ,the attendant in yellow and white livery was called the poached egg4 ,the catalogue was worse4 ,poor ,wedmore and the others could hardly like to have their blunders and blindness immortalised4 ,most of them made the best of it by refusing to see in him anything but the jester4 ,his humour was compared to ,mark ,twain's1 and he to ,barnum1 and the show was excruciatingly agreeable4 ,some honestly thought his work rubbish1 and found his last little joke dull without being cheap4 ,their ridicule has become ridiculous4 ,as for ,whistler's etchings1 the price of the series of ,twelve1 as of the ,twenty-,six issued a year or so later in which many of these prints were published1 was fifty guineas2 on ,may #bg1 #aijh1 the single print ,nocturne--,palaces sold in ,paris for one hundred and sixty-eight guineas1 and we have been offered two hundred pounds for our ,traghetto4 ,the etchings were also shown in decorated rooms in ,boston and ,philadelphia4 ,for the exhibitions of #ahhc he had no new work1 but sent two earlier ,nocturnes to the ,grosvenor and to the ,salon the ,mother1 and was awarded a third-class medal1 the only recompense he ever received at the ,salon4 ,in the winter of #ahhc-hd he worked a great deal out of doors1 spending many weeks at ,st4 ,ives1 ,cornwall4 ,he took no interest in landscape2 there were too many trees in the country1 he said4 ,but he loved the sea1 from the days of ,the ,blue ,wave at ,biarritz and ,the ,shores of ,brittany until one of the last summers when he painted at ,domburg1 in ,holland4 ,the ,cornish sketches were sent to his show of ,notes1 ,harmonies1 ,nocturnes1 at ,dowdeswell's ,gallery in ,may #ahhd1 the first exhibition in which he included many water-colours4 ,the medium had been difficult to him2 now he was its master4 ,he used it to record subjects as characteristic of ,london as the subject of his pastels were of ,venice4 ,there were also studies and sketches in ,holland1 for he was always running about again4 ,the interest of the catalogue was in the preface1 ,l',envoie he called it1 and was so laughed at not only for the place he gave it1 but for the spelling1 that he searched the dictionaries1 and then declared1 we cannot say with what authority1 that envoie means some sort of snake4 ,ha ha6 that's it6 ,venom6 he said4 ,the ,envoie1 without his explanation1 is interesting1 for it consists of the ,propositions ,no4 #b1 which have become famous3 that a picture is finished when all traces of the means that produced it have disappeared2 that industry in art is a necessity1 not a virtue2 that the work of the master reeks not of the sweat of the brow2 that the masterpiece should appear as the flower of the painter1 perfect in its bud as in its bloom4 ,he decorated the gallery3 delicate rose on the walls1 white dado1 white chairs1 and pale azaleas in rose-flushed jars4 ,the ,butterfly1 tinted in rose1 was on the card of invitation4 ,the ,arrangement in ,flesh ,colour and ,grey was as little appreciated as the ,yellow and ,white in #ahhc2 to the critics it was a new affectation4 ,there were signs of appreciation when1 in #ahhd1 ,whistler sent the ,carlyle to the ,loan ,exhibition of ,scottish ,national ,portraits at ,edinburgh1 where it created an impression4 ,there had been attempts to sell the picture4 ,m4 ,duret tried to interest an ,irish collector1 who1 however1 did not dare to buy it4 ,it was offered to ,mr4 ,scharfe1 director of the ,british ,national ,portrait ,gallery1 who not only refused to consider the offer1 but laughed at the idea that such work should pass for painting4 ,the first endeavour to secure it for a national collection came from ,george ,r4 ,halkett1 who urged its purchase for the ,scottish ,national ,gallery in the ,scotsman 7,october #f1 #ahhd74 ,he was supported by ,mr4 ,william ,hole in a letter published the following day4 ,unfortunately1 the subscription paper disclaimed approval of ,whistler's art and theories on the part of subscribers4 ,whistler1 indignant1 telegraphed to ,edinburgh3 ,the price of the ,carlyle has advanced to one thousand guineas4 ,dinna ye hear the bagpipes8 ,the price he had asked was four hundred1 and this ended the negotiations4 ,why about this time ,whistler should have become involved in a ,church ,congress in the ,lake ,country1 unless he was coming from or going to ,scotland1 we never have been able to explain4 ,he told us about it years later1 and he seemed no less amazed than we4 ,j4 was just about to start for the ,lakes1 and ,whistler was reminded of his excursion there4 ,we give the note made at the time3 ,sunday1 ,september #af 7#aijj74 ,whistler dined1 and ,agnes ,repplier--not a successful combination4 ,the dinner dragged until ,e4 ,j4 ,sullivan happened to come in1 and ,whistler woke up1 and1 all of a sudden1 we hardly know how1 he was plunged into the midst of the ,lake ,country and a ,church ,congress1 travelling third class with the clergy and their families1 eating jam and strange meals with quantities of tea1 and visiting the ,rev4 ,mr4 ,green in his prison1 shut up by his bishop for burning candles1 and altogether the hero and important person he would never be on coming out4 ,an amazing story1 but what ,whistler was doing in the ,lakes with the clergy he did not appear to know2 the story was enough4 ,the only result of the expedition was the etching done in ,cumberland1 and his impression of the unpicturesqueness of the ,lakes3 the mountains were all little round hills with little round trees out of a ,noah's ,ark4 ,what he thought of great mountain forms we do not know for1 save on the trip to ,valparaiso and going to ,italy1 he never saw them4 ,yet the lines of the coast in the ,crpuscule show that he could render mountains4 ,but1 as he said1 the mountains of ,cumberland are only little round hills4 ,at the end of his life he saw the mountains of ,corsica1 ,gibraltar1 and ,tangier1 but there is no record4 ,,chapter ,,xxv3 ,,among ,,friends4 ,,the ,,years ,,eighteen ,,eighty-,,one ,,to ,,eighteen ,,eighty-,,seven4 ,it was in the summer of #ahhd that ,j4 met ,whistler4 ,up to this time we have had to rely upon what ,whistler and those who knew him have told us4 ,henceforward we write from our own knowledge4 ,this is ,j4's story of the meeting3 ,i first saw ,whistler ,july #ac1 #ahhd4 ,i had been asked by ,mr4 ,gilder1 editor of the ,century ,magazine1 to make the illustrations for a series of articles on ,old ,chelsea by ,dr4 ,b4 ,e4 ,martin1 and ,mr4 ,drake1 the art editor1 suggested that if ,i could get ,whistler to etch1 draw1 or paint something in ,chelsea for the ,century1 the ,century would be very glad to have it4 ,his water-colours and pastels were being shown at ,dowdeswell's--,notes1 ,harmonies1 ,nocturnes--and there his address was given me3 ,no4 #ac ,tite ,street4 ,the house did not strike me1 ,i only remember the man and his work4 ,i knocked1 the door was slightly opened1 and ,i handed in my letter from ,mr4 ,gilder4 ,i was left in the street4 ,then the door was opened wide1 and ,whistler asked me in4 ,he was all in white1 his waistcoat had long sleeves1 and every minute it seemed as if he must begin to juggle with glasses4 ,for to be honest1 my first impression was of a bar-keeper strayed from a ,philadelphia saloon into a ,chelsea studio4 ,never had ,i seen such thick1 black1 curling hair4 ,but in the midst was the white lock1 and keen1 brilliant eyes flashed at me from under the thick1 bushy eyebrows4 ,at the end of the hall into which he took me was a shadowy passage1 then some steps1 a light room beyond1 and on an easel the portrait of a little man with a violin1 the ,sarasate1 that had never been seen outside the studio4 ,whistler stopped me in the passage and asked me what ,i thought of the picture4 ,i cannot recall his words4 ,i was too overwhelmed by the dignity of the portrait to remember what he said4 ,later on he brought out ,the ,falling ,rocket4 ',well now1 what do you think of that8 ,what is it8' ,i said fireworks1 and ,i supposed one of the ,cremorne pictures4 ',oh1 you do1 do you8 ,isn't it amazing8 ,bring tots1 idiots1 imbeciles1 blind men1 children1 anything but the ,islander1 and they know2 even you1 who stole the name of my ,little ,venice4' ,this referred to an etching of mine which had been published under the title of ,little ,venice4 ,why ,whistler did not resent this always or let it interfere with our friendship later1 ,i do not know1 for ,mr4 ,keppel has told me he felt bitterly about it at the time4 ,whistler also showed me some of his pastels4 ,and he talked1 and ,i forget completely what he said until1 finally1 ,i suggested why ,i had come1 for ,i did not think there was any greater honour than to see one's work in the pages of the ,century4 ,there was some excuse delightfully made4 ,then he called to someone who appeared from a corner4 ,and ,whistler said to him1 ',here's a chance for you4 ,but you will do these things4' ,and that was my introduction to ,mr4 ,mortimer ,menpes4 ,this was not what ,i had bargained for1 and ,i said promptly1 ',mr4 ,whistler1 ,i came here to ask you to let us have some drawings of ,chelsea4 ,if you cannot1 why1 ,i'll do them myself4' ',stay and lunch1' ,whistler said1 and there was lunch1 a wonderful curry1 in a bright dining-room--a yellow and blue room4 ,later on he took me down to the ,embankment1 and1 though it seemed so little like him1 showed me the ,carlyle statue and ,turner's house4 ,he pointed out his own houses in ,lindsey ,row1 and told me of a photographer who had reproduced all his pictures and photographed old ,chelsea4 ,i remember1 too1 asking ,whistler about the ,thames plates1 and his telling me they were all done on the spot4 ,and then he drove me in a cab to ,piccadilly1 and asked me to come and see him again4 ,the next ,sunday ,i went with ,mr4 ,stephen ,parrish to ,haden's1 in ,hertford ,street4 ,we were taken to the top storey1 where ,haden was working on the mezzotint of the ,breaking up of the ,agamemnon4 ,i asked him--,i must have almost paralysed him--what he thought of ,whistler1 and he told me that if ever he had to sell either his collection of ,whistlers or of ,rembrandts1 the ,rembrandts should go first4 ,he told that story often--and later they both went4--,downstairs1 in a sort of conservatory at the back of the dining-room1 was a printing press4 ,lady ,haden joined us at lunch4 ,so also did ,mr4 ,hopkinson ,smith1 resurrecting vast numbers of ,american 'chestnuts4' ,i can recall that both ,parrish and ,i found him in the way1 and ,i can also recall his getting us into such a state that1 as we came down a street leading into ,piccadilly1 ,parrish vented his irritation on one of the public goats which in those days acted both as scavengers and police for ,london4 ,as the goat put down his head to defend himself1 ,parrish put up his umbrella1 and the goat fled into the open door of a club4 ,what happened after that we did not wait to see4 ,i saw ,whistler only once again that summer4 ,he was in ,charing ,cross ,station1 in front of the bookstall4 ,he wore a black frock-coat1 white trousers1 patent leather shoes1 top hat1 and he was carrying1 the only time ,i ever saw it1 the long cane4 ,i did not want to speak to him1 and ,i liked his looks less than when ,i first met him4 ,early in the autumn of #ahhd we went to ,italy1 and it was several years after our return before ,i got really to know him1 and to understand that his appearance was to him merely a part of the 'joke of life4' ,illustration3 ,,tall ,,bridge ,,lithograph4 ,w4 #i ,from a print lent by ,t4 ,r4 ,way1 ,esq4 7,see page #aeg7 ,illustration3 ,,nocturne ,,lithotint4 ,w4 #e ,from a print lent by ,t4 ,r4 ,way1 ,esq4 7,see page #aeg7 ,,chapter ,,xxvi3 ,,among ,,friends4 ,,the ,,years ,,eighteen ,,eighty-,,one ,,to ,,eighteen ,,eighty-,,seven ,,continued4 ,whistler said he could not afford to keep a friend1 but he was never without many4 ,a photograph taken in his studio in #ahha shows him the centre of a group1 of whom the others are ,julian and ,waldo ,story1 sons of ,w4 ,w4 ,story2 ,frank ,miles1 a painter from whom great things were expected2 and the ,hon4 ,frederick ,lawless1 a sculptor4 ,in the background is a little statuette everybody wanted to know the merit of1 explained one day by ,whistler1 ,well1 you know--why1 you can take it up and--well1 you can set it down6 ,mr4 ,lawless writes us that ,whistler modelled the little figure1 though we never heard that he modelled anything1 and ,professor ,lantri says he never worked in the round4 ,mr4 ,pennington suggests that the statuette was by ,mr4 ,waldo ,story1 but ,mr4 ,lawless says3 ,when ,whistler lived in his ,london studio he often modelled graceful statuettes1 and one day he put up one on a vase1 asking me to photograph it4 ,i said he must stand beside it4 ,he said1 ',but we must make a group and all be photographed1' and that ,i was to call out to his servant when to take the lid off the camera1 and when to put it back4 ,i then developed the negative in his studio4 ,mr4 ,francis ,james1 often at #ac ,tite ,street1 has many memories1 specially of one summer evening when ,coquelin an and a large party came to supper and ,whistler kept them until dawn and then took them to see the sun rise over the ,thames1 a play few had ever performed in4 ,for two or three years no one was more with ,whistler than ,sir ,rennell ,rodd4 ,he writes us3 ,it was in '#hb1 '#hc that ,i saw most of him4 ,frank ,miles1 ,waldo and ,julian ,story1 ,walter ,sickert1 ,harper ,pennington1 and1 at one time1 ,oscar ,wilde1 were constantly there4 ,jimmy1 unlike many artists1 liked a camarade about the place while he was working1 and talked and laughed and raced about all the time1 putting in the touches delicately1 after matured thought1 with long brushes4 ,there was a poor fellow who had been a designer for ,minton--but his head had given way and he was already quite mad--used to be there day after day for months and draw innumerable sketches on scraps of brown paper1 cartridge boards1 anything--often full of talent1 but always mad4 ,well1 ,jimmy humoured him and made his last weeks of liberty happy4 ,eventually he had to be removed to an asylum1 and died raving mad4 ,i used to help ,whistler often in printing his etchings4 ,it was very laborious work4 ,he would manipulate a plate for hours with the ball of the thumb and the flat of the palm to get just the right superficial ink left on it1 while ,i damped the paper1 which came out of old folio volumes1 the first and last sheets1 with a fairly stiff brush4 ,and often1 for a whole morning's work1 only one or two prints were achieved which satisfied his critical eye1 and the rest would be destroyed4 ,there was a ,venetian one which gave him infinite trouble in the printing4 ,he was the kindest of men1 though he was handy with his cane4 ,in any financial transaction he was scrupulously honourable1 though he never had much money at his disposal4 ,we had great fun over the many correspondences and the catalogues elaborated in those days in ,tite ,street4444 ,he was demoniacal in controversy1 and the spirit of elfin mischief was developed in him to the point of genius4444 ,pellegrini was much at ,whistler's in those days1 and in a way the influence of ,whistler was fatal to him4 ,his admiration was unbounded and he abandoned his art1 in which1 as ,jimmy used to say1 'he had taught all the others what none of them had been able to learn1' and took to trying to paint portraits in ,whistler's manner without any success4 ,one of the few modern painters ,i have ever heard him praise was ,albert ,moore1 and ,i am not sure that was not to some extent due to a personal liking for the man4 ,it always struck me his literary judgments1 if he ever happened to express any1 were extraordinarily sound and brilliant in summing up the merits or demerits of a writer4 ,he had an extraordinary power of putting a man in his place4 ,i remember a breakfast which ,waldo ,story gave at ,dieudonn's4 ,everyone there had painted a picture1 or written a book1 or in some way outraged the ,philistine1 with the exception of one young gentleman1 whose raison d'tre there was not so apparent as were the height of his collars and the glory of his attire4 ,he nevertheless ventured to lay down the law on certain matters which seemed beyond his province1 and even went so far as to combat some dictum of the master's1 who1 readjusting his eye-glass1 looked pleasantly at him1 and said1 ',and whose son are you8' ,for two or three years ,oscar ,wilde was so much with ,whistler that everyone who went to the studio found him there1 just as everyone who went into society saw them together4 ,wilde had come up from ,oxford not long before the ,ruskin trial1 with a reputation as a brilliant undergraduate1 winner of the ,newdigate prize1 and he now posed as the apostle of ,beauty4 ,many a reputation is lost between ,oxford and ,london1 but his was strengthened4 ,oscar's witty sayings were repeated and his youth seemed to excuse his pose4 ,whistler impressed him4 ,at ,oxford ,wilde had followed ,ruskin1 and broken stones on the road which was to lead the young to art2 he had read with ,pater1 he had accepted the teaching of ,morris and ,burne-,jones1 and their master ,rossetti4 ,but ,ruskin was impossible to follow1 ,pater was a recluse1 ,rossetti's health was broken1 the prehistoric ,fabians1 ,morris and ,burne-,jones1 were the foci of a little group of their own4 ,when ,wilde came to ,london ,whistler was the focus of the world4 ,whistler was sought out1 ,wilde tried to play up4 ,in ,tite ,street blue and white was used1 not as a symbol of faith1 but every day2 flowers bloomed1 not as a pledge of culture1 but for their colour and form2 beauty was accepted as no discovery1 but as the aim of art since the first artist drew a line and saw that it was beautiful4 ,whistler knew all this4 ,wilde fumbled with it4 ,whistler was flattered by ,wilde4 ,he was looked upon as the world's jester when ,wilde fawned upon him4 ,other young men gathered about ,whistler had name and reputation to make4 ,but ,wilde's name was in every man's mouth2 he glittered with the glory of the work he was to do4 ,he was the most promising poet of his generation and he was amusing4 ,there was a charm in his personality4 ,we remember when we met him on his lecture tour in ,america1 and hardly knew whether the magnificence on the platform where1 in velvet knickerbockers1 he faced with calmness rows of college boys each bearing a lily1 and stood with composure their collective emotion as he sipped a glass of water1 was more wonderful than his gaiety when we talked with him afterwards4 ,it has been said that he gave the best of himself in his talk4 ,if ,whistler liked always to have a companion1 his pleasure was increased when he found someone as brilliant4 ,wilde spent hours in the studio1 he came to ,whistler's ,sunday breakfasts1 he assisted at ,whistler's private views4 ,whistler went with him everywhere4 ,there were few functions at which they were not present4 ,at receptions the company divided into two groups1 one round ,whistler1 the other round ,wilde4 ,it was the fashion to compare them4 ,to the world that ran after them1 that thought itself honoured1 or notorious1 by their presence1 they seemed inseparable4 ,the trouble began when ,whistler discovered how small was ,wilde's knowledge of art2 he could never endure anybody in the studio who did not understand4 ,whistler wrote of ,wilde as a man with no more sense of a picture than of the fit of a coat4 ,the ,gentle ,art shows that ,whistler was furious with ,wilde's borrowing from him4 ,that ,wilde took his good where he found it is neither more nor less than what has always been done--what ,whistler did4 ,but the genius1 from the good thus taken1 evolves something of his own4 ,wilde was content to shine personally and let the great things expected of him wait4 ,when it was a question of wit1 there was no one to whom ,wilde could go except ,whistler4 ,it is all expressed in the old story3 ,i wish ,i had said that1 ,whistler4 ,you will1 ,oscar1 you will4 ,in matters of art ,wilde had everything to learn from ,whistler1 who1 though ever generous1 resented ,wilde's preaching in the provinces the truths which he had taught for years4 ,this is all in ,the ,gentle ,art4 ,oscar had the courage of the opinions 444 of others6 and again3 ,oscar went forth as my ,st4 ,john1 but1 forgetting that humility should be his chief characteristic and unable to withstand the unaccustomed respect with which his utterances were received1 he not only trifled with my shoe1 but bolted with the latchet6 ,mr4 ,cole1 in #ahhd1 noted in his diary that ,whistler was strong on ,oscar ,wilde's notions of art which he derived from him 7,jimmy74 ,mr4 ,herbert ,vivian tells the story of a dinner given by ,whistler after ,wilde had been lecturing3 ',now1 ,oscar1 tell us what you said to them1' ,whistler kept insisting1 and ,wilde had to repeat all the phrases1 while ,whistler rose and made solemn bows1 with his hand across his breast1 in mock acceptance of his guests' applause4444 ,the cruel part of the plagiarism lay in the fact that1 when ,whistler published his ,ten ,o',clock1 many people thought it had all been taken from ,wilde's lecture4 ,whistler grew more and more exasperated by the use ,wilde made of him4 ,their intimacy was closest in the early eighties when ,whistler was bewildering the world deliberately2 ,wilde copied him clumsily4 ,the world1 that did not know them1 mistook one for the other and thought ,whistler as much an sthete as ,wilde4 ,when ,patience was produced1 and when it was revived a few years ago1 ,bunthorne1 who was ,wilde1 appeared with ,whistler's black curls and white lock1 moustache1 tuft1 eye-glass1 and laughed with ,whistler's ,ha ha6 ,whistler1 seeing ,wilde in a ,polish cap and green overcoat befrogged and wonderfully befurred1 desired him to restore those things to ,nathan's1 and never again let me find you masquerading the streets of my ,chelsea in the combined costumes of ,kossuth and ,mr4 ,mantalini6 ,to be in danger of losing his pose before the world was bad enough1 but to be mistaken for another man who rendered him ridiculous was worse4 ,no one has summed up the position better than the ,times in a notice of ,wilde's ,collected ,works3 ,with a mind not a jot less keen than ,whistler's1 he had none of the conviction1 the high faith1 for which ,whistler found it worth while to defy the crowd4 ,wilde had poses to attract the crowd4 ,and the difference was this1 that while ,whistler was a prophet who liked to play ,pierrot1 ,wilde grew into a ,pierrot who liked to play the prophet4 ,if ,whistler ever played ,pierrot1 it was with a purpose4 ,where art was concerned he was serious4 ,wilde was serious about nothing4 ,his two topics were self and art1 and his interest in both was part of his bid for notoriety4 ,he might jest about himself1 but flippancy1 if art was his subject1 was to ,whistler a crime4 ,the only way he showed his resentment was by refusing to take ,wilde seriously about anything4 ,even when ,wilde was married1 he was not allowed to forget1 for ,whistler telegraphed to the church1 ,fear ,i may not be able to reach you in time for the ceremony4 ,don't wait4 ,later1 in ,paris1 he called ,wilde ,oscar1 bourgeois malgr lui1 a witticism none could appreciate better than the ,parisians4 ,as soon as he began to make a jest of ,wilde he ended the companionship to which1 while it lasted1 ,london society owed much gaiety4 ,the relation between ,whistler and artists now coming to the studio was less that of friends than of ,master and ,followers1 as they called themselves4 ,he was forty-six when he returned from ,venice1 and there were few men of the new generation who shared none of the doubts of his contemporaries1 but believed in him4 ,the devotion of this group became infatuation4 ,they were ready to do anything for him4 ,families became estranged and engagements were broken off because of him4 ,they fought his battles2 ran his errands1 spied out the land for him2 published his letters1 and read them to everybody4 ,they formed a court about him4 ,they exaggerated everything1 even their devotion1 and became caricatures of him1 as excessive in imitation as in devotion4 ,he denied the right of any1 save the artist1 to speak authoritatively of art2 they started a club to train the classes--,princes1 ,prime ,ministers1 ,patrons1 ,ambassadors1 ,members of ,parliament--to blind faith in ,master and ,followers4 ,whistler mixed masses of colours on the palette1 keeping them under water in saucers4 ,the ,followers mixed theirs in vegetable dishes and kept them in milk-cans1 labelled ,floor1 ,face1 ,hair1 ,lips4 ,he had a table-palette2 they adopted it1 but added hooks to hang their cans of paint on4 ,he used his paint very liquid--the sauce of the ,nocturnes2 they used such quantities of medium that as much went on the floor as on the canvas1 and1 before a picture was blocked in1 they were wading in liquid masterpieces4 ,many of his brushes were large2 they worked with whitewash brushes4 ,they copied his personal peculiarities4 ,one evening at a dinner when he wore a white waistcoat and all the buttons1 because of the laundress1 came out1 a ,follower1 seeing it buttonless1 hurried from the room1 and returned with his bulging1 sure that he was in the movement4 ,whistler accepted their devotion1 and1 finding them willing to squander their time1 monopolised it4 ,there was plenty for everybody to do in the studio4 ,if they complained that he took advantage of them1 he proved to them that the fault was theirs4 ,mr4 ,menpes writes3 ,we seldom asked ,whistler questions about his work4444 ,if we had1 he would have been sure to say1 ',pshaw6 ,you must be occupied with the ,master1 not with yourselves4 ,there is plenty to be done4' ,if there was not1 ,whistler would always make a task for you--a picture to be taken into ,dowdeswells'1 or a copper plate to have a ground put on4 ,no one respected the work of others more than ,whistler4 ,but if others did not respect it themselves and made him a present of their time he did not refuse4 ,if he allowed the ,followers to accompany him in his little journeys1 it was because they were so eager4 ,when he went with ,walter ,sickert and ,mortimer ,menpes to ,st4 ,ives1 in the winter of #ahhc-hd1 they were up at six o'clock because it pleased him2 they dared not eat till he rang the bell4 ,they prepared his panels1 mixed his colours1 cleaned his brushes1 taking a day off for fishing if ,whistler chose1 abjuring sentiment if he objected4 ,whistler saw the humour in their attitude and was the more exacting4 ,the ,followers were not allowed their own opinions4 ,once1 when ,walter ,sickert ventured to praise ,leighton's ,harvest ,moon at the ,manchester ,art ,treasures ,exhibition1 ,whistler1 hearing of it1 telegraphed3 ,the ,harvest ,moon rises over ,hampstead where ,sickert lived1 and the cocks of ,chelsea crow4 ,the ,followers1 however1 knew that if they were of use to ,whistler1 he was of infinitely more use to them1 and that submission to his rule and exposure to his wit were a small price to pay4 ,mr4 ,sickert tells another story4 ,he and ,whistler were once printing etchings together1 when the former dropped a copper plate4 ,how like you6 said ,whistler4 ,five minutes afterwards the improbable happened4 ,whistler1 who was never clumsy1 dropped one himself4 ,there was a pause4 ,how unlike me6 was his remark4 ,mr4 ,menpes1 who1 in ,whistler as ,i ,knew ,him1 makes more of the follies than the privileges of the ,followers1 cannot ignore their debt4 ,they worked for him not only in the studio1 but in the street1 hunting with him for little shops1 corners and models1 painting at his side1 walking home with him after dinner or supper at the club1 learning from him to observe and memorise the night4 ,to them he was full of kindliness1 when to the world he often seemed insolent and audacious1 and after his death--even before--some denied him4 ,later ,whistler said that the ,followers were there in the studio2 yes1 but they never painted there2 they were kept well in the background4 ,american artists1 in ,london or passing through1 began to make their way to the studio4 ,otto ,bacher records in #ahhc ,whistler's friendliness1 the pictures in the studio1 their dinners together4 ,in #ahhe ,mr4 ,john ,w4 ,alexander came1 commissioned by the ,century to make a drawing of him for a series of portraits4 ,whistler posed for a little while1 though unwillingly1 and criticised the drawing so severely that ,mr4 ,alexander tore it up4 ,after that1 he says1 ,whistler posed like a lamb4 ,mr4 ,harper ,pennington has written for us his reminiscences of those years3 444 ,whistler was more than kind to me4 ,through him came everything4 ,he introduced me right and left1 and called me 'pupil'2 took me about to picture shows and pointed out the good and bad4 ,i remember my astonishment the first occasion of his giving unstinted praise to modern work1 on which he seldom lavished positives4 ,it was at the ,royal ,academy before one of those interiors of ,orchardson's4 ,well1 he stood in front of the canvas1 his hat almost on his nose1 his 'tuft' sticking straight out as it did when he would catch his nether lip between his teeth1 and1 presently1 a long forefinger went out and circled round a bit of yellow drapery1 ',it would have been nice to have painted that1' he said1 as if he thought aloud4 ,another day we rushed to the ,national ,gallery--'just to get the taste out of our mouths1' he said--after a couple of hours' wandering in the ,royal ,academy wilderness of ,hardy ,annual ,horrors4 ,whistler went at once to almost smell the ,canalettos1 while ,i went across the ,gallery1 attracted by the ,marriage la ,mode4 ,it was my first sight of them4 ,up to that day ,i had supposed that what ,i was told and had read of ,hogarth was the truth--the silly rubbish about his being only a caricaturist1 so that when confronted with those marvels of technical quality1 ,i fairly gasped for breath1 and then hurried over to where ,whistler had his nose against the largest ,canaletto1 seized his arm1 and said hurriedly1 ',come over here4' ',what's the matter8' said he1 turning round4 ',why6 ,hogarth6 ,he was a great painter6' ',sh--sh6' said he 7pretending he was afraid that someone would overhear us74 ',sh--sh6 ,yes1 ,i know it1 444 but don't you tell 'em6' ,later1 ,hogarth was thoroughly discussed and his qualities pointed out with that incisive manner which one had to be familiar with to understand4 ,whistler was reasonable enough and preferred a joke to a battle any day4 ,often he came to me in the ,king's ,road1 breathing vengeance against this or that person1 but when he went away it was invariably with a fin sourire and one of his little notes4 ,his clairvoyance in the matter of two notes to ,leighton was made manifest at my writing-table4 ,the ,p4,r4,a4 wrote a lame explanation to ,whistler's first query as to why he had not been invited to the ,academy soire1 as ,president of the ,r4,s4,b4,a41 ex-officio1 or as ,whistler4 ,he came into my room one morning early--before ,i1 sluggard1 was awake6--and read to me an outline of a note he meant to write1 and then wrote it with grace of diction and dainty composition1 and the pretty balanced ,butterfly for signature4 ,when that was done1 he turned to me 7,i was dressing then7 and said3 ',now1 ,har-r-rpur-r-r4' 7,he liked to burr those r's in 'down-east' fashion47 ',now1 ,har-r-rpur-r-r1 ,i know ,leighton1 he will fumble this4 ,he will answer so-and-so' 7describing the answer ,leighton actually sent71 'and then ,i've got him6' ,he chuckled1 wrote another note--the retort to ,leighton's unwritten answer to ,whistler's not yet posted first note--which he read to me4 ,that retort was sent almost verbatim1 only one slight change made necessary by a turn of phrase in ,leighton's weak apology6 ,that was ',amazing4' ,his anger soon burnt out--the jest would come--and the whole thing boiled itself down in the ,world1 or a line to ',labby4' ,illustration3 ,,nocturne ,,in ,,blue ,,and ,,gold ,,old ,,battersea ,,bridge ,,oil ,in the ,national ,gallery of ,british ,art1 ,tate ,gallery 7,see page #agb7 ,illustration3 ,,the ,,falling ,,rocket ,,nocturne ,,in ,,black ,,and ,,gold ,,oil ,in the possession of ,mrs4 ,s4 ,untermeyer 7,see page #agj7 ,,chapter ,,xxvii3 ,,the ,,studio ,,in ,,the ,,fulham ,,road4 ,,the ,,years ,,eighteen ,,eighty-,,five ,,to ,,eighteen ,,eighty-,,seven4 ,in #ahhe ,whistler moved from ,tite ,street to #ded ,fulham ,road4 ,a shabby gate opened on a shabby lane leading to studios1 one of which was his4 ,here ,lady ,archibald ,campbell's and ,m4 ,duret's portraits were finished4 ,whistler was living at the time with ,maud in a little house close by1 since pulled down1 which he called the ,pink ,palace1 having painted it himself4 ,he was again hard up1 and ,m4 ,duret1 coming to dinner1 would buy a good part of it on the way down and arrive1 his pockets bulging with bottles and fruit and cake4 ,before long ,whistler left the ,pink ,palace for the ,vale1 ,chelsea--an amazing place1 you might be in the heart of the country1 and there1 two steps away1 is the ,king's ,road4 ,it was the first house on the right beyond the iron gates1 now demolished4 ,but the whole place has gone4 ,in the ,court and ,society ,review 7,july #a1 #ahhf7 ,mr4 ,malcolm ,c4 ,salaman described the ,fulham ,road studio and the work in progress3 ,the whitewashed walls1 the wooden rafters1 which partly form a loft for the stowing away of canvases1 the vast space unencumbered by furniture1 and the large table-palette1 all give the appearance of the working place4444 ,mr4 ,whistler is not so feeble as to aim at theatrical effects in his costume4 ,in the black clothes of ordinary wear1 straight from the street1 he stands at his easel4 ,to those accustomed to studios the completeness of the arrangement 444 in accordance with the scheme of the picture that is in progress is striking1 as striking indeed as the personality of the artist4 ,his whole body seems instinct with energy and enthusiasm1 his face lit up with flashes of quick and strong thought1 as that of a man who sees with his brains as well as with his eyes4444 ,a word1 by the way1 about ,mr4 ,whistler's palette4 ,as ,i saw it the other day1 the colours were arranged almost with the appearance of a picture4 ,in the centre was white and on one side were the various reds leading up to black1 while on the other side were the yellows leading up to blue4444 ,and now a few words about some of the pictures which the master had almost ready for exhibition3 ,a full-length figure of a girl in out-door black dress1 with a fur cape and a hat trimmed with flowers4 ,she stands against a dark background1 and she lives in her frame4 ,a full-length portrait of ,mr4 ,walter ,sickert1 a favourite pupil of ,mr4 ,whistler's and one of his cleverest disciples4 ,he is in evening dress1 and stands against a dark wall4 ,this is a picture that ,velasquez himself would have delighted in4 ,it has vanished4 ,a full-length portrait of a man with a ,spanish-looking head1 painted in a manner that is surely of the greatest4 ,perhaps the portrait of ,chase or of ,eldon2 both have disappeared4444 ,a superb portrait of ,mrs4 ,godwin will rank among ,mr4 ,whistler's chefs d'oeuvre4 ,the lady stands in an ample red cloak over a black dress1 against red draperies1 and in her bonnet is a red plume4 ,her hands rest on her hips1 and her attitude is singularly vivacious4 ,this picture has been painted in artificial light1 as has also another of a lady seated in a graceful attitude1 with one hand leaning over the back of a chair1 while the other holds a fan4 ,she wears a white evening dress1 and is seen against a light background4 ,a picture we cannot identify4 ,besides these ,mr4 ,whistler showed me sketches of various groups of several girls on the seashore 444 ,the ,six ,projects and a sketch of ,venus1 lovely in colour and design1 the nude figure standing close to the sea1 with delicate gauze draperies lightly lifted by the breeze4 ,the studio is full of canvases and pictures in more or less advanced stages1 and on one of the walls hang a number of pastel studies of nude and partially draped female figures4 ,a portrait-sketch in black chalk of ,mr4 ,whistler by ,m4 ,rajon also hangs on the wall4 ,the ,further ,proposition1 which was quoted by ,mr4 ,salaman1 can be read in ,the ,gentle ,art4 ,it is ,whistler's statement that a figure should keep well within the frame1 and that flesh should be painted according to the light in which it is seen3 the answer to the objection often made to his portraits because the flesh was low in tone4 ,a year later it was reprinted in the ,art ,journal 7,april #ahhg7 by ,mr4 ,walter ,dowdeswell1 whose article was the first appreciation of ,whistler in an important ,english magazine4 ,whistler1 knowing the value of what he wrote1 meant that his writings should be preserved1 and he gave to ,mr4 ,dowdeswell for publication the reply which he had made twenty years earlier to ,hamerton's criticism of the ,symphony in ,white1 ,no4 ,,iii41 but which was not then printed because the ,saturday ,review1 where the criticism appeared1 did not publish correspondence4 ,mr4 ,dowdeswell1 describing the studio1 adds a few details omitted by ,mr4 ,salaman3 ,the soupon of yellow in the rugs and matting2 a table covered with old ,nankin china2 a crowd of canvases at the further end1 and1 pinned upon the wall on the right1 a number of exquisite little notes of colour1 and drawings of figures from life1 in pastels1 on brown paper4 ,mr4 ,e4 ,j4 ,horniman1 who had a studio near by1 tells us that he often saw on the roof of the omnibus stable1 just behind it1 pictures put out to dry4 ,many who visited the studio were surprised to find ,whistler working in white4 ,he sometimes wore a white jacket2 sometimes took off his coat and waistcoat4 ,he was as fastidious with his work as with his dress4 ,he could not endure a slovenly palette1 or brushes and colours in disorder1 though the palette had a raised edge to keep the colour off his sleeve4 ,unfortunately1 after his wife's death he ruined the two portraits of himself in the white painting jacket1 which he never exhibited1 by changing the white jacket to a black coat4 ,other reminiscences of ,fulham ,road we have from ,william ,m4 ,chase1 who came to ,london in #ahhe1 with a suggestion that he and ,whistler should paint each other2 also1 that ,whistler should go back to ,america and open a school4 ,well1 you know1 that anyway will be all right1 ,colonel1 as ,whistler called ,chase4 ,of course1 everybody will receive me2 tug-boats will come down the ,bay2 it will be perfect6 ,he thought so seriously of going1 that he hesitated to send to the ,london galleries work he would want for ,america4 ,the two portraits were begun4 ,whistler painted a full-length of ,chase1 in frock-coat and top-hat1 a cane held jauntily across his legs4 ,as he wrote afterwards1 in a letter included in ,the ,gentle ,art1 ,i1 who was charming1 made him beautiful on canvas1 the ,masher of the ,avenues4 ,whistler was delighted with what he had done3 ,look at this1 ,colonel6 ,look at this2 did you ever see anything finer8 ,it's meek or modest1 they'll have to put on your tombstone6 ,say 'and' not 'or'--meek and modest6 ,h'm6--well1 you know1 splendid1 ,chase6 ,chase remembers an evening when they were to dine out1 and ,whistler had to go home to dress1 and it was almost the hour before he ventured to remind him4 ,then ,whistler was astonished3 ,what1 ,chase1 you can think of dinner and time when we are doing such beautiful things8 ,stay where you are1 and they will be glad to see me whenever ,i come4 ,everybody who has been with him in the studio knows how difficult it was for him to stop when he was absorbed in his work4 ,mr4 ,pennington says3 ,whistler's habit of painting long after the hour when anybody could distinguish gradations of light and colour was the cause of much unnecessary repainting and many disappointments1 for after leaving a canvas that seemed exquisite in the dusk of the falling night1 he would return to it in the glare of the next morning and find unexpected effects that had been concealed by the twilight4 ,whistler never learned to hold his hand when daylight waned4 ,the fascination of seeming to have caught the values led him far into the deceiving shades of night with often disastrous results4 ,whistler's portrait of ,chase has vanished with many another4 ,chase painted ,whistler also in frock-coat1 without a hat1 holding the long cane1 against a yellow wall1 and his portrait remains4 ,chase intended stopping a short time in ,london as he passed on to ,madrid4 ,but he found ,whistler so delightful that his visit to ,spain was put off4 ,he has told many incidents of these months spent with ,whistler in a lecture delivered in the ,united ,states1 and in an article in the ,century4 ,a lecturer1 no doubt1 must adapt himself to his audience1 and ,chase has dwelt principally on ,whistler1 the man--,whistler1 the dandy2 ,whistler1 the fantastic1 designing1 for the tour in ,america1 a white hansom with yellow reins and a white and yellow livery for the nigger driver2 ,whistler1 the traveller4 ,they went together to ,belgium and ,holland4 ,they stopped at ,antwerp and saw the ,international ,exhibition4 ,whistler said to us once that he could never be ill-natured1 only wicked1 and this was one of the occasions when he was wicked4 ,in the gallery he refused to look at any pictures except those that told stories1 asking ,chase if the mouse would really scare the cat or the baby swallow the mustard-pot4 ,the first interest he showed was in the work of ,alfred ,stevens4 ,before it he stood long2 at last1 with his little finger pointing to a passage in the small canvas1 ,h'm1 ,colonel6 you know one would not mind having painted that6 ,chase grew nervous as they approached the wall devoted to ,bastien-,lepage1 whom he admired1 and he decided to leave ,whistler4 ,but ,whistler would not hear of it4 ,i'll say only one word1 ,chase1 he promised4 ,then they came to the ,bastiens1 ,h'm1 h'm1 ,colonel1 the one word--,school6 ,on the journey from ,antwerp to ,amsterdam two ,germans were in the train3 ,well1 you know1 ,colonel1 if the ,almighty ever made a mistake it was when he created the ,german6 ,whistler said at the end of a few minutes4 ,chase told him that if he could speak ,german he might understand their interesting talk4 ,whistler answered in fluent ,german and talked nothing else1 until1 at ,haarlem1 ,chase could endure it no longer and left4 ,whistler leaned out of the window as the train started1 ,think it over1 ,chase1 and to-morrow morning you will come on to ,amsterdam1 and you'll tell me that ,i'm right about the ,germans6 ,one incident not told in print by ,chase is that while in ,london he was the owner of the ,mother4 ,an ,american had given him money to buy pictures1 and when he found that the ,mother was to be had from ,mr4 ,graves for one hundred pounds he bought it1 but first was referred to ,whistler by ,mr4 ,graves4 ,whistler1 delighted to learn that he could control the pictures deposited with the ,pall ,mall firm1 agreed to everything1 but the agreement1 was settled the day before starting for ,antwerp1 and when ,chase got the money from his bankers and hurried to the ,graves ,gallery it was closed1 and he gave the cheque to ,whistler4 ,the picture was his1 but only during the time of ,whistler's absence from ,london1 for on his return ,whistler could not bear to part with it and promptly sent the cheque back to ,chase--or it may be that the trip with ,chase helped him to change his mind4 ,all this is characteristic1 but it would be interesting to hear less of his play and more of his work from ,chase1 who gives only a glimpse of ,whistler the artist1 and then in lighter moods4 ,he tells of one occasion when an ,american wanted to buy some etchings1 and they were to lunch with him in the ,city to arrange the matter4 ,taking a hansom1 late of course1 they passed a grocer's where ,whistler stopped the driver3 ,well1 ,chase1 what do you think8 ,if ,i get him to move the box of oranges8 ,what8 ,and then1 still later1 they drove on4 ,another time1 ,chase expressed surprise at ,whistler's refusing to deliver a picture to the lady who had bought it4 ,but ,whistler explained3 ,you know1 ,chase1 the people don't really want anything beautiful4 ,they fill a room by chance with beautiful things1 and some little trumpery something over the mantelpiece gives the whole damned show away4 ,and if they pay a hundred pounds or so for a picture1 they think it belongs to them4 ,well--why--it should only be theirs for a while2 hung on their walls that they may rejoice in it and then returned4 ,once1 it is said1 a lady drove up to the studio and told him3 ,i have bought one of your pictures1 it is beautiful1 but as it is always at exhibitions ,i never see it4 ,but ,i'm told you have it4 ,dear lady1 said ,whistler1 you have been misinformed1 it is not here4 ,and she drove away4 ,later he found it3 ,h'm1 she was right about one thing1 it is beautiful4 ,but because she's paid hundreds of pounds for it1 she thinks she ought to have it all the time4 ,she's lucky if she gets it now and then4 ,it must be admitted that it is not easy from any standpoint to write of ,whistler during the years that followed his return from ,venice4 ,the decade between #ahhj and #ahij is the fullest of his full life4 ,it was during these ten years that he opened his one man shows amidst jeers1 and closed them with success4 ,it was during these ten years that he conquered society1 though society never realised it4 ,it was during these ten years that1 to make himself known1 he became in the streets of ,london the observed of all observers1 developing extraordinary costumes1 attracting to himself the attention he wanted to attract4 ,it was during these ten years that he began to wrap himself in mystery1 as ,degas said of him1 and then go off and get photographed1 when1 as ,degas also said1 he acted as if he had no genius3 but mystery and pose were part of the armour he put on to protect himself from1 and draw to himself1 a foolish public4 ,it was during these ten years that he invented the ,followers--and got rid of them2 that he flitted from house to house1 from studio to studio1 and through ,england1 ,france1 ,belgium1 and ,holland1 until it is impossible to keep pace with him2 that he captured the ,press1 though it is still unconscious of its capture2 that he concentrated the interest of ,england1 of the whole world upon him1 with one object in view--that is1 to make ,england1 the whole world1 look at his work4 ,for1 as he said1 if he had not made people look at it they never would have done so4 ,they never understood it1 they hated it4 ,they do not understand it to-day1 and they hate it the more because he has succeeded and they have failed in their endeavours to ignore or ruin him4 ,even now that it is too late1 they are crawling from their graves and spitting at him1 flinging mud at his memory4 ,in these crowded years two events stand out with special prominence1 his ,ten ,o',clock and his invasion of the ,british ,artists4 ,one states definitely his views on art2 the other shows as definitely the position he had attained among artists4 ,,chapter ,,xxviii3 ,,the ,,ten ,o',,clock4 ,,the ,,years ,,eighteen ,,eighty-,,four ,,to ,,eighteen ,,eighty-,,eight4 ,into ,the ,ten ,o',clock ,whistler put all he had learned of art1 all he knew to be unchangeable and everlasting4 ,mr4 ,w4 ,c4 ,alexander has told us that when he listened to ,the ,ten ,o',clock at ,prince's ,hall1 nothing in it was new to him2 he had heard it for years from ,whistler over the dinner-table4 ,the only new thing was ,whistler's determination to say in public what he had said in private4 ,he was busy with this in the autumn and winter of #ahhd-he4 ,he would come at strange hours and read a page to ,mr4 ,cole1 in whose diary1 from ,october until ,february1 note follows note of his visits3 ,october #bd 7#ahhd74 ,whistler to dine4 ,we passed the evening writing out his views on ,ruskin1 art1 etc4 ,october #bg4 ,jimmy to dinner1 continuing notes as to himself and art4 ,october #bh4 ,writing out ,whistler's notes for him4 ,october #bi4 ,jimmy to dine4 ,writing notes as to his opinions on art matters1 and discussing whether to offer them for publication to ,english ,illustrated ,magazine edited by ,comyns ,carr1 or to whom8 ,mr4 ,g4 ,a4 ,holmes1 in his ,chelsea house1 was often roused by the sharp ring and double-knock1 followed by ,whistler with a page or paragraph for his approval4 ,mr4 ,menpes writes that scores of times--,i might almost say hundreds of times--he paced up and down the ,embankment at night1 repeating to me sentences from the marvellous lecture4 ,a marvellous story4 ,during a few days' illness at his brother's in ,wimpole ,street1 where1 when ill1 he went1 ,mrs4 ,whistler recalled him sitting1 propped up by pillows1 reading passages to the doctor and herself4 ,his plan for an article in the ,english ,illustrated ,magazine came to nothing4 ,in ,november #ahhd ,lord ,powerscourt1 ,mr4 ,ludovici says in the ,art ,journal 7,july #aijf71 invited ,whistler to ,ireland to distribute prizes at an art school and speak to the students1 and nothing was more appropriate than the notes he had written down4 ,mr4 ,cole records3 ,november #ai 7#ahhd74 ,whistler called and told us how he was invited to ,ireland1 where he was sending some of his works1 and would lecture in ,dublin4 ,the invitation came from the ,dublin ,sketching ,club1 which held its exhibitions in ,leinster ,hall4 ,three other ,americans--,sargent1 ,julian ,story1 and ,ralph ,curtis--were invited4 ,no such collection of ,whistler's work had been seen out of ,london4 ,mr4 ,booth ,pearsall1 the honorary secretary1 sends us this account3 ,he was exceedingly generous to a club of strangers1 lending them twenty-five of his works4 ,this collection included the ,mother1 ,lady ,meux1 ,carlyle1 a number of ,nocturnes1 and other oils1 water-colours1 and pastels4 ,the pictures had to be hung together in a group4 ,as ,i was so interested in them1 with ,mr4 ,whistler's permission1 ,i had them photographed4 ,he never asked for rights or commission1 but1 in the most gracious1 generous way1 gave us the permission to use the negatives as we liked4 ,the exhibition was hardly opened before the critical music began1 and in the papers and in conversation1 a regular tempest arose that was highly diverting to ,mr4 ,whistler4 ,he begged me to send him everything said about the exhibition1 and his letters show he quite enjoyed all the ferment4 ,the whole of ,dublin was convulsed1 and many went to ,molesworth ,street to see the exhibition who rarely went to see anything of the kind4 ,then a terrible convulsion took place in the club3 a group of members we had admitted1 who photographed1 got together1 and drew up resolutions1 that never again should such pictures be exhibited4 ,none of these men could even paint4 ,the talent of the club replied by having ,mr4 ,whistler elected as hon4 member1 and it was carried1 despite intense resistance4 ,i took an active part in all this4 ,it was with a view to helping ,mr4 ,whistler that ,i did my best to have his ,ten ,o',clock given in ,dublin4 ,he was at first disposed to come over1 but other matters prevented1 and the matter dropped4 ,during the time of the exhibition1 ,i tried my utmost to sell the pictures1 and an offer was made by a friend to purchase the ,mother and the ,carlyle1 which seemed to promise well1 but ultimately stopped4 ,i did induce the friend to purchase ,piccadilly1 which had been ,no4 #i1 ,nocturne in ,grey and ,gold--,piccadilly 7water-colour71 in his exhibition in ,bond ,street that ,may ,dowdeswell's4 ,he was very much pleased indeed1 and sent the ,right ,hon4 ,jonathan ,hogg1 ,p4,c41 a receipt1 greatly to ,mr4 ,hogg's amusement1 for an impression was rife that he never did attend to business4 ,i know from friends1 who knew ,mr4 ,whistler1 how much pleased he was1 not only with the purchase of his pictures1 but with the commotion that the exhibition caused4 ,whistler did not give up the idea of a lecture4 ,archibald ,forbes heard him read1 was impressed1 and introduced him to ,mrs4 ,d',oyly ,carte4 ,she had managed a lecture tour for ,forbes1 now she agreed to arrange an evening for ,whistler4 ,she told us of his attention to detail4 ,the idea was absolutely his1 she wrote us1 and all ,i did was to see to the business arrangements4 ,you can imagine how enthusiastic he was over it all1 and how he made one enthusiastic too4 ,she was about to produce ,the ,mikado1 and1 sure that he would find her in her office at the ,savoy ,theatre1 he would appear there every evening to talk things over1 or would send ,mr4 ,walter ,sickert with a message4 ,whistler delighted in her office1 a tiny room lit by a lamp on her desk1 making strange effects1 but his only records of his many visits are in the etchings1 ,savoy ,scaffolding and ,miss ,lenoir1 ,mrs4 ,d',oyly ,carte's name before her marriage4 ,prince's ,hall was taken4 ,whistler suggested the hour4 ,people were not to rush to him from dinner as to the theatre2 therefore ten was as early as one could expect them1 and the hour gave the name--,the ,ten ,o',clock4 ,he designed the ticket1 he had it enlarged into a poster1 he chose the offices where tickets should be sold4 ,there was a rehearsal at ,prince's ,hall on ,february #ai 7#ahhe71 ,mrs4 ,d',oyly ,carte and some of the ,followers sitting in front to tell him if his voice carried4 ,whistler had his lecture by heart1 his delivery was excellent1 he needed no coaching1 only an occasional warning to raise his voice4 ,it was because he feared his voice would not carry that he gave his nightly rehearsals on the ,embankment1 ,mr4 ,menpes says4 ,illustration3 ,mr4 ,whistler's ,ten o'clock4 ,prince's ,hall1 ,piccadilly4 ,on the evening of ,feb4 #bj4 ,carriages at #aa4 ,tickets can be obtained at all ,the ,libraries4 ,on ,february #bj1 #ahhe1 the hall was crowded4 ,reporters expressed the general feeling when they wondered whether the eccentric artist was going to sketch1 to pose1 to sing1 or to rhapsodise1 and were frankly astonished when the amiable eccentric chose to appear simply as a jaunty1 unabashed1 composed1 and self-satisfied gentleman1 armed with an opera hat and an eye-glass4 ,others were amazed to see him attired in faultless evening dress4 ,the ,followers compared the figure in black against the black background to the ,sarasate1 and they recall his hat carefully placed on the table and the long cane as carefully stood against the wall4 ,oscar ,wilde called him a miniature ,mephistopheles mocking the majority4 ,the unprejudiced saw the dignity of his presence and felt the truth and beauty of his words4 ,mrs4 ,anna ,lea ,merritt writes us3 ,it is always a delight to remember that actually once ,mr4 ,whistler was really shy4 ,those who had the pleasure of hearing the first ,ten ,o',clock remember that when he came before his puzzled and distinguished audience there were a few minutes of very palpable stage-fright4 ,he had notes1 but he seldom referred to them4 ,he held his audience from the first1 and ,mrs4 ,d',oyly ,carte recalled the hush in the hall when he came to his description of ,london transfigured1 a fairyland in the night4 ,i went to laugh and ,i stayed to praise1 is the late ,lewis ,f4 ,day's account to us1 and others were generous enough to make the same admission4 ,whistler forced his audience to listen because he spoke with conviction4 ,the ,ten ,o',clock was the statement of truths which his contemporaries were doing their best to forget4 ,when we read it to-day1 our surprise is that things so obvious needed saying4 ,yet the need exists to-day more than ever4 ,almost every one of ,whistler's propositions and statements has been traduced or ignored by critics1 who are incapable of leading thought or are dealers in disguise1 and painters compare their puny selves and petty financial scrapes to ,whistler's magnificent efforts and complete success in his battles for art and his reputation4 ,to this lecture we owe the most interesting profession of artistic faith ever made by an artist4 ,at the time it was given there was a reaction1 outside the ,academy1 against the anecdote and sentiment of ,victorian art4 ,ruskin through his books1 the ,pre-,raphaelites through their pictures1 had spread the doctrine that art was a question of ethics and industry4 ,pater preached that it belonged to the past1 ,william ,morris taught that it sprang from the people and to the people must return4 ,strange1 sad-coloured creatures clad themselves in strange1 sad-coloured garments and admired each other4 ,many besides ,oscar ,wilde profitably peddled in the provinces what they prigged or picked up2 artists proclaimed the political importance of art2 parsons discovered in it a new salvation4 ,art was upon the town1 as ,whistler said4 ,but ethics and business1 fashion and socialism had captured it4 ,the ,ten ,o',clock was a protest against the crimes committed in the name of art1 against the belief that art belonged to the past or concerned the people1 that its object was to teach or to elevate4 ,art and ,joy go together1 he said1 the world's masters were never reformers1 never missionaries1 but1 content with their surroundings1 found beauty everywhere4 ,there was no great past1 no mean present1 for art1 no drawing of lines between the marbles of the ,greek and the fans and broideries of ,japan4 ,there was no artistic period1 no art-loving people4 ,art happened1 and1 in a few eloquent words1 he told the history of its happening and the coming of the cheap and tawdry1 when the taste of the tradesman supplanted the science of the artist1 and the multitude rejoiced4 ,art is a science--the science by which the artist picks and chooses and groups the elements contained in ,nature1 that beauty may result4 ,for ,nature is very rarely right1 to such an extent even1 that it might almost be said that ,nature is usually wrong4 ,he has been so frequently misunderstood that it may be well to emphasise the meaning of these two assertions1 the rock upon which his faith was founded4 ,art happens because the artist may happen anywhere at any time2 art is a science not because painters maintain that it is concerned with laws of light or chemistry of colours or scientific problems1 but because it is exact in its methods and in its results4 ,the artist can leave no more to chance than the chemist or the botanist or the biologist4 ,knowledge may and does increase and develop1 but the laws of art are unalterable4 ,because art is a science the critic who is not an artist speaks without authority and would prize a picture as a hieroglyph or symbol of story1 or for anything save the painter's poetry which is the reason for its existence1 the amazing invention that shall have put form and colour into such perfect harmony1 that exquisiteness is the result4 ,the conditions of art are degraded by these middlemen1 the critics1 and by the foolish who would go back because the thumb of the mountebank jerked the other way4 ,he laughed at the pretence of the ,state as fosterer of art--art that roams as she will1 from the builders of the ,parthenon to the opium-eaters of ,nankin1 from the ,master at ,madrid to ,hokusai at the foot of ,fusiyama4 ,his denial of an artistic period or an art-loving people was his defence of art against those who would bound it by dates and confine it within topographical limits4 ,he meant1 not that a certain period might not produce artists and people to appreciate them1 but that art is independent of time and place1 seeking and finding the beautiful in all conditions and in all times1 as did her high priest1 ,rembrandt1 when he saw picturesque grandeur and noble dignity in the ,jews' quarter of ,amsterdam1 and lamented not that its inhabitants were not ,greeks4 ,illustration3 ,,the ,,bridge ,,etching4 ,g4 #bjd ,by permission of ,messrs4 ,dowdeswell 7,see page #aii7 ,illustration3 ,,the ,,doorway ,,etching4 ,g4 #ahh ,by permission of the ,fine ,art ,society 7,see page #aib7 ,as did ,tintoret and ,paul ,veronese1 among the ,venetians1 while not halting to change the brocaded silks for the classic draperies of ,athens4 ,as did1 at the ,court of ,philip1 ,velasquez1 whose ,infantas1 clad in insthetic hoops1 are1 as works of ,art1 of the same quality as the ,elgin ,marbles4 ,as did1 he might have added1 ,whistler1 during the reign of ,victoria1 in his portraits and ,nocturnes which have carried on the art of the world4 ,his argument was clear and his facts1 misunderstood1 are becoming the clichs of this generation4 ,critics1 photographers1 even ,royal ,academicians have appropriated the truths of ,the ,ten ,o',clock1 for strange things are happening to the memory of the ,idle ,apprentice4 ,he made his points wittily2 he chose his words and rounded his sentences with the feeling for the beautiful that ruled his painting4 ,the ,ten ,o',clock has passed into literature4 ,those ,sunday wrestlings with ,scripture in ,lowell1 that getting of the ,psalms by heart at ,stonington developed a style the literary artist may envy4 ,this style in ,art and ,art ,critics had its roughness4 ,he pruned and chastened it in his letters to the papers1 devoting infinite thought and trouble to them1 for he1 more than most men1 believed that whatever he had to do was worth doing with all his might4 ,he would write and rewrite them1 and drive editors mad by coming at the busiest hour to correct the proof1 working over it an hour or more1 and then returning to change a word or a comma1 while press and printers waited1 and he got so excited once he forgot his eye-glass--and the editor stole it1 and1 of course1 later lost it4 ,in his correspondence he was as scrupulous1 and we have known him make a rough draft of a letter to his bootmaker in ,paris1 and ask us to dictate it to him while he wrote his fair copy1 as a final touch addressing it to ,m4 ----1 ,matre ,bottier4 ,in ,the ,ten ,o',clock he brought his style to perfection4 ,his philosophy1 based on the eternal truths of art1 was expressed with the beauty that endures for all time4 ,the critics treated ,whistler's lecture as they treated his exhibitions4 ,the ,daily ,news was almost alone in owning that its quality was a surprise4 ,the ,times had the country with it when it said that the audience1 hoping for an hour's amusement from the eccentric genius of the artist1 were not disappointed4 ,the eccentric freak of an amiable1 humorous1 and accomplished gentleman1 was the ,daily ,telegraph's opinion4 ,oscar ,wilde1 in the ,pall ,mall ,gazette1 was shocked that an artist should talk of art1 and was unwilling to accept the fact that only a painter is a judge of painting4 ,this was natural1 for as an authority on art ,wilde had made himself ridiculous4 ,nor could he assent to much that ,whistler said1 for1 as a lecturer1 he had been a perambulating advertisement for the sthetic movement1 against which ,the ,ten ,o',clock was a protest4 ,but he was more generous than other critics in acknowledging the beauty of the lecture and the earnestness of the lecturer1 though he could not finish his notice without one parting shot at the man whose target he had often been3 that he is indeed one of the very greatest masters of painting is my opinion4 ,and ,i may add that1 in this opinion1 ,mr4 ,whistler himself entirely concurs4 ,this was not the sort of thing ,whistler could pass over4 ,his answer led to a correspondence which made another chapter in ,the ,gentle ,art4 ,whistler repeated ,the ,ten ,o',clock several times2 early in ,march before the ,british ,artists1 and later in the same month 7the #bdth7 before the ,university ,art ,society at ,cambridge1 where he spent the night with ,sir ,sidney ,colvin1 who writes us1 beyond the mere fact that ,whistler dined with me in ,hall and had some chat there with ,prince ,edward--an amiable youth who was a little scared at the idea of having to talk art 7of which he was blankly ignorant7 but whom ,whistler soon put at his ease2 ,i have no precise recollection of what passed4 ,what a pity6 ,on ,april #cj he gave his lecture at ,oxford4 ,mr4 ,sidney ,starr went down with ,whistler and his brother1 ',doctor ,willie1' to the ,mitre4 ,the lecture hall was small1 with primitive benches1 and the audience was small4 ,the lecture was delivered impressively1 but lacking the original emphasis and sparkle4 ,whistler hated to do anything twice over1 and this was the fourth time4 ,the fifth time was about the same date1 at the ,royal ,academy ,students' ,club in ,golden ,square1 an unexplained accident1 and the sixth at the ,fine ,art ,society's4 ,dr4 ,moncure ,conway wrote us a year before his death that he heard ,the ,ten ,o',clock at ,lady ,jeune's1 but ,lady ,jeune does not recollect it4 ,whistler we are sure would have remembered and recorded it4 ,there was a suggestion1 which came to nothing1 of taking it on an ,american tour and to ,paris4 ,it was heard twice more in ,london1 once at the ,grosvenor ,gallery in ,february #ahhh4 ,val ,prinsep recalled ,whistler's pressing invitation for him and ,leighton to attend3 ,during the time he was president of the ,british ,artists1 he and the other heads of art sometimes were asked to dine by our ,president 7,leighton74 ',rather late to ask me1 don't you think8' ,whistler remarked4 ,after dinner1 he pressed ,leighton and me to come to his lecture1 which was to be delivered a few days after4 ',what's the use of me coming8' ,leighton said sadly4 ',you know ,i should not agree with what you said1 my dear ,whistler6' ',oh1' cried ,whistler1 'come all the same2 nobody takes me seriously1 don't you know6' ,it was heard for the last time three years later 7#ahia7 at the ,chelsea ,arts ,club1 which had just started and proposed to hold lectures and discussions2 it now gives fancy-dress balls and boxing matches4 ,before the club found a home it was suggested that the first of these meetings should be at the ,cadogan ,pier ,hotel1 and ,whistler was invited to read ,the ,ten ,o',clock1 but his answer was1 ,no1 gentlemen1 let us go to no beer hotel1 and ,the ,ten ,o',clock was put off until the clubhouse in the ,king's ,road was opened4 ,the ,ten ,o',clock1 originally set up by ,mr4 ,way1 was published by ,messrs4 ,chatto and ,windus in the spring of #ahhh4 ,it had much the same reception when it was printed as when it was delivered4 ,the only criticism ,whistler took seriously was an article by ,swinburne in the ,fortnightly ,review for ,june #ahhh4 ,swinburne objected to ,whistler's praise of ,japanese art1 to his rigid line between art and literature1 to his incursion as brilliant amateur into the region of letters1 to his denial of the possibility of an artistic period or an art-loving people1 and to much else besides4 ,all this might have passed1 but ,swinburne went further4 ,he questioned the seriousness of ,whistler4 ,he twisted ,whistler's meaning to suit his weighty humour1 and then1 in a surprising vein of insolence1 re-echoed the popular verdict4 ,the witty tongue must be thrust into the smiling cheek1 he thought1 when ,whistler wrote1 ,art and ,joy go together1 which meant1 according to ,swinburne1 that tragic art is not art at all4 ',arter that1 let's have a glass of wine1' said a famous countryman of ,mr4 ,whistler's1 on the memorable occasion when he was impelled to address his friend ,mr4 ,brick in the immortal words1 'keep cool1 ,jefferson1 don't bust4' ,the admonition may not improbably be required by the majority of readers who come suddenly and unawares upon this transcendent and pyramidal pleasantry4 ,the laughing muse of the lecturer1 'quam ,focus circumvolat1' must have glanced round in expectation of the general appeal1 ',after that1 let us take breath4' ,and having done so1 they must have remembered that they were not in a serious world2 that they were in the fairyland of fans1 in the paradise of pipkins1 in the limbo of blue china1 screens1 pots1 plates1 jars1 joss-houses1 and all the fortuitous frippery of ,fusiyama4 ,this is quoted as an example of ,swinburnian humour4 ,the rest of the article is offensive and ridiculous--the brilliant poet but ponderous prose writer trying to be funny--with references to the jester of genius1 to the tumbler or clown1 to the gospel of the grin4 ,it was this that hurt--that ,swinburne1 the poet1 also misunderstood1 could laugh with the crowd at the eccentricity and levity of ,whistler4 ,swinburne's criticism was easy to answer1 and was answered in two of the comments printed1 with extracts from the article1 in ,the ,gentle ,art4 ,that tragic art is not art at all is1 ,whistler wrote1 ,swinburne's own inconsequence1 and this ,reflection appears on the opposite margin3 ,is not1 then1 the funeral hymn a gladness to the singer1 if the verse be beautiful8 ,certainly the funeral monument1 to be worthy the ,nation's sorrow buried beneath it1 must first be a joy to the sculptor who designed it4 ,the ,bard's reasoning is of the ,people4 ,the ,tragedy is theirs4 ,as one of them the man may weep--yet will the artist rejoice1 for to him is not 'a thing of beauty a joy for ever'8 ,to the ,world ,whistler wrote the letter called ,freeing a ,last ,friend in ,the ,gentle ,art4 ,it is short1 the sting in the concluding paragraph3 ,thank you1 my dear6 ,i have lost a confrre2 but then1 ,i have gained an acquaintance--one ,algernon ,swinburne--'outsider'--,putney4 ,the letter was sent to ,swinburne before it appeared in the ,world4 ,we have been told that it was received at ,putney one ,sunday morning when ,mr4 ,watts-,dunton was to breakfast with ,whistler4 ,suspecting that the letter might not be friendly1 ,mr4 ,watts-,dunton took it1 unopened1 with him to ,chelsea and begged ,whistler to withdraw it4 ,whistler refused4 ,mr4 ,watts-,dunton left the house without breakfasting1 and the same day the letter was delivered to ,swinburne1 who1 after reading it1 pale with rage1 swore that never again would he speak to ,whistler4 ,as a result1 ,mr4 ,watts-,dunton1 we believe1 was at pains to avoid ,whistler1 fearful of a rupture with him4 ,mr4 ,meredith had discovered years before that the springs in ,whistler were prompt for the challenge1 and it cannot be denied that he had reason to see a challenge in ,swinburne's article4 ,how much it hurt he did not conceal in ,the ,gentle ,art1 where the extracts from ,swinburne are followed immediately by ,et tu1 ,brute1 and there is nothing more dignified1 almost pathetic1 in the volume3 444 ,cannot the man who wrote ,atalanta1 and the ,ballads ,beautiful--can he not be content to spend his life with his work1 which should be his love1 and has for him no misleading doubt and darkness1 that he should so stray about blindly in his brother's flower beds and bruise himself6444 ,who are you deserting your ,muse1 that you should insult my ,goddess with familiarity1 and the manners of approach common to the reasoners in the market-place8 ',hearken to me1' you cry1 'and ,i will point out how this man1 who has passed his life in her worship1 is a tumbler and a clown of the booths1 how he who has produced that which ,i fain must acknowledge1 is a jester in the ring6' ,do we not speak the same language8 ,are we strangers1 then1 or1 in our ,father's house are there so many mansions that you lose your way1 my brother1 and cannot recognise your kin8444 ,you have been misled1 you have mistaken the pale demeanour and joined hands for an outward and visible sign of an inward and spiritual earnestness4 ,for you1 these are the serious ones1 and1 for them1 you others are the serious matter4 ,their joke is their work4 ,for me--why should ,i refuse myself the grim joy of this grotesque tragedy--and1 with them now1 you are all my joke6 ,and ,swinburne1 in pitiful spite1 we have been told1 burned ,whistler's letters1 and tried to sell ,la ,mre ,grard which ,whistler had given him4 ,later1 ,mr4 ,watts-,dunton is said to have stated that ,whistler asked ,swinburne to write the article1 and also that he tried to make peace between them4 ,,chapter ,,xxix3 ,,the ,,british ,,artists4 ,,the ,,rise4 ,,the ,,years ,,eighteen ,,eighty-,,four ,,to ,,eighteen ,,eighty-,,six4 ,in the autumn of #ahhd1 ,whistler joined the ,society of ,british ,artists4 ,years later1 when a ,british ,artist was dining with us1 ,whistler came in4 ,a delightful evening1 he said1 towards midnight1 the ,british ,artist having gone1 but what was it for the ,british ,artist sitting there1 face to face with his late ,president8 ,and then1 he told us how he became connected with the ,society3 ,well1 you know1 one day at my studio in ,chelsea1 a deputation arrived--,ayerst ,ingram and one or two others4 ,and there they were--and ,i received them charmingly1 of course--and they represented to me that the ,british ,artists' was an old and distinguished ,society1 possibly as old as the ,academy1 and maybe older1 and they had come to ask me if ,i would do them the honour of becoming a member4 ,it was only right ,i should know that the ,society's fortunes were at a low ebb1 but they wished to put new life into it4 ,i felt the ceremony of the occasion4 ,whatever the ,society was at the moment1 it had a past1 and they were there with all official authority to pay me a compliment4 ,i accepted the offer with appropriate courtesy4 ,as always1 ,i understood the ceremonial of the occasion--and then1 almost as soon as ,i was made a member ,i was elected ,president4 ,in the summer of #aijf ,sir ,alfred ,east1 ,president of the ,british ,artists1 and the ,council1 with the courtesy ,whistler would have approved1 gave us permission to consult the minute-books4 ,the first mention of ,whistler is in the minutes of the half-yearly general meeting1 ,november #ba1 #ahhd1 held at the ,suffolk ,street ,galleries1 when it was proposed that ,mr4 ,whistler be invited to join the ,society as a member4 ,a discussion took place concerning the law of electing ,mr4 ,whistler by ballot1 when it was proposed by ,mr4 ,bayliss1 seconded by ,mr4 ,cauty1 that the law relating to the election of members be suspended4 ,this was carried1 and the ,times 7,december #c1 #ahhd7 said3 ,artistic society was startled by the news that this most wayward1 most un-,english of painters had found a home among the men of ,suffolk ,street1 of all people in the world4 ,whistler had never belonged to any society in ,england1 and had never been asked1 though we believe he was a ,freemason2 at any rate he had a pair of sleeve buttons with masonic emblems--apparently--on them4 ,he was fifty1 an age when most men have arrived officially1 if they arrive at all4 ,up to this moment he had stood apart from every school and group and movement in the country4 ,he was as much a foreigner as when he came1 a quarter of a century before1 from ,paris4 ,he was a puzzle to the people1 more ,american than ,english in appearance1 manners1 and standards4 ,his short1 slight figure1 dark colouring and abundant curls1 his vivacity of gesture1 his ,american accent1 his gaiety1 his sense of honour1 his quick resentment of an insult1 were foreign and1 therefore1 to be suspected1 and his personality increased the suspicion with which his art was regarded4 ,recent writers have analysed his work and pointed out where it is ,american1 ,french1 ,japanese4 ,but to his contemporaries it did not matter what these tendencies were1 the result was not ,english4 ,his art1 in its aims and methods1 was different from theirs1 to them he seemed in deliberate opposition1 ruled by caprice1 straining after novelty and notoriety4 ,when ,whistler came to ,england1 art was the ,academy1 an ,academy that had strangled the traditions of art and set up sentiment and anecdote4 ,wilkie explained the ideal of the nineteenth-century ,academician when he said that to know the taste of the public--to learn what will best please the employer--is1 to an artist1 the most valuable of all knowledge2 and the ,royal ,academy has only carried on the canny tradition4 ,the classic machines of ,leighton1 ,tadema1 and ,poynter appealed to the artless scholar2 the idylls of ,millais1 ,marcus ,stone1 and ,leslie to the artless sentimentalist4 ,watts preached sermons for the artless serious1 ,stacy ,marks raised a laugh in the artless humorist1 ,herbert and ,long edified the artless pious4 ,every taste was catered to4 ,everybody could understand1 and art had never been so popular in ,england4 ,the ,academy became a social power4 ,as art was the last thing looked for on the walls1 so the artist was the last thing looked for in the ,academician4 ,the situation is summed up in ,whistler's reply to a group of ladies who were praising ,leighton3 ,he is such a wonderful musician6 such a gallant colonel6 such a brilliant orator6 such a dignified ,president6 such a charming host6 such an amazing linguist6 they chorused4 ,h'm1 paints1 too1 don't he1 among his other accomplishments8 said ,whistler4 ,it was an extraordinary state of affairs4 ,art1 was little more than an excuse for intrigues and trivialities4 ,men who were thought daring in rebellion and leaders of secessions did not improve matters4 ,the ,pre-,raphaelites were absorbed in subject1 though it was of another kind1 and though they paid greater attention to technique and preached1 as reformers always have1 a return to ,nature4 ,their insistence upon detail and finish1 instead of opening their eyes1 closed them more hopelessly by making it a duty to see nothing save unimportant facts1 and to copy these like a machine4 ,the exception1 ,alfred ,stevens1 who neither stooped to the taste of public or patron1 nor confused the artist with the missionary1 was as complete a pariah as ,whistler1 and he died unknown and unrecognised4 ,illustration3 ,,the ,,beggars ,,etching4 ,g4 #aid ,by permission of the ,fine ,art ,society 7,see page #aii7 ,illustration3 ,,the ,,rialto ,,etching4 ,g4 #baa ,by permission of ,messrs4 ,dowdeswell 7,see page #aii7 ,the position in ,france was different4 ,french officialism respected tradition4 ,the art of the academic painters might be frigid1 conventional1 dull1 but it was never petty and trivial1 never strove to please by escape from drawing and colour4 ,gleyre1 ,ary ,scheffer1 ,couture were the masters ,whistler found in ,paris4 ,their successors--,grme1 ,jean-,paul ,laurens1 ,bouguereau1 ,bonnat--did not altogether throw their dignity as artists to the winds of popularity1 or sacrifice it to social ambition4 ,the rebels in ,france were not actuated by moral or literary motives1 but broke away from conservatism4 ,rebellion sent ,holman ,hunt to ,palestine1 ,rossetti to medivalism1 ,burne-,jones to legend2 it kept ,courbet at home1 for the true was the beautiful and truth was to be found in the life and the people about him4 ,moreover1 the painter was to see these things through1 not a microscope1 but his eyes4 ,no man who looks upon a broad landscape can count the blades of grass in a field1 or the leaves of ivy on a wall1 or the stars in the heavens2 the eye can take in only the whole1 enveloped in atmosphere1 bathed in light1 shrouded in darkness1 all things keeping their places in their planes4 ,while in ,england the artist was searching the ,scriptures and the ,encyclopdia for subject1 in ,france he was training his eye to see things as they are and his hand to render them4 ,this preoccupation with ,nature1 and the study of tone1 gave artists new pictorial and technical problems1 and subject counted for nothing except as an aid to their right solution4 ,it is curious to contrast the work of the men in ,france and ,england of the same generation as ,whistler4 ,fantin-,latour grouped his friends about the portrait of ,delacroix1 ,leighton rearranged a procession of early ,florentines carrying the ,madonna of ,cimabue through his idea of the streets4 ,manet noted the play of light and colour in the bull-rings of ,spain1 ,tadema rebuilt on his canvas what he thought were the arenas of ancient ,rome4 ,degas chose his models among the washerwomen and ballet-girls of modern ,paris1 ,rossetti borrowing his subjects from ,dante4 ,whistler1 from his first picture1 was as preoccupied with the beauty in the familiar as his ,french fellow students4 ,what might have happened had he remained in ,france1 it is idle to discuss4 ,coming to ,england he developed in his own way1 and this was a way with which ,english painters had no sympathy4 ,he was so isolated that nothing has been more difficult for the historian of modern art than to place1 to classify him4 ,some authorities have included him among the ,realists4 ,his work eventually differed from that of ,courbet and ,courbet's disciples1 but he was always as much a realist as they in his preference for the world in which he lived1 and in his study of the relations of the things he found in it4 ,he never wavered1 except when he painted the ,japanese pictures1 and then he was not led astray by anecdote or sentiment1 but by the beauty that had drifted from ,japan into his house and studio4 ,london1 dirty1 gloomy1 despised by most artists1 with its little shops and taverns in the fog-bound streets2 the ,thames1 with its ugly warehouses and gaunt factories in the mist-laden night2 the crinolines of the sixties2 the clinging1 tight draperies of the seventies1 became beautiful as he saw them4 ,he made no effort to reform ,nature1 only reserving his right to select the elements that were beautiful and could be brought together1 as notes in music1 to create harmony1 putting into practice his teaching of ,the ,ten ,o',clock4 ,he sought colour1 mass1 not detail4 ,the ,pre-,raphaelites wanted to leave out less than a camera1 he wanted to put in no more than came within his vision4 ,he turned his back on history and archology1 and filled his canvas with beauty of line and form4 ,and he struggled to perfect his technical methods1 to make of them a perfect medium by which to express this beauty1 to reconcile what he could see in ,nature with what his brush could render4 ,the ,pre-,raphaelites laboured over their canvas1 inch by inch2 he painted his whole picture at once that unity might result4 ,the ,academicians lost their way in literary labyrinths2 he lingered on the river1 learning its secrets1 he watched the movement1 the pose of people about him4 ,the modern exhibition forced most painters into violent colour and exaggerated action1 he made no concession1 though he was ready to submit his pictures to the same tests as theirs4 ,it was inevitable that his ,english contemporaries could make nothing of him and his work4 ,the ,academician saw but emptiness in his paintings4 ,to the ,pre-,raphaelites they were slovenly and superficial4 ,holman ,hunt said of him that he knew where to leave off1 and was careful in the avoidance of difficulties2 ,millais thought him a great power of mischief among young men1 a man who had never learnt the grammar of his art4 ,the critics took their cue from the painters1 the more willingly because art criticism then meant analysis of the subject of a picture1 and there was no subject in ,whistler's work to analyse4 ,yet he never objected to subject4 ,it was only the blind critics and the blind painters of the day who said he did1 and their stupidity is still aped4 ,the great pictures for him were ,velasquez's ,menias ,franz ,hals' ,family1 ,tintoretto's ,milky ,way3 the greatest subject-pictures in the world4 ,all he objected to was the cheap drivel or sentiment of the painter whose mind or whose audience never rose above ,mummie's ,darling or the ,mustard ,pot1 the real ,british school trampled on by ,hogarth4 ,the public1 following their leaders1 were convinced that ,whistler's work was empty1 slight1 trivial1 an insult to their intelligence1 unless they took it as a jest4 ,nothing explains the popular conception of him better than the readiness to see eccentricity even in methods which he1 heir to all the ages1 had inherited4 ,his long-handled brushes and his manner of placing sitter and canvas were eccentric1 though they had been ,gainsborough's a century before4 ,to say that a picture was finished from the beginning was no less eccentric1 though it was ,baudelaire's axiom that the author foresees the last line of his work when he writes the first4 ,it is easier to make than to lose the reputation for eccentricity1 fatal to success in a land of conservatism4 ,whistler saw the ,englishmen who had studied in ,paris with him laden with honours2 ,poynter a prosperous painter1 ,leighton a perfect ,president1 ,du ,maurier the popular idol of ,punch1 ,armstrong a ,state functionary at ,south ,kensington1 while he remained1 officially1 on the outside1 at fifty less honoured than at twenty-five1 because1 it was said1 that he had not realised the promise of his youth4 ,in one respect his position had changed4 ,his contemporaries did not alter their opinion1 but younger artists accepted him and his teaching unquestioningly for a time4 ,though doubted and mistrusted1 he had never been without influence4 ,to look over old reviews and notices of exhibitions is to find references to the effect of his example4 ,in the ,art ,journal 7,june #ahhg71 ,sir ,walter ,armstrong traced the growing influence of ,french on ,english art to the ,paris ,universal ,exhibition of #ahfg and to ,whistler4 ,but artists of the new generation went further than the admission of his influence2 with the enthusiasm of youth1 they proclaimed his greatness4 ,he was their master--the one master in ,england4 ,after his return from ,venice1 when his fortunes were at their lowest and the public held him in most contempt1 this enthusiasm began to make itself heard and felt in the studios and the schools4 ,the ,british ,artists1 uncertain of their future1 took desperate remedies4 ,the ,society was old1 with distinguished chapters in its history4 ,it was formed by one of the first groups who realised the necessity for an association in self-defence against the monopoly of the ,academy4 ,it dated back to the beginning of the nineteenth century4 ,with the old ,water ,colour ,society1 it was considered only second in rank to the ,academy4 ,its gallery was in ,suffolk ,street1 near enough to the ,academy to profit by any overflow of visitors1 until the ,academy moved from ,trafalgar ,square to ,piccadilly4 ,the old ,water ,colour ,society was more independent1 because it is devoted to a branch of art never acknowledged by the ,academy1 though every ,academician tries to sneak in4 ,but the ,british ,artists suffered from this removal1 and found a formidable rival in the ,grosvenor ,gallery4 ,in ,whistler1 with his following1 they seemed to see the man to drag them from the mire into which they had sunk4 ,the older members hesitated--afraid of ,whistler1 afraid of the ,academy1 afraid of themselves4 ,but the younger members carried the day4 ,whistler worked hard for the ,society from his election till his resignation4 ,he attended his first meeting on ,december #a1 #ahhd1 and interested himself immediately in the affairs of the ,society1 though1 according to ,mr4 ,ludovici1 this was the last thing the ,society expected of him4 ,he promptly invited his ,president and fellow members to breakfast in ,tite ,street1 and1 as promptly1 was put on a committee for a smoking concert1 a dull and ponderous function4 ,he sent to the ,winter ,exhibition 7#ahhd-he7 two pictures1 ,arrangement in ,black1 ,no4 ,,ii41 the portrait of ,mrs4 ,louis ,huth1 not exhibited in ,london since #ahgd1 and a water-colour1 ,a ,little ,red ,note1 ,dordrecht2 in the ,summer ,exhibition 7#ahhe7 he showed the ,sarasate for the first time4 ,mr4 ,cole wrote in his diary3 ,october #aith 7#ahhd74 ,m4 and ,i went to tea with ,whistler to see his fine full-length of ,sarasate1 the violinist1 for next year's ,academy4 ,but whatever his original intention may have been1 the ,sarasate went to ,suffolk ,street with several small ,notes and ,harmonies4 ,if1 in electing him1 the ,british ,artists hoped to attract attention to their exhibition1 they were not disappointed4 ,the eccentric ,mr4 ,whistler has gone to a neglected little gallery1 the ,british ,artists1 which he will probably bring into fashion1 ,mr4 7now ,sir7 ,claude ,phillips wrote in the ,gazette des ,beaux-,arts 7,july #ahhe71 and this is what happened4 ,the distinction of the ,sarasate could not be denied4 ,but in his other work he was pronounced vastly amusing1 the ,pall ,mall ,gazette seizing this occasion to remind him of ,dr4 ,oliver ,wendell ,holmes' virtuous determination never to be as funny as he could4 ,it is so bad for the young4 ,soon ,whistler proposed that ,sunday receptions should be given in the gallery1 and that medals should be awarded4 ,he got ,mr4 ,menpes in as a water-colourist1 thus establishing distinct sections in the ,society1 a scheme he carried out in the ,international ,society of ,sculptors1 ,painters1 and ,gravers1 and he suggested that photographs of pictures shown should be sold in the gallery1 an idea copied all over the world4 ,for the ,winter ,exhibition of #ahhe-hf he had another interesting group1 including the ,portrait of ,mrs4 ,cassatt and a ,note in ,green and ,violet4 ,the ,mrs4 ,cassatt has not been exhibited in ,england since1 and is one of the least known of his portraits4 ,mr4 ,cassatt1 who was among the few believers in ,whistler at this period1 came from ,paris to ,london in ,april #ahhc1 especially to have it painted1 and was with ,mrs4 ,cassatt during the sittings at #ac ,tite ,street4 ,she has vivid memories of the brilliant talk between the two men4 ,it is amusing that ,whistler1 after having told them the story of ,the ,peacock ,room1 should have himself arranged for them to see it1 and that then they heard ,leyland's story4 ,mrs4 ,cassatt wanted to be painted in an evening gown4 ,mr4 ,cassatt preferred her riding habit4 ,the very thing1 said ,whistler1 and so in her riding habit and tall hat she stands on the canvas4 ,perhaps it was because of her disappointment that she could not see a likeness in the portrait4 ,whistler realised this1 but1 he told her1 ,after all1 it's a ,whistler4 ,mr4 ,cassatt1 punctilious in these matters1 paid ,whistler for the painting before he returned to ,america4 ,two years passed1 and still no portrait4 ,whistler had probably kept it back for the ,british ,artists4 ,mr4 ,cassatt at last wrote4 ,they had their reward for the delay4 ,a letter of apologies came from ,whistler and was followed by a case1 with not only the portrait in it1 but ,the ,chelsea ,girl1 a painting as little known1 and now reproduced for the first time as far as we have record4 ,at the ,british ,artists the ,note in ,green and ,violet1 a small pastel of a nude1 created a far greater sensation than the portrait4 ,about a month before the show opened1 the late ,j4 ,c4 ,horsley1 ,r4,a41 had read1 during a ,church ,congress1 a paper no one would have given a thought to had not ,whistler immortalised it4 ,horsley said3 ,if those who talk and write so glibly as to the desirability of artists devoting themselves to the representation of the naked human form1 only knew a tithe of the degradation enacted before the model is sufficiently hardened to her shameful calling1 they would for ever hold their tongues and pens in supporting the practice4 ,is not clothedness a distinct type and feature of our ,christian faith8 ,all art representations of nakedness are out of harmony with it4 ,whistler answered with one of the little things that ,providence sometimes sent him3 ,horsley soit qui mal y pense1 he wrote on a label1 and fastened it to the ,note in ,green and ,violet4 ,the ,british ,artists were alarmed1 for to enter ,suffolk ,street was not to abandon hope of the ,academy4 ,the label was removed1 not before it had been seen4 ,the critic of the ,pall ,mall referred to it as ,whistler's indignant protest against the idea that there is any immorality in the nude4 ,whistler1 who knew when ridicule served better than indignation1 wrote3 ,art certainly requires no 'indignant protest' against the unseemliness of senility4 ,horsley soit qui mal y pense is meanwhile a sweet sentiment--why more--and why 'morality'8 ,but the critic could not understand1 and he was discovered one day walking in ,pall ,mall with the nude on his arm4 ,the revenue of the ,society had been rapidly decreasing1 a deficit of five hundred pounds had to be faced4 ,to meet it ,whistler proposed that the luncheon to the ,press be discontinued4 ,it was an almost general custom then to feast the critics at press views of picture exhibitions4 ,but in few was the cloth more lavishly spread than at the ,british ,artists'1 in few were boxes of cigars and whiskies-and-sodas placed so conveniently4 ,the younger critics resented it1 the old ones lived for it4 ,press day1 the dreariest in the year at the ,royal ,academy1 was the most delightful at the ,british ,artists'1 they said4 ,mr4 ,sidney ,starr tells a story of one1 when ,whistler had not hung his picture1 but only the frame3 ,telegrams were sent imploring the placing of the canvas4 ,but the only answer that came was1 ',the ,press have ye always with you2 feed my lambs4' ,a smoking-concert followed during the exhibition4 ,at this1 one critic said to the ,master1 ',your picture is not up to your mark1 it is not good this time4' ',you should not say it isn't good2 you should say you don't like it1 and then1 you know1 you're perfectly safe2 now come and have something you do like1 have some whisky1' said ,whistler4 ,illustration3 ,,portraits ,,of ,,maud ,,oil 7,,destroyed7 ,from photographs lent by ,pickford ,r4 ,waller1 ,esq4 7,see page #bjf7 ,illustration3 ,,jubilee ,,memorial ,,illumination ,in the ,royal ,collection at ,windsor ,castle 7,see page #bfd7 ,in the place of the luncheon1 ,whistler suggested a ,sunday breakfast when members should pay for themselves and their guests4 ,but members were horrified2 his motion was lost4 ,in ,april #ahhf1 ,mr4 ,william ,graham's collection came up for auction at ,christie's4 ,the sale brought to it the buyers and admirers of ,rossetti1 ,burne-,jones1 ,holman ,hunt1 many of whose pictures ,graham had bought4 ,whistler's ,nocturne in ,blue and ,silver 7,blue and ,gold71 ,old ,battersea ,bridge belonged to him4 ,when it appeared there was a slight attempt at an ironical cheer1 which being mistaken for serious applause1 was instantly suppressed by an angry hiss all round1 and it was sold for sixty pounds to ,mr4 ,r4 ,h4 ,c4 ,harrison4 ,whistler acknowledged through the ,observer 7,april #aa1 #ahhf71 the distinguished1 though ,i fear unconscious1 compliment so publicly paid4 ,such recognition rarely1 he said1 came to the painter during his lifetime1 and to his friends he spoke of it as an unheard-of success1 the first time such a thing had happened4 ,the hisses in their ears1 the ,british ,artists were dismayed by his one contribution to the ,summer ,exhibition of #ahhf4 ,this was a ,harmony in ,blue and ,gold1 a full-length of a girl in draperies of blue and green1 leaning against a railing and holding a parasol1 an arrangement1 like the ,six ,projects1 uniting classic design with ,japanese detail4 ,the draperies were transparent1 and to defy ,horsley and the ,british ,matron was no part of the ,british ,artists' policy4 ,they were doubtless the more shocked when they read the comments in the ,press4 ,the most amusing revelation of ,british prudery1 worth preserving as typical1 appeared in the ,court and ,society ,review 7,june #bd1 #ahhf7 in a letter1 signed ,a ,country ,collector1 protesting against the praise of ,mr4 ,malcolm ,salaman1 who was the art critic of that paper3 ,i am invited to gaze at an unfinished1 rubbishy sketch of a young woman1 who1 if she is not naked1 ought to be1 for she would then be more decent4444 ,the figure is more naked than nude3 the colour what there is of it1 is distinctly unpleasant4 ,for my part1 sir1 ,i will not believe in ,mr4 ,whistler2 my daughters have commanded me to admire him--,i will not admire him4 ,how they can quietly stare at the ill-painted1 sooty-faced young woman in 'blue and gold' passes me4 ,but things are altered now1 and my girls gaze with critical calmness and carefully balanced pince-nez on that which would have sent their grandmothers shrieking from the gallery4 ,and ,whistler1 he declared1 was a poseur and the picture a colossal piece of pyramidal impudence4 ,whistler was not represented at the ,grosvenor1 and at the ,salon only by the ,sarasate1 which went afterwards to the ,,xx ,club in ,brussels4 ,his show in #ahhf was at ,messrs4 ,dowdeswell's ,gallery4 ,they exhibited and published for him the ,set of ,twenty-,six ,etchings1 twenty-one of the plates done in ,venice1 the other five in ,england1 the price fifty guineas4 ,with the prints he issued the often-quoted ,propositions1 the first series2 the laws1 as he defined them1 of etching4 ,he said that in etching1 as in every other art1 the space covered should be in proportion to the means used for covering it1 and that the delicacy of the needle demands the smallness of the plate2 that the ,remarque1 then in vogue1 emanated from the amateur2 that there should be no margin to receive a ,remarque2 and that the habit of margin also came from the outsider4 ,for a few years these ,propositions were accepted by artists4 ,at the present time they are ignored or defied1 and the bigger the plate the better pleased is the etcher and his public4 ,later in the year1 in ,may1 ,messrs4 ,dowdeswell arranged in their gallery a second series of ,notes--,harmonies--,nocturnes4 ,a few were in oil1 a few in pencil1 but the larger number were pastels and water-colours4 ,they were studies of the nude1 impressions of the sea at ,dieppe and ,dover1 ,st4 ,ives and ,trouville1 the little shops of ,london and ,paris1 the skies and canals of ,holland4 ,whistler decorated the room in ,brown and ,gold1 choosing the brown paper for the walls1 designing the mouldings of the dado4 ,mr4 ,walter ,dowdeswell has the sketch of the scheme in raw umber1 yellow ochre1 raw sienna1 and white2 he has also preserved the brown-and-yellow hangings1 and the yellow velarium4 ,on the cover for the mantelpiece1 the ,butterfly1 placed to one side1 is without a sting4 ,where is the sting8 ,mr4 ,dowdeswell asked4 ,that1 ,whistler said1 is in my waistcoat pocket4 ,i am keeping it for the critics4 ,the exhibition was received with mingled praise and blame1 and it would not have been a success financially had not ,mr4 ,h4 ,s4 ,theobald1 ,k4,c41 purchased all that earlier buyers left on ,messrs4 ,dowdeswell's hands4 ,in the following summer ,mr4 ,burr refused to stand again for the ,presidency1 and at a ,general ,meeting 7,june #a1 #ahhf71 ,whistler was elected4 ,the excitement was intense4 ,whistler alone was calm and unmoved4 ,mr4 ,ingram1 a scrutineer1 remembers coming for ,whistler's vote and being so excited that ,whistler tried to reassure him3 ,never mind1 never mind1 you've done your best6 ,the meeting adjourned to the ,hogarth ,club for supper4 ,j'y suis1 j'y reste1 ,whistler wired his brother4 ,the comic papers were full of caricatures1 the serious papers of astonishment4 ,he was hailed as ,president ,whistler by his friends1 and denounced by members of the ,society as an artist with no claim to be called ,british4 ,younger painters rushed to his support1 and one ,french critic1 ,marcel ,roland1 prophesied that1 l'oeuvre de ,whistler ne quittera son atelier que pour aller tout droit s'ennuyer jamais sur les murs des grandes salles du ,louvre4 ,la place est marque entre ,paul ,vronse et ,vlasquez4 ,it was suggested by ,mr4 ,malcolm ,salaman that all the rising young painters to whom we must look for the future of ,british art will flock to the standard of ,mr4--why not ,sir ,james--,whistler1 rather than to that of ,sir ,frederick ,leighton--a prophecy fulfilled in the early days of the ,international1 while the question as to whether ,whistler would have accepted a knighthood has lately been discussed4 ,he would doubtlessly1 could he have done so without losing his ,american citizenship1 but he would not have sold his citizenship for it4 ,honorary rank and ,british orders could have been conferred upon him1 as they are often upon foreign politicians1 social nonentities1 or useful financiers without loss of their citizenship4 ,but in ,british orders1 as ,lord ,melbourne said of the ,garter1 there is no damn question of merit about it4 ,whistler intended going to ,america in the fall1 but the journey was postponed4 ,he wrote to the ,world 7,october #ac1 #ahhf71 this is no time for hesitation--one cannot continually disappoint a ,continent1 and he settled down to the task of directing the fortunes of a ,society which looked to him for help1 its members divided among themselves in their confidence in him as ,president4 ,,chapter ,,xxx3 ,,the ,,british ,,artists4 ,,the ,,fall4 ,,the ,,years ,,eighteen ,,eighty-,,six ,,to ,,eighteen ,,eighty-,,eight4 ,according to the constitution of the ,british ,artists the ,president1 though elected in ,june1 does not take office until ,december4 ,whistler presided for the first time on ,december #aj1 #ahhf1 and from that day he was supported devotedly by one faction and opposed fiercely by the other4 ,for the ,winter ,exhibition 7#ahhf-hg7 he decorated the galleries with the same care as his own shows4 ,he put up a velarium1 he covered the walls with muslin4 ,the muslin gave out1 leaving a bare space under the ceiling4 ,but what matter8 he said1 the battens are well placed1 they make good lines1 and they became part of the decoration4 ,he would allow no crowding1 the walls were to be the background of good pictures well spaced1 well arranged4 ,he urged the virtue of rejection4 ,mr4 ,starr says1 ,he was oblivious to every interest but the quality of the work shown4 ,he told ,mr4 ,menpes1 one of the ,hanging ,committee1 ,if you are uncertain for a moment1 say ',out4' ,we want clean spaces round our pictures4 ,we want them to be seen4 ,the ,british ,artists' must cease to be a shop4 ,this was resented4 ,the modern exhibition is a shop1 and as long as most painters have their way a shop it will remain4 ,he exhibited ,nocturne in ,brown and ,gold 7afterwards ,blue and ,gold71 ,st4 ,mark's1 ,venice--he told the members on varnishing day that it was his best2 ,harmony in ,red3 ,lamplight1 ,mrs4 ,godwin1 and ,harmony in ,white and ,ivory1 ,lady ,colin ,campbell1 a beautiful portrait of a beautiful woman1 one of many that have disappeared4 ,it was not finished when ,whistler sent it in1 an excuse for dissatisfied members to propose its removal4 ,the question was not put to the meeting when the matter came up1 but a proposition to define the rights of the ,president and the ,president-elect was carried4 ,one of ,whistler's first acts was to offer to loan the ,society five hundred pounds to pay its debts4 ,mr4 ,starr describes him1 during this time of fluctuating finances1 pawning his large gold ,salon medal one day1 lending five hundred pounds to the ,british ,artists the next4 ,he often found 'a long face and a short account at the ,bank1' he said one day4 ,he did everything he could to increase the prestige of the ,society4 ,all that was charming was to be encouraged1 all that was tedious was to be done away with4 ,he got distinguished artists to join3 ,charles ,keene1 ,alfred ,stevens1 and the more promising younger men4 ,he allowed several to call themselves in the catalogue pupils of ,whistler1 and to make drawings of the gallery and his pictures for the illustrated papers4 ,the sketches of ,sarasate in the ,pall ,mall's ,pictures of #ahhe1 and of ,harmony in ,blue and ,gold1 and his exhibition at ,dowdeswell's gallery in ,pictures of #ahhf are by him4 ,but after this ,mr4 ,theodore ,roussel1 ,mr4 ,walter ,sickert1 ,mr4 ,sidney ,starr made the drawings for reproduction4 ,he gave the ,art ,union1 organised by the ,society1 a plate1 ,the ,fish ,shop--,busy ,chelsea1 one year1 and another1 a painting done at ,st4 ,ives4 ,in the ,march meeting 7#ahhg7 he proposed a limit of size for exhibits1 he contributed twenty pounds towards a scheme of decoration1 and he presented four velvet curtains for the doorways in the large room4 ,there is a drawing1 showing curtains and velarium1 by ,mr4 ,roussel in the ,pall ,mall's ,pictures of #ahhg4 ,whistler's early ,nocturne in ,blue and ,gold1 ,valparaiso ,bay2 ,nocturne in ,black and ,gold1 ,the ,gardens 7,cremorne72 ,harmony in ,grey1 ,chelsea in ,ice1 were hung1 and with them his latest1 ,arrangement in ,violet and ,pink1 ,portrait of ,mrs4 ,walter ,sickert4 ,this is the first of the two portraits he painted of ,mrs4 ,sickert1 and from her we learned that it was destroyed4 ,most of the members regarded the ,president's innovations as an interference with their rights4 ,he might pay their debts1 that was one thing2 it was another to make their gallery beautiful by chucking their pictures4 ,their resentment increased on the occasion of a visit from the ,prince of ,wales4 ,whistler stayed late the day before to finish the decoration4 ,when the members came1 doors and dados were painted yellow4 ,whistler1 with whom great fault was found1 refused to have anything further to do with the decorations1 though they were unfinished4 ,there was fright carried that evening to a smoking-concert at the ,hogarth ,club1 where everybody was talking of the arrangement in yellow4 ,he was telegraphed for4 ,so discreet of you all at the ,hogarth was his answer1 and he did not appear until it was time to meet the ,prince1 though in the meantime members tried to tone down the yellow4 ,whistler told us3 ,i went downstairs to meet the ,prince4 ,as we were walking up1 ,i a little in front with the ,princess1 the ,prince1 who always liked to be well informed in these matters1 asked what the ,society was--,was it an old institution8 ,what was its history8 ',sir1 it has none1 its history dates from to-day6' ,i said4 ,but the old members say that when the ,prince went downstairs with one of them his remark was3 ,who is that funny little man we have been talking to8 ,the dissatisfaction was brought before a meeting1 when a proposition was made and passed that the experiment of hanging pictures in an isolated manner be discontinued1 and that1 in future1 enough works be accepted to cover the vacant space above and below the line--in fact1 that the gallery be hung as before4 ,it is said that some members made an estimate of the amount of wall-space left bare1 and calculated the loss in pounds1 shillings and pence4 ,we saw this exhibition1 though we did not see ,whistler4 ,we remember the quiet1 well-spaced walls1 and the portrait of ,mrs4 ,sickert1 also works by ,dannat and ,william ,stott4 ,it should not be forgotten that the ,british ,artists' was arranged and hung by ,whistler years before there was any idea of artistic hanging in ,german ,secessions--we believe1 before there were any ,secessions4 ,whistler had applied to his own shows the same method of spacing and hanging1 and decorating the walls with an appropriate colour-scheme4 ,it had occurred to no one before him that beautiful things should be shown beautifully1 and it is not too much to say that the attention given to-day to the artistic arrangement of picture exhibitions is due entirely to ,whistler4 ,the resurrection of the velarium1 designed1 made1 and hung after his scheme1 has revolutionised the lighting of picture galleries1 though in very few is his scheme intelligently followed4 #ahhg was ,queen ,victoria's ,jubilee1 and every society of artists prepared addresses to ,her ,majesty2 ,whistler could not permit his ,society to appear less ceremoniously loyal4 ,his account to us was3 ,well1 you know1 ,i found that the ,academy and the ,institute and the rest of them were preparing addresses to the ,queen1 and so ,i went to work too1 and ,i prepared a most wonderful address4 ,instead of the illuminated performances for such occasions1 ,i took a dozen folio sheets of my old ,dutch paper4 ,i had them bound by ,zaehnsdorf4 ,first came the beautiful binding in yellow morocco and the inscription to ,her ,majesty1 every word just in the right place--most wonderful4 ,you opened it1 and on the first page you found a beautiful little drawing of the royal arms that ,i made myself2 the second page1 an etching of ,windsor1 as though 'there's where you live6' ,on the third page the address began4 ,i made decorations all round the text in water-colour1 at the top the towers of ,windsor1 down one side a great battleship plunging through the waves1 and below1 the sun that never sets on the ,british ,empire--,what8 ,the following pages were not decorated1 just the most wonderful address1 explaining the age and dignity of the ,society1 its devotion to ,her ,glorious1 ,gracious ,majesty1 and suggesting the honour it would be if this could be recognised by a title that would show the ,society to belong specially to ,her4 ,then1 the last page2 you turned1 and there was a little etching of my house at ,chelsea--',and now1 here's where ,i live6' ,and then you closed it1 and at the back of the cover was the ,butterfly4 ,this was all done and well on its way and not a word was said to the ,society1 when the ,committee wrote and asked me if ,i would come to a meeting as they wished to consult me4 ,it was about an address to ,her ,majesty--all the other ,societies were sending them--and they thought they should too4 ,i asked what they proposed spending--they were aghast when ,i suggested that the guinea they mentioned might not meet a twentieth of the cost4 ,but1 all the time1 my beautiful address was on its way to ,windsor1 and finally came the ,queen's acknowledgment and command that the ,society should be called ,royal--,i carried this to a meeting and it was stormy4 ,one member got up and protested against one thing and another1 and declared his intention of resigning4 ',you had better make a note of it1 ,mr4 ,secretary1' ,i said4 ,and then ,i got up with great solemnity1 and ,i announced the honour conferred upon them by ,her ,gracious ,majesty1 and they jumped up and they rushed towards me with outstretched hands4 ,but ,i waved them all off1 and ,i continued with the ceremonial to which they objected4 ,for the ceremonial was one of their grievances4 ,they were accustomed to meet in shirt-sleeves--free-and-easy fashion which ,i would not stand4 ,nor would ,i consent to what was the rule and tradition of the ,society4 ,i would not1 when ,i spoke1 step down from the chair and stand up in the body of the meeting1 but ,i remained always where ,i was4 ,but1 the meeting over1 then ,i sent for champagne4 ,whistler1 as ,president of the ,british ,artists1 was invited to the ,jubilee ceremonies in ,westminster ,abbey1 and in ,mr4 ,lorimer's painting he may be seen on one side of the triforium1 ,leighton on the other4 ,jubilee in the ,abbey1 an etching1 gives his impressions4 ,he was asked also to the ,state garden-party at ,buckingham ,palace1 and to the ,naval ,review off ,spithead1 when he made the ,naval ,review series of plates and at least one water-colour in a day4 ,naturally1 when the ,royal ,academy neglected to invite him to their soire1 though hitherto they had always invited the ,president of the ,british ,artists1 he resented it as an insult not only to himself1 but to the ,society4 ,it really was a pretty little recognition of my own personality beneath the cloak of office1 he wrote in an often-quoted letter to ,leighton1 then ,president of the ,royal ,academy4 ,the year before1 ,mr4 ,ayerst ,ingram had proposed that the ,society should give a show of the ,president's work to precede their ,summer ,exhibition of #ahhg4 ,this had met with so many objections that though the motion was not withdrawn as ,whistler wanted1 it was dropped4 ,after the new honours were obtained by him for the ,society1 and while he was travelling in ,belgium and ,holland1 an effort was made to revive the scheme4 ,mr4 ,ingram did what he could4 ,mr4 ,walter ,dowdeswell acted as honorary secretary1 guarantors were found1 owners of pictures were written to4 ,february and ,march #ahhh was the time appointed1 but ,whistler doubted the sincerity of the ,society and would not risk anything less than an absolute triumph of perfection for an undertaking made in the name of the ,british ,artists or his own4 ,to him no success was worse than failure4 ,at the end of ,september nothing definite had been arranged1 and ,whistler told ,mr4 ,ingram that his solitary evidence of active interest could hardly bring about a result sufficient to excuse such an eleventh-hour effort4 ,he was right4 ,the opposition in the ,society was strong1 and many members were in open warfare with their ,president4 ,they refused to support him in his proposition that no member of the ,society should be1 or should remain1 a member of any other ,society1 and when he followed this with the proposition that no member of the ,royal ,society of ,british ,artists who was a member of any other ,society should serve on the ,selecting or ,hanging ,committee1 they again defeated him4 ,nor did they persuade him to reconsider the formal withdrawal1 on ,november #ah1 of his permission to show his works4 ,he sent1 however1 several water-colours and the twelve etchings of the ,naval ,review to the ,winter ,exhibition 7#ahhg-hh71 and four lithographs from the ,art ,notes published that autumn by the ,goupils4 ,they were described in the ,magazine of ,art 7,december #ahhg7 as mere lead pencil notes reproduced in marvellous facsimile1 which gave ,whistler his chance for a courteous reminder in the ,world to the bewildered one4 ,the critic might inquire1 he said2 the safe and well-conducted one informs himself4 ,within the ,society he had once more to contend against the opposition to his hanging and spacing1 and a fresh grievance was that space was filled with the work of ,monet1 as yet hardly known in ,england4 ,one of the older members1 when he looked at ,whistler's ,red ,note1 declared1 ,if he can do that1 ,i'll forgive him--he can do anything4 ,but few could forgive so easily4 ,they objected that ,whistler would have his way1 and didn't mind if he made enemies in getting it1 and they began to whisper that in the matter of the memorial he had been dictatorial4 ,the situation is best described in the words of ,mr4 ,holmes to us3 ,with a little more of ,disraeli and a little less of ,oliver ,cromwell1 ,whistler would have triumphed4 ,the crisis came in ,april #ahhh1 before the ,summer ,exhibition4 ,it was suggested that the ,council communicate with the ,president as to the removal of temporary decorations which he had designed and they had paid for4 ,one decoration the ,society did not object to was a velarium1 since it meant no loss of wall-space1 and when ,whistler removed this they ordered a new one4 ,whistler1 through his secretary1 explained to the ,committee that the velarium was his patent--a patent taken out by the ,greeks and ,romans is ,mr4 ,ingram's comment4 ,whistler got out an injunction2 when the ,committee1 with their order for the velarium1 hurried to ,hampton's shop1 his secretary was at their heels in a hansom with the injunction2 the secretary arrived with them at ,liberty's1 but somehow they managed1 in the end1 to evade him4 ,a velarium was made and put up1 and they proceeded to get rid of their ,president4 ,at a meeting on ,may #g a letter1 signed by eight members whose names do not appear in the minutes1 was read1 asking ,president ,whistler to call a meeting to request ,mr4 ,james ,a4 ,mc,neill ,whistler to resign his membership in the ,society1 and he called the meeting and signed the minutes4 ,the ,president made a speech1 in which he claimed that his action in the matter of the velarium was not inimical to the welfare of the ,society1 but the speech was not recorded4 ,he permitted no one to speak in opposition1 and the subject was dropped4 ,at the special meeting called by him the same month there was an exhaustive discussion4 ,whistler declared his position4 ,his opponents presented an array of lawyer's letters1 which they said showed that ,whistler had threatened injunctions1 had greatly impeded the ,executive in the decoration of the galleries1 and had influenced many distinguished people to keep away from the private view4 ,a vote was taken for his expulsion1 though ,mr4 ,ingram proposed a vote of censure in its place4 ,whistler refused at first to put the motion to expel himself1 but finally was compelled to do so4 ,there were eighteen votes for1 nineteen against it1 and nine members did not vote4 ,the votes1 ,whistler said1 when he addressed the meeting after the ballot1 showed that the ,society approved of his action4 ,mr4 ,francis ,james at once proposed a vote of censure on those who had signed the letter1 but this was not carried4 ,on ,june #d1 at the annual election1 when a whip had been sent round to all members1 ,wyke ,bayliss was elected ,president1 and ,whistler resigned from the ,society1 congratulating the members on the election3 ,now1 at last1 you must be satisfied4 ,you can no longer say you have the right man in the wrong place6 ,mr4 ,starr recalls his saying3 ,now ,i understand the feelings of all those who1 since the world began1 have tried to save their fellow men4 ,the minority resigned1 as ,mr4 ,menpes1 foreseeing the inevitable1 had a month earlier1 which led to ,whistler's comment on the early rat who leaves the sinking ship4 ,all who had joined the ,society with him left it with him1 and he said the ,artists came out and the ,british remained4 ,mr4 ,menpes describes a supper of the ,artists after the meeting at the ,hogarth ,club4 ,he says he was taken back into favour1 and joined the party4 ,what are you going to do with them all8 he asked4 ,lose them1 said ,whistler4 ,but he did not lose them all4 ,one or two stayed by him to the end4 ,illustration3 ,,portrait ,,of ,,lady ,,meux ,,harmony ,,in ,,pink ,,and ,,grey ,,oil ,in the possession of ,h4 ,c4 ,finch1 ,esq4 7,see page #baa7 ,illustration3 ,,the ,,salute1 ,,venice ,,water-,,colour ,in the possession of ,b4 ,b4 ,mac,george1 ,esq4 7,see page #bjb7 ,whistler1 according to the constitution1 held office till ,december1 and till ,december he retained his post4 ,during this time there were meetings4 ,at one he addressed ,bayliss as ,baily--to his disgust--but1 on this occasion at least1 ,bayliss had an idea and replied1 ,yes1 ,mr4 ,whistle6 ,at a meeting on ,november #bh ,whistler made a statement of his relations with the ,society1 and his objects and aims concerning it1 only referred to in the minutes1 and he gave up the chair to ,wyke ,bayliss4 ,he had been ,president two years1 a member four4 ,after ,november #bh1 #ahhh1 his name appears in the official records only twice3 first on ,january #d1 #ahhi1 in connection with a dispute over the notice board outside the gallery1 and then on ,july #bj1 #aijc1 when ,wyke ,bayliss stated that1 acting on the feeling that it would be the wish of the ,society1 he had ordered a wreath to be sent in the name of the ,society on the occasion of the funeral of ,mr4 ,whistler4 ,the newspapers were not so shy of the ,president as the minute-books4 ,the difference between ,whistler and the ,society found the publicity which he could never escape4 ,he said to the men who resigned with him1 ,come and make history for posterity1 and1 as usual1 he saw that the record was accurate4 ,he had hardly left the ,society when the notice board1 with the ,butterfly and the lion which he had painted1 was altered2 he immediately wrote a letter to state the fact in the ,pall ,mall ,gazette4 ,reporters and interviewers gave the ,british ,artists' reasons for their late ,president's resignation and his successor's qualifications for the post4 ,whistler lost no time in explaining his position and giving his estimate of the new ,president4 ,it cannot be said too often that his letters to the ,press1 criticised as trivial and undignified1 were written deliberately that history might be made4 ,many pages of ,the ,gentle ,art are filled with his relations with the ,british ,artists4 ,the gaiety of his letters was mistaken for flippancy1 because the more solemn and ponderous the enemies became1 the more joyous he grew in disposing of them4 ,he did not spare the ,british ,artists4 ,the ,pall ,mall undertook to describe the disaster of the ,whistlerian policy in ,suffolk ,street by statistics and to extol the strength of ,wyke ,bayliss3 ,the sales of the ,society during the year #ahha were under five thousand pounds2 #ahhb1 under six thousand2 #ahhc1 under seven thousand2 #ahhd1 under eight thousand2 #ahhe 7the first year of ,mr4 ,whistler's rule71 they fell to under four thousand2 #ahhe1 under three thousand2 #ahhg1 under two thousand2 and the present year1 #ahhh1 under one thousand4444 ,the new ,president 444 is 444 the hero of three ,bond ,street 'one-man exhibitions1' a board-school chairman1 a lecturer1 champion chess-player of ,surrey1 a member of the ,rochester ,diocesan ,council1 a ,shakespearean student1 a ,fellow of the ,society of ,cyclists1 a ,fellow of the ,society of ,antiquarians1 and public orator of ,noviomagus4 ,whistler's answer1 serious in intention1 gay in wording1 pointed out the1 for once1 not unamusing 'fact' that the disastrous and simple ,painter ,whistler only took in hand the reins of government at least a year after the former driver had been pitched from his box and half the money-bags had been already lost6 ,from eight thousand to four thousand at one fatal swoop6 and the beginning of the end had set in6444 ',four thousand pounds6' down it went2 three thousand pounds1 two thousand pounds--the figures are ,wyke's--and this season1 the ignominious 'one thousand pounds or under' is none of my booking6 ,and when last ,i saw the mad machine it was still cycling down the hill4 ,whistler was disappointed1 though he did not show it4 ,he was seldom invited to join anything1 nor did he rush to accept the rare invitation4 ,he would take no part in the ,art ,congress started in the eighties1 despite an effort to entangle him2 he would do no more than bestow his benison upon the movement in #ahhf to organise a ,national ,art ,exhibition1 led by ,walter ,crane1 ,holman ,hunt1 and ,george ,clausen4 ,but to the ,british ,artists he had given his time and energy during four years1 he had dragged the ,society out of the slough in which it was floundering and made its exhibitions the most distinguished and most talked-about in ,london4 ,wyke ,bayliss1 who never understood him1 wrote3 ,whistler's purpose was to make the ,british ,artists a small1 esoteric set2 mine was to make it a great guild of the working artists of this country4 ,whistler said3 ,i wanted to make the ,british ,artists an art centre2 they wanted to remain a shop4 ,wyke ,bayliss and his successor were knighted1 as ,presidents of ,royal ,societies usually are2 ,whistler1 who obtained the title and charter of the ,society1 was ignored4 ,ten years later1 as ,president of the ,international ,society of ,sculptors1 ,painters1 and ,gravers1 he not only recommended1 but carried out his schemes and theories3 the decoration of the galleries1 the refusal of bad work no matter who sent it1 the proper hanging of the pictures accepted1 the making of the exhibitions into artistic events1 the interesting of the public in them1 the insistence that each artist should only support his own ,society's exhibitions and should belong to no other ,society4 ,he was dictatorial1 but without a dictator nothing can be done1 and at the ,british ,artists each ,british ,artist wanted to lead4 ,his ,presidency began in mistrust and ended in discord4 ,for ,whistler it had an advantage1 especially abroad1 where artists began to regard him with deference4 ,,chapter ,,xxxi3 ,,marriage4 ,,the ,,year ,,eighteen ,,eighty-,,eight4 ,i don't marry1 ,whistler said1 though ,i tolerate those who do4 ,but before he left the ,british ,artists' he did marry4 ,his wife was ,beatrix ,godwin1 widow of ,e4 ,w4 ,godwin1 the architect of the ,white ,house and for years ,whistler's champion in the ,press4 ,godwin died on ,october #f1 #ahhf1 and ,whistler married on ,august #aa1 #ahhh4 ,mrs4 ,whistler was the daughter of ,john ,birnie ,philip1 remembered as one of the sculptors who worked on the awful ,albert ,memorial4 ,she was large1 so that ,whistler was dwarfed beside her1 dark and handsome1 more foreign in appearance1 but not in person1 than ,english4 ,whistler delighted in a tradition that there was gipsy blood in her family4 ,she had studied art in ,paris and with him1 and he was proud of her as a pupil4 ,her work included several decorative designs1 and a series of etchings made to illustrate the ,english edition of ,van ,eeden's ,little ,johannes4 ,only a few of the plates were finished1 and of these some proofs were shown in the first exhibition of the ,international ,society and in the ,paris ,memorial ,exhibition1 while ,mr4 ,heinemann had the intention of publishing a series of illustrations which she and ,whistler drew on the wood4 ,mr4 ,labouchere held himself responsible for the marriage1 and told the story in ,truth 7,july #bc1 #aijc73 ,i believe that ,i am responsible for his marriage to the widow of ,mr4 ,godwin1 the architect4 ,she was a remarkably pretty woman and very agreeable1 and both she and he were thorough ,bohemians4 ,i was dining with them and some others one evening at ,earl's ,court4 ,they were obviously greatly attracted to each other1 and in a vague sort of way they thought of marrying4 ,so ,i took the matter in hand to bring things to a practical point4 ',jemmy1' ,i said1 'will you marry ,mrs4 ,godwin8' ',certainly1' he replied4 ',mrs4 ,godwin1' ,i said1 'will you marry ,jemmy8' ',certainly1' she replied4 ',when8' ,i asked4 ',oh1 some day1' said ,whistler4 ',that won't do1' ,i said1 'we must have a date4' ,so they both agreed that ,i should choose the day1 what church to come to for the ceremony1 provide the clergyman1 and give the bride away4 ,i fixed an early date1 and got the then ,chaplain of the ,house of ,commons the ,rev4 ,mr4 ,byng to perform the ceremony4 ,it took place a few days later4 ,after the ceremony was over1 we adjourned to ,whistler's studio1 where he had prepared a banquet4 ,the banquet was on the table1 but there were no chairs4 ,so we sat on packing-cases4 ,the happy pair1 when ,i left1 had not quite decided whether they would go that evening to ,paris or remain in the studio4 ,how unpractical they were was shown when ,i happened to meet the bride the day before the marriage in the street3 ',don't forget to-morrow1' ,i said4 ',no1' she replied1 ',i am just going to buy my trousseau4' ',a little late for that1 is it not8' ,i asked4 ',no1' she answered1 'for ,i am only going to buy a new toothbrush and a new sponge1 as one ought to have new ones when one marries4' ,the wedding took place at ,st4 ,mary ,abbott's1 ,kensington1 in the presence of ,dr4 and ,mrs4 ,whistler1 one of ,mrs4 ,godwin's sisters1 ,mrs4 ,whibley1 and three or four others4 ,mr4 ,labouchere gave the bride away and ,mr4 ,jopling-,rowe was best man4 ,whistler had recently left #ded ,fulham ,road and the ,vale1 with its memories of ,maud1 for the ,tower ,house1 ,tite ,street1 and the suddenness of his marriage gave no time to put things in order4 ,there were not only packing-cases in the dining-room--usually one of the first rooms furnished in every house he moved into--but the household was in most respects unprepared for the reception of a bride4 ,the wedding breakfast was ordered from the ,caf ,royal1 and the bride's sister hurriedly got a wedding cake from ,buszard's4 ,the rest of the summer and autumn was spent in ,france1 part of the time in ,boulogne4 ,mr4 and ,mrs4 ,cole1 on ,august #bg 7#ahhh74 ,met ,jimmy and his wife on the sands3 they came up with us to ,rue de la ,paix1 down to bathe4 ,jimmy sketching on sands2 the ,w4's turned up after lunch4 ,with ,jimmy to the iron and rag march near ,boulevard ,prince ,albert no doubt in search of old paper as well as of subjects4 ,he sketched 7water-colours7 a dingy shop4 ,later we dined with them at the ,casino4 ,pleasant parti quatre4 ,jimmy in excellent form4 ,leaving to-morrow4 ,from ,boulogne they went to ,touraine1 stopping at ,chartres1 most of the time lost to their friends1 as they intended to be lost4 ,it was ,whistler's first holiday4 ,he was taking it lazily1 he wrote to ,mrs4 ,william ,whistler1 in straw hat and white shoes1 rejoicing in the grapes and melons1 getting the pleasure out of it that ,france always gave him4 ,but he got more than pleasure4 ,he brought back to ,london about thirty plates of ,tours and ,loches and ,bourges1 and settled down in ,london to wind up his connection with the ,british ,artists'4 ,whistler was devoted to his wife1 who henceforth occupied a far more prominent position in his life than could have been imagined4 ,indeed his life was entirely changed by his marriage4 ,he went less into society and had less time for his art4 ,during months he was a wanderer1 and while he wandered his painting stopped4 ,not that ,mrs4 ,whistler was indifferent to art4 ,she was sympathetic4 ,he liked to have her in the studio2 when she could not come he brought the pictures he was painting home for her to see4 ,he consulted her in his difficulties1 she shared his troubles1 she rejoiced in his triumphs4 ,but it cannot be denied that the period of great schemes came to an end with his marriage4 ,although later he painted exquisite pictures1 there are no canvases like the ,mother and ,carlyle1 the ,sarasate and ,the ,yellow ,buskin4 ,this was no doubt the result partly of his pleasure in his new domestic conditions1 partly of circumstances that prevented him from remaining long enough in one place for continuous work to be possible4 ,an artist must give himself entirely to his work1 or else have a very different temperament from ,whistler's4 ,after a year or so in ,london and two or three happy years in ,paris which ,mrs4 ,whistler said she did not deserve1 her health necessitated wandering again4 ,commissions at last came1 but ,mrs4 ,whistler's illness left him no chance to carry them out4 ,he said to us one day3 ,now1 they want these things2 why didn't they want them twenty years ago1 when ,i wanted to do them1 and could have done them8 ,and they were just as good twenty years ago as they are now4 ,few large portraits begun during these years were completed4 ,and after his wife's death he struggled in vain to return to the old conditions of continuous effort to which the world owes his greatest masterpieces4 ,it is true that his work never deteriorated till the last1 that1 as he said1 he brought it ever nearer to the perfection which alone could satisfy him4 ,he never produced anything finer in their way than ,the ,master ,smith and ,the ,little ,rose of ,lyme ,regis1 painted towards the end of his married life1 or the series of children's heads of his latest years4 ,but these were planned on a smaller scale and required less physical effort than the large full-lengths and the decorative designs he longed to execute1 but was never able to finish1 sometimes not even to begin4 ,whistler1 with advancing years1 became more sure of himself1 more the master1 but circumstances forced him to find his pleasure and exercise his knowledge in smaller work4 ,,chapter ,,xxxii3 ,,the ,,work ,,of ,,the ,,years ,,eighteen ,,eighty ,,to ,,eighteen ,,ninety-,,two4 ,these years were full1 for though few large paintings were completed1 there were many small oils1 water-colours1 pastels1 etchings1 and lithographs4 ,whistler1 going and coming in ,england or on the ,continent1 had trunks and bags with compartments for his colours1 plates1 and lithographic materials4 ,it is impossible to say1 he did not know1 the exact number of small works he produced during this period4 ,he had used water-colour since his school-days1 but1 until he went to ,venice1 not to any extent4 ,some of the ,venetian drawings show that he was then scarcely master of it4 ,but the results he finally got1 both in figure and landscape1 were admirable4 ,he touched perfection in many a little angry sea at ,dieppe1 or note in ,holland1 or impression of ,paris4 ,as not many are dated it may never be known when this mastery was reached4 ,he probably would not have been sure of the dates4 ,we have gone through drawers of the cabinet in his studio with him1 when he expressed the utmost surprise on finding certain things that he had forgotten1 and was unable to say when they were painted or drawn4 ,he suffered from this confusion and realised the importance of making a complete list of his works1 with their dates and there were various projects and commencements4 ,after several attempts he found it took too much time4 ,we know that he asked ,mr4 ,freer to trace his pictures in ,america and ,mr4 ,d4 ,croal ,thomson to do the same in ,england4 ,miss ,birnie ,philip finally swore in the ,law ,courts that what he wanted was for us to prepare a complete catalogue4 ,between #ahhj and #ahib he made ninety plates in ,england4 ,they begin with ,regent's ,quadrant4 ,then follow little shops in ,chelsea1 ,gray's ,inn1 ,westminster1 the ,wild ,west 7,earl's ,court71 ,whitechapel1 ,sandwich1 the ,jubilee1 and many figure subjects4 ,there is also the ,swan and ,iris1 the copy of an unfinished picture by ,cecil ,lawson for ,mr4 ,edmund ,gosse's ,memoir of the painter 7#ahhc71 another unsuccessful attempt at reproduction4 ,it was the only plate1 since those published by the ,junior ,etching ,club1 made as an illustration ,billingsgate was issued in the ,portfolio 7#ahgh7 and ,hamerton's ,etching and ,etchers 7#ahhj71 ,alderney ,street in the ,gazette des ,beaux-,arts 7#ahha71 ,la ,marchande de ,moutarde in ,english ,etchings 7#ahhh71 but these were etched with no idea of their publication in magazine or book4 ,the ,english plates are simple in subject1 and they have been therefore dismissed as unimportant by unimportant people4 ,but many are delightfully composed and full of observation4 ,whistler carrying the small plates about with him1 sketched on copper1 with the knowledge of a lifetime1 the subjects he found as other artists sketch on paper4 ,three etchings were made at the ,wild ,west probably in an afternoon2 one at ,westminster ,abbey during the ,jubilee ,service of #ahhg2 and ten to thirteen of the ,jubilee ,naval ,review in a day--plates that prove triumphantly his power of giving his impressions with a few lines of his etching-needle4 ,in the autumn of #ahhg he went to ,belgium with ,dr4 and ,mrs4 ,william ,whistler1 stopping at ,brussels1 ,ostend1 and ,bruges4 ,in ,brussels he etched the ,htel de ,ville1 the ,guildhalls1 the little shops and streets and courts1 intending to issue the prints as a set4 ,m4 ,octave ,maus1 who knew him1 says he was enchanted with the picturesque and disreputable quarter of les ,marolles in the old town4 ,he was frequently to be met in the alleys which pour a squalid populace into the old ,high ,street1 engaged in scratching on the copper his impressions of the swarming life around him4 ,when the inquisitive throng pressed him too hard1 the artist merely pointed his graver at the arm1 or neck1 or cheek of one of the intruders4 ,the threatening weapon1 with his sharp spiteful laugh1 put them at once to flight4 ,sometimes ,dr4 and ,mrs4 ,whistler found him1 safe out of the way of the crowd1 in the bandstand of the ,grande ,place1 where several of the plates were made4 ,these are another development in technique4 ,with the fewest1 the most delicate1 lines he expressed the most complicated and the most picturesque architecture4 ,the plates were probably bitten with little stopping-out1 and they are printed with a sharpness that shows their wonderful drawing4 ,m4 ,duret has said to us that in them ,whistler gives les os de l'architecture4 ,a very few proofs were pulled4 ,the set was never issued4 ,the etchings described as in ,touraine are those done on his wedding journey and at other times4 ,they also have never been published as a set4 ,as in ,belgium1 great architecture suggested his subjects1 and his treatment shows that if1 as a rule1 he refrained from rendering architecture1 it was from no desire to evade difficulties1 as ignorant critics suppose4 ,the line is more vital and the biting more powerful than in the ,belgian plates4 ,the year after his marriage 7#ahhi7 he etched seventeen plates in and around ,dordrecht and ,amsterdam1 including ,nocturne--,dance ,house1 ,the ,embroidered ,curtain1 ,the ,balcony1 ,zaandam1 in which he surpassed ,rembrandt in ,rembrandt's subject4 ,his success is the more surprising because scarcely anywhere does the artist sketch under such difficulties as in ,holland4 ,the little ,dutch boys are the worst in the world1 and the grown people as bad4 ,in ,amsterdam1 the women in the houses on one of the canals1 where ,whistler worked in a boat1 emptied buckets of water out of the windows above him4 ,he dodged in time1 but had to call on the police1 and1 he told us1 the next interruption was a big row above1 and ,i looked up1 dodging the filthy pails1 to see the women vanishing backward being carried off to wherever they carry people in ,holland4 ,after that1 ,i had no more trouble1 but ,i always had a policeman whenever ,i had a boat4 ,illustration3 ,,the ,,yellow ,,buskin ,,arrangement ,,in ,,black ,,oil ,in the ,wilstach ,collection1 ,memorial ,hall1 ,philadelphia 7,see page #bae7 ,illustration3 ,,portrait ,,of ,m4 ,,th,,odore ,,duret ,,arrangement ,,in ,,flesh-,,colour ,,and ,,pink ,,oil ,in the ,metropolitan ,museum1 ,new ,york 7,see page #bag7 ,in the ,dutch plates he returned to the methods perfected at ,venice in ,the ,traghetto and ,the ,beggars4 ,after he brought them back to ,london he was interviewed on the subject in the ,pall ,mall ,gazette 7,march #d1 #ahij71 and is reported to have said3 ,first you see me at work on the ,thames4 ,now1 there you see the crude and hard detail of the beginner4 ,so far1 so good4 ,there1 you see1 all is sacrificed to exactitude of outline4 ,presently and almost unconsciously ,i begin to criticise myself and to feel the craving of the artist for form and colour4 ,the result was the second stage1 which my enemies call inchoate and ,i call ,impressionism4 ,the third state ,i have shown you4 ,in that ,i have endeavoured to combine stages one and two4 ,you have the elaboration of the first stage and the quality of the second4 ,though we hesitate to accept the words as his1 this is an interesting statement and a suggestive description4 ,in some of the ,dutch plates there is more detail than in the ,venetian1 and yet form is expressed not by the detail of the ,thames series but by line4 ,no etcher had got such fullness of colour without a mass of cross-hatching that takes away from the freshness4 ,it is interesting to contrast his distant views of the town of ,amsterdam and the windmills of ,zaandam with ,rembrandt's etchings of the same subjects1 and to note the greater feeling of space and distance that ,whistler gives4 ,the work is more elaborate and delicate than in previous plates1 so delicate sometimes that it seems under-bitten4 ,but his method necessitated this4 ,he drew with such minuteness that hardly any of the ground1 the varnish1 was left on the plates1 and when he bit them1 he could only bite slightly to prevent the modelling from being lost4 ,he never had been so successful in applying his scientific theories to etching1 and rarely more satisfied with the results4 ,his first idea was to publish the prints in a set1 through the ,fine ,art ,society1 but the ,fine ,art ,society were so foolish as to refuse4 ,a few were bought at once for the ,south ,kensington and ,windsor ,collections1 and several were shown in the spring of #ahij at ,mr4 ,dunthorne's gallery4 ,about this time we returned to ,london1 and ,j4 commenced to write occasionally in the ,london ,press1 succeeding ,mr4 ,george ,bernard ,shaw as art critic on the ,star4 ,this is his impression1 written when he saw them 7,april #h73 ,i stepped in at ,dunthorne's the other afternoon to have a look at the etchings of ,amsterdam by ,mr4 ,whistler4 ,there are only eight of them1 ,i think1 but they are eight of the most exquisite renderings by the most independent man of the century4 ,with two exceptions they are only studies of very undesirable lodgings and tenements on canal banks1 old crumbling brick houses reflected in sluggish canals1 balconies with figures leaning over them1 clothes hanging in decorative lines1 a marvellously graceful figure carelessly standing in the great water-door of an overhanging house1 every figure filled with life and movement1 and all its character expressed in half a dozen lines4 ,the same houses1 or others1 at night1 their windows illuminated and casting long trailing reflections in the water1 seemed to be singularly unsuccessful1 the plate being apparently underbitten or played out4 ,at any rate that was the impression produced on me4 ,we know now and have explained the reason for this4 ,another there was1 of a stretch of country looking across a canal1 windmills beyond drawn as no one since ,rembrandt could have done it1 and in his plate the greatest of modern etchers has pitted himself against the greatest of the ancients1 and has come through only too successfully for ,rembrandt4 ,there are three or four others1 ,i understand1 not yet published1 but this certainly is the gem so far4 ,the last is a great drawbridge1 with a suggestion of trees and houses1 figures and boats1 and a tower in the distance1 done1 ,i believe1 from a canal in ,amsterdam4 ,this is the fourth distinct series of etchings which ,mr4 ,whistler has in the last thirty or thirty-five years given the world3 the early miscellaneous ,french and ,english plates2 the ,thames series1 valued by artists more than by collectors1 though even to the latter they are worth more than their weight in gold2 the ,venetian plates2 and now these2 and between while1 portraits as full of character as ,rembrandt's1 studies of ,london and ,brussels1 and ,i know not what else besides have come from his ever busy needle4 ,had ,mr4 ,whistler never put brush to canvas1 he has done enough in these plates to be able to say that he will not altogether die4 ,that was ,j4's opinion then1 and he has not had to change it4 ,during #ahij ,whistler made a large number of lithographs1 excellently catalogued by ,t4 ,r4 ,way1 who printed most of them and was1 consequently1 qualified for the task4 ,three1 ,the ,winged ,hat1 ,the ,tyresmith1 and ,maunder's ,fish ,shop1 ,chelsea1 were published this year in the short-lived occasional weekly ,the ,whirlwind1 edited by ,herbert ,vivian and ,stuart ,erskine in the ,legitimist cause and to their own great amusement4 ,drawings by ,sidney ,starr after three of ,whistler's pictures appeared1 and the editors boasted in their own pages within a few weeks that the lithographs1 issued for a penny1 could be had only for five shillings4 ,five guineas would now be nearer the price4 ,another lithograph1 ,chelsea ,rags1 came out in the ,january number 7#ahib7 of the ,albemarle1 a monthly edited by ,hubert ,crackanthorpe and ,w4 ,h4 ,wilkins1 one of those gay experiments in periodical literature no longer made in this sad land4 ,the four were called ,songs on ,stone1 the later title for a proposed portfolio of lithographs in colour which ,mr4 ,heinemann announced but never issued4 ,,chapter ,,xxxiii3 ,,honours4 ,,exhibitions4 ,,new ,,interests4 ,,the ,,years ,,eighteen ,,eighty-,,nine ,,to ,,eighteen ,,ninety-,,one4 ,official recognition of ,whistler in ,england was followed by official honours abroad4 ,while ,president of the ,british ,artists he was asked for the first time to show in the ,international ,exhibition at ,munich 7#ahhh74 ,he sent ,the ,yellow ,buskin and was awarded a second-class medal4 ,the best comment was ,whistler's letter of acknowledgment to the ,secretary1 whom he prayed to convey to the ,committee his sentiments of tempered and respectable joy and complete appreciation of the second-hand compliment4 ,but soon after he was elected an ,honorary ,member of the ,bavarian ,royal ,academy1 and1 a year later1 was given a first-class medal and the ,cross of ,st4 ,michael4 ,in #ahhi he was made ,chevalier of the ,legion of ,honour and received a first-class medal at the ,paris ,universal ,exhibition4 ,another gold medal was awarded to him at ,amsterdam1 where he was showing the ,mother1 ,the ,fur ,jacket1 and ,effie ,deans--,arrangement in ,yellow and ,grey4 ,we have heard that ,israels and ,mesdag1 who were little in sympathy with ,whistler1 objected to giving him a medal1 but ,james ,maris insisted4 ,the year before ,mr4 ,e4 ,j4 ,van ,wisselingh had bought from ,messrs4 ,dowdeswell ,effie ,deans1 which he had seen in the ,edinburgh ,international ,exhibition of #ahhf1 though it was skied4 ,he sold it within a short time to ,baron ,van ,lynden1 of ,the ,hague1 then making his collection1 bequeathed by the ,baroness ,van ,lynden in #aijj to the ,rijks ,museum at ,amsterdam4 ,the picture is almost the only one to which ,whistler gave a literary title1 except the pastel ,annabel ,lee4 ,effie ,deans is apparently a portrait of ,maud1 and it belongs to the period of ,the ,fur ,jacket and ,rosa ,corder4 ,the ,butterfly was added later4 ,the painting was not signed when bought by ,baron ,van ,lynden1 who1 hearing from ,van ,wisselingh that ,whistler was in ,holland1 asked him to sign it4 ,whistler not only did so1 but we believe then added the quotation from the ,heart of ,midlothian written at the bottom of the canvas3 ,she sunk her head upon her hand and remained seemingly unconscious as a statue1 the only inscription on any of his paintings that we have seen4 ,walter ,sickert says that it was added by some one else1 but as ,whistler saw the picture in #aijb and made no objection to it1 ,mr4 ,sickert's statement scarcely seems correct4 ,few things pleased ,whistler more than the honours from ,amsterdam1 ,munich1 and ,paris4 ,to celebrate the ,bavarian medal and decoration his friends gave him a dinner at the ,criterion1 ,may #a1 #ahhi4 ,mr4 ,e4 ,m4 ,underdown1 ,q4,c41 was in the chair1 and ,mr4 ,w4 ,c4 ,symons hon4 secretary4 ,two ,royal ,academicians1 ,sir ,w4 ,q4 ,orchardson and ,mr4 ,alfred ,gilbert1 were present1 and also ,sir ,coutts ,lindsay1 ,stuart ,wortley1 ,edmund ,yates--,atlas1 who never failed him--and many others4 ,whistler was moved1 and not ashamed to show it4 ,stuart ,wortley1 in a speech1 said that ,whistler had influenced every artist in ,england2 ,orchardson described him as a true artist2 and this time ,atlas spoke1 not only with the weight of the ,world on his shoulders1 but with praise and affection4 ,whistler began his speech with a laugh at this age of rapid results when remedies insist upon their diseases4 ,but his voice is said to have been full of emotion before the end3 ,you must feel that1 for me1 it is no easy task to reply under conditions of which ,i have so little habit4 ,we are all even too conscious that mine has hitherto1 ,i fear1 been the gentle answer that sometimes turneth not away wrath4444 ,it has before now been borne in upon me that in surroundings of antagonism ,i may have wrapped myself for protection in a species of misunderstanding1 as that other traveller drew closer about him the folds of his cloak the more bitterly the winds and the storm assailed him on his way4 ,but1 as with him1 when the sun shone upon him in his path1 his cloak fell from his shoulders1 so ,i1 in the warm glow of your friendship1 throw from me all former disguise1 and1 making no further attempt to hide my true feeling1 disclose to you my deep emotion at such unwonted testimony of affection and faith4 ,this was the only public testimonial he ever received in ,england1 and one of the few public functions at which he assisted4 ,he seldom attended public dinners1 those solemn feasts of funeral baked meats by which the ,islander soothes his conscience and purchases public approval4 ,we remember that he did not appear at the first dinner of the ,society of ,authors1 where his place was beside ours--a dinner given to ,american authors1 at which ,lowell presided4 ,j4 recalls an artists' dinner at which ,whistler was seated on one side of the chairman and ,charles ,keene on the other4 ,some brilliant person had placed ,sir ,frederick ,wedmore next to ,whistler1 who had more fun at the dinner than the critic4 ,he rarely was seen in the ,city1 and rarely was asked in ,paris4 ,as an outsider1 he was never invited to the ,academy4 ,even little private functions1 like the ,johnson ,club1 to which ,j4 has taken him1 he did not care for4 ,it is so easy to be bored1 so difficult to be amused1 on such occasions4 ,he preferred not to run the risk4 ,of gentle answers that turn not away wrath there were plenty in #ahhi4 ,at the ,universal ,exhibition in ,paris1 ,whistler1 an ,american1 naturally proposed to show with ,americans4 ,the ,yellow ,buskin and ,the ,balcony were the pictures he selected2 he sent twenty-seven etchings1 knowing that1 in a big exhibition1 a few prints make no effect4 ,the official acknowledgment was a printed notice from ,general ,rush ,c4 ,hawkins1 ,cavalry ,officer1 ,commissioner for the ,american ,art ,department3 ,sir1--,ten of your exhibits have not received the approval of the jury4 ,will you kindly remove them8 ,whistler's answer was an immediate journey to ,paris1 a call on ,general ,hawkins1 the withdrawal of all his prints and pictures1 to the ,general's embarrassment4 ,whistler wrote afterwards to the ,new ,york ,herald1 ,paris edition3 ,had ,i been properly advised that the room was less than the demand for place1 ,i would1 of course1 have instantly begged the gentlemen of the jury to choose1 from among the number1 what etchings they pleased4 ,twenty-seven etchings1 unless specially invited1 were rather a large number to send to any exhibition4 ,he had been already asked to contribute to the ,british ,section1 and to it he now took the two pictures and ten prints4 ,though ,general ,hawkins' action is as incomprehensible as his appointment to such a post1 ,whistler made a mistake4 ,there is no doubt that1 had his seventeen accepted prints remained in the ,american ,section1 he would have had a much better show than in the ,english1 where only ten were hung and where1 for etching1 ,seymour ,haden1 and not ,whistler1 was awarded a ,grand ,prix4 ,whistler's ,grievance got into the papers1 and the letters and interviews remain in ,the ,gentle ,art4 ,if in #ahhi he identified himself with the ,british1 it was due solely to the discourtesy1 as he considered it1 of his countrymen4 ,there was no denial of his nationality1 and1 though later always invited to show in the ,british ,section of ,international ,exhibitions1 he always refused when there was an ,american ,section4 ,in #ahhh the ,new ,gallery took over the played-out traditions of the ,grosvenor1 but ,whistler did not follow to ,regent ,street4 ,his ,carlyle1 several drawings1 and many etchings went to the ,glasgow ,international ,exhibition that year1 and he was well represented at the first show of the ,pastel ,society at the ,grosvenor4 ,he was more in sympathy with the ,new ,english ,art ,club than any other group of artists4 ,it was then youthful and enthusiastic1 most of the younger men of promise or talent belonged1 and it might have accomplished great things had its founders been faithful to their original ambition4 ,whistler was never a member1 but he sent a ,white ,note and the etching of the ,grande ,place1 ,brussels1 to the exhibition in #ahhh1 and ,rose and ,red1 a pastel1 in #ahhi1 when he was elected by the votes of the exhibitors to the jury4 ,to the infinite loss of the club he never showed again4 ,in the same year 7#ahhi71 at the ,institute of the ,fine ,arts at ,glasgow1 the ,mother strengthened the impression made by the ,carlyle the year before2 there was a show of his work in ,may at the ,college of ,working ,women in ,queen ,square1 ,london2 and ,the ,grey ,lady was included in an exhibition at the ,art ,institution1 ,chicago1 in the fall4 ,the show at ,queen ,square was remarkable4 ,it is said to have been organised by ,mr4 ,walter ,sickert1 by permission of ,miss ,goold 7head of the ,college71 and opened by ,lord ,halsbury4 ,there had not been such a representative collection of his work since his exhibition of #ahgd4 ,the ,mother1 ,carlyle1 ,rosa ,corder1 ,irving were there1 many pastels and water-colours1 and many etchings of all periods from the ,thames ,series to the last in ,touraine and ,belgium4 ,we have never seen a catalogue4 ,we remember how it impressed us when we came to the fine ,queen ,anne house in the quiet1 out-of-the-way square1 how indignant we were to find nobody but a solitary man and a young lady at the desk1 and how urgently we wrote in the ,star that1 if there were as many as half a dozen people who cared for good work1 they should go at once to see this exhibition of the man who has done more to influence artists than any modern4 ,there is a legend of ,whistler's coming one day1 taking a picture from the wall and walking away with it1 despite the protest of the attendant and the ,principal of the ,college1 wishing1 so the legend goes1 to carry out the theory he was soon to assert that pictures were only kindly lent their owners4 ,but the story of his making off with it across the square1 followed by the college staff screaming ,stop thief6 and being nearly run in by a policeman1 is a poor invention4 ,his desire1 however1 to keep his pictures in his possession1 his hope that those who bought them would not dispose of them1 was growing1 and his disgust when they were sold1 especially at increased prices1 was expressed in his answer to some one who said1 ,staats ,forbes tells me that that picture of yours he has will be the last picture he will ever part with4 ,h'm1 said ,whistler1 who had had later news1 it is the last picture he has4 ,in ,march #ahij ,whistler moved to ,no4 #ba ,cheyne ,walk1 an old house with a garden at the back1 farther down the ,embankment1 close to ,rossetti's ,tudor ,house4 ,it was panelled from the street door to the top4 ,a cool scheme of blue and white decorated the dining-room1 where there was one perfect painting over the mantel1 and1 ,mr4 ,francis ,james has told us1 the ,six ,projects hung for a while on the walls4 ,the drawing-room on the first floor was turned into a studio1 there was a bedroom above1 but the rest of the house was empty and bare4 ,from ,m4 ,grard ,harry we have an explanation of this bareness3 ,i remember a striking remark of ,whistler's at a garden-party in his ,chelsea house4 ,as he caught me observing some incompletely furnished rooms and questioning within myself whether he had occupied the house more than a fortnight or so3 ',you see1' he said1 with his short laugh1 ',i do not care for definitely settling down anywhere4 ,where there is no more space for improvement1 or dreaming about improvement1 where mystery is in perfect shape1 it is finis--the end--death4 ,there is no hope1 nor outlook left4' ,i do not vouch for the words1 but that was certainly the sense of a remark which struck me as offering a key to much of ,whistler's philosophy1 and to one aspect of his original art4 ,on ,september #bd1 #ahij1 ,mr4 ,cole1 calling at ,cheyne ,walk1 found him painting some excellent portraits--very strong and fine4 ,what all these were it is difficult to say1 though one was the well-known ,harmony in ,black and ,gold--,comte ,robert de ,montesquiou-,fezensac1 ,whistler's fourth portrait of a man in evening dress4 ,another may have been the second portrait never finished1 which ,montesquiou described to ,edmond de ,goncourt1 who made a note of it in his ,journal 7,july #g1 #ahia73 ,montesquiou tells me that ,whistler is now doing two portraits of him3 one is in evening dress1 with a fur cloak over his arm1 the other in a great grey cloak with a high collar1 and1 just suggested1 a necktie of a mauve not to be put into words1 though his eyes express the colour of it4 ,and ,montesquiou is most interesting to listen to as he explains the method of painting of ,whistler1 to whom he gave seventeen sittings during the month spent in ,london4 ,the first sketch-in of his subject is with ,whistler a fury1 a passion3 one or two hours of this wild fever and the subject emerges complete in its envelope4 ,then sittings1 long sittings1 when1 most of the time1 the brush is brought close to the canvas but does not touch it1 is thrown away1 and another taken1 and sometimes in three hours not more than fifty touches are given to the canvas1 every touch1 according to ,whistler1 lifting a veil from the sketch4 ,oh1 sittings6 when it seemed to ,montesquiou that ,whistler1 by that intentness of observation1 was draining from him his life1 something of his individuality1 and1 in the end1 he was so exhausted that he felt as if all his being was shrinking away1 but happily he discovered a certain vin de coca that restored him after those terrible sittings4 ,j4 went only once to ,no4 #ba ,cheyne ,walk4 ,then it was to consult ,whistler concerning ,sir ,hubert von ,herkomer's publication of photogravures of pen-drawings in ,an ,idyl1 and description of them as etchings4 ,whistler received ,j4 in the white-panelled dining-room1 where he was breakfasting on an egg4 ,sickert came in and was at once sent out--with a letter4 ,whistler felt the seriousness of the offence1 and he lent his support to ,w4 ,e4 ,henley's ,national ,observer1 in which the affair was exposed and in which also the ,queen was called upon to remove ,herkomer from his post as ,slade ,professor at the ,university of ,oxford4 ,from this time ,j4 saw ,whistler oftener1 meeting him in clubs1 in galleries1 in friends' houses1 occasionally at ,solferino's1 the little restaurant in ,rupert ,street which was for several years the meeting-place1 a club really1 for the staff of the ,national ,observer4 ,nobody who ever lunched there on ,press day at the ,academy1 or the ,new ,english ,art ,club1 or the ,new ,gallery is likely to forget the talk round the table in the corner4 ,never have we heard ,r4 ,a4 ,m4--,bob--,stevenson more brilliant1 more paradoxical1 more inspiriting than at these midday gatherings4 ,whistler's first encounter with ,henley's paper1 then edited in ,edinburgh1 was a sharp skirmish which1 though he afterwards became friendly with ,henley1 he never forgot nor forgave4 ,henley was publishing a series of articles called ,modern ,men1 among whom he included ,whistler1 the ,yankee with the methods of ,barnum4 ,the policy of the ,national ,observer was to fight1 everybody1 everything1 and it fought with spirit4 ,but it had no patience with the battles of others4 ,of ,whistler the artist it approved1 but not of ,whistler the writer of letters1 whom it pronounced rowdy and unpleasant4 ,malvolio-,macaire was its name for him4 ,at last1 in noticing ,sheridan ,ford's ,gentle ,art1 of which we shall presently have more to say1 it continued in the same strain1 and a copy of the paper containing the review1 with proud mark1 in the blue pencil of office1 was sent to ,whistler4 ,he answered with a laugh at the thick thumb of your editorial refinement pointed in deprecation of my choice rowdyism4 ,two things came of the letter--one amusing1 the other a better understanding4 ,whistler's answer finished with a regret that the ridiculous ',romeike' has not hitherto sent me your agreeable literature4 ,romeike objected2 he had sent eight hundred and seven clippings to ,whistler3 he demanded an apology4 ,whistler gave it without hesitation3 he had never thought of ,romeike as a person1 and he wrote1 if it be not actionable permit me to say that you really are delightful66 ,no one could appreciate the wit1 the fun of it all better than ,henley1 and he was the more eager to meet ,whistler4 ,his account of the meeting1 when it came about1 was coloured by the enthusiasm that made ,henley the stimulating person he was4 ,and we met1 he would say1 throwing back his great head and laughing with joy1 though he gave no details of the meeting4 ,henley managed to find the earnest of romance in everything that happened to him4 ,and there we were--,whistler and ,i--together6 he would repeat1 as if it were the most dramatic situation that could be imagined4 ,the bond between them was their love of the ,thames4 ,henley was the first to sing the beauty of the river that ,whistler was the first to paint1 and when he wrote the verses 7,no4 ,,xiii4 in ,rhymes and ,rhythms7 that give the feeling1 the magical charm of the ,nocturnes1 he dedicated them to ,whistler4 ,big and splendid as a ,viking1 exuberant1 emphatic1 ,henley was not the type physically to interest ,whistler4 ,the sketch of him 7made in #ahif7 is one of ,whistler's least satisfactory lithographs1 and only six impressions were pulled4 ,but their relations were cordial1 and when the ,national ,observer was transferred to ,london and ,henley returned with it1 ,whistler sometimes came to the dinners of the staff at ,solferino's4 ,henley had gathered about him the younger literary men and journalists3 ,rudyard ,kipling1 ,bob ,stevenson1 ,j4 ,m4 ,barrie1 ,marriott ,watson1 ,g4 ,s4 ,street1 ,vernon ,blackburn1 ,fitzmaurice ,kelly1 ,arthur ,morrison1 ,charles ,whibley1 ,kenneth ,grahame1 ,george ,w4 ,steevens4 ,after ,mr4 ,astor bought the ,pall ,mall ,gazette its staff was largely recruited from the ,national ,observer1 and ,mr4 ,henry ,cust1 the editor1 and ,mr4 ,ivan-,muller1 the assistant editor1 joined the group in the room upstairs4 ,when dinner was over and ,henley was thundering at his end of the table1 the rest listening1 ,whistler sometimes dropped in1 and the contrast between him and ,henley added to the gaiety of the evening3 ,henley1 the ,burly of ,stevenson's essay on ,talk and ,talkers1 who would roar you down 444 bury his face in his hands 444 undergo passions of revolt and agony2 ,whistler1 who would find the telling word1 let fly the shaft of wit that his eloquent hands emphasised with delicate1 graceful gesture4 ,his ,ha ha6 rose above ,henley's boisterous intolerance4 ,when ,bob ,stevenson was there--,spring-,heel'd ,jack--the entertainment was complete4 ,but each of the three talked his best when he held the floor1 and we have known ,whistler more brilliant when dining alone with us4 ,from ,solferino's1 at a late hour when ,henley1 as always in his lameness1 had been helped to his cab1 ,whistler and ,j4 would retire with ,bob ,stevenson and a little group to the ,savile1 where everything under heaven was discussed by them1 ,professor ,walter ,raleigh1 ,reginald ,blomfield1 and ,charles ,furse frequently joining them1 and they rarely left until the club was closed4 ,whistler would1 in his turn1 be seen to his cab on his way home1 and a smaller group would listen to ,bob between ,piccadilly and ,westminster ,bridge1 waiting for him to catch the first morning train to ,kew4 ,whistler seldom left without some parting shot which his friends remembered1 though he was apparently unconscious of the effects of these bewildering little sayings as he returned to his house in ,cheyne ,walk4 ,there he was often followed by his new friends and often visited by the few artists he had not cared to lose1 especially ,mr4 ,francis ,james and ,mr4 ,theodore ,roussel4 ,a few ,followers continued to flutter at his heels4 ,portraits of some of those who came to #ba ,cheyne ,walk are in the lithograph of ,the ,garden3 ,mr4 ,walter ,sickert1 ,mr4 ,sidney ,starr1 ,mr4 and ,mrs4 ,brandon ,thomas4 ,mr4 ,walter ,sickert had married ,miss ,ellen ,cobden1 and she was a constant visitor4 ,so also were ,henry ,harland1 later editor of the ,yellow ,book1 and ,mrs4 ,harland2 ,wolcot ,balestier1 the enterprising youth who set out to corner the literature of the world1 and who1 with ,mr4 ,s4 ,s4 ,mc,clure1 was bent on syndicating everybody1 including ,whistler2 ,miss ,carrie ,balestier1 now ,mrs4 ,rudyard ,kipling2 an ,american journalist called ,haxton1 with a stammer that ,whistler adored to the point of borrowing it on occasions1 though he never could manage the last stage when words that refused to be spoken had to be spelled4 ,another was ,andr ,raffalovitch1 a ,russian youth and poet1 whose receptions brought together many amusing as well as fantastic elements of ,london society4 ,but the most intimate friend he made at this period was ,mr4 ,william ,heinemann1 and this brings us to the great event of #ahij1 the publication of ,the ,gentle ,art of ,making ,enemies4 ,,chapter ,,xxxiv3 ,,the ,,gentle ,,art4 ,,the ,,year ,,eighteen ,,ninety4 ,for years ,whistler's letters to the papers puzzled the people4 ,george ,moore laboured to account for them in ,modern ,painting by an elaborate theory of physical feebleness1 and ,george ,moore has been taken seriously in the provinces and ,america4 ,one glimpse of ,whistler at the printing-press1 sleeves rolled up showing two strong arms1 and the theory and the theorist would have been knocked out4 ,the letters were not an eccentricity2 they were not a weakness4 ,from the first1 written to the ,athenum in #ahfb1 they had one aim1 to make history4 ,buried in the papers1 they were lost2 if the history were to be made they must be collected4 ,they were collected and edited as ,the ,gentle ,art of ,making ,enemies as ,pleasingly ,exemplified in ,many ,instances1 ,wherein the ,serious ,ones of this ,earth1 ,carefully ,exasperated1 ,have ,been ,prettily ,spurred on to ,unseemliness and ,indiscretion1 ,while ,overcome by an ,undue ,sense of ,right4 ,the book1 born of years of fighting1 was ushered into the world by a fight4 ,the work of collecting and arranging the letters was undertaken by ,mr4 ,sheridan ,ford1 an ,american journalist in ,london4 ,whistler said that ,ford only helped him4 ,ford said that the idea was his1 that he1 with ,whistler's approval1 was collecting and editing the letters for a publication of his own4 ,we give ,ford's story and that of one who followed it at the time1 ,mr4 ,j4 ,mc,lure ,hamilton1 and this we are better pleased to do because ,whistler misunderstood ,mr4 ,hamilton's part in the matter1 and credited him with a malice and enmity that few men could be so incapable of as he4 ,whistler would never consent to meet him and could not understand why we should not agree in his view of ,mr4 ,hamilton as a dangerous person4 ,by accident they did meet in our flat4 ,whistler was dining with us1 ,mr4 and ,mrs4 ,hamilton called in the evening4 ,other people were there1 and they simply ignored one another2 chance had blundered in its choice of the moment for the meeting4 ,we think ,whistler would have felt the unfairness of his judgment of ,mr4 ,hamilton's conduct could he have read ,mr4 ,hamilton's version which he has sent us3 ,in the spring of #ahhi ,i met ,mr4 and ,mrs4 ,sheridan ,ford4 ,sheridan ,ford was writing for the ,new ,york ,herald1 and ,mrs4 ,sheridan ,ford had been interesting picture-dealers in the work of ,swan1 ,clausen1 ,melville1 and others4 ,ford had a very strong taste for art1 and seemed to be opposed to all forms of trickery1 and was engaged on a series of articles which appeared in the ,new ,york ,herald1 ,london edition1 upon ,whistler and his work4 ,he was also the author of ,art1 a ,commodity1 a pamphlet widely read both in ,england and ,america4 ,he came to me one day1 and told me of an idea that he thought could be carried out with advantage to himself and ,whistler4 ,he suggested that the letters which ,whistler had been publishing from time to time in the ,press should be published in book form4 ,the title was to be ,the ,gentle ,art of ,making ,enemies1 and was1 ,i understood1 ,ford's4 ,whistler and he had talked the matter over1 and it was agreed between them that ,ford should collect the letters1 edit them with remarks of his own1 and publish the book for his own profit4 ,the work went on for some months1 and occasionally ,ford would bring me letters that he had unearthed from the newspaper files at the ,british ,museum to read4 ,i was not acquainted with ,whistler1 but from what ,ford told me ,i understood that ,whistler was as much interested in the progress of the book as ,ford4 ,the latter seemed to be looking forward with great eagerness to the production of a book which could not fail to amuse the art world4 ,one morning ,ford came to me at ,alpha ,house in great distress4 ,he brought with him a letter from ,whistler requesting him to discontinue the making of the book1 and containing a cheque for ten pounds in payment for the trouble that he had had in collecting the materials4 ,the book at that time was almost complete1 and the preface written4 ,after a prolonged talk with him upon all the bearings of the case1 ,i concluded that ,whistler's change of mind had been determined by the discovery that there would be too much credit and profit lost to him if he allowed ,ford to bring out the work1 and that probably ,mrs4 ,whistler had suggested to ,whistler that it would be a great gain to him if he were to issue the letters himself4 ,ford asked me what ,i would advise him to do4 ,i replied that ,i personally would not go on with the book1 but that if he were careful to omit all copyright matter he would be perfectly justified in continuing1 after having1 of course1 returned the cheque to ,whistler4 ,i have no doubt that ,ford asked the advice of others1 for soon he brought me the advance proofs to read1 and ,i spent a great deal of time going over them1 sometimes suggesting alterations and improvements4 ,a note from ,ford reached me telling me that the book was finished1 and asking my permission to dedicate it to me4 ,i wrote1 in reply1 that ,i did not wish the work dedicated to me4 ,ford found a good publisher who was willing to undertake the publication of the work1 and1 as far as ,i could see1 everything was going on satisfactorily1 when one morning ,ford called to see me and told me that ,whistler had discovered the printer and had threatened to proceed against him if he did not immediately destroy the sheets1 and he 7,whistler7 found and seized the first sewn-up copy 7or leaves7 with my name on the dedication page1 in spite of the refusal ,i had given4 ,the dedication was as follows3 ,dedicated to ,john ,mc,lure ,hamilton1 ,a ,great ,painter and a ,charming ,comrade4 ,in ,memory of ,many ,pleasant ,days4 ,the proposed title was ,the ,gentle ,art of ,making ,enemies4 ,j4 ,mc,neill ,whistler as the ,unattached ,writer4 ,with ,some ,whistler ,stories ,old and ,new4 ,edited by ,sheridan ,ford4 ,brentano's4 ,london1 ,paris1 ,new ,york1 ,washington1 ,chicago1 #ahij4 ,both dedication and title we have seen in ,ford's handwriting4 ,this brought at once a letter from ,whistler to me1 in which he abruptly accused me of assisting ,ford in wronging him4 ,i replied in a few words denying his allegations4 ,at this interview ,ford's manner was strange1 and for several weeks after he was confined to his house1 a natural consequence of seeing all his hopes shattered4 ,he had foreseen in the successful production of ,the ,gentle ,art of ,making ,enemies the opening of a happy and profitable career in letters4 ,after his recovery ,mr4 and ,mrs4 ,ford went away1 pursued by the relentless activity of ,whistler4 ,in the end1 the so-called 'pirated edition1' paper-bound1 appeared in ,mechlin or some other ,continental city and was more or less clandestinely offered for sale in ,england4 ,whistler's handsome volume appeared almost simultaneously4 ,while these incidents were progressing1 ,i was asked to dine at the ,hogarth ,club1 and it had evidently been prearranged that ,i should meet ,whistler after dinner in the smoking-room4 ,this was my first introduction to the great master4 ,we talked ,art and commonplace1 but he never touched upon the subject of the book1 and as ,i was quite sure the meeting had been arranged in order that he might discuss with me ,ford's conduct1 ,i could not understand his silence4 ,our next meeting was at a conversazione held at the ,grosvenor ,galleries1 when we both freely discussed together the whole question before ,melville1 who was displeased at the attitude ,i took with ,whistler4 ,i frankly told him that ,i thought he had done ,ford a great wrong in withdrawing the editorship of the book which rightly belonged to him4 ,sheridan ,ford1 persisting that ,whistler had conferred on him the right to publish the collection1 announced the simultaneous publication of his book in ,england and ,america4 ,the ,english publishers1 ,messrs4 ,field and ,tuer1 of the ,leadenhall ,press1 supposed that ,ford was acting for ,whistler when he brought them the ,,ms41 which at that time is said to have been called ,the ,correspondence of ,james ,mc,neill ,whistler4 ,the text was set up and cast1 the type distributed2 they were ready to print when they discovered their mistake4 ,we then sent for the person in question1 they wrote to ,messrs4 ,lewis and ,lewis1 ,whistler's solicitors1 and told him that until he obtained ,mr4 ,whistler's sanction1 we declined to proceed further with the work4 ,sheridan ,ford went to ,antwerp1 and had the book printed there4 ,sir ,george ,lewis followed and seized the edition at the printers on the day of publication1 when vans for its distribution were at their door4 ,the two thousand copies were carried off by the ,procureur du ,roi4 ,the matter came before the ,belgian ,courts in ,october #ahia1 ,m4 ,edmond ,picard and ,matre ,maeterlinck1 cousin of ,maeterlinck the poet1 appearing for ,whistler4 ,m4 ,harry1 of the ,indpendance ,belge1 described ,whistler in the witness-box1 with the eyes of a ,mephistopheles flashing and sparkling under the thick eyebrows1 his manner easy and gay1 his ,french fluent and perfect4 ,he was asked his religion and hesitated4 ,the ,judge1 thinking to help him1 suggested1 ,a ,protestant1 perhaps8 ,his answer was a little shrug1 as much as to say1 ,i am quite willing4 ,you should know4 ,as you choose6 ,he was asked his age--even the ,belgian reporter respected his objection to having any4 ,judgment was given for him4 ,sheridan ,ford was sentenced to a fine of five hundred francs or three months' imprisonment2 to three thousand francs damages or three months more2 to the confiscation of the two thousand copies1 and to costs4 ,after the trial ,whistler was taken to the cellars of the ,palais de ,justice1 and shown the confiscated copies1 stored there with other fraudulent goods1 by the law of ,belgium destined to perish in dampness and gloom4 ,the affair has not been forgotten in ,belgium--nor has ,whistler4 ,one impression has been written for us by ,m4 ,edmond ,picard1 the distinguished ,senator1 his advocate3 ,en me demandant de parler de l'illustre et regrett ,whistler1 vous ne dsirez certes pas que j'ajoute mon lot la riche pyramide d'admiration et d'loges dfinitivement rige sa gloire4 ,il ne peut s'agir1 dans votre pense que de ce que je pourrais ajouter de spcial et de pittoresque la ,biographie du ,grand ,artiste4 ,si j'ai beaucoup vu et aim ses oeuvres1 je n'ai qu'entrevu son originale personne4 ,voici deux traits intressants qui s'y rapportent4 ,il y a quelques annes il s'inquita d'une contrefaon qu'un tranger habitant ,anvers avait perptr en ,belgique de son curieux livre1 ',l',art charmant de se faire des ennemis4' ,je le vis un jour entrer dans mon cabinet et il me dit avec un sourire sarcastique1 ',je souhaiterais que vous fussiez mon avocat dans cette petite affaire parcequ'on m'a dit que vous pratiquez aussi bien que moi l'art charmant de se faire des ennemis4' ,le procs fut gagn ,anvers avec la collaboration de mon confrre1 ,m4 ,maeterlinck1 parent du pote qui honore tant notre pays4 ,on clbra chez lui cette victoire4 ,quand ,whistler1 hros de la fte1 arriva dans l'hospitalire maison1 il s'attardait dans l'antichambre4 ,la bonne qui l'avait reu vint1 avec quelque effarement1 dire en flamand au salon o l'on attendait1 ',madame1 c'est un acteur2 il se coiffe devant le miroir1 il se pommade1 il se met du fard et de la poudre6' ,aprs un assez long intervalle1 ,whistler parut1 courtois1 correct1 cir1 cosmtiqu1 pimpant comme le papillon que rapple son nom et qu'il mit en signature sur quelques-uns des billets qu'il crivit alors ses conseils4 ,et voil tout ce que je puis vous offrir4 ,j'ai demand ,m4 ,maeterlinck les documents qu'il pouvait avoir conservs de cet pisode judiciaire4 ,ses recherches ont t vaines4 ,alors que d'innombrables pices insignifiantes ont t conserves1 le ,hasard qui se permet tout fait disparatre ces prcieuses paves4#aj ,the ,extraordinary ,piratical ,plot1 as ,whistler called it in ,the ,gentle ,art1 did not end in ,antwerp4 ,sheridan ,ford took the book to ,paris1 where it was issued by ,delabrosse et ,cie1 #ahij1 though it is said by ,mr4 ,don ,c4 ,seitz to have been printed in ,ghent2 in ,antwerp1 ,mr4 ,ford recently told an interviewer--this edition we have seen2 while other copies1 with the imprint of ,frederick ,stokes and ,brother1 were sent to the ,united ,states4 ,sir ,george ,lewis suppressed the ,paris edition and prevented the importation of the book into ,england1 and ,messrs4 ,stokes cabled to ,london that their name was used without their permission4 ,the balance of the edition is stated to have been destroyed by fire4 ,copies through the post reached ,england1 sent to newspapers for review and to individuals supposed to be interested1 among whom we were included4 ,in ,june #ahij a so-called second edition from ,paris was received by some papers4 ,mr4 ,seitz says that hardly any copies are in existence4 ,sheridan ,ford says that nine thousand were sold4 ,but that was the last heard of it1 and ,sheridan ,ford's book was killed4 ,judging from the facts1 ,whistler treated ,ford badly1 but ,sheridan ,ford acted in defiance of ,whistler1 and in the ,paris edition published an article so vile that papers refused to print it4 ,three versions are given as to the cause of the quarrel4 ,the first is that ,mrs4 ,whistler interfered and told ,whistler to take the work over himself2 the second is ,sheridan ,ford's statement that ,whistler wished ,m4 ,duret to prepare the book2 and the third is the suggestion of ,mr4 ,seitz that the difference arose over the insertion of a letter of ,oscar ,wilde's4 ,as this letter was printed in ,whistler's edition1 ,mr4 ,seitz's conclusions are of little value and his assertions differ from ,sheridan ,ford's contemporary tale4 ,whistler's version1 published by ,sheridan ,ford in the letter dated ,august #ah1 #ahhi1 is3 ,i think1 for many reasons1 we would do well to postpone the immediate consideration of the proposed publication for a while4 ,at this moment ,i find myself curiously interested in certain paintings1 the production of which might appropriately be made anterior to mere literature4 ,we have heard that he was urged to come to this decision by ,mr4 ,theodore ,roussel1 who told him he ought to prepare the book1 pay ,sheridan ,ford1 and get rid of him4 ,whistler obtained possession of ,sheridan ,ford's work1 or rather of his letters collected by ,sheridan ,ford1 arranged them1 commented on them1 and published them in his own fashion4 ,sheridan ,ford's book is undistinguished2 ,whistler's contains on every page evidence of his care in carrying out his ideas of book decoration4 ,whistler1 who was delighted with ,mr4 ,william ,heinemann's artistic instinct1 sympathy1 enthusiasm1 and quick appreciation of his intention1 gave him the book to publish4 ,from the day their agreement was signed the publisher entered into the matter with all his heart4 ,whistler's fights were his fights1 ,whistler's victories his victories4 ,whistler was flattered by his understanding of things and came daily almost to take out his publisher1 philosopher1 and friend1 as he described ,mr4 ,heinemann1 to breakfast at the ,savoy4 ,he would arrive at eleven1 when the business man had hardly got into the swing of his morning's work4 ,was it not preposterous that there should be other books to be prepared1 other matters to be thought of1 while this great work of art was being born8 ,the ,savoy balcony overlooking the ,embankment was1 at so early an hour1 deserted1 and there they could discuss1 change1 and arrange every detail without interruption4 ,hours were spent often over a single ,butterfly1 and usually ,whistler's pockets were full of gay and fantastic entomological drawings4 ,whistler was constantly at the ,ballantyne ,press1 where the book was printed4 ,he chose the type1 he spaced the text1 he placed the ,butterflies1 each of which he designed to convey a meaning4 ,they danced1 laughed1 mocked1 stung1 defied1 triumphed1 drooped wings over the farthing damages1 spread them to fly across the ,channel1 and expressed every word and every thought4 ,he designed the title-page2 a design contrary to established rules1 but with the charm1 the balance1 the harmony1 the touch of personality he gave to everything1 and since copied and prostituted by foolish imitators who had no conception of its purpose4 ,mr4 ,mac,call1 of the ,ballantyne ,press1 has told us of his interest and has a proof of it in a collection of ,butterflies and proof sheets covered with ,whistler's corrections4 ,here1 too1 as everywhere by those he worked with1 he is remembered with affection1 and the printers were delighted to profit by his suggestions4 ,the cover was in brown1 with a yellow back4 ,the title1 though attributed to ,sheridan ,ford1 can be traced to ,whistler's speech at the ,criterion dinner and the gentle answer that turneth not away wrath4 ,the dedication is3 ,to the rare ,few1 who1 early in ,life1 have rid ,themselves of the ,friendship of the ,many1 these pathetic ,papers are inscribed4 ,the book was published in ,june #ahij and has gone through eight editions1 ,messrs4 ,john ,m4 ,lowell and ,co41 and then ,messrs4 ,putnam's ,sons1 issuing it in ,america4 ,it met the fate of all his works4 ,the ,press received it with the usual smile at ,mr4 ,whistler's eccentricities1 and here and there a word of praise and appreciation said with more courage than of old4 ,to the multitude of readers it was a jest2 to a saving remnant it was serious1 to none more serious than to ,whistler1 who knew it would live with the writings of ,cellini1 ,drer and ,reynolds4 ,the ,gentle ,art is an artistic autobiography4 ,whistler gave the sub-title ,auto-,biographical to one section--he might have given it to the whole4 ,he had a way1 half-laughing1 half-serious1 of calling it his ,bible4 ,well1 you know1 you have only to look and there it all is in the ,bible1 or ,i am afraid you do not know the ,bible as you should1 he often said to us in answer to some question about his work or his life4 ,the trial1 the pamphlets1 ,the ,ten ,o',clock1 the ,propositions1 the letters1 the catalogues take their place and appear in their proper sequence1 not as disconnected1 inconsequent little squibs and the elaborate bids for notoriety they were supposed to be4 ,the book1 which may be read for its wit1 is really his ,manifesto4 ,he included also the criticisms and comments that had provoked him into print1 for his object was to expose the stupidity and ridicule he was obliged to face1 so that his method of defence should be understood4 ,to read the book is to wonder the more that there should have been necessity for defence1 so simple and right is his theory1 so sincere and reverent his attitude4 ,we have spoken of most of the different subjects in it as they appeared4 ,the collection intensifies the effect each made individually4 ,everything he wrote had the same end3 to show that art should be independent of all clap-trap2 should stand alone1 and appeal to the artistic sense of eye or ear1 without confounding this with emotions entirely foreign to it1 as devotion1 pity1 love1 patriotism1 and the like4 ,all these have no kind of concern with it1 and that is why ,i insist on calling my works 'arrangements' and 'harmonies4' ,it was for the knowledge of a lifetime his work was to be valued1 he told the ,attorney-,general in court4 ,in this paragraph1 and in this answer1 you have the key to ,the ,gentle ,art4 ,fault may be found with arguments2 facts and methods may be challenged4 ,but analysis1 description1 technical statement1 and explanation are so many proofs of his belief in the independence of art and of his surrender to that untiring devotion which the goddess demands of her disciples4 ,it would seem impossible that his statement of simple truths should have been suspected1 were it not remembered that art in ,england depended mostly on clap-trap when ,whistler wrote1 and that his manner of meeting suspicion was intended to mystify4 ,he took care that his book should be the expression not only of his belief but of his conception of art4 ,stupidity in critics and public hurt him as much as insincerity in artists1 and when confronted with it he was pitiless4 ,dullness1 too1 he could not stand4 ,he met it with joyousness3 to be joyous was his philosophy of life and art1 where all is fair1 and this philosophy to the multitude was an enigma4 ,his letters to the ,press are apt to be dismissed as shrill1 cheap1 thin1 not worthy a great artist1 still unworthier of his endeavour to immortalise them4 ,it is true that he might have omitted some things from ,the ,gentle ,art1 though the names and ridicule he found for the ,enemies will stick to them for ever4 ,but ,whistler thought history would be half made if he did not leave on record both the provocation he received and his gaiety of retaliation4 ,when the battle was won and recognition came he wrote to ,atlas from ,paris3 ,we 'collect' no more4 ,messieurs les ,ennemis had no longer to fear for their scalps4 ,oftener than not the wit is cruel in its sting4 ,we have quoted the ,f ,f ,f 444 ,fool letter4 ,there are others more bitter1 because gayer on the surface1 to ,tom ,taylor1 for instance that final disposing of him3 ,why1 my dear old ,tom1 ,i never was serious with you even when you were among us4 ,indeed1 ,i killed you quite1 as who should say without seriousness1 ',a rat6 ,a rat6' you know1 rather cursorily4 ,whistler had the power of expressing himself in words which is rare with artists4 ,he could write1 he had style4 ,literature1 no less than art1 was to him a dainty goddess4 ,he worked out his shortest letter as carefully as a portrait or a ,nocturne1 until all trace of labour in it had disappeared4 ,people1 awed by the spectacle of ,ruskin wallowing amid the many volumes of ,modern ,painters without succeeding in the end in saying what he wanted1 could not believe that ,whistler was saying anything that mattered when he said in a few pages what he wanted with no sign of labour4 ,in his notes to ,truth and the ,world1 as in ,the ,ten ,o',clock1 he reveals his knowledge of the ,scriptures1 while his use of ,french which displeased his critics1 his odd references1 his unexpected quotations1 are placed with the same unerring instinct as the ,butterfly on his canvas4 ,he chose the right word1 he made the division of paragraphs effective1 punctuation was with him an art4 ,it is difficult to give examples1 because there are so many4 ,the ,ten ,o',clock is full of passages that show him at his best1 none finer than the often-quoted description of ,london when the evening mist clothes the riverside with poetry1 as with a veil4 ,the ,propositions and ,the ,red ,rag are as complete1 as simple and direct as his prints4 ,the book1 as an exposition of his beliefs and doctrines1 ranks with ,reynolds' ,lectures2 as a chronicle of an artist's adventures1 it is as personal and characteristic as the ,memoirs of ,cellini4 ,we have been criticised for devoting so much space to ,whistler's wit and his writings1 but as a wit and writer ,whistler will live4 ,he was a many-sided man1 not a lop-sided painter4 ,the period of the preparation and publication of ,the ,gentle ,art was one of unimportant quarrels4 ,in each case there was provocation4 ,of two or three so much was made at the time that they cannot be ignored4 ,one1 in #ahhh1 was with ,mr4 ,menpes1 who1 making no secret of it1 has recorded its various stages until the last1 when the ,follower adopted the ,master's decorations and arrangements in his own house4 ,his ,home of ,taste was paragraphed in the papers1 and ,whistler held him up to the world's ridicule as the ,kangaroo of his country1 born with a pocket and putting everything into it4 ,the affair came to a crisis not long after the ,times ,parnell disclosures1 and ,whistler wrote to him3 ,you will blow your brains out1 of course4 ,pigott has shown you what to do under the circumstances1 and you know your way to ,spain4 ,good-bye4 ,once afterwards1 at a public dinner1 ,whistler saw ,mr4 ,menpes come into the room on ,mr4 ,justin ,mc,carthy's arm3 ,ha ha6 ,mc,carthy1 he laughed as they passed him4 ,ha ha6 ,you should be careful4 ,you know1 ,damien died4 ,in #ahij ,augustus ,moore1 brother of ,george1 was added to the list of ,enemies4 ,the cause was an offensive reference to ,godwin1 ,mrs4 ,whistler's first husband1 in ,the ,hawk1 an insignificant sheet ,moore edited4 ,whistler1 knowing that he would find him at any first-night1 went to ,drury ,lane for the autumn production1 ,a ,million of ,money1 and in the foyer hit ,moore with a cane across the face1 crying1 ,hawk6 ,hawk6 ,there was a scrimmage1 and ,whistler1 as the man who attacked1 was requested to leave the house4 ,the whole thing was the outcome of a sense of honour1 a feeling of chivalry1 which is not now understood in ,england1 though it would have been found magnificent in the days of duels4 ,the comic papers made great fun of the episode1 and the serious ones lamented the want of dignity it showed4 ,no one understood ,whistler's loyalty and his devotion to the woman he had married4 ,footnote #aj3 ,see ,appendix at end of volume4 ,,chapter ,,xxxv3 ,,the ,,turn ,,of ,,the ,,tide4 ,,the ,,years ,,eighteen ,,ninety-,,one ,,and ,,eighteen ,,ninety-,,two4 ,the world owed him a living1 ,whistler said1 but it was not until #ahia that the world began to pay the debt with the purchase of the ,carlyle for ,glasgow and the ,mother for the ,luxembourg4 ,while the ,carlyle was at the ,glasgow ,institute in #ahhh1 ,mr4 ,e4 ,a4 ,walton and ,sir ,james ,guthrie made up their minds to try to keep it for the city4 ,since the attempt to secure it for ,edinburgh1 the ,glasgow ,school had become a power1 and as they proclaimed themselves followers of ,whistler1 it was only right they should do everything to retain the picture in ,glasgow4 ,a petition was presented to the ,glasgow ,corporation1 signed by a long list of names of influential people1 which greatly pleased ,whistler1 for they included ,gilbert1 ,orchardson1 ,millais1 ,walton1 ,guthrie1 and many others4 ,the price asked by ,whistler was a thousand guineas1 and a deputation from the ,corporation came to call on him in ,london4 ,whistler told us3 ,i received them1 well1 you know1 charmingly1 of course4 ,and one who spoke for the rest asked me if ,i did not think ,i was putting a large price on the picture--one thousand guineas4 ,and ,i said1 ',yes1 perhaps1 if you will have it so6' ,and he said that it seemed to the ,council excessive2 why1 the figure was not even life-size4' ,and ,i agreed4 ',but1 you know1' ,i said1 'few men are life-size4' ,and that was all4 ,it was an official occasion1 and ,i respected it4 ,then they asked me to think over the matter until the next day1 and they would come again4 ,and they came4 ,and they said1 ',have you thought of the thousand guineas and what we said about it1 ,mr4 ,whistler8' ,and ,i said1 ',why1 gentlemen1 why--well1 you know1 how could ,i think of anything but the pleasure of seeing you again8' ,and1 naturally1 being gentlemen1 they understood1 and they gave me a cheque for the thousand guineas4 ,what ,whistler meant by life-size he has explained4 ,no man alive is life-size except the recruit who is being measured as he enters the regiment1 and then the only man who sees him life-size is the sergeant who measures him1 and all that he sees of him is the end of his nose2 when he is able to see his toes1 the man ceases to be life-size4 ,before the ,carlyle went to ,glasgow ,whistler wished to show it in ,london1 where1 except in ,queen ,square1 it had not been seen since the ,grosvenor ,exhibition of #ahgg1 and it was exhibited at the ,goupil ,gallery4 ,mr4 ,d4 ,croal ,thomson1 then director of the ,gallery1 saw that the tide was turning1 and suggested offering the ,mother to the ,luxembourg4 ,in ,paris there was a sluggish sort of curiosity and the beginning of a sort of appreciation4 ,during the last ten years ,whistler had shown at the ,salon his ,lady ,meux1 the ,mother1 ,carlyle1 ,miss ,alexander1 ,the ,yellow ,buskin1 ,m4 ,duret1 ,sarasate1 and in #ahia his ,rosa ,corder was in the new ,salon2 but save for the third-class medal awarded the ,mother in #ahhc his pictures received no official recognition1 and while several scarcely known ,americans were made full members of the ,socit ,nationale des ,beaux-,arts he was at first simply an ,associate4 ,many of his smaller works had been seen at different times in the ,petit ,gallery4 ,at ,mr4 ,croal ,thomson's suggestion the ,mother was sent to ,messrs4 ,boussod ,valadon in ,paris1 and subscriptions for the purchase were opened4 ,before any amount worth mentioning was subscribed the ,french ,government1 on the initiative of ,m4 ,georges ,clmenceau and by the advice of ,m4 ,roger ,marx1 bought it for the nation4 ,m4 ,bourgeois1 the ,minister of ,fine ,arts1 had some doubt as to the possibility of offering for so fine a masterpiece the small price that the nation could afford4 ,but ,whistler set him at ease on this point1 writing to him that it was for the ,mother1 of all his pictures1 he would prefer so solemn a consecration1 and that he was proud of the honour ,france had shown him4 ,the price paid was four thousand francs4 ,whistler told ,mr4 ,cole1 ,november #ad1 #ahia1 that his pleasure was in the fact of his painting of his mother being 'unprecedentedly' chosen by the ,minister of ,beaux-,arts for the ,luxembourg1 and ,france that same year bestowed upon him an honour he valued higher than almost any he ever received1 by making him ,officer of the ,legion of ,honour4 ,but the choice was not unprecedented1 pictures of other ,american artists having already been purchased1 while the honour had already been bestowed upon ,american artists now forgotten4 ,the event was celebrated by a reception at the ,chelsea ,arts ,club on the evening of ,december #ai1 #ahia4 ,whistler was presented with a parchment of greetings signed by a hundred members as a record of their high appreciation of the distinguished honour that has come to him by the placing of his mother's portrait in the national collection of ,france4 ,whistler said in reply that he was gratified by this token from his brother artists3 ,it is right at such a time of peace1 after the struggle1 to bury the hatchet--in the side of the enemy--and leave it there4 ,the congratulations usher in the beginning of my career1 for an artist's career always begins to-morrow4 ,he promised to remain for long one of the ,chelsea artists1 a promise ,chelsea artists showed no desire to keep him to4 ,he was a member of the ,club until he went to ,paris4 ,when1 later1 ,mr4 7now ,sir ,john7 ,lavery proposed him as an ,honorary ,member1 there was not enough enthusiasm to carry the motion4 ,and when1 still later1 it was further proposed that the ,chelsea ,arts ,club should officially recognise the ,whistler ,memorial they refused1 and the comment of one man was1 ,what had an ,english ,club to do with a memorial by a ,frenchman to a ,yankee in ,london8 ,early in #ahib ,mr4 ,croal ,thomson arranged with ,whistler for an exhibition of ,nocturnes1 ,marines1 and ,chevalet ,pieces to be held at the ,goupil ,gallery in ,london1 or1 as ,whistler called it1 his heroic kick in ,bond ,street4 ,mr4 ,croal ,thomson says his first idea was to show the portraits only4 ,but he soon found that ,whistler wanted to include all the paintings and was going to take the matter in hand1 and that he was only like the fly on the wheel once the machinery was set in motion4 ,one reason of the success of the exhibition1 which surprised not only ,mr4 ,croal ,thomson but all ,london1 was ,whistler's care when selecting his pictures to secure variety4 ,the collection was a magnificent refutation of everything that the critics had been saying about him for years4 ,they dismissed his pictures as sketches1 and he confronted them with ,the ,blue ,waves1 ,brown and ,silver--,old ,battersea ,bridge1 ,the ,music ,room1 which had not been seen in ,london since the early sixties4 ,they objected to his want of finish and slovenliness in detail1 and his answer was the ,japanese pictures1 full of an elaboration the ,pre-,raphaelites never equalled1 and finished with an exquisiteness of surface they never attempted4 ,he was told he could not draw1 and he produced a group of his finest portraits4 ,he was assured he had no poetic feeling1 no imagination1 and he displayed the ,nocturnes1 with the factories and chimneys transformed into a fairyland in the night4 ,he was as careful in arranging the manner in which the pictures should be presented4 ,his letters to ,mr4 ,croal ,thomson from ,paris1 where he spent the greater part of #ahib1 were minute in his directions for cleaning and varnishing the paintings1 and putting them into new frames of his design4 ,indeed1 the correspondence on the subject1 which we have seen1 is a miracle of thoughtfulness1 energy1 and method4 ,mr4 ,croal ,thomson tells us3 ,mr4 ,whistler laboured almost night and day3 he wrote letters to every one of the owners of his works in oil asking loans of the pictures4 ,some1 like ,mr4 ,alexander and all the ,ionides connection1 acceded at once1 but others made delays1 and even to the end several owners declined to lend4 ,on the whole1 however1 the artist was well supported by his early patrons1 and the result was a gathering together of the most complete collection of ,mr4 ,whistler's best works--forty-three pictures in all4 ,the arrangement of the pictures was entirely ,mr4 ,whistler's1 for although he wished several young artists to come to the ,gallery the evening the works were to be hung1 through some mischance they did not arrive1 and ,i was therefore alone with ,mr4 ,whistler and received a great lesson in the art of arranging a collection4 ,in the face of so complete a series1 in such perfect condition1 and so well hung1 criticism was silenced4 ,we remember the ,press view1 and the dismay of the older critics who hoped for another crop of little jokes1 and the triumph of the younger critics who knew that ,whistler had won4 ,the papers1 daily1 weekly1 and monthly1 almost unanimously admitted that the old game of ridicule was played out and praised the exhibition without reserve4 ,the rest1 headed by ,sir ,frederick ,wedmore1 have since been trying to swallow themselves4 ,mr4 ,croal ,thomson recalls that3 ,mr4 ,whistler was not present at the private view4 ,he knew that many people would expect to see him and talk enthusiastic nonsense1 and he rightly decided he was better away1 and ,i was left to receive the visitors4 ,some hundreds of cards of invitation were issued1 and it seemed as if every recipient had accepted4 ,crowds thronged the galleries all day1 and it is impossible to describe the excitement4 ,i do not know how it fared with the artist and his wife during the day1 but about five o'clock in the evening ,mr4 and ,mrs4 ,whistler came in1 though they would not enter the exhibition2 they remained in a curtained-off portion of the ,gallery near the entrance4 ,one or two of their most intimate friends were informed by me of the presence of the painter1 and a small reception was held1 for a little while1 but1 of course1 by that time the battle was won1 and there were only congratulations to be rendered to the master4 ,j4 was taken into the little curtained-off room1 and later there was a triumphal procession to the ,arts ,club4 ,whistler declared that even ,academicians had been seen prowling about the place lost in admiration1 that it needed only to send a season ticket to ,ruskin to make the situation perfect1 and that1 ,well1 you know1 they were always pearls ,i cast before them1 and the people were always--well1 the same people4 ,it is said ,whistler first intended to print the catalogue without comment or quotation from the ,press1 but the chance to expose the critics was too good1 and previous critical verdicts were placed under the titles of the pictures4 ,two hundred and fifty copies were printed by ,thomas ,way1 and in a letter to ,way's manager1 ,mr4 ,morgan1 he calls the catalogue perfect4 ,but he also points out that there are errors1 and insists that by no accident or disaster shall any of the first printed batch of two hundred and fifty copies get about1 and he further says that he proposes to come to the printing office and destroy them4 ,we know of only four copies1 one our own--now in the ,library of ,congress--of this unbound first edition that have been preserved4 ,the other editions1 five in all1 are in the usual brown paper covers4 ,as an instance of his care1 ,mr4 ,william ,marchant1 then with ,goupils'1 remembers his spending an afternoon over the arrangement of the few words on the cover4 ,in the second edition the word by disappeared from the title-page and ,kindly ,lent ,their ,owners was printed4 ,this was not intentional on ,whistler's part1 for we possess a letter in which he asks that it may be put back at once1 and also that the ,moral at the end of the catalogue1 ,modern ,british 767 art will now be represented in the ,national ,gallery of the ,luxembourg by one of the finest paintings due to the brush of an ,english artist 7671 should be credited not to him1 but to the ,illustrated ,london ,news4 ,before the edition was exhausted the ,kindly ,lent ,their ,owners had become famous1 though it did not appear in subsequent editions4 ,but it reappeared when the catalogue was reprinted in ,the ,gentle ,art4 ,the extracts he quoted were cruel1 but the critics had been cruel4 ,the sub-title1 ,the ,voice of a ,people explains his object in publishing them4 ,the catalogue ended with the quotation from the ,chronique des ,beaux-,arts3 ,au muse du ,luxembourg1 vient d'tre plac de ,m4 ,whistler1 le splendide ,portrait de ,mme4 ,whistler mre1 une oeuvre destine l'ternit des admirations1 une oeuvre sur laquelle la conscration des sicles semble avoir mis la patine d'un ,rembrandt1 d'un ,titien1 o d'un ,vlasquez4 ,this1 in later editions1 was followed by the ,moral duly credited to the ,illustrated ,london ,news4 ,before the show closed the pictures were photographed1 and twenty-four were afterwards published in a portfolio called ,nocturnes1 ,marines1 and ,chevalet ,pieces1 by ,messrs4 ,goupil4 ,whistler designed the cover in brown4 ,there were a hundred sets1 each photograph signed by him1 published at six guineas1 and two hundred unsigned at four guineas4 ,an immediate result of the exhibition was that sitters came4 ,one of the first was the ,duke of ,marlborough1 who gave him a commission for a portrait and asked him and ,mrs4 ,whistler to ,blenheim for the autumn4 ,whistler wrote the ,duke one of his charming letters1 then heard of his sudden death1 and said3 ,now ,i shall never know whether my letter killed him1 or whether he died before he got it4 ,well1 they all want to be painted because of these pictures1 but why wouldn't they be painted years ago when ,i wanted to paint them1 and could have painted them just as well8 ,and he was besieged by ,americans1 ,whistler said1 who were determined to pour ,california into his lap1 a determination to which he had no objection4 ,his pockets should always be full1 or my golden eggs are addled4 ,he thought it would be amazing fun to be rich4 ,once1 driving with ,mr4 ,starr1 he said3 ,starr1 ,i have not dined1 as you know1 so you need not think ,i say this in any but a cold and careful spirit3 it is better to live on bread and cheese and paint beautiful things than to live like ,dives and paint pot-boilers4 ,but a painter really should not have to worry about 'various1' you know4 ,poverty may induce industry1 but it does not produce the fine flower of painting4 ,the test is not poverty1 it's money4 ,give a painter money and see what he'll do2 if he does not paint his work is well lost to the world4 ,if ,i had had1 say1 three thousand pounds a year1 what beautiful things ,i could have done4 ,illustration3 ,,portrait ,,of ,,pablo ,,sarasate ,,arrangement ,,in ,,black ,,oil ,in the ,carnegie ,institute1 ,pittsburgh 7,see page #bbc7 ,illustration3 ,,portrait ,,of ,,lady ,,colin ,,campbell ,,harmony ,,in ,,white ,,and ,,ivory ,,oil 7,,destroyed7 ,from a photograph lent by ,pickford ,r4 ,waller1 ,esq4 7,see page #bfb7 ,no one could know better than ,mr4 ,croal ,thomson how complete was this success3 ,i do not think ,i am exaggerating when ,i say that the exhibition marked a revolution in the public feeling towards ,whistler4 ,his artistic powers were hitherto disputed on every hand1 but when it was possible for lovers of art to see for themselves what the painter had accomplished the whole position was changed4 ,i will be pardoned1 ,i hope1 in stating that whereas up to that time the pictures of ,mr4 ,whistler commanded only a small sum of money1 after the exhibition a great number of connoisseurs desired to acquire his works1 and therefore their money value immediately increased4 ,in the ,goupil collection all the pictures were contributed by private owners1 and none were offered for sale4 ,i may say in passing that1 as a matter of fact1 the crowds of visitors were so great that no transaction of any serious kind was carried through in the ,gallery between the hanging of the pictures and their dispersal--that is1 for nearly five weeks there was practically no record of business4 ,but the exhibition altered all this1 and it is revealing no secrets to say that within a year after the exhibition was closed ,i had aided in the transfer of more than one-half of the pictures from their first owners4 ,mr4 ,whistler1 to whom ,i always referred before concluding any transaction1 came to the conclusion that there was hardly a holder of his pictures in ,england but who would sell when tempted by a large price4 ,it may be that these owners had become affected by the continual misunderstanding and abuse of ,mr4 ,whistler's works1 and that when they were offered double or three times the sum for which they had their pictures insured they thought they had better take advantage of the enthusiasm of the moment4 ,they did not realise that this enthusiasm would continue to enlarge1 and that what seemed to them as original purchasers of the pictures to be a great price is only about one-fourth of their present money value4 ,it was the artist's wish that a similar exhibition should be held in ,paris1 but the project fell through1 and from more recent experience it would appear as if the ,london public1 sometimes so severely scoffed at by ,mr4 ,whistler1 was really more appreciative than the ,parisian public1 and1 therefore1 perhaps after all more intelligent4 ,whistler sold ,the ,falling ,rocket for eight hundred guineas1 and wished that ,ruskin could know that it had been valued at four pots of paint4 ,the ,leyland sale1 ,may #bh1 #ahib1 brought the ,princesse du ,pays de la ,porcelaine and smaller works into the auction-room1 and1 though the ,princesse fetched only four hundred and twenty guineas1 this was four times as much as ,whistler received4 ,what would he have said to the five thousand ,mr4 ,freer paid for it within a year of his death8 ,the sixty or eighty pounds ,mr4 ,leathart paid ,whistler for the ,lange ,leizen increased to six or eight hundred when he sold it4 ,mr4 ,ionides had bought ,sea and ,rain for twenty or thirty pounds1 and now asked three hundred4 ,fifty pounds1 the price of the ,blue ,wave when ,mr4 ,gerald ,potter had it from ,whistler1 multiplied to a thousand when it was his turn to dispose of it4 ,fourteen hundred pounds was given by ,arthur ,studd for ,the ,little ,white ,girl and a ,nocturne1 the two having cost ,mr4 ,potter about one hundred and eighty pounds1 and we have been told that ,arthur ,studd was recently offered six thousand pounds for ,the ,little ,white ,girl alone4 ,whistler resented it when he found that fortunes were being made at his expense by so-called friends1 and he complained that they were turning his reputation into pounds1 shillings1 and pence1 travelling over ,europe and holiday-making on the profits4 ,the previous sentence was written when our book first appeared4 ,during #aiah and #aiai1 there has been a fabulous increase in the selling price of ,whistler's work4 ,we do not know what amount was paid by ,mr4 ,frick for the ,lady ,meux1 the ,rosa ,corder1 and the ,mrs4 ,leyland which he recently purchased4 ,some of the reports of prices are greatly exaggerated1 no doubt4 ,a few owners of ,whistlers do appreciate them4 ,but nearly all collectors in the ,united ,states regard art as they do stocks4 ,they buy for a rise1 and appreciate only the monetary value of the works they possess4 ,one of the most striking cases is that of ,mr4 ,howard ,mansfield1 whom ,whistler1 during many years1 furnished with some of his most interesting prints1 aided and directed in their collection1 hoping1 of course1 that they would be left to a museum4 ,but ,mr4 ,mansfield sold his collection for an enormous price1 altogether out of proportion to what ,whistler received4 ,surprising statements have been circulated about the sale of pictures4 ,the announcement of the price recently paid for the ,princesse du ,pays de la ,porcelaine is as incorrect as the title given to the painting1 which is simply a small slight sketch and different version of the important subject owned by ,mr4 ,freer4 ,the bigger the lie1 the more impressive is such a statement concerning the prices asked and obtained--the merit of the work is of secondary importance4 ,this is a fair specimen of ,american commercial art criticism4 ,whistler1 after the trade in his work began1 suggested that a work of art1 when sold1 should still remain the artist's property2 that it was only lent its owner4 ,it was now his frequent demand to owners and condition to purchasers that his pictures should be available for exhibition when and where and as often as he pleased4 ,this is illustrated in the following letter which ,mr4 ,h4 ,s4 ,theobald1 ,k4,c41 writes us3 444 ,about #ahgj ,i began to get such of his etchings as ,i could1 and somewhere early in the eighties ,i became the fortunate possessor of some thirty or forty drawings and pastels through the ,dowdeswells4 ,whistler became aware of my ownership of these1 and they sometimes brought him to my house1 which was then in ,westbourne ,square4 ,the pictures1 owing to stress of space1 hung mostly on the staircase1 and ,whistler would stand in rapt admiration before them1 with occasional ejaculations of 'how lovely1' 'how divine1' and so on4 ,on one of these occasions he asked my wife if she had had her portrait taken4 ',but of course not1' he added1 'as ,i have not painted you4' ,my intercourse with the ,master was limited to occasions when he wanted to borrow the pictures4 ,his manner of proceeding was somewhat abrupt4 ,some morning a person would appear in a four-wheel cab and present ,whistler's card1 on which was written1 ',please let bearer have fourteen of my pictures4' ,sometimes1 but not often1 there was a preliminary warning from ,whistler himself4 ,but though the pictures went easily1 it was a labour of ,hercules to retrieve them4 ,once when ,i went to fetch them at his studio by appointment1 after a previous effort1 also by appointment1 which was not kept1 ,i found the studio locked1 but after a search among the neighbours ,i got the key1 and then ,i found some two or three hundred pictures stacked round the room buried in the dust of ages4 ,whistler loved his pictures but he certainly took no care of them4 ,on that occasion ,i remember ,i took away by mistake in exchange for one of my pictures1 a ,nocturne that did not belong to me1 though it was very like one of mine4 ,you can imagine the ,master's winged words when he found this out4 ,i could only cry mea culpa and bow my head before the storm4 ,it was the risk to which ,i feared the pictures were exposed which made me harden my heart4 ,whistler was as anxious to keep his pictures out of exhibitions when for some reason he did not care to have them shown4 ,the large ,three ,girls 7,three ,figures1 ,pink and ,grey1 in the ,london ,memorial ,exhibition7 was at ,messrs4 ,dowdeswell's in the summer of #ahia4 ,he had before this tried to get possession of it in order that he might destroy it1 and he had offered to paint the portrait of the owner and his wife in exchange4 ,his offer was refused1 and while the picture was at ,messrs4 ,dowdeswell's1 he wrote a letter to the ,pall ,mall ,gazette 7,july #bh1 #ahia71 to explain that it was a painting thrown aside for destruction4 ,an impudent answer from a critic led to a more explicit statement of his views on the subject3 ,all along have ,i carefully destroyed plates1 torn up proofs and burned canvases that the truth of the quoted word shall prevail1 and that the future collector shall be spared the mortification of cataloguing his pet mistakes4 ,to destroy1 is to remain4 ,when this picture1 with a number of studies for it1 was sent to the ,london ,memorial ,exhibition1 it was found very interesting and it was hung1 and we think it fortunate that it was not destroyed4 ,but had the ,committee known it was the picture he wished destroyed it never would have been exhibited by the ,international ,society4 ,in the summer of #ahib1 ,whistler was invited by the ,duke of ,argyll to contribute to the ,british ,section at the ,world's ,columbian ,exposition to be held in ,chicago the following year1 and the picture mentioned for the purpose was the ,carlyle4 ,the portrait had been skied in a corner the previous winter at the ,victorian ,exhibition in the ,new ,gallery1 of which ,mr4 ,j4 ,w4 ,beck was ,secretary1 as he was now of the ,fine ,arts ,committee for ,chicago4 ,whistler wrote to ,mr4 ,beck1 sending his distinguished consideration to the ,duke and the ,president 7,leighton7 with the assurance that ,i have an undefined sense of something ominously flattering occurring1 but that no previous desire on his part ever to deal with work of mine has prepared me with the proper form of acknowledgment4 ,no1 no1 ,mr4 ,beck6 ,once hung1 twice shy6 ,when the letter was sent to the papers and printers made sky of the shy ,whistler was enchanted4 ,mr4 ,smalley told the story of the invitation in the ,times1 after ,whistler's death1 under the impression that he had been invited to show at ,burlington ,house4 ,that ,whistler never was invited to show anything there we know1 and we have the further testimony of ,sir ,fred ,eaton1 ,secretary of the ,academy1 that ,no such proposal as ,mr4 ,smalley speaks of was ever made to ,mr4 ,whistler1 and it is difficult to understand on what grounds he made such a statement4 ,it is an amusing coincidence that this would seem to be confirmed by the fate of a letter addressed to ,whistler1 ,the ,academy1 ,england1 which1 after having gone to the newspaper of that name1 was next sent to ,burlington ,house1 and1 finally1 reached ,whistler with ,not known at the ,r4,a41 written on the cover4 ,here was one of the little incidents that ,whistler called the droll things of this pleasant life1 and he sent the cover for reproduction to the ,daily ,mail with the reflection3 ,in these days of doubtful frequentation it is my rare good fortune to be able to send you an unsolicited official and final certificate of character4 ,whistler did not depend upon the ,british ,section at the ,chicago ,exposition4 ,americans made up for the official blunders of #ahhi4 ,professor ,halsey ,c4 ,ives1 chief of the ,art ,department1 wrote letters that ,whistler found most courteous1 and everything was done to secure his pictures and prints4 ,he was splendidly represented by ,the ,yellow ,buskin1 the ,princesse du ,pays de la ,porcelaine1 ,the ,fur ,jacket1 among paintings1 and by etchings of every period4 ,the medal given him was the first official honour from his native land1 where never before had so representative a collection of his work been seen4 ,towards the end of #ahib the appreciation of ,america was expressed in another form4 ,the new ,boston ,library was being built1 and ,messrs4 ,mc,kim1 ,meade1 and ,white were the architects4 ,it was determined that the interior should be decorated by the most distinguished ,american artists4 ,mr4 ,sargent and ,mr4 ,abbey were commissioned to do part of the work1 and they joined with ,mr4 ,mc,kim and ,st4 ,gaudens in trying to induce ,whistler to undertake the large panel at the top of the stairs4 ,he made notes and suggestions for the design1 which1 he told us1 was to be a great peacock ten feet high2 but the work was put off1 and1 in the end1 nothing came of the first opportunity given him for mural decoration since ,the ,peacock ,room4 ,,chapter ,,xxxvi3 ,,paris4 ,,the ,,years ,,eighteen ,,ninety-,,two ,,and ,,eighteen ,,ninety-,,three4 ,whistler went to live in ,paris again in #ahib4 ,moving from ,london was a complicated affair1 and1 during several months1 he and ,mrs4 ,whistler and his sister-in-law1 ,mrs4 ,whibley1 were continually running backward and forward1 before they settled in the ,rue du ,bac4 ,we saw him whenever he came to ,london and whenever we were in ,paris1 and1 as we were there often1 we saw much of him4 ,a group of artists and art critics1 whose appreciation of ,whistler had not waited for the turning of the tide1 were in the habit of going together to ,paris for the opening of the ,salon4 ,in #ahib1 ,r4 ,a4 ,m4 ,stevenson1 ,aubrey ,beardsley1 ,henry ,harland1 ,d4 ,s4 ,mc,coll1 ,charles ,w4 ,furse1 ,alexander and ,robert ,ross1 among others1 were with us1 and to all it was a pleasure to find ,whistler triumphing as he had triumphed earlier in the spring in ,london4 ,his pictures at the ,champ-de-,mars were the most talked about and the most distinguished in an unusually good ,salon4 ,many came straight from the ,goupil ,exhibition4 ,whistler called it a stupendous success all along the line1 and said that1 coming after the ,goupil heroic kick1 it made everything complete and perfect4 ,he was pleased also with the fact that he was elected a full ,socitaire1 and this year a member of the jury4 ,in the autumn1 ,j41 returning to ,paris after a long summer in the ,south of ,france1 found ,whistler in the ,htel du ,bon ,lafontaine1 a house1 ,whistler said1 full of bishops1 cardinals1 and monsignori1 and altogether most correct1 to which he had moved from the ,foyot1 inhabited by ,senators1 after a bomb had exploded in the kitchen window4 ,j4 says3 ,he was not too comfortably established1 in one or two small rooms4 ,he was full of the apartment in the ,rue de ,bac1 which ,i was taken to see1 though there was nothing to see but workmen and packing-boxes4 ,in the midst of the moving1 he was working1 and one day ,i found him in his bedroom with ,mallarm1 whose portrait in lithography he was drawing1 and there was scarcely room for three4 ,this portrait is the frontispiece to ,mallarm's ,vers et ,prose4 ,it was the first time ,i had ever seen ,whistler working on a lithograph4 ,he had great trouble with this portrait1 which he did more than once1 not altogether because1 as ,m4 ,duret says1 he could not get the head right1 but because he was trying experiments with paper4 ,he was thoroughly dissatisfied with the mechanical grained paper which he had used for the ,albermarle and the ,whirlwind prints1 and he was then afraid of trusting to the post the paper that ,way was sending him4 ,he had found at ,belfont's or ,lemercier's some thin textureless transfer paper1 thin as tissue paper1 which delighted him1 though it was difficult to work on4 ,when he was doing the ,mallarm1 he put the paper down on a roughish book cover4 ,he liked the grain the cover gave him1 for it was not mechanical1 and1 when the grain seemed to repeat itself1 he would shift the drawing1 and thus get a new surface4 ,i do not know whether he used this thin paper to any extent1 but he said he found it delightful1 if difficult1 to work on4 ,he used that afternoon a tiny bit of lithographic chalk1 holding it in his fingers1 and not in a crayon-holder as lithographers do4 ,the next day1 he took me to the printers1 ,belfont's and ,lemercier's1 where he introduced me to ,m4 ,duchtel and ,m4 ,marty1 who was preparing ,l',estampe ,originale1 devoting himself to the revival of artistic lithography in ,france4 ,as ,i remember1 the talk was technical1 when not of the wonders of the apartment in the ,rue du ,bac--where ',peace threatens to take up her abode in the garden of our pretty pavilion1' ,mr4 ,starr quotes ,whistler as saying--and the studio in the ,rue ,notre-,dame-des-,champs1 which ,i did not see until later on4 ,he was also planning his colour lithographs1 and he explained to me his methods1 though very few colour-prints were made until the next year4 ,he also told me what he thought of printing etchings in colour--that it was abominable1 vulgar1 and stupid4 ,good black or brown ink1 on good old paper1 had been good enough for ,rembrandt1 it was good enough for him1 and it ought to be good enough in the future for the few people who care about etching4 ,to-day1 when the world is swamped with the childish print in colour and the preposterous big copper plate1 it may be well to remember ,whistler's words4 ,his reason for rejecting the etching in colour is as simple and rational as his reason for making the lithograph in colour4 ,lithography is a method of surface printing2 the colour1 rolled on to the surface of the stone1 is merely rubbed on to1 and scraped off on1 the paper4 ,in etching or engraving1 the colour is first hammered into the engraved plate with a dabber and then forced out by excessive pressure1 fatal to any but the strongest or purest of blacks and browns2 and colours1 whether printed from one plate or a dozen1 must have the freshness1 the quality1 squeezed out of them4 ,he was back in ,london at the end of ,december 7#ahib7 eating his ,christmas dinner with his future brother-in-law4 ,he stayed only a few days1 but long enough to arrange to show ,lady ,meux3 ,white and ,black in the first exhibition of the ,portrait ,painters at the ,grafton ,gallery1 early in #ahic1 and a number of his ,venice etchings with the destroyed plates at the ,fine ,art ,society's4 ,we were again in ,paris for the ,salon of #ahic1 and found ,whistler living in the ,rue du ,bac4 ,beardsley1 ,mac,coll1 and ',bob' ,stevenson were with us4 ,mac,coll and ,i went to see ,whistler in the new studio4 ,it was at the top of one of the highest buildings in the ,rue ,notre-,dame-des-,champs1 ,no4 #hf4 ,as the concierge said1 in directing visitors1 ',on ne peut pas aller plus loin que ,m4 ,vistlaire6' ,the climb always seemed to me endless1 and must have done much harm to ,whistler's weak heart1 though benches were placed on some of the landings where1 if he had time1 he could rest4 ,when we got to the sixth storey ,mac,coll knocked4 ,there was a rapid movement across the floor1 and the door was opened a little4 ,whistler held his palette and brushes between himself and us1 and there were excuses of models and work4 ,but ,mac,coll felt the brushes1 and they were dry1 and so we got in4 ,the studio was a big1 bare room1 the biggest studio ,whistler ever had4 ,a simple tone of rose on the walls1 a lounge1 a few chairs1 a whitewood cabinet for the little drawings and prints and pastels2 the blue screen with the river1 ,chelsea church1 and the gold moon2 two or three easels1 nothing on them2 rows and rows of canvases on the floor with their faces to the wall2 in the further corner a printing press--rather a printing shop--with inks and papers on shelves2 a little gallery above1 a room or two opening off2 a model's dressing-room under it1 and in front1 when you turned1 the great studio window1 with all ,paris toward the ,pantheon over the ,luxembourg gardens4 ,there was another little room or entrance-hall at the top of the stairs1 and opposite another1 a kitchen4 ,on the front was a balcony with flowers4 ,illustration3 ,,annabel ,,lee ,,pastel ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art 7,see page #bhj7 ,illustration3 ,,the ,,convalescent ,,water-,,colour ,in the possession of ,dr4 ,j4 ,w4 ,mac,intyre 7,see page #bgd7 ,carmen1 his model1 was there1 and while he showed us some of his work she got breakfast1 and we stayed a good part of the day4 ,mrs4 ,whistler came up later4 ,i think she breakfasted with us4 ,i have no recollection of what he talked about4 ,but ,i am sure it was of what they had been saying in ,london1 of what they were saying in ,paris1 of what he was doing4 ,that is what it always was4 ,we were all asked to lunch the following ,sunday at the house4 ,the apartment1 ,no4 #aaj ,rue du ,bac1 was on the right-hand side1 just before you reached the ,bon ,march1 going up the street1 from the river4 ,you went through a big porte cochre by the concierge's box1 down a long1 covered tunnel1 then between high walls1 until you came to a courtyard with several doors1 a bit of an old frieze in one place and a drinking-fountain4 ,whistler's door was painted blue1 with a brass knocker4 ,i do not suppose that then there was another like it in ,paris4 ,inside was a little landing with three or four steps down to the floor a few feet lower than the courtyard4 ,this room contained nothing1 or almost nothing1 but some trunks 7which1 as in his other houses1 gave the appearance of his having just moved in1 or being just about to start on a journey7 and a settee1 always covered with a profusion of hats and coats4 ,opposite the entrance a big door opened into a spacious room1 decorated in simple1 flat tones of blue1 with white doors and windows1 furnished with a few ,empire chairs and a couch1 a grand piano1 and a table which1 like the blue matting-covered floor1 was littered with newspapers4 ,once in a while there was a picture of his on the wall4 ,for some time1 the ,venus hung or stood about4 ,there were doors to the right and left1 and on the far side1 a glass door opened on a large garden1 a real bit of country in ,paris4 ,it stretched away in dense undergrowth to several huge trees4 ,later1 over the door1 there was a trellis designed by ,mrs4 ,whistler1 and there were flowers everywhere4 ',in his roses he buried his troubles1' ,mr4 ,wuerpel writes of the garden1 and there were many birds1 among them1 at one time1 an awful mocking-bird1 at another a white parrot which finally escaped1 and1 in a temper1 climbed up a tree where no one could get it1 and starved itself to death to ,whistler's grief4 ,at the bottom of the garden were seats4 ,the dining-room was to the right of the drawing-room4 ,it was equally simple in blue1 only there was blue and white china in a cupboard and a big dining-table1 round which were more ,empire chairs and in the centre a large1 low blue and white porcelain stand1 on it big bowls of flowers1 over it1 hanging from the ceiling1 a huge ,japanese something like a birdcage4 ,from ,paris1 in ,may1 ,i went down to ,caen and ,coutances1 coming back a few weeks later4 ,beardsley was still in ,paris1 or had returned1 and we were both stopping at the ,htel de ,portugal et de l',univers1 then known to every art student4 ,wagner was being played at the ,opera1 almost for the first time4 ,paris was disturbed1 there were demonstrations against ,wagner1 really against ,germany4 ,we went1 ,beardsley wild about ,wagner and doing1 ,i think1 the drawing of ,the ,wagnerites4 ,he had come over to get backgrounds in the rose arbours and the dense alleys of the ,luxembourg gardens1 where ,whistler had made his lithographs4 ,coming away from the ,opera1 we went across to the ,caf de la ,paix at midnight4 ,the first person we saw was ,whistler4 ,he was with some people1 but they left soon1 and we joined him4 ,beardsley also left almost at once1 but not before ,whistler had asked us to come the next ,sunday afternoon to the ,rue du ,bac4 ,then1 for the first time1 ,i learned what he thought of 'stheticism' and decadence4' ',why do you get mixed up with such things8 ,look at him6 ,he's just like his drawings1 he's all hairs and peacock's plumes--hairs on his head1 hairs on his fingers' ends1 hairs in his ears1 hairs on his toes4 ,and what shoes he wears--hairs growing out of them6' ,i said1 ',why did you ask him to the ,rue du ,bac8' ',oh--well--well--well6' ,and then it was late1 or early1 and the last thing was1 ',well1 you'll come and bring him too4' ,years later1 in ,buckingham ,street1 ,whistler met ,beardsley1 and got to like not only him1 as everybody did1 but his work4 ,one night when ,whistler was with us1 ,beardsley turned up1 as always when he went to see anyone1 with his portfolio of his latest work under his arm4 ,this time it held the illustrations for ,the ,rape of the ,lock1 which he had just made4 ,whistler1 who always saw everything that was being done1 had seen the ,yellow ,book1 started in #ahid1 and he disliked it as much as he then disliked ,beardsley1 who was the art editor2 he had also seen the illustrations to ,salom1 disliking them too1 probably because of ,oscar ,wilde2 he knew many of the other drawings1 one of which1 whether intentionally or unintentionally1 was more or less a reminiscence of ,mrs4 ,whistler1 and he no doubt knew that ,beardsley had made a caricature of him which a ,follower carefully left in a cab4 ,when ,beardsley opened the portfolio and began to show us ,the ,rape of the ,lock1 ,whistler looked at them first indifferently1 then with interest1 then with delight4 ,and then he said slowly1 ',aubrey1 ,i have made a very great mistake--you are a very great artist4' ,and the boy burst out crying4 ,all ,whistler could say1 when he could say anything1 was ',i mean it--,i mean it--,i mean it6' ,on the following ,sunday ,beardsley and ,i went to the ,rue du ,bac1 ,beardsley in a little straw hat like ,whistler's4 ,whistler was in the garden and there were many ,americans1 and ,arsne ,alexandre and ,mallarm1 some people from the ,british ,embassy1 and presently ,mr4 ,jacomb ,hood came1 bringing an ,honourable ,amateur1 who asked the ,whistlers1 ,beardsley1 and myself to dinner at one of the cafs in the ,champs-,elysees4 ,as we left the ,rue du ,bac1 ,whistler whispered to me1 ',those hairs--hairs everywhere6' ,i said to him1 ',but you were very nice and1 of course1 you'll come to dinner4' ,and1 of course1 he did not4 ,i was working in ,paris1 making drawings and etchings of ,notre-,dame4 ,i was in one of the high old houses of lodgings and studios1 with cabmen's cafs and restaurants under them1 on the ,quai des ,grands ,augustins4 ,i had gone there because of the view of the ,cathedral4 ,most of the time ,i was at work up among the ,devils of ,notre-,dame1 using one of the towers as a studio by permission of the ,government and the ,cardinal-,archbishop4 ,one morning--it was in ,june--,i heard the puffing and groaning of someone climbing slowly the endless winding staircase1 and the next thing ,i saw was ,whistler's head on the stairs4 ,when he got his breath and ,i had got over my astonishment1 ,i began to ask why he had come1 or he began to explain the reason4 ,he had learned where ,i was staying1 and he said he had been to the hotel1 which1 was1 well6 ,i think it reminded him of his days au sixime1 for that was the floor ,i was on4 ,he left a note written on the buvette paper1 in which he said1 ',jolly the place seems to be6' ,after he had climbed up to my rooms1 the patron told him where he possibly would find me1 and then the people at the foot of the tower said ,i was up above4 ,he told me why he had come up4 ,he was working on a series of etchings of ,paris4 ,some were just begun1 others ready to bite1 but a number ought to be printed1 and would ,i help him8 ,i was pleased1 and ,i said ,i would4 ,i took him about among the strange creatures that haunt the place1 introduced him to the old keeper with his grisly tales of suicides and of sticking to the tower through the ,commune1 even when the church was on fire1 and showed him the awful bell that1 at noon1 suddenly crashed in our ears1 the uncanny cat that perched on crockets and gargoyles1 tried to catch sparrows with nothing below her1 and made from one parapet to another flying cuts over space when visitors came up4 ,but he did not like it1 and was not happy until we were seated in the back room of a restaurant across the street4 ,he talked about the printing1 saying that ,i could help him1 and he could teach me4 ,next morning ,i was at the ,rue du ,bac at nine4 ,after ,i had waited for what seemed hours1 and had breakfasted with him and ,mrs4 ,whistler and we had a cigarette in the garden1 where there was an ,american rocking-chair for him--well1 after this it was too late to go to the studio4 ,he brought out some of the plates which he had been working on--the plates of little shops in the near streets--and we looked at them1 and that was all4 ,so it went on the next day1 and the next1 until on the third or fourth things came to a head1 and ,i told him that charming as this life was1 either we must print or ,i must go back to my drawing4 ,in five minutes we were in a cab on our way to the studio4 ,he understood that1 much as ,i admired his work and appreciated him1 ,i could not afford to pay for this appreciation and admiration with my time4 ,from the moment this was plain between us1 there was no interruption to our friendship for the rest of his life4 ,we set to work4 ,he peeled down to his undershirt with short sleeves1 and ,i saw in his muscles one reason why he was never tired4 ,he put on an apron4 ,the plates1 only slightly heated1 if heated at all1 were inked and wiped1 sometimes with his hand1 at others with a rag1 till nearly clean1 though a good tone was left4 ,he painted the proofs on the plate with his hand4 ,i got the paper ready on the press and pulled the proof1 he inking and ,i pulling all the afternoon4 ,as each proof came off the press1 he looked at it1 not satisfied1 for they were all weak1 and saying 'we'll keep it as the first proof and it will be worth something some day4' ,then he put the prints between sheets of blotting-paper1 and that night or the next1 after dinner1 trimmed them with scissors and put them back between the folded sheets of blotting-paper which were thrown on the table and on the floor4 ,between the sheets the proofs dried naturally and were not squashed flat4 ,the printing went on for several days1 he getting more and more dissatisfied1 until ,i found an old man1 ,lamour1 at the top of an old house in the ,rue de la ,harpe1 who could reground the plates4 ,but ,whistler did not rebite them and never touched them until long after in ,england4 ,a number of plates had not been bitten and one hot ,sunday afternoon he brought them into the garden at the ,rue du ,bac4 ,a chair was placed under the trees and on it a wash-basin into which each plate was put4 ,instead of pouring the diluted acid all over the plate in the usual fashion drops were taken from the bottle on a feather1 and the plate painted with acid4 ,the acid was coaxed1 or rather used as one would use water-colour1 dragged and washed about4 ,depth and strength were got by leaving a drop of acid on the lines where they were needed4 ,there was a little stopping-out of passages where greater delicacy was required2 when there was any1 the stopping-out varnish was thinned with turpentine1 and ,whistler1 with a camel's-hair brush1 painted over the parts that did not need further biting4 ,to me1 it was a revelation4 ,sometimes he drew on the plate4 ,instead of the huge crowbar used by most etchers he worked with a perfectly balanced1 beautifully designed little needle three or four inches long1 made for him by an instrument-maker in ,paris4 ,he always carried several in a little silver box4 ,the ground on all the plates was bad and came off1 and the proofs he pulled afterwards in the studio were not at all what he wanted4 ,these were almost the last plates he etched4 ,he was not painting very much1 few people came to the studio1 and he went out little4 ,no one was in the ,rue du ,bac but ,mrs4 ,whistler for a while1 and there were complications with the servants and others--how people who kept such hours1 or no hours1 could keep servants would have been a mystery had not servants worshipped him4 ,almost daily the petit bleu asking me to dinner would come to me4 ,or ,whistler would appear in the morning1 if ,i had not been to him the day before4 ,in those early ,june days ,i seldom met anyone at the house and we never dressed for dinner1 possibly because ,i had no dress clothes with me2 he would insist on my coming1 telling me not to mind the stains or the inkspots6 ,one evening in the garden with them ,i found a little man1 a thorough ,englishman in big spectacles1 with a curious sniff1 who was holding a hose and watering the plants4 ,he was introduced to me as ,mr4 ,webb1 ,whistler's solicitor1 though in the process we came near being drenched by the wobbling hose4 ,it was that evening ,i first heard the chant of the missionary brothers from over the great wall4 ,a bell sounded1 and as the notes died away a wailing chant arose1 went on for a little1 then died away as mysteriously as it came4 ,always1 when it did come1 it hushed us4 ,at dinner we should be cosy and jolly1 ,whistler had said in asking me1 and we were1 and it was arranged that we should go the next day to ,fontainebleau4 ,they called for me at the hotel in the morning4 ,we drove to the ,lyons station1 ,whistler1 his wife1 ,mr4 ,webb1 and ,i4 ,and ,whistler had the little paint-box which always went with him1 though on these occasions it was the rarest thing that he ever did anything1 and we got to ,fountainebleau4 ,we lunched in a garden4 ,we didn't go to the palace1 but drove to ,barbizon1 stopping at ,siron's1 through the forest4 ,i don't think the views or the trees interested him at all4 ,he was quiet all the way1 but no sooner were we back than we must hunt for 'old things'3 'here was a palace and great people had lived here1 there might be silver1 there might be blue and white1 though really1 now1 you know1 you can find better blue and white1 and cheaper silver1 under the noses of the ,britons in ,wardour ,street than anywhere4' ,we did not find any blue and white1 or silver4 ,but there were three folio volumes of old paper1 containing a collection of dried leaves1 which we bought and shared1 and they were to him more valuable than the palace and the ,millet studio1 which we never saw4 ,it was late when we got back4 ,the servants had gone to bed1 and ,marguery's and the places where he liked to dine were shut4 ,so we bought what we could in the near shops and sat down in the ,rue du ,bac to eat the supper we had collected4 ,after we had finished ,i witnessed his and ,mrs4 ,whistler's wills1 which ,mr4 ,webb had brought with him from ,london1 and for this the long day had been a preparation4 ,if ,i did not always accept ,whistler's invitations he would reproach me as an awful disappointment and a bad man4 ,if ,i did not go to the dinner1 to which ,i was bidden at an hour's notice1 he would tell me afterwards of the much cool drink and encouraging refreshment he had prepared for me4 ,he always asked me to bring my friends4 ,mr4 ,j4 ,fulleylove had come over to 'do' ,paris and ,i took him to the ,rue du ,bac2 'les ,pleins d',amour1' ,whistler called him and ,mrs4 ,fulleylove1 whose eyes he was always praising4 ,they were working at ,st4 ,denis and so was ,i1 and one day ,whistler and ,mrs4 ,whistler came in the primitive steam tram that starts from the ,madeleine to see the place4 ,we lunched--badly--and he was bored with the church1 though he had brought lithograph paper and colours to make a sketch of it4 ,one ,sunday ,mr4 ,e4 ,g4 ,kennedy posed in the garden for his portrait on a small canvas or panel1 and all the world was kept out4 ,i had never before seen ,whistler paint4 ,he worked away all afternoon1 hissing to himself1 which1 ,mrs4 ,whistler said1 he did only when things were going well4 ,if ,kennedy shifted--there were no rests--,whistler would scream1 and he worked on and on1 and the sun went down1 and ,kennedy stood and ,whistler painted1 and the monks began their chant1 and darkness was coming on4 ,the hissing stopped1 a paint-rag came out1 and1 with one fierce dash1 it was all rubbed off4 ',oh1 well1' was all he said4 ,kennedy was limbered up and we went to dinner4 ,after that1 almost every night we dined together through that lovely ,june1 either with him in the ,rue du ,bac1 or he came with ,kennedy or me to ,marguery's or ,la ,prouse--once to ,st4 ,germain--or somewhere that was delightful4 ,the summer was famous in ,paris for the ',sarah ,brown ,students' ,revolution1' the row that grew out of the ,quat'z ,arts ,ball4 ,whistler did not take the slightest interest in the demonstrations1 in fact1 did not believe they were taking place1 though ,i used to bring him reports of the doings which culminated on ,july #d1 my birthday1 when he was to have given me a dinner at ,marguery's4 ,i told him the streets of the ,quarter were barricaded and full of soldiers1 but though he ridiculed the whole affair1 he decided to dine at home and to put off by telegram the dinner he had ordered4 ,i went round to the ,boulevard ,st4 ,germain to send the wire and found it barred with soldiers and police1 and the entire boulevard1 as far as one could see1 littered with hats and caps1 sticks and umbrellas4 ,there had been a cavalry charge and this was the result4 ,we dined merrily1 but ,kennedy and ,i left early4 ,there was a great deal of rioting through the night1 but that was the end of it4 ,mrs4 ,whistler had not been well1 and they suddenly made up their minds to go to ,brittany1 or ,normandy1 or somewhere on the coast4 ,it was not altogether a successful journey4 ,nature had gone back on him1 he wrote me1 probably because of his exposure of her 'foolish sunsets'2 the weather was for tourists1 the sea for goldfish in a bowl--the studio was better than staring at a sea of tin4 ,and the terrible things they had eaten in ,brittany made them ill4 ,but the lithographs at ,vitr were made1 also the ,yellow ,house1 ,lannion1 and the ,red ,house1 ,paimpol--his first elaborate essays in colour4 ,only a few impressions of the ,yellow ,house were ever pulled owing to some accident to the stone4 ,one of these ,i wanted to buy4 ,whistler heard of it ',well1 you know1 very flattering1 but altogether absurd1' he told me1 and the print came with an inscription and the ,butterfly4 ,,chapter ,,xxxvii3 ,,paris ,,continued4 ,,the ,,years ,,eighteen ,,ninety-,,three ,,and ,,eighteen ,,ninety-,,four4 ,after this summer1 we both saw still more of ,whistler whenever we were in ,paris4 ,at the ,rue du ,bac we were struck by the few ,french artists at his ,sunday afternoons and the predominance of ,americans and ,english4 ,it seemed to us that ,french artists might have been more cordial and the ,french nation more sensible of the fact that a distinguished foreign artist had come to ,france4 ,during his life at least one or two ,americans1 one a rich amateur1 were made ,commanders of the ,legion of ,honour1 while he remained an ,officer4 ,others were made foreign ,members of the ,academy of ,fine ,arts1 but this1 the highest honour for artists in ,france1 was never offered to him1 nor was he elected to ,international ,juries4 ,with a few ,french and foreign artists his relations were friendly3 ,boldini1 ,helleu1 ,puvis de ,chavannes1 ,rodin1 ,alfred ,stevens1 ,aman-,jean2 but the greater number were content to express their appreciation at a distance4 ,mrs4 ,whistler spoke little ,french1 and few ,french artists speak any ,english4 ,the men whom ,whistler saw most were not painters4 ,vil-,griffin1 ,octave ,mirbeau1 ,arsne ,alexandre1 the ,comte de ,montesquiou1 ,rodenbach came to the ,rue du ,bac4 ,old friends1 ,drouet and ,duret1 were sometimes there1 though not often--his intimacy with them and ,oulevey was not really renewed until after ,mrs4 ,whistler's death4 ,but of all who came1 none endeared himself so much to ,whistler as ,stphane ,mallarm1 poet1 critic1 friend1 admirer4 ,once1 at ,whistler's suggestion1 he visited us in ,london1 and1 looking from our windows to the ,thames1 declared he could understand ,whistler better4 ,official people strayed in from the ,embassies1 mostly ,english4 ,american authors and ,american collectors appeared on ,sundays4 ,mr4 ,howells1 once or twice1 came with his son and his daughter1 of whom ,whistler made a lithograph4 ,journalists1 ,english and ,american1 wandered in4 ,and ,english and ,american artists came1 or tried to come1 in crowds4 ,the younger men of the ,glasgow ,school1 ,james ,guthrie and ,john ,lavery1 were welcomed4 ,then there were the ,americans living in ,paris3 ,walter ,gay1 ,alexander ,harrison1 ,frederick ,mac,monnies1 ,edmund ,h4 ,wuerpel1 ,john ,w4 ,alexander1 ,humphreys ,johnston1 while ,sargent and ,abbey rarely missed an opportunity of calling at the ,rue du ,bac4 ,whistler was hardly less cordial to students4 ,milcendeau has told us how he took his work--and his courage--with him and went to ,whistler1 but1 reaching the door1 stood trembling at the thought of meeting the ,master and showing his drawings4 ,as soon as ,whistler saw the drawings his manner was so charming--as if they were just two artists together--that fear was forgotten1 and ,whistler proved his interest by inviting ,milcendeau to send the drawings to the ,international4 ,whistler met ,american and ,english students not only at home1 but at the ,american ,art ,association in ,montparnasse1 then a bit of old ,paris--a little white house with green shutters1 which the street had long since left on a lower level1 and at the back a garden where1 under the great trees1 the cloth was laid in summer2 just the house to please ,whistler4 ,he sometimes went to the club's dinners and celebrations4 ,at one dinner on ,washington's ,birthday1 after professional professors and popular politicians had delivered themselves1 he was finally and rather patronisingly asked to speak by the ,president1 who was either an ambassador or a dry-goods storekeeper1 the usual patron of ,american art and supporter of ,american art institutions4 ,whistler said3 ,now1 as to teaching4 ,in ,england it is all a matter of taste1 but in ,france at least they tell you which end of the brush to stick in your mouth4 ,mr4 ,mac,monnies remembers another evening3 ,a millionaire friend of ,whistler's and mine spoke to me of giving a dinner to the ,american artists in ,paris1 or rather to ,whistler1 and inviting the ,paris ,american artists4 ,i dissuaded him1 by saying they all hated one another and would pass the evening more cheerfully by sticking forks into one another under the table if they could4 ,better to invite all the young fry--the ,american students4 ,he gladly went into it4 ,you can imagine the wild joy of the small fry1 who had1 of course1 never met ,whistler4 ,some got foolishly drunk1 others got bloated with freshness1 but they all had a rare time1 and ,whistler1 who sat at the head1 more than any1 and he was delightfully funny4 ,the millionaire was enchanted1 and also a distinguished ,american painter1 who sat opposite to ,whistler and who was much respected by the youth4 ,at one pause ,whistler said1 ',i went to the ,louvre this morning'--pause1 all the youths' faces wide open1 expecting pearls of wisdom and points--'and ,i was amazed'--pause2 everybody open-eared--'to see the amazing way they keep the floors waxed6' ,there is a story that one day at lunch-time he went into the courtyard of the ,ecole des ,beaux-,arts and walked slowly round1 only to be followed in a few minutes by a single line of students1 each carrying a mahlstick as he carried his cane1 and as many as had them wearing two sous pieces for eye-glasses4 ,he stopped and looked at the statues he wanted to see and they stopped and looked1 and they followed him1 until the circuit of the court was made1 when they bowed each other out1 and it was not till long after that they learned who he was4 ,american students1 if not so filled with their own sense of humour1 are said to have mobbed him on one occasion when he went to a crmerie1 upsetting tables and chairs to see him4 ,mr4 ,walter ,gay1 who was much with ,whistler during these years1 gives us his impressions3 ,i first knew ,whistler in the winter of '#id1 when he was established in ,paris1 with the recently married ,mrs4 ,whistler1 in his apartment of the ,rue du ,bac4 ,the marriage was a happy one2 she appreciated fully his talent1 he adored her1 and when she died a few years later was crushed at her loss4 ,in spite of the great influence exercised by ,whistler on contemporary art1 he was never lionised in ,paris as he had been in ,london2 ,paris is not a place for lions1 there are already too many local celebrities4 ,perhaps one of the reasons why the ,french artists held aloof from ,whistler was ,mrs4 ,whistler's very ,british attitude towards the nation4 ,once at a dinner of ,french artists given at our house in honour of ,whistler1 ,mrs4 ,whistler expressed the most ,gallophobe sentiments1 complaining loudly of the inhospitality of the ,french towards her husband4 ,although sixty years when ,i knew him1 he had the enthusiasm and energy of early years4 ,his handsome grey-blue eyes sparkled with the fire of youth--they were young eyes in an old face4 ,i think it strange that no one ever seems to emphasise his singular beauty4 ,not only were his features finely cut1 but the symmetry of his figure1 hands1 and feet1 retained until late in life1 was remarkable2 in youth he must have been a pocket ,apollo4 ,his conversational powers were extraordinary--he had a ,celtic richness of vocabulary4444 ,he was supersensitive to criticism4 ,those who were either indifferent or antipathetic to him1 his imagination instantly transformed into hidden enemies4 ,that weakness of the artistic temperament1 la folie de la perscution1 was deeply rooted in his nature4444 ,no one can realise1 who has not watched ,whistler paint1 the agony his work gave him4 ,i have seen him after a day's struggle with a picture1 when things did not go1 completely collapse as from an illness4 ,his drawing cost him infinite trouble4 ,i have known him work two weeks on a hand1 and then give it up discouraged4444 ,my last interview with ,whistler took place in the spring of #aijc1 in ,london1 about two months before his death4 ,hearing that he was far from well1 ,i went to see him1 and found that the rumour was only too well grounded4 ,i spent the afternoon with him2 he was singularly gentle and affectionate1 and clung to me pathetically as though he too realised that it was to be our last meeting in this world4 ,whatever his detractors may charge against him1 it seems to me that ,whistler's faults and weaknesses sprang from an unbalanced mentality2 he was a dsquilibr1 the common defect of great painters4 ,the unusual combination of artistic genius1 literary gifts1 and social attractions which made up ,whistler's personality was unique2 there was never anybody like him4 ,and there is another quality of his which must not be forgotten in the summing up of his character2 underneath all his vagaries and eccentricities one felt that indefinable yet unmistakable being--a gentleman4 ,mr4 ,alexander ,harrison shows a different side of ,whistler3 ,my meetings with him were frequent and friendly4 ,on one occasion1 in a moment of excitement1 ,i had the audacity to tell him that ,i felt he ought to have acted differently vis--vis a jury of reception4 ,his eyes flamed like a rattlesnake's and ,i apologised1 but insisted1 and then dodged a little4 ,i afterwards realised that my nave frankness had not lowered me in his esteem1 as to the last he was nice to me1 having understood that my admiration for his work was no greater than my affectionate regard for him4 ,i have never known a man of more sincere and genuine impulse in ordinary human relations4 ,now that ,whistler was established for life1 as he hoped1 in a fine studio1 he was making up for the first unsettled years after his marriage4 ,he began a number of large portraits in the ,rue ,notre-,dame-des-,champs4 ,in #ahic1 ,mr4 ,a4 ,j4 ,eddy1 known1 we believe1 to fame and ,chicago as the man ,whistler painted1 asked ,whistler to paint his portrait4 ,he could stay in ,paris only a few weeks1 and ,whistler liked his ,american frankness in saying that his portrait must be done by a certain date1 and1 though unaccustomed to be tied to time1 ,whistler agreed4 ,his description of ,mr4 ,eddy was1 ,well1 you know1 he is the only man who ever did get a picture out of me on time1 while ,i worked and he waited6 ,mr4 ,eddy writes of a sitter1 no doubt himself1 who was with ,whistler every day for nearly six weeks and never heard him utter an impatient word2 on the contrary1 he was all kindness4 ,and ,mr4 ,eddy describes ,whistler painting on in the twilight until it was impossible to distinguish between the living man and the figure on the canvas4 ,he recalls the memory of those glorious days spent in the studio1 of the pleasant hour at noon when painter and sitter breakfasted there together1 of the long sittings1 and the dinner after at the ,rue du ,bac1 or in one of the little restaurants where no ,parisian was more at home than ,whistler4 ,but steadily as the work went on1 the picture was not sent to ,chicago until the following year4 ,mr4 ,j4 ,j4 ,cowan1 whose portrait dates from this time1 tells us that for ,the ,grey ,man1 a small full-length1 he gave sixty sittings1 averaging each three to four hours4 ,he1 like ,whistler1 was not in a hurry1 but1 unlike ,whistler1 he eventually got tired1 and a model was called in and posed in ,mr4 ,cowan's clothes4 ,the last sittings were in ,london1 three years after4 ,even then ,whistler wrote ,mr4 ,cowan that the head needed just the one touch1 with the sitter there1 so that perfection might be assured4 ,another portrait was of ,dr4 ,davenport of ,paris4 ,the portraits of women were more numerous1 and they promised to be as fine as those done in the seventies and eighties4 ,the work was interrupted by the tragedy of ,whistler's last years1 and the more important were never completed4 ,for one1 ,miss ,charlotte ,williams1 of ,baltimore1 sat1 but the painting disappeared1 and only the rare lithograph of her remains4 ,another lost portrait was a large full-length of ,miss ,peck1 of ,chicago1 now ,mrs4 ,w4 ,r4 ,farquhar1 which we saw in many stages1 and at last1 as it seemed to us1 finished4 ,she was painted standing1 in evening dress1 with her long white1 green-lined cloak thrown back a little1 as he had painted ,lady ,meux4 ,it was full of the charm of youth1 and the colour was a harmony in silver and green4 ,miss ,kinsella1 a third ,american girl who posed in the ,rue ,notre-,dame-des-,champs1 and in ,fitzroy ,street1 secured her portrait after ,whistler's death4 ,we remember it in the ,fitzroy ,street studio1 when it was so perfect that one more day's work would ruin it4 ,in no other did he ever paint flesh with such perfection4 ,face and neck had the golden tone of ,titian1 with a subtlety of modelling beyond the ,venetian's powers1 for in his later years it was to surpass the ,venetians he was trying4 ,one day when ,e4 went to the studio he had just scraped down neck and bust1 for no reason except that he could not get the hand to come right with the rest4 ,it was to be lovelier than ever1 he said4 ,it was never repainted4 ,it remains but a shadow of its loveliness4 ,when ,m4 ,rodin saw it at the ,london ,memorial ,exhibition1 he praised neck and bust to ,j4 as a beautiful suggestion of lace1 so beautiful in tone and modelling it still is4 ,that posing for ,whistler was difficult we know from these ladies and many of his other sitters1 as well as from our experience4 ,over and over1 when he wanted to work on their portraits1 he would telegraph to the last address he happened to have1 though sometimes the telegrams did not reach them till weeks after in some distant part of the world4 ,the fact that his sitters were not always waiting for him not only upset him temporarily1 but sometimes stopped the subject altogether4 ,one incident in connection with the portrait of ,miss ,kinsella amused him4 ,she holds an iris in her hand4 ,a real flower was got1 but the flower would fade1 and irises were not easy to obtain4 ,so he went to ,liberty's to get some stuff of the purple-violet tone he wanted out of which to make a flower4 ,he explained what he needed to the shopman1 who solemnly informed him that ,messrs4 ,liberty only kept art colours4 ,portraits of ,mrs4 ,charles ,whibley were in progress about the same time3 ,l',andalouse1 ,mother of ,pearl and ,silver1 the unfinished ,tulip1 ,rose and ,gold1 and ,red and ,black1 ,the ,fan4 ,two others of this period are of ,mrs4 ,walter ,sickert1 ,green and ,violet1 the second for which she sat1 and ,lady ,eden1 ,brown and ,gold4 ,he was also painting his own portrait in the white jacket1 which was changed into a black coat after ,mrs4 ,whistler's death1 and a full-length in a long brown overcoat shown in #aijj and not since4 ,the large canvases had to be left when he shut up the studio1 but he could carry his little portfolio of lithographic paper and box of chalks everywhere1 and during those two or three years he developed the art of lithography as no one had before1 he and ,fantin-,latour being the two chief factors in the revival of lithography in the nineties4 ,he was determined1 he said1 to make a roaring success of it4 ,in the streets and at home he was constantly at work1 and the result is the series of lithographs of the shops and gardens and galleries of ,paris and many portraits4 ,his interest in technique was tireless4 ,he experimented on transfer-paper and on stone4 ,he hunted old paper as strenuous people hunt lions4 ,drawings and proofs were for ever in the post between ,paris and ,london1 where the ,ways were transferring and printing for him1 and friends were for ever bringing paper from ,london or carrying drawings tremblingly back from ,paris4 ,he was deep in experiments with colour1 and a few of the lithographs for ,songs on ,stone1 already announced by ,mr4 ,heinemann1 were at last ready4 ,they were proved in ,paris by ,belfont1 but his shop closed in #ahid1 printer and stones vanished1 and this was the end of the proposed publication4 ,since ,whistler's death mysterious prints in black-and-white from the key stones have turned up in ,germany1 but only a few prints in colour remain1 no two alike1 trials in colour4 ,he had looked for great things3 ,you know1 ,i mean them to wipe up the place before ,i get done1 he said1 and their loss was a severe disappointment4 ,other lithographs1 made then or later1 were published in the ,studio1 the ,art ,journal1 ,l',estampe ,originale1 ,l',imagier1 the ,pagenat1 and one in our ,lithography and ,lithographers4 ,he never wanted to keep his work1 no matter in what medium1 from the public4 ,with commissions and experiments keeping him busy in ,paris1 ,whistler was1 as he wrote to us in ,london1 working from morning to night1 and in a condition for it he wouldn't change for anything4 ,he was compelled to change it only too soon4 ,,chapter ,,xxxviii3 ,,trials ,,and ,,griefs4 ,,the ,,years ,,eighteen ,,ninety-,,four ,,to ,,eighteen ,,ninety-,,six4 ,in #ahid interruptions came1 some slight1 but one so serious that life and work were never the same again4 ,a tedious annoyance was caused by ,du ,maurier's ,trilby in ,harper's ,magazine4 ,du ,maurier represented the ,english students at ,carrel's 7,gleyre's7 as veritable ,crichtons1 while ,whistler1 under the name of ,joe ,sibley1 was ridiculed4 ,du ,maurier's drawings left no doubt as to the identity1 for in one ,whistler wears the chapeau bizarre over his curls4 ,another shows him running away from a studio fight1 and the text is more offensive4 ,joe ,sibley is 'the ,idle ,apprentice1' the ,king of ,bohemia1 le roi des truands1 to whom everything was forgiven1 as to ,franois ,villon1 cause de ses gentillesses4444 ,always in debt 444 vain1 witty1 and a most exquisite and original artist 444 with an unimpeachable moral tone4444 ,also eccentric in his attire 444 the most irresistible friend in the world as long as his friendship lasted1 but that was not for ever4444 ,his enmity would take the simple and straightforward form of trying to punch his ex-friend's head2 and when the ex-friend was too big he would get some new friend to help him4444 ,his bark was worse than his bite 444 he was better with his tongue than his fists4444 ,but when he met another joker he would just collapse like a pricked bladder4 ,he is now perched on such a topping pinnacle 7of fame and notoriety combined7 that people can stare at him from two hemispheres at once4 ,du ,maurier had posed as a friend for years1 and in the ,pall ,mall ,gazette ,whistler protested against the insult4 ,du ,maurier1 to an interviewer1 expressed surprise2 he thought the description of ,joe ,sibley would recall the good times in ,paris1 and he pretended to be amazed that ,whistler did not agree4 ,he claimed that he was one of ,whistler's victims1 and quoted ,sheridan ,ford's pirated edition of ,the ,gentle ,art3 ,it was rather droll4 ,listen3 ',mr4 ,du ,maurier and ,mr4 ,wilde happening to meet in the rooms where ,mr4 ,whistler was holding his first exhibition of ,venice etchings1 the latter brought the two face to face1 and1 taking each by the arm1 inquired1 ,i say1 which one of you two invented the other1 eh8' ,the obvious retort to that1 on my part1 would have been that1 if he did not take care1 ,i would invent him1 but he had slipped away before either of us could get a word out4444 ,i did what ,i did in a playful spirit of retaliation for this little jibe about me in his book4 ,the editor of ,harper's had not understood the offensive nature of the passages4 ,whistler called his attention to them1 and an apology was published in the magazine 7,january #ahie71 the number was suppressed1 and ,du ,maurier was compelled to omit them1 and to change ,joe ,sibley to ,bald ,anthony in the book4 ,whistler1 when the changes were submitted to him1 was satisfied4 ,but he said3 ,well1 you know1 what would have happened to the new ,thackeray if ,i hadn't been willing8 ,but ,i was gracious1 and ,i gave my approval to the sudden appearance in the story of an ,anthony1 tall and stout and slightly bald4 ,the dangerous resemblance was gone4 ,and ,i wired--well1 you know1 ha ha6--,i wired to them over in ,america compliments and complete approval of author's new and obscure friend1 ,bald ,anthony6 ,trilby was burlesqued at the ,gaiety1 and ,whistler was dragged in as ,the ,stranger4 ,his hat1 overcoat1 eye-glass1 curls1 and cane were copied1 but no one paid the slightest attention1 and ,the ,stranger vanished after the first night4 ,sometimes ,whistler found insult where none was intended1 as in the case of a ,bibliography compiled in #ahie for the ,library ,bulletin of the ,university of the ,state of ,new ,york--all the copies burnt1 we hear1 in the fire at the ,state ,capitol1 ,albany4 ,it was an appreciation1 but it contained inaccuracies and quoted as authorities critics he objected to1 and he was more vexed by it than there was need4 ,another annoyance was an anonymous article in ,mc,clure's ,magazine2 ,whistler1 ,painter and ,comedian 7,september #ahif74 ,he demanded an apology and the suppression of the article1 and both were granted4 ,and so it went on to the end2 he was continually coming upon references to himself1 disfigured by misunderstanding1 misrepresentation1 and malice4 ,illustration3 ,,portrait ,,of ,,miss ,,kinsella ,,the ,,iris1 ,,rose ,,and ,,green ,,oil ,in the possession of ,miss ,kinsella 7,see page #cbe7 ,illustration3 ,,whistler ,,at ,,his ,,printing ,,press ,,in ,,the ,,studio1 ,,rue ,,notre-,,dame-,,des-,,champs ,from a photograph by ,m4 ,dornac 7,see page #caa7 ,these worries occupied his time and tried his temper4 ,but he was overwhelmed late in #ahid by a trouble infinitely more tragic4 ,his wife was taken ill with the terrible disease1 cancer4 ,they came to ,london to consult the doctors in ,december4 ,first they stayed at ,long's ,hotel in ,bond ,street1 ,mrs4 ,whistler surrounded by her numerous sisters1 the two ,paris servants1 ,louise and ,constant1 in attendance2 then ,mrs4 ,whistler was under a doctor's care in ,holles ,street1 and ,whistler stopped with his brother in ,wimpole ,street4 ,those who loved him would like to forget his misery during the weeks and months that followed4 ,work was going on somehow2 not painting1 that waited in ,paris1 but lithography--several portraits of ,lady ,haden1 a drawing in ,wellington ,street1 and others4 ,but he told ,mr4 ,way afterwards that he wanted them all destroyed2 he should not have worked when his heart was not in it3 ,it was madness on my part4 ,he brought proofs to show us4 ,almost every afternoon he would take ,j4 to ,way's1 where the lithographs were being transferred to the stone and printed4 ,he would lunch or dine with us1 keeping up his brave front1 though we knew what was in his heart4 ,he had not been in his ,palatial ,residence two years before it was closed1 and the canvases were left untouched in the ,stupendous ,studio4 ,new honours and new successes came3 in #ahid the ,temple ,gold ,medal from the ,pennsylvania ,academy1 in #ahie a ,gold ,medal from ,antwerp1 and innumerable commissions4 ,it was just as fortune smiled that the blow fell4 ,the ,eden trial1 which struck many as an unnecessary and almost farcical episode in his life1 distracted him during these tragic months4 ,his work ceased for weeks at a time1 and he devoted himself to the case4 ,his journeys to ,paris were frequent and his correspondence enormous4 ,the case was fought out in the courts of ,france4 ,it arose out of the uncertainty as to the price which ,sir ,william ,eden should pay for his wife's portrait4 ,he was introduced to ,whistler by ,mr4 ,george ,moore1 to whom ,whistler had mentioned one hundred to one hundred and fifty pounds for a sketch in water-colour or pastel4 ,whistler became interested in his sitter and made a small full-length oil1 for which he would have asked a far larger sum4 ,his irritation can be understood when ,sir ,william ,eden attempted to make him accept as a valentine--for it was paid on ,february #ad--one hundred pounds in a sealed envelope4 ,whistler felt that the amount should have been left to him to decide4 ,he refused to give up the picture1 he cashed the cheque1 and he did not return the money until legal proceedings were taken by the ,baronet4 ,before the case came into court he wiped out the head4 ,even his friends thought that ,whistler made a grave mistake and prejudiced his case when he cashed the cheque1 instead of throwing it after the ,baronet1 who1 on his hasty retreat from the studio1 ,whistler said1 protested and threatened all the way down the six flights1 while he from the top urged the ,baronet not to expose his nationality by so unseemly a noise in a public place4 ,whistler went to ,paris for the trial before the ,civil ,tribunal on ,march #f1 #ahie4 ,his advocates were ,matre ,ratier1 by whose side he sat in court1 and ,matre ,beurdeley1 a collector of his etchings4 ,sir ,william ,eden failed to appear4 ,whistler was ordered to deliver the portrait as painted1 a penalty to be imposed in case of delay2 to refund twenty-five hundred francs1 his lowest price2 to pay in addition one thousand francs damages4 ,the judge stated that he was in honour bound not to deface the portrait after he had completed it1 and that an artist must carry out his contract4 ,to ,whistler the judgment was unjust2 he appealed in the ,cour de ,cassation1 and the matter dragged on until after ,mrs4 ,whistler's death4 ,in ,england ,an ,artist 7,j47 tried to raise a fund to pay the expenses of the trial1 in order to show in some practical form artists' appreciation for the genius of ,james ,mc,neill ,whistler4 ,his appeal was responded to by only one other artist1 ,mr4 ,frederick ,mac,monnies1 and was as unsuccessful as the subscription started after the ,ruskin trial in #ahgh4 ,mr4 ,george ,moore had been the go-between when the portrait was commissioned1 ,sir ,william ,eden's ally in the legal business1 and a conspicuous figure in the newspaper muddle4 ,after the trial ,whistler wrote ,moore a scathing letter4 ,moore's answer was to taunt ,whistler with old age4 ,this was published in the ,pall ,mall ,gazette and reprinted in ,french papers4 ,whistler was in ,france and he sent ,moore a challenge4 ,whistler's seconds were ,m4 ,octave ,mirbeau and ,m4 ,vil-,griffin4 ,their challenge remained unanswered1 but after several days ,moore relieved his feelings to a reporter4 ,london looked upon the challenge as ,whistler's crowning joke4 ,it was no joke to ,moore1 who was sufficiently conversant with ,french manners to know how his conduct would be received in ,paris4 ,whistler's seconds sent a procs verbal to the ,press1 stating that they had waited eight days for an answer1 and not having received one1 they considered their mission terminated4 ,thus before the world ,whistler kept up the game1 though in the ,rue du ,bac life was a tragedy4 ,mrs4 ,whistler had returned more ill than ever4 ,miss ,ethel ,philip was married from the house early in the summer to ,mr4 ,charles ,whibley1 and her sister1 ,miss ,rosalind ,birnie ,philip1 took her place4 ,after the trial ,whistler went back to work4 ,he sent ,the ,little ,white ,girl to the ,international ,exhibition at ,venice2 he exhibited the second portrait of ,mrs4 ,sickert at the ,glasgow ,institute2 he chose six lithographs for the ,centenary ,exhibition in ,paris4 ,a head of ,carmen1 his model1 was ready for the ,portrait ,painters in ,london4 ,when in the late summer he returned to ,england1 and1 with ,mrs4 ,whistler1 settled at the ,red ,lion ,hotel1 ,lyme ,regis1 he arranged a show of his lithographs in ,london4 ,the ,society of ,illustrators1 of which he was ,vice-,president1 was preparing an anthology1 ,the ,london ,garland1 edited by ,w4 ,e4 ,henley1 illustrated by members1 and published by ,messrs4 ,macmillan4 ,j4 asked him to contribute an illustration to a sonnet of ,henley's4 ,but he had to abandon this plan and allow a ,nocturne to be reproduced4 ,he made several lithographs at ,lyme ,regis3 glowing forges1 dark stables with horses an animal painter would envy1 the smith1 and the landlord4 ,absolute failures1 some1 he told us sadly2 others1 well1 you know1 not bad6 ,two of the pictures painted at ,lyme ,regis are masterpieces3 ,the ,little ,rose of ,lyme ,regis and ,the ,master ,smith4 ,in these he solved the problem of carrying on his work as he wished until it was finished4 ,there also he painted the only large landscape we know of3 the white houses of the town1 the hill-side with trees beyond4 ,while he was still in ,dorset a prize was awarded him at ,venice4 ,several prizes in money were given in different sections to artists of different nationalities4 ,whistler was awarded two thousand five hundred francs by the ,city of ,murano1 the seventh on the list4 ,he knew the enemies1 foresaw the prattle there would be of the seventh-hand compliment1 and forestalled it by explaining in the ,press how the prizes had been awarded1 his being equal to the first4 ,the exhibition of his lithographs was held at the ,fine ,art ,society's in ,december #ahie4 ,seventy were shown1 mostly of the work of the last few years1 and ,j4 wrote an introduction to the catalogue1 the only time he asked anybody to introduce him4 ,there were no decorations in the gallery1 nor was the catalogue in brown paper1 save twenty-five copies1 but the prints were in his frames4 ,english artists became interested in lithography because they were asked to contribute to the ,centenary ,exhibition in ,paris1 and1 at the call of ,leighton1 they tried their hands at it1 more or less unsuccessfully4 ,the contrast was great between their work shown at ,mr4 ,dunthorne's gallery and ,whistler's1 whose prints alone are destined to live4 ,whistler derived little pleasure from his triumph4 ,the winter was spent moving from place to place4 ,his plans were made to go to ,new ,york to consult an ,american specialist1 forgetting as well as he could the vast far-offness of ,america4 ,but he stayed in ,london1 first at ,garlant's ,hotel1 then in apartments in ,half-,moon ,street1 later at the ,de ,vere ,gardens ,hotel1 and then at the ,savoy4 ,work of one sort or another marked these moves3 the lithograph of ,kensington ,gardens from the ,de ,vere ,hotel2 at the ,savoy most pathetic drawings of his wife1 ,the ,siesta and ,by the ,balcony1 and the ,thames from the hotel windows4 ,he had during the first months no studio in ,london4 ,he worked for a while in ,mr4 ,walter ,sickert's2 ,mr4 ,sargent lent his early in #ahif1 when there was talk of a lithograph of ,cecil ,rhodes and a portrait of ,mr4 ,a4 ,j4 ,pollitt1 of whom he made a lithograph1 though the painting1 begun later in ,fitzroy ,street1 was destroyed4 ,he interested himself in the experiments of others4 ,in the winter of #ahie ,j4 was asked by the ,daily ,chronicle to edit the illustration of a series of articles on ,london in support of the ,progressive ,county ,council4 ,it was an event of importance to illustrators1 process-men1 and printers3 the first effort in ,england for the artistic illustration of a daily paper4 ,the ,daily ,graphic was illustrated1 but its draughtsmen were trained to adapt their drawings to the printer4 ,the scheme now was to oblige the printer to adapt himself to the illustrator4 ,every illustrator of note in ,london contributed4 ,burne-,jones' frontispiece to ,william ,morris' ,news from ,nowhere was enlarged and printed successfully4 ,j4 asked ,whistler to let him try the experiment of enlarging one of the ,thames etchings4 ,whistler was interested4 ,black ,lion ,wharf was selected and printed in the ,daily ,chronicle1 ,february #bb1 #ahie1 the very day of the month1 ,washington's ,birthday1 when1 ten years later1 the ,london ,memorial ,exhibition opened4 ,with its publication the success of the series was complete1 not politically1 for the twenty-four drawings were said to have lost the ,progressives twenty-five seats4 ,the etching stood the enlarging superbly4 ,j4 made the proprietors pay for the print1 the first time ,whistler was paid for the use of one of his works not made as an illustration4 ,whistler came to us almost daily4 ,late one afternoon he brought his transfer-paper1 and made a lithograph of ,j4 as he sprawled comfortably1 and uncomfortably had to keep the pose1 in an easy-chair before the fire4 ,whistler made four portraits in succession of ,j4 and one of ,e41 each in an afternoon4 ,he drew on as the light faded1 and the portrait of ,e4 was done while the firelight flickered on her face and on his paper4 ,then he told us he had taken a studio in ,fitzroy ,street to paint a large full-length of ,j4 in a ,russian cloak--,the ,russian ,schube--which he thought the ,pennsylvania ,academy of ,fine ,arts might like to have4 ,but ,j4 was called away1 ,mrs4 ,whistler grew rapidly worse1 the scheme was dropped never to be taken up again4 ,on other afternoons he and ,j4 would go to ,way's1 where the ,savoy drawings were put on the stone4 ,the lithotint of ,the ,thames was done on a stone sent to the hotel4 ,drawings made in ,paris1 ,lyme ,regis1 ,london were transferred and gone all over with chalk1 stump1 scraper4 ,he worked in a little room adjoining ,mr4 ,way's office1 the walls of which were covered with pastels and water-colours by him and ,c4 ,e4 ,holloway4 ,there he drew the portraits of ,mr4 ,thomas ,way in the firelight1 never stopping until dark1 when ,mr4 ,way would bring out some rare old liqueur1 and there was a rest before he hurried back to the ,savoy4 ,his nights were spent sitting up by his wife4 ,he slept a little in the morning and usually came to us in the afternoon1 at times so exhausted that we feared more for him than for her4 ,the studio at ,no4 #h ,fitzroy ,street was a huge place at the back of the house1 one flight up1 reached by a ramshackle glass-roofed passage4 ,the portrait of ,mr4 ,pollitt was started and one of ,mr4 ,robert ,barr's daughter1 which has disappeared4 ,mr4 ,cowan sat again1 and another was begun of ,mr4 ,s4 ,r4 ,crockett1 who describes the sittings3 ,i don't think he liked me at first4 ,someone had told him ,i was a ,philistine of ,askelon4444 ,he told me lots about his early times in ,london and ,paris1 but all in fragments1 just as the thing occurred to him4 ,like an idiot1 ,i took no notes4 ,lots1 too1 about ,carlyle and his sittings1 as likely to interest a ,scot4 ,he had got on unexpectedly well with ,true ,thomas1 chiefly by letting him do the talking1 and never opening his mouth1 except when ,carlyle wanted him to talk4 ,carlyle asked him about ,paris1 and was unexpectedly interested in the cafs1 and so forth4 ,whistler told him the names of some--,riche1 ,anglais1 ,vfour1 and ,foyot and ,lavenue on the south side4 ,carlyle seemed to be mentally taking notes4 ,then he suddenly raised his head and demanded1 ',can a man get a chop there8' ,concerning my own sittings1 he was very particular that ,i should always be in good form--'trampling' as he said--otherwise he would tell me to go away and play4444 ,mr4 ,fisher ,unwin had arranged for a lithograph1 but ,whistler said he would make a picture like a postage stamp1 and next year all the exhibitions would be busy as anthills with similar 'postage stamp' portraits4 ',some folk think life-size means six foot by three2 ,i'll show them6' he said more than once4 ,i wanted to shell out as he went on1 and once1 being flush 7new book or something71 ,i said ,i had fifty pounds which was annoying me1 and ,i wished he would take it4 ,he was very sweet about it1 and said he understood4 ,money burnt a hole in his pocket1 too1 but he could not take any money1 as he might never finish the work4 ,any day his brush might drop1 and he could not do another stroke4 ,it was a bad omen6 ,his wife grew worse4 ,he sent me word not to come4 ,she died1 and ,i never saw him after4 ,i wish you could tell me what became of that picture4 ,he called it ,the ,grey ,man4 ,this is another example of ,whistler's repetition of titles4 ,mr4 ,cowan's portrait1 painted the same year1 was ,the ,grey ,man too4 ,of ,mr4 ,crockett's1 ,whistler said to us that ,crockett was delighted with it as far as it had gone1 and he was rather pleased with it himself4 ,he painted several of these small full-lengths1 which were to show the fallacy of the life-size theory and of the belief that the importance of a portrait depends on the size of the canvas4 ,kennedy1 after the portrait destroyed in ,paris1 stood for a second1 now in the ,metropolitan ,museum2 ,mr4 ,arnold ,hannay for another2 ,c4 ,e4 ,holloway for ,the ,philosopher1 which ,whistler considered particularly successful4 ,in the spring ,whistler moved his wife from the ,savoy to ,st4 ,jude's ,cottage1 ,hampstead ,heath1 rented from ,canon and ,mrs4 ,barnett4 ,after this he began to give up hope4 ,it was a sad day when for the first time he admitted1 ,we are very1 very bad4 ,and we understood that the end was near the afternoon when he1 the most fastidious1 appeared wearing one black and one brown shoe1 and explaining that he had a corn4 ,but1 indeed1 many times it seemed as if in his despair he did not know what he was doing4 ,the last day ,mr4 ,sydney ,pawling met him walking1 running across the ,heath1 looking at nothing1 seeing no one4 ,mr4 ,pawling1 alarmed1 stopped him4 ,don't speak6 ,don't speak6 ,it is terrible6 he said1 and was gone4 ,that was the end4 ,mrs ,whistler died on ,may #aj and was buried at ,chiswick on the #adth4 ,we have heard that the funeral was arranged for the #acth1 but ,whistler1 objecting to the date1 postponed it a day1 and ,mrs4 ,whistler was buried on her birthday4 ,he never would do anything on the #acth if he could help it4 ,we were abroad1 but the first ,sunday after ,e4's return he came and asked her to go with him to the ,national ,gallery4 ,there he showed her the pictures ,trixie loved1 standing long before ,tintoretto's ,milky ,way1 her favourite4 ,there was no talk about pictures--,canaletto was barely looked at--there was no talk about anything1 and the tragedy that could not be forgotten was never referred to4 ,but ,m4 ,paul ,renouard was in the ,gallery and came to ,whistler with the word of comfort1 from which he shrank4 ,during the first few months after ,mrs4 ,whistler's death1 in the shock of his sorrow and loss1 ,whistler made her sister1 ,miss ,rosalind ,birnie ,philip1 his ward1 and drew up a new will appointing her his heiress and executrix2 eventually cancelling his former bequests1 and leaving everything to her absolutely4 ,,chapter ,,xxxix3 ,,alone4 ,,the ,,year ,,eighteen ,,ninety-,,six4 ,whistler stayed a short time at ,hampstead with his sisters-in-law1 and then went to ,mr4 ,heinemann at ,whitehall ,court1 where he remained1 on and off1 for two or three years1 spending only the periods of ,mr4 ,heinemann's absence at ,garlant's ,hotel or in ,paris4 ,he was with us day after day4 ,little notes came from the studio to ask if we would be in and alone in the evening1 and1 if so1 he would dine with us4 ,at first he would not join us if we expected anyone4 ,he liked to sit and talk1 he said1 but he could not meet other people4 ,he saw few outside the studio1 except ,mr4 ,heinemann1 ,mr4 ,kennedy1 and ourselves4 ,we went to the studio1 and often he and ,j4 sketched together in the streets4 ,for these sketching expeditions ,whistler prepared beforehand the colours he wanted to use1 and if the day turned out too grey or too radiant for his scheme nothing was done4 ,the chosen colours were mixed1 and little tubes1 filled with them1 were carried in his small paint-box1 which held also the tiny palette with the pure colours arranged on it1 his brushes1 and two or three small panels4 ,many studies were made4 ,the most important was of ,st4 ,john's1 ,westminster4 ,he loved the quiet corner1 now destroyed1 and he went there many times4 ,he worked away1 his top hat jammed down on his nose1 sitting on a three-legged stool1 his paint-box on his knee1 the panel in it1 beginning at once in colour on the panel1 usually finishing the sketch in one afternoon1 though he took two over the church4 ,the painting was simply done1 commencing with the point of interest1 the masses put in bigly1 the details worked into them4 ,just as in the studio1 five minutes after he had begun he became so absorbed in his work that he forgot everything else until it grew too dark to see4 ,when ladies would come and recognise him1 he stopped1 got up1 and spoke to them1 always charmingly4 ,illustration3 ,,illustration ,,to ,,little ,,johannes ,,portrait ,,drawings ,,on ,,wood ,in the ,pennell ,collection1 ,library of ,congress1 ,washington 7,see page #bgj7 ,illustration3 ,,water-,,colour ,,landscape ,loaned by ,mrs4 ,mortimer ,menpes ,he made little journeys during the summer1 one to ,rochester and ,canterbury1 with ,mrs4 ,whibley and ,miss ,birnie ,philip4 ,but1 disgusted with the inns and the food1 he came back after a day or so4 ,another was with ,mr4 ,kennedy1 who writes us3 ,it was agreed that ,whistler and myself should go to ,france4 ,neither of us had any idea where we were going except to ,havre4 ,we arrived in the early morning1 and after he got shaved and had coffee1 we took the boat to ,honfleur1 which1 as you know1 has a tidal service4 ',do you know where we are going8' ,i said to him4 ',no1 ,i don't1' said he4 ',well1' said ,i1 'there is a white-whiskered1 respectable-looking old gentleman2 perhaps he knows the lay of the ground4 ,tip him a stave4' ,so ,whistler asked him about the hotels in ,honfleur4 ,there were two--the ,cheval ,blanc on the quay1 and the ,ferme de ,st4 ,simon on the outskirts4 ,the ,cheval was so dirty that ,i got the only cab1 and1 piling the luggage on it ourselves1 drove off to the farm4 ,fortunately1 there were two vacant rooms1 and we stayed there a week4 ,the cooking was excellent1 and1 of course1 ,madame knew who ,monsieur ,vistlaire was4 ,whistler used to kick up a row every night with me about the 'ridiculous ,british' to divert his mind1 ,i imagine1 and sometimes my retorts were so sharp that ,i said to myself1 ',all is over between us now4' ,but he used to bob up serenely in the morning1 as if nothing had happened1 and after djeuner he would take his small box of colours and paint in the large church4 ,i used to stroll about the town and look in occasionally to see that he came to no harm4 ,it was here that he said he was going over to ,rome some day1 and when ,i said1 ',don't forget to let me know1 so that ,i may be on hand to see you wandering up the aisle in sackcloth and ashes1 with a candle in each hand1 or scrubbing the floor6' he said1 in a tone of horrified astonishment1 ',good ,god6 ,o',k41#aa is it possible8 ,why1 ,i thought they would make me a hell of a swell of an abbot1 or something like that4' ,it was amusing to see him manoeuvre to get near the big kitchen fire1 overcoat on4 ,he was a true ,american in his liking for heat1 and the way he would sidle into the kitchen1 which opened on out-of-doors1 all the time mildly flattering ,madame1 was very characteristic4 ,we went to ,trouville one day on the diligence1 and had a capital djeuner at the ,caf de ,paris1 before which ,whistler said1 ',we must do this en ,prince1 ,o',k46' ',all right1 your ,highness1 ,i'm with you6' ,afterwards1 on the beach1 he went to sleep on a chair1 leaning back against a bath-house1 his straw hat tipped on his nose4 ,it was funny1 but sleep after luncheon was a necessity to him4 ,coming back to ,london1 in the harbour of ,southampton1 after listening to the usual unwearying talk against the ,british1 ,i said1 ',oh1 be reasonable6' ',why should ,i8' said he4 ,the ,ferme de ,st4 ,simon has been called the ,cradle of ,impressionism4 ,it was here that ,boudin lived and most of the ,impressionists came1 and round about they found their subjects4 ,later on ,whistler spent a few days at ,calais in the ,meurice1 ,sterne's ,hotel1 where he was miserable4 ,then he tried to find ,j4 at ,whitby1 where they missed each other1 and where he said the glitter of the windows made the town look like the ,crystal ,palace4 ,whistler recovered slowly1 and journeys helped him less than work in the studio1 where1 by degrees1 he returned to the schemes so sadly interrupted4 ,we remember his coming to us with ,mr4 ,kennedy one ,sunday afternoon1 bringing up our three flights of stairs ,the ,master ,smith to show it to us once again before it went to ,america4 ,mr4 ,kennedy had captured it1 fearful of a touch being added4 ,it was placed on one chair1 ,whistler1 on another facing it1 wretched at the thought of parting with it4 ,it was always a wrench to let a picture go4 ,after a while he did not mind meeting a few people4 ,a man he liked to see was ,timothy ,cole4 ,there was a great scheme that he should make a series of drawings on wood and ,cole engrave them4 ,cole brought the blocks prepared for him to draw on4 ,but that is the last we or ,cole heard about it1 though we saw the blocks frequently at ,fitzroy ,street4 ,mr4 ,cole says3 ,i did not speak to him more than once after ,i had given him the wood blocks4 ,i did not think it prudent to press him about the matter1 fearing he might get disgusted and give it up4444 ,the blocks were the size of the ,century page4 ,cole gave ,whistler some of his prints1 and they pleased ,whistler very much1 though he rarely cared to own the pictures and prints of other artists4 ,once when an etcher gave him a not very wonderful proof1 he tore it up1 saying1 ,i do not collect etchings1 ,i make them6 ,i do not collect the works of my contemporaries6 ,with the exception of his portrait by ,boxall we never saw a scrap of anyone else's work about his studio or his house1 save the forgery someone sent him which he kept and hung for a while4 ,another side to ,mr4 ,cole was his endless practical jokes4 ,he used to do extraordinary things1 to ,whistler's amusement4 ,on one point only they were not in sympathy3 ,mr4 ,cole's theories of diet4 ,one evening at dinner ,cole told us that he and his family were living chiefly on rhubarb tops1 they have such a foody taste1 his son thought4 ,dear me1 poor fellow1 said ,whistler1 it sounds as if once1 long long ago1 he had really eaten1 and still has a dim memory of what food is6 ,and spinach1 ,cole added1 it's fine4 ,we eat it raw1 it's wonderful the things it does for you6 ,but what does it do for you8 ,whistler asked1 and ,cole began a dissertation on the juices of the stomach4 ,well1 you know1 ,whistler told him1 when you begin to talk about the stomach and its juices1 it's time to stop dining4 ,after that1 ,cole managed to dismiss his theories and dine like other people when with us4 ,professor ,john ,van ,dyke was in ,london that fall1 and ,whistler was willing to come to meet him4 ,a long darn in a tablecloth afterwards bore witness to the animation of one of those dinners--,whistler's knife brought down sharply on the table to emphasise his argument4 ,the subject was ,las ,menias1 which he had never seen1 which everyone else had seen4 ,velasquez painted the picture just as you see it1 he maintained2 no one agreed4 ,perspectives and plans were drawn on the unfortunate cloth1 chairs were pushed back1 the situation grew critical4 ,whistler was forced to yield slowly1 when1 of a sudden1 his eyes fell on ,van ,dyke's feet in long1 pointed shoes1 then the ,american fashion1 their points carried to a degree of fineness no ,english bootmaker could rival4 ,my ,god1 ,van ,dyke1 where did you get your shoes8 ,whistler asked4 ,we could not go on fighting after that2 defeat was avoided4 ,though ,whistler had never been to ,madrid1 it seemed as if he had seen the pictures1 so familiar was he with them1 and though he was at times not right about them1 his interest was endless4 ,we remember ,bob ,stevenson telling him1 to his great delight1 how1 one summer day with ,j4 in the ,long ,gallery of the ,prado where ,las ,menias then hung1 an old peasant dressed in faded blue-green came and sat down on the green bench in front1 and straightway he became part of the picture1 so true was its atmosphere4 ,there are legends of ,whistler's descent into a ,casa des ,huespedes in ,madrid with ,sargent and ,j41 but ,j4 never was there and ,sargent denies it4 ,it is another legend4 ,whistler could get more from a glance at a photograph than most painters from six months' copying4 ,another evening ,claude was the subject--,claude compared to ,turner4 ,whistler could never see the master ,englishman adored in ,turner2 not because of ,ruskin1 for ,mr4 ,walter ,greaves told us that years before the ,ruskin trial ,whistler reviled ,turner4 ,mr4 ,cole in #ahif was engraving ,turners in the ,national ,gallery1 and ,whistler insisted on their inferiority to the ,claudes1 so amazingly demonstrated in ,trafalgar ,square1 where ,turner invited the comparison disastrous to him4 ,the argument grew heated1 and ,whistler adjourned it until the next morning1 when he arranged to meet ,cole and ,j4 in the ,gallery4 ,whistler compared the work of the two artists hanging side by side1 as ,turner wished3 ,well1 you know1 you have only to look4 ,claude is the artist who knows there is no painting the sun itself1 and so he chooses the moment after the sun has set1 or has hid behind a cloud1 and its light fills the sky1 and that light he suggests as no other painter ever could4 ,but ,turner must paint nothing less than the sun1 and he sticks on a blob of paint--let us be thankful that it isn't a red wafer1 as in some of his other pictures--and there isn't any illusion whatever1 and the ,englishman lifts up his head in ecstatic conceit with the ,english painter1 who alone has dared to do what no artist would ever be fool enough to attempt6 ,and look at the architecture4 ,claude could draw a classical building as it is2 ,turner must invent1 imagine architecture as no architect could design it1 and no builder could put it up1 and as it never would stand up--the old amateur6 ,they went on to the ,canalettos and ,guardis ,whistler could not weary of--to ,canaletto's big red church and the tiny ,rotunda at ,vauxhall with the little figures1 from which ,hogarth learned so much4 ,whistler always acknowledged ,guardi's influence1 though it had not led him in ,venice to paint pictures like ,guardi or ,canaletto either4 ,and he never tired of pointing out that great artists like ,guardi and ,canaletto and ,velasquez1 who were born and worked in the ,south1 did not try to paint sunlight1 but kept their work grey and low in tone4 ,that day at the ,national ,gallery1 before he could finish explaining the similarity between his work and ,guardi's1 the talk came to an end1 for half the copyists in the room had left their easels4 ,he stopped4 ,he could not talk to an audience which he was not sure was sympathetic4 ,sure of sympathy1 he would talk for ever in praise of the luminosity of ,claude1 the certainty of ,canaletto1 the wonderful tone of ,guardi1 the character and colour of ,hogarth4 ,another ,italian about whom he was enthusiastic was ,michael ,angelo ,caravaggio1 admiring his things in the ,louvre4 ,whistler maintained that the exact knowledge1 the science1 of the ,old ,masters was the reason of their greatness4 ,the modern painter has a few tricks1 a few fads2 these give out1 and nothing is left4 ,knowledge is inexhaustible4 ,tintoretto did not find his way until he was forty4 ,titian was painting in as masterly a manner in his last year as in his youth4 ,and speaking of the cleverness--a term he hated--of the modern man1 he said3 ,illustration3 ,,the ,,master ,,smith ,,of ,,lyme ,,regis ,,oil ,in the ,boston ,museum of ,fine ,arts 7,see page #cca7 ,illustration3 ,,the ,,smith ,,passage ,,du ,,dragon ,,lithograph4 ,w4 #gc 7,see page #cbf7 ,think of the finish1 the delicacy1 the elegance1 the repose of a little ,terborgh1 ,vermeer1 ,metsu4 ,these were masters who could paint interiors1 chandeliers1 and all the rest2 and what a difference between them and the clever little interiors now6 ,in the autumn ,whistler established ,miss ,birnie ,philip and her mother in the ,rue du ,bac and returned to ,mr4 ,heinemann's flat at ,whitehall ,court1 making it so much his home that before long he was laughingly alluding to my guest ,heinemann4 ,it is not likely that the two would ever have parted had not ,mr4 ,heinemann married and even then ,whistler stayed with him as long as his health remained good1 dependent on the friendship formed late in life with a man many years younger4 ,when ,mr4 ,heinemann was away he complained that ,london was duller and blacker than ever4 ,whistler shrank from condolence in his great grief or from a revival of the memories of those terrible weeks4 ,his host was careful or we would invite ,whistler to us if anybody was expected at ,whitehall ,court4 ,after three or four years ,mr4 ,heinemann's married life ended abruptly1 and ,whistler at once suggested that they should go back to the old way4 ,mr4 ,heinemann took another flat in ,whitehall ,court with this idea4 ,but before the plan could be realised ,whistler died4 ,in the autumn of #ahif ,mr4 ,henry ,savage ,landor1 back from ,japan and ,korea1 also stayed with ,mr4 ,heinemann2 a rare fellow1 full of real affection1 ,whistler said of him4 ,they sat up for hours together night after night4 ,whistler slept badly1 and ,mr4 ,landor can do with less sleep than most people4 ,there was a skull in the drawing-room that ,mr4 ,landor tells us ,whistler sketched over and over again1 while they talked till morning4 ,when they drew the curtains it was day2 then ,whistler dressed1 breakfasted1 and went to the studio4 ,he brought us stories of ,mr4 ,landor2 the way in which he would start for the ends of the earth as if to stroll in ,piccadilly1 leaving the costume of travel to the ,briton crossing the ,channel2 or1 in light shoes1 outwalk the stoutest-shod gillie over ,scotch moors4 ,then ,whistler brought us ,mr4 ,landor1 with whom our friendship dates from the morning when1 at ,whistler's request1 he sat ,japanese fashion on the floor in front of our fire1 a rug wrapped round him for kimono1 and devoured imaginary rice with pencils for chopsticks4 ,when ,mr4 ,landor had his horrible experiences in ,thibet and the story of his tortures was telegraphed to ,europe1 ,whistler was the first to send him a cable rejoicing at his escape4 ,whistler also took a fancy while in ,whitehall ,court to ,mr4 ,heinemann's brother ,edmund who was1 ,whistler said1 something in the ,city1 who saw to one or two investments for him1 and whom he christened the ,napoleon of ,finance and described as sitting in a tangled web of telegraphs and telephones4 ,he never had invested money before1 and it was with pride that he deposited at the bank his scrip and collected his dividends4 ,to end a discussion about the ,city ,mr4 ,edmund ,heinemann once said to him1 ,you ain't on the ,stock ,exchange6 ,well1 said ,whistler1 you just thank your stars1 ,eddy1 ,i ain't1 because if ,i was there wouldn't be much room for you6 ,what6 ,evening after evening he would linger in the studio until he could see no longer2 keeping dinner waiting at ,whitehall ,court1 so that no time could ever be fixed4 ,arriving1 he would mix cocktails1 an art in which he excelled and must have learned in the days when he stayed away from the ,coast ,survey4 ,if it did not suit him to dine at ,whitehall ,court he would write or wire to say he could dine with us if we liked2 or that he had amazing things to tell us2 should he come8 or that he was sure we were both wanting to see him2 or ,heinemann's servant1 ,payne1 would announce his coming2 or he would drive straight from the studio1 reaching us sometimes before the notes he had sent1 or with the wires unsent in his pocket2 almost the only time we have known him willingly not to dress for dinner4 ,on rare occasions he came in after we had dined1 demanded the fortune du pot of our small establishment1 and was content no matter how meagre that fortune might prove1 though if it included a piece of ,american cake1 or anything sweet1 he was better pleased4 ,he grumbled only over our ,sunday supper1 which was cold in ,english fashion1 out of deference to ,bowen1 our old ,english servant4 ,then he would bring ,constant1 his valet1 model1 and cook1 to make an onion soup or an omelette4 ,constant was succeeded by a little ,belgian called ,marie1 who was supposed to look after the studio1 and who1 when he stayed at ,garlant's and we dined with him there1 would be summoned to dress the salad and make the coffee4 ,it was not long after this that1 by the doctor's advice1 he gave up coffee and stopped smoking too4 ,few men ever ate less than ,whistler1 but few were more fastidious about what they did eat4 ,he made the best of our ,english cooking while it lasted1 but he was glad when ,bowen was replaced by ,louise and then ,augustine1 who were ,french and who could make the soups1 salads1 and dishes he liked1 and who did not hesitate to scold him when he was late and ruined the dinner4 ,these meetings must have been pleasant to ,whistler as to us2 there were weeks when he came every evening4 ,on his arrival he might be silent1 but after his nap he would begin talking1 and his talk was as good on the last evening with us as on the first4 ,we shall always regret that we made no notes of what he said1 though the charm of his talk would have eluded a shorthand reporter4 ,much can never be forgotten4 ,in surroundings of antagonism he wrapped this talk as well as himself in a species of misunderstanding and deliberately mystified1 bewildered1 and aggravated the company4 ,but when disguise was not necessary1 and he talked at his ease1 he impressed everyone with his sanity of judgment1 breadth of interest1 and keenness of intellect4 ,his reading was extensive1 though we never ceased to wonder when he found time for it1 save during sleepless nights4 ,his talk abounded in quotations1 especially from the ,bible1 that splendid mine of invective1 he described it4 ,his diversity of knowledge was as unexpected as his extensive reading1 and we felt that he knew things intuitively1 just as by some uncanny faculty he heard everything said about him4 ,when he chose he held the floor and was then at his best4 ,i am not arguing with you1 ,i am telling you1 he would say1 and he would lose his temper1 which was violent as ever1 but he was friendlier than before when it was over4 ,he liked to hear the last gossip1 and reproached us if we had none for him4 ,more than once he told ,e4 her discretion amounted positively to indiscretion2 he was sure she had a cupboard full of skeletons1 and some day1 when she was pulling the strings of one carefully to put it back in place1 the whole lot would come rattling down about her ears4 ,and so1 the shadow of sorrow in the background1 the evenings went by that winter in the little dining-room which had been ,etty's studio where the huge ,edinburgh pictures were painted4 ,the ,eden affair was still dragging on1 and ,whistler was disgusted to find ,english artists as afraid to support him as at the ,ruskin trial4 ,one day in ,bond ,street he met a ,follower1 just returned to town1 arm-on-arm with the ,baronet4 ,the ,follower at once left a card at ,fitzroy ,street4 ,whistler wrote ,judas ,iscariot on it and sent it back to him4 ,a few weeks later the ,new ,english ,art ,club hung ,sir ,william ,eden's work1 and with it1 he said1 their shame1 upon their walls4 ,he complimented them1 much to their discomfort1 on their appetite for toad4 ,to clear the air1 which had become sultry in the art clubs and studios1 we invited ,professor ,fred ,brown and ,dr4 ,d4 ,s4 ,mac,coll to meet him one evening at dinner1 and discuss things4 ,professor ,brown had another engagement4 ,dr4 ,mac,coll came1 and ,whistler1 who did not mind how hard a man fought if he fought at all1 continued on terms with him4 ,but the ,new ,english ,art ,club he never forgave4 ,a show of ,j4's lithographs of ,granada and the ,alhambra was arranged at the ,fine ,art ,society's during ,december #ahif1 and for the catalogue ,whistler wrote an introductory note1 and another for a show of ,phil ,may's drawings in the same gallery4 ,he designed the cover for ,mr4 ,charles ,whibley's ,book of ,scoundrels1 and also two covers for novels by ,miss ,elizabeth ,robins1 ,below the ,salt1 for which he drew a silver ship1 and ,the ,open ,question1 for which he devised shields2 all three books published by ,mr4 ,heinemann4 ,the design for the ,book of ,scoundrels was a gallows1 drawn in thin lines1 with rope and noose attached4 ,henley1 to whom it was shown1 asked whether the gallows should not have been drawn with a support4 ,whistler's comment was3 ,well1 you know1 that's the usual sort of gallows1 but this one will do4 ,it will hang all of us4 ,just like ,henley's selfishness to want a strong one6 an allusion to ,henley's size4 ,illustration3 ,,portrait ,,of ,,mrs4 ,a4 ,j4 ,,cassatt 7,see page #beg7 ,illustration3 ,,the ,,beach ,,water-,,colour ,in the possession of ,mrs4 ,knowles 7,see page #bgd7 ,illustration3 ,,shop ,,window ,,at ,,dieppe ,,water-,,colour 7,see page #ceb7 ,during the winter ,whistler met ,sir ,seymour ,haden for the last time at a dinner given by the ,society of ,illustrators 7of which both were ,vice-,presidents7 to ,mr4 ,alfred ,parsons1 on his election to the ,royal ,academy4 ,it was ,whistler's first appearance in public since his wife's death1 and as we had persuaded him to go1 never anticipating any such meeting1 we were annoyed to think that we had exposed him to the unpleasantness of it1 or ,haden either1 for we had had no part in their quarrels4 ,however1 as soon as ,whistler saw ,haden he woke up and began to enjoy himself4 ,his laugh carried far4 ,haden heard it1 and may have seen the three monocles on the dinner-table4 ,he looked toward the laugh1 dropped his spoon in his soup-plate1 and left4 ,later ,whistler was called upon to make a speech and could not get out of it4 ,but it was an anti-climax4 ,the event of the dinner was over4 ,at ,christmas he went with ,mr4 and ,mrs4 ,t4 ,fisher ,unwin and ourselves to ,bournemouth1 where our hotel was an old-fashioned inn1 selected from the guide-book because it was the nearest to the sea4 ,we breakfasted in our rooms1 we met at lunch to order dinner1 and the rest of the day ,whistler insisted must be spent getting an appetite for it--wandering on the cliffs1 he with his little paint-box4 ,but the sea was on the wrong side1 the wind blew the wrong way1 he could do nothing4 ,some days we took long drives4 ,one damp1 cold1 cheerless afternoon we stopped at a small inn in ,poole4 ,the landlady1 watching ,whistler sip his hot whisky and water1 was convinced he was somebody1 but was unable to place him4 ,and who do you suppose ,i am8 ,whistler asked at last4 ,i can't exactly say1 sir1 but ,i should fancy you was from the ',alls6 ,aubrey ,beardsley was then at ,boscombe1 a further stage in his brave fight with death1 and we went to see him4 ,but the sight of the suffering of others was too cruel a reminder to ,whistler1 and he shrank from going to ,beardsley4 ,dinner was the event of the day1 and it would have proved a disaster had ,whistler not seen humour in being expected to eat it1 so little was it what he thought a dinner should be4 ,on ,christmas ,day he was melancholy and stared at the turkey and bread sauce1 the sodden potatoes and soaked greens3 ,to think of my beautiful room in the ,rue du ,bac1 and the rest of them there1 eating their ,christmas dinner1 having up my wonderful old ,pouilly from my cellar4 ,but we had something else to talk about4 ,in the ,saturday ,review of that week1 ,december #bf1 there was an article1 signed ,walter ,sickert1 that was of interest to us all4 ,footnote #aa3 ,whistler never lost his fancy for inventing names for his friends1 and ,o',k4 was the one he found for ,mr4 ,kennedy1 rarely calling him by any other either in conversation or correspondence4 ,,chapter ,,xl3 ,,the ,,lithograph ,,case4 ,,the ,,years ,,eighteen ,,ninety-,,six ,,and ,,eighteen ,,ninety-,,seven4 ,mr4 ,sickert's article was ostensibly inspired by the show of ,j4's lithographs of ,granada at the ,fine ,art ,society's1 which ,whistler had introduced4 ,whistler understood it to be an attack upon himself1 as well as upon ,j41 whose lithographs alone it pretended to deal with4 ,as a rule1 ,whistler's lithographs were made on lithographic paper and transferred to the stone4 ,the article argued that to pass off drawings made on paper as lithographs was as misleading to the purchaser on the vital point of commercial value as to sell photogravures for etchings1 which1 when ,sir ,hubert ,herkomer had done so1 led to a protest from ,j4 and ,whistler1 and also from ,mr4 ,sickert1 whose condemnation had been strong4 ,the article1 therefore1 was written either ignorantly or maliciously1 for no such distinction in lithography has ever been made4 ,transfer-paper is as old as ,senefelder1 the inventor of lithography1 who looked upon it as the most important part of his invention4 ,the comment amounted to a charge of dishonesty1 and an apology was demanded by ,j4 ,the apology was refused by ,mr4 ,frank ,harris1 editor of the ,saturday ,review1 and consequently ,messrs4 ,lewis and ,lewis brought an action for libel against writer and editor4 ,the action stood in ,j4's name1 and ,whistler was the principal witness4 ,in the hope that the matter might be settled by an apology and without appeal to the law1 ,mr4 ,heinemann arranged a meeting between the editor of the ,saturday ,review and ,whistler1 but nothing came of it4 ,people who knew nothing of lithography got involved in the case1 and our friend ,harold ,frederic1 for one1 entangled himself with the enemy4 ,others were found to know a great deal whom we never suspected of knowing anything1 and through ,whistler we discovered that ,mr4 ,alfred ,gilbert started life as a lithographer1 was indignant with the ,saturday ,review1 and only too willing to offer his help to us4 ,meetings followed on ,sunday evenings in the huge ,maida ,vale house where ,mr4 ,gilbert was trying to revive medival relations between master and workman and live the life of a craftsman with pupils and assistants1 a brave experiment which ended in failure4 ,the case was fixed for ,april #ahig1 the most inconvenient time of the year for the artist who exhibits4 ,whistler was working on the portrait of ,miss ,kinsella1 and he had promised three pictures to the ,salon3 ,green and ,violet1 ,rose and ,gold1 and a ,nocturne4 ,m4 ,helleu1 who was in ,london1 catalogued and measured them1 reserving space on the wall4 ,only a few days were left before sending in and the work would never be done in time4 ,whistler was in despair4 ,it was then1 too1 he learned that ,c4 ,e4 ,holloway1 a distinguished artist whom the world never knew1 was ill in his studio near by4 ,holloway was anything but a successful man1 and ,whistler was shocked to find him in bed1 lacking every comfort4 ,he provided doctors1 nurses1 medicine1 and food1 and looked after the dying man's family4 ,he spent afternoons in ,holloway's tiny bedroom4 ,all this took up time and made it difficult to get his pictures ready for the ,salon4 ,he called one morning on his way to the studio to tell us of the death of ,holloway4 ,he was going to the funeral1 and suggested a fund to purchase some of the pictures and give the proceeds to the family4 ,he was nervous and worried1 the ,salon clamouring for his work on the one hand1 the trial claiming him on the other4 ,people1 he complained1 did not seem to understand the importance of his time4 ,things were amazing in the studio1 and he was expected to leave them just to go into court4 ,no1 he wouldn't1 that was the end of it4 ,the pictures must be finished4 ,j4 said to him3 ,the case is as much yours as mine1 and you must come4 ,your reputation is involved4 ,there will be an end to your lithography if we lose4 ,you must fight4 ,whistler liked one the better for the contradiction he was supposed unable to bear1 and he answered3 ,well1 you know1 but really--why1 of course1 ,joseph1 it's all right4 ,i'm coming2 of course1 we'll fight it through together4 ,i never meant not to4 ,that's all right4 ,and to ,e41 who went with him to the ,temple of ,pomona in the ,strand1 to order flowers for ,holloway1 he kept saying3 ,you know1 really1 ,joseph mustn't talk like that6 ,of course1 it's all right4 ,of course1 ,i never meant not to come4 ,you must tell him it's all right4 ,i never back out6 ,his work stopped4 ,his pictures did not go to ,paris4 ,he stood by us4 ,the case was tried in the ,king's ,bench ,division on ,april #e1 before ,mr4 ,justice ,mathew4 ,we were represented by ,sir ,edward ,clarke1 ,q4,c41 and ,mr4 ,eldon ,bankes4 ,whistler arrived early4 ,in the great hall he met the counsel for the other side1 ,mr4 ,bigham1 an acquaintance1 and1 leaning on his arm1 entered the court1 capturing the enemy's counsel on the way1 he said1 as he sat down between us and ,sir ,george ,lewis4 ,the counsel are now both judges4 ,j41 in the witness-box1 pointed out that he had made lithographs both on paper and on stone2 that there was no difference between them1 an historical fact which he was able to prove2 that for the defendants to deny that a lithograph made on paper was as much a lithograph as a lithograph made on stone showed that they knew nothing about the subject1 or else were acting out of malice4 ,whistler was called next4 ,he said his grievance was the accusation that he pursued the same evil practice4 ,he was asked by ,mr4 ,bigham if he was very angry with ,mr4 ,sickert1 and he replied he might not be angry with ,mr4 ,sickert1 but he was disgusted that distinguished people like ,mr4 ,pennell and myself are attacked by an absolutely unknown authority 7,mr4 ,sickert71 an insignificant and irresponsible person4 ,then1 said ,mr4 ,bigham1 ,mr4 ,sickert is an insignificant and irresponsible person who can do no harm8 ,whistler answered3 ,even a fool can do harm1 and if any harm is done to ,mr4 ,pennell it is done to me4 ,this is a question for all artists4 ,and he added that ,mr4 ,sickert's pretended compliments and flatteries were a most impertinent piece of insolence1 tainted with a certain obsequious approach4 ,further asked if this was his action1 he said3 ,i am afraid if ,mr4 ,pennell had not taken these proceedings1 ,i should4 ,you are working together then8 ,no1 we are on the same side4 ,are you bearing any part of the costs8 ,no1 but ,i am quite willing4 ,sir ,edward ,clarke then interposed and asked if there was any foundation for that question4 ,only the lightness and delicacy of the counsel's suggestion4 ,illustration3 ,,the ,,thames ,,lithotint4 ,w4 #abe 7,see page #ccc7 ,illustration3 ,,firelight4 ,,joseph ,,pennell4 ,,no4 #a ,,lithograph4 ,w4 #ajd ,by permission of ,t4 ,fisher ,unwin1 ,esq4 7,see page #ccc7 ,at the end of the cross-examination ,whistler adjusted his eye-glass1 put his hat on the rail of the witness-box1 slowly pulled off one glove after the other4 ,he turned to the judge and said3 ,and now1 my ,lord1 may ,i tell you why we are all here8 ,no1 ,mr4 ,whistler1 said his ,lordship2 we are all here because we cannot help it4 ,whistler left the box4 ,what he meant to say no one will ever know4 ,we asked him later4 ,he shook his head4 ,the moment for saying it had passed4 ,sir ,sidney ,colvin1 ,keeper of the ,print ,room of the ,british ,museum2 ,mr4 ,strange1 of the ,art ,library1 ,south ,kensington2 ,mr4 ,way and ,mr4 ,goulding1 professional lithographic printers2 and ,mr4 ,alfred ,gilbert were our witnesses4 ,mr4 ,bigham said that the case was a storm in a teacup blown up by ,whistler1 and that the article could do no harm to anybody4 ,mr4 ,sickert protested that he was familiar with all the processes of lithography2 that the plaintiff's lithographs were not lithographs1 but1 as a matter of fact1 mere transfers4 ,he had submitted the article to another paper1 which refused it before it was accepted by the ,saturday ,review4 ,he had been under the impression that the plaintiff would like a newspaper correspondence4 ,he was actuated by a pedantic purism4 ,cross-examined by ,sir ,edward ,clarke1 he had to admit by implication that he intended to charge the plaintiff with dishonest practices1 and that he had caught ,mr4 ,pennell1 the purist1 tripping4 ,he had to admit that the only lithograph he ever published was made in the same way1 and he had called it1 or allowed it to be called1 a lithograph4 ,mr4 ,sickert's witnesses scarcely helped him4 ,mr4 ,c4 ,h4 ,shannon's testimony was more favourable to us than to him4 ,mr4 ,rothenstein testified that all the lithographs he had published were done exactly as ,whistler and ,j4 had done theirs1 and as he came out of the box fell into his hat4 ,mr4 ,george ,moore solemnly proclaimed that he knew nothing about lithographs1 but that he knew ,degas4 ,what's ,degas8 roared the judge1 thinking some new process was being sprung on him1 and ,mr4 ,moore vanished4 ,the editor of the ,saturday ,review acknowledged that he had published an illustrated supplement full of lithographs done on transfer-paper and advertised by him as lithographs2 that he had not known what was in ,mr4 ,sickert's article until it appeared4 ,the judge1 in summing up1 said that a critic might express a most disparaging opinion on an artist's work and might refer to him in the most disagreeable terms1 but he must not attribute to the artist discreditable conduct1 unless he could prove that his charge was true4 ,if the jury thought the criticism merely sharp and exaggerated1 they would find a verdict for the defendant1 but if not--that is1 if it was more than this--they should consider to what damages the plaintiff was entitled4 ,the verdict was for the plaintiff--damages fifty pounds1 not a high estimate of the value of artistic morality on the part of the ,british jury1 but at least1 in so far as it carried costs1 higher than the estimate put upon ,whistler's work in the ,ruskin trial4 ,so convinced were the other side of a verdict in their favour that a rumour reached us of a luncheon ordered beforehand at the ,savoy1 on the second day1 by the editor of the ,saturday ,review to celebrate our defeat4 ,we waited to be sure4 ,then we carried off ,whistler1 ,mr4 ,reginald ,poole1 who had conducted the case for us1 and ,mr4 ,jonathan ,sturges to the ,caf ,royal for our breakfast4 ,whistler was jubilant1 and nothing pleased him more than the deference of the foreman of the jury1 who waylaid him to shake hands at the close of the trial4 ,and since then no incautious ,british artists or critics have dared to tamper with ,senefelder's definition of lithography4 ,,chapter ,,xli3 ,,the ,,end ,,of ,,the ,,eden ,,case4 ,,the ,,years ,,eighteen ,,ninety-,,seven ,,to ,,eighteen ,,ninety-,,nine4 ,after our triumph ,whistler went to ,paris and ,boldini painted his portrait1 shown in the ,international ,exhibition of #aijj4 ,it was done in a very few sittings4 ,mr4 ,kennedy1 who went with ,whistler1 says that ,boldini worked rapidly1 that ,whistler got tired of doing what he had made other people do all his life--pose--and took naps4 ,during one of these ,boldini made a dry-point on a zinc plate4 ,whistler did not like it1 nor did he like any better ,helleu's done at the same time4 ,of the painting ,whistler said to us1 ,they say that looks like me1 but ,i hope ,i don't look like that6 ,it is1 however1 a presentment of him in his worst mood1 and ,mr4 ,kennedy remembers that he was in his worst mood all the while4 ,it is the ,whistler whom the world knew and feared4 ,when ,whistler came back to ,london1 in ,may or ,june1 he went to ,garlant's ,hotel1 where ,kennedy was staying4 ,mr4 ,kennedy's relations with ,whistler commenced by his selling ,whistler's prints and pictures in ,new ,york1 and then developed into an intimate friendship1 which continued until almost the end of ,whistler's life4 ,kennedy was one of ,whistler's champions in ,america1 devoted and loyal1 though the friendship ended rather abruptly through a regrettable misunderstanding4 ,after ,whistler's death1 ,kennedy was mainly responsible for the ,grolier ,club exhibition and catalogue4 ,this summer ,whistler went to ,hampton1 where ,mr4 ,heinemann had taken a cottage4 ,whistler never liked the country1 but1 he said1 ,i suppose now we'll have to fish for the little gudgeon together from a chair1 with painted corks1 like the other ,britons4 ,he took part in the fun4 ,he went to regattas1 picnicked1 and was rowed and punted about4 ,at ,hampton he met ,mr4 ,william ,nicholson1 whom ,mr4 ,heinemann had asked down with the idea of his adding a portrait of ,whistler to the series that began with his woodcut of ,queen ,victoria in the ,new ,review4 ,later ,mr4 ,nicholson1 in the ,fitzroy ,street studio1 made a study of ,whistler in evening dress1 recalling the ,sarasate1 and it appeared in the ,review4 ,it was the summer of ,queen ,victoria's ,diamond ,jubilee4 ,whistler could not come to us from ,garlant's without passing through streets hung with tawdry wreaths and draggled festoons2 ,trafalgar ,square buried in platforms1 seats1 and advertisements1 ,nelson on his column peering above4 ,the decorations were an unfailing amusement to him1 an excuse for an estimate of the ,island and the ,islander1 and the talk about the ,british1 an annoyance1 we are afraid1 to some of his friends and more of his enemies4 ,one evening he sketched for us his impression of the ,square1 with ,nelson boarded at last4 ,you see1 he said1 ,england expects every ,englishman to be ridiculous1 and the sketch appeared in the ,daily ,chronicle4 ,he again went to the ,naval ,review1 and this time saw it from ,mr4 ,george ,vanderbilt's yacht4 ,no etchings were made1 though we believe he did a water-colour or pastel4 ,instead1 he wrote some of his saddest letters1 yet he said with a gleam of glee3 ,it was wonderful1 just like ,spain1 just like ,velasquez at some great function1 for there was ,philip1 whom ,mr4 ,vanderbilt resembled1 as the portrait proved till he changed and ruined it4 ,there was the ,queen1 ,mrs4 ,vanderbilt2 there was ,i1 the ,court ,painter1 and1 why1 even the dwarfs1 as he described appropriately two well-known ,americans on board4 ,in ,july we proposed to cycle across ,france to ,switzerland1 and the night before we started ,whistler1 ,m4 ,boldini1 and ,mr4 ,kennedy dined with us to say good-bye4 ,boldini was leaving ,london the next day1 and by the end of the evening ,whistler made up his mind to come as far as ,dieppe1 and as he would never1 if he could help it1 go alone1 he decided that ,mr4 ,kennedy must come too4 ,next morning we all arrived at the station save ,whistler4 ,even his baggage came1 but not till we were reduced almost to nervous collapse1 not till the train was starting1 did he saunter unmoved--his straw hat over his eyes--down the platform1 followed humbly by the pompous station-master and amazed porters1 looking for our carriage4 ,no sooner had we started than he was in the best of spirits and enjoyed every minute of the journey1 most when on the boat he found a camp of enemies also on the way to ,dieppe1 to his delight and their discomfort4 ,at ,dieppe we had to get our bicycles through the customs1 the others took a cab1 and when we reached the hotel we were received regally and given a whole suite1 ,boldini having hinted to the patron we were royalty travelling incognito1 they in attendance4 ,almost at once ,whistler got out his little colour-box and started for a shop front in a narrow street he knew4 ,but first he had to find another kind of shop where he could buy a rosette of the ,legion of ,honour1 for his had been lost or forgotten1 and he would have thought it wanting in respect to appear without it in ,france4 ,the shopkeeper1 to whom he explained1 said1 ,all right1 monsieur1 here is the rosette1 but ,i have heard that story before4 ,whistler was furious1 but in the end had to laugh4 ,his dread of illness was again shown1 for ,beardsley1 dying1 was in the town1 and without knowing it we passed his window and ,beardsley saw us4 ,when afterwards we called1 ,whistler refused to come1 and it was well he did4 ,beardsley1 however1 was not the only person in ,dieppe ,whistler would not meet4 ,we had only our cycling costumes1 we were staying at the ,htel ,royal4 ,when he came down to dinner1 very late of course1 he was correct in evening dress1 the rosette in place1 and we thought there was a suggestion of hesitation1 but it was only a suggestion4 ,he gave his arm to ,e41 who was in short cycling skirt1 ,j4 in knickerbockers1 and as we went into the dining-room he turned to her1 and1 to a question that had never been asked1 answered clearly1 ,mais oui1 ,princesse1 and after that he had all the attention he wanted4 ,every tourist stared1 and we were escorted to our seats by the patron1 and for the rest of the evening1 when he was not talking to the ,princesse1 he was giving good advice to the head waiter4 ,the evening and the night were diversified periodically by ,boldini's practical jokes1 which did not keep ,whistler from being down early in the morning to see us off4 ,well1 you know1 can't ,i hold something8 he offered1 as ,e4 mounted her bicycle1 and as he watched us wheel along the sea-front1 he told ,mr4 ,kennedy1 ,after all1 ,o',k41 444 there's something in it6 ,we asked ,mr4 ,kennedy to pay our bill1 and ,m4 ,boldini had some trouble with his4 ,the result was that when ,whistler and ,kennedy counted up their joint funds1 they found they had just about enough money to get back to ,london1 and they left4 ,in the autumn ,whistler was in ,paris1 the ,eden case in the ,cour de ,cassation being fixed for ,november #ag4 ,it was heard before ,prsident ,privier1 ,matre ,beurdeley for the second time defending ,whistler4 ,mr4 ,heinemann came from ,london1 and was with him in court4 ,judgment was given on ,december #b4 ,the affair had been talked about1 and the court was crowded4 ,the judgment went as entirely in ,whistler's favour as1 in the ,lower ,court1 it had gone against him4 ,he was to keep the picture1 on condition that he made it unrecognisable as a portrait of ,lady ,eden1 which had been done2 ,sir ,william ,eden was to have the hundred guineas back1 which already had been returned and #e per cent4 interest2 ,whistler was to pay one thousand francs damages with interest and the cost of the first trial1 and the ,baronet to pay the costs of appeal4 ,mr4 ,mac,monnies1 who also was with ,whistler in court1 remembers that it was decided by the judges that the picture should be produced when needed4 ,mr4 ,whistler whispered in my ear1 ',mac,monnies1 take the picture and get out with it4' ,as we sat under the judges' noses1 and the court-room was packed with admirers and enemies and court officials1 ,i made a distinct spot as ,i walked down the aisle with the picture under my arm4 ,and ,whistler showed his admirable generalship in the case1 as not one of the gendarmes could stop me4 ,so all anybody could do was to watch it disappear out of the door4 ,whistler said to us that the ,procureur de la ,rpublique was splendid2 that the whole affair was a public recognition of his position2 that the trial made history1 established a precedent1 proving the right of the artist to his own work2 that a new clause had been added to the ,code ,napolon2 that he had wiped up the floor with the ,baronet before all ,paris1 his intention from the first4 ,he wished it to be known that in the law of ,france he would go down with ,napoleon3 ,well1 you know1 take my word for it1 ,joseph1 the first duty of a good general when he has won his battle is to say so1 otherwise the people1 always dull--the ,briton especially--fail to understand1 and it is an unsettled point in history for ever4 ,victory is not complete until the wounded are looked after and the dead counted4 ,the trial over1 he wanted immediately to make a beautiful little book of it1 and he began to arrange the report with his ,reflections for publication4 ,during many months proofs of ,the ,baronet and the ,butterfly filled his pockets4 ,as he had read pages of ,the ,ten ,o',clock to ,mr4 ,alan ,s4 ,cole1 so he read pages of ,the ,baronet and the ,butterfly to us1 and sometimes to the ,council of the ,international after the meetings1 a mistake1 for there were members who had not the intelligence to understand it or him4 ,his care was no less than with ,the ,gentle ,art4 ,every note1 every ,butterfly1 was thought out and placed properly4 ,beautiful1 you know4 ,isn't it beautiful8 he would say1 when a page or a paragraph pleased him1 and nothing pleased him more than the ,butterfly following the ,reflection on page #dc4 ,there he quotes ,george ,moore3 ,i undertook a journey to ,paris in the depth of winter1 had two shocking passages across the ,channel and spent twenty-five pounds4 ,all this worry is the commission ,i received for my trouble in the matter4 ,whistler's ,reflection was3 ,why1 damme1 sir6 he must have had a ,valentine himself--the sea-saddened expert4 ,this was followed by the ,butterfly1 splendid--actually rolling back with laughter1 you know6 ,a new feature was the toad printed over the ,dedication3 ,to those confrres across the ,channel who1 refraining from intrusive demonstration1 with a pluck and delicacy all their own 'sat tight' during the struggle1 these decrees of the judges are affectionately dedicated4 ,below1 a ,butterfly bows and sends its sting to ,england4 ,the tiny toad is the only realistic drawing in his books1 and to make it realistic he needed a model4 ,he thought of applying at the ,zoological ,gardens1 was promised one by ,mr4 ,wimbush1 a painter in the same house1 and finally his stepson1 ,mr4 ,e4 ,godwin1 found one4 ,he put the toad in a paper box1 forgot all about it1 and was shocked when he heard it was dead4 ,you know1 they say ,i starved it4 ,well1 it must have caught a fly or two1 and ,i thought toads lived in stone or amber--or something--for hundreds of years--don't you know the stories8 ,perhaps it was because ,i hadn't the amber6 ,the ,baronet and the ,butterfly was published in ,paris by ,henry ,may1 ,may #ac1 #ahii4 ,whistler objected to the date1 but on the #acth it appeared1 and the result justified his superstition4 ,it did not attract much attention4 ,when we saw him in ,paris that month he seemed to think the fault was with the critics who were keeping up the played-out business of misunderstanding and misrepresentation4 ,but the interest in the ,eden trial had never been as great as he fancied1 and the report is dull reading1 because there were no witnesses and so no cross-examination which would in ,england have given him the opportunity of scalping his victim4 ,the ,ruskin trial in ,the ,gentle ,art is full of ,whistler's answers in court2 ,the ,baronet and the ,butterfly is made up of the speeches of advocates and judges4 ,in the marginal notes1 the ,dedication1 the ,argument1 he is brilliant and witty1 and the ,butterfly as gay as ever4 ,there is no ,whistler in the speeches1 that is the trouble4 ,the book was one of many schemes that occupied him during these years4 ,the ,international ,society of ,sculptors1 ,painters1 and ,gravers was organised1 and the ,atelier ,carmen in ,paris was planned1 both so important that their history is reserved for other chapters4 ,a venture from which he hoped great things was his endeavour to dispense with the middleman in art4 ,hitherto he had been glad to trust his affairs to dealers4 ,i will lay the golden eggs1 you will supply the incubator1 he told one1 whose version of the arrangement was that when the incubator was ready ,whistler would not give up the golden eggs4 ,he could not reconcile himself to the large sums gained by buying and selling his work since #ahib4 ,over the sale of old work he had no control2 the sale of new he determined to keep in his hands4 ,he would be his own agent1 set up his own shop1 form a trust in ,whistlers4 ,we think it was in #ahif he first spoke to us about it1 delighted1 sure he was to succeed financially at last4 ,in #ahig rumours were spread of a ,whistler ,syndicate4 ,in #ahih advertisements of the ,company of the ,butterfly appeared in the ,athenum--the ,company composed1 as far as we knew1 of ,james ,mc,neill ,whistler4 ,two rooms were taken on the first floor at ,no4 #b ,hinde ,street1 ,manchester ,square1 close to the ,wallace ,gallery4 ,they were charming4 ,a few prints were hung4 ,a picture or two stood on easels4 ,to go to ,whistler in the studio for his work was one thing2 it was quite another to go to a shop run by no one knew who1 half the time shut1 and deserted when open4 ,we doubt if anything was ever sold there1 we never saw a visitor in the place4 ,soon the rooms were turned over to ,mr4 ,heinemann for a show of ,mr4 ,nicholson's colour-prints1 and after that no more was heard of the ,company of the ,butterfly4 ,there was another reason for starting it4 ,so many people came to the studio for so many reasons that he had to keep them out1 and his idea was that those who wanted to buy pictures should go to the ,company of the ,butterfly1 and buy them there without interrupting him4 ,but no shop could dispose of the constant visits from the curious1 from photographers asking for his portrait1 journalists begging for an interview1 literary people anxious to make articles or books about him4 ,they would write to arrange a certain hour and appear without waiting for a reply4 ,one1 who had written to say he was coming with a letter of introduction1 on his arrival found the door fastened and heard ,whistler whistling inside1 and that was all the indignant visitor heard or saw of him4 ,there is a story of an ,american collector who1 calling one day when not wanted1 and after wasting much time1 asked3 ,how much for the whole lot1 ,mr4 ,whistler8 ,five millions4 ,what8 ,my posthumous prices6 ,illustration3 ,,study ,,in ,,brown ,,oil ,in the possession of the ,baroness de ,meyer 7,see page #cei7 ,illustration3 ,,study ,,of ,,the ,,nude ,,pen ,,drawing ,in the possession of ,william ,heinemann1 ,esq4 7,see page #cfj7 ,and there are stories of ,whistler's ways of meeting the hordes who tried to force themselves into the studio4 ,mr4 ,eddy tells one3 ,an acquaintance had brought1 without invitation1 a friend1 'a distinguished and clever woman1' to the studio in the ,rue ,notre-,dame-des-,champs4 ,they reached the door1 both out of breath from their long climb4 ',ah1 my dear ,whistler1' drawled ,c----1 ',i have taken the liberty of bringing ,lady ,d---- to see you4 ,i knew you would be delighted4' ',delighted1 ,i'm sure6 ,quite beyond expression1 but'--mysteriously1 and holding the door so as to bar their entrance--'my dear ,lady ,d----1 ,i would never forgive our friend for bringing you up six flights of stairs on so hot a day to visit a studio at one of these--eh--pagan moments when'--and he glanced furtively behind him1 and still further closed the door--'it is absolutely impossible for a lady to be received4 ,upon my soul1 ,i should never forgive him4' ,and ,whistler bowed them down from the top of the six flights and returned to the portrait of a very sedate old gentleman who had taken advantage of the interruption to break for a moment the rigour of his pose4 ,the ,company of the ,butterfly never relieved him of the visitors who were more eager to see him than his work4 ,but this he did not discover until he had devoted to the venture far more time than he had to spare during the crowded years of its existence4 ,,chapter ,,xlii3 ,,between ,,london ,,and ,,paris4 ,,the ,,years ,,eighteen ,,ninety-,,seven ,,to ,,nineteen ,,hundred4 ,after his marriage ,whistler was unfortunate in his choice of apartments and studios4 ,the ,studio in the ,rue ,notre-,dame-des-,champs1 on the sixth floor1 was the worst for a man with a weak heart to climb to2 the apartment in the ,rue du ,bac1 low and damp1 was as bad for a man who caught cold easily4 ,he was constantly ill during the winter of #ahig-ih1 which he passed mostly in ,paris4 ,influenza kept him in bed in ,november1 from ,january to ,march he was dull and listless as never before1 save in ,venice after the scirocco2 he said1 ,i am so tired--,i who am never tired6 ,whistler's heart1 always weak1 began to trouble him4 ,he had been ill before1 but1 nervous as he was about his health1 he never realised his condition4 ,we have known him1 when too ill to work1 get up out of bed in order to accomplish something important4 ,a few years before1 confined with quinsy to his brother's house1 forced to write what he wished to say on a slate1 when someone he did not want to see was announced1 he forgot that he could not talk and yelled1 ,send him away6 ,we have known1 too1 an invitation to dinner from a certain rich ,american to rout him out of bed and to cure him temporarily4 ,it was this endeavour never to be ill1 never to give in1 that was one of the causes of his final breakdown4 ,illness suggested death1 and no man ever shrank more from the thought or mention of death than ,whistler4 ,there was in life so much for him to do1 so little time in which to do it4 ,he would tell his brother it was useless for doctors to know so much if they had not discovered the elixir of life4 ,why not try to find it8 he asked the ,doctor4 ,isn't it in the heart of the unknown8 ,it must be there4 ,in the studio he worked harder than ever4 ,illness made him foresee that his time was short1 and he was goaded by the thought of the things to finish4 ,when he was in ,london we were distressed by his fatigue at the end of the day1 but he said he was like the old cart-horse that could keep going as long as it was in traces1 but must drop the minute it was free4 ,while he was in ,paris1 his letters were full of the amazing things going on in the ,rue ,notre-,dame-des-,champs4 ,he said3 ,really1 you know1 ,i could almost laugh at the extraordinary progress ,i am making1 and the lovely things ,i am inventing--work beyond anything ,i have ever done before4 ,he was only beginning to know and to understand1 he told us4 ,all that had gone before was experimental4 ,there were new portraits4 ,in #ahig he had begun one of ,mr4 ,george ,vanderbilt--,the ,modern ,philip--a full-length in riding habit1 whip in hand1 standing against a dark background4 ,the canvas was sent from ,paris to ,london1 just as ,whistler and ,vanderbilt happened to be in one place or the other4 ,not one of his portraits of men interested ,whistler so much2 certainly not one was finer when we first saw it in ,london1 but it was a wreck in the ,paris ,memorial ,exhibition of #aije4 ,like others of this period1 it had been worked over4 ,he painted ,mrs4 ,vanderbilt1 ,ivory and ,gold1 shown in the ,salon of #aijb1 one of the first of the several ovals he was now doing4 ,carmen1 his model1 sat4 ,portraits started a year or so later were of his brother-in-law1 ,mr4 ,birnie ,philip1 and of ,mr4 ,elwell1 an ,american painter whom he had known for some time4 ,in ,may #ahih1 in the ,rue ,notre-,dame-des-,champs1 he showed us the full-length of himself in long overcoat1 called ,gold and ,brown in the ,paris ,universal ,exhibition of #aijj and1 as we have said1 never seen afterward4 ,we own a pen-drawing he made of it4 ,it was far from successful1 and before he finished it ,miss ,marian ,draughn1 an ,american1 began to pose for him--his ,coon ,girl he called her4 ,she was sent to him by ,gibson and ,phil ,may4 ,he painted many children4 ,he loved children4 ,ernest ,g4 ,brown remembered ,whistler's thoughtfulness and consideration when his daughter sat for ,pretty ,nelly ,brown1 one of the most beautiful of the series4 ,we have the same story from ,mr4 ,croal ,thomson1 of whose daughter1 ,little ,evelyn1 ,whistler made a lithograph4 ,when he went to her father's house at ,highgate1 ,evelyn would run to meet him with outstretched hands1 her face lifted to be kissed1 and while he worked the other children would come and look on4 ,mr4 ,alan ,s4 ,cole has told us that once ,whistler found his three little daughters decorating the drawing-room and hanging up a big welcome in flowers for their mother1 who was to return4 ,he forgot what he had come for and helped1 as eager and excited as they1 and stayed until ,mrs4 ,cole arrived4 ,he was walking from the ,paris studio one day with ,mrs4 ,clifford ,addams and saw some children playing2 he made her stop1 ,i must look at the babbies1 he said1 you know1 ,i love the babbies6 ,later1 during his last illness1 he liked to have ,mrs4 ,addams' own little girl1 ,diane1 in the studio4 ,and there are portraits of ,brandon ,thomas' baby and ,master ,stephen ,manuel that show his pleasure in painting his small sitters4 ,the children of the street adored him2 the children of ,chelsea and ,fitzroy ,street1 who were used to artists1 knew him well4 ,there was one he was for ever telling us about1 of five or six1 who frightened while she fascinated him4 ,i likes whusky1 she confided one day when she was posing1 and ,i likes ,scoatch best6 ,she described her ,christmas at home3 ,father 'e was drunk1 mother was drunk1 sister was drunk1 ,i was drunk1 and we made the cat drunk1 too6 ,a still younger child gave him sittings1 a baby of not more than three1 the model for many of the pastels4 ,she and her mother were resting one afternoon1 ,whistler watching her every movement4 ,really1 he said1 you are a beautiful little thing6 ,she looked up at him1 ,yes1 ,i is1 ,whistler1 she lisped4 ,and there is the old story3 ,where did you come from1 ,mr4 ,whistler8 ,i came from on high1 my dear4 ,h'm1 never should have thought it1 said the child2 shows how we can deceive ourselves4 ,but his popularity with children did not help him one ,sunday afternoon1 the only time it is possible to sketch with comfort in the ,city1 when he went with ,j4 to make a study of ,clerkenwell ,church tower1 which was about to be restored4 ,they drove to the church1 but the light was bad and the colour not right1 so they wandered off to ,cloth ,fair--until a little while ago the most perfect1 really the only1 bit of old ,london4 ,though ,whistler had worked there many times1 this afternoon the children did not approve of him4 ,after a short encounter in which they1 as always1 got the better1 ,whistler and ,j4 retired to another cab1 followed by any refuse that came handy4 ,but the children he painted1 ,the ,little ,rose of ,lyme ,regis1 ,the ,little ,lady ,sophie of ,soho1 ,lillie in our ,alley1 the small ,italian waifs and strays1 were his friends1 and no painter ever gave the grace and feeling of childhood1 or of girlhood as in ,miss ,woakes1 more sympathetically4 ,he was as absorbed in a series of nudes4 ,few of his paintings towards the end satisfied him so entirely as the small ,phryne the ,superb1 ,builder of ,temples1 which he sent to the ,international in #aija and to the ,salon in #aijb4 ,the first time he showed it to us he asked3 ,would she be more superb--more truly the builder of ,temples--had ,i painted her what is called life-size by the foolish critics who bring out their foot-rule8 ,is it a question of feet and inches when you look at her8 ,illustration3 ,,blue ,,and ,,coral ,,the ,,little ,,blue ,,bonnet ,,oil ,formerly in the possession of ,wm4 ,heinemann1 ,esq4 7,see page #cfa7 ,illustration3 ,,rose ,,and ,,gold ,,little ,,lady ,,sophie ,,of ,,soho ,,oil ,in the ,charles ,l4 ,freer ,collection1 ,national ,gallery of ,american ,art 7,see page #cfb7 ,he intended to paint an ,eve1 an ,odalisque1 a ,bathsheba1 and a ,dana1 the designs to be enlarged on canvas by his apprentices1 ,mr4 and ,mrs4 ,clifford ,addams1 but this was never done4 ,suggestions were in the pastels of figures1 for which he found the perfect model in ,london4 ,when not in the studio1 he kept sketching her from memory1 and he was in despair when she married and went to some remote colony1 but before she went he gave her some beautiful silver4 ,these pastels are many and perfect4 ,they are drawings on brown paper--studies or impressions of the model in infinite poses4 ,in some she stands with her filmy draperies floating about her or falling in long1 straight folds to her feet2 in others she lies upon a couch1 indolent and lovely2 she dances across the paper1 she bends over a great bowl1 she sits with her slim legs crossed and a cup of tea in her hand1 she holds a fan or a flower2 but whatever she may be doing or however she may rest1 she is but another expression of the beauty that haunted ,whistler1 the beauty that was the inspiration of the ,harmonies in ,white and the ,six ,projects4 ,many poses are suggested in lithographs1 etchings1 and water-colours2 none show greater tenderness than when she returned with her child4 ,he put his own tenderness into the encircling hands of the mother holding the baby on her knee1 he found the most rhythmic lines when1 standing1 she balanced herself to clasp the child the more closely to her4 ,nothing could be slighter than the means by which the effect is produced1 the figures drawn in black upon the brown paper1 the colour--blue1 or rose1 or violet--suggested in the gauzy draperies or the cap or handkerchief knotted about the curls4 ,but they have the exquisiteness of ,tanagra figures and are as complete4 ,all this work was done with feverish concern about mediums and materials and methods ,he usually sat now as he worked1 and he wore spectacles1 sometimes two pairs1 one over the other4 ,he was never so thoughtful in the preparation of his colours and his canvas4 ,at last the knowledge was coming to him1 he said again and again4 ,and he was never more successful in obtaining the unity and harmony he had always sought1 in hiding the labour by which it was obtained1 and in giving to his painting the beauty of surface he prized so highly4 ,because in painting he tried to carry on the same subject1 the same tradition1 superficial critics accused him of repeating himself1 or mistook his later for earlier works1 like the critic of the ,times who1 in writing of his pictures at the ,international ,society's ,exhibition of #ahih1 referred to old works 444 among which ,the ,little ,blue ,bonnet is the least known1 a remark ,whistler printed in the dition de luxe of the catalogue1 with the explanation that the painting had come fresh from the easel to its first exhibition1 and that therefore the 'plain man' is1 once more1 profoundly right1 and we see again the advantage of memory over mere artistic instinct in the critic4 ,the small portraits and marines of the nineties are as fine as anything he ever did4 ,the fact that for all these pictures he used frames of the same size and the same design helped--unintentionally on his part--to confuse critics accustomed to the flamboyant vulgarity1 utter inappropriateness1 and complete indifference to scale in the frames of most painters4 ,but then there are not half a dozen painters in a generation who have the faintest idea of decoration4 ,whistler1 ,puvis de ,chavannes1 and ,john ,la ,farge are almost the only decorators whose names may be mentioned among moderns4 ,though some of ,whistler's portraits are more elaborate1 not one is more powerful or more masterly as a study of character1 and therefore more individual1 than ,the ,master ,smith of ,lyme ,regis4 ,when it is contrasted with ,the ,little ,rose1 the embodiment of simple1 sweet1 healthy childhood1 and ,the ,little ,lady ,sophie of ,soho and ,lillie in our ,alley1 the sickly atmosphere of the slums reflected in their strange beauty1 and these again with the exuberant colour and life of ,carmen1 there can be no question of the variety in ,whistler's later work1 though a certain manner1 that might have grown into mannerism1 became more marked4 ,there was a similarity in the general design4 ,most were heads and half-lengths1 and1 except in the finest1 nose1 eyes1 and mouth were alike in character1 and hands were badly drawn and clumsily put in4 ,the colour was beautiful and he exulted in it1 but at the very last he must have known as well as anybody that his power of work was leaving him4 ,whistler spent the summer of #ahih chiefly in ,london1 going first to ,mr4 ,heinemann's at ,whitehall ,court1 then to ,garlant's ,hotel4 ,the delightful evenings of the year before began again for us1 and there was a fresh interest for him in the war between the ,united ,states and ,spain4 ,it was a wonderful and beautiful war1 he thought1 the ,spaniards were gentlemen1 and his pockets were filled with newspaper clippings to prove it4 ,if we pointed out a blunder on the part of our soldiers1 if we gave chance a share in our victories1 he was furious3 ,why say if any but ,spaniards had been at the top of ,san ,juan1 we never would have got there8 ,why question the if8 ,the facts are all that count4 ,no fight could be more beautifully managed4 ,i am telling you6 ,i1 a ,west ,point man1 know4 ,what if ,cervera did get whipped8 ,what if he was pulled up from the sea looking like a wad of cotton that had been soaked in an ink-bottle8 ,what of it8 ,didn't the whole ,united ,states ,navy1 headed by the admirals1 receive him as the ,commander of the ,spanish ,fleet should be received8 ,he was going out more and seeing more people4 ,but his interest in society was less1 and evidently he preferred the quiet of the evenings with us4 ,chance encounters in our flat were often an entertainment4 ,one we recall most vividly was with ,frederick ,sandys1 whom he had not met for thirty years4 ,sandys was with us in the late afternoon when ,whistler knocked his exaggerated postman's knock that could not be mistaken1 followed by the resounding peal of the bell4 ,they gave each other a chilly recognition and sat down4 ,sandys was agitated1 but there was no escape4 ,whistler looked like ,boldini's portrait1 but soon they began to talk1 and they talked till the early hours of the morning as if they were back at ,rossetti's1 ,sandys in the white waistcoat with gold buttons1 but bent with age1 ,whistler straight and erect1 but wrinkled and grey4 ,he returned to ,paris late in the autumn1 settling there for the winter4 ,except for his attacks of illness1 there was but one interruption to his work4 ,mr4 ,heinemann was married at ,porto d',anzio in ,february #ahii1 and ,whistler went to ,italy as best man4 ,this was his only visit to ,rome4 ,he was disappointed4 ,to us he described the city as a bit of an old ruin alongside of a railway station where ,i saw ,mrs4 ,potter ,palmer4 ,and he added3 ,rome was awful--a hard sky all the time1 a glaring sun and a strong wind4 ,after ,i left the railway station1 there were big buildings more like ,whiteley's than anything ,i expected in the ,eternal ,city4 ,st4 ,peter's was fine1 with its great yellow walls1 the interior too big1 perhaps1 but you had only got to go inside to know where ,wren got his ideas--how he1 well1 you know1 robbed ,peter's to build ,paul's6 ,and ,i liked the ,vatican1 the ,swiss ,guards1 great big fellows1 lolling about1 as in ,dumas2 they made you think of ,d',artagnan1 ,aramis1 and the others4 ,and ,michael ,angelo8 ,a tremendous fellow1 yes2 the frescoes in the ,sistine ,chapel1 interesting as pictures1 but with all the legs and arms of the figures sprawling everywhere1 ,i could not see the decoration4 ,there can be no decoration without repose2 a tremendous fellow1 but not so much in the ,david and other things ,i was shown in ,rome and ,florence as in that one unfinished picture at the ,national ,gallery4 ,there is often elegance in the loggie of ,raphael1 but the big frescoes of the stanze did not interest me4 ,velasquez's portrait of ,innocent ,x4 in the ,doria ,palace he1 apparently1 did not see4 ,during the journey to ,porto d',anzio1 ,princess ----1 one of the wedding guests1 who heard vaguely that ,whistler was an artist1 inquired of him3 ,monsieur fait de la peinture1 n'est-ce pas8 ,oui1 ,princesse4 ,on me l'avait dit4 ,moi aussi1 j'en fais1 ,monsieur4 ,charmant1 ,princesse1 nous sommes des collgues4 ,on the way back from ,rome ,whistler stopped at ,florence1 and of his stay there ,mr4 ,j4 ,kerr-,lawson wrote us the account3 ,the ,mc,neill has been here and just gone--we had him lightly on our hands all day yesterday4 ,we didn't 'do' ,florence1 for there was a fierce glaring sun and a horrible ,tramontana raging1 so we spent the best of the morning trying to write a letter in the rococo manner to the ,syndic of ,murano quite unsuccessfully4 ,this was after the awards in the ,venice ,international ,exhibition4 ,after luncheon ,i took him down to the ,uffizi4 ,we seemed to be the only people rash enough to brave the awful wind1 for we saw no one in the ,gallery but a frozen ,guardia4 ,he--poor fellow--was brushed aside by a magnificent and truly awe-inspiring gesture as we approached that battered and begrimed portrait in which ,velasquez still looks out upon the world which he has mastered with an expression of superbly arrogant scorn in the ,portrait ,gallery4 ,it was a dramatic moment--the flat-brimmed chapeau de haut forme came off with a grand sweep and was deposited on a stool1 and then the ,master1 standing back about six feet from the picture and drawing himself up to much more than his own full natural height1 with his left hand upon his breast and the right thrust out magisterially1 exclaimed1 ',quelle allure6' ,then you should have seen him4 ,after the solemn act of homage1 when he had resumed his hat1 we relaxed considerably over the lesser immortals of this crazy and incongruous ,valhalla--what an ill-assorted company6 ,how did they all get together8 ,liotard1 the ,swiss1 jostles ,michael ,angelo1 ,giuseppe ,mac,pherson rubs shoulders with ,titian1 ,herkomer hangs beside ,ingres1 and ,poynter is a pendant to ,sir ,joshua4 ,there are the greatest and the least1 the noblest and the meanest brought together by the capricious folly of succeeding directors and harmonised by that touch of vanity that makes the whole world kin4 ,one wonders whom they will ask next4 ,certainly not ,whistler4 ,they knew quite well he was here1 but not the slightest notice was taken of him4 ,en revanche1 every now and then some vulgar mediocrity passes this way1 and then the foolish ,florentines are lavish with their laurels4 ,whistler had not been long dead when ,j4 received an inspired letter from ,florence asking him if he could obtain ,whistler's portrait for the ,uffizi4 ,his answer was that had they appreciated ,whistler they might have asked him while he was alive1 but as they had not had the sense or the courage to do so1 they had better apply to his executrix4 ,as yet there is no portrait of ,whistler in the ,uffizi4 ,after absences from his studio ,whistler discovered again that pictures and prints were disappearing4 ,it worried him1 and he tried to trace and recover them4 ,we have little doubt that1 at times1 ,whistler lost prints through his carelessness4 ,we know that once his method of drying his etchings between sheets of blotting paper thrown on the floor was disastrous4 ,one morning an artist came to see us bringing a number of beautiful proofs of the second ,venice ,set1 in sheets of blotting paper as he had bought them from an old rag and paper man in ,red ,lion ,passage1 who thought they could be no good because the margins were cut down and so sold them for a shilling apiece4 ,the artist admitted that he did not care for them1 and we offered him half-a-crown4 ,oh1 he said1 as you are willing to give that1 now ,i shall find out what they are really worth4 ,he got sixty pounds for them1 but several of the prints separately have since sold for much more4 ,accidents like this would account for some of the things ,whistler thought were stolen4 ,a few works that had disappeared were recovered during his lifetime4 ,but shortly after his death there was a sale at the ,htel ,drouot in which missing paintings1 drawings1 plates1 prints1 and even letters were dispersed4 ,only those who were near him can realise how much this troubled and annoyed him during his last years4 ,at the same time he began to suffer from another of the evils of success4 ,pictures1 somewhat resembling his and attributed to him appeared at auctions1 and others were sent to him for identification or signature by persons who had purchased them4 ,if he knew beforehand that one of these fakes was coming up in the auction-room1 he would send and try to stop the sale1 or1 if submitted to him1 he would not give it back4 ,neither expedient met with marked success4 ,at present there is a factory of ,whistlers in full operation1 while oils and water-colours and drawings ascribed to him without the slightest reason have been openly sold at auction1 despite the protests made against such swindles4 ,whistler could not stay long from ,london1 and the early summer of #ahii saw him back at ,garlant's and visiting ,mr4 ,heinemann at ,weybridge4 ,he was in town for the sequel to the ,eden affair4 ,he heard that1 on ,july #ae1 there was to be a sale of ,sir ,william ,eden's pictures at ,christie's4 ,he went to it and came to us afterwards4 ,really1 it has been beautiful4 ,i know you will enjoy it4 ,it occurred to me in the morning--the ,baronet's sale to-day--h'm--the ,butterfly should see how things are going6 ,and ,i went home1 and ,i changed my morning dress1 my dandy straw hat1 and then1 very correct and elegant1 ,i sauntered down ,king ,street into ,christie's4 ,at the top of the stairway someone spoke to me4 ',well1 you know1 my dear friend1' ,i said1 ',i do not know who you are1 but you shall have the honour of taking me in4' ,and on his arm ,i walked into the big room4 ,the auctioneer was crying1 ',going6 ,going6 ,thirty shillings6 ,going6' ',ha ha6' ,i laughed--not loudly1 not boisterously1 it was very delicately1 very neatly done4 ,but the room was electrified4 ,some of the henchmen were there2 they grow rigid1 afraid to move afraid to glance my way out of the corners of their eyes4 ',twenty shillings6 ,going6' the auctioneer would cry4 ',ha ha6' ,i would laugh1 and things went for nothing and the henchman trembled4 ,louis ,fagan came across the room to speak to me--,fagan1 representing the ,british ,museum1 as it were1 was quite the most distinguished man there4 ,and now1 having seen how things were1 ,i took ,fagan's arm4 ',you1' ,i said1 'may have the honour of taking me out4' ,he dined with us the next evening and found ,mr4 ,harry ,wilson1 whose brother-in-law1 ,mr4 ,sydney ,morse1 was the friend upon whose arm ,whistler had entered the auction-room4 ,mr4 ,wilson was full of the story1 and confirmed the electric shock when ,whistler appeared4 ,he ran over to ,holland once during the summer4 ,part of the time he was at ,pourville1 near ,dieppe1 where he had taken a house for ,miss ,birnie ,philip and her mother4 ,the sea was on the right side at ,dieppe1 of which he never tired2 at ,madame ,lefvre's restaurant he could get as good a breakfast as in ,paris2 and many small marines1 oils1 and water-colours were done before bad weather drove him away4 ,though it is not always easy to identify the place or the time to which his small marines belong1 for they cover a number of years1 probably more were made at ,dieppe than anywhere else4 ,when he did not care to work from the shore there were boatmen who would take him out beyond the breakers1 where he could get the effect he wished at the height above the water that suited him4 ,he used to be seen calmly painting away in a dancing row-boat1 the boatman holding it as steadily as he could4 ,there is as much of the bigness of the ocean in these little paintings1 which show usually only the grey or blue or green1 but ever recurring1 swell of the wave1 or a quiet sea with two or three sails on the horizon1 as in any big marines that ever were painted4 ,he explained his method to his apprentice1 ,mrs4 ,addams4 ,when the wave broke and the surf made a beautiful line of white1 he painted this at once1 then all that completed the beauty of the breaking wave1 then the boat passing1 and then1 having got the movement and the beauty that goes almost as soon as it comes1 he put in the shore or the horizon4 ,in ,paris1 during the winter of #ahii-aijj1 he took two small rooms at the ,htel ,chatham1 where the last three years he had often stayed1 afraid to risk the dampness of the ,rue du ,bac4 ,but they were inner rooms with no light and scarcely any ventilation1 though most swell and more expensive1 unless1 perhaps1 the lady who used to come to massage him was included4 ,he had fewer friends in ,paris than in ,london1 and he was often lonely4 ,he would go to see ,drouet and say1 ,tu sais1 je suis ennuy4 ,and ,drouet1 to amuse him1 would get up little dinners1 at which all who were left of the old group of students met again4 ,one was given in honour of ,becquet1 whom ,whistler had etched almost half a century before4 ,a wreath of laurels was prepared4 ,during dinner ,drouet said he had met many great men1 but1 pour la morale1 none greater than ,becquet1 who was moved to tears1 and the laurel wreath was offered to him by ,whistler1 and ,becquet fairly broke down2 he would hang it on the walls of his studio1 always to have it before him1 he said4 ,once ,drouet took ,whistler to the fair at ,neuilly1 made him ride in a merry-go-round4 ,whistler lost his hat1 dropped his eye-glass4 ,what would ,london journalists say if they could see me now8 he asked4 ,they generally dined at ,beauj's1 in the ,passage des ,panoramas1 to which ,drouet and other artists1 literary men1 and barristers went4 ,whistler renewed his intimacy with ,oulevey1 whom he had barely seen since the early ,paris days4 ,madame ,oulevey's memories are1 above all1 of ,whistler's dining with them in the ,passage des ,favorites at the other end of the ,rue ,vaugirard1 when he wore his pumps and1 a storm coming up and not a cab to be found in their quarter1 and they had to keep him for hours4 ,his pumps left an impression on ,drouet1 too1 who was sure it was because ,whistler wore them by day and could not walk in them that he was so often seen driving through the streets in a cab4 ,and he seemed so tired then1 ,drouet said1 half the time lying back1 fast asleep4 ,fantin1 the most intimate of his early associates1 he met but once and then by chance4 ,in ,february news came of the death of his brother1 ,doctor ,whistler4 ,alexander ,harrison writes us3 ,i chanced to call upon him half an hour after he had received the news and1 with a quivering voice and tears in his eyes1 he told me that he considered me a friend and told me his sad loss and asked me to dine with him4 ,the two brothers had been devoted since boyhood1 and ,whistler felt the ,doctor's death acutely4 ,it made him the more ready to rejoin his friends in ,london1 and two months later found him staying with ,mr4 ,heinemann1 who had moved from ,whitehall ,court to ,norfolk ,street4 ,there ,e4 dined to meet him the evening after his arrival4 ,mr4 ,arthur ,symons gives1 in his ,studies in ,seven ,arts1 his impression of the dinner1 and of ,whistler3 ,i never saw anyone so feverishly alive as this little old man1 with his bright withered cheeks1 over which a skin was drawn tightly1 his darting eyes1 under their prickly bushes of eyebrow1 his fantastically creased black and white curls of hair1 his bitter and subtle mouth1 and1 above all1 his exquisite hands1 never at rest4 ,illustration3 ,,model1 ,,with ,,flowers ,,pastel ,in the possession of ,j4 ,p4 ,heseltine1 ,esq4 7,see page #cfj7 ,illustration3 ,,girl1 ,,with ,a ,,red ,,feather ,,oil ,in the possession of the ,executors of ,j4 ,staats ,forbes 7,see page #cfj7 ,to us the idea of his age was never present4 ,he seemed the youngest wherever he was4 ,but to those who saw him for the first time it was evident that he was growing old4 ,and he had been before the public for so long that people got an exaggerated idea of his age4 ,mr4 ,symons continues3 ,some person officially connected with art was there1 an urbane sentimentalist2 and after every official platitude there was a sharp crackle from ,whistler's corner1 and it was as if a rattlesnake had leapt suddenly out4 ,when the urbane sentimentalist remarked that there never was such a thing as an art-loving people1 an artistic period1 ,whistler said3 ,dear me6 ,it's very flattering to find that ,i have made you see at last4 ,but really1 you know1 ,i shall have to copyright my little things after this6 ,when someone objected to the good manners of the ,french1 because they were all on the surface1 ,whistler suggested1 ,well1 you know1 a very good place to have them4 ,,chapter ,,xliii3 ,,the ,,international4 ,,the ,,years ,,eighteen ,,ninety-,,seven ,,to ,,nineteen ,,hundred ,,and ,,three4 ,that artists should hold ,exhibitions of ,international ,art was ,whistler's idea4 ,he had always hoped for a gallery where he could show his work in his own way with the work of men in sympathy with him4 ,often1 and years before1 he talked to us of this4 ,it mattered little to him where the gallery should be1 in ,new ,york or ,london1 ,paris or ,berlin3 the exhibition should not be local or national1 but an ,art ,congress for the artists of the world4 ,this was his aim4 ,the men whom he wished to have associated with him lived mostly in ,london1 where now the greater part of his time was spent1 and ,london seemed the place for the first exhibition4 ,he and ,mr4 ,e4 ,a4 ,walton tried to lease the ,grosvenor ,gallery1 and when they failed they turned to the ,grafton4 ,but again there were difficulties1 and nothing definite was done until #ahig1 when a young journalist1 who was painting1 ,mr4 ,francis ,howard1 conceived the idea of promoting a company to hold an exhibition at ,prince's ,skating ,club1 ,knightsbridge4 ,as the artists were to incur no financial responsibilities and to have complete artistic control1 ,whistler consented to co-operate4 ,the first meeting1 the minutes record1 was on ,december #bc1 #ahig1 and ,john ,lavery1 ,e4 ,a4 ,walton1 ,g4 ,sauter1 and ,francis ,howard were present4 ,whistler1 who had been consulted1 at first agreed that members of the ,royal ,academy and other artistic bodies should be admitted1 and at the second meeting1 ,february #g1 #ahih1 ,mr4 ,alfred ,gilbert1 ,r4,a41 took the chair4 ,a circular1 unsigned and undated1 was then issued calling attention to a proposed exhibition of ,international ,art1 and on it appeared the names of ,james ,mc,neill ,whistler1 ,alfred ,gilbert1 ,frederick ,sandys1 ,john ,lavery1 ,james ,guthrie1 ,arthur ,melville1 ,charles ,w4 ,furse1 ,charles ,ricketts1 ,c4 ,hazlewood ,shannon1 ,e4 ,a4 ,walton1 ,joseph ,farquharson1 ,maurice ,greiffenhagen1 ,will ,rothenstein1 ,g4 ,sauter1 ,francis ,howard4 ,it stated1 with a clumsiness ,whistler could hardly have passed had he seen the circular beforehand1 that the object of the ,society was the much-needed organisation in ,london of ,exhibitions of the finest ,art of the time 444 the non-recognition of nationality in ,art1 and the hanging and placing of works irrespective of such consideration4444 ,the ,exhibitions1 filling as they will an unoccupied place in the cosmopolitan ground of ,international ,art1 will not be in opposition to existing institutions4 ,an ,executive ,council appointed itself1 and on ,february #af1 #ahih1 ,whistler was unanimously elected ,chairman4 ,the most distinguished artists of every nationality were invited to join an ,honorary ,council4 ,the ,executive1 to which ,j41 on ,whistler's nomination1 was elected in ,march1 was to have entire charge of the affairs of the exhibition4 ,there were to be no ordinary members1 but only honorary members by invitation4 ,jealousies and preferences immediately crept in4 ,mr4 ,gilbert resigned1 which was much to be regretted1 and several other ,english members withdrew from the ,council1 which speedily became as international as the name of the society1 the ,international ,society of ,sculptors1 ,painters1 and ,gravers1 into which it formed itself two months later 7,april #bc71 when officers were elected1 and ,whistler1 proposed by ,mr4 ,lavery and seconded by ,mr4 ,j4 ,j4 ,shannon1 was chosen ,president1 ,mr4 ,lavery ,vice-,president1 and ,mr4 ,francis ,howard1 ,honorary ,secretary4 ,the ,international was the second society of artists over which ,whistler presided4 ,only ten years had passed since his resignation from the ,british ,artists1 but the change in his position before the world was great4 ,the ,british ,artists1 an old and decrepit body1 had chosen him as ,president in the hope that his notoriety and his following of young men would bring the advertisement they needed2 the ,international1 a young1 vigorous organisation1 elected him because they knew that no other artist could give them such distinction and distinguished foreign artists such assurance that their work would be hung in a country where previously1 through fear of competition and insular prejudice1 it had been rejected4 ,in the eighties ,whistler was mistrusted2 in the nineties he was acknowledged as one of the great artists of the century4 ,the change in his position was not greater than his influence on contemporary art4 ,this influence had been pointed out by the few for some years past4 ,but the last decade had strengthened it until it could no longer be denied4 ,the younger generation had accepted him in the meanwhile1 admitted their debt to him1 and proclaimed it openly in their work4 ,the ,new ,english ,art ,club abjured subject and sentiment for the painter's poetry wherever it might lurk1 whether in the ,london bus transformed by the ,london atmosphere1 or in the ,lion-,comique1 transfigured on the music-hall stage2 though1 as ,whistler once said1 the ,new ,english ,art ,club was only a raft1 while the ,international was to be a battleship of which he would take command4 ,the ,glasgow ,school accepted his teaching and then copied his technique1 in some cases pushing imitation to folly4 ,but still1 all that was healthiest and best in the art of the country came from these two groups1 and members of both had made an international reputation before the ,international was founded4 ,even in the ,academy anecdote had lost for an interval its pre-eminence1 and it looked as if ,academicians might begin to understand that the painter's sole object need not be to tell a story4 ,besides1 there were two artists1 ,r4 ,a4 ,m4 ,stevenson and ,j41 writing upon art1 and they taught young men to have faith in ,whistler1 and the new criticism was born1 and ,d4 ,s4 ,mac,coll was the name of the first and only child4 ,nor was ,whistler's influence confined to ,england4 ,from the early eighties1 when the jury was becoming more representative at the old ,salon1 the pictures he sent to it had been hung4 ,from the early nineties the new ,salon gave them prominence4 ,other recent influences in ,france had waxed and waned4 ,the realism of ,bastien-,lepage1 which sank into photography with painters of less accomplishment1 and the square brush-mark were already vieux jeu4 ,impressionism had swamped itself in chemical problems1 and the technique of the ,impressionists had been degraded to the exaggerations and absurdities of the ,rose-,croix1 to be swamped in turn by the latest fad of all4 ,whistler brought with him technical sanity1 a feeling for beauty and reverence for tradition1 and he1 who had been called the most eccentric of poseurs in paint1 led the way back to dignity and reticence in art1 from which he had never swerved4 ,his example was revealed in the work of artists of every nationality1 either by frank imitation or else by their attitude towards ,nature or the reserve of their technique4 ,because of this universal recognition1 he was best qualified for the ,presidency of an ,international ,society of ,artists4 ,the honour was paid him by no official body4 ,officially1 to the last1 he was destined to go without due recognition4 ,in ,france he was an ordinary ,socitaire of the ,socit ,nationale des ,beaux-,arts4 ,the ,national ,academy of ,design in ,america was as indifferent to him as the ,royal ,academy in ,england4 ,his membership in the ,academies of ,dresden1 ,munich1 ,rome1 and ,scotland was a compliment--a compliment he could and did appreciate--but it carried no responsibilities and required no active work1 and almost all these honours came after the ,international was started4 ,but the new society1 if not official1 included on its executive the strongest outsiders in ,great ,britain1 and had the support of the most distinguished men of his profession throughout the world4 ,their choice of him was an acknowledgment of his supremacy as artist and an expression of confidence in him as leader1 and he took no less pleasure in their tribute than trouble not to disappoint their expectations4 ,his experience with the ,british ,artists was a help in constituting the ,society4 ,the sole authority rested with the ,executive ,council1 the members of which elected themselves and could not be got rid of except by their voluntary resignation or expulsion4 ,theoretically the idea was magnificent1 if the narrowest and most autocratic4 ,napoleon and ,i do these things1 ,whistler said1 and ,suffolk ,street had taught him that an intelligent autocrat is the best leader possible4 ,his policy1 if autocratic1 was broad4 ,in most societies painting held a monopoly1 but1 in his1 sculpture and graving should have equal importance4 ,all his rules were far-seeing and practical1 and the decline of the ,society since his death is due to the disregard of them3 a disregard which his associates still on the ,council who are true to his memory cannot prevent--or forget4 ,the first exhibition was opened in ,may #ahih4 ,the ,skating ,rink at ,knightsbridge was divided into three large and two small galleries4 ,whistler's scheme of decoration was adopted1 and the hanging was more perfect than any up to that time even on the ,continent4 ,the ,president's velarium1 without question of patent1 was used1 and he designed the seal for the ,society and the cover of the catalogue4 ,the artistic success of the show could not be questioned4 ,no such collection of modern art had been seen in ,london1 a proof that ,whistler was as broad as the painters and the populace were sure he was narrow4 ,the ,why drag in ,velasquez8 story is often quoted by the ignorant and the foolish and the stupid4 ,in this ,exhibition he dragged in everyone of eminence1 for1 though the ignorant and the foolish and the stupid may never understand1 the ,why drag in ,velasquez8 was uttered only for their benefit4 ,whistler showed a group of early pictures3 ,at the ,piano1 ,la ,princesse du ,pays de la ,porcelaine1 ,rosa ,corder1 with later works3 ,the ,philosopher1 ,the ,little ,blue ,bonnet1 his own half-length portrait in a white jacket1 ,brown and ,gold4 ,the sculpture was as interesting as the painting4 ,there were drawings and engravings4 ,besides1 his idea was to have special exhibitions1 and ,aubrey ,beardsley1 who had just died1 was honoured4 ,before the show was over delegates were sent1 and communications received1 from ,paris and ,venice asking for an exchange of exhibitions4 ,whistler came from ,paris for the opening1 a quiet affair as the endeavour to obtain the presence of the ,prince of ,wales failed1 and he lunched with the ,council on the opening day and attended one or two ,sunday afternoon receptions4 ,he agreed that a fine illustrated catalogue should be published by ,mr4 ,heinemann1 with ,the ,little ,blue ,bonnet1 in photogravure1 as frontispiece4 ,if the first exhibition was a complete artistic success it proved a complete financial failure4 ,but luckily the ,society had no pecuniary responsibility4 ,whistler knew it is impossible for a man to serve actively in two rival societies2 he had said so to the ,british ,artists2 and he determined that members of the ,council of the ,international who were members of other societies must leave the ,society1 or1 if not1 he would4 ,his decision was precipitated by a new election to the ,council4 ,he was in ,paris1 and the fact that two members of the ,council1 ,lavery and ,j41 left ,london at an hour's notice for the ,rue du ,bac to arrange matters with him shows how anxious he was for the welfare of his ,society4 ,they arrived early in the morning4 ,whistler was not up1 but sent word that they must breakfast with him in the studio4 ,during breakfast he talked of everything but the ,society2 after breakfast he made them listen to a ,fourth of ,july spread-eagle oration squeaked out of a primitive gramophone that somebody had given him and that he loved2 and it was not until twenty minutes before they had to start back that he referred to the ,council4 ,then he had all his plans ready1 and he stated what he proposed to do1 and what he wanted done1 what must be done--we might add1 what was done4 ,and not only at every crisis1 but in every detail1 he directed the management of the ,society1 and he demanded that every report1 every project should be submitted to him4 ,he expected the deference due to him as ,president1 and in return he gave his unswerving support4 ,even during his last illness nothing was done without his knowledge and approval4 ,the second ,international ,exhibition1 or ,art ,congress1 was held at ,knightsbridge from ,may to ,july #ahii4 ,the ,president came over when the hanging was finished4 ,it was arranged this year that a special show of his etchings should be made1 and a small room was decorated and called the ,white ,room4 ,as ,whistler was in ,paris1 he asked ,j4 and ,mrs4 ,whibley to go to the studio and select the prints4 ,j4 chose a number that had not been seen before1 principally from the ,naval ,review ,series4 ,whistler1 for some reason1 resented the selection when he saw the prints on the walls4 ,the ,committee were in consternation and sent for ,j4 ,whistler said to him3 ,now look what you have done6 ,but what have ,i done8 ,have ,i done you any harm8 ,and that was the end of it4 ,his objection may have been because he feared1 as we remember his saying of these prints another time1 that they were beyond the understanding of the abomination outside4 ,but his fury lasted only for the moment1 and he and ,lavery and ,j4 passed a good part of the night at work in the gallery on the catalogue4 ,whistler received on the opening day1 and in the evening the first of the ,round ,table ,council dinners was held at the ,caf ,royal1 ,sir ,james ,guthrie presiding4 ,in an admirable speech he expressed not only the delight of the ,council at being able to enlist the sympathy and aid of ,whistler1 but their love and appreciation for the man and his work4 ,the sympathy then existing between the ,president and most of the ,council was genuine1 and he appreciated it as much as they did4 ,after dinner a few of the ,council went with him to ,sir ,john ,lavery's1 where he was staying1 and there he read ,the ,baronet and the ,butterfly1 which had just appeared in ,paris4 ,this1 because of absence or ill-health1 was the only ,council dinner he went to1 though for a time there was one every year1 and at several ,rodin presided4 ,to the second exhibition the ,president sent several small canvases recently finished4 ,again the infallible critics discussed them as promising works of the past1 and were made to eat their words1 and again in the catalogue ,whistler quoted the ,times1 and to its opinion of to-day of 444 the vanished hand which drew the ,symphony in ,white and ,miss ,alexander compared its opinion of the moment of those two pictures1 when the ,miss ,alexander suggested a sketch left before the colours were dry in a room where the chimney-sweeps were at work1 and was uncompromisingly vulgar4 ,other ,times1 other lines6 was ,whistler's comment4 ,three illustrated catalogues were published by ,messrs4 ,w4 ,h4 ,ward and ,company4 ,whistler's ,chelsea ,rags and ,trouville were both included in the ordinary editions1 and the ,little ,lady ,sophie of ,soho and ,lillie in our ,alley were added to the dition de luxe4 ,the catalogues until #aiaj1 when even ,whistler's format was discarded1 are the most interesting issued by any society4 ,the second exhibition was less of a success financially than the first1 and the ,society of ,artists came near being involved in the crash which overtook the financing company4 ,to avoid complications ,whistler insisted that the ,society should have an ,honorary ,solicitor and ,treasurer1 and ,mr4 ,william ,webb was appointed4 ,in the first and second exhibitions the art of the world was represented as it never had been before in ,england1#ab as it never has been since4 ,in both1 attempts to attract the public with music and receptions and entertainments were made1 but ,whistler objected to music1 saying that the two arts should be kept separate1 that people who came to hear the music could not see the pictures1 and people who came to see the pictures would not want to hear the music4 ,there were misunderstandings with the proprietor and the promoters1 the former wishing to see some of his friends represented1 and the latter to see some of their money back1 and the outlook was gloomy4 ,whistler wrote a memorable letter in which he said that he1 as commander1 proposed to repel pirates and sink their craft1 and they never openly got aboard1 though a few stowaways did creep in4 ,no show was held in #aijj1 the ,paris ,universal ,exhibition taking up the members' energy1 and not until the autumn of #aija was the third exhibition opened at the ,galleries of the ,royal ,institute in ,piccadilly4 ,there had been official and other changes4 ,professor ,sauter had been made ,honorary ,secretary1 pro tem41 and the ,society1 which up till now had consisted of the ,council only1 admitted ,associates1 and with their election the international character began to wane1 for1 out of thirty-two ,associates elected1 twenty-eight were resident in ,great ,britain4 ,this exhibition was the first to be financially successful4 ,the ,president sent seven small paintings and pastels4 ,phryne the ,superb was reproduced in the catalogue1 as well as ,gold and ,orange--,the ,neighbours1 and ,green and ,silver--,the ,great ,sea4 ,professor ,sauter devoted himself to furthering the ,international idea of the ,president1 and under his ,secretaryship the ,society held exhibitions of its ,english members' work in ,budapest1 ,munich1 and afterwards in ,philadelphia1 ,pittsburgh1 ,chicago1 and ,st4 ,louis4 ,on ,june #aa1 #aijc1 ,professor ,sauter was relieved temporarily of the ,secretaryship and ,j4 took his place4 ,within a few weeks it was his sad duty to call a meeting to announce to the ,society the loss they had sustained by the death of their ,president4 ,the ,council determined to follow the traditions of ,whistler and to honour his memory4 ,not only were the ,american exhibitions held1 but the ,society organised a show of ,british art in ,dusseldorf1 and made arrangements for a ,memorial ,exhibition of the ,president's works in ,london4 ,in the autumn of #aijc ,m4 ,rodin accepted the ,presidency1 and the fourth exhibition1 the first held in the ,new ,gallery1 was opened in ,january #aijd1 in which the late ,president was represented by the ,symphony in ,white1 ,no4 ,,iii41 lent by ,mr4 ,edmund ,davis2 ,rose and ,gold--,the ,tulip1 lent by ,miss ,birnie ,philip2 ,valparaiso1 lent by ,mr4 ,graham ,robertson2 ,symphony in ,grey--,battersea1 lent by ,mrs4 ,armitage2 and ,study for a ,fan1 lent by ,mr4 ,c4 ,h4 ,shannon4 ,illustration3 ,a ,,freshening ,,breeze ,,oil ,in the possession of ,j4 ,s4 ,ure1 ,esq4 7,see page #cfg7 ,illustration3 ,,lillie ,,in ,,our ,,alley ,,brown ,,and ,,gold ,,oil ,in the possession of ,j4 ,j4 ,cowan1 ,esq4 7,see page #cfa7 ,in #aije the most important and successful show in the career of the ,international ,society of ,sculptors1 ,painters1 and ,gravers was given2 the ,memorial ,exhibition of the works of ,james ,mc,neill ,whistler4 ,for complete success it lacked only the co-operation of ,whistler's executrix1 which the ,council originally understood was promised1 but which was ultimately withheld4 ,still1 it was the most complete exhibition of his works ever given1 superior from every point of view to the small show at the ,scottish ,academy the previous year1 in many respects to the ,boston show of the same year1 and to the ,paris ,memorial ,exhibition1 #aije1 which was disappointing4 ,as can be seen from the elaborate catalogue1 more especially the beautifully illustrated dition de luxe published by ,mr4 ,heinemann1 the exhibition at the ,new ,gallery contained nearly all the principal oil-paintings1 the largest collection of etchings ever shown together1 all but one or two of the lithographs1 and many of the pastels1 water-colours1 and drawings4 ,footnote #ab3 ,sir ,henry ,cole1 in the early sixties1 had five international shows at ,south ,kensington4 ,,chapter ,,xliv3 ,,the ,,acad,,mie ,,carmen4 ,,the ,,years ,,eighteen ,,ninety-,,eight ,,to ,,nineteen ,,hundred ,,and ,,one4 ,in the autumn of #ahih a circular issued in ,paris created a sensation in the studios4 ,whistler was going to open a school1 the ,acadmie ,whistler4 ,the announcement was made by his model1 ,madame ,carmen ,rossi4 ,whistler at once wrote from ,whitehall ,court1 where he was staying 7,october #a1 #ahih71 to the papers to correct an erroneous statement1 or rather to modify an exaggeration1 that an otherwise bona fide prospectus is circulating in ,paris4 ,an atelier is to be opened in the ,passage ,stanislas1 and1 in company with my friend1 the distinguished sculptor1 ,mr4 ,mac,monnies1 ,i have promised to attend its classes4 ,the patronne has issued a document in which this new ,arcadia is described as the ,acadmie ,whistler and further qualified as the ,anglo-,american ,school4 ,i would like it to be understood that1 having hitherto abstained from all plot of instruction1 this is no sudden assertion in the ,ville ,lumire of my own4 ,nor could ,i be in any way responsible for the proposed mysterious irruption in ,paris of whatever ,anglo-,american portends4 ',american1' ,i take it1 is synonymous with modesty1 and ',anglo1' in art1 ,i am unable to grasp at all1 otherwise than as suggestive of complete innocence and the blank of ,burlington ,house4 ,i purpose only1 then1 to visit1 as harmlessly as may be1 in turn with ,mr4 ,mac,monnies1 the new academy which has my best wishes1 and1 if no other good come of it1 at least to rigorously carry out my promise of never appearing anywhere else4 ,whistler had nothing to do with the financial management1 everything with the system of teaching1 and he said that he proposed to offer the students his knowledge of a lifetime4 ,it may be1 as we have heard1 that he had been asked1 with ,mac,monnies1 to criticise the work of ,ary ,renan's or ,luc-,olivier ,merson's students1 and that this gave him the idea of visiting a school under his own direction4 ,the ,passage ,stanislas is a small street running off the ,rue ,notre-,dame-des-,champs2 ,no4 #f1 a house of two storeys and a courtyard or garden at the back which was afterwards covered with glass4 ,over the front door the sign ,acadmie ,whistler did appear1 but only for a short time4 ,the glazed courtyard became a studio1 and there was another above to which a fine old staircase led4 ,the house had been built1 or adapted1 as a studio1 and1 except that the walls were distempered1 no change was made4 ,the rooms were fitted up with school furniture2 for this1 we believe1 ,whistler advanced the money4 ,within a few days a vast number of pupils had put their names down1 deserting the other ateliers of ,paris4 ,some left the ,english schools1 and still others came from ,germany and ,america4 ,whistler was delighted1 telling us that students were coming in squads1 that the ,passage was crowded1 and that owners of carriages struggled with rapins and prize-winners to get in4 ,miss ,inez ,bate 7,mrs4 ,clifford ,addams71 who was among the earliest to put down her name1 who remained in the school till the end and who became ,whistler's apprentice1 has not only told us the story of the ,acadmie ,carmen1 but has given us her record of it and of ,whistler's methods of teaching1 written at his request and partially corrected by him4 ,it is the record of his knowledge of a lifetime1 for he taught in the school the truths he had been years formulating1 and is of the greatest importance1 as valuable a document as the treatise of ,cennino ,cennini4 ,in the future ,mrs4 ,addams' statement1 revised by ,whistler1 will live4 ,he insisted on seriousness4 ,the ,acadmie ,carmen was not to be like other schools2 instead of singing1 there was to be no talking2 smoking was not allowed2 the walls were not to be decorated with charcoal2 studio cackle was forbidden2 if people wanted these things1 they could go back from whence they came4 ,he was to be received as a master visiting his pupils1 not as a good fellow in his shirt-sleeves4 ,for the first weeks things did not go very well4 ,carmen was not used to her post1 the students were not used to such a master1 and ,whistler was not used to them4 ,a massier was appointed1 and the men and women who had been working together were separated and two classes formed4 ,within a short time ,mrs4 ,addams was chosen massire1 a position she held until the school closed4 ,she writes3 ,the ,acadmie began its somewhat disturbed career in the fall of #ahih4 ,a letter was received from ,mr4 ,whistler announcing that he would shortly appear1 and1 on the day appointed1 the ,acadmie ,carmen had the honour of receiving him for the first time4 ,he proceeded to look at the various studies1 most carefully noting under whose teaching and in what school each student's former studies had been pursued4 ,most kindly something was said to each1 and to one student who offered apology for his drawing1 ,mr4 ,whistler said simply1 ',it is unnecessary--,i really come to learn--feeling you are all much cleverer than ,i4' ,mr4 ,whistler1 before he left1 expressed to the ,patronne his wish that there should be separate ateliers for the ladies and gentlemen and that the present habit of both working together should be immediately discontinued4 ,his second visit was spent in consideration of the more advanced students4 ,one1 whose study suffered from the introduction of an unbeautiful object in the background1 because it happened to be there1 was told that1 ',one's study1 even the most unpretentious1 is always one's picture1 and must be1 in form and arrangement1 a perfect harmony from the beginning4' ,with this unheard-of advice1 ,mr4 ,whistler turned to the students1 whose work he had been inspecting and intimated that they might begin to paint1 and so really learn to draw1 telling them that the true understanding of drawing the figure comes by having learned to appreciate the subtle modellings by the use of the infinite gradation that paint makes possible4 ,on his third visit he turned to one student and picked up her palette1 pointing out that being the instrument on which the painter plays his harmony1 it must be beautiful always1 as the tenderly-cared-for violin of the great musician4 ,he suggested that it would be a pleasure to show them his way of painting1 and if this student could1 without too much difficulty1 clean her palette1 he would endeavour to show them 'the easiest way of getting into difficulties4' ,and it was then that ,mr4 ,whistler's palette was given4 ,his whole system lies in the complete mastery of the palette--on the palette the work must be done before transferring one note on to the canvas4 ,he recommended the small oval palettes as being easy to hold4 ,white was placed at the top edge in the centre1 in generous quantity1 and to the left came in succession yellow ochre1 raw sienna1 burnt sienna1 raw umber1 cobalt1 and mineral blue2 while to right1 vermilion1 ,venetian red1 ,indian red1 and black4 ,sometimes the burnt sienna would be placed between the ,venetian and ,indian red1 but generally the former placing of colours was insisted upon4 ,a mass of colour1 giving the fairest tone of the flesh1 would then be mixed and laid in the centre of the palette near the top1 and a broad band of black curving downward from this mass of light flesh-note to the bottom1 gave the greatest depth possible in any shadow1 and so1 between the prepared light and the black1 the colour was spread1 and mingled with any of the various pure colours necessary to obtain the desired changes of note1 until there appeared on the palette a tone-picture of the figure that was to be painted1 and at the same time a preparation for the background was made on the left in equally careful manner4 ,many brushes were used1 each one containing a full quantity of every dominant note1 so that when the palette presented as near a reproduction of the model and background as the worker could obtain1 the colour could be put down with a generous flowing brush4 ,mr4 ,whistler said1 ',i do not interfere with your individuality4 ,i place in your hands a sure means of expressing it1 if you can learn to understand1 and if you have your own sight still4' ,each student prepared his or her palette1 in some the mass of light would exceed the dark1 in others the reverse would be the case4 ,mr4 ,whistler made no comments on these conditions of the students' palettes3 ',i do not teach art2 ,i teach the scientific application of paint and brushes4' ,his one insistence was that no painting on the canvas should be begun until the student felt he could go no further on the palette2 the various and harmonious notes were to represent1 as nearly as he could see1 the model and background that he was to paint4 ,mr4 ,whistler would often refrain from looking at the students' canvas1 but would carefully examine the palette1 saying that there he could see the progress being made1 and that it was really much more important for it to present a beautiful appearance1 than for the canvas to be fine and the palette inharmonious4 ,he said1 ',if you cannot manage your palette1 how are you going to manage your canvas8' ,these statements sounded like heresy to the majority of the students1 and they refused to believe the reason and purpose of such teaching1 and as they had never before received even a hint to consider the palette of primary importance1 they insisted in believing that this was but a peculiarity of ,mr4 ,whistler's manner of working1 and that1 to adopt it1 would be with fatal results6 ,the careful attempts to follow the subtle modellings of flesh placed in a quiet1 simple light1 and therefore extremely grey and intricate in its change of form1 brought about necessarily1 in the commencement of each student's endeavour1 a rather low-toned result4 ,one student said to ,mr4 ,whistler that she did not wish to paint in such low tones1 but wanted to keep her colour pure and brilliant2 he answered1 'then keep it in the tubes1 it is your only chance at first4' ,they were taught to look upon the model as a sculptor would1 using the paint as a modeller does his clay2 to create on the canvas a statue1 using the brush as a sculptor his chisel1 following carefully each change of note1 which means 'form'2 it being preferable that the figure should be presented in a simple manner1 without an attempt to obtain a thousand changes of colour that are there in reality1 and make it1 first of all1 really and truly exist in its proper atmosphere1 than that it should present a brightly coloured image1 pleasing to the eye1 but without solidity and non-existent on any real plane4 ,this1 it will be seen1 was the reason of ,mr4 ,whistler's repeated and insistent commands to give the background the most complete attention1 believing that by it alone the figure had a reason to exist4 ,mr4 ,whistler would often paint for the students4 ,once he modelled a figure1 standing in the full1 clear light of the atelier1 against a dull1 rose-coloured wall4 ,after spending almost an hour upon the palette1 he put down with swift1 sure touches1 the notes of which his brushes were already generously filled1 so subtle that those standing close to the canvas saw apparently no difference in each successive note as it was put down1 but those standing at the proper distance away noticed the general turn of the body appear1 and the faint subtle modellings take their place1 and finally1 when the last delicate touch of light was laid on1 the figure was seen to exist in its proper atmosphere and at its proper distance within the canvas1 modelled1 as ,mr4 ,whistler said1 'in painter's clay1' and ready to be taken up the next day and carried yet further in delicacy1 and the next day further still1 and so on until the end4 ,and he insisted that it was as important to train the eye as the hand1 that long accustoming oneself to seeing crude notes in ,nature1 spots of red1 blue1 and yellow in flesh where they are not1 had harmed the eye1 and the training to readjust the real1 quiet1 subtle note of ,nature required long and patient study4 ',to find the true note is the difficulty2 it is comparatively easy to employ it when found4' ,he once said that had he been given at the commencement of his artistic career what he was then offering1 his work would have been different4 ,but he found in his youth no absolute definite facts1 and he 'fell in a pit and floundered1' and from this he desired to save whom he could4 ',all is so simple1' he would say1 'it is based on proved scientific facts2 follow this teaching and you must learn to paint2 not necessarily learn art1 but1 at least1 absolutely learn to paint what you see4' ,he also demanded the student to abandon all former methods of teaching1 unless in harmony with his own1 and to approach the science as taught by himself in a simple and trustful manner4 ,the students1 used to having any little sketch praised1 and finding such efforts remained unnoticed by ,mr4 ,whistler1 while an intelligent and careful1 though to their eyes stupid1 attempt to model in simple form and colour would receive approbation1 grew irritated1 and the majority left for a more congenial atmosphere4 ,it was pointed out that a child1 in the simple innocence of infancy1 painting the red coat of the toy soldier red indeed1 is in reality nearer the great truth than the most accomplished trickster with his clever brushwork and brilliant manipulation of many colours4 ',distrust everything you have done without understanding it4 ,it is not sufficient to achieve a fine piece of painting4 ,you must know how you did it1 that the next time you can do it again1 and never have to suffer from that disastrous state of the clever artist1 whose friends say to him1 what a charming piece of painting1 do not touch it again1 and1 although he knows it is incomplete1 yet he dare not but comply1 because he knows he might never get the same clever effect again4 ',remember which of the colours you most employed1 how you managed the turning of the shadow into the light1 and if you do not remember scrape out your work and do it all over again1 for one fact is worth a thousand misty imaginings4 ,you must be able to do every part equally well1 for the greatness of a work of art lies in the perfect harmony of the whole1 not in the fine painting of one or more details4' ,it was many months before a student produced a canvas which showed a grasp of the science he had so patiently been explaining4 ,mr4 ,whistler delighted in this1 and had the canvas placed on an easel and in a frame that he might more clearly point out to the other students the reason of its merit2 it showed primarily an understanding of the two great principles2 first1 it represented a figure inside the frame and surrounded by the atmosphere of the studio1 and secondly1 it was created of one piece of flesh1 simply but firmly painted and free from mark of brush4 ,as the weeks went on1 and the progress in this student's work continued1 ,mr4 ,whistler finally handed over to her ,mrs4 ,addams the surveillance of the new-comers and the task of explaining to them the first principles of his manner4 ,the ,acadmie had the distinction of causing the rumour that something was being taught there1 something definite and absolute4 ,a large number of students who had been in the ,acadmie for a short time and left1 returned1 dissatisfied with other schools1 that they might once more satisfy themselves that nothing was to be learned there after all4 ,mr4 ,whistler allowed this to continue for some time1 but finally1 the fatigue of such constant changes caused him to issue an order that the ,acadmie ,carmen should be tried but once4 ,the students in the men's life-class were constantly changing4 ,on ,christmas ,day1 ,mr4 ,whistler invited them to visit him in his atelier and showed them many of his own canvases in various stages of completeness2 explaining how certain results had been obtained1 and how certain notes had been blended1 and assuring them that he used the science he was teaching them1 only that each student would arrange it according to his own needs as time went on1 begging them not to hesitate to ask him any question that they wished1 or to point out anything they failed to understand4 ,there was an increased enthusiasm for a few weeks1 but gradually the old spirit of misunderstanding and mistrust returned1 and the men's class again contained but few students4 ,another disappointment to them was that ,mr4 ,whistler explained when they showed him pictures they had painted with a hope to exploit as pupils of the ,master in the yearly ,salon1 that this was impossible1 that their complete understanding of the ,great ,principles and the fitting execution of their application could not be a matter of a few months' study1 and he told them he was like a chemist who put drugs into bottles1 and he certainly should not send those bottles out in his name unless he was quite satisfied with1 and sure of1 the contents4 ,the last week of the first year arrived1 and ,mr4 ,whistler spent the whole of each morning at the ,acadmie4 ,the supervision of one student's work was so satisfactory that he communicated with her1 after the closing of the ,acadmie1 to announce that he desired to enter into an apprenticeship with her1 for a term of five years1 as he considered it would take fully that time to teach her the whole of his ,science and make of her a finished craftsman2 with her artistic development he never for a moment pretended to interfere--'that1' he said1 'is or is not superb--it was determined at birth1 but ,i can teach you how to paint4' ,so1 on the #bjth of ,july 7#ahii71 the ,deed of ,apprenticeship with ,mrs4 ,addams was signed and legally witnessed1 and she 'bound herself to her ,master to learn the ,art and ,craft of a painter1 faithfully to serve after the manner of an ,apprentice for the full term of five years1 his secrets keep and his lawful commands obey1 she shall do no damage to his goods nor suffer it to be done by others1 nor waste his goods1 nor lend them unlawfully1 nor do any act whereby he might sustain loss1 nor sell to other painters nor exhibit during her apprenticeship nor absent herself from her said ,master's service unlawfully1 but in all things as a faithful ,apprentice shall behave herself towards her said ,master and others during the said term4444 ,and the said ,master1 on his side1 undertakes to teach and instruct her1 or cause her to be taught and instructed4 ,but if she commit any breach of these covenants he may immediately discharge her4' ,into the hands of his ,apprentice--also now the massire--,mr4 ,whistler gave the opening of the school the second year1 sending all instructions to her from ,pourville1 where he was staying4 ,each new candidate for admission should submit an example of his or her work to the massire1 and so prevent the introduction into the ,acadmie of1 first1 those who were at present incompetent to place a figure in fair drawing upon the canvas2 and secondly1 those whose instruction in an adverse manner of painting had gone so far that their work would cause dissension and argument in the ,acadmie4 ,unfortunately1 this order was not well received by some1 though the majority were willing to accede to any desire on the part of ,mr4 ,whistler4 ,a number absolutely refused to suffer any rule1 and preferred to distrust what they could not understand1 and the talk among the students of the ,quartier was now in disparagement of the ,acadmie4 ,compositions were never done in the school4 ,it was so much more important to learn to paint and draw1 for1 as ,mr4 ,whistler said1 'if ever you saw anything really perfectly beautiful1 suppose you could not draw and paint6'--',the faculty for compositions is part of the artist1 he has it1 or he has it not--he cannot acquire it by study--he will only learn to adjust the composition of others1 and1 at the same time1 he uses his faculty in every figure he draws1 every line he makes1 while in the large sense1 composition may be dormant from childhood until maturity1 and there it will be found in all its fresh vigour1 waiting for the craftsman to use the mysterious quality in his adjustment of his perfect drawings to fit their spaces4' ,the third and last year 7#aijj7 of the ,acadmie ,carmen was marked at its commencement by the failure to open a men's life-class4 ,mr4 ,whistler had suffered so greatly during the preceding years from their inability to comprehend his principles and also from the short time the students remained in the school1 that at the latter part of the season he often refused to criticise in the men's class at all4 ,he would call sometimes on ,sunday mornings and take out and place upon easels the various studies that had been done by the men the previous week1 and often he would declare that nothing interested him among them and that he should not criticise that week1 that he could not face the fatigue of the 'blankness' of the atelier4 ,the ,acadmie was opened in ,october #aijj by a woman's life-class which was well attended4 ,the school had been moved to an old building in the ,boulevard ,montparnasse1 but shortly after ,mr4 ,whistler was taken very ill and he was forced to leave ,england on a long voyage4 ,he wrote a letter to the students that never reached them1 then1 from ,corsica1 another1 with his best wishes for the ,new ,century1 and his explanation of the doctor's abrupt orders4 ,the ,acadmie was kept open by the ,apprentice until the end of ,march 7#aija71 but the faith of the students seemed unable to bear further trials1 and after great discontent at ,mr4 ,whistler's continued absence and a gradual dwindling away of the students until there were but one or two left1 the ,apprentice wrote of this to ,mr4 ,whistler4 ,whistler wrote from ,ajaccio a formal letter of dismissal to the few students left1 kissing the tips of their rosy fingers1 bidding them ,godspeed and stating the case that history might be made4 ,the reading of the letter by the massire in the atelier closed the school1 and an experiment to which ,whistler brought enthusiasm1 only to meet from the average student the distrust the average artist had shown him all his life4 ,one of the last things he did before the close was to make an apprentice also of ,mr4 ,clifford ,addams1 the one man who remained faithful4 ,and in his case1 too1 a ,deed of ,apprenticeship was drawn up and signed4 ,the story of the ,acadmie is carried on in the following letter from ,mr4 ,frederick ,mac,monnies1 concerning his connection with it3 444 ,i had always heard so much about his being impossible1 but the more ,i saw of him the more ,i realised that anyone who could quarrel with him must be written down an ass4 ,an instance of his rare straightforwardness and frankness in friendship occurred in the ,carmen ,school4 ,he used to come up to my studio just before breakfast1 and we would go off to ,lavenue's or the ,caf du ,cardinal4 ,one morning he said he had a great affair on hand4 ,carmen was going to open the school and he had agreed to teach1 a thing he had always said was shocking1 useless1 and encouragement of incapables4 ,he suggested ,i help him out with teaching the sculptor pupils and the drawing1 so ,i gladly agreed4 ,all the schools in ,paris were deserted immediately1 and the funny little studios of ,carmen's place were packed with all kinds of boys and girls1 mostly ,americans1 who had tried all styles of teaching4 ,mr4 ,whistler1 having a full sense of a picturesque grande entre1 did not appear until the school was in full swing about a week after the opening1 and until the pupils had passed the palpitating stage and were in a dazed state of expectancy and half collapsed into nervous prostration4 ,the various samples of such awaiting him represented the methods of almost every teacher in ,paris4 ,he arrived1 gloves and cane in hand1 and enjoyed every minute of his stay1 daintily and gaily touching very weighty matters4 ,a few days after his arrival ,i went to the school and found the entire crew painting as black as a hat--delicate1 rose-coloured pearly models translated into mulattoes1 a most astonishing transformation4 ,as time went on the blackness increased4 ,finally1 one day1 ,i suggested to one of the young women who was particularly dreary1 to tone her study up4 ,she informed me she saw it so4 ,i took her palette and keyed the figure into something like the delicate and brilliant colouring1 much to her disgust4 ,when ,i had finished1 she informed me1 ',mr4 ,whistler told me to paint it that way4' ,i told her she had misunderstood1 that he had never meant her to paint untrue4 ,several criticisms among the men of the same sort of thing1 and ,i left4 ,of course1 all this was carried to ,whistler1 and a few days later after breakfast1 over his coffee1 he waved his cigarette towards me and said1 ',now1 my dear ,mac,monnies1 ,i like you--and ,i am going to talk to you the way your mother does 7he used to play whist in ,paris with my mother1 and they made a most amusing combination74 ,now1 you see1 ,i have always believed there has been something radically wrong with all this teaching that has been going on in ,paris all these years in ,julian's and the rest4 ,i decided years ago the principle was false4 ,they give the young things men's food when they require pap4 ,my idea is to give them three or four colours--let them learn to model and paint the form and line first until they are strong enough to use others4 ,if they become so1 well and good2 if not1 let them sink out of sight4' ,i suggested the doubt that their eyes might in this way be trained to see wrong4 ,no1 he did not agree with that4 ,anyway1 ,i apologised1 and said ,i was a presuming and meddlesome ass1 and if ,i had known he was running his school on a system1 ,i would have remained silent4 ,if you could have seen the charming manner1 the frank kindness and friendly spirit with which he undertook to remonstrate1 you would understand how much ,i admired his generous spirit4 ,few men under the circumstances 7,i being very much his junior7 would not have made a great row and got upon their high horses1 and we would have quit enemies4 ,later1 ,i found that the sculptor pupils did not arrive in droves to be taught by me1 and the drawing criticisms unnecessary1 as the school had become a tonal modelling school and my criticisms superfluous4 ,i proposed to ,mr4 ,whistler that ,i was de trop1 and that it could only be properly done by him4 ,he agreed and ,i left4 ,m4 ,rodin 7or his friends7 wished to take my place1 but ,mr4 ,whistler1 ,i heard1 said he could not under any circumstances have anyone replace ,mac,monnies1 as it might occasion comment unfavourable to me4 ,now ,i consider that one of the rarest of friendly actions1 as ,i knew he would not have objected to ,rodin otherwise4 ,a canny1 croaking friend of mine1 who hated ,whistler and never lost an opportunity of misquoting and belittling him1 dropped in at my house a few nights after my resignation from the school1 quite full up with croaks of delight that we had fallen out1 as he supposed1 and that the row he had long predicted had finally come4 ,i laughed it off1 and after dinner a familiar knock1 and who should be ushered in but ,mr4 ,whistler1 asking my mother to play another game of whist4 ,a rather amusing thing occurred in my studio4 ,a rich and spread-eagle young ,american got into a tussle of wits with ,whistler--neither had met before 7,whistler1 however1 knew and liked his brother7--on the advantage of foreign study and life abroad4 ,illustration3 ,,the ,,coast ,,of ,,brittany ,,alone ,,with ,,the ,,tide ,,oil ,formerly in the possession of ,ross ,winans1 ,esq4 7,see page #fg7 ,illustration3 ,,the ,,sea1 ,,pourville ,,oil ,in the possession of ,a4 ,a4 ,hannay1 ,esq4 7,see page #cff7 ,illustration3 ,,the ,,fur ,,jacket ,,arrangement ,,in ,,black ,,and ,,brown ,,oil 7,picture in progress7 ,from a photograph lent by ,pickford ,r4 ,waller1 ,esq4 7,completed picture7 ,in the ,worcester ,museum1 ,massachusetts 7,see page #dcb7 ,i cannot remember all the distinguished and amusing arguments or the delightful appreciation of the ,french people of ,whistler1 or of the rather boring and rather brutal jabbing of the young man4 ,at any rate1 ,whistler defended himself admirably1 always keeping his temper1 which the young man wished him to lose in order to trip him up4 ,i saw that ,whistler was bored and tried to separate them1 but it had gone too far4 ,finally1 ,whistler held out his hand and with his charming quizzical smile said1 ',good-bye1 oh1 ah1 ,i am so glad to have met you--on account of your brother6' ,the year before ,whistler died1 in ,december1 ,i went to ,america on a short trip4 ,i hadn't been home for a number of years4 ,whistler had always said he would go back with me some time1 so ,i telegraphed him at ,bath to induce him to come with me4 ,he replied by telegram1 ',merry ,xmas1 bon voyage1 but ,i fear you will have to face your country without me4' ,to anyone familiar with art schools ,whistler's idea appeared revolutionary1 but he knew that he was carrying on the tradition of ,gleyre4 ,art schools are now conducted on such different principles that a comparison may be useful4 ,usually the student is not taught to do anything4 ,the master puts him at drawing1 telling him1 after the drawing is finished1 where it is wrong4 ,the student starts again and drops into worse blunders because he has not been told how to avoid the first4 ,if he improves1 it is by accident1 or his own intelligence1 more than by teaching4 ,at length1 when the pupil has learned enough drawing to avoid the mistakes of the beginner1 and to make it difficult for the master to detect his faults1 he is put at painting1 and the problem becomes twice as difficult for the student4 ,in drawing1 each school has some fixed method of working1 nowhere more fixed than at the ,royal ,academy1 which leads to nothing--or ,paris4 ,in painting1 the professor corrects mistakes in colour1 in tone1 in value1 which is easier than to correct drawing1 and the student becomes more confused than ever1 for he is in colour less likely than in drawing to tumble unaided on the right thing4 ,as to the use of colours1 the mixing of colours1 the arrangement of the palette1 the handling of tools--these are never taught in modern schools4 ,the result is that the new-comer imitates the older students--the favourites--and shuffles along somehow4 ,any attempt on the part of the master to impress his character on the students would be resented by most of them1 and any attempt at individuality on their part would be resented by the master1 for the official art school1 like the official technical school1 is the resort of the incompetent4 ,the ,royal ,academy goes so far as to change the visitors in its painting schools--that is1 the teachers--every month1 and the confusion to the student handed on from ,mr4 ,sargent to ,sir ,hubert von ,herkomer and then to ,sir ,lawrence ,alma-,tadema can hardly be imagined4 ,for this sort of art school ,whistler had no toleration--its product is the amateur or ,academician4 ,when he was asked1 ,then you would do away with all the art schools8 ,whistler answered1 ,not at all1 they are harmless1 and it is just as well when the genius appears that he should find the fire alight and the room warm1 an easel close at hand and the model sitting1 but ,i have no doubt he'll alter the pose6 ,whistler would have liked to practise the methods of the ,old ,masters4 ,he would have taught the students from the beginning1 from the grinding and mixing of the colours4 ,he believed that students should work with him as apprentices worked with their masters in earlier times4 ,artists then taught the student to work as they did4 ,how much individuality1 save the master's1 is shown in ,rubens' canvases1 mostly done by his pupils8 ,so long as ,van ,dyck remained with ,rubens he worked in ,rubens' manner1 learning his trade4 ,when he felt strong enough to say what he wanted to say in his own way as an accomplished craftsman1 he left the school and set up for himself4 ,raphael was trained in ,perugino's studio1 helped his master1 and1 when he had learned all he could there1 opened one of his own4 ,and this is the way ,whistler wished his students to work with him4 ,the misfortune is that he made the experiment when it was too late to profit by the skill of the pupils whom he wished to train to be of use to him4 ,he knew that it would take at least five years for students to learn to use the tools he put in their hands1 and the fact that1 at the end of three years1 when the school closed1 a few of his pupils could paint well enough for their painting to be mistaken for his shows how right he was4 ,if1 after five years1 they could see for themselves the beauty that was around them1 they would by that time have been taught how to paint it in their own way1 for what he could do was to teach them to translate their vision on to canvas4 ,mr4 ,starr says that ,whistler told me to paint things exactly as ,i saw them4 ',young men think they should paint like this or that painter4 ,be quite simple1 no fussy foolishness1 you know1 and don't try to be what they call strong4 ,when a picture smells of paint1' he said slowly1 'it's what they call strong4' ,had his health been maintained1 had he not been discouraged because students mostly came to him with the desire to do work which looked easy1 great results would have been accomplished4 ,his regret was that students did not begin with him4 ,mrs4 ,addams has told us of the great success of one1 ,miss ,prince1 who had never been in an art school4 ,she had nothing to unlearn4 ,she understood1 and1 at the end of a year1 had made more progress than any4 ,there were exceptions among the more advanced1 men who to-day are well-known artists and who1 looking back1 admit how much they learned4 ,frederick ,frieseke1 ,henry ,s4 ,hubbell1 and ,c4 ,harry ,white passed through the school4 ,one of the few ,frenchmen was ,simon ,bussy1 who describes ,whistler as trs distingu1 trs fin1 trs autoritaire1 though not so stimulating a master as ,gustave ,moreau1 under whom he had been studying4 ,but the greater number of students1 elementary or advanced1 thought that ,whistler was going to teach them1 by some short cut1 to arrive at distinction4 ,when they found that1 though the system was different1 they had to go through the same drudgery as in any school1 they were dissatisfied and left4 ,moreover1 the strict discipline and the separation of the sexes were unpopular4 ,nor could they understand ,whistler4 ,many of his sayings remembered by them explain their bewilderment4 ,one day1 ,whistler1 going into the class1 found three new pupils4 ,to these he said3 ,where have you studied8 ,with ,chase4 ,couldn't have done better6 ,and where have you studied8 ,with ,bonnat4 ,you couldn't have done better6 ,where have you studied8 ,i have never studied anywhere1 ,mr4 ,whistler4 ,i am sure you could not have done better6 ,to the young lady who told him that she was painting what she saw1 he answered1 ,the shock will come when you see what you paint6 ,to the man who was smoking1 he said1 ,really1 you had better stop painting1 for you might get interested in your work1 and your pipe would go out6 ,of a superior amateur he inquired1 ,have you been through college8 ,i suppose you shoot8 ,fish1 of course8 ,go in for football1 no doubt8 ,yes8 ,well1 then ,i can let you off for painting4 ,we asked ,whistler how much truth there was in these stories4 ,his answer was3 ,well1 you know1 the one thing ,i cannot be responsible for in my daily life is the daily story about me4 ,but he admitted they were1 in the main1 true4 ,he added one incident we have heard from no one else that explains a peculiarity to which we have referred4 ,in ,venice1 he said1 he got into the habit1 as he worked on his plates1 of blowing away the little powder raised by the needle ploughing through the varnish to the copper1 and1 unconsciously1 he kept on blowing when painting or drawing4 ,once1 after he had painted before the students and had left the studio1 there was heard in the silence a sound of blowing4 ,then another student began blowing away as he worked1 and so they went on4 ,well1 they said1 already we have la manire1 and that is much4 ,whistler heard of it and broke himself of the habit4 ,one day he saw on the wall in the men's studio1 written in charcoal3 ,i bought a palette just like his1 ,his colours and his brush4 ,the devil of it is1 you see1 ,i did not buy his touch4 ,whistler's methods and manner confused the average students who came1 but his faith in his system was as great as the students' unbelief4 ,he suggested that his criticisms of their work should be recorded on a gramophone4 ,he thought of opening another class in ,london4 ,the only time ,e4 saw the ,acadmie1 towards the beginning of the second year1 the whole place was full of life and go4 ,in the end1 the want of confidence in him1 his illness1 and his absence broke up the school4 ,but he sowed seed which will bring forth a thousandfold4 ,for1 just as his theory of art is now recognised as he stated it in ,the ,ten ,o',clock1 so will his practice1 proved by his work and teaching1 be accepted in the future4 ,,chapter ,,xlv3 ,,the ,,beginning ,,of ,,the ,,end4 ,,the ,,year ,,nineteen ,,hundred4 ,in the spring of #aijj an event of great importance in our relations with ,whistler occurred4 ,towards the end of ,may he asked us to write his ,life4 ,now that his fame was established1 a great deal1 indeed far too much1 was written about him4 ,unauthorised publications appeared or were in preparation1 and it was evident that more would follow4 ,whistler shrank from being written about by people not in sympathy with him or incapable of understanding him4 ,he was1 and is1 to many critics and commentators a riddle or an affront4 ,mistakes were made1 facts were distorted4 ,mr4 ,heinemann suggested1 first that he should write his autobiography1 then that his biography should be written with his authority by someone in whom he had confidence4 ,mr4 ,heinemann thought of ,henley1 but ,whistler objected4 ,mr4 ,charles ,whibley was proposed by ,mr4 ,heinemann1 but again ,whistler objected4 ,it was after this that either ,mr4 ,heinemann or ,whistler mentioned the name of ,joseph ,pennell4 ,we had been abroad for a few days1 and returned to ,london on ,may #bh to find a letter from ,mr4 ,heinemann telling ,j4 of this magnificent opportunity4 ,no one could appreciate more fully the honour as well as the responsibility4 ,j4 saw ,whistler at once1 and said1 ,you are the modern ,cellini and you should write it yourself4 ,whistler had neither the time nor patience1 but he promised to contribute what he could to ,j4's book4 ,we knew that while staying at ,whitehall ,court he had written two1 or perhaps more1 autobiographical chapters at ,mr4 ,heinemann's suggestion4 ,miss ,birnie ,philip1 after the first edition of our ,life was published1 though we had proved our authority in the ,english ,law ,courts1 wrote to the ,times 7,november #bd1 #aijh7 that ,whistler stated his objections to biographers in a fragment written in #ahif of what was intended to be the story of his life4 ,the following passages will make his opinions clear3 ',determined that no mendacious scamp shall tell the foolish truths about me when centuries have gone by1 and anxiety no longer pulls at the pen of the pupil who would sell the soul of his master1 ,i now proceed to take the wind out of such speculator by immediately furnishing myself the fiction of my own biography1 which shall remain1 and is the story of my life4444 ',curiously1 too1 ,i find no grief in noting the closing of more than one middle-aged eye that ,i had before now caught turned warily upon me with a view to future foolscap improved from slight intimacy4444 ',how tiresome1 indeed1 are the ,griswolds of this world1 and how offensive4 ,pinning their unimportant names on the linen of the great as they return the intercepted wash1 they go down to ,posterity with their impudent bill1 and ,posterity accepts and remembers them as the unrequited benefactors of ungrateful genius6' ,this1 according to ,miss ,birnie ,philip1 was written in #ahif4 ,whistler added to the record1 ,mr4 ,heinemann says1 while living with him at ,whitehall ,court4 ,but ,whistler soon found the task beyond him1 and so1 changing his mind on the subject1 asked ,j4 to write the story of his life and his work in #aijj4 ,almost immediately it was arranged that ,e4 should collaborate and that we should do the book together4 ,whistler promised to help us in every way and1 when in the mood1 to tell us what he could about himself and his life1 with the understanding that we were to take notes4 ,he was not a man from whom dates and facts could be forced4 ,his method was not unlike that of ,dr4 ,johnson1 who1 when ,boswell asked for biographical details1 said1 ,they'll come out by degrees as we talk together4 ,whistler had to talk in his own fashion1 or not at all2 we were to listen1 no matter where we met or under what conditions4 ,it was also agreed that there were to be two volumes1 one devoted to his life1 the other to his work1 and that photographs should be taken of the pictures in his studio to illustrate the volumes4 ,whistler's pictures were being carried off only too quickly1 and whatever we needed for illustration1 or as a record1 would have to be photographed at once4 ,the duty of making the notes fell to ,e41 and1 from that time until his death1 she kept an account of our meetings with him4 ,he was true to his promise4 ,we were often in the studio1 and he spent evening after evening with us4 ,sometimes we dined with him at ,garlant's ,hotel or at the ,caf ,royal1 sometimes we met at ,mr4 ,heinemann's1 but usually he dined with us in ,buckingham ,street1 coming so frequently that he said to us one ,june evening3 ,well1 you know1 you will feel about me as ,i did in the old days about the man ,i could never ask to dinner because he was always there6 ,i couldn't ask him to sit down1 because there he always was1 already in his chair6 ,once he told ,e4 to write to ,j41 who was out of town1 that he was living on our staircase4 ,during those evenings he gave us many facts and much material used in previous chapters4 ,he began by telling us of the years at home1 his student days in ,paris1 his coming to ,chelsea1 and1 though dates were not his strong point1 we soon had a consecutive story of that early period4 ,every evening made us wish more than ever that he could have written instead of talking1 for we soon discovered the difficulty of rendering his talk4 ,he used to reproach ,j4 with talking shorthand1 but no one was a greater master of the art than himself4 ,and so much of its meaning was in the pause1 the gesture1 the punctuating hands1 the laugh1 the adjusting of the eye-glass1 the quick look from the keen blue eyes flashing under the bushy eyebrows4 ,the impression left with us from the close intercourse of this summer was of his wonderful vitality1 his inexhaustible youth4 ,as yet illness had not sapped his energy4 ,he was sixty-six1 but only the greyness of the ever-abundant hair1 the wrinkles1 the loose throat suggested age4 ,he held himself as erect1 he took the world as gaily1 his interests were as fresh as if he were beginning life4 ,some saw a sign of feebleness in the nap after dinner1 but this was a habit of long standing1 and after ten minutes1 or less1 he was awake1 revived for the talk that went on until midnight and later4 ,whistler wished us to have the photographing in the studio begun without delay4 ,our first meeting1 after the preliminaries were settled1 was on ,june #b1 #aijj2 on the #fth the photographer and his assistant were in ,fitzroy ,street with ,j4 to superintend4 ,it took long to select the things which should be done first1 ,mr4 ,gray1 the photographer1 picking out those which he thought would come best1 ,whistler preferring others that ,gray feared might not come at all1 though the idea was that1 in the end1 everything in the studio should be photographed4 ,whistler found himself shoved in a corner1 barricaded behind two or three big cameras1 and he could scarcely stir4 ,he grew impatient1 he insisted that he must work4 ,as the light was not good for the photographer1 some canvases were moved out in the hall1 some were put on the roof1 but the best place was discovered to be ,mr4 ,wimbush's studio in the same building4 ,whistler went with ,j4 through the little cabinets where pastels and prints were kept1 and decided that a certain number must be worked on1 but that the others could be photographed4 ,then they lunched together with ,miss ,birnie ,philip1 ,gray photographing all the while1 and then ,whistler's patience was exhausted and everybody was turned out until the next day1 when ,gray came again4 ,and the next day1 and many next days1 ,j4 would go to ,fitzroy ,street and ,whistler would say1 ,now you must wait1 and he would wait in the little ante-room with ,marie1 and ,whistler would talk away through the open door until ,j4 was brought into the studio to see the finishing-touches added to the day's work4 ,this explains the beginning of our difficulties and the reason why our progress was not rapid4 ,we have spoken of the fever of work that had taken hold of ,whistler4 ,he dreaded to lose a second4 ,he was rarely willing to leave the studio during the day or1 if he did1 it was to work somewhere else1 as when he went to ,sir ,frank ,short's and1 as he told us the same evening1 pulled nineteen prints before lunch1 and all the joy in it came back1 but he did not return in the afternoon1 because1 well1 you know1 my consideration for others quite equals my own energy4 ,for himself he had no consideration1 and his work seldom stopped4 ,we remember one late afternoon during the summer1 when he had asked us to come to the studio1 finding tea on the table and ,whistler at his easel4 ,we must have tea at once or it will get cold1 he said1 and went on painting4 ,ten minutes later he said again1 ,we must have tea1 and again went on painting4 ,and the tea waited for a half-hour before he could lay down his brushes1 and then it was to place the canvas in a frame and look at it for another ten minutes4 ,when an invited interruption was to him a hindrance1 he could not but find ,mr4 ,gray1 with his huge apparatus1 a nuisance4 ,a good many photographs1 however1 were made at ,fitzroy ,street1 and ,whistler helped to get permission for pictures to be photographed wherever the photographing did not interfere with his work4 ,in ,england1 ,america1 and on the ,continent many pictures which had not been reproduced1 and to which access could be obtained1 were photographed4 ,nothing interested ,whistler more this year than the ,universal ,exhibition in ,paris1 and he and ,mr4 ,john ,m4 ,cauldwell1 the ,american ,commissioner1 understood each other after a first encounter4 ,mr4 ,cauldwell1 coming to ,paris to arrange the exhibition1 with little time at his disposal and a great deal to do1 wrote to ask ,whistler to call on a certain day at #d4cj sharp4 ,whistler's answer was that1 though appreciating the honour of the invitation1 he regretted his inability to meet ,mr4 ,cauldwell1 as he never had been able and never should be able to be anywhere at #d4cj sharp1 and it looked as if the unfortunate experience of #ahhi might be repeated4 ,but when ,whistler met ,mr4 ,cauldwell1 when he found how much deference was shown him1 when he saw the decoration and arrangement of the ,american galleries1 he was more than willing to be represented in the ,american section4 ,he sent ,l',andalouse1 the portrait of ,mrs4 ,whibley1 ,brown and ,gold1 the full-length of himself1 and1 at the ,committee's request1 ,the ,little ,white ,girl1 never before seen in ,paris4 ,he brought together also a fine group of etchings1 and when he learned that he was awarded a ,grand ,prix for painting and another for engraving1 he was gratified and did not hesitate to show it4 ,the years of waiting for the official compliment did not lessen his pleasure when it came4 ,rossetti retired from the battle at an early stage1 but ,whistler fought to the end and gloried in his victory4 ,he was dining at ,mr4 ,heinemann's when he received the news1 and they drank his health and crowned him with flowers1 and he enjoyed it as fully as the ftes of his early ,paris days4 ,j4 was awarded a gold medal for engraving1 and we suggested that the occasion was one for general celebration1 which was complete when ,timothy ,cole1 another gold medallist1 appeared unexpectedly as we were sitting down to dinner4 ,mr4 ,kennedy was one of the party1 and ,miss ,birnie ,philip came with ,whistler1 and the little dinner was the ceremony he knew how to make of reunions of the kind4 ,he was pleased when he heard that his medals were voted unanimously and read out the first with applause4 ,a story in connection with the awards1 told over our table some months later by ,john ,lambert returning from ,paris1 amused him vastly4 ,though it was agreed that the first medals should not be announced until all the others were awarded1 the news leaked out and got into the papers4 ,at the next meeting of the jury1 ,carolus-,duran1 always gorgeous1 was more resplendent than ever in a flowered waistcoat4 ,he took the chair1 and at once1 with his eye on the ,american jurors1 said that there had been indiscretion4 ,alexander ,harrison was up like a shot3 ,a propos des indiscrtions1 messieurs1 regardez le gilet de ,carolus6 ,during this time ,whistler was paying not only for his rooms at the ,htel ,chatham in ,paris1 but for one at ,garlant's ,hotel1 in addition to the apartment in the ,rue du ,bac where ,miss ,birnie ,philip and her mother lived the greater part of the year1 for the studios in the ,rue ,notre-,dame-des-,champs and ,fitzroy ,street1 and lastly1 for the ,company of the ,butterfly in ,hinde ,street4 ,it was no light burden1 though he had a light way of referring to his collection of chteaux and pieds--terre4 ,his pockets were as full as he had wanted them1 but he could not get used to their not being empty4 ,once1 afraid he could not meet one of his many bills for rent1 he asked a friend to verify his bank account1 with the result that six thousand pounds were found to be lying idle4 ,whistler1 as a ,west ,point man1 followed the ,boer ,war with the same interest he had shown in the ,spanish ,war4 ,it was a beautiful war on the part of the ,boers1 for whom he had unbounded admiration4 ,from ,paris1 through the winter1 he sent us1 week by week1 ,caran d',ache's cartoons in the ,figaro4 ,in ,london he cut from the papers despatches and leaders that reported the bravery of the ,boers and the blunders of the ,british1 and carried them with him wherever he went4 ,his comments did not amuse the ,islanders1 whom1 however1 he knew how to soothe after exasperating them almost beyond endurance4 ,one evening ,j4 walked back with him to ,garlant's1 and they were having their whisky-and-soda in the landlady's room while ,whistler gave his version of the news of the day1 which he thought particularly psychological4 ,then suddenly1 when it seemed as if the landlady could not stand it an instant longer1 he turned and said in his most charming manner1 ,well1 you know1 you would have made a very good ,boer yourself1 madam4 ,as he said it1 it became the most amiable of compliments1 and the evening was finished over a dish of choice peaches which she hoped would please him4 ,another evening1 the ,boers were on the point of kindling a fatal war between himself and a good friend1 when a bang of his fist on the table brought down a picture from the wall of our dining-room1 and in the crash of glass the ,boers were forgotten4 ,no one who met him during the years of the war can dissociate him from this talk1 and not to refer to it would be to give a poor idea of him4 ,if he had a sympathetic audience1 he went over and over the incidents of the struggle2 the wonder of the despatches2 ,lord ,roberts' explanation that all would have gone well with the ,suffolks on a certain occasion if they had not had a panic4 ,mrs4 ,kruger receiving the ,british ,army while the ,boers retired1 supplied with all they wanted1 though they went on capturing the ,british soldiers wholesale2 ,general ,buller's announcement that he had made the enemy respect his rear4 ,when he was told of despatches stating that ,buller1 on one occasion1 had retired without losing a man1 or a flag1 or a cannon1 he added1 ,yes1 or a minute4 ,he repeated the answer of a man at a lecture1 who1 when the lecturer declared that the cream of the ,british ,army had gone to ,south ,africa1 called out1 ,whipped cream4 ,the blunderings and the surrenderings gave ,whistler malicious joy1 and he declared that as soon as the ,british soldier found he was no longer in a majority of ten to one1 he threw up the sponge or dropped the gun4 ,he recalled ,bismarck's saying that ,south ,africa would prove the grave of the ,british ,empire1 and also that the day would come when the blundering of the ,british ,army would surprise the world1 and he quoted a sort of professional prophet who predicted a ,july that would bring destruction to the ,british3 ,what has ,july #aijj in store for the ,island8 he would ask4 ,there was no question of his interest in the ,boers1 but neither could there be that this interest was coloured by prejudice4 ,he never forgot his years of battle in ,england1 when1 alone1 he met the blunderings1 mistakes1 and misunderstandings of the army of artists1 critics1 and the public4 ,in his old age1 as in his youth1 he loved ,london for its beauty4 ,his friends were there1 nowhere else was life so congenial1 and not even ,paris could keep him long from ,london4 ,but it was his boast that he was an ,american citizen1 that on his father's side he was ,irish1 a ,highlander on his mother's1 and that there was not a drop of ,anglo-,saxon blood in his veins4 ,he had no affection for the people who persisted in their abuse and ridicule until1 confronted by the ,goupil ,exhibition of #ahib1 they were compelled--however grudgingly--to give him his due4 ,this was one reason why he expressed the wish that none of his pictures should form part of an ,english national collection1 or remain in ,england1 and emphasised the fact that his sitters at the end were ,american or ,scotch4 ,he conquered1 but the conquest did not make him accept the old enemies as new friends4 ,in the position of the ,boers he no doubt fancied a parallel with his own when1 alone1 they defied the ,english1 who1 on the battlefield as in the appreciation of art1 blundered and misunderstood4 ,whistler's ingenuity in seeing only what he wanted to see and in making that conform to his theories was extraordinary4 ,he could not be beaten because1 for him1 right on the other side did not exist4 ,he came nearest to it one evening when discussing the war1 not with an ,englishman1 but with an ,american and an officer into the bargain1 whom he met in our rooms1 and who said that there was always blundering at the opening of a campaign1 as at ,santiago1 where two divisions of the ,united ,states ,army were drawn up so that1 if they had fired1 they must have shot each other down4 ,it was a shock1 but ,whistler rallied1 offered no comment1 and was careful afterwards to avoid such dangerous ground4 ,prejudice coloured all his talk of the ,english1 whose characteristics to him were as humorous as his were incomprehensible to them4 ,it was astonishing to hear him seize upon a weak point1 play with it1 elaborate it fantastically1 and then make it tell4 ,the enemies suffered from his wit as he from their density4 ,his artistic sense served him in satire as in everything else4 ,one favourite subject was the much-vaunted ,english cleanliness4 ,he evolved an elaborate theory3 ,paris is full of baths and always has been2 you can see them1 beautiful ,louis ,,xv4 and ,louis ,,xvi4 baths on the ,seine2 in ,london1 until a few years ago1 there were none except in ,argyll ,street1 to which ,britons came with a furtive air1 afraid of being caught4 ,and the ,french1 having the habit of the bath1 think and say nothing of it1 while the ,british--well1 they're so astonished now they have learned to bathe1 they can't talk of anything but their tub4 ,the ,bath ,club he described as the latest incarnation of the ,british discovery of water4 ,his ingenious answer was ready when ,british virtue was extolled4 ,he repeated to us a conversation at this time with ,madame ,sarah ,grand4 ,she said it was delightful to be back in ,england after five or six weeks in ,france1 where she had not seen any men1 except two1 and they were ,germans1 whom she could have embraced in welcome4 ,a ,frenchman never would forget that women are women4 ,she liked to meet men as comrades1 without thought of sex4 ,whistler told her3 ,you are to be congratulated1 madam--certainly1 the ,englishwoman succeeds1 as no other could1 in obliging men to forget her sex4 ,a few days after1 he reported another happy answer4 ,he was with three ,englishmen and a ,german4 ,one of the ,englishmen said1 ,the trouble is1 we ,english are too honest2 we have always been stupidly honest4 ,whistler turned to the ,german3 ,you see1 it is now historically acknowledged that whenever there has been honesty in this country1 there has been stupidity4 ,his ingenuity increased with the consternation it caused1 and the ,islander figured more and more in his talk4 ,the excitement in ,china this summer interested him little less than affairs in ,south ,africa4 ,he was indignant1 not with the ,chinese for the alleged massacres at ,pekin1 but with ,americans and ,europeans for considering the massacres an outrage that called for redress4 ,after all1 the ,chinese had their way of doing things1 and it was better to lose whole armies of ,europeans than to harm the smallest of beautiful things in that great wonderful country4 ,he said to us one day3 ,here are these people thousands of years older in civilisation than us1 with a religion thousands of years older than ours1 and our missionaries go out there and tell them who ,god is4 ,it is simply preposterous1 you know1 that for what ,europe and ,america consider a question of honour one blue pot should be risked4 ,another evening when he said this to a larger audience1 one of the party asked him if art did not always mark the decadence of a country4 ,well1 you know1 said ,whistler1 a good many countries manage to go to the dogs without it4 ,the month of ,july in ,london was unusually hot1 and for the first time we heard ,whistler complain of the heat1 in which1 as a rule1 he revelled1 though he dressed for it at dinner in white duck trousers and waistcoat with his dinner-jacket1 and in the street exchanged his silk hat for a wide-brimmed soft grey felt1 or a dandy straw4 ,he was restless1 anxious to stay in his studio1 but1 for the sake of ,miss ,birnie ,philip and her mother1 anxious to go to the country or by the sea4 ,looking from our windows1 he would say that1 with the river there and the ,embankment ,gardens gay with music and people1 we were in no need to leave town1 and we were sure he envied us4 ,one day he went to ,amersham1 near ,london1 with the idea of staying there and painting two landscapes somebody wanted4 ,mr4 ,wimbush took him4 ,you know1 really1 ,i can't say that1 towards twilight1 it is not pretty in a curious way1 but not really pretty after all--it's all country1 and the country is detestable4 ,eventually he took a house at ,sutton1 near ,dublin1 persuaded ,mrs4 and ,miss ,birnie ,philip to go there1 and then promptly left with ,mr4 ,elwell for ,holland4 ,he told ,mr4 ,sidney ,starr once that only one landscape interested him1 the landscape of ,london4 ,but he made an exception of ,holland4 ,when he was reminded that there is no country there1 he said to us3 ,that's just why ,i like it--no great1 full-blown1 shapeless trees as in ,england1 but everything neat and trim1 and the trunks of the trees painted white1 and the cows wear quilts1 and it is all arranged and charming4 ,and look at the skies6 ,they talk about the blue skies of ,italy2 the skies of ,italy are not blue1 they are black4 ,you do not see blue skies except in ,holland and here1 where you get great white clouds1 and then the spaces between are blue6 ,and in ,holland there is atmosphere1 and that means mystery4 ,there is mystery here1 too1 and the people don't want it4 ,what they like is when the east wind blows1 when you can look across the river and count the wires in the canary bird's cage on the other side4 ,he stayed a week at ,domburg1 a small seashore village near ,middelburg4 ,with its little red roofs nestling among the sand-dunes and its wide beach under the skies he loved1 he thought it enchanting1 and made a few water-colours which he showed us afterwards in the studio4 ,the place1 he said1 was not yet exploited1 and at ,madame ,elout's he found good wine and a ,dordrecht banker who talked of the ,boers and assured him they were all right1 the ,dutch would see to that4 ,a visit to ,ireland followed4 ,he went full of expectations1 for as the descendant of the ,irish ,whistlers he called himself an ,irishman4 ,we have a note of his stay there from the late ,sir ,william ,armstrong1 ,director of the ,national ,gallery of ,ireland3 ,he took a house1 ',craigie' the name of it1 at ,sutton1 six miles from ,dublin1 on the spit of sand which connects the ,hill of ,howth with the mainland 7as the ,neutral ,ground unites ',gib4' with ,spain7 on the north side of ,dublin ,bay4 ,there he excited the curiosity of the natives by at once papering up the windows on the north side of the house1 for half their height1 with brown paper4 ,he came to dinner with me one night1 stipulating that he should be allowed to depart at #i4cj1 as he was such an early goer to bed4 ,we dined accordingly at #g1 and his ,jehu1 with the only closed fly the northern half of ,county ,dublin could supply1 was punctually at the door at the hour named4 ,there he had to wait for three hours1 for it was not until #ab4cj that the delightful flow of ,whistler's eloquence came to an end1 and that he extracted himself from the deep arm-chair which had been his pulpit for four hours and a half4 ,his talk had been great1 and we had confined ourselves to little exclamatory appreciations and gazes of rapt adoration6 ,i spent an hour or two with him in the ,irish ,national ,gallery4 ,i found him there lying on the handrail before a sketch of ,hogarth 7,george ,,ii4 and his family7 and declaring it was the most beautiful picture in the world4 ,the only other remark on any particular picture which ,i can now recall is his saying of my own portrait by ,walter ,osborne1 ',it has a skin1 it has a skin6' ,he soon grew tired of ,sutton and ,ireland1 and when ,i called at ,craigie a few days after the dinner he had flown4 ,he did not forget to send a graceful word to my wife1 signed with his name and ,butterfly4 ,he did little work during his visit4 ,the house was on the wrong side of the bay1 the weather was wretched1 but ,chester1 on the way home1 was charming and full of possibilities4 ,in ,september the frequent meetings were continued4 ,the talk drifting here and there1 touched upon many subjects belonging to no particular period1 but characteristic of his moods and memories4 ,thus1 one evening1 when ,mr4 ,w4 ,b4 ,blaikie was with us and the talk turned to ,scotland1 ,whistler told stories of ,carlyle4 ,allingham1 he said1 was for a time by way of being ,carlyle's ,boswell and was always at his heels4 ,they were walking in the ,embankment ,gardens at ,chelsea1 when ,carlyle stopped suddenly3 ,have a care1 mon1 have a care1 for ye have a tur-r-ruble faculty for developing into a bore6 ,carlyle had been reading about ,michael ,angelo with some idea of writing his life or an essay1 but it was ,michael ,angelo1 the engineer1 who interested him4 ,another day1 walking with ,allingham1 they passed ,south ,kensington ,museum4 ,you had better go in1 ,allingham said4 ,why1 mon1 only fools go in there4 ,allingham explained that he would find sculpture by ,michael ,angelo1 and he should know something of the artist's work before writing his life4 ,no1 said ,carlyle1 we need only glance at that4 ,whistler's talk of ,howell and ,tudor ,house overflowed with anecdotes of the adventurer1 for whom he retained a tender regret1 and the group gathered about ,rossetti4 ,he accounted for ,howell's downfall by a last stroke of inventiveness when he procured rare1 priceless black pots for a patron who later discovered rows of the same pots in an ,oxford ,street shop4 ,whistler had a special liking for the story of ,rossetti dining at ,lindsey ,row1 at the height of the blue and white craze1 and becoming so excited when his fish was served on a plate he had never seen before that he forgot the fish and turned it over1 fish and all1 to look at the mark on the back4 ,another memory was of a dinner at ,mr4 ,ionides'1 with ,rossetti a pagan1 ,sir ,richard ,burton a ,mohammedan1 ,lady ,burton a ,catholic4 ,they fell into a hot argument over religion1 but ,whistler said nothing4 ,lady ,burton1 who was in a state of exaltation1 could not stand his silence3 ,and what are you1 ,mr4 ,whistler8 ,i1 madam1 he answered1 why1 ,i am an amateur6 ,he spent many evenings drawing upon his memory of the droll and joyous things of the past4 ,but the past brought him back with redoubled interest to the present1 in which so much waited to be done4 ,in ,october we began to notice a change1 and we knew that when he worried there was cause4 ,he was called to ,paris once or twice about the school and his chteaux and pieds--terre4 ,after one of these journeys he was laid up with a severe cold at ,mr4 ,heinemann's4 ,in ,november he was in bed for many days at ,garlant's4 ,he had other worries4 ,british critics conspired either to ignore his success at the ,paris ,exhibition1 or account for it sneeringly or lyingly4 ,he was irritated when he read an article on the ,exhibition1 signed ,d4 ,s4 ,m41 in the ,saturday ,review devoted altogether1 he told us1 to ,manet and ,fantin1 with only a passing reference to himself3 ,manet did very good work1 of course1 but then ,manet was always l'colier--the student with a certain sense of things in paint1 and that is all6--he never understood that art is a positive science1 one step in it leading to another4 ,he painted1 you know1 in la manire noire1 the dark pictures that look very well when you come to them at ,durand-,ruel's1 after wandering through rooms of screaming blues and violets and greens1 but he was so little in earnest that midway in his career he took to the blues and violets and greens himself4 ,you know1 it is the trouble with so many2 they paint in one way--brilliant colour1 say--they see something1 like ,ribot1 and1 dear me1 they think1 we had better try to do this too1 and they do and1 well1 really1 you know1 in the end they do nothing for themselves6 ,illustration3 ,,portrait ,,of ,,mrs4 ,,walter ,,sickert ,in the possession of ,mrs4 ,cobden-,sanderson ,illustration3 ,,portrait ,,of ,,miss ,,woakes ,in the possession of ,messrs4 ,knvedler ,co4 7,see page #cfj7 ,he was furious with the critic who stated that his medal was awarded for ,the ,little ,white ,girl4 ,the statement was offensive because1 he said1 the critics are always passing over recent work for early masterpieces1 though all are masterpieces2 there is no better1 no worse2 the work has always gone on1 it has grown1 not changed1 and the pictures ,i am painting now are full of qualities they cannot understand to-day any better than they understood ,the ,little ,white ,girl at the time it was painted4 ,this was an argument he often used4 ,a few evenings after1 he told a man1 who suggested that ,millet's later work was not so good because he was married and had to make both ends meet1 ,you're wrong4 ,an artist's work is never better1 never worse2 it must be always good1 in the end as in the beginning1 if he is an artist1 if it is in him to do anything at all4 ,he would not be influenced by the chance of a wife or anything of that kind4 ,he is always the artist4 ,he was annoyed because critics could not see a truth which to him was simple and obvious4 ,his annoyance culminated when the ,magazine of ,art not only said the ,grand ,prix was awarded for ,the ,little ,white ,girl1 but protested against the award1 because the picture was painted before the ten years' limit imposed by the ,french authorities1 a protest printed in other papers4 ,whistler could not bear this in silence1 for it looked like an effort to deprive him of his first high award from a ,paris ,exhibition4 ,the attack was disgraceful4 ,whistler's two other pictures were his most recent1 and1 as we have said1 ,the ,little ,white ,girl was specially invited4 ,as soon as he was well enough1 he came to us several times1 with ,mr4 ,william ,webb1 his solicitor1 to talk the affair over4 ,as a result1 an apology was demanded1 and made4 ,this belittling of certain pictures in favour of others1 with its inevitable inference1 offended him1 in the end as in the beginning4 ,mr4 ,sargent writes us an instance of his manner of carrying off the offence before the world4 ,somebody brought him a commission for a painting1 stipulating that it should be a serious work4 ,whistler's answer was that he could not break with the traditions of a lifetime4 ,another worry he should have been spared was a dispute with one of the tenants at the ,rue du ,bac1 a trivial matter which1 in his nervous state1 loomed large and made him unnecessarily miserable4 ,the carpets of the lady on the floor above him were shaken out of her windows into his garden1 and it could not be stopped4 ,he tried the law1 but was told he must have disinterested witnesses outside the family4 ,if he engaged a detective1 a month might pass before she would do it again4 ,but it chanced that1 while beating a carpet1 it fell into his garden1 and his servants refused to give it up4 ,the lady went to law and his lawyer advised him to return the carpet4 ,it depressed him hopelessly1 and as he had long ceased to live in the ,rue du ,bac1 we could not understand why he should have heard of so petty a domestic squabble4 ,ill and worried as he was1 our work at intervals came to a standstill4 ,when he felt better and stronger the talks went on1 but at moments he seemed almost to fear that the book would prove an obituary4 ,once he said to us that we wanted to make an ,old ,master of me before my time1 and we had too much respect and affection for him to add to his worries by our importunity4 ,with the late autumn his weakness developed into serious illness4 ,by the middle of ,november he was extremely anxious about himself1 for his cough would not go4 ,the doctor's diagnosis1 he said1 was lowered in tone3 probably the result of living in the midst of ,english pictures4 ,a sea journey was advised1 and ,tangier suggested for the winter4 ,when he was with us he could not conceal his anxiety4 ,if he sneezed1 he hurried away4 ,he fell asleep before dinner was over2 sometimes he could hardly keep awake through the evening4 ,once or twice he seemed to be more than asleep1 when there was nothing to do but to rouse him1 which was not easy1 and we were extremely frightened until we could1 and1 indeed1 until ,j4 got him back to ,garlant's4 ,he would never trust himself to the night air until ,augustine had mixed him a hot grog4 ,tangier did not appeal to him1 and he asked ,j4 to go with him to ,gibraltar1 stay a while at ,malaga1 and then come back by ,madrid to see at last the pictures he had always wanted to see4 ,he was hurt when ,j4's work made it impossible for him to leave ,london4 ,in ,december ,whistler gave up the struggle to brave the ,london winter1 and decided to sail for ,gibraltar1 on the way to ,tangier and ,algiers1 with ,mr4 ,birnie ,philip1 his brother-in-law1 to take care of him4 ,sir ,thomas ,sutherland1 ,chairman of the ,p4 ,o4 ,company1 arranged for every comfort on the voyage4 ,but1 as usual1 there were complications at the last moment--as usual1 the fearful trouble of getting off from his studio4 ,everybody was pressed into his service and kept busy1 all the waiters in the hotel were in attendance4 ,the day before he was to start he discovered that his etching plates needed to be regrounded and he sent them to ,j41 who agreed to do what he could at such short notice1 but warned him that there was not time to ground the plates properly and that very likely they would be spoiled4 ,whistler sent for them in the evening and1 instead of leaving them out to dry until the morning1 wrapped them up and packed them among the linen in his trunk4 ,it was extraordinary that a man so careful about his work should always have wanted somebody else to ground his plates or prepare his canvases1 or do something as important1 that he should have done for himself1 and that oftener than not he should have wanted it1 as on this occasion1 at the last moment4 ,however1 with the help of his friends and the waiters and his family1 he was got ready in time1 and on ,december #ad he started for the ,south4 ,,chapter ,,xlvi3 ,,in ,,search ,,of ,,health4 ,,the ,,years ,,nineteen ,,hundred ,,and ,,one ,,and ,,nineteen ,,hundred ,,and ,,two4 ,as soon as ,whistler got away from ,london he was unhappy4 ,at ,tangier the wind was icy1 at ,algiers it rained1 and everywhere when it was clear the sky was hard and the sea was black4 ,snow was falling at ,marseilles1 and he was kept in his room for a couple of weeks1 so ill he had to send for a doctor1 and he was only comforted when he found the doctor delightful4 ,corsica was recommended and1 as ,napoleon's ,island1 attracted ,whistler4 ,when he was well enough ,mr4 ,birnie ,philip left him1 and he sailed alone for ,ajaccio4 ,here he stayed at the ,htel ,schweizerhof4 ,the weather at first was abominable1 so cold and the wind so treacherous that he could not work out of doors1 and he felt his loneliness acutely4 ,fortunately he made a friend of the ,curator of the ,museum1 and ,mr4 ,heinemann joined him for a time4 ,they loitered about together in the quaint little town1 went to see the house where ,napoleon was born--a great experience--spent many rainy hours in the caf where ,mr4 ,heinemann taught him to play dominoes1 a resource not only then but the rest of his life4 ,they played for the price of their coffee1 and ,whistler cheated with a brilliancy that made him easily a winner1 but that horrified a ,german who sometimes took a hand1 though the navet of ,whistler's system could not have deceived a child4 ,he was by no means idle1 and he brought back a series of exquisite pen and pencil drawings begun at ,tangier4 ,a few water-colours were made1 and when the weather gave him a chance he worked on his copper-plates4 ,he bit one or two that ,j4 had grounded in ,london1 and the ground came off4 ,he did not know how1 or did not have the courage to prevent it4 ,we can only wonder again that a man who made such wonderful plates did not know what to do1 or did not dare do it1 in difficulties of this sort1 preferring to rely upon somebody else4 ,he had drawn on some of the other plates before he began to bite any of them1 and he may have done more than have as yet been seen4 ,in ,mr4 ,howard ,mansfield's and the ,grolier catalogues only one plate in ,corsica is recorded1 in both called ,the ,bohemians4 ,but as ,j4 grounded ten or a dozen for ,whistler1 and as he spoke to us of more than once bitten1 it is probable that the plates exist4 ,all my dainty work lost1 he wrote to us from ,corsica1 and it looked as if the shadow had fallen upon our friendship4 ,but he understood1 and the shadow passed as quickly as it came4 ,there were other schemes4 ,one day1 after his return1 he told ,mr4 ,clifford ,addams that he had seen a great black-bearded shepherd1 on a horse1 carrying a long pole1 coming down a hill-side1 of whom he wanted to make a large equestrian portrait4 ,but he never started it4 ,he felt he was not able4 ,the closing of the school in ,paris occupied and worried him1 and he was arranging for a show of pastels and prints at the ,luxembourg4 ,one pleasure1 of which he wrote to us1 came from new honours in ,dresden1 where he was awarded a gold medal and elected unanimously to the ,acadmie ,royale des ,beaux-,arts4 ,he was more tired than he admitted in his letters1 dwelling little on his fatigue1 and insisting that the doctor in ,marseilles found nothing was the matter with him4 ,but he was never strong after the autumn of #aijj1 and earlier than this the doctor in ,london warned his friends that he was failing4 ,he was more hopeful because at ,ajaccio he said he had discovered what was the matter with him3 ,at first1 though ,i got through little1 ,i never went out without a sketch-book or an etching-plate4 ,i was always meaning to work1 always thinking ,i must4 ,then the ,curator offered me the use of his studio4 ,the first day ,i was there he watched me1 but said nothing until the afternoon4 ,then--',but1 ,mr4 ,whistler1 ,i have looked at you1 ,i have been watching4 ,you are all nerves1 you do nothing4 ,you try to1 but you cannot settle down to it4 ,what you need is rest--to do nothing--not to try to do anything4' ,and all of a sudden1 you know1 it struck me that ,i had never rested1 that ,i never had done nothing1 that it was the one thing ,i needed4 ,and ,i put myself down to doing nothing--amazing1 you know4 ,no more sketch-books1 no more plates4 ,i just sat in the sun and slept4 ,i was cured4 ,you know1 ,joseph must sit in the sun and sleep4 ,write and tell him so4 ,he was sufficiently recovered to take his old joy in the ,islanders1 into the midst of whom he fell on the ,p4 ,o4 steamer coming back from ,marseilles3 ,nobody but ,english on board1 and1 after months of not seeing them1 really they were amazing3 there they all were at dinner1 you know--the women in low gowns1 the men in dinner jackets4 ,they might look a trifle green1 they might suddenly run when the ship rolled--but what matter8 ,there they were--men in dinner jackets1 stewards behind their chairs in dinner jackets--and so all's right with the country6 ,and1 do you know1 it made the whole business clear to me down there in ,south ,africa4 ,at home every ,englishman does his duty--appears in his dinner jacket at the dinner hour--and so1 what difference what the ,boers are doing8 ,all is well with ,england6 ,you know1 you might just as well dress to ride in an omnibus6 ,whistler returned from ,corsica at the beginning of ,may in excellent spirits4 ,he came to us on the day of his arrival4 ,we give one small incident that followed because it shows the simplicity he was careful to conceal from the world he liked to mystify4 ,j4 was in ,italy and ,e41 that afternoon1 on her way back from the ,continent4 ,at our door he met our ,french maid1 ,augustine1 starting for ,charing ,cross1 and he walked with her to the station1 where she was to meet ,e41 while she gave him the news4 ,her account was that everybody stared1 which was not surprising4 ,he1 always a conspicuous figure1 was the more so in his long brown overcoat and round felt hat1 en voyage1 while she wore a big white apron and was en cheveux4 ,moreover1 their conversation was animated4 ,she invited him to dinner1 promising him dishes which she knew would tempt him1 and he accepted4 ,he appeared a little before eight4 ,positively shocking and no possible excuse for it1 he said1 but1 well1 here ,i am6 ,work was taken up in the studio1 our talks were resumed1 his interest in the ,boer ,war grew1 the heat he had not found in the ,south was supplied by ,london in ,june and ,july1 and from the heat he gained strength4 ,he came and went1 as of old1 between ,garlant's ,hotel and ,buckingham ,street1 until he declared that the cabbies in the ,strand knew him as well as the cabbies in ,chelsea4 ,it had ever been his boast that he was known to almost every cabman in ,london1 as1 indeed1 he was4 ,the tales of his encounters with them were numerous1 for1 if lavish in big things1 he could sometimes be narrow in small1 and his drives occasionally ended in differences4 ,the only time we knew the cabby to score was one day this year1 when ,j4 was walking from the studio with him4 ,kibby1 kibby1 ,whistler cried to a passing cab1 not seeing the fare inside4 ,the cabman drew up1 looked down at him1 looked him over1 and said1 ,where did yer buy yer 'at8 ,go1 get yer 'air cut6 and drove off at a gallop4 ,whistler1 safe inside an omnibus1 laughed at the adventure4 ,but the summer was full of adventures4 ,another afternoon he and ,j4 were walking in the ,strand when a well-known ,english artist stopped him with1 ,why1 my dear old ,jimmie1 how are you8 ,i haven't seen you or spoken to you for twenty years6 ,whistler turned slowly to ,j4 and said1 ,joseph1 do you know this person8 ,and the person fled4 ,h'm1 said ,whistler1 hasn't spoken to me for twenty years--guess it will be another twenty before he dares again4 ,we were abroad a great part of the summer of #aija1 and when we got back his weakness had returned with the cold and the damp and the fog4 ,he had realised the uselessness of keeping up his apartment and studio in ,paris1 the state of his health making it impossible for him to live in the one or to climb to the other1 and business in connection with closing them took him to ,paris in ,october4 ,towards the beginning of the month he was ill in bed at ,garlant's ,hotel1 and towards the end at ,mr4 ,heinemann's in ,norfolk ,street4 ,when well enough to go out he was afraid to come to us in the evening3 ,buckingham ,street at night1 you know1 a dangerous1 if fascinating place6 ,he would not dine where he could not sleep1 he said1 ,j'y dne1 j'y dort1 and in our small flat he knew there was no corner for him4 ,early in ,november he moved to ,tallant's ,hotel1 ,north ,audley ,street1 and there he was very ill and more alarmed than ever4 ,this time ,i am very much bowled over1 unable to think1 he told ,e4 when she went to see him1 and1 though he laughed1 he was depressed by his landlady's recommendation of his room as the one where ,lord ---- died4 ,i tried to make her understand1 he said1 that what ,i wanted was a room to live in4 ,he looked the worse because in illness1 as in health1 he had the faculty of inventing extraordinary costumes4 ,e4 remembers him there1 after he was able to get up1 in black trousers1 a white silk night-shirt flowing loose1 and a short black coat4 ,illness made ,whistler more of a wanderer1 and for months he was denied the rest he knew he needed4 ,from ,tallant's1 in ,november1 he went to ,mrs4 ,birnie ,philip's in ,tite ,street1 ,chelsea4 ,here he never asked his friends1 and we saw less of him4 ,the first week in ,december he left ,london for ,bath1 where he took rooms in one of the big ,crescents1 and where he thought he could work4 ,there were shops in which to hunt for old silver and things1 in a vague way people seemed to know him1 and1 on the whole1 ,bath pleased him4 ,he lost few excuses1 however1 for coming to ,london1 and was in town almost all of ,january4 ,on some days he was surprisingly well4 ,he went to the ,old ,masters ,exhibition at the ,royal ,academy especially to see the ,kingston ,lacy ,las ,menias1 and he told us the same day3 ,it is full of things only ,velasquez could have done--the heads a little weak perhaps--but so much1 or everything1 that no one else could have painted like that4 ,and up in a strange place they call the ,diploma ,gallery ,i saw the ,spanish ,phillip's copy of ,las ,menias1 full of atmosphere really1 and dim understanding4 ,ochtervelt's ,lady ,standing at a ,spinet interested him1 suggesting a favourite theme3 ,the ,dutchmen knew how to paint--they had respect for the surface of a picture2 the modern painter has no respect for anything but his own cleverness1 and he is sometimes so clever that his work is like that of a bad boy1 and ,i'm not sure that he ought not to be taken out and whipped for it4 ,cleverness6--well1 cleverness has nothing to do with art2 there can be the same sort of cleverness in painting as that of the popular officer who cuts an orange into fancy shapes after dinner4 ,he was severe on contemporary artists who forgot the standard of the ,louvre1 the only standard he recognised4 ,of ,conder he said1 ,il est trop joli pour tre beau6 and of a follower of ,rodin1 ,he makes a landscape out of a man4 ,when he saw ,watts' ,hope his comment was1 ,the hope that maketh the heart sick4 ,watts he always called ce faux ,titien4 ,except in ,england1 would anything short of perfection in art be praised8 he said4 ,why approve the tolerable picture any more than the tolerable egg8 ,a sitter dissatisfied with his portrait told ,whistler it was not good4 ,do you call it a good piece of art8 he asked4 ,well1 said ,whistler1 do you call yourself a good piece of ,nature8 ,one day a man rushed into a hat store and1 as ,whistler was hatless1 being fitted1 bellowed1 ,i say1 this hat don't fit4 ,your coat don't1 either1 ,whistler answered4 ,one or two evenings he risked the night air to come to us and his talk was as gay and brilliant--reminiscent1 critical1 wicked1 as the mood took him1 and at times serious4 ,we remember his earnestness when he recalled the sances and spiritual manifestations at ,rossetti's1 in which he believed4 ,he could not understand the people who pretended to doubt the existence of another world and the hereafter4 ,his faith was strong1 though vague when there was question of analysing it4 ,probably he never tried to reduce it to dogma and doctrine1 and1 in that sense1 he was the amateur he described himself in jest4 ,if his inclination turned to any special creed it was to ,catholicism4 ,the beauty of ritual is with the ,catholics1 he said4 ,but his work left him no time to study these problems1 and his belief perhaps was stimulated by the mystery in which it was lost4 ,he would have been more amused and interested than anybody could he have foreseen the messages to be received from him by an artist1 and the book to be written by him for an author1 and the portrait to be made by him for a medium1 after his death4 ,on other days ,london apparently was tiring him and he dozed off and on through his visits4 ,he expended much energy in sending some old pieces of silver to the doctor at ,marseilles and the ,curator at ,ajaccio1 who had been kind to him4 ,he was full of these little courtesies and never forgot kindness1 just as he never failed to show it to those who appealed to him1 whether it was to find a publisher for an unsuccessful illustrator1 or a gallery for an unsuccessful painter1 or even1 as we know happened once1 to support a morphomaniac for months4 ,a shorter visit to town was made solely to attend a meeting of the ,international ,society because his presence was particularly desired4 ,this was one of the occasions that proved the sincerity and activity of his devotion to the ,society and its affairs4 ,it is a satisfaction that this devotion was appreciated and that the loyalty of the ,council was not shaken during his lifetime4 ,in ,march ,whistler came back to ,tite ,street1 but1 as we have said1 he asked no one while he stayed with the ,ladies1 his name for his mother- and sisters-in-law4 ,there was one almost clandestine meeting with ,professor ,sauter1 ,whistler's desire to hear about the ,boers1 to whom he never referred1 of course1 in the presence of the ,ladies1 becoming too strong to be endured1 and he could rely upon ,sauter for sympathy and the latest news4 ,it was an interval of mystery in the studio4 ,no one was invited1 few were admitted1 nothing was heard of the work being done4 ,whistler liked to keep up an effect of mystery in his movements1 but we have never known him to carry it so far as during the first month or so after his return from ,bath4 ,at last ,j4 was summoned4 ,whistler would not let him come further than the ante-room1 talking to him through the open door or the thin partition1 but presently1 probably forgetting1 called him into the studio and went on painting1 and he forgot the mystery4 ,whistler felt he had little strength and devoted that little to his work4 ,but1 even in ill-health1 he could not live without people about him1 and he soon fell back into his old ways4 ,miss ,birnie ,philip was now almost always in the studio with him4 ,in ,april he showed us the portrait of ,mr4 ,richard ,a4 ,canfield1 whose acquaintance he made at this time1 unfortunately1 for he introduced ,mr4 ,canfield to the ,ladies1 and the introduction resulted in the loss of one of his friends4 ,miss ,birnie ,philip was sitting to him1 he was working on the portrait of ,miss ,kinsella1 the ,venus1 and the little heads1 and he was adding to the series of pastels4 ,he was bothered about the show of his prints and pastels which ,m4 ,bndite wished to make at the ,luxembourg1 and he was anxious to hand over the details to ,j41 who could not see to them as he was away constantly this year4 ,whistler looked forward to the show because of the official character it would have1 though after recent purchases of pictures for the ,luxembourg he said1 ,you know1 really1 ,i told ,bndite1 if this goes on ,i am afraid ,i must take my ',mummy' from his ,hotel4 ,he was worried also about a show at the ,caxton ,club in ,chicago1 where it was proposed to reproduce his etchings without his permission4 ,but when the ,club found he objected the matter dropped4 ,to avoid further wandering1 for which he was no longer equal1 he took a house in ,chelsea1 where he had lived almost thirty years3 he had been absent hardly more than ten4 ,mrs4 and ,miss ,birnie ,philip went to live with him4 ,the house1 not many doors west of old ,chelsea ,church1 was ,no4 #gd ,cheyne ,walk1 built by ,mr4 ,c4 ,r4 ,ashbee1 and it stood on the site of a fish-shop of which ,whistler had made a lithograph4 ,there was a spacious studio at the back in which1 in his words1 he returned to his old scheme of grey4 ,its drawbacks were that it was on a lower level than the street1 reached by a descent of two or three steps from the entrance hall1 and that the rest of the house was sacrificed to it4 ,two flights of stairs led up to the drawing-room where1 in glass cases running round the room1 he placed his blue-and-white4 ,the dining-room was on this floor1 but another flight of stairs had to be climbed to get to the bedrooms in the garrets4 ,almost all the windows opening upon the river were placed so high1 and filled with such small panes1 that little could be seen from them of the beauty of the ,thames and its banks so dear to ,whistler4 ,the street door was of beaten copper and the house was full of decorative touches1 which1 he said1 make me wonder what ,i am doing here anyhow--the whole1 you know1 a successful example of the disastrous effect of art upon the ,british middle classes4 ,into this house he moved in ,april4 ,he reserved his energy for his work and went out scarcely at all4 ,he did not dare risk the dinner given in ,may by ,london artists to ,rodin1 who1 however1 breakfasted with him a day or two after4 ,we mention a detail that shows how sensitive ,whistler was on certain subjects4 ,m4 ,lantri and ,mr4 ,tweed came with ,rodin1 and this is ,whistler's account to us later on the same day3 ,it was all very charming4 ,rodin distinguished in every way--the breakfast very elegant--but--well1 you know1 you will understand4 ,before they came1 naturally1 ,i put my work out of sight1 canvases up against the wall with their backs turned4 ,and you know1 never once1 not even after breakfast1 did ,rodin ask to see anything1 not that ,i wanted to show anything to ,rodin1 ,i needn't tell you--but in a man so distinguished it seemed a want of--well1 of what ,west ,point would have demanded under the circumstances4 ,no doubt ,rodin thought1 from the careful manner in which work was put out of sight1 that he was not expected to refer to it4 ,his opinion of ,whistler we know1 for he wrote it to us3 ,whistler tait un peintre dont le dessin avait beaucoup de profondeurs1 et celles-ci furent prpares par de bonnes tudes1 car il a d tudier assidument4 ,il sentait la forme1 non seulement comme le font les bons peintres mais de la manire des bons sculpteurs4 ,il avait un sentiment extrmement fin1 qui a fait croire quelques-uns que sa base n'tait pas forte1 mais elle tait1 au contraire1 et forte et sre4 ,il comprenait admirablement l'atmosphre1 et un de ses tableaux qui m'a le plus vivement impressionn1 ',la ,tamise 7barrage7 ,chelsea1' est merveilleux au point de vue de la profondeur de l'espace4 ,le paysage en somme n'a rien2 il n'y a que cette grande tendue d'atmosphre1 rendue avec un art consomm4 ,l'oeuvre de ,whistler ne perdra jamais par le temps2 elle gagnera2 car une de ses forces est l'nergie1 une autre la dlicatesse2 mais la principale est l'tude du dessin4#ac ,his visits to us were on ,sundays1 when he came for noonday breakfast1 alone or with ,miss ,birnie ,philip4 ,if possible1 we had people he liked or was interested in to meet him4 ,one ,sunday the late ,mrs4 ,sarah ,whitman1 of ,boston1 and ,miss ,tuckerman were of the party1 and ,whistler1 though he arrived tired and listless1 recovered his animation before breakfast was over1 and1 for the new audience1 described again the house in which he was so astonished to find himself1 and again summed up the ,boer campaign4 ,once he braved the night and dined1 ,june #ab--the last time he dined at our table--and was so wonderful we forgot how ill he was4 ,we asked ,mr4 and ,mrs4 ,harrison ,morris and ,professor ,sauter1 and ,mr4 ,morris brought a message from ,general ,wheeler1 then in ,london and delighted to have news of ,whistler1 whom he remembered so well in the class above him at ,west ,point4 ,to be remembered by a distinguished ,west ,point man was charming1 but ,whistler would not hear of ,general ,wheeler being in the class below him2 it was the class above2 for ,whistler did not choose to be older than anybody4 ,we have spoken of his prejudices4 ,he gave that evening an instance of one of the strongest4 ,something was said of the negro2 he refused to see any good in the nigger1 he did not like the nigger1 and that was the end of it4 ,but ,mr4 ,morris argued that it depended on the nigger2 some he would be glad to invite to his house and to dinner4 ,well1 you know1 said ,whistler1 ,i should say that depends not on the nigger1 but on the season of the year6 ,this reminds us of his argument another evening with ,mrs4 ,t4 ,fisher ,unwin4 ,but the negro had never had a chance1 ,mrs4 ,unwin protested4 ,never had a chance6 said ,whistler1 why1 there1 you know1 there they all were starting out equal--the white man1 the yellow man1 the brown man1 the red man1 the black man--what better chance could the black man have8 ,if he got left1 well1 it's because he couldn't keep up in the race4 ,illustration3 ,,the ,,chelsea ,,girl 7,see page #cei7 ,illustration3 ,,portrait ,,of ,e4 ,g4 ,,kennedy ,in the ,metropolitan ,museum1 ,new ,york 7,see page #cce7 ,on these last visits there was another subject he could not keep long out of his thoughts and his talk4 ,he had not been many days in his new house before building was begun by ,mr4 ,ashbee on a vacant lot next door4 ,it is knock1 knock1 knock all day1 ,whistler said1 and his resentment was unbounded4 ,in his nervous state the perpetual irritation1 the feeling that advantage had been taken of him and that he had not been informed of the nuisance beforehand1 put him into a rage4 ,mr4 ,ashbee has written us that ,whistler knew a building was to be put up4 ,those who took the house may have known1 but ,whistler told us he did not until the work began4 ,excitement1 above all1 the doctor said1 must be avoided as it was bad for his heart4 ,there was no mistaking the effect of this endless annoyance4 ,he hoped for legal redress1 and he referred the matter to ,mr4 ,webb4 ,but the knocking continued4 ,on ,june #ag ,e4 dined with him at ,cheyne ,walk1 the one other guest ,mr4 ,freer1 recently arrived from ,detroit1 and it seemed to her as if ,whistler was fast losing the good done by the winter's rest and quiet4 ,mrs4 and ,miss ,birnie ,philip were uneasy1 and it came as no surprise to hear a few days later that he had left the house in search of repose and distraction in ,holland1 with ,mr4 ,freer as his companion4 ,it was too late4 ,at ,the ,hague1 where he stayed in the ,htel des ,indes1 he was dangerously ill1 at death's door4 ,mr4 ,freer remained as long as he could1 and ,miss ,birnie ,philip and ,mrs4 ,whibley hurried to take care of him4 ,the period was critical4 ,there was no suggestion of it in the first public sign he gave of convalescence4 ,a stupid reporter telegraphed from ,the ,hague that the trouble with ,whistler was old age1 and it would take him a long time to get over it4 ,the ,morning ,post published an article that ,whistler thought had been prepared in anticipation of death1 which1 sparing him for the time1 spared also the old wit4 ,he wrote to beg that the ready wreath and quick biography might be put back into their pigeon-hole for later use2 in reference to the writer's description of him he apologised for continuing to wear my own hair and eyebrows after distinguished confrres and eminent persons have long ceased the habit2 and those who read the letter could not imagine that1 a few days previously1 his letter-writing seemed at an end4 ,it contained his last word about ,swinburne1 and in it the bitterness with which he wrote ,et tu1 ,brute6 in ,the ,gentle ,art had disappeared4 ,the ,morning ,post stated that ,swinburne's verses inspired ,the ,little ,white ,girl4 ,whistler explained that the lines were only written in my studio after the picture was painted4 ,and the writing of them was a rare and graceful tribute from the poet to the painter--a noble recognition of work by the production of a nobler one4 ,after ,mr4 ,freer had gone1 ,mr4 ,heinemann1 at ,whistler's urgent appeal1 joined him in ,the ,hague1 a fortunate circumstance1 as two charming spinster cousins1 the ,misses ,norman1 were able to find for the patient comforts out of reach of a stranger4 ,they took rooms for him near the ,htel des ,indes1 suggested a nurse1 prepared dishes for him1 and interested ,the ,hague artists in his presence4 ,mesdag1 ,israels1 and ,van 's ,gravesande were attentive4 ,afterwards1 ,van 's ,gravesande wrote3 ,je l'ai beaucoup aim4 ,whistler1 malgr tout son quarrelling avec tout le monde1 c'tait un 'trs bon garon' tout fait charmant entre camarades4 ,j'ai pass quelques jours avec lui1 il y dj une vingtaine d'annes1 ,dordrecht nous y avons fait des croquis1 des promenades sur l'eau1 etc4 etc4 ,j'en garde toujours un excellent souvenir4 ,on ne peut pas s'imaginer un compagnon plus gentil que lui1 enjou1 aimable1 sans aucune prtention1 enthousiaste1 et avec cela travailleur comme pas un4 ,whistler enjoyed the society of his doctor--the ,court ,doctor1 quite the most distinguished in ,holland4 ,mr4 ,clifford ,addams came for a while from ,dieppe1 and in ,september ,e4 went to ,holland4 ,whistler was so much better that he made the short journey from ,the ,hague to ,amsterdam1 where she was staying1 to ask her to go with him to the ,rijks ,museum and look at the ,effie ,deans1 which he had not seen in the gallery1 and the ,rembrandts4 ,it is not easy for her to forgive the chance that took her away from the hotel before the telegram announcing his visit was delivered4 ,she heard of him afterwards at ,mller's book-shop1 where he had been in search of old paper1 for which they said his demand in ,amsterdam had been so great and constant that dealers placed a fabulous price upon it4 ,e4 the next day went to ,the ,hague1 where she found him in rooms that in the last hours of packing looked bare and comfortless1 for he had decided to start at once for ,london4 ,he had promised to lunch with his doctor1 so that she saw only enough of him to realise how frail and depressed and irritable illness had left him4 ,his sisters-in-law told her that the doctor said he could keep well only by the greatest care and constant watchfulness1 that he must not be excited1 that he must not walk up many stairs4 ,professor ,sauter was more fortunate than ,e41 and we have his notes of ,whistler at ,the ,hague when1 with the first cheerful days of his recovery1 his interest in life seemed to revive3 ,realising the difficulty of conveying my vivid impressions1 ,i have hesitated for so long to give you an account of our experiences with ,whistler during the last days of ,august and the beginning of ,september #aijb1 in ,holland1 soon after the severe illness which he suffered4 ,a letter which ,i received in the beginning of ,august was sufficient proof that he was convalescent1 and that he had regained his interest in many affairs1 and that he was enjoying ,the ,hague and the ,htel des ,indes1 but also that he was longing for the society of friends from ,london4 ,towards the end of ,august our journey to ,belgium and ,holland brought us to ,the ,hague1 and of course our first visit was to him4 ,it was indeed a pleasure to hear his gay voice1 after he had received our card1 calling down from the top of the stairs1',are you there8 ,just wait a bit--,i will be down in a moment4' ,in a few minutes his thin1 delicately dressed figure appeared1 in his face delight1 gay as a schoolboy released from school and determined to have an outing4 ,he had then removed to apartments a few doors from the hotel1 but to the latter he invited us to lunch4 ,with intense appreciation ,whistler spoke of the attention and consideration shown to him by the hotel people during his illness4 ,all was sun1 like the beautiful sunny warm ,august day1 and as if to give proof of his statements about the cooking1 management1 and everything in the hotel1 he ordered lunch with great care4 ,he was full of gaiety1 and his amusement over the obituary and his own reply to it was convincing enough that neither his spirit nor his memory had suffered4 ,after lunch1 ,whistler insisted on taking us for a drive to show us the 'charming surroundings' of ,the ,hague and the ,bosch4 ,we drove also to ,scheveningen4 ,he was full of admiration and love for ,the ,hague4 ,on the way to ,scheveningen the real state of his health became alarmingly evident4 ,he looked very ill and fell asleep in the carriage1 but to my suggestion to drive home and have a rest he would not listen4 ,it was a glorious afternoon1 and the calm sea with the little white breakers1 the sand with hundreds of figures moving on it1 and children playing in gay dresses1 made a wonderful picture to enjoy in his company4 ,about #e ,p4,m4 we brought him to his rooms after arranging to visit the ,mauritshuis together next day4 ,about #aa4cj next morning we met in the gallery1 and wandered from room to room4 ,he was all alive and bright again1 and there he showed particular interest in and affection for ,rembrandt's ,father1 and spoke of it as a fine example of the mental development of the artist1 which1 he said1 should be continuous from work to work up to the end4 ,i mentioned that we were going to the ,vieux ,doelen to lunch to meet ,general ,de ,wet2 his interest in this announcement was intense1 and ,i had to promise to tell him all about it in the afternoon4 ,on coming to the two portraits by ,franz ,hals he examined the work with undisguised delight1 but the full disclosure of feeling towards the ,master of ,haarlem was reserved to us for the next day4 ,on my saying1 ',we are going to ,haarlem to-morrow1' ,whistler promptly replied1 ',oh1 ,i might come along with you4' ,in his delicate state of health this reply was startling indeed1 and realising the responsibility of allowing him to undertake even the small journey away from his rooms and doctor1 ,i replied1 ',but we are leaving by an early train4' ',oh1 then ,i might follow later on1' he finished4 ,thus we parted1 he to his rooms1 we to the ,vieux ,doelen4 ,about #d ,p4,m4 ,i went round to give him an account of my meeting with ,de ,wet1 which aroused the greatest curiosity1 and many questions ,i had to face4 ,when ,i asked him whether he had seen the ,generals1 he said1 ',you see1 ,i just drove round and left my cards on their ,excellencies4' ,but still the journey of ,haarlem occupied his mind1 and before ,i left him it came out3 ',well1 you are going to ,haarlem early to-morrow8 ,perhaps ,i will see you there4' ,i certainly would never have dreamt for a moment that he would carry out what ,i took for passing fancy1 and intense was my astonishment when next day about noon at the ,haarlem ,gallery ,i saw ,whistler in the doorway1 smilingly looking towards me1 saying1 ',ah1 ,i just wanted to see what you are doing4' ,from this moment until we took the train at the ,haarlem ,station back to ,the ,hague a nature revealed itself in its force and subtlety1 its worship for the real and its humility before the great1 combining the experience of age with the enthusiasm of youth4 ,hardly could ,i get ,whistler away for a small lunch4 ,we wandered along the line from the early ,st4 ,george's ,shooting ,guild of #afaf down to the old women of #affd4 ,certainly no collection would give stronger support to ,whistler's theory that a master grows in his art1 from picture to picture1 till the end1 than that at ,haarlem4 ,we went through the life with ,hals the people portrayed on the canvases1 his relations with1 and attitude towards1 his sitters2 he entered in his mind into the studio to examine the canvas before the picture was started and the sitters arrived1 how ,hals placed the men in the canvas in the positions appropriate to their ranks1 how he divined the character1 from the responsible colonel down to the youthful dandy lieutenant1 and how he revelled in the colours of their garments6 ,as time went on ,whistler's enthusiasm increased1 and even the distance between the railing and the picture was too great for this intimate discourse4 ,all of a sudden1 he crept under the railing close up to the picture1 but lo6 this pleasure could not last for long4 ,the attendant arrived and gave him in unmistakable words to understand that this was not the place from which to view the pictures4 ,and ,whistler crawled obediently back from his position1 but not discouraged1 saying1 ',wait--we will stay after they are gone1' pointing to the other visitors4 ,matters were soon arranged with the courteous little chief attendant down in the hall1 who1 pointing to the signature in the visitors' book1 asked1 ',is dat de groote ,schilder8' 7,is that the great painter87 and on my confirming it1 pressed his hands together1 bent a little on one side1 opened his eyes and mouth wide1 and exclaimed under his breath1 ',ach6' ,he was a rare little man4 ,we were soon free from fellow visitors and watchful attendants1 and no more restrictions were in the way for ,whistler's outburst of enthusiasm4 ,we were indeed alone with ,franz ,hals4 ,now nothing could keep him away from the canvases2 particularly the groups of old men and women got their full share of appreciation4 ,he went under the railing again1 turning round towards me1 saying1 ',now1 do get me a chair4' ,and after it was pushed under the railing1 he went on1 ',and now1 do help me on the top of it4' ,from that moment there was no holding him back4 ,he went absolutely into raptures over the old women1 admiring everything2 his exclamation of joy came out now at the top of his voice1 now in the most tender1 almost caressing whisper3 ',look at it--just look2 look at the beautiful colour--the flesh--look at the white--that black--look how those ribbons are put in4 ,oh1 what a swell he was--can you see it all8--and the character--how he realised it4' ,moving with his hand so near the picture as if he wanted to caress it in every detail1 he screamed with joy3 ',oh1 ,i must touch it--just for the fun of it1' and he moved tenderly with his fingers over the face of one of the old women4 ,there was the real ,whistler--the man1 the artist1 the painter--there was no ',why drag in ,velasquez8' spirit--but the spirit of a youth1 full of ardour1 full of plans1 on the threshold of his work1 oblivious of the achievements of a lifetime4 ,he went on to analyse the picture in its detail4 ',you see1 she is a grand person'--pointing to the centre figure--'she wears a fine collar1 and look at her two little black bows--she is the treasurer--she is the secretary--she keeps the records'--pointing at each in turn with his finger4 ,with a fierce look in his eye1 as though he would repulse an attack on ,hals1 and in contemptuous tone1 he burst out1 ',they say he was a drunkard1 a coarse fellow2 don't you believe it--they are the coarse fellows4 ,just imagine a drunkard doing these beautiful things6' ',just look how tenderly this mouth is put in--you must see the portrait of himself and his wife at the ,rijks ,museum4 ,he was a swagger fellow4 ,he was a cavalier--see the fine clothes he wears4 ,that is a fine portrait1 and his lady--she is charming1 she is lovely4' ,in time1 however1 the excitement proved too much for him in his weak state1 and it was high time to take him away into the fresh air4 ,he appeared exhausted1 and ,i feared a collapse after such emotions4 ,during my absence in looking for a carriage he went on talking to ,mrs4 ,sauter4 ',this is what ,i would like to do1 of course1 you know1 in my own way'--meaning the continual progress of his work to the last4 ',oh1 ,i would have done anything for my art4' ,it was a great relief to have him safely seated in the carriage with us4 ,once there he soon regained his spirits1 and1 as we had expected to meet ,mrs4 ,pennell at the ,gallery1 but looked in vain for her1 we now drove from hotel to hotel in search of her1 and on this expedition a truly ,whistlerian incident happened4 ,stopping before one of the hotels1 he requested to see the proprietor1 who appeared immediately at the side of the carriage1 a tall1 solemn-looking gentleman1 with a long reddish beard1 bowing courteously1 but the gentleman could give no information about ,mrs4 ,pennell's arrival at his hotel4 ,after minute inquiries about the place1 ,whistler turned to him1 asking1 ',monsieur1 what hotel would you recommend in ,haarlem if you would recommend any8' to which he promptly and seriously replied1 ',monsieur1 if ,i would recommend an hotel in ,haarlem ,i would recommend my own4' ',thank you1 ,monsieur1 thank you1' responded ,whistler1 touching his hat1 bowing slightly4 ,and we drove on soon1 to arrive at the hotel where we intended to take tea1 and rest4 ,soon we were happily settled on our return journey1 in a special compartment1 which he was1 in his chivalrous consideration towards ladies1 most anxious to reserve1 as he put it1 'to make ,mrs4 ,sauter comfortable--she is tired4' ,with it1 a day full of emotions1 amusement1 and anxieties came to an end--and1 as it proved to ,whistler1 the last pilgrimage to ,franz ,hals4 ,it needed no persuasion to keep ,whistler at home after so fatiguing a day4 ,but on our return to the hotel late the next afternoon we were told that he had called three times1 and finally left a note asking us to come round in the morning and also to bring him news of ,mrs4 ,pennell4 ,monday was a fte day for ,holland--the ,queen's birthday1 and the town gay with flags and orange streamers and happy holiday crowds4 ,i went round early to keep him company and bring him the news he wished for4 ,we sat at his window overlooking merry-go-rounds1 little toy and sweet stalls1 and throngs of little children in their loyal smart frocks4 ',what a pretty sight6 ,if ,i only had my water-colours here ,i could do a nice little picture1' he remarked4 ,dr4 ,bisschop had kindly arranged to take us and ,mr4 ,bruckmann to the ,gallery of ,mesdag1 and ,whistler accepted an invitation to join us4 ,there the ,canalettos were of chief interest to him4 ,lunch at a caf1 another visit to the ,mauritshuis1 and tea at his rooms brought our stay to an end4 ,footnote #ac3 ,see ,appendix at end of volume4 ,,chapter ,,xlvii3 ,,the ,,end4 ,,the ,,years ,,nineteen ,,hundred ,,and ,,two ,,and ,,nineteen ,,hundred ,,and ,,three4 ,whistler came back to ,no4 #gd ,cheyne ,walk1 to the noise of building1 to the bedroom at the top of the house--to the conditions against which the doctor's warning was emphatic4 ,when ,e4 saw him about the middle of ,september on her return--,j4 was still away--he had been again ill and was confined to his room4 ,on her next visit1 within a few days1 he was in bed1 but he had moved downstairs to a small room adjoining the studio1 intended1 no doubt1 for a model's dressing-room4 ,in one way it was an improvement1 for there were no stairs and his studio was close at hand whenever he had strength for work1 but the only window looked upon the street1 and the clatter of children and traffic was added to the builders' knocking4 ,except in this house1 we never saw him after his return from ,the ,hague4 ,at times1 in the winter and spring1 he was able to go out in a carriage1 but the three flights of stairs to our flat rose between him and us1 an insurmountable barrier4 ,therefore there were seldom the old long intimate talks1 for he was not often alone in the studio4 ,miss ,birnie ,philip was usually with him1 sometimes sitting apart with her knitting1 and only rarely drawn into the conversation4 ,mrs4 ,whibley was frequently there1 and before the ,ladies there were reservations1 for with many things they were not to be troubled4 ,this involved a restraint in himself and a sensation of oppression in his visitors4 ,then there was a coming and going of models1 visits from his doctors1 his solicitor1 his barber1 and many other people who helped to distract him4 ,his friends were devoted1 encouraged by him and knowing he welcomed anyone from the world without2 ,mr4 ,luke ,ionides1 oldest of all1 ,mrs4 ,whistler1 ,mr4 ,walton1 who lived next door1 ,professor ,sauter1 ,sir ,john ,lavery1 ,mr4 and ,mrs4 ,addams1 his apprentices1 ,arthur ,studd1 his near neighbour1 drifted in and out almost daily4 ,he was bored when alone and unable to work1 though he had of recent years developed an extraordinary passion for reading4 ,but1 as a matter of fact1 he was hardly ever lonely1 for he was surrounded as he liked in his studio1 and yet he felt his condition and grew restless1 so that his wish to rejoin ,mr4 ,heinemann in housekeeping seemed natural4 ,whistler had intervals when his energy returned1 and he worked and hoped4 ,we knew on seeing him when he was not so well1 for his costume of invalid remained original4 ,he clung to a fur-lined overcoat worn into shabbiness4 ,in his younger years he had objected to a dressing-gown as an unmanly concession2 apparently he had not outgrown the objection1 and on his bad days this shabby worn-out overcoat was its substitute4 ,nor did the studio seem the most comfortable place for a man so ill as he was4 ,it was bare1 with little furniture1 as his studios always were1 and he had not used it enough to give it the air of a workshop4 ,the whole house showed that illness was reigning there4 ,the hall had a more unfinished1 more unsettled look than the entrance at the ,rue du ,bac1 and it was sometimes strewn with the trays and odds and ends of the sickroom4 ,papers and books lay on the floor of the drawing-room1 in contrast to the blue-and-white in the cases4 ,a litter of things at times covered the sideboard in the dining-room4 ,everywhere you felt the cheerlessness of a house which is not lived in4 ,when we saw ,whistler in his big1 shabby overcoat shuffling about the huge studio1 he struck us as so old1 so feeble and fragile that we could imagine no sadder or more tragic figure4 ,it was the more tragic because he had always been such a dandy1 a word he would have been the first to use in reference to himself4 ,we recall his horror once when he heard a story that represented him as untidy and slovenly4 ,i6 he said1 ,i1 when if ,i had only an old rag to cover me ,i would wear it with such neatness and propriety and the utmost distinction6 ,but no one would have suspected the dandy in this forlorn little old man1 wrapped in a worn overcoat1 hardly able to walk4 ,on his bad days there was not much walking about1 and he lay stretched on an easy chair1 talking little1 barely listening1 and dozing4 ,his nights were often sleepless--he had lost the habit of sleep1 he told us1 and as the day went on he became so drowsy that it seemed as if nothing could rouse him from what was more like death than sleep4 ,sometimes1 sitting by the table where tea was served1 he would drop his forehead on the edge of the table1 fall asleep1 and remain motionless for an hour and more4 ,a pretty little cat1 brown and gold and white1 that lived in the studio1 was often curled up on his lap1 sleeping too4 ,his devotion to her was something to remember1 and we have seen him get up1 when probably he would not have stirred for any human being1 just to empty the stale milk from her saucer and fill it up with fresh4 ,a message was sent to ,e41 one day1 to announce the birth of her first kittens1 that also made the studio their home and became a source of mild distraction to the invalid4 ,on his good days he liked to play dominoes after tea and he cheated with his accustomed tricks4 ,he often kept ,j4 for a game and sometimes for dinner with himself and ,miss ,birnie ,philip in the studio1 the climb to the dining-room out of the question4 ,there were times when he would say he never could get back to work again1 but others when he managed to work with not only the old vigour1 but the old mastery4 ,he had an ,irish model1 ,miss ,dorothy ,seton1 whose red hair was remarkably beautiful and whose face ,whistler thought as remarkable1 for it reminded him of ,hogarth's ,shrimp ,girl4 ,one afternoon ,j4 found him painting her1 her red hair hanging over her shoulders and an apple in her hand1 the picture to which the title ,daughter of ,eve was eventually given4 ,he was walking up and down the studio in delight1 looking almost strong1 and he seized ,j4 by the arm in the old fashion and walked him up and down too4 ,well1 ,joseph1 how long do you think it took me to paint that1 now8 and not for weeks had he shown such animation as when he added1 ,it was done in a couple of hours this very morning4 ,so far as we know1 it was the last important picture he painted1 and it was1 as ,j4 then saw it1 the finest thing of his latest period4 ,he must have painted on it again1 for at the ,paris ,memorial ,exhibition the bloom of its beauty had faded4 ,now and then he worked on a portrait of ,miss ,birnie ,philip1 and he was anxious to continue the portrait1 started a year or so before1 of ,mrs4 ,heinemann1 which needed only a few more sittings1 but1 to the world's loss1 these could not be arranged4 ,he saw to cleaning the ,rosa ,corder1 which ,mr4 ,canfield1 who was back in ,london and buying pictures1 drawings1 and prints in the studio1 bought this winter for two thousand pounds from ,mr4 ,graham ,robertson4 ,the story of this purchase was the only amusing thing we ever heard ,mr4 ,canfield say3 ,offered the young fellow a thousand pounds--wouldn't hear of it4 ,offered him two--jumped at it4 ,why1 the darned fool1 if he had held on he could have had five6 ,whistler telegraphed for us to come and look at ,rosa ,corder for the last time in ,england1 to make your adieux to her before her departure for ,america4 ,when ,e4--,j4 again away--arrived at the studio1 he was better than since his return from ,the ,hague4 ,he had slept eight hours and a half the night before1 and he rejoiced in not being sleepy4 ,he wiped the canvas here and there tenderly with a silk handkerchief and kept turning round to ask triumphantly1 ,isn't she beautiful8 ,mr4 ,canfield was sitting again for his portrait1 and was always welcome1 not merely as a sitter1 but as a friend4 ,he seemed to have hypnotised ,whistler1 whom we heard say that ,canfield was the only man who had never made a mistake in the studio4 ,we could not help regretting this because of ,canfield's notorious reputation in ,new ,york1 and the unpleasant things said of ,whistler's tolerance of the man4 ,whistler had been warned1 but had sacrificed a friendship of years in his indignation at a breath of scandal against anyone whom he had introduced to the ,ladies4 ,in the early part of #aijc we received numerous letters and telegrams from correspondents of ,american papers in ,london re-echoing the question in the ,new ,york dailies1 ,is ,whistler painting gambler ,canfield8 ,the fact that ,canfield was much desired at home made the ,new ,york papers of the yellowest sort1 like the ,british respectable ones1 eager for details1 and all sorts and conditions of male and female reporters haunted our stairs4 ,they were a terrible nuisance1 and we remember in particular the youth who came with the usual question1 ,is ,whistler painting the gambler8 and who1 on ,j4's reply that he had better go and ask the painter1 said ,but they tell me ,whistler would either horsewhip me or kick me out of the house4 ,what do you think8 ,j4's answer was that he had better go and see4 ,whistler's condition rendered any remark which might excite him dangerous1 and everybody hesitated to suggest that ,canfield was a very public character to include in one's private circle4 ,canfield's visits did not cease1 and the fact that reconciled us to his presence was that it resulted in one of ,whistler's masterpieces4 ,the portrait1 ,his ,reverence1 ranked then with ,the ,master ,smith of ,lyme ,regis4 ,but this was our estimate when we saw the picture in ,whistler's studio4 ,later it was simply ruined1 for he worked on it too4 ,whistler often saw dealers who came for his prints4 ,on two memorable afternoons ,mr4 ,david ,kennedy brought the large ,mac,george ,collection of ,whistler's etchings1 which he had purchased in ,glasgow1 for ,whistler to look over1 and1 in some cases1 we believe1 to sign them4 ,he went through as many as he could1 commenting on their state and their preservation4 ,there were some he had not seen for years1 and ,mr4 ,ionides1 who was present on one of the afternoons1 seemed to know more about them than ,whistler4 ,he soon tired1 and was not to be revived by the bottle of ,american cocktails which ,mr4 ,kennedy1 to his complete approval1 also brought4 ,several times we found him going through the accumulation of charming things from the studio in the ,rue ,notre-,dame-des-,champs4 ,many he did not think so charming were1 we understand1 destroyed by him4 ,so ,miss ,birnie ,philip maintains1 and ,mr4 ,lavery told us that he was calling at ,cheyne ,walk one afternoon when ,whistler said he had been burning things4 ,we are unable to state if a reliable list was made of what was destroyed and what was kept4 ,some days ,whistler read us parts of his earlier correspondence--the wonderful letters to the ,fine ,art ,society during the ,venetian period4 ,and once1 tired though he was1 he insisted on reading to ,e4 just once more his letter to a dealer1 who had threatened him with a writ and whom he warned of the appearance he would make1 with one hand presenting a ,sir ,joshua to the nation1 with the other serving a writ on ,whistler4 ,well indeed is it that the right hand knows not always what the left hand doeth4 ,in ,november he sent the ,little ,cardinal1 which had been at the ,salon the previous summer1 to the ,portrait ,painters' ,exhibition4 ,several critics spoke of it as a work already seen1 giving the impression1 he thought1 that it dated back many years4 ,he wrote to the ,standard to contradict this impression1 ,wedmore again having blundered4 ,we called to see him on the afternoon the letter was written1 and he was in great glee4 ,he said3 ,the letter is one of my best4 ,i described ,wedmore as ,podsnap--an inspiration1 isn't it8 ,with the discovery of ,podsnap in art criticism ,i almost feel the thump of ,newton's apple on my head1 and this ,i have said4 ,heinemann promises to take it himself to the editor of the ,standard1 and really the whole thing has such a flavour of intrigue that ,i do believe it has made me well again6 ,he planned to publish the criticism1 his letter1 the answers1 and his final comments in a brown-covered pamphlet1 a scheme begun but1 owing to his feeble health1 never carried out4 ,to an exhibition of old silver at the ,fine ,art ,society's he lent many of his finest pieces and insisted upon their being shown together in a case apart1 and arranged according to his instructions4 ,his silver1 like everything belonging to him1 was a proof of his exquisite taste and faultless judgment4 ,it was chosen1 not for historic interest1 nor for rarity1 but for elegance of form and simplicity of ornament4 ,the other collections in the exhibition were set out on red velvet2 his1 with which he sent some of his blue-and-white china1 was placed on his simple white table linen marked with the ,butterfly4 ,after we had been to the exhibition1 he asked us for every detail3 ,how did the white1 the beautiful napkins look8 ,didn't the slight hint of blue in the ,japanese stand and the few perfect plates tell8 ,didn't the other cases seem vulgar in comparison8 and didn't the simplicity of my silver1 evidently for use and cared for1 make the rest look like museum specimens8 ,illustration3 ,,gallery ,,at ,,the ,,london ,,memorial ,,exhibition ,illustration3 ,,gallery ,,at ,,the ,,boston ,,memorial ,,exhibition ,illustration3 ,,whistler',s ,,grave ,,in ,,chiswick ,,cemetery ,,adjoining ,,chiswick ,,churchyard ,illustration3 ,,monument ,,in ,,whistler',s ,,memory ,,at ,,the ,,united ,,states ,,military ,,academy ,,at ,,west ,,point ,he examined the catalogue1 found fault with it because the ,mc,neill1 of which he was so proud1 was misspelt1 and he could not understand why there were comparatively fewer entries and shorter descriptions of his case than of others where history supplied an elaborate text4 ,notwithstanding his state1 he forgot none of the old courtesies4 ,when1 in ,november1 ,sir ,james ,guthrie was elected to the ,presidency of the ,royal ,scottish ,academy1 he telegraphed his congratulations1 and was repaid by his pleasure when ,guthrie1 still a member of the ,council of the ,international1 telegraphed back1 ,warmest thanks1 my ,president4 ,on ,new ,year's ,day 7#aijc7 we received the card of good wishes it was his custom to send to his friends--a visiting-card with greetings written by himself and signed with the ,butterfly4 ,though he could not go to the meetings of the ,international1 the business done at each had to be immediately reported1 and when the annual dinner was given he considered every detail1 even to the point of revising the menu and sending special directions for the salad4 ,he had great pleasure in the degree of ,,ll4,d4 conferred upon him by ,glasgow ,university1 at the suggestion of ,sir ,james ,guthrie and ,professor ,walter ,raleigh4 ,dr4 ,d4 ,s4 ,mac,coll1 at their request1 we believe1 and after consulting ,j41 approached him first to make sure that the honour would be accepted4 ,there was a gleam of the old wickedness when ,dr4 ,mac,coll called4 ,whistler appointed a ,sunday1 asking him to lunch1 but when he arrived at the appointed hour he was sent upstairs to the unused drawing-room and supplied with ,reynolds'1 a ,radical sheet adored by ,whistler because of its wholesale abuse of the ,islander4 ,and ,whistler said3 ,when at last he was summoned to the studio1 ,i told him it was the paper that of course he always wanted to read at the ,club1 but was ashamed to be seen with6 ,and all through lunch ,i had nothing to say of art--,i talked of nothing except ,west ,point4 ,however1 when ,mac,coll had a chance to explain why he came1 ,whistler expressed his pleasure in receiving the degree4 ,we recall his pains with his letter of acknowledgment after the official announcement came in ,march1 his concern for the correct word and the well-turned phrase1 his anxiety that there should be no mistake in the ,principal's title and honorary initials4 ,it illustrates his care for detail if we add that1 before writing the address1 he sent a note1 submitting it1 next door1 to ,mr4 and ,mrs4 ,walton1 who were ,scotch1 he said1 and would know4 ,another pleasure came from the deference shown him by the ,art ,department of the ,universal ,exposition of #aijd at ,st4 ,louis4 ,early in #aijc ,professor ,halsey ,c4 ,ives1 ,chief of the ,art ,department1 was in ,london1 and went with ,j4 to call on ,whistler and to ask him to serve as ,chairman of the ,committee1 of which ,sargent1 ,abbey1 and ,j4 were members1 for the selection of work by ,american artists in ,england4 ,the invitation was a formal recognition of ,whistler's position1 and he accepted1 though he did not live to occupy the post4 ,these months were not without worries4 ,news of books about him1 in preparation or recently published1 annoyed him1 as he had hoped to prevent such enterprises by giving us his authority for the work to which his illness was a serious interruption4 ,we called one afternoon when he was worrying himself into a fever over the latest attempt of which he had heard1 and was unable to think or talk of anything except the insolence of people who undertook to write about him and prepare a biography without consulting him and his wishes4 ,as he talked he complained of pains in his back1 and his restlessness was distressing to see4 ,another afternoon1 he was1 on the contrary1 chuckling over ,mr4 ,elbert ,hubbard's ,whistler in the ,little ,journeys series4 ,he read us passages3 ,really with this book ,i can be amused--,i have to laugh4 ,i don't know how many people have taken my name in print1 and1 you know1 usually ,i am furious4 ,but the intimate tone of this is something quite new4 ,what would my dear ,mummy--don't you know1 as you see her with her folded hands at the ,luxembourg--have said to this story of my father's courtship8 ,and our stay in ,russia--our arrival in ,london--why1 the account of my mother and me coming to ,chelsea and finding lodgings makes you almost see us--wanderers--bundles at the end of long sticks over our shoulders--arriving footsore and weary at the hour of sunset4 ,amazing6--it would be worth while1 you know1 to describe1 not the book1 but the effect on me reading it4 ,he was looking desperately ill the day he told us that ,montesquiou had sold his portrait1 and he was not consoled by the fact that ,mr4 ,canfield was the purchaser1 so that it would remain1 for the present at least1 in ,america4 ,he was the more hurt because ,montesquiou was a friend and1 as you know1 the descendant of a long distinguished line of ,french noblemen4 ,there were unnecessary worries4 ,mr4 ,freer sent some of ,whistler's pictures to the ,winter ,exhibition at the ,pennsylvania ,academy of ,fine ,arts in ,philadelphia4 ,the jury awarded him the ,academy's ,gold ,medal of ,honour1 and1 to assure to the pictures the place of greatest distinction where they would look best1 hung them before anything was installed1 building up a screen for them in the most important room1 and beginning the numbers in the catalogue with them4 ,for some reason ,mr4 ,freer did not approve of the hanging and seems to have misunderstood the motives for it4 ,the secretary1 ,mr4 ,harrison ,morris1 could make no change4 ,as the incident was reported to ,whistler he fancied a slight in the arrangement which was meant to do him honour4 ,a similar incident occurred in the ,spring ,exhibition of the ,society of ,american ,artists in ,new ,york1 where1 also1 ,mr4 ,freer objected to the place chosen for ,whistler's work4 ,whistler1 as a result1 was disturbed by the idea that ,american artists were treating him with indifference or contempt1 though this was at the time when their acceptance of him as master was complete and their eagerness to proclaim it great4 ,whistler went so far as to say that he never wished work of his to hang again in the ,pennsylvania ,academy1 and in regard to the ,new ,york ,exhibition he wrote protesting to the ,new ,york papers4 ,the agitation and excitement did him no good1 and in his weakness such small worries were magnified into grave troubles4 ,it is the more to be regretted because1 on all sides1 in ,america he was honoured4 ,the fault was ,mr4 ,freer's inability to understand artistic matters4 ,mr4 ,will ,h4 ,low and other artists tried as well as they could to explain things to ,whistler1 but ,mr4 ,freer succeeded in prejudicing him to the day of his death against the ,pennsylvania ,academy1 which had done more than any other ,american art institution to show its appreciation4 ,americans may have been slow in acknowledging him officially1 but that was because they knew little of his work4 ,they began to make amends long before his death1 and their eagerness to possess his work may be contrasted to the indifference in ,england or in ,germany1 where it is said a ,whistler was bought for ,berlin by ,dr4 ,bode for two thousand pounds1 but was returned to the dealers by the ,emperor's command4 ,the ,sarasate had been purchased for the ,carnegie ,institute in ,pittsburgh in ,november #ahif1 the first picture1 ,mr4 ,beattie1 the ,director1 tells us1 bought for the gallery1 and we believe the first ,whistler bought for any ,american gallery4 ,it is prized as one of the most important works in the collection1 and1 though it cost the ,institute five thousand dollars1 was insured for thirty thousand when it went to the ,rome ,exhibition in the spring of #aiaa4 ,we were sorry when last in ,pittsburgh to see that it is cracking4 ,the ,yellow ,buskin was in the ,wilstach ,collection1 ,philadelphia1 and ,the ,master ,smith and ,the ,little ,rose of ,lyme ,regis in the ,boston ,museum of ,fine ,arts before #aijc1 and hardly an ,american collector of note was not seeking to include ,whistlers in his collection4 ,now the ,chicago ,institute has ,southampton ,water and the ,metropolitan in ,new ,york has the ,irving1 ,connie ,gilchrist1 ,cremorne ,gardens1 and several important studies1 and has purchased from ,m4 ,duret his own large portrait and been presented by ,mr4 ,e4 ,g4 ,kennedy with his small one4 ,m4 ,duret parted with his because he felt he was growing old4 ,he had had many offers from private collectors1 but he wished to know the painting was safe in a museum4 ,two great masters had painted him1 ,manet and ,whistler1 he said to us shortly after the sale1 and both portraits are now in public galleries4 ,the ,fur ,jacket is at ,worcester1 and in the ,brooklyn ,institute is the very unfinished and unsatisfactory commencement of ,florence ,leyland4 ,the ,lange ,leizen is in the ,johnson ,collection1 ,philadelphia4 ,the ,avery collection of etchings is in the ,new ,york ,public ,library1 and ,charles ,l4 ,freer has donated to the ,national ,gallery at ,washington his entire collection1 the largest in the world1 while we have given our collection of ,whistleriana to the ,library of ,congress2 the best possible refutation to the nonsense talked about want of appreciation by many self-styled critics1 several of whom have been imported into ,america and ,england since ,whistler's death4 ,whistler's health varied so during the winter that we were often encouraged to hope4 ,but with the spring hope lessened with every visit4 ,to consult our notes is to realise1 more fully than at the time1 how surely the end was approaching4 ,the afternoons of sleep increased with the increasing weakness of his heart4 ,he could not shake off the influenza cold which was dragging him down1 and he lived in constant fear of infection from others if anybody even sneezed in his presence4 ,i can't risk any more microbes--,i've about enough of my own4 ,at times his cough was so bad that he was afraid to talk1 and he would write what he wanted to say2 it was his tonsils1 he explained4 ,there were visits when1 from the moment we came until we left1 he worried1 first because the windows were open1 then because they were shut1 and his impatience if the doctor's visit was delayed would have exhausted a stronger man4 ,j4 dined with him on ,may #ad1 when there was a rekindling of gaiety4 ,he showed the portrait of ,mr4 ,canfield2 he played dominoes for hours2 at dinner1 when a gooseberry tart was served1 he apologised for the ,island4 ,but after this there was no more gaiety for us to record4 ,a few days later ,j4 went abroad for several weeks1 and ,mr4 ,heinemann sailed for ,america4 ,when he said good-bye to ,whistler he was entrusted with innumerable commissions4 ,he was to find out the truth concerning the treatment of ,whistler's pictures in ,philadelphia and ,new ,york1 to discover who his new unauthorised biographers were1 what artists and literary people were saying1 what dealers were doing1 and1 when he returned1 then they would keep house together again4 ,this was the moment when ,mr4 ,heinemann took another flat1 with the identical arrangements of the first1 in ,whitehall ,court1 so that they could go back to the old life4 ,but before he returned the end had come4 ,fortunately1 while ,mr4 ,heinemann and ,j4 were away1 ,mr4 ,freer arrived in ,london on his annual visit1 and he was free to devote himself to ,whistler1 whom he drove out whenever ,whistler had the strength4 ,but this was not for long1 and with her visit to him on ,july #a ,e4 gave up hope4 ,he was in bed1 but hearing that she was there1 he sent for her4 ,there was a vague look in his eyes1 as if the old fires were burnt out4 ,he seemed in a stupor and spoke only twice with difficulty4 ,miss ,birnie ,philip referred to his want of appetite and the turtle soup ordered by the doctor1 which they got from the correct place in the ,city4 ,shocking6 shocking6 ,whistler broke in slowly1 and then after a minute or two1 ,you know1 now we are all in the ,city6 ,miss ,birnie ,philip wanted to give tea to ,e41 who1 seeing how ill he was1 thought it wiser not to stay1 and after some ten minutes said good-bye4 ,no wonder1 ,whistler murmured1 you go from a house where they don't give you anything to eat4 ,e4's next visit was on the #fth4 ,the doctor had been with him1 he was up1 dressed1 and had been out for a drive4 ,but he looked worse1 his eyes vaguer1 giving the impression of a man in a stupor4 ,he said not a word until she was leaving1 and then his one remark was1 ,you are looking very nice4 ,reports of his feebleness were brought to us by many1 among others by ,m4 ,duret4 ,in ,july he came to ,london1 and was deeply moved by the condition in which he found ,whistler1 who1 he thought1 wanted to say things when alone in the studio with him1 but the day of his first visit could not utter a word4 ,and after a second visit1 after an hour with ,whistler1 who again struggled to talk and could not1 ,duret felt it was the last time he would see ,whistler4 ,it was1 and in his sorrow he could but recall the days together gone for ever4 ,on the #adth ,e4 called again1 and again ,whistler was dressed and in the studio1 and there were pictures on the easels4 ,he seemed better1 though his face was sunken and in his eyes was that terrible vagueness4 ,now he talked1 and a touch of gallantry was in his greeting1 ,i wish ,i felt as well as you look4 ,he asked about ,henley1 the news of whose death had come a day or two before4 ,he watched the little mother cat as she ran about the studio4 ,there was a return of vigour in his voice when ,miss ,birnie ,philip brought him a cup of chicken broth and he cried1 ,take the damned thing away1 and his old charm was in the apology that followed1 but1 he said1 if he ate every half-hour or so as the doctor wanted1 how could he be expected to have an appetite for dinner8 ,he dozed a little1 but woke up quickly with a show of interest in everything1 and when1 on the arrival of ,mr4 ,lavery1 ,e4 got up to go1 fearing that more than one visitor would tire him1 he asked1 ,but why do you go so soon8 and these were the last words he ever spoke to her4 ,when ,j4 returned to town1 on ,friday the #agth1 he immediately started for ,chelsea1 but met ,mr4 ,t4 ,r4 ,way1 who had been lunching with ,mr4 ,freer at the ,carlton1 and from whom he learnt that ,whistler and ,mr4 ,freer were to go for a drive4 ,there was no drive that afternoon--no drive ever again4 ,the illness had been long1 the end was swift4 ,whistler was dying before ,mr4 ,freer reached the house4 ,on ,thursday he had seemed much better1 had gone for a drive1 and was so well at dinner that ,mrs4 ,whibley told him laughingly he would soon again be dressing to dine4 ,but after lunch on ,friday she was called hurriedly to the studio1 where ,miss ,birnie ,philip was already4 ,they realised the seriousness of the attack4 ,the doctor was sent for1 but the need for him had passed4 ,the papers during the next few days showed how ,whistler's fame had grown4 ,we saw another side which the public could not see--the affection in which he was held by those who knew him intimately4 ,many came to us at once3 ,m4 ,duret1 who had lost the last of his old comrades--first ,manet1 then ,zola1 and now ,whistler1 with whom the best hours of his life were spent2 ,mr4 ,kennedy1 whose business relations with ,whistler had developed into warm friendship2 ,sir ,john ,lavery1 ,professor ,sauter1 ,mr4 ,harry ,wilson1 their one thought to express their love and reverence for their ,president4 ,other artists followed1 others wrote1 and our sorrow for the friend was tempered by knowing how deep and widespread was the regret for the master4 ,mr4 ,heinemann returned from ,new ,york too late to see ,whistler again1 and both he and ,j4 were spared the sad memory of ,whistler with the life faded from his face1 the light gone from his eyes4 ,the funeral took place on ,wednesday1 ,july #bb4 ,the service was held in old ,chelsea ,church1 to which he had so often walked with his mother from ,lindsey ,row4 ,there was a comparatively small attendance4 ,the members of his own family who came were his sister-in-law1 ,mrs4 ,william ,whistler1 and his nieces1 ,mrs4 ,thynne and ,mrs4 ,rveillon4 ,the ,society with which1 in his last years1 he had identified his interests was represented by the ,council3 ,professor ,sauter1 ,mr4 ,harry ,wilson1 ,mr4 ,francis ,howard1 ,mr4 ,ludovici1 ,mr4 ,stirling ,lee1 ,mr4 ,neven du ,mont1 ,mr4 ,e4 ,a4 ,walton1 and ,j4 ,here and there were friends1 ,mr4 ,alan ,s4 ,cole1 ,mr4 ,heinemann1 ,mrs4 ,edwin ,a4 ,abbey1 ,dr4 ,chalmers ,mitchell1 ,mr4 ,w4 ,c4 ,alexander1 ,mr4 ,clifford ,addams1 ,mr4 ,jonathan ,sturgis2 and here and there ,academicians1 ,sir ,lawrence ,alma-,tadema and ,sir ,alfred ,east4 ,but ,whistler1 who valued official recognition1 was given none4 ,no one from the ,american ,embassy paid the last tribute of respect to the most distinguished ,american citizen who ever lived in ,london4 ,no one from the ,french ,embassy attended the funeral of the ,officer of the ,legion of ,honour4 ,no one from the ,german ,embassy joined in the last rites of the member of two ,german ,royal ,academies and the ,knight of the ,order of ,st4 ,michael of ,bavarit4 ,nor was anyone present from the ,italian ,embassy1 though ,whistler was ,commander of the ,crown of ,italy and member of the ,academy of ,st4 ,luke4 ,the only body officially represented besides the ,international was the ,royal ,scottish ,academy4 ,the police came to restrain the crowd1 but there was no crowd4 ,the coffin was carried the short distance from the house to the church along the shores of the river he made his own4 ,it was covered with a purple pall1 upon which lay a wreath of gold laurel leaves sent by his ,society4 ,the pall-bearers were ,m4 ,thodore ,duret1 ,sir ,james ,guthrie1 ,sir ,john ,lavery1 ,edwin ,a4 ,abbey1 ,george ,vanderbilt1 and ,mr4 ,charles ,l4 ,freer4 ,the little funeral procession that walked with the coffin from the house to the church included ,miss ,birnie ,philip1 ,mrs4 ,charles ,whibley1 their sisters1 brother1 and nephews1 ,mr4 ,william ,webb1 and ,arthur ,studd1 but none of his own family1 none of the group with whom he had been most intimate in his last years4 ,after the burial service was read1 the procession re-formed1 and the family1 the ,council of the ,international1 and a few friends went to the graveyard at ,chiswick4 ,it was a grey1 stormy summer day1 and as the clergyman said the last prayers1 and the coffin was lowered1 the thick ,london atmosphere wrapped the green enclosure in the magic and mystery that ,whistler was the first to see and to reveal4 ,the grave was made by the side of his wife under a wall covered with clematis4 ,a tomb designed by his stepson1 ,e4 ,godwin1 now covers the little plot of ground where ,whistler1 the greatest artist and most striking personality of the nineteenth century1 lies at rest in a remote corner of the ,london he loved1 not far from the house1 and nearer the grave1 of ,hogarth1 who had been to him the greatest ,english master from the days of his boyhood in ,st4 ,petersburg4 ,illustration ,,the ,,end ,,of ,,the ,,life ,,of ,,james ,,abbott ,mc,n,e,i,l,l ,,whistler4 ,,his ,,name ,,and ,,his ,,fame ,,will ,,live ,,for ,,ever4 ,,joseph ,,pennell4 ,,elizabeth ,,robins ,,pennell ,,printed ,,at ,,the ,,complete ,,press ,,appendix ,page #bia1 line #bi4--,when you ask me to say something about the illustrious and lamented ,whistler1 you do not1 of course1 want me to add my contribution to the rich pyramid of admiration and praise that has already been raised to his glory4 ,what you must1 of course1 be thinking of1 is anything special and picturesque that ,i may be able to add to your biography of the great artist4 ,well as ,i knew and loved his works1 ,i had but a passing glimpse of his person4 ,here are two interesting traits connected with it4 ,some few years ago1 he was very much disturbed about a piracy committed in ,belgium by a foreigner living at ,antwerp1 of his curious book1 ,the ,gentle ,art of ,making ,enemies4 ,one day he appeared in my study1 and said to me with a sarcastic smile3 ',i should like you to be my counsel in this little affair1 because ,i have been told that you1 like myself1 practice the gentle art of making enemies4' ,the case was won at ,antwerp with the collaboration of my confrre1 ,m4 ,maeterlinck1 a relative of the poet who is such an honour to our country4 ,the victory was celebrated at his house4 ,when ,whistler1 the hero of the festivity1 arrived at this hospitable abode1 he was a long time in the ante-room4 ,the maid who had let him in came1 very much amazed1 to the drawing-room where we were awaiting him1 and said in ,flemish3 ',madame1 there is an actor in the ante-room2 he is doing his hair before the looking-glass1 he is putting on pomade1 painting and powdering his face4' ,after a long interval1 ,whistler appeared1 courteous1 correct1 waxed and anointed1 resplendent as the butterfly which his name recalls1 and with which he signed some of the notes he used to write to his counsel4 ,this is all ,i can offer you4 ,i have asked ,m4 ,maeterlinck for any documents connected with this episode he might have4 ,all his researches have been in vain4 ,although so many insignificant papers have been preserved1 ,fate the perverse has allowed these precious fragments to disappear4 99 99 99 99 99 ,page #dae1 line #f4--,whistler was a painter whose drawing had great depth1 and this was prepared for by good studies1 for he must have studied assiduously4 ,his feeling for form was not only that of a good painter1 it was that of a sculptor4 ,he had an extraordinary delicacy of sentiment1 which made some people think that his basis was not very strong1 whereas it was1 on the contrary1 both strong and firm4 ,he understood atmosphere most admirably1 and one of his pictures which made a very deep impression on me1 ,the ,thames at ,chelsea1 is a marvel of depth and space4 ,the landscape in itself is nothing2 there is merely this great extent of atmosphere1 rendered with consummate art4 ,whistler's art will lose nothing by the lapse of time2 it will gain2 for one of its qualities is energy1 another is delicacy2 but the greatest of all is its mastery of drawing4 ,,index ,abbey1 ,e4 ,a41 #aci1 #cji1 #cba1 #dcj1 #dce1 #dcf ,abbey1 ,mrs41 #aci1 #dce ,abbot1 ,gen4 ,h4 ,l41 #bd ,abbott1 ,jas41 #a ,acadmie ,carmen1 #ce1 #cgg-ib ,acadmie ,royale des ,beaux-,arts1 #dji ,adam and ,eve1 ,old ,chelsea1 #aef1 #aig ,adam houses1 ,adelphi1 #afj-fa ,addams1 ,clifford1 #gg1 #cfj1 #djh1 #dah1 #dbd1 #dce 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#bjf1 #bca ,balcony1 ,by the1 #ccb ,balcony1 ,the 7,flesh-,colour and ,green71 #hf1 #hg1 #aji1 #bgf1 #bha1 #ccb ,balestier1 ,wolcott1 #bhg ,balleroy1 ,de1 #ia ,baltimore1 #a1 #bf1 #bg ,bankes1 ,eldon1 #cdh ,barbizon1 excursion to1 #cah ,barnett1 ,canon and ,mrs41 #cce ,baronet and the ,butterfly1 ,the1 #ced1 #cge ,barr1 ,miss1 ,portrait of1 #ccd ,barr1 ,robert1 #ccd ,barrie1 ,j4 ,m41 #bhf ,barrington1 ,mrs41 #ce ,barthe1 ,m41 #gh1 #abi ,bastien-,lepage1 ,j41 #bcg1 #cga ,bath ,club1 #djj ,battersea 7,symphony71 #ajb1 #cgg ,battersea ,bridge1 ,old1 #ajj1 #ahf1 #bja 7,blue and ,silver1 later ,blue and ,gold71 #ij1 #aab1 #aed1 #aff1 #agj1 #agb-gf1 #bag1 #beh 7,brown and ,silver71 #ic1 #cja ,baudelaire1 #df1 #gj1 #he1 #ia1 #ajb1 #bag1 #bee ,bavarian ,royal ,academy1 #bgi ,bayliss1 ,sir ,wyke1 #bea1 #bfh-gj ,beardsley1 ,a41 #ahd1 #ahh1 #caj1 #cab1 #cad1 #cde1 #ceb1 #cgc ,beatty1 ,j4 ,w41 #dcb ,beck1 ,j4 ,w41 #cjh ,becquet1 ,m41 #cg1 #di1 #cfg ,portrait of1 #gc ,beggars1 ,the1 #aii1 #bgg ,belfont1 ,m41 #caa1 #cbf ,bndite1 ,l41 #dh1 #hf1 #dad ,benham1 ,capt41 #bi1 #ca-cc ,benham1 ,major ,h4 ,h41 #cb-cc ,berners ,street ,gallery1 #fi1 #aaj ,bernhardt1 ,sarah1 #ach1 #ahh ,beurdeley1 ,matre1 #ccj1 #cec ,bibi ,lalouette1 #ch1 #di1 #ej ,bierstadt1 ,a41 #ajj ,bigham1 ,mr4 ,justice1 #cdh-di ,billingsgate1 #ajg1 #ahf1 #bge ,bisschop1 ,dr41 #dbc ,blaas1 ,e4 de1 #aia ,black ,lion ,wharf1 #fj1 #ff1 #fi1 #aih1 #ccc ,blackburn1 ,vernon1 #bhf ,blaikie1 ,w4 ,b41 #djc ,blanche1 ,j4 ,e41 #adf ,blenheim1 #cjd ,blind1 ,mr4 and ,mrs41 #hd ,blomfield1 ,r4 ,e41 #bhg ,blott1 ,mr41 #afd ,blue and ,gold 7,westminster71 #aed1 #agj ,blue ,girl1 #abd1 #bad1 #bah4 ,see ,florence ,leyland2 also ,waller ,blue ,wave1 ,the1 #fh1 #cja1 #cjf ,blum1 ,r41 #aia1 #aid ,bode1 ,dr41 #dca ,boehm1 ,sir ,j4 ,e41 #aed1 #ahh ,boer ,war1 #cih ,boisbaudran1 ,lecocq de1 #cd1 #df1 #aac ,boldini1 ,j41 #cbj1 #cej1 #ceb1 #cec ,bonnat1 ,l4 ,j4 ,f41 #bec1 #cia ,bonvin1 ,f4 ,s41 #dh1 #ec1 #ei ,book of the ,artists1 #ajj 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#bjc1 #bjd ,brownell1 ,w4 ,c41 #ahf ,browning1 ,robert1 #aia1 #aie ,bruckmann1 ,w4 ,l41 #dbc ,brunel1 #gf ,buller1 ,sir ,redvers1 #cii ,buloff1 #ac ,bunney1 ,r41 #aia1 #aic ,burckhardt1 ,count1 #ga1 #gb ,burgomaster ,six1 ,the1 #aii ,burlington ,fine ,arts ,club1 #aja ,burne-,jones1 ,sir ,e41 #ha1 #ajd1 #ajg1 #adg1 #aec1 #aed1 #afi1 #age1 #agh1 #bjd1 #bbg1 #bec1 #ccc ,burne-,jones1 ,lady1 #afh-fi1 #age ,burr1 ,john1 #bfj ,burton1 ,director of ,national ,gallery1 #agh ,burton1 ,sir ,r41 #djd ,burton1 ,lady1 #djd ,burty1 ,p41 #ajj1 #ajb ,bussy1 ,simon1 #cia ,butler1 ,mr41 #aic ,butterfly1 ,the1 #hi-ij1 #aba1 #abg1 #bai1 #bbj1 #bfj1 #bfe1 #bfi1 #bid1 #djc ,company of the1 #cee-eg1 #cig ,byng1 ,rev4 ,mr41 #bgb ,caf de ,bode1 #ge ,caf ,molire1 #de1 #dh ,cahen1 ,countess ,edmond de1 #hg ,calmour1 ,alfred1 #hd ,cambridge ,university ,art ,society1 #bdf ,campbell1 ,lady ,archibald1 #ach1 #afb-fc1 #bad-af1 #bcc ,portrait of4 ,see ,yellow ,buskin ,campbell1 ,lady ,colin1 #ach ,portrait of 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