diff options
Diffstat (limited to '24650-h/24650-h.htm')
| -rw-r--r-- | 24650-h/24650-h.htm | 8640 |
1 files changed, 8640 insertions, 0 deletions
diff --git a/24650-h/24650-h.htm b/24650-h/24650-h.htm new file mode 100644 index 0000000..227c4b0 --- /dev/null +++ b/24650-h/24650-h.htm @@ -0,0 +1,8640 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1"> +<title>The Project Gutenberg eBook of The Gentle Art of Making Enemies, by James McNeill Whistler</title> +<style type="text/css"> +<!-- + +body {font-size: 100%; text-align: justify; margin-left: 20%; margin-right: 20%; line-height: 1.9em;} + +h1 {font-size: 130%; text-align: center; margin-top: 2em; margin-bottom: 2em; line-height: 2em;} +h1.pg {font-size: 190%; text-align: center; margin-top: 0em; margin-bottom: 0em; line-height: 1.1em;} +h2 {font-size: 120%; text-align: center; margin-top: 2em; margin-bottom: 2em;} +h3 {font-size: 120%; text-align: center; margin-top: 4em; margin-bottom: 2em;} +h3.pg {font-size: 105%; text-align: center; margin-top: 0em; margin-bottom: 0em; line-height: 1.1em; } + +a:focus, a:active {outline: #ffee66 solid 2px; background-color:#ffee66;} +a:focus img, a:active img {outline: #ffee66 solid 2px;} + +hr.small {margin-left: 40%; width: 20%; margin-top: 2em; margin-bottom: 2em;} + +div, p {text-indent: 1em;} +div.tn {margin-left: 15%; margin-right: 15%; font-size: 80%; line-height: 1em;} + +.pagenum { visibility: hidden; + position: absolute; right:0; text-align: right; + font-size: 10px; + font-weight: normal; font-variant: normal; + font-style: normal; letter-spacing: normal; + color: #C0C0C0; background-color: inherit;} + +.smcap {font-variant: small-caps; font-size: 95%;} +.smaller {font-size: smaller;} +.small {font-size: 70%;} +.tiny {font-size: 70%;} +.italic {font-style: italic;} + +.p0 {margin-top: 0em; margin-bottom: 0em;} +.p0_1 {margin-top: 0em; margin-bottom: 1em;} +.p1_0 {margin-top: 1em; margin-bottom: 0em;} +.p2 {margin-top: 2em; margin-bottom: 1em;} +.p2_0 {margin-top: 2em; margin-bottom: 0em;} +.p4 {margin-top: 4em; margin-bottom: 1em;} + +.hl1 {line-height: 1%;} +.hl2 {line-height: 2em;} +.noindent {text-indent: 0em;} + +.right {text-align: right;} +.right3em {margin-right: 3em; text-align: right;} +.center {text-align: center;} +.figcenter {text-align: center; clear: both;} + +.fig30 {position: absolute; left: 30%; margin-bottom: 1em;} +.fig40 {position: absolute; left: 40%; margin-bottom: 1em;} +.fig50 {position: absolute; left: 50%; margin-bottom: 1em;} +.fig55 {position: absolute; left: 55%; margin-bottom: 1em;} +.fig60 {position: absolute; left: 60%; margin-bottom: 1em;} +.fig70 {position: absolute; left: 70%; margin-bottom: 1em;} +.fig75 {position: absolute; left: 75%; margin-bottom: 1em;} + +.left10 {margin-left: 10%; text-align: left;} +.left20 {margin-left: 20%; text-align: left;} +.left30 {margin-left: 30%; text-align: left;} +.left40 {margin-left: 40%; text-align: left;} +.left45 {margin-left: 45%; text-align: left;} +.left50 {margin-left: 50%; text-align: left;} +.left60 {margin-left: 60%; text-align: left;} +.left70 {margin-left: 70%; text-align: left;} + +.titleright {margin-right: 50%; text-align: right;} +.quote {font-size: 95%;} +.index {margin-left: 10%; text-indent: 0em; margin-top: 2em;} + +.sidenoteright {margin-bottom: 1em; + margin-right: -30%; width: 28%; + margin-left: 2%; margin-bottom: 0.5em; margin-top: 0.5em; + font-size: 65%; line-height: 1.1em; + float: right; clear: right; + text-indent: 0em; text-align: left;} + +.sidenoteleft {margin-bottom: 1em; + margin-left: -30%; width: 28%; + margin-right: 2%; margin-bottom: 0.5em; margin-top: 0.5em; + font-size: 65%; line-height: 1.1em; + float: left; clear: left; + text-indent: 0em; text-align: left;} + +.sidenotemainleft {margin-top: 1em; margin-bottom: 2em; position: absolute; + margin-left: 0%; width: 30%; + font-size: 65%; line-height: 1.1em; + padding: 0em 1em 2em 0.5em; + text-indent: 0em; text-align: left;} + +.sidenotemainright {margin-top: 1em; margin-bottom: 2em; position: absolute; + margin-left: 33%; width: 30%; float: right; clear: right; + font-size: 65%; line-height: 1.1em; + padding: 0em 1em 2em 0.5em; + text-indent: 0em; text-align: left;} + +.sidenotemaincenter {margin-top: 1em; margin-bottom: 1em; + margin-left: 20%; width: 70%; + font-size: 65%; line-height: 1.1em; + padding: 0em 1em 1em 0.5em; + text-indent: 0em; text-align: left;} + +.sidenotehalfright {margin-bottom: 1em; + margin-right: -15%; width: 40%; + margin-left: 2%; margin-bottom: 0.5em; margin-top: 0.5em; + font-size: 65%; line-height: 1.1em; + float: right; clear: right; + text-indent: 0em; text-align: left;} + + +.add2em {margin-left: 2em;} +.add3em {margin-left: 3em;} +.add4em {margin-left: 4em;} +.add6em {margin-left: 6em;} +.add10em {margin-left: 10em;} +.min1em {text-indent: -1em;} + +.floatright {float: right; clear: right; text-align: center; + padding-top: 0.2em; padding-bottom: 0.2em;} + +.floatleft {float: left; clear: left; text-align: center; + padding-top: 0.2em; padding-bottom: 0.2em;} + + hr.full { width: 100%; + height: 5px; } + pre {font-size: 85%; + line-height: 1.1em; } + p.pg {line-height: 1em; } +--> +</style> +</head> +<body> +<h1 class="pg">The Project Gutenberg eBook, The Gentle Art of Making Enemies, by James +McNeill Whistler</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p class="pg">Title: The Gentle Art of Making Enemies</p> +<p class="pg">Author: James McNeill Whistler</p> +<p class="pg">Release Date: February 19, 2008 [eBook #24650]</p> +<p class="pg">Language: English</p> +<p class="pg">Character set encoding: ISO-8859-1</p> +<p class="pg">***START OF THE PROJECT GUTENBERG EBOOK THE GENTLE ART OF MAKING ENEMIES***</p> +<br><br><center><h3 class="pg">E-text prepared by Suzanne Shell, Christine P. Travers,<br> + and the<br> + Project Gutenberg Online Distributed Proofreading Team<br> + (http://www.pgdp.net)</h3></center><br><br> +<div class="tn"> +<p class="noindent"><b>Transcriber's notes:</b><br> +<br> +Obvious printer's errors have been corrected. All +other inconsistencies are as in the original. The author's spelling has +been retained.</p> + +<p class="noindent">Missing page numbers correspond to blank pages.</p> + +<p class="noindent">Page 170: The end punctuation of "What means this affectation of +<span class="italic">naïveté</span>." has been changed to "What means this affectation of +<span class="italic">naïveté</span>?"</p> +</div> +<p> </p> +<hr class="full" noshade> +<p> </p> + +<h1 class="italic">THE GENTLE ART<br> +<span class="smaller">OF</span><br> +MAKING ENEMIES</h1> + +<p class="p2 center italic">by</p> + +<h2 class="italic">James Abbott McNeill Whistler</h2> + +<p class="figcenter add3em"> +<img src="images/img001_front.jpg" width="100" height="102" alt="Butterfly" title=""> +</p> + +<div class="italic"> +<p class="p4 titleright"><strong>THE GENTLE ART</strong></p> +<p class="p2 titleright">OF</p> +<p class="p2 left45"><strong>MAKING ENEMIES</strong></p> + +<p class="fig60"> +<img src="images/img002_p004.jpg" width="100" height="95" alt="Butterfly" title=""><br> +</p> + +<p class="italic smaller" style="padding-top: 120px;">Chelsea</p> +</div> +<span class="pagenum"><a id="pagev" name="pagev"></a>(p. v)</span> +<h3 class="italic">AN EXTRAORDINARY PIRATICAL PLOT</h3> + +<p class="italic">A most curiously well-concocted piratical scheme to publish, without +his knowledge or consent, a complete collection of Mr. Whistler's + +<span class="sidenoteright">"American Register," Paris, March 8, 1890.</span> + +writings, letters, pamphlets, lectures, &c., has been nipped in the +bud on the very eve of its accomplishment. It appears that the book +was actually in type and ready for issue, but the plan was to bring +out the work simultaneously in England and America. This caused delay, +the plates having to be shipped to New York, and the strain of secrecy +upon the conspirators during the interval would seem to have been too +great. In any case indications of surrounding mystery, quite +sufficient to arouse Mr. Whistler's attention, brought about his rapid +action. Messrs. Lewis and Lewis were instructed to take out immediate +injunction against the publication in both England and America, and +this information, at once cabled across, warning all publishers in the +United States, exploded the plot, effectually frustrating the +elaborate machinations of those engaged in it.</p> + +<span class="pagenum"><a id="pagevi" name="pagevi"></a>(p. vi)</span> +<h3 class="italic">SEIZURE OF MR WHISTLER'S PIRATED WRITINGS</h3> + +<p class="italic">This pirated collection of letters, writings, &c., + +<span class="sidenoteleft">"New York Herald," London Edition, March 23, +1890.</span> + +to whose +frustrated publication in this country and America we have already +alluded, was seized in Antwerp, at the printers', on Friday last—the +very day of its contracted delivery. The persistent and really +desperate speculator in this volume of difficult birth, baffled in his +attempt to produce it in London and New York had been tracked to +Antwerp by Messrs. Lewis and Lewis; and he was finally brought down by +Maître Maeterlinck, the distinguished lawyer of that city.</p> + +<span class="pagenum"><a id="pagevii" name="pagevii"></a>(p. vii)</span> +<h3 class="italic">THE EXPLODED PLOT</h3> + +<p class="italic">With regard to this matter, to which we have already alluded on a +previous occasion, Messrs. Lewis and Lewis have received the following +letter from Messrs. Field and Tuer, of the Leadenhall Press, dated +March 25, 1890:—<br> + +<span class="sidenoteright">"Pall Mall Gazette," March 27, 1890.</span> + +"We have seen the paragraph in yesterday's 'Pall Mall Gazette' +relating to the publication of Mr. Whistler's letters. You may like to +know that we recently put into type for a certain person a series of +Mr. Whistlers letters and other matter, taking it for granted that Mr. +Whistler had given permission. Quite recently, however, and +fortunately in time to stop the work being printed, we were told that +Mr. Whistler objected to his letters being published. We then sent for +the person in question, and told him that until he obtained Mr. +Whistler's sanction we declined to proceed further with the work, +which, we may tell you, is finished and cast ready for printing, and +the type distributed. From the time of this interview we have not seen +or heard from the person in question, and there the matter rests."</p> + +<span class="pagenum"><a id="pageviii" name="pageviii"></a>(p. viii)</span> +<h3 class="italic">MR. WHISTLER'S PAPER HUNT</h3> + +<p class="italic">The fruitless attempt to publish without his consent, or rather in +spite of his opposition, the collected writings of Mr. Whistler has + +<span class="sidenoteleft">"Sunday Times," March 30, 1890.</span> + +developed into a species of chase from press to press, and from +country to country. With an extraordinary fatality, the unfortunate +fugitive has been invariably allowed to reach the very verge of +achievement before he was surprised by the long arm of Messrs. Lewis +and Lewis. Each defeat has been consequently attended with infinite +loss of labour, material and money. Our readers have been told how the +London venture came to nought, and how it was frustrated in America. +The venue was then changed, and Belgium, as a neutral ground, was +supposed possible; but here again, on the very day of its delivery, +the edition of 2000 vols. was seized by M. le Procureur du Roi, and +under the nose of the astounded and discomfited speculator, the packed +and corded bales, of which he was about to take possession, were +carried off in the Government van! The upshot of the untiring efforts +of this persistent adventurer at length results in furnishing Mr. +Whistler with the first and only copy of this curious work, which was +certainly anything but the intention of its compiler, who clearly, +judging from its contents, had reserved for him an unpleasing if not +crushing surprise!</p> + +<span class="pagenum"><a id="pageix" name="pageix"></a>(p. ix)</span> +<h3 class="italic">A GREAT LITERARY CURIOSITY</h3> + +<div class="italic"> +<p>I have to-day seen the printed book itself of the Collected Writings +of Mr. Whistler, + +<span class="sidenoteright">"Pall Mall Gazette." March 1890.</span> + +whose publication has proved so comically impossible. +The style of the preface and accessory comments is in the worst style +of Western editorship; while the disastrous effect of Mr. Whistler's +literature upon the one who has burned his fingers with it, is +amusingly shown.</p> + +<p>In the index occur such well-known names as Mr. J. C. Horsley, R.A., +Mr. Labouchere, Mr. Ruskin, Mr. Linley Sambourne, Mr. Swinburne, Tom +Taylor, Mr. Frith, and Rossetti. The famous catalogue of the "Second +Exhibition of Venice Etchings, February 19, 1883," in which Mr. +Whistler quotes the critics, is also given.</p> +</div> + +<span class="pagenum"><a id="pagex" name="pagex"></a>(p. x)</span> +<h3 class="italic">A LAST EFFORT</h3> + +<p class="italic">We hear that a third attempt has been made to produce the pirated +copy of Mr. Whistler's + +<span class="sidenoteleft">"Pall Mall Gazette," April 9, 1890.</span> + +collected writings. Messrs. Lewis and Lewis +have at once taken legal steps to stop the edition (printed in Paris) +at the Customs. A cablegram has been received by Mr. Whistler's +solicitors stating that Messrs. Stokes's name has been affixed to the +title-page of the pirated book without the sanction of those +publishers.</p> + + +<div class="italic"> +<p class="p4 titleright"><strong>THE GENTLE ART</strong></p> +<p class="p2 titleright">OF</p> +<p class="p2 left45"><strong>MAKING ENEMIES</strong></p> + +<p class="p2 hl2 smaller"><span class="add6em">AS</span> PLEASINGLY EXEMPLIFIED +IN MANY INSTANCES, WHEREIN THE SERIOUS ONES +OF THIS EARTH, CAREFULLY EXASPERATED, HAVE +BEEN PRETTILY SPURRED ON TO UNSEEMLINESS +AND INDISCRETION, WHILE OVERCOME BY AN +UNDUE SENSE OF RIGHT</p> +</div> + +<p class="p2 fig40"> +<img src="images/img003_p014.jpg" width="100" height="102" alt="Butterfly" title=""> +</p> + +<div class="p4 italic small" style="padding-top: 150px"> +<p>A NEW EDITION</p> +<p class="add6em hl1">LONDON MDCCCXCII</p> +<p class="p0 add3em hl1">WILLIAM HEINEMANN</p> + +<p class="p4 right">Rights of Translation and<br> +Reproduction reserved.</p> +</div> + +<div class="p4 center"> +<img src="images/img004_p016.jpg" width="100" height="237" alt="Butterfly" title=""> +</div> + +<p class="left40 italic smaller"> + <span class="add6em">To</span><br> + The rare Few, who, early in Life<br> + have rid Themselves of the Friendship<br> + of the Many, these pathetic Papers<br> + <span class="add10em">are inscribed</span></p> + +<h3 class="italic smcap">"Messieurs les Ennemis!"</h3> + +<p class="center add6em"> +<img src="images/img005_p018.jpg" width="70" height="62" alt="Butterfly" title=""></p> + +<h3 class="italic"><span class="pagenum"><a id="page001" name="page001"></a>(p. 001)</span> Prologue</h3> + +<p>"For Mr. Whistler's + +<span class="sidenoteleft">Professor John Ruskin in <span class="italic">Fors Clavigera</span>, +July 2, 1877.</span> + +own sake, 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 +approached the aspect of wilful imposture. I have seen, and heard, +much of cockney impudence before now; but never expected to hear a +coxcomb ask two hundred guineas for flinging a pot of paint in the +public's face."</p> + +<p class="right smcap">john ruskin.</p> + +<h3 class="italic"><span class="pagenum"><a id="page002" name="page002"></a>(p. 002)</span> The Action</h3> + +<p>In the Court of Exchequer Division on Monday, before Baron Huddleston +and a special jury, the case of Whistler <span class="italic">v.</span> Ruskin + +<span class="sidenoteright">Lawsuit for Libel against Mr. Ruskin Nov. 15, 1878.</span> + +came on for hearing. +In this action the plaintiff claimed £1000 damages.</p> + +<p>Mr. Serjeant Parry and Mr. Petheram appeared for the plaintiff; and +the Attorney-General and Mr. Bowen represented the defendant.</p> + +<p>Mr. <span class="smcap">Serjeant Parry</span>, in opening the case on behalf of the plaintiff, +said that Mr. Whistler had followed the profession of an artist for +many years, both in this and other countries. Mr. Ruskin, as would be +probably known to the gentlemen of the jury, held perhaps the highest +position in Europe and America as an art critic, and some of his works +were, he might say, destined to immortality. He was, in fact, a +gentleman of the highest reputation. In the July number of <span class="italic">Fors +Clavigera</span> there appeared passages in which Mr. Ruskin criticised what +he called "the modern <span class="pagenum"><a id="page003" name="page003"></a>(p. 003)</span> school," and then followed the +paragraph of which Mr. Whistler now complained, and which was: "For +Mr. Whistler's own sake, 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 +approached the aspect of wilful imposture. I have seen, and heard, +much of cockney impudence before now; but never expected to hear a +coxcomb ask two hundred guineas for flinging a pot of paint in the +public's face." That passage, no doubt, had been read by thousands, +and so it had gone forth to the world that Mr. Whistler was an +ill-educated man, an impostor, a cockney pretender, and an impudent +coxcomb.</p> + +<p>Mr. <span class="smcap">Whistler</span>, cross-examined by the <span class="smcap">Attorney-General</span>, said: "I have +sent pictures to the Academy which have not been received. I believe +that is the experience of all artists.... The nocturne in black and +gold is a night piece, and represents the fireworks at Cremorne."</p> + +<p>"Not a view of Cremorne?"</p> + +<p>"If it were called a view of Cremorne, it would certainly bring about +nothing but disappointment on the part of the beholders. (<span class="italic">Laughter.</span>) +It is an artistic arrangement. It was marked two hundred guineas."</p> + +<p>"Is <span class="pagenum"><a id="page004" name="page004"></a>(p. 004)</span> not that what we, who are not artists, would call a +stiffish price?"</p> + +<p>"I think it very likely that that may be so."</p> + +<p>"But artists always give good value for their money, don't they?"</p> + +<p>"I am glad to hear that so well established. (<span class="italic">A laugh.</span>) I do not +know Mr. Ruskin, or that he holds the view that a picture should only +be exhibited when it is finished, when nothing can be done to improve +it, but that is a correct view; the arrangement in black and gold was +a finished picture, I did not intend to do anything more to it."</p> + +<p>"Now, Mr. Whistler. Can you tell me how long it took you to knock off +that nocturne?"</p> + +<p>... "I beg your pardon?" (<span class="italic">Laughter.</span>)</p> + +<p>"Oh! I am afraid that I am using a term that applies rather perhaps to +my own work. I should have said, How long did you take to paint that +picture?"</p> + +<p>"Oh, no! permit me, I am too greatly flattered to think that you +apply, to work of mine, any term that you are in the habit of using +with reference to your own. Let us say then how long did I take +to—'knock off,' I think that is it—to knock off that nocturne; well, +as well as I remember, about a day."</p> + +<p>"Only a day?"</p> + +<p>"Well, <span class="pagenum"><a id="page005" name="page005"></a>(p. 005)</span> I won't be quite positive; I may have still put a few +more touches to it the next day if the painting were not dry. I had +better say then, that I was two days at work on it."</p> + +<p>"Oh, two days! The labour of two days, then, is that for which you ask +two hundred guineas!"</p> + +<p>"No;—I ask it for the knowledge of a lifetime." (<span class="italic">Applause.</span>)</p> + +<p>"You have been told that your pictures exhibit some eccentricities?"</p> + +<p>"Yes; often." (<span class="italic">Laughter.</span>)</p> + +<p>"You send them to the galleries to incite the admiration of the +public?"</p> + +<p>"That would be such vast absurdity on my part, that I don't think I +could." (<span class="italic">Laughter.</span>)</p> + +<p>"You know that many critics entirely disagree with your views as to +these pictures?"</p> + +<p>"It would be beyond me to agree with the critics."</p> + +<p>"You don't approve of criticism then?"</p> + +<p>"I should not disapprove in any way of technical criticism by a man +whose whole life is passed in the practice of the science which he +criticises; but for the opinion of a man whose life is not so passed I +would have as little regard as you would, if he expressed an opinion +on law."</p> + +<p>"You expect to be criticised?"</p> + +<p>"Yes; <span class="pagenum"><a id="page006" name="page006"></a>(p. 006)</span> certainly. And I do not expect to be affected by it, +until it becomes a case of this kind. It is not only when criticism is +inimical that I object to it, but also when it is incompetent. I hold +that none but an artist can be a competent critic."</p> + +<p>"You put your pictures upon the garden wall, Mr. Whistler, or hang +them on the clothes line, don't you—to mellow?"</p> + +<p>"I do not understand."</p> + +<p>"Do you not put your paintings out into the garden?"</p> + +<p>"Oh! I understand now. I thought, at first, that you were perhaps +again using a term that you are accustomed to yourself. Yes; I +certainly do put the canvases into the garden that they may dry in the +open air while I am painting, but I should be sorry to see them +'mellowed.'"</p> + +<p>"Why do you call Mr. Irving 'an arrangement in black'?" (<span class="italic">Laughter.</span>)</p> + +<p>Mr. <span class="smcap">Baron Huddleston</span>: "It is the picture and not Mr. Irving that is +the arrangement."</p> + +<p>A discussion ensued as to the inspection of the pictures, and +incidentally Baron Huddleston remarked that a critic must be competent +to form an opinion, and bold enough to express that opinion in strong +terms if necessary.</p> + +<p>The <span class="pagenum"><a id="page007" name="page007"></a>(p. 007)</span> <span class="smcap">Attorney-General</span> complained that no answer was given to a +written application by the defendant's solicitors for leave to inspect +the pictures which the plaintiff had been called upon to produce at +the trial. The <span class="smcap">Witness</span> replied that Mr. Arthur Severn had been to his +studio to inspect the paintings, on behalf of the defendant, for the +purpose of passing his final judgment upon them and settling that +question for ever.</p> + +<p>Cross-examination continued: "What was the subject of the nocturne in +blue and silver belonging to Mr. Grahame?"</p> + +<p>"A moonlight effect on the river near old Battersea Bridge."</p> + +<p>"What has become of the nocturne in black and gold?"</p> + +<p>"I believe it is before you." (<span class="italic">Laughter.</span>)</p> + +<p>The picture called the nocturne in blue and silver, was now produced +in Court.</p> + +<p>"That is Mr. Grahame's picture. It represents Battersea Bridge by +moonlight."</p> + +<p><span class="smcap">Baron Huddleston</span>: "Which part of the picture is the bridge?" +(<span class="italic">Laughter.</span>)</p> + +<p>His Lordship earnestly rebuked those who laughed. And witness +explained to his Lordship the composition of the picture.</p> + +<p>"Do <span class="pagenum"><a id="page008" name="page008"></a>(p. 008)</span> you say that this is a correct representation of +Battersea Bridge?"</p> + +<p>"I did not intend it to be a 'correct' portrait of the bridge. It is +only a moonlight scene and the pier in the centre of the picture may +not be like the piers at Battersea Bridge as you know them in broad +daylight. As to what the picture represents that depends upon who +looks at it. To some persons it may represent all that is intended; to +others it may represent nothing."</p> + +<p>"The prevailing colour is blue?"</p> + +<p>"Perhaps."</p> + +<p>"Are those figures on the top of the bridge intended for people?"</p> + +<p>"They are just what you like."</p> + +<p>"Is that a barge beneath?"</p> + +<p>"Yes. I am very much encouraged at your perceiving that. My whole +scheme was only to bring about a certain harmony of colour."</p> + +<p>"What is that gold-coloured mark on the right of the picture like a +cascade?"</p> + +<p>"The 'cascade of gold' is a firework."</p> + +<p>A second nocturne in blue and silver was then produced.</p> + +<p><span class="smcap">Witness</span>: "That represents another moonlight scene on the Thames +looking up Battersea Reach. I completed the mass of the picture in one +day."</p> + +<p>The <span class="pagenum"><a id="page009" name="page009"></a>(p. 009)</span> Court then adjourned. During the interval the jury +visited the Probate Court to view the pictures which had been +collected in the Westminster Palace Hotel.</p> + +<p>After the Court had re-assembled the "Nocturne in Black and Gold" was +again produced, and Mr. <span class="smcap">Whistler</span> was further cross-examined by the +<span class="smcap">Attorney-General</span>: "The picture represents a distant view of Cremorne +with a falling rocket and other fireworks. It occupied two days, and +is a finished picture. The black monogram on the frame was placed in +its position with reference to the proper decorative balance of the +whole."</p> + +<p>"You have made the study of Art your study of a lifetime. Now, do you +think that anybody looking at that picture might fairly come to the +conclusion that it had no peculiar beauty?"</p> + +<p>"I have strong evidence that Mr. Ruskin did come to that conclusion."</p> + +<p>"Do you think it fair that Mr. Ruskin should come to that conclusion?"</p> + +<p>"What might be fair to Mr. Ruskin I cannot answer."</p> + +<p>"Then you mean, Mr. Whistler, that the initiated in technical matters +might have no difficulty in understanding your work. But do you think +now that you could make <span class="italic">me</span> see the beauty of that picture?"</p> + +<p>The <span class="pagenum"><a id="page010" name="page010"></a>(p. 010)</span> witness then paused, and examining attentively the +Attorney-General's face and looking at the picture alternately, said, +after apparently giving the subject much thought, while the Court +waited in silence for his answer:</p> + +<p>"No! Do you know I fear it would be as hopeless as for the musician to +pour his notes into the ear of a deaf man. (<span class="italic">Laughter.</span>)</p> + +<p>"I offer the picture, which I have conscientiously painted, as being +worth two hundred guineas. I have known unbiassed people express the +opinion that it represents fireworks in a night-scene. I would not +complain of any person who might simply take a different view."</p> + +<p>The Court then adjourned.</p> + +<p>The <span class="smcap">Attorney-General</span>, in resuming his address on behalf of the +defendant on Tuesday, said he hoped to convince the jury, before his +case closed, that Mr. Ruskin's criticism upon the plaintiff's pictures +was perfectly fair and <span class="italic">bonâ fide</span>;[1] + +<span class="sidenoteleft" title="Footnote 1"><span class="tiny">[1]</span>"Enter now the great room with the Veronese + at the end of it, for which the painter (<span class="italic">quite + rightly</span>) was summoned before the Inquisition of + State."—Prof. <span class="smcap">John Ruskin</span>: <span class="italic">Guide to Principal + Pictures, Academy of Fine Arts, Venice</span>.</span> + +and that, however severe it +might be, there was nothing that could reasonably be complained of.... +Let them examine the nocturne in blue and silver, said to represent +Battersea Bridge. What was that structure in the middle? Was it a +telescope or a fire-escape? Was it like Battersea Bridge? What were +the figures at <span class="pagenum"><a id="page011" name="page011"></a>(p. 011)</span> the top of the bridge? And if they were +horses and carts, how in the name of fortune were they to get off? +Now, about these pictures, if the plaintiff's argument was to avail, +they must not venture publicly to express an opinion, or they would +have brought against them an action for damages.</p> + +<p>After all, Critics had their uses.[2] +<span class="sidenoteright" title="Footnote 2"><span class="tiny">[2]</span>"I have now given up ten years of my life + to the single purpose of enabling myself to judge + rightly of art ... earnestly desiring to ascertain, and + <span class="italic">to be able to teach</span>, the truth respecting art; also + knowing that this truth was <span class="italic">by time and labour</span> + definitely ascertainable."—Prof. <span class="smcap">Ruskin</span>: <span class="italic">Modern + Painters</span>, Vol. III.<br><br> + + "Thirdly, that TRUTHS OF COLOUR ARE THE LEAST IMPORTANT + OF ALL TRUTHS."—Mr. <span class="smcap">Ruskin</span>, Prof, of Art: <span class="italic">Modern + Painters</span>, Vol. I. Chap. V.<br><br> + + "And that colour is indeed a most unimportant + characteristic of objects, would be further evident on + the slightest consideration. The colour of plants is + constantly changing with the season ... but the nature + and essence of the thing are independent of these + changes. An oak is an oak, whether green with spring, or + red with winter; a dahlia is a dahlia, whether it be + yellow or crimson; and if some monster hunting florist + should ever frighten the flower blue, still it will be a + dahlia; but not so if the same arbitrary changes could + be effected in its form. Let the roughness of the bark + and the angles of the boughs be smoothed or diminished, + and the oak ceases to be an oak; but let it retain its + universal structure and outward form, and though its + leaves grow white, or pink, or blue, or tri-colour, it + would be a white oak, or a pink oak, or a republican + oak, but an oak still."—<span class="smcap">John Ruskin</span>, Esq., M.A., + Teacher and Slade Prof. of Fine Arts: <span class="italic">Modern + Painters</span>.</span> +He should like to know what +would become of Poetry, of Politics, of Painting, if Critics were to +be extinguished? Every Painter struggled to obtain fame.</p> + +<p>No Artist could obtain fame, except through criticism.[3] + +<span class="sidenoteleft" title="Footnote 3"><span class="tiny">[3]</span>"Canaletto, had he been a great painter, + might have cast his reflections wherever he chose ... + but he is a little and a bad painter."—Mr. <span class="smcap">Ruskin</span>, Art + Critic.<br><br> + + "I repeat there is nothing but the work of Prout which + is true, living, or right in its general impression, and + nothing, therefore, so inexhaustively <span class="italic">agreeable</span>" + (sic).—<span class="smcap">J. Ruskin</span>, Art Professor: <span class="italic">Modern Painters</span>.</span> +</p> + +<p>... As to these pictures, they could only come to the conclusion that +they were strange fantastical conceits, not worthy to be called works +of Art.</p> + +<p>... Coming to the libel, the Attorney-General said it had been +contended that Mr. Ruskin was not justified in interfering with a +man's livelihood. But why not? Then it was said, "Oh! you have +ridiculed Mr. Whistler's pictures." If Mr. Whistler disliked ridicule, +he should not have subjected himself to it by exhibiting publicly such +productions. If a man thought a picture was a daub[4] +<span class="sidenoteleft" title="Footnote 4"><span class="tiny">[4]</span>"Now it is evident that in Rembrandt's + system, while the contrasts are not more right than with + Veronese, the colours are all wrong from beginning to + end."—<span class="smcap">John Ruskin</span>, Art Authority.</span> +he had a right +to say so, without subjecting himself to a risk of an action.</p> + +<p>He would not be able to call Mr. Ruskin, as he was far too ill to +attend; +<span class="sidenoteright"> +<span class="floatright"><img src="images/img006_p030.jpg" width="50" height="36" alt="Butterfly" title=""></span> +<span class="italic">REFLECTION:</span><br> + "In conduct and in conversation,<br> + It did a sinner good to hear<br> + Him deal in ratiocination!" +</span> + +but, if he had been able to appear, he <span class="pagenum"><a id="page012" name="page012"></a>(p. 012)</span> would have +given his opinion of Mr. Whistler's work in the witness-box.</p> + +<p>He had the highest appreciation for <span class="italic">completed pictures</span>;[5] + +<span class="sidenoteleft" title="Footnote 5"><span class="tiny">[5]</span>"I was pleased by a little unpretending + modern German picture at Dusseldorf, by Bosch, + representing a boy carving a model of his sheep dog in + wood."—<span class="smcap">J. Ruskin</span>: <span class="italic">Modern Painters</span>.</span>and he +required from an Artist that he should possess something more than a +few flashes of genius![6] +<span class="sidenoteright" title="Footnote 6"><span class="tiny">[6]</span>"I have just said that every class of rock, + earth and cloud must be known by the painter with + geologic and meteorologic accuracy."—Slade Prof. + <span class="smcap">Ruskin</span>: <span class="italic">Modern Painters</span>.</span></p> + +<p>Mr. Ruskin entertaining those views, it was not wonderful that his +attention should be attracted to Mr. Whistler's pictures. He subjected +the pictures, if they chose,[7] + +<span class="sidenoteleft" title="Footnote 7"><span class="tiny">[7]</span>"Vulgarity, dulness, or impiety will indeed + always express themselves through art, in brown and + gray, as in Rembrandt."—Prof. <span class="smcap">John Ruskin</span>: <span class="italic">Modern + Painters</span>.</span> + +to ridicule and contempt. Then Mr. Ruskin spoke of "the ill-educated[8] + +<span class="sidenoteright" title="Footnote 8"><span class="tiny">[8]</span>"It is physically impossible, for instance, + rightly to draw certain forms of the upper clouds with a + brush; nothing will do it but the palette knife with + loaded white after the blue ground is prepared."—<span class="smcap">John + Ruskin</span>, Prof. of Painting.</span> + +conceit of the artist, so nearly +approaching the action of imposture." If his pictures were mere +extravagances, how could it redound to the credit of Mr. Whistler to +send them to the Grosvenor Gallery to be exhibited? Some artistic +gentleman from Manchester, Leeds, or Sheffield might perhaps be +induced to buy one of the pictures because it was a Whistler, and what +Mr. Ruskin meant was that he might better have remained in Manchester, +Sheffield, or Leeds, with his money in his pocket. It was said that +the term "ill-educated conceit" ought never to have been applied to +Mr. Whistler, who had devoted the whole of his life to educating +himself in Art;[9] + +<span class="sidenoteleft" title="Footnote 9"><span class="tiny">[9]</span>"And thus we are guided, almost forced, by + the laws of nature, to do right in art. Had granite been + white and marble speckled (and why should this not have + been, but by the definite Divine appointment for the + good of man?), the huge figures of the Egyptian would + have been as oppressive to the sight as cliffs of snow, + and the Venus de Medicis would have looked like some + exquisitely graceful species of frog."—Slade Professor + <span class="smcap">John Ruskin</span>.</span> + +but Mr. Ruskin's views[10] + +<span class="sidenoteleft" title="Footnote 10"><span class="tiny">[10]</span>"The principal object in the foreground of + Turner's 'Building of Carthage' is a group of children + sailing toy boats. The exquisite choice of this incident + ... is quite as appreciable when it is told, as when it + is seen—it has nothing to do with the technicalities of + painting; ... such a thought as this is something far + above all art."—<span class="smcap">John Ruskin</span>, Art Professor: <span class="italic">Modern + Painters</span>.</span> +as to his success did +not accord with those of Mr. Whistler. + +<span class="sidenoteleft"><span class="italic">REFLECTION:</span><br> + "Be not righteous overmuch, neither make thyself + overwise; why shouldest thou destroy thyself!"<br> +<span class="add3em"><img src="images/img007_p031.jpg" width="50" height="48" alt="Butterfly" title=""></span></span> +The libel complained of said +also, "I never expected to hear a coxcomb ask two hundred guineas for +flinging a <span class="pagenum"><a id="page013" name="page013"></a>(p. 013)</span> pot of paint in the public's face." What was a +coxcomb? He had looked the word up, and found that it came from the +old idea of the licensed jester who wore a cap and bells with a cock's +comb in it, who went about making jests for the amusement of his +master and family. If that were the true definition, then Mr. Whistler +should not complain, because his pictures had afforded a most amusing +jest! <span class="italic">He did not know when so much amusement had been afforded to +the[11]</span> + +<span class="sidenoteleft" title="Footnote 11"><span class="tiny">[11]</span>"It is especially to be remembered that + drawings of this simple character [Prout's and W. + Hunt's] were made for these same middle classes, + exclusively; and even for the second order of middle + classes, more accurately expressed by the term + 'bourgeoisie.' They gave an unquestionable tone of + liberal-mindedness to a suburban villa, and were the + cheerfullest possible decorations for a moderate sized + breakfast parlour, opening on a nicely mown lawn."—<span class="smcap">John + Ruskin</span>, Art Professor: <span class="italic">Notes on S. Prout and W. Hunt</span>.</span> + +<span class="italic">British Public as by Mr. Whistler's pictures.</span> He had now +finished. Mr. Ruskin had lived a long life without being attacked, and +no one had attempted to control his pen through the medium of a jury. +Mr. Ruskin said, through him, as his counsel, that he did not retract +one syllable of his criticism, believing it was right. Of course, if +they found a verdict against Mr. Ruskin, he would have to cease +writing,[12] + +<span class="sidenoteright" title="Footnote 12"><span class="tiny">[12]</span>"It seems to me, and seemed always + probable, that I might have done much more good in some + other way."—Prof. <span class="smcap">John Ruskin</span>, Art Teacher: <span class="italic">Modern + Painters</span>, Vol. V.</span> + +but it would be an evil day for Art, in this country, +when Mr. Ruskin would be prevented from indulging in legitimate and +proper criticism, by pointing out what was beautiful and what was +not.[13] + +<span class="sidenoteright" title="Footnote 13"><span class="tiny">[13]</span>"Give thorough examination to the + wonderful painting, <span class="italic">as such</span>, in the great Veronese ... + and then, for contrast with its reckless power, and for + final image to be remembered of sweet Italian art in its + earnestness ... the Beata Catherine Vigri's St. Ursula, + ... I will only say in closing, as I said of the Vicar's + picture in beginning, that it would be well if any of us + could do such things nowadays—and more especially if + our vicars and young ladies could."—<span class="smcap">John Ruskin</span>, Prof. + of Fine Art: <span class="italic">Guide to Principal Pictures</span>, <span class="italic">Academy of + Fine Arts</span>, <span class="italic">Venice</span>.</span></p> + +<p>Evidence was then called on behalf of the defendant. Witnesses for the +defendant, Messrs. Edward Burne-Jones, Frith, and Tom Taylor.</p> + +<p>Mr. <span class="smcap">Edward Burne-Jones</span> called.</p> + +<p>Mr. <span class="smcap">Bowen</span>, by way of presenting him properly to the <span class="pagenum"><a id="page014" name="page014"></a>(p. 014)</span> +consideration of the Court, proceeded to read extracts of eulogistic +appreciation of this artist from the defendant's own writings.</p> + +<p>The examination of witness then commenced; and in answer to Mr. <span class="smcap">Bowen</span>, +Mr. <span class="smcap">Jones</span> said: +<span class="sidenoteright" title="Footnote 13"><span class="tiny">[13]</span>"Of the estimate which shall be formed of Mr. + Jones's own work....<br><br> + + "His work, first, is simply the only art-work at present + produced in England which will be received by the future + as 'classic' in its kind—the best that has been or + could be."—Prof. <span class="smcap">Ruskin</span>: <span class="italic">Fors Clavigera</span>, July 2, + 1877.</span> + +"I am a painter, and have devoted about twenty years +to the study. I have painted various works, including the 'Days of +Creation' and 'Venus's Mirror,' both of which were exhibited at the +Grosvenor Gallery in 1877. I have also exhibited 'Deferentia,' +'Fides,' 'St. George,' and 'Sybil.' I have one work, 'Merlin and +Vivian,' now being exhibited in Paris. In my opinion complete finish +ought to be the object of all artists. A picture ought not to fall +short of what has been for ages considered complete finish."</p> + +<p>Mr. <span class="smcap">Bowen</span>: "Do you see any art quality in that nocturne, Mr. Jones?"</p> + +<p>Mr. <span class="smcap">Jones</span>: "Yes ... I must speak the truth, you know".... (<span class="italic">Emotion.</span>)</p> + +<p>Mr. <span class="smcap">Bowen</span>: ... "Yes. Well, Mr. Jones, what quality do you see in it?"</p> + +<p>Mr. <span class="smcap">Jones</span>: "Colour. It has fine colour, and atmosphere."</p> + +<p>Mr. <span class="smcap">Bowen</span>: "Ah. Well, do you consider detail and composition essential +to a work of Art?"</p> + +<p>Mr. <span class="smcap">Jones</span>: "Most certainly I do."</p> + +<p>Mr. <span class="pagenum"><a id="page015" name="page015"></a>(p. 015)</span> <span class="smcap">Bowen</span>: "Then what detail and composition do you find in +this nocturne?"</p> + +<p class="sidenoteright" title="Footnote 14"><span class="tiny">[14]</span><span class="italic">REFLECTION:</span><br> + There is a cunning condition of mind that <span class="italic">requires to + know</span>. On the Stock Exchange this insures safe + investment. In the painting trade this would induce + certain picture-makers to cross the river at noon, in a + boat, before negotiating a Nocturne, in order to make + sure of detail on the bank, that honestly the purchaser + might exact, and out of which he might have been tricked + by the Night!<br> +<span class="floatright"><img src="images/img008_p034.jpg" width="50" height="50" alt="Butterfly" title=""></span> +</p> + +<p>Mr. <span class="smcap">Jones</span>: "Absolutely none."[14]</p> + +<p>Mr. <span class="smcap">Bowen</span>: "Do you think two hundred guineas a large price for that +picture?"</p> + +<p class="sidenoteleft">"The action of imagination of the highest + power in Burne Jones, under the conditions of + scholarship, of social beauty, and of social distress, + which necessarily aid, thwart, and colour it in the + nineteenth century, are alone in art,—unrivalled in + their kind; and I <span class="italic">know</span> that these will be immortal, as + the best things the mid-nineteenth century in England + could do, in such true relations as it had, through all + confusion, retained with the paternal and everlasting + Art of the world."—<span class="smcap">John Ruskin</span>, LL.D.: <span class="italic">Fors + Clavigera</span>, July 2, 1877.</p> + +<p>Mr. <span class="smcap">Jones</span>: "Yes. When you think of the amount of earnest work done for +a smaller sum."</p> + +<p>Examination continued: "Does it show the finish of a complete work of +art?"</p> + +<p>"Not in any sense whatever. The picture representing a night scene on +Battersea Bridge, is good in colour, but bewildering in form; and it +has no composition and detail. A day or a day and a half seems a +reasonable time within which to paint it. It shows no finish—it is +simply a sketch. The nocturne in black and gold has not the merit of +the other two pictures, and it would be impossible to call it a +serious work of art. Mr. Whistler's picture is only one of the +thousand failures to paint night. The picture is not worth two hundred +guineas."</p> + +<p>Mr. <span class="smcap">Bowen</span> here proposed to ask the witness to look at a picture of +Titian,[15] + +<span class="sidenoteleft" title="Footnote 15"><span class="tiny">[15]</span>"I believe the world may see another + Titian, and another Raffaelle, before it sees another + Rubens."—Mr. <span class="smcap">Ruskin</span>.</span> + +in order to show what finish was.[16] + +<span class="sidenoteright" title="Footnote 16"><span class="tiny">[16]</span> ... "The Butcher's Dog, in the corner of + Mr. Mulready's 'Butt,' displays, perhaps, the most + wonderful, because the most dignified, finish ... and + assuredly the most perfect unity of drawing and colour + which the entire range of ancient and modern art can + exhibit. Albert Durer is, indeed, the only rival who + might be suggested."—<span class="smcap">John Ruskin</span> Slade Professor of + Art: <span class="italic">Modern Painters</span>.</span></p> + +<p>Mr. <span class="smcap">Serjeant Parry</span> objected.</p> + +<p>Mr. <span class="smcap">Baron Huddleston</span>: "You will have to prove that it is a Titian."</p> + +<p>Mr. <span class="smcap">Bowen</span>: "I shall be able to do that."</p> + +<p>Mr. <span class="pagenum"><a id="page016" name="page016"></a>(p. 016)</span> <span class="smcap">Baron Huddleston</span>: "That can only be by repute. I do not +want to raise a laugh, but there is a well-known case of 'an +undoubted' Titian being purchased with a view to enabling students and +others to find out how to produce his wonderful colours. With that +object the picture was rubbed down, and they found a red surface, +beneath which they thought was the secret, but on continuing the +rubbing they discovered a full length portrait of George III. in +uniform!"</p> + +<p>The witness was then asked to look at the picture, and he said: "It is +a portrait of Doge Andrea Gritti, and I believe it is a real Titian. +It shows finish. It is a very perfect sample of the highest finish of +ancient art.[17] + +<span class="sidenoteright" title="Footnote 17"><span class="tiny">[17]</span> ... "I feel entitled to point out that the + picture by Titian, produced in the case of Whistler <span class="italic">v.</span> + Ruskin, is an early specimen of that master, and does + not represent adequately the style and qualities which + have obtained for him his great reputation—one obvious + point of difference between this and his more mature + work being the far greater amount of finish—I do not + say completeness—exhibited in it ... and as the picture + was brought forward with a view to inform the jury as to + the nature of the work of the greatest painter, and more + especially as to the high finish introduced in it, it is + evident that it was calculated to produce an erroneous + impression on their minds, if indeed any one present at + the inquiry can hold that those gentlemen were in any + way fitted to understand the issues raised therein.—I + am, Sir, your obedient servant,<br><br> +<span class="floatright">A. MOORE.</span><br> +"Nov. 28."<br> +Extract of a letter to the Editor of the <span class="italic">Echo</span>.</span> +The flesh is perfect, the modelling of the face is +round and good. That is an 'arrangement in flesh and blood!'"</p> + +<p>The witness having pointed out the excellences of that portrait, said: +"I think Mr. Whistler had great powers at first, which he has not +since justified. He has evaded the difficulties of his art, because +the difficulty of an artist increases every day of his professional +life."</p> + +<p>Cross-examined: "What is the value of this picture of Titian?"—"That +is a mere accident of the saleroom."</p> + +<p>"Is <span class="pagenum"><a id="page017" name="page017"></a>(p. 017)</span> it worth one thousand guineas?"—"It would be worth many +thousands to me."</p> + +<p>Mr. <span class="smcap">Frith</span> was then examined: "I am an R.A.; and have devoted my life +to painting. I am a member of the Academies of various countries. I am +the author of the 'Railway Station,' 'Derby Day,' and 'Rake's +Progress.' I have seen Mr. Whistler's pictures, and in my opinion they +are not serious works of art. +<span class="sidenoteleft">"It was just a toss up whether I became an + Artist or an Auctioneer."—W. P. <span class="smcap">Frith</span>, R.A.<br><br> + <span class="italic">REFLECTION:</span><br> + He must have tossed up.<br> +<span class="floatright" style="padding-top: 25px"><img src="images/img009_p036a.jpg" width="50" height="62" alt="Butterfly" title=""></span> +</span> +The nocturne in black and gold is not a +serious work to me. I cannot see anything of the true representation +of water and atmosphere in the painting of 'Battersea Bridge.' There +is a pretty colour which pleases the eye, but there is nothing more. +To my thinking, the description of moonlight is not true. The picture +is not worth two hundred guineas. Composition and detail are most +important matters in a picture. In our profession men of equal merit +differ as to the character of a picture. One may blame, while another +praises, a work. I have not exhibited at the Grosvenor Gallery. I have +read Mr. Ruskin's works."</p> + +<p class="sidenotehalfright"> +<span class="floatright"><img src="images/img010_p036b.jpg" width="50" height="42" alt="Butterfly" title=""></span> +<span class="italic">REFLECTION:</span><br> +A decidedly honest man—I have not heard of him since.</p> + +<p>Mr. Frith here got down.</p> + +<p>Mr. <span class="pagenum"><a id="page018" name="page018"></a>(p. 018)</span> <span class="smcap">Tom Taylor</span>—Poor Law Commissioner, Editor of <span class="italic">Punch</span>, +and so forth—and so forth:—"I am an art critic of long standing. I +have been engaged in this capacity by the <span class="italic">Times</span>, and other journals, +for the last twenty years. I edited the 'Life of Reynolds,' and +'Haydon.' I have <span class="italic">always</span> studied art. I have seen these pictures of +Mr. Whistler's when they were exhibited at the Dudley and the +Grosvenor Galleries. The 'Nocturne' in black and gold I do not think a +serious work of art." The witness here took from the pockets of his +overcoat copies of the <span class="italic">Times</span>, and with the permission of the Court, +read again with unction his own criticism, to every word of which he +said he still adhered. "All Mr. Whistler's work is unfinished. It is +sketchy. He, +<span class="sidenoteright"><span class="italic">REFLECTION:</span><br> + + To perceive in Ruskin's army Tom Taylor, his + champion—whose opinion he prizes—Mr. Frith, his + ideal—was gratifying. But to sit and look at Mr. Burne + Jones, in common cause with Tom Taylor—whom he esteems, + and Mr. Frith—whom he respects—conscientiously + appraising the work of a <span class="italic">confrère</span>—was a privilege!!<br> +<span class="floatright"><img src="images/img011_p037.jpg" width="50" height="66" alt="Butterfly" title=""></span></span> +no doubt, possesses artistic qualities, and he has got +appreciation of qualities of tone, but he is not complete, and all his +works are in the nature of sketching. I have expressed, and still +adhere to the opinion, that these pictures only come 'one step nearer +pictures than a delicately tinted wall-paper.'" +</p> + +<p>This ended the case for the defendant.</p> + +<div class="p4"> +<p><span class="floatleft">Verdict <span class="pagenum"><a id="page019" name="page019"></a>(p. 019)</span> for plaintiff.</span> +<span class="floatright">Damages one farthing.</span></p> + +<p class="figcenter"><img src="images/img012_p038.jpg" width="150" height="194" alt="Butterfly" title=""></p> +</div> + +<h3 class="italic">Professor <span class="pagenum"><a id="page020" name="page020"></a>(p. 020)</span> Ruskin's Group</h3> + +<p>My dear Sambourne—I know I shall be only charmed, as I always am, by +your work, and if I am myself its subject, I shall only be flattered +in addition.</p> + +<p class="sidenoteleft"><span class="italic">The World</span>, Dec. 11, 1878.</p> + +<p class="sidenoteright">A pleasant <span class="italic">résumé</span> of the situation—in + reply to Mr. Sambourne's expressed hope that his + historical cartoon in <span class="italic">Punch</span> might not offend.</p> + +<p><span class="italic">Punch</span> in person sat upon me in the box; why should not the most +subtle of his staff have a shot? Moreover, whatever delicacy and +refinement Tom Taylor may still have left in his pocket (from which, +in Court, he drew his ammunition) I doubt not he will urge you to use, +that it may not be wasted. Meanwhile you must not throw away sentiment +upon what you call "this trying time."</p> + +<p>To have brought about an "Arrangement in Frith, Jones, <span class="italic">Punch</span> and +Ruskin, with a touch of Titian," is a joy! and in itself sufficient to +satisfy even my craving for curious "combinations."—Ever yours,</p> + +<p class="fig55"><img src="images/img013_p039.jpg" width="100" height="100" alt="Butterfly" title=""></p> + +<p class="p4 titleright" style="padding-top: 150px;"><span class="italic">Whistler <span class="pagenum"><a id="page021" name="page021"></a>(p. 021)</span> v. Ruskin</span></p> +<p class="p2 left40"><span class="italic">ART & ART CRITICS</span></p> + +<p class="fig55"><img src="images/img014_p040.jpg" width="60" height="64" alt="Butterfly" title=""></p> + +<p class="italic smaller" style="padding-top: 150px">Chelsea, Dec. 1878.</p> + +<p class="p4 fig70"><img src="images/img015_p042.jpg" width="50" height="84" alt="Butterfly" title=""></p> + +<p class="p4 left50 noindent smaller" style="padding-top: 130px"><span class="italic">Dedicated <span class="pagenum"><a id="page023" name="page023"></a>(p. 023)</span> to</span><br> +<span class="add2em italic">ALBERT MOORE</span></p> + +<h3 class="italic">Whistler <span class="pagenum"><a id="page025" name="page025"></a>(p. 025)</span> v. Ruskin: Art and Art Critics</h3> + +<p>The <span class="italic">fin mot</span> and spirit of this matter seems to have been utterly +missed, or perhaps willingly winked at, by the journals in their +comments. Their correspondents have persistently, and not unnaturally +as writers, seen nothing beyond the immediate case in law—viz., the +difference between Mr. Ruskin and myself, culminating in the libel +with a verdict for the plaintiff.</p> + +<p>Now the war, of which the opening skirmish was fought the other day in +Westminster, is really one between the brush and the pen; and involves +literally, as the Attorney-General himself hinted, the absolute +"raison d'être" of the critic. The cry, on their part, of "Il faut +vivre," I most certainly meet, in this case, with the appropriate +answer, "Je n'en vois pas la nécessité."</p> + +<p>Far from me, at that stage of things, to go further into this +discussion than I did, when, cross-examined by <span class="pagenum"><a id="page026" name="page026"></a>(p. 026)</span> Sir John +Holker, I contented myself with the general answer, "that one might +admit criticism when emanating from a man who had passed his whole +life in the science which he attacks." The position of Mr. Ruskin as +an art authority we left quite unassailed during the trial. To have +said that Mr. Ruskin's pose among intelligent men, as other than a +<span class="italic">littérateur</span> is false and ridiculous, would have been an invitation +to the stake; and to be burnt alive, or stoned before the verdict, was +not what I came into court for.</p> + +<p>Over and over again did the Attorney-General cry out aloud, in the +agony of his cause, "What is to become of painting if the critics +withhold their lash?"</p> + +<p>As well might he ask what is to become of mathematics under similar +circumstances, were they possible. I maintain that two and two the +mathematician would continue to make four, in spite of the whine of +the amateur for three, or the cry of the critic for five. We are told +that Mr. Ruskin has devoted his long life to art, and as a result—is +"Slade Professor" at Oxford. In the same sentence, we have thus his +position and its worth. It suffices not, Messieurs! a life passed +among pictures makes not a painter—else the policeman in the National +Gallery might assert himself. As well allege that he who lives in a +library <span class="pagenum"><a id="page027" name="page027"></a>(p. 027)</span> must needs die a poet. Let not Mr. Ruskin flatter +himself that more education makes the difference between himself and +the policeman when both stand gazing in the Gallery.</p> + +<p>There they might remain till the end of time; the one decently silent, +the other saying, in good English, many high-sounding empty things, +like the cracking of thorns under a pot—undismayed by the presence of +the Masters with whose names he is sacrilegiously familiar; whose +intentions he interprets, whose vices he discovers with the facility +of the incapable, and whose virtues he descants upon with a verbosity +and flow of language that would, could he hear it, give Titian the +same shock of surprise that was Balaam's, when the first great critic +proffered his opinion.</p> + +<p>This one instance apart, where collapse was immediate, the creature +Critic is of comparatively modern growth—and certainly, in perfect +condition, of recent date. To his completeness go qualities evolved +from the latest lightnesses of to-day—indeed, the <span class="italic">fine fleur</span> of his +type is brought forth in Paris, and beside him the Englishman is but +rough-hewn and blundering after all; though not unkindly should one +say it, as reproaching him with inferiority resulting from chances +neglected.</p> + +<p>The truth is, as compared with his brother of the <span class="pagenum"><a id="page028" name="page028"></a>(p. 028)</span> +Boulevards, the Briton was badly begun by nature.</p> + +<p>To take himself seriously is the fate of the humbug at home, and +destruction to the jaunty career of the art critic, whose essence of +success lies in his strong sense of his ephemeral existence, and his +consequent horror of <span class="italic">ennuyer</span>ing his world—in short, to perceive the +joke of life is rarely given to our people, whilst it forms the +mainspring of the Parisian's <span class="italic">savoir plaire</span>. The finesse of the +Frenchman, acquired in long loafing and clever <span class="italic">café</span> cackle—the glib +go and easy assurance of the <span class="italic">petit crevé</span>, combined with the <span class="italic">chic</span> +of great habit—the brilliant <span class="italic">blague</span> of the ateliers—the aptitude +of their <span class="italic">argot</span>—the fling of the <span class="italic">Figaro</span>, and the knack of short +paragraphs, which allows him to print of a picture "C'est bien écrit!" +and of a subject, "C'est bien dit!"—these are elements of an +<span class="italic">ensemble</span> impossible in this island.</p> + +<p>Still, we are "various" in our specimens, and a sense of progress is +noticeable when we look about among them.</p> + +<p>Indications of their period are perceptible, and curiously enough a +similarity is suggested, by their work, between themselves and the +vehicles we might fancy carrying them about to their livelihood.</p> + +<p>Tough old Tom, the busy City 'Bus, with its heavy jolting <span class="pagenum"><a id="page029" name="page029"></a>(p. 029)</span> +and many halts; its steady, sturdy, stodgy continuance on the same old +much worn way, every turning known, and freshness unhoped for; its +patient dreary dulness of daily duty to its cheap company—struggling +on to its end, nevertheless, and pulling up at the Bank! with a +flourish from the driver, and a joke from the cad at the door.</p> + +<p>Then the contributors to the daily papers: so many hansoms bowling +along that the moment may not be lost, and the <span class="italic">à propos</span> gone for +ever. The one or two broughams solemnly rolling for reviews, while the +lighter bicycle zigzags irresponsibly in among them for the happy +Halfpennies.</p> + +<p>What a commerce it all is, to be sure!</p> + +<p>No sham in it either!—no "bigod nonsense!" they are all "doing +good"—yes, they all do good to Art. Poor Art! what a sad state the +slut is in, an these gentlemen shall help her. The artist alone, by +the way, is to no purpose, and remains unconsulted; his work is +explained and rectified without him, by the one who was never in +it—but upon whom God, always good, though sometimes careless, has +thrown away the knowledge refused to the author—poor devil!</p> + +<p>The Attorney-General said, "There are some people who would do away +with critics altogether."</p> + +<p>I agree with him, and am of the irrationals he points <span class="pagenum"><a id="page030" name="page030"></a>(p. 030)</span> +at—but let me be clearly understood—the <span class="italic">art</span> critic alone would I +extinguish. That writers should destroy writings to the benefit of +writing is reasonable. Who but they shall insist upon beauties of +literature, and discard the demerits of their brother <span class="italic">littérateurs</span>? +In their turn they will be destroyed by other writers, and the merry +game goes on till truth prevail. Shall the painter then—I foresee the +question—decide upon painting? Shall <span class="italic">he</span> be the critic and sole +authority? Aggressive as is this supposition, I fear that, in the +length of time, his assertion alone has established what even the +gentlemen of the quill accept as the canons of art, and recognise as +the masterpieces of work.</p> + +<p>Let work, then, be received in silence, as it was in the days to which +the penmen still point as an era when art was at its apogee. And here +we come upon the oft-repeated apology of the critic for existing at +all, and find how complete is his stultification. He brands himself as +the necessary blister for the health of the painter, and writes that +he may do good to his art. In the same ink he bemoans the decadence +about him, and declares that the best work was done when he was not +there to help it. No! let there be no critics! they are not a +"necessary evil," but an evil quite unnecessary, though an evil +certainly.</p> + +<p>Harm <span class="pagenum"><a id="page031" name="page031"></a>(p. 031)</span> they do, and not good.</p> + +<p>Furnished as they are with the means of furthering their foolishness, +they spread prejudice abroad; and through the papers, at their +service, thousands are warned against the work they have yet to look +upon.</p> + +<p>And here one is tempted to go further, and show the crass idiocy and +impertinence of those whose dicta are printed as law.</p> + +<p>How he of the <span class="italic">Times</span>[18] +<span class="sidenoteright" title="Footnote 18"><span class="tiny">[18]</span>June 6, 1874</span> +has found Velasquez "slovenly in execution, +poor in colour—being little but a combination of neutral greys and +ugly in its forms"—how he grovelled in happiness over a Turner—that +was no Turner at all, as Mr. Ruskin wrote to show—Ruskin! whom he has +since defended. Ah! Messieurs, what our neighbours call "la malice des +choses" was unthought of, and the sarcasm of fate was against you. How +Gerard Dow's broom was an example for the young; and Canaletti and +Paul Veronese are to be swept aside—doubtless with it. How Rembrandt +is coarse, and Carlo Dolci noble—with more of this kind. But what +does it matter?</p> + +<p>"What does anything matter!" The farce will go on, and its solemnity +adds to the fun.</p> + +<p>Mediocrity flattered at acknowledging mediocrity, and <span class="pagenum"><a id="page032" name="page032"></a>(p. 032)</span> +mistaking mystification for mastery, enters the fog of dilettantism, +and, graduating connoisseur, ends its days in a bewilderment of +bric-à-brac and Brummagem!</p> + +<p>"Taste" has long been confounded with capacity, and accepted as +sufficient qualification for the utterance of judgment in music, +poetry, and painting. Art is joyously received as a matter of opinion; +and that it should be based upon laws as rigid and defined as those of +the known sciences, is a supposition no longer to be tolerated by +modern cultivation. For whereas no polished member of society is at +all affected at admitting himself neither engineer, mathematician, nor +astronomer, and therefore remains willingly discreet and taciturn upon +these subjects, still would he be highly offended were he supposed to +have no voice in what is clearly to him a matter of "Taste"; and so he +becomes of necessity the backer of the critic—the cause and result of +his own ignorance and vanity! The fascination of this pose is too much +for him, and he hails with delight its justification. Modesty and good +sense are revolted at nothing, and the millennium of "Taste" sets in.</p> + +<p>The whole scheme is simple: the galleries are to be thrown open on +Sundays, and the public, dragged from their beer to the British +Museum, are to delight in <span class="pagenum"><a id="page033" name="page033"></a>(p. 033)</span> the Elgin Marbles, and appreciate +what the early Italians have done to elevate their thirsty souls! An +inroad into the laboratory would be looked upon as an intrusion; but +before the triumphs of Art, the expounder is at his ease, and points +out the doctrine that Raphael's results are within the reach of any +beholder, provided he enrol himself with Ruskin or hearken to Colvin +in the provinces. The people are to be educated upon the broad basis +of "Taste," forsooth, and it matters but little what "gentleman and +scholar" undertake the task.</p> + +<p>Eloquence alone shall guide them—and the readiest writer or wordiest +talker is perforce their professor.</p> + +<p>The Observatory at Greenwich under the direction of an Apothecary! The +College of Physicians with Tennyson as President! and we know that +madness is about. But a school of art with an accomplished +<span class="italic">littérateur</span> at its head disturbs no one! and is actually what the +world receives as rational, while Ruskin writes for pupils, and Colvin +holds forth at Cambridge.</p> + +<p>Still, quite alone stands Ruskin, whose writing is art, and whose art +is unworthy his writing. To him and his example do we owe the outrage +of proffered assistance from the unscientific—the meddling of the +immodest—the intrusion of the garrulous. Art, that for ages has hewn +its own history in marble, and written <span class="pagenum"><a id="page034" name="page034"></a>(p. 034)</span> its own comments on +canvas, shall it suddenly stand still, and stammer, and wait for +wisdom from the passer-by?—for guidance from the hand that holds +neither brush nor chisel? Out upon the shallow conceit! What greater +sarcasm can Mr. Ruskin pass upon himself than that he preaches to +young men what he cannot perform! Why, unsatisfied with his own +conscious power, should he choose to become the type of incompetence +by talking for forty years of what he has never done!</p> + +<p>Let him resign his present professorship, to fill the chair of Ethics +at the university. As master of English literature, he has a right to +his laurels, while, as the populariser of pictures he remains the +Peter Parley of painting.</p> + +<p><span class="fig55"><img src="images/img016_p053.jpg" width="80" height="120" alt="Butterfly" title=""></span></p> + +<h3 class="italic" style="padding-top: 4em">The <span class="pagenum"><a id="page035" name="page035"></a>(p. 035)</span> Art Critic of the "Times"</h3> + +<p>"Sans rancune," by all means, my dear Whistler; but you should not +have quoted from my article, of June 6th, 1874, +<span class="sidenoteright">Mr. Tom Taylor's acknowledgment of + presentation copy of Mr. Whistler's "Art and Art + Critics," with "Sans rancune" inscribed upon fly-leaf by + the author.</span> +on Velasquez, in such +a way as to give exactly the opposite impression to that which the +article, taken as a whole, conveys.</p> + +<p>I appreciate and admire Velasquez as entirely, and allow me to say, as +intelligently, as yourself. I have probably seen and studied more of +his work than you have. And I maintain that the article you have +garbled in your quotation gives a fair and adequate account of the +<span class="sidenoteleft"><span class="italic">The World</span>, Jan. 15, 1879.</span> +picture it deals with—"<span class="italic">Las Meninas</span>"—and one which any artist who +knows the picture would, in essentials, subscribe to.</p> + +<p>God help the artists if ever the criticism of pictures falls into the +hands of painters! It would be a case of vivisection all round.</p> + +<p>Your pamphlet is a very natural result of your late disagreeable +<span class="pagenum"><a id="page036" name="page036"></a>(p. 036)</span> legal experiences, though not a very wise one.</p> + +<p>If the critics are not better qualified to deal with the painters than +the painter in your pamphlet shows himself qualified to deal with the +critics, it will be a bad day for art when the hands that have been +trained to the brush lay it aside for the pen.[19] + +<span class="sidenoteright" title="Footnote 19"><span class="tiny">[19]</span>!?</span></p> + +<p>If you had read my article on Velasquez, I cannot but say that you +have made an unfair use of it, in quoting a detached sentence, which, +read with the context, bears exactly the opposite sense from that you +have quoted it as bearing.</p> + +<p>This is a bad "throw-off" in the critical line; whether it affect "<span class="italic">le +premier littérateur venu</span>" or yours always,</p> + +<p class="left60">TOM TAYLOR.</p> + +<p>P.S.—<span class="italic">As your attack on my article is public, I reserve to myself the +right of giving equal publicity to this letter.</span></p> + +<p><span class="smcap">Lavender Sweep</span>,<br> +<span class="add2em">Jan, 6, 1879.</span></p> + +<h3 class="italic">The <span class="pagenum"><a id="page037" name="page037"></a>(p. 037)</span> Position</h3> + +<p>Dead for a ducat, dead! my dear Tom: and the rattle has reached me by +post.</p> + +<p>"<span class="italic">Sans rancune</span>," + +<span class="sidenoteleft"><span class="italic">The World</span>, Jan. 15, 1879.</span> + +say you? Bah! you scream unkind threats and die +badly.</p> + +<p>Why squabble over your little article? You <span class="italic">did</span> print what I quote, +you know, Tom; and it is surely unimportant what more you may have +written of the Master. That you should have written anything at all is +your crime.</p> + +<p>No; shrive your naughty soul, and give up Velasquez, and pass your +last days properly in the Home Office.</p> + +<p>Set your house in order with the Government for arrears of time and +paper, and leave vengeance to the Lord, who will forgive my "garbling" +Tom Taylor's writing.</p> + +<p><span class="floatleft"> +<img src="images/img017_p056.jpg" width="80" height="119" alt="Butterfly" title=""></span> + +<span class="left40 smcap">The White House</span>, +<span class="left50">Jan. 8, 1879.</span></p> + +<h3 class="italic" style="padding-top: 4em">Serious <span class="pagenum"><a id="page038" name="page038"></a>(p. 038)</span> Sarcasm</h3> + +<p>Pardon me, my dear Whistler, for having taken you <span class="italic">au sérieux</span> even +for a moment.</p> + +<p>I ought to have remembered that your penning, like your painting, +belongs to the region of "chaff." I will not forget it again; and +meantime remain yours always,</p> + +<p class="left60">TOM TAYLOR.</p> + +<p><span class="smcap">Lavender Sweep</span>,<br> +<span class="add2em">Jan. 9, 1879.</span></p> + +<h3 class="italic">Final</h3> <span class="pagenum"><a id="page039" name="page039"></a>(p. 039)</span> + +<p>Why, my dear old Tom, I never <span class="italic">was</span> serious with you, even when you +were among us. Indeed, I killed you quite, as who should say, without +seriousness, "A rat! A rat!" you know, rather cursorily.</p> + +<p>Chaff, Tom, as in your present state you are beginning to perceive, +was your fate here, and doubtless will be throughout the eternity + +<span class="sidenoteleft"><span class="italic">The World</span>, Jan. 15, 1879</span> + +before you. With ages at your disposal, this truth will dimly dawn +upon you; and as you look back upon this life, perchance many +situations that you took <span class="italic">au sérieux</span> (art-critic, who knows? +expounder of Velasquez, and what not) will explain themselves +sadly—chaff! Go back!</p> + +<p><span class="fig30"> +<img src="images/img018_p058.jpg" width="80" height="101" alt="Butterfly" title=""></span> +<span class="left50 smcap">The White House</span>,<br> +<span class="left60">Jan. 10, 1879.</span></p> + +<h3 class="italic">"Balaam's <span class="pagenum"><a id="page041" name="page041"></a>(p. 041)</span> Ass"</h3> + +<p>Mr. Whistler has written a discord in black and white. It is a strong +saying, excellent in diction, broadly and boldly set down in slashing +words....</p> + +<p class="sidenoteright"><span class="italic">Vanity Fair</span>, Jan 11, 1879.</p> + +<p>The point Mr. Whistler raises and enforces is that criticism of +painting other than by painters is monstrous, and not to be +tolerated.... Mr. Ruskin's "high sounding empty things" would, he +says, "give Titian the same shock of surprise that was Balaam's when +the first great critic proffered his opinion." ... The inference ... +is that all the world, competent and incompetent together, must +receive the painter's work in silence, under pain of being classed +with Balaam's ass....</p> + +<p>If, finding himself ill received or ill understood, he has to say, +"You cannot understand me," he must also say, "I did not understand +myself and you, to whom I speak, sufficiently well to make you +understand me."</p> + +<p>There could be no better illustration of all this than that <span class="pagenum"><a id="page042" name="page042"></a>(p. 042)</span> +Mr. Whistler has suggested of Balaam's ass. <span class="italic">For the Ass was right</span>, +although, nay, because he was an ass. "What have I done unto thee," +said he, "that thou hast smitten me these three times?" "Because thou +hast mocked me," replies Balaam—Whistler; whereupon the Angel of the +Lord rebukes him and says, "<span class="italic">The ass saw me</span>," so that Balaam is +constrained to bow his head and fall flat on his face. And thus indeed +it is. The ass sees the Angel of the Lord there where the wise prophet +sees nothing, and, by her seeing, saves the life of the very master +who, for reward, smites her grievously and wishes he had a sword that +he might kill her.</p> + +<p>Let Balaam not forget that after all he rides upon the ass, that she +has served him well ever since she was his until this day, and that +even now he is on his way with her to be promoted unto very great +honour by the Princes of Balak. And let him remember that whatever can +speak may at any moment have a word to say to him which it were best +he should hear.</p> + +<p class="left60">RASPER.</p> + +<h3 class="italic">The <span class="pagenum"><a id="page043" name="page043"></a>(p. 043)</span> Point acknowledged</h3> + +<p>Well hit! my dear <span class="italic">Vanity</span>, and I find, on searching again, that +historically you are right.</p> + +<p class="sidenoteleft"><span class="italic">Vanity Fair</span>, Jan. 18, 1879.</p> + +<p>The fact, doubtless, explains the conviction of the race in their +mission, but I fancy you will admit that this is the <span class="italic">only Ass on +record</span> who ever <span class="italic">did</span> "see the Angel of the Lord!" and that we are +past the age of miracles.</p> + +<p class="left60">Yours always,</p> +<p><span class="fig50"> +<img src="images/img019_p062.jpg" width="80" height="104" alt="Butterfly" title=""></span> +<span class="smcap">The White House</span>,<br> +<span class="add2em">Jan. 11, 1879.</span></p> + +<h3 class="italic" style="padding-top: 4em">Critic's <span class="pagenum"><a id="page044" name="page044"></a>(p. 044)</span> Analysis</h3> + +<p>In the "Symphony in White No. III." by Mr. Whistler there are many +dainty varieties of tint, but it is not precisely a symphony in white. + +<span class="sidenoteright"><span class="italic">The Saturday Review</span>, June 1, 1867. P. G. + Hamerton.</span> + +One lady has a yellowish dress and brown hair and a bit of blue +ribbon, the other has a red fan, and there are flowers and green +leaves. There is a girl in white on a white sofa, but even this girl +has reddish hair; and of course there is the flesh colour of the +complexions.</p> + +<h3 class="italic">The <span class="pagenum"><a id="page045" name="page045"></a>(p. 045)</span> Critic's Mind Considered</h3> + +<p>How pleasing that such profound prattle should inevitably find its +place in print! "Not precisely a symphony in white ... for there is a +yellowish dress ... brown hair, etc.... another with reddish hair ... +and of course there is the flesh colour of the complexions."</p> + +<p><span class="italic">Bon Dieu!</span> did this wise person expect white hair and chalked faces? +And does he then, in his astounding consequence, believe that a +symphony in F contains no other note, but shall be a continued +repetition of F, F, F.?... Fool!</p> + +<p class="left30"> +<span class="fig50"> +<img src="images/img020_p064.jpg" width="50" height="56" alt="Butterfly" title=""></span> +<span class="left50 smcap">Chelsea</span>,<br> +<span class="left60">June 1867.</span></p> + +<h3 class="italic">A <span class="pagenum"><a id="page046" name="page046"></a>(p. 046)</span> Troubled One</h3> + +<p>The "Season Number" of <span class="italic">Vanity Fair</span> contains ... + +<span class="sidenoteleft"><span class="italic">The World</span>, July 3, 1878.</span> + +Mr. Whistler's +etching of "St. James's Street" is sadly disappointing.</p> + +<h3 class="italic">Full Absolution</h3> + +<p>Dear <span class="italic">World</span>—Atlas, overburdened with the world and its sins, may +well be relieved from the weight of one wee error—a + +<span class="sidenoteright"><span class="italic">The World</span>, July 10, 1878.</span> + +sort of last +straw that bothers his back. The impression in <span class="italic">Vanity Fair</span> that +disappoints him is not an etching at all, but a reproduction for that +paper by some transfer process.</p> + +<p>Atlas has the wisdom of ages, and need not grieve himself with mere +matters of art. "Il n'est pas nécessaire que vous sachiez ces +choses-là, mon révérend père!"</p> + +<p class="left20"> +<span class="floatleft"> +<img src="images/img021_p065.jpg" width="80" height="104" alt="Butterfly" title=""></span> +<span class="left70 smcap">Chelsea</span>.</p> + +<h3 class="italic" style="padding-top: 4em">"Confidences" <span class="pagenum"><a id="page047" name="page047"></a>(p. 047)</span> with an Editor</h3> + +<p class="right"><span class="italic">TO THE EDITOR OF THE "HOUR."</span></p> + +<p>Sir,—I have read the intelligent remarks of your critic upon my +pictures, and am happy to be able to remove, I think, the "melancholy" +impression left upon his mind by the supposition that "the best works +are not of recent date." Permit me to reassure him, for the paintings +he speaks of in glowing terms—notably "the full-length portrait of a +young girl," which he overwhelms me by comparing to Velasquez, as well +as the two life-size portraits in black, "in which there is an almost +entire negation of colour" (though I, who am, he says, a colourist, +did not know it)—are my latest works, and but just completed.</p> + +<p>May I still farther correct a misconception? The etchings and +dry-points in the gallery do not form a complete set. There are only +fifty exhibited, making about half the number I have executed.</p> + +<p>Again, it was from no feeling that "my works were not <span class="pagenum"><a id="page048" name="page048"></a>(p. 048)</span> seen +to advantage when placed in juxtaposition with those of an essentially +different kind," that I "determined to have an exhibition of my own, +where no discordant elements should distract the spectator's +attention." It is true that occasionally it has been borne in upon my +mind that those whose "works are of an essentially different kind," +are unwilling to place mine in juxtaposition with their own.</p> + +<p>My wish has been, though, to prove that the place in which works of +art are shown may be made as free from "discordant elements which +distract the spectators' attention" as the works themselves.</p> + +<p>Marvelling greatly that the "principle" that has led me (in his eyes +at least) to paint so that he speaks of me in the same breath with +Velasquez, should be "founded on fallacy,"—I remain, sir, your +obedient servant,</p> + +<p class="left50"> +<span class="floatleft"> +<img src="images/img022_p067.jpg" width="50" height="73" alt="Butterfly" title=""></span> +<span class="left30">June 10, 1874.</span></p> + +<h3 class="italic" style="padding-top: 4em">Critics <span class="pagenum"><a id="page050" name="page050"></a>(p. 050)</span> "Copy"</h3> + +<p>At the Gallery of the Fine Art Society in New Bond Street, an +exhibition has been opened of the etchings of Venice, executed by Mr. +Whistler. + +<span class="sidenoteleft"><span class="italic">The World</span>, Dec. 8, 1880.</span> + +Exhibitions are sometimes of slender constitution nowadays. +Mr. Whistler's etchings are twelve in number, of unimportant +dimensions, and of the slightest workmanship. They convey a certain +sense of distance and atmosphere, otherwise it cannot be said that +they are of particular value or originality. They rather resemble +vague first intentions, or memoranda for future use, than designs +completely carried out. Probably every artist coming from Venice +brings with him some such outlines as these in his sketch-books. +Apparently, so far as his twelve etchings are to be considered as +evidence in the matter, Venice has not deeply stirred either Mr. +Whistler or his art.</p> + +<h3 class="italic">A <span class="pagenum"><a id="page051" name="page051"></a>(p. 051)</span> Proposal</h3> + +<p>Atlas, <span class="italic">mon bon, méfiez-vous de vos gens!</span> Your art gentleman says +that Mr. Whistler exhibits twelve etchings, + +<span class="sidenoteright"><span class="italic">The World</span>, Dec. 29, 1880.</span> + +"slight in execution and +unimportant in size." Now the private assassin you keep, for us, need +not be hampered by mere connoisseurship in the perpetration of his +duty—therefore, <span class="italic">passe</span>, for the execution—but he should not +compromise his master's reputation for brilliancy, and print things +that he who runs may scoff at.</p> + +<p>Seriously, then, my Atlas, an etching does not depend, for its +importance, upon its size. "I am not arguing with you—I am telling +you." As well speak of one of your own charming <span class="italic">mots</span> as unimportant +in length!</p> + +<p>Look to it, Atlas. Be severe with your man. Tell him his "job" should +be "neatly done." I could cut my own throat better; and if need be, in +case of his dismissal, I offer my services.</p> + +<p>Meanwhile, yours joyously, +<span class="fig60"><img src="images/img023_p070.jpg" width="50" height="88" alt="Butterfly" title=""></span></p> + + +<h3 class="italic" style="padding-top: 4em">The <span class="pagenum"><a id="page052" name="page052"></a>(p. 052)</span> Painter-Etcher Papers</h3> + +<p>The exhibition of etchings at the Hanover Gallery has been the +occasion of one of those squabbles which amuse everybody—perhaps, +even including the quarrellers themselves. Some etchings, exceedingly +like Mr. Whistler's in manner, + +<span class="sidenoteleft">"A Storm in an Æsthetic Teapot."<br> +<span class="italic">The Cuckoo</span>, April 11, 1881.</span> + +but signed "Frank Duveneck," were sent +to the Painter-Etchers' Exhibition from Venice. The Painter-Etchers +appear to have suspected for a moment that the works were really Mr. +Whistler's; and, not desiring to be the victims of an easy hoax on the +part of that gentleman, three of their members—Dr. Seymour Haden, Dr. +Hamilton, and Mr. Legros—went to the Fine Art Society's Gallery, in +New Bond Street, and asked one of the assistants there to show them +some of Mr. Whistler's Venetian plates. From this assistant they +learned that Mr. Whistler was under an arrangement to exhibit and sell +his Venetian etchings only at the Fine Art Society's Gallery; but, +even if these Painter-Etchers really <span class="pagenum"><a id="page053" name="page053"></a>(p. 053)</span> believed that "Frank +Duveneck" was only another name for James Whistler, this information +about the Fine Art Society's arrangement with him need not have shaken +that belief, for the <span class="italic">nom de plume</span> might easily have been adopted +with the concurrence of the society's leading spirits. Nor is it +altogether certain that the Painter-Etchers did anything more than +compare, for their own satisfaction as connoisseurs, the works of Mr. +Whistler and "Frank Duveneck." The motive of their doing so may have +been misunderstood by the Fine Art Society's assistant with whom they +conferred.</p> + +<p>Be that as it may, this assistant thought fit to repeat to Mr. +Whistler what had passed, and also his own impressions as to the +motive of the comparison and the inquiries which the Painter-Etchers +had instituted. Whereupon Mr. Whistler has addressed a letter to Mr. +Seymour Haden (who is, by the way, <span class="italic">his brother-in-law</span>), of which all +that need be here said, is that it is extremely characteristic of Mr. +Whistler.</p> + +<h3 class="italic">Later</h3> <span class="pagenum"><a id="page054" name="page054"></a>(p. 054)</span> + +<p>Some time ago I referred to a storm in an "æsthetic tea-pot" that was +brewed and had burst in the Fine Art Society's Gallery, + +<span class="sidenoteleft"><span class="italic">The Cuckoo</span>, April 30, 1881.</span> + +in Bond +Street, in <span class="italic">re</span> Mr. Whistler's Venice Etchings. It seems to me that +Mr. Seymour Haden, Mr. Legros, and Mr. Hamilton stumbled on an +artistic mare's nest, that they rashly suggested that Mr. Whistler had +been guilty of gross misfeasance in publishing etchings in an assumed +name, and that they are now trying to get out of the scrape as best +they may. This is, however, simply an opinion formed on perusal of the +following documents, which I here present to my readers to judge of:</p> + +<p>The following paragraph was some time ago sent to me with this +letter:—</p> + +<div class="quote"> +<p>"If the Editor of the '<span class="italic">Cuckoo</span>' should see his way to the + publication of the accompanying paragraph as it stands, twenty + copies may be <span class="pagenum"><a id="page055" name="page055"></a>(p. 055)</span> sent, for circulation among the Council + of the Society of Painter-Etchers, to Mr. Piker, newsvendor, + Shepherd's Market."</p> + +<p>"<span class="smcap">Mr. Whistler and the Painter-Etchers.</span>—Our explanation of this + 'Storm in a Tea-pot' turns out to have been in the main correct. + It appears that not only were the three gentlemen who went to the + Fine Art Society's Gallery to look at Mr. Whistler's etchings + guiltless of offence, but that the object of their going there + was actually less to show that Mr. Whistler <span class="italic">was</span> than that he + was <span class="italic">not</span> the author of the etchings which for a moment had + puzzled them.</p> + +<p>"For this, indeed, they seem to have given each other—in the + presence of the blundering assistant, of course—three very + distinct reasons.</p> + +<p>"Firstly, that, as already stated, Mr. Seymour Haden had quite + seriously written to Mr. Duveneck to buy the etchings.</p> + +<p>"Secondly, that they at once accepted as satisfactory and + sufficient the explanation given them of Mr. Whistler's + obligations to the Fine Art Society; and, thirdly, though this + count appears to have somehow slipped altogether out of the + indictment—they were one and all of opinion that, taken all + round, the Duveneck etchings were the <span class="italic">best of the two (sic)</span>!!!</p> + +<p>"It is a pity a clever man like Mr. Whistler is yet not clever + enough to see that while habitual public attacks on a <span class="italic">near + relative</span> cannot fail to be, to the majority of people, + unpalatable, they are likely to be, when directed against a + brother etcher, even <span class="italic">suspecte</span>."</p> +</div> + +<p>I did not at the time "see my way" to publishing the paragraph "as it +stands," but, having subsequently received the following +correspondence, I think it only right to give Mr. Piker's paragraph +publicity, along with the letters subjoined:—</p> + +<p> +<span class="left40 smcap">"The <span class="pagenum"><a id="page056" name="page056"></a>(p. 056)</span> Fine Art Society,"</span><br> +<span class="left50 smcap">148 New Bond Street.</span></p> + +<p>March 18, 1881.</p> + +<p>"To Seymour Haden, Esq.—My dear Sir,—Mr. Whistler has called upon me +respecting your visit here yesterday with Mr. Legros and Dr. Hamilton, +the purport of which had been communicated to him by Mr. Brown."</p> + +<p class="sidenoteright">Letter from Mr. Huish to Mr. Haden.</p> + +<p>"He is naturally indignant that, knowing, as you apparently did, that +he was under an engagement not to publish for a certain time any +etchings of Venice except those issued by us, you should suggest that +they were his work, and had been sent in by him under a <span class="italic">nom de +plume</span>."</p> + +<p>"He considers that it is damaging to his reputation in connection with +us, and he requests me to write and ask you whether you adhere to your +opinion or retract it."</p> + +<p>"Believe me to remain, yours faithfully,</p> + +<p class="right">"MARCUS B. HUISH."</p> + +<p class="p2">"<span class="smcap">38 Hertford Street, Mayfair, W.</span><br> +<span class="add3em">March 21, 1881.</span></p> + +<p class="sidenoteleft">Letter from Mr. Haden to Mr. Huish.</p> + +<p>"To M. Huish, Esq.—Dear Sir,—I am in receipt of a letter from you, +dated the 18th inst., in which you first impute to me an opinion which +I have never held, <span class="pagenum"><a id="page057" name="page057"></a>(p. 057)</span> and then call me to account for that +opinion. To a peremptory letter so framed, I shall not be +misunderstood if I simply decline to plead."</p> + +<p>"Meanwhile, that I was <span class="italic">not</span> of opinion that the etchings in our hands +were by Mr. Whistler is conclusively proved by the fact that on the +day after their reception I had written to Mr. Duveneck to arrange for +their purchase!"</p> + +<p>"Be this, however, as it may, I can have no hesitation on the part +both of myself and of the gentlemen engaged with me in a necessary +duty, in expressing our sincere regret if, by a mistaken +representation of our proceedings, Mr. Whistler has been led to +believe that we had said or implied anything which could give him pain +or reflect in any way on his reputation either with you or your +directors."</p> + +<p class="p0 left50">"Faithfully yours,</p> +<p class="p0_1 right">"F. SEYMOUR HADEN."</p> + +<p class="p2">"<span class="smcap">Arts Club</span>,"<br> +<span class="add3em smcap">Hanover Square</span>.</p> + +<p class="sidenoteright">Letter from J. M'N. Whistler to Mr. Haden. + March 29, 1881.</p> + +<p>"To Seymour Haden, Esq.—Sir—Mr. Huish handed me your letter of the +21st inst., since when I have waited in vain for the true version +that, I doubted not, would follow the 'mistaken representation' you +regret I should have received."</p> + +<p>"Now <span class="pagenum"><a id="page058" name="page058"></a>(p. 058)</span> I must ask that you will, if possible, without further +delay, give me a thorough explanation of your visit to the Fine Art +Society's Gallery on Friday evening, the 17th inst.,—involving, as it +did, a discussion of my private affairs."</p> + +<p>"Did you, accompanied by M. Legros and Dr. Hamilton, call at the Fine +Art Society's rooms on that date, and ask to see Mr. Whistler's +etchings?"</p> + +<p>"Did you there proceed to make a careful and minute examination of +these, and then ask Mr. Brown if Mr. Whistler had done other etchings +of Venice?"</p> + +<p>"Upon his answer in the affirmative, did you ask Mr. Brown if any of +the other plates were large ones, and, notably, whether Mr. Whistler +had done any other plate of the subject called 'The Riva'?"</p> + +<p>"Did you ask to see the early states of Mr. Whistler's etchings?"</p> + +<p>"Did you say to Mr. Brown, 'Now, is not Mr. Whistler under an +engagement with the Fine Art Society to publish no Venice etchings for +a year?' or words to that effect? and upon Mr. Brown's assurance that +such was the case, did you request him to go with you to the Hanover +Gallery?"</p> + +<p>"Did you there produce for his inspection three large Venice etchings, +and among them the 'Riva' subject?"</p> + +<p>"Did <span class="pagenum"><a id="page059" name="page059"></a>(p. 059)</span> you then incite Mr. Brown to detect, in these works, the +hand of Mr. Whistler?"</p> + +<p>"Did you point out details of execution which, in your opinion, +betrayed Mr. Whistler's manner?"</p> + +<p>"Did you say, 'You see these etchings are signed "Frank Duveneck," and +I have written to that name and address for their purchase, but I +don't believe in the existence of such a person,' or words to that +effect?"</p> + +<p>"If this be not so,</p> + +<p>"Why did you take Mr. Brown over to the Hanover Gallery?"</p> + +<p>"Why did you show him Mr. Duveneck's Venice etchings?"</p> + +<p>"Why did you question him about my engagement with the Fine Art +Society?"</p> + +<p>"Is it officially, as the Painter-Etchers' President, that you pry +about the town?"</p> + +<p>"Does the Committee sanction your suggestions? and have you permitted +yourself these 'proceedings' with the full knowledge and approval of +the 'dozen or more distinguished men seated in serious council,' as +described by yourself in the <span class="italic">Pall Mall Gazette</span>?"</p> + +<p>"Of what nature, pray, is the 'necessary duty' that has led two +medical men and a Slade Professor to fail as connoisseurs, and blunder +as detectives?"</p> + +<p>"'Vat <span class="pagenum"><a id="page060" name="page060"></a>(p. 060)</span> shall de honest man do in my closet? Dere is no honest +man dat shall come in my closet!'"</p> + +<p class="figcenter"> +<img src="images/img024_p079.jpg" width="100" height="78" alt="Butterfly" title=""></p> + +<p>"Copies of this correspondence will be sent to members of your +Committee."</p> + +<p class="p2">To this last letter, Mr. Seymour Haden has not as yet sent any answer, +and here the matter rests. As requested, we have sent Mr. Piker the +copies he requires for distribution.</p> + +<p class="right smcap smaller">The Editor of the "Cuckoo."</p> + +<h3 class="italic">La <span class="pagenum"><a id="page061" name="page061"></a>(p. 061)</span> Suite</h3> + +<p class="p0 left60 smcap">"Arts Club,"</p> +<p class="p0_1 right">May 10, 1881.</p> + +<p>To the Committee of the Painter-Etchers' Society:</p> + +<p>Gentlemen,—I have hitherto, in vain, written to Sir William Drake, as +secretary of the Painter-Etchers' Society, + +<span class="sidenoteright">Letter to the Committee of "Painter-Etchers' + Society."</span> + +and feeling convinced that +his elaborate silence cannot possibly be the expression of any +intended discourtesy on the part of the Committee, as a body, but that +it would rather indicate that they had not been consulted in the +matter at all, I now address myself to you, and beg that you will +kindly inform me whether the Committee, as represented by their +officers, endorse the late acts of their President, or whether they +intend taking any steps towards refusing to share the shame and +ridicule that have accrued from certain "proceedings" described by Mr. +Haden as a "necessary duty," in the exercise of <span class="pagenum"><a id="page062" name="page062"></a>(p. 062)</span> which he was +officially engaged in conjunction with Dr. Hamilton and M. Legros.</p> + +<p>That you may clearly see how current the matter has become, I have the +honour, Gentlemen, to send you herewith, for your serious +consideration, extracts from the daily press, and thus, as you will +read, carry out myself the first intention of a certain speculative +Piker, newsvendor, Shepherd's Market, who had purposed circulating +among you "twenty copies" of the enclosed literary venture—curtailed, +it is true, to the original "Piker paragraph," and unaccompanied by +the Piker twenty-penny prospect; the printing of which may—who +knows?—have caused a wavering on the part of Piker, and have left you +deprived of his labour after all.</p> + +<p>Piker offers matter with authority—and here I would point out the +<span class="italic">close proximity of Shepherd's Market to Hertford Street, +Mayfair</span>!—most suggestive is such contiguity. The newsvendor's stall +and the doctor's office within hail of each other!</p> + +<p>Surely I may, without indiscretion, congratulate the President upon +Piker's English and also upon the Pecksniffian whine about the +"brother-in-law"—rather telling in its way—but shallow! +shallow!—for after all, Gentlemen, a brother-in-law is <span class="italic">not</span> a +connection calling for sentiment—in the abstract, rather <span class="pagenum"><a id="page063" name="page063"></a>(p. 063)</span> an +intruder than "a near relation"—indeed, "near relation" is mere +swagger!</p> + +<p>Meanwhile, the insinuation of jealousy of the "brother-etcher" is, as +Piker puts it, "<span class="italic">suspecte</span>"—very!—and modest!—and transparent!</p> + +<p>To the last paper I have added the cutting from the former <span class="italic">Cuckoo</span> +(Piker's earlier effort) so that you have the occasion of perceiving +how the progressive Piker party have gained in courage—until, in +direct contradiction to their first anxiety and hesitation, we reach +the final <span class="italic">overwhelming certainty</span> of the three representative +gentlemen, whose visit to the Fine Art Society's rooms, it would <span class="italic">now</span> +appear, was absolutely to prove to the "blundering assistant" that +some etchings he had never seen, and, consequently never had +questioned;—of the very existence of which, in short, he was utterly +unconscious,—were by a Mr. Duveneck, of whom he had never heard, and +<span class="italic">not</span> by Mr. Whistler!—a fact that in his whole life he had never +been in a position to dispute—and of which <span class="italic">the three Painter-Etchers +themselves were the only people</span> who had ever had any doubt!</p> + +<p>Really, they either doubted Duveneck, or they didn't doubt +Duveneck!—Now, if the Piker party didn't doubt Duveneck, who the +devil did the Piker party doubt? And why, may I ask, does Mr. Haden, +<span class="italic">two <span class="pagenum"><a id="page064" name="page064"></a>(p. 064)</span> days after</span> the disastrous blunder in Bond Street, +<span class="italic">volunteer</span> the following note of explanation to Mr. Brown, the +assistant?—</p> + +<p class="add2em">(<span class="smcap">Copy.</span>)</p> + +<p class="p0 right"> + "38 <span class="smcap">Hertford Street, Mayfair, W.</span></p> +<p class="p0_1 left60">March 19, 1881.</p> + +<p class="quote">"To Ernest Brown, Esq.—Dear Sir,—We know all about Mr. Frank + Duveneck, and are delighted to have his etchings.—Yours + faithfully,"</p> + +<p class="right">"F. SEYMOUR HADEN."</p> + +<p class="p2">It will be remembered that the little expedition to the Fine Art +Society's Gallery took place on <span class="italic">Thursday evening, the 17th</span> of March. +On Friday, the 18th, Mr. Huish wrote to Mr. Haden demanding an +explanation; and on <span class="italic">Saturday, the 19th</span>, this over-diplomatic and +criminating note was sent to Mr. Brown,—altogether unasked for, and +curiously difficult to excuse!—"Methinks, he doth protest too much!"</p> + +<p>Further comment I believe to be unnecessary.</p> + +<p>I refer you, Gentlemen, to my letter of March 29th, which Mr. Haden +has never been able to answer—and merely point out that, the +"blundering assistant" was the only one who did not blunder at +all—since he alone, refrained from folly, and, notwithstanding all +exhortation, steadily refused, in the presence of cunning <span class="pagenum"><a id="page065" name="page065"></a>(p. 065)</span> +connoisseurs, to mistake the work of one man for that of another.</p> + +<p class="p0">I have, Gentlemen, the honour to be,<br> +<span class="left50">Your obedient servant,</span></p> +<p class="p0_1 right smcap">J. McNeill Whistler.</p> + +<p class="p2">May 18, 1881.</p> + +<p><span class="smcap">To the Committee of</span><br> +<span class="smcap add3em">the Painter-Etchers' Society.</span></p> + +<p>May I, without impertinence, ask what really does constitute the +"Painter-Etcher" "all round," as Piker has it?—for, of these three +gentlemen who have so markedly distinguished themselves in that +character, two certainly are not painters—and one doesn't etch!</p> + +<p class="fig50"> +<img src="images/img025_p084.jpg" width="100" height="116" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">A <span class="pagenum"><a id="page066" name="page066"></a>(p. 066)</span> Correction</h3> + +<p>A supposititious conversation in <span class="italic">Punch</span> brought about the following +interchange of telegrams:—</p> + +<p class="sidenoteleft"><span class="italic">The World</span>, Nov. 14, 1883.</p> + +<p>From Oscar Wilde, Exeter, to J. McNeill Whistler, Tite +Street.—<span class="italic">Punch</span> too ridiculous—when you and I are together we never +talk about anything except ourselves.</p> + +<p>From Whistler, Tite Street, to Oscar Wilde, Exeter.—No, no, Oscar, +you forget—when you and I are together, we never talk about anything +except me.</p> + +<p class="fig60"> +<img src="images/img026_p085.jpg" width="100" height="101" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">A <span class="pagenum"><a id="page067" name="page067"></a>(p. 067)</span> Warning</h3> + +<p class="sidenoteright"><span class="italic">REFLECTION:</span><br> + + "A foolish man's foot is soon in his neighbour's house; + but a man of experience is ashamed of him."<br> +<span class="floatright"><img src="images/img027_p086.jpg" width="50" height="62" alt="Butterfly" title=""></span> +</p> + +<p>My dear James,—I see from a weekly paper that your late residence, +the White House, + +<span class="sidenoteleft"><span class="italic">The World</span>, June 1, 1881.</span> + +in Tite Street, is now occupied by Mr. Harry Quilter, +"the excellent art critic and writer on art," or words to that effect. +This is the great man who has succeeded Mr. Tom Taylor on the <span class="italic">Times</span>, +and whose vagaries in art criticism you and I, my dear James, have +previously noticed....</p> + +<p class="right">ATLAS.</p> + +<h3 class="italic">Naïf <span class="pagenum"><a id="page068" name="page068"></a>(p. 068)</span> Enfant</h3> + +<p>Close to this is another portrait of extreme interest, and, though of +another kind, it is not inappropriately near Mr. Hunt's work. + +<span class="sidenoteleft"><span class="italic">The Times</span>, May 2, 1881.</span> + +This is +Mr. John Ruskin, painted by Mr. Herkomer. It is difficult to +dissociate this picture, as regards the merit of its painting, from +the interest which attaches to it as being the first oil portrait we +have ever seen of our great art critic.... The picture remains a +singularly fine one, and is, in our opinion, Mr. Herkomer's best +portrait.</p> + +<h3 class="italic">A <span class="pagenum"><a id="page069" name="page069"></a>(p. 069)</span> Straight Tip</h3> + +<p>"Ne pas confondre intelligence avec gendarmes"—but surely, dear +Atlas, when the art critic of the <span class="italic">Times</span>, suffering possibly from +chronic catarrh, is wafted + +<span class="sidenoteright"><span class="italic">The World</span>, May 18, 1881.</span> + +in at the Grosvenor without guide or +compass, and cannot by mere sense of smell distinguish between oil and +water colour, he ought, like Mark Twain, "to inquire."</p> + +<p>Had he asked the guardian or the fireman in the gallery, either might +have told him not to say that one of the chief interests of Mr. +Herkomer's large water-colour drawing of Mr. Ruskin "attaches to it as +being <span class="italic">the first oil portrait</span> we have ever seen of our great art +critic"! Adieu.</p> + +<p class="fig50"> +<img src="images/img028_p088.jpg" width="60" height="111" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">An <span class="pagenum"><a id="page070" name="page070"></a>(p. 070)</span> Eager Authority</h3> + +<p>Mr. Whistler knows how to defend himself so perkily that it is a +pleasure to attack him. I hasten, therefore, + +<span class="sidenoteleft"><span class="italic">The World</span>, Feb. 9, 1881.</span> + +with joy, to submit to +you, dear Atlas, who are growing so very clever at your languages, the +following crotchets and quavers—shall I call them? for Mr. Whistler +is just now full of "notes"—in American-Italian; they are from his +delightful brown-paper catalogue. To begin with, "Santa Margharita" is +wrong; it must be either Margarita or Margherita; the other is +impossible Italian. Then who or what is "San Giovanni <span class="italic">Apostolo et +Evangelistæ</span>"? Does the sprightly and shrill McNeill mean this for +Latin? And is the "Café Orientale" intended to be French or Italian? +It has an <span class="italic">e</span> too many for French, and an <span class="italic">f</span> too few for Italian. +"Piazetta," furthermore, does duty for "Piazzetta." Finally I give up +"Campo Sta. Martin." I don't know what that can be. The Italian +Calendar has a San Martino and a Santa Martina, but Sta. Martin is +very curious. The catalogue is exceedingly short, but a few of the +names are right.</p> + +<h3 class="italic">An <span class="pagenum"><a id="page071" name="page071"></a>(p. 071)</span> Admission</h3> + +<p>Touché!—and my compliments to your "Correspondent," Atlas, +<span class="italic">chéri</span>—far from me to justify spelling of my own! + +<span class="sidenoteright"><span class="italic">The World</span>, Feb. 16, 1881</span> + +But who could +possibly have supposed an orthographer loose! Evidently too "ung +vieulx qui a moult roulé en Palestine et aultres lieux!"</p> + +<p>What it is to be prepared, though! Atlas, <span class="italic">mon pauvre ami</span>, you know +the story of the witness who, when asked how far he stood from the +spot where the deed was done, answered unhesitatingly—"Sixty-three +feet seven inches!" "How, sir," cried the prosecuting lawyer—"how can +you possibly pretend to such accuracy?" "Well," returned the man in +the box, "you see I thought some d——d fool would be sure to ask me, +and so I measured."</p> + +<p class="fig50"> +<img src="images/img029_p090.jpg" width="100" height="95" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">'Arry <span class="pagenum"><a id="page072" name="page072"></a>(p. 072)</span> in the Grosvenor</h3> + +<p>Atlas—In spite of the Kyrle Society, I don't appeal to the middle +classes; for I read in the <span class="italic">Times</span> that 'Arry won't have me. I am +ranked with the <span class="italic">caviare</span> of his betters, and add not to the relish of +his winkles and tea.</p> + +<p>Also, why troubles he about many things?</p> + +<p>But, alas! as is aptly remarked in one of the weekly papers, + +<span class="sidenoteright"><span class="italic">The World</span>, May 17, 1882.</span> + +"'Arry +has taken to going to the Grosvenor;" and "ce n'est pas tout que +d'être honnête," he says, lightly paraphrasing Alfred de Musset, "il +faut être joli garçon!"</p> + +<p>And so he blooms into an æsthete of his own order. To have seen him, O +my wise Atlas, was my privilege and my misery; for he stood under one +of my own "harmonies"—already with difficulty gasping its gentle +breath—himself an amazing "arrangement" in strong mustard-and-cress, +with bird's-eye belcher of Reckitt's <span class="pagenum"><a id="page073" name="page073"></a>(p. 073)</span> blue; and then and +there destroyed absolutely, unintentionally, and once for all, my +year's work!</p> + +<p>Atlas, shall these things be?</p> +<p class="figcenter"> +<img src="images/img030_p092.jpg" width="80" height="162" alt="Butterfly" title=""></p> + +<h3 class="italic">Encouragement</h3> <span class="pagenum"><a id="page074" name="page074"></a>(p. 074)</span> + +<p class="right italic">TO OSCAR ON HIS "TOUR."</p> + +<p>Oscar—We, of Tite Street and Beaufort Gardens, joy in your triumphs + +<span class="sidenoteleft"><span class="italic">The World</span>, Feb. 15, 1882.</span> + +and delight in your success; but we are of opinion that, with the +exception of your epigrams, you talk like "S—— C—— in the +provinces"; and that, with the exception of your knee-breeches, you +dress like 'Arry Quilter.</p> + +<p><span class="smcap smaller">Chelsea.</span><br> +<span class="fig50"> +<img src="images/img031_p093.jpg" width="100" height="79" alt="Butterfly" title=""></span></p> + +<h3 class="italic" style="padding-top: 4em">A <span class="pagenum"><a id="page075" name="page075"></a>(p. 075)</span> Remonstrance</h3> + +<p>Atlas, how could you!</p> + +<p>I know you carry the <span class="italic">World</span> on your back, and am not surprised that +my note to Oscar, on its way, should have fallen from your shoulders +into your dainty fingers; but why present it in the state of puzzle?</p> + +<p class="sidenoteright"><span class="italic">The World</span>, Feb. 22, 1882.</p> + +<p>Besides, your caution is one-sided and unfair; for if you print S—— +C——, why not A—— Q——? Why not X Y Z at once?</p> + +<p>And how unlike me! Instead of the frank recklessness which has +unfortunately become a characteristic, I am, for the first time, +disguised in careful timidity, and discharge my insinuating initials +from the ambush of innuendo.</p> + +<p>My dear Atlas, if I may not always call a spade a spade, may I not +call a Slade Professor, Sidney Colvin?</p> + +<p class="fig30"> +<img src="images/img032_p094.jpg" width="100" height="101" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">Propositions</h3> <span class="pagenum"><a id="page076" name="page076"></a>(p. 076)</span> + +<p>I. That in Art, it is criminal to go beyond the means used in its +exercise.</p> + +<p>II. That the space to be covered should always be in proper relation +to the means used for covering it.</p> + +<p class="sidenoteright">With compliments to the Committee of the + "Hoboken" Etching Club upon the occasion of receiving an + invitation to compete in an etching tourney whose first + condition was that the plate should be at least two feet + by three.<br> + +<span class="floatright"> +<img src="images/img033_p095.jpg" width="50" height="83" alt="Butterfly" title=""></span></p> + +<p>III. That in etching, the means used, or instrument employed, being +the finest possible point, the space to be covered should be small in +proportion.</p> + +<p>IV. That all attempts to overstep the limits insisted upon by such +proportion, are inartistic thoroughly, and tend to reveal the paucity +of the means used, instead of concealing the same, as required by Art +in its refinement.</p> + +<p>V. That the huge plate, therefore, is an offence—its undertaking an +unbecoming display of determination and ignorance—its accomplishment +a triumph of unthinking earnestness and uncontrolled +energy—endowments of the "duffer."</p> + +<p>VI. That the custom of "Remarque" emanates from the <span class="pagenum"><a id="page077" name="page077"></a>(p. 077)</span> amateur, +and reflects his foolish facility beyond the border of his picture, +thus testifying to his unscientific sense of its dignity.</p> + +<p>VII. That it is odious.</p> + +<p>VIII. That, indeed, there should be no margin on the proof to receive +such "Remarque."</p> + +<p>IX. That the habit of margin, again, dates from the outsider, and +continues with the collector in his unreasoning +connoisseurship—taking curious pleasure in the quantity of paper.</p> + +<p>X. That the picture ending where the frame begins, and, in the case of +the etching, the white mount, being inevitably, because of its colour, +the frame, the picture thus extends itself irrelevantly through the +margin to the mount.</p> + +<p>XI. That wit of this kind would leave six inches of raw canvas between +the painting and its gold frame, to delight the purchaser with the +quality of the cloth.</p> + +<p class="fig50"> +<img src="images/img034_p096.jpg" width="60" height="70" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">An <span class="pagenum"><a id="page078" name="page078"></a>(p. 078)</span> Unanswered Letter</h3> + +<p><span class="left40 smcap">Pré Charmoy, Autun,</span><br> +<span class="left50 smcap">Saône et Loire, France</span>,<br> +<span class="left60">Sept. 13, 1867.</span></p> + +<p>Sir—I am at present engaged upon a book on etching and should be glad +to give a full account of what you have done, but find a difficulty, +which is that, although I have seen many of your etchings, I have not +fully and fairly studied them. I wonder whether you would object to +lend me a set of proofs for a few weeks. As the book is already +advanced, I should be glad of an early reply. My opinion of your work +is, <span class="italic">on the whole, so favourable that your reputation could only gain</span> +by your affording me the opportunity of speaking of your work at +length.</p> + +<p> +<span class="left40">I remain, Sir,</span><br> +<span class="left50">Your obedient servant,</span><br> +<span class="left60">P. G. HAMERTON.</span></p> + +<p><span class="smcap">James Whistler</span>, Esq.</p> + +<h3 class="italic">Inconsequences</h3> <span class="pagenum"><a id="page079" name="page079"></a>(p. 079)</span> + +<p>James Whistler is of American extraction, and studied painting in +France. As a student he was capricious and irregular, and did not +leave the impression amongst his fellow-pupils that his future would +be in any way distinguished ... his artistic education seems to have +been mainly acquired by private + +<span class="sidenoteleft">The "book on etching."</span> + +and independent study....</p> + +<p>Mr. Whistler seems to be aware that etchings are usually sought as +much for their rarity as their excellence, and to have determined that +his own plates shall be rare already.</p> + +<p><span class="sidenoteright" title="Footnote 20"><span class="tiny">[20]</span>"If beauty were the only province of art, + neither painters nor etchers would find anything to + occupy them in the foul stream that washes the London + wharfs"—<span class="smcap">P. G. HAMERTON</span>, <span class="italic">Etching and Etchers</span>.</span> +</p> + +<p>I have been told that, if application is made by letter to Mr. +Whistler for a set of his etchings, he may, perhaps, if he chooses to +answer the letter, do the applicant the favour to let him have a copy +for about the price of a good horse....</p> + +<p>Whistler's etchings are not generally remarkable for poetical +feeling....</p> + +<p class="p0 left60">P. G. HAMERTON,[20]</p> +<p class="p0_1 right italic">Etching and Etchers.</p> + +<h3 class="italic">Uncovered <span class="pagenum"><a id="page080" name="page080"></a>(p. 080)</span> Opinions</h3> + +<p>Mr. Whistler's famous "Woman in White" is amongst the rejected +pictures.... The hangers must have thought her particularly ugly, for +they have given her a sort of place of honour, before an opening +through which all pass, so that nobody misses her.</p> + +<p class="sidenoteleft" title="Footnote 21"><span class="tiny">[21]</span>"Corot is one of the most celebrated + landscape painters in France. The first impression of an + Englishman, on looking at his works, is that they are + the sketches of an amateur; it is difficult at first + sight to consider them the serious performances of an + artist.... I <span class="italic">understand Corot now</span>, and think his + reputation, if not well deserved, at least easily + accounted for.... Corot must be an early riser."—<span class="smcap">P. G. + HAMERTON</span>, <span class="italic">Fine Arts Quarterly</span>.</p> + +<p class="sidenoteright" title="Footnote 21"><span class="tiny">[21]</span>"M. Courbet is looked upon as the + representative of Realism in France. The truth is that + Edouard Frère, the Bonheurs, and many others are to the + full as realistic as Courbet but they produce beautiful + pictures.... It is difficult to speak of Courbet, + without losing patience. Everything he touches becomes + unpleasant."—<span class="smcap">P. G. HAMERTON</span>, <span class="italic">Fine Arts Quarterly</span>.</p> + +<p>I watched several parties, to see the impression the "Woman in White" +made on them. They all stopped instantly, struck with amazement. This +for two or three seconds; then they always looked at each other and +laughed.</p> + +<p>Here, for once, I have the happiness to be quite of the popular way of +thinking.</p> + +<p><span class="left50">[21]P. G. HAMERTON,</span><br> +<span class="left60 italic">Fine Arts Quarterly</span>.</p> + +<p><span class="sidenotemainleft" title="Footnote 21"><span class="tiny">[21]</span>"Doré (Gustave Paul).... He is a great and + marvellous genius—a poet such as a nation produces once + in a thousand years. He is the most imaginative, the + profoundest, the most productive poet that has ever + sprung from the French race."—<span class="smcap">P. G. HAMERTON</span>, <span class="italic">Fine + Arts Quarterly</span>.</span> + +<span class="sidenotemainright" title="Footnote 21"><span class="tiny">[21]</span>"Daubigny (Charles François).—If + landscape can be satisfactorily painted without either + drawing or colour—Daubigny is the man to do it."—<span class="smcap">P. G. + HAMERTON</span>, <span class="italic">Fine Arts Quarterly</span>.</span></p> + +<h3 class="italic" style="padding-top: 4em">The <span class="pagenum"><a id="page081" name="page081"></a>(p. 081)</span> Fate of an Anecdote</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir—In <span class="italic">Scribner's Magazine</span> for this month there appears an article +on Mr. Seymour Haden, the eminent surgeon etcher, by a Mr. Hamerton, + +<span class="sidenoteright"><span class="italic">New York Tribune</span>, Sept. 12, 1880</span> + +and in this article I have stumbled upon a curious statement +concerning, strangely enough, my own affairs, offered pleasantly in +the disguise of an anecdote habitually "narrated" by the Doctor +himself, and printed effectively in inverted commas, as here shown:</p> + +<p>... "A parallel anecdote is narrated by Mr. Haden: 'The most exquisite +series of plates which Whistler ever did—his sixteen Thames +subjects—were originally printed by a steel-plate printer, and so +badly that the owner thought the plates were worn out, and sold them +for a small sum in comparison to their real worth. The purchaser took +them to Goulding, the best printer of etchings in England, and it was +found that they were not only perfect, but that they produced +impressions <span class="pagenum"><a id="page082" name="page082"></a>(p. 082)</span> which had never before been approached even by +Delatre.'"</p> + +<p>Putting gently aside the question of these plates being superior to +all previous or subsequent work, and dealing merely with facts, I have +to say that they were <span class="italic">not</span> "originally printed by a steel-plate +printer"; that the impressions were <span class="italic">not</span> so bad that the owner +thought the plates worn out; and, flattering as is the supposition +that they were sold for a small sum in comparison to their real worth, +I am obliged to reject even this palatable assertion, as I received +for the plates the price that I asked, knowing full well their exact +condition.</p> + +<p>Instead of the "steel-plate printer," Delatre, then at his prime, had +himself printed these etchings—a fact which, amusingly enough, Mr. +Haden admits further on, in direct contradiction to his first broad +statement. Moreover, I had myself pulled proofs of them all; indeed, +one in the set of sixteen plates, a drypoint, called "The Forge" (for +by the way they were not all of the Thames), I alone printed. When the +plates left my hands they were <span class="italic">not</span> "taken to Goulding," who at that +moment had, I fancy, barely begun his career as "the best printer of +etchings in England" (and a capital printer he certainly is); and it +was <span class="italic">not</span> "found that they produced impressions never before +approached even <span class="pagenum"><a id="page083" name="page083"></a>(p. 083)</span> by Delatre"—here we have the contradiction +alluded to—no! this theatrical denouement I must also put aside with +sorrow.</p> + +<p>The plates were brought out by Messrs. Ellis, who had them printed by +some one in London, whose work was certainly not to be compared to +that of Delatre, whom I should undoubtedly have recommended; so that +<span class="italic">it was only long after the sale had been completed and the plates had +ceased to be in my possession</span>, that inferior impressions were +produced.</p> + +<p>The understanding on my part with those publishers was that the plates +were to be destroyed after one hundred impressions had been taken, but +very recently they reappeared, and were sold to their present +possessors, who <span class="italic">did</span> take them to Mr. Goulding. And here I am obliged +to explain away the last element of astonishment, for Mr. Goulding +naturally found the etchings in their original perfect condition +simply because I had had them steeled in their full bloom when I had +satisfied myself by my own proofs.</p> + +<p>Goulding's impressions of these plates are very excellent, but to say +they were quite unapproached by Delatre is not only needless +exaggeration, but an unkindness to Mr. Goulding.</p> + +<p>Surely there must be some misunderstanding between Mr. Haden and his +biographer—a misdeal of data—an <span class="pagenum"><a id="page084" name="page084"></a>(p. 084)</span> accident with the +anecdotes—because no one was more keenly alive to all relating to +these plates and their various states than Mr. Haden himself, whose +strong sense of the importance of printing was acquired while watching +the progress of these same plates, and the previous French set, as +they were proved by me and printed by Delatre, to whom I introduced +him.</p> + +<p>Far from me to spoil a good story; but for the life of me I cannot see +what any sympathizing <span class="italic">raconteur</span> will regret in the destruction of +this mere jumble of statistics that Mr. Hamerton calls "Mr. Haden's +anecdote."</p> + +<p><span class="add2em smcap smaller">Venice</span>, Aug. 16, 1880. +<span class="fig55"> +<img src="images/img035_p103.jpg" width="80" height="102" alt="Butterfly" title=""></span></p> + +<h3 class="italic" style="padding-top: 4em">In <span class="pagenum"><a id="page086" name="page086"></a>(p. 086)</span> Excelsis</h3> + +<p>Mr. Hamerton presents his compliments to Mr. Whistler, and begs to +inform him that he has read Mr. Whistler's very unbecoming and +improper letter in the <span class="italic">New York Tribune</span>.</p> + +<p>Mr. Hamerton in his article in <span class="italic">Scribner's Monthly</span> simply quoted a +passage from one of Mr. Haden's lectures on Etching, published in +Cassell's <span class="italic">Magazine of Art</span>; consequently Mr. Hamerton did not offer +matter to his readers under any disguise whatever. Mr. Hamerton has +answered Mr. Whistler's letter in the same journal in which it +appeared.</p> + +<p><span class="smcap">Pré Charmoy, Autun, Saône et Loire</span>,<br> +<span class="add6em">Sept. 28, 1880.</span></p> + +<h3 class="italic">A <span class="pagenum"><a id="page087" name="page087"></a>(p. 087)</span> Suspicion</h3> + +<p>It is possibly too much to expect—upon the principle of "trumps not +turning up twice"—but Mr. Whistler does hope that Mr. Hamerton's +letter to the <span class="italic">New York Tribune</span> will be as funny as his note to Mr. +Whistler, which has just been forwarded from London.</p> + +<p><span class="add6em smcap">Venice</span>, Oct. 7.<br> + <span class="add3em smcap">Café Florian, Place San Marc.</span></p> + +<p>Pardon! Is Mr. Whistler right in supposing, from the droll little +irritation shown in Mr. Hamerton's note, that Mr. Hamerton is +perhaps—another "Art Critic"?</p> + +<p class="fig50"> +<img src="images/img036_p106.jpg" width="100" height="105" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">Conviction</h3> <span class="pagenum"><a id="page088" name="page088"></a>(p. 088)</span> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir—A friend in America has sent me the letter from Mr. Whistler +which refers to my article in <span class="italic">Scribner</span> on Mr. Haden's etchings. The +letter begins as follows:</p> + +<p>In <span class="italic">Scribner's Magazine</span> for this month there appears an article on +Mr. Seymour Haden, + +<span class="sidenoteleft"><span class="italic">New York Tribune</span>, Oct. 11, 1880.</span> + +the eminent surgeon etcher by a Mr. Hamerton, and +in this article I have stumbled upon a curious statement +concerning—strangely enough—my own affairs, offered pleasantly in +the disguise of an anecdote habitually 'narrated' by the Doctor +himself, and printed effectively in inverted commas, as here shown.</p> + +<p>Here Mr. Whistler accuses me of disguising something which I chose to +tell, as if it came from Mr. Haden, by printing it in inverted commas. +The statement is "offered pleasantly in the disguise of an anecdote," +and "printed effectively in inverted commas." <span class="pagenum"><a id="page089" name="page089"></a>(p. 089)</span> I used +inverted commas because it is the custom to do so when making a +quotation. I quoted Mr. Haden's own words from one of his lectures on +etching, and they will be found printed, as I quoted them, in +Cassell's <span class="italic">Magazine of Art</span>. I beg to be permitted to observe that a +writer who quotes a passage, as I did, in perfect good faith, ought +not to be accused of offering matter in disguise. There was no +disguise about it. Mr. Haden's words may be compared with my +quotation. Again, to prevent any possible inaccuracy, a proof of the +article in <span class="italic">Scribner</span> was sent to Mr. Haden before it was +published.[22] + +<span class="sidenoteleft" title="Footnote 22"><span class="tiny">[22]</span><span class="italic">REFLECTION:</span><br> + Queen's evidence.</span> + +It is scarcely necessary that I should allude to Mr. +Whistler's studied discourtesy in calling me "a Mr. Hamerton." It does +me no harm, + +<span class="sidenoteright"><span class="italic">REFLECTION:</span><br> + Q. E. D.<br> +<span class="floatright"> +<img src="images/img037_p108.jpg" width="50" height="70" alt="Butterfly" title=""></span></span> + +but it is a breach of ordinary good manners in speaking of +a well-known writer!</p> + +<p><span class="left20">Yours obediently,</span><br> +<span class="left60">P. G. HAMERTON.</span><br> + <span class="left50 smcap">Autun</span>, Sept. 29, 1880.</p> + +<div class="p4 hl2"> +<p class="p0 titleright italic">MR. <span class="pagenum"><a id="page091" name="page091"></a>(p. 091)</span> WHISTLER</p> +<p class="p0 center italic">AND</p> +<p class="p0_1 left50 italic">HIS CRITICS</p> + +<p class="p4 center italic">A CATALOGUE</p> +<p class="fig60"> +<img src="images/img038_p110.jpg" width="60" height="69" alt="Butterfly" title=""></p> + +<p class="smaller" style="padding-top: 100px">"Out of their own mouths shall ye judge them."</p> + +<p class="p4 smaller right">"Who <span class="pagenum"><a id="page093" name="page093"></a>(p. 093)</span> breaks a butterfly upon a wheel?"</p> + +<p class="fig75"> +<img src="images/img039_p112.jpg" width="80" height="149" alt="Butterfly" title=""></p> + +<p class="p4 center" style="padding-top: 150px"><span class="italic">Etchings and Dry-points</span></p> + +<p class="center">"His pictures form a dangerous precedent."</p> + +<hr class="small"> + +<p class="center">VENICE.</p> + +<p class="p0 center">"Another crop of Mr. Whistler's little jokes."</p> +<p class="p0_1 hl1 right italic">Truth.</p> + +<p class="p2 center">1.—MURANO—GLASS FURNACE.<br> +"Criticism is powerless here."—<span class="italic">Knowledge.</span></p> + +<p class="p2_0 center">2.—DOORWAY AND VINE.</p> +<p class="p0">"He must not attempt to palm off his deficiencies<br> +upon us as manifestations of power."</p> +<p class="p0_1 right italic hl1">Daily Telegraph.</p> + +<p class="p2_0 center">3.—WHEELWRIGHT. <span class="pagenum"><a id="page094" name="page094"></a>(p. 094)</span></p> +<p class="p0">"Their charm depends not at all upon the technical qualities so +striking in his earlier work."</p> +<p class="p0_1 hl1 right italic">St. James's Gazette.</p> + +<p class="p2_0 center">4.—SAN BIAGIO.</p> +<p class="p0">"So far removed from any accepted canons of art as to be beyond the +understanding of an ordinary mortal."—<span class="italic">Observer.</span></p> + +<p class="p2_0 center">5.—BEAD STRINGERS.</p> +<p class="sidenoteright"><span class="italic">REFLECTION:</span><br> + "Et voilà comme on écrit l'histoire."<br> +<span class="floatright"> +<img src="images/img040_p113.jpg" width="50" height="61" alt="Butterfly" title=""></span></p> + +<p class="p0">"'Impressionistes,' <span class="italic">and of these the various schools are represented +by</span> Mr. Whistler, Mr. Spencer Stanhope, Mr. Walter Crane, and Mr. +Strudwick."</p> + +<p class="p2_0 center">6.—FISH SHOP.</p> +<p class="p0">"Those who feel painfully the absence in these works of any feeling +for the past glories of Venice."</p> +<p class="p0_1 hl1 right italic">'Arry in the Spectator.</p> +<p>"Whistler is eminently vulgar."—<span class="italic">Glasgow Herald.</span></p> + +<p class="p2_0 center">7.—TURKEYS.</p> +<p class="p0">"They say very little to the mind."—<span class="italic">F. Wedmore.</span></p> +<p>"It is the artist's pleasure to have them there, and we can't help +it."—<span class="italic">Edinburgh Courant.</span></p> + +<p class="p2_0 center">8.—NOCTURNE <span class="pagenum"><a id="page095" name="page095"></a>(p. 095)</span> RIVA.</p> +<p class="p0">"The Nocturne is intended to convey an impression of night."—<span class="italic">P. G. +Hamerton.</span></p> +<p class="p0">"The subject did not admit of any drawing."</p> +<p class="p0_1 hl1 right italic">P. G. Hamerton.</p> + +<p>"We have seen a great many representations of Venetian skies, but +never saw one before consisting of brown smoke with clots of ink in +diagonal lines."</p> + +<p class="p2_0 center">9.—FRUIT STALL.</p> +<p class="p0">"The historical or poetical associations of cities have little charm +for Mr. Whistler and no place in his art."</p> + +<p class="p2_0 center">10.—SAN GIORGIO.</p> +<p class="p0">"An artist of incomplete performance."</p> +<p class="p0_1 hl1 right italic">F. Wedmore.</p> + +<p class="p2_0 center">11.—THE DYER.</p> +<p class="p0">"By having as little to do as possible with tone and light and shade, +Mr. Whistler evades great difficulties."—<span class="italic">P. G. Hamerton.</span></p> + +<p class="sidenoteright" title="Footnote 23"><span class="tiny">[23]</span>"Calling me 'a Mr. Hamerton' does me no + harm—but it is a breach of ordinary good manners in + speaking of a well-known writer."<br> + + Yours obediently, <span class="smcap">P. G. Hamerton</span>.<br> + + Sept. 29, 1880. To the Editor of the <span class="italic">New York + Tribune</span>.</p> + +<p class="p0">"All those theoretical principles of the art, of which we have heard +so much from Messrs. Haden, Hamerton(?)[23] and Lalauze, are +abandoned."</p> +<p class="p0_1 hl1 right italic">St. James's Gazette.</p> + +<p class="p2_0 center">12.—NOCTURNE <span class="pagenum"><a id="page096" name="page096"></a>(p. 096)</span> PALACES.</p> +<p class="p0">"Pictures in darkness are contradictions in terms."</p> +<p class="p0_1 hl1 right italic">Literary World.</p> + +<p class="p2_0 center">13.—THE DOORWAY.</p> +<p class="p0">"There is seldom in his Etchings any large arrangement of light and +shade."—<span class="italic">P. G. Hamerton.</span></p> + +<p>"Short, scratchy lines."—<span class="italic">St. James's Gazette.</span></p> + +<p class="p0">"The architectural ornaments and the interlacing bars of the gratings +are suggested rather than drawn."</p> +<p class="p0_1 hl1 right italic">St. James's Gazette.</p> + +<p>"Amateur prodige."—<span class="italic">Saturday Review.</span></p> + +<p class="p2_0 center">14.—LONG LAGOON.</p> + +<p class="p0">"We think that London fogs and the muddy old Thames supply Mr. +Whistler's needle with subjects more congenial than do the Venetian +palaces and lagoons."—<span class="italic">Daily News.</span></p> + +<p class="p2_0 center">15.—TEMPLE.</p> + +<p class="p0">"The work does not feel much."—<span class="italic">Times.</span></p> + +<p class="p2_0 center">16.—LITTLE SALUTE.—(<span class="smcap">Dry-point.</span>)</p> + +<p class="p0">"As for the lucubrations of Mr. Whistler, they come like shadows and +will so depart, <span class="italic">and it is unnecessary to disquiet one's self about +them</span>."</p> + +<p class="p2_0 center">17.—THE <span class="pagenum"><a id="page097" name="page097"></a>(p. 097)</span> BRIDGE.</p> + +<p class="p0">"These works have been done with a swiftness and dash that precludes +anything like care and finish."</p> + +<p>"These Etchings of Mr. Whistler's are nothing like so satisfactory as +his earlier Chelsea ones; they neither convey the idea of space nor +have they the delicacy of handling and treatment which we see in +those."</p> + +<p class="p0">"He looked at Venice never in detail."</p> +<p class="p0_1 hl1 right italic">F. Wedmore.</p> + +<p class="p2_0 center">18.—WOOL CARDERS.</p> + +<p class="sidenoteright" title="Footnote 24"><span class="tiny">[24]</span>Mr. Wedmore is the lucky discoverer of the + following:—<br> + + "Vigour and exquisiteness are denied—are they + not?—even to a Velasquez"!</p> + +<p class="p0">"They have a merit of their own, and I do not wish to understand +it."[24]—<span class="italic">F. Wedmore.</span></p> + +<p class="p2_0 center">19.—UPRIGHT VENICE. + +<p class="p0">"Little to recommend them save the eccentricity of their titles."</p> + +<p class="p2_0 center">20.—LITTLE VENICE.</p> + +<p class="p0">"The Little Venice is one of the slightest of the series."—<span class="italic">St. +James's Gazette.</span></p> + +<p>"In the Little Venice and the Little Lagoon Mr. Whistler has attempted +to convey impressions by lines far too few for his purposes."—<span class="italic">Daily +News.</span></p> + +<p>"Our <span class="pagenum"><a id="page098" name="page098"></a>(p. 098)</span> river is naturally full of effects in <span class="italic">black and white +and bistre</span>. Venetian skies and marbles have colour you cannot suggest +with a point and some printer's ink."—<span class="italic">Daily News.</span></p> + +<p>"It is not the Venice of a maiden's fancies."—<span class="italic">'Arry.</span></p> + +<p class="p2_0 center">21.—LITTLE COURT.</p> + +<p class="p0">"Merely technical triumphs."—<span class="italic">Standard.</span></p> + +<p class="p2_0 center">22.—REGENT'S QUADRANT.</p> + +<p class="p0">"There may be a few who find genius in insanity."</p> + +<p class="p2_0 center">23.—LOBSTER POTS.</p> + +<p class="sidenoteright" title="Footnote 25"><span class="tiny">[25]</span>The same Critic holds:<br> + + "The Thames is beautiful from Maidenhead to Kew, but not + from Battersea to Sheerness."</p> + +<p class="p0">"So little in them."[25]—<span class="italic">P. G. Hamerton.</span></p> + +<p class="p2_0 center">24.—RIVA No. 2.</p> + +<p class="p0">"In all his former Etchings he was careful to give a strong foundation +of firm drawing. In these plates, however, he has cast aside this +painstaking method."</p> +<p class="p0_1 hl1 right italic">St. James's Gazette.</p> + +<p class="p2_0 center">25.—ISLANDS.</p> + +<p class="sidenoteright" title="Footnote 26"><span class="tiny">[26]</span>Elsewhere Mr. Wedmore is inspired to say—<br> + + "The true collector must <span class="italic">gradually</span> and <span class="italic">painfully</span> + acquire the eye to judge of the impression."</p> + +<p class="sidenoteright"><span class="italic">REFLECTION:</span><br> + + <span class="italic">This</span> is possibly the process through which the + preacher is passing.<br> +<span class="floatright"> +<img src="images/img041_p117.jpg" width="50" height="46" alt="Butterfly" title=""></span></p> + +<p class="p0">"An artist who has never mastered the subtleties of accurate +form."[26]—<span class="italic">F. Wedmore.</span></p> + +<p class="p2_0 center">26.—THE <span class="pagenum"><a id="page099" name="page099"></a>(p. 099)</span> LITTLE LAGOON.</p> + +<p class="p0">"Well, little new came of it, in etching; nothing new that was +beautiful."—<span class="italic">F. Wedmore.</span></p> + +<p class="p2_0 center">27.—NOCTURNE SHIPPING.</p> + +<p class="sidenoteright">"Amazing!"<br> +<span class="floatright"> +<img src="images/img042_p118a.jpg" width="50" height="74" alt="Butterfly" title=""></span></p> + +<p class="p0">"This Archimago of the iconographic aoraton, or graphiology of the +Hidden."—<span class="italic">Daily Telegraph.</span></p> + +<p>"Popularity is the only insult that has not yet been offered to Mr. +Whistler."—<span class="italic">Oscar Wilde.</span></p> + +<p class="p2_0 center">28.—TWO DOORWAYS.</p> + +<p class="p0">"It is trying to any sketch without tone to be hung upon a wall as +these have been."—<span class="italic">P. G. Hamerton.</span></p> + +<p class="p2_0 center">29.—OLD WOMEN.</p> + +<p class="p0">"He is never literary."—<span class="italic">P. G. Hamerton.</span></p> + +<p class="p2_0 center">30.—RIVA.</p> + +<p class="sidenoteright"><span class="italic">REFLECTION:</span><br> + + Like Eno's Fruit Salt or the "Anti-mal-de-Mer."<br> +<span class="floatright"> +<img src="images/img042_p118b.jpg" width="50" height="69" alt="Butterfly" title=""></span></p> + +<p class="p0">"He took from London to Venice his happy fashion of suggesting lapping +water."—<span class="italic">F. Wedmore.</span></p> + +<p>"Even such a well-worn subject as the Riva degli Schiavoni is made +original (?) by being taken from a high point of view, and looked at +lengthwise, instead of from the canal."</p> + +<p class="p2_0 center">31.—DRURY <span class="pagenum"><a id="page100" name="page100"></a>(p. 100)</span> LANE.</p> + +<p class="p0">"In Mr. Whistler's productions one might safely say that there is no +culture."—<span class="italic">Athenæum.</span></p> + +<p class="p2_0 center">32.—THE BALCONY.</p> + +<p class="p0">"His colour is subversive."—<span class="italic">Russian Press.</span></p> + +<p class="p2_0 center">33.—ALDERNEY STREET.</p> + +<p class="p0">"The best art may be produced with trouble."</p> + +<p class="sidenoteright" title="Footnote 27"><span class="tiny">[27]</span>"I am not a Mede nor a Persian."—<span class="smcap">F. + Wedmore.</span></p> + +<p class="p0_1 hl1 right"><span class="italic">F. Wedmore.</span>[27]</p> + +<p class="p2_0 center">34.—THE SMITHY.</p> + +<p class="p0">"They produce a disappointing impression."</p> + +<p class="sidenoteright" title="Footnote 28"><span class="tiny">[28]</span>Mr. Hamerton does also say:<br> + + "Indifference to beauty is however compatible with + splendid success in etching, as the career of Rembrandt + proved."—<span class="italic">Etching and Etchers.</span></p> + +<p class="p0">"His Etchings seem weak when framed."[28]</p> +<p class="p0_1 hl1 right italic">P. G. Hamerton.</p> + +<p class="p2_0 center">35.—STABLES.</p> + +<p class="p0">"An unpleasing thing, and framed in Mr. Whistler's odd +fashion."—<span class="italic">City Press.</span></p> + +<p class="p2_0 center">36.—THE MAST.</p> + +<p class="sidenoteright"><span class="italic">REFLECTION:</span><br> + At the service of critics of unequal sizes.<br> +<span class="floatright"> +<img src="images/img043_p119.jpg" width="60" height="49" alt="Butterfly" title=""></span></p> + +<p class="p0">"The Mast and the Little Mast are dependent for much of their +interest, on the drawing of festoons of cord hanging from unequal +heights."</p> +<p class="p0_1 hl1 right italic">P. G. Hamerton.</p> + +<p class="p2_0 center">37.—TRAGHETTO. <span class="pagenum"><a id="page101" name="page101"></a>(p. 101)</span></p> + +<p class="p0">"The artist's present principles seem to deny him any effective +chiaroscuro."—<span class="italic">P. G. Hamerton.</span></p> + +<p class="sidenoteright"><span class="italic">REFLECTION:</span><br> + "Sometimes generally always."<br> +<span class="floatright"> +<img src="images/img044_p120a.jpg" width="50" height="51" alt="Butterfly" title=""></span></p> + +<p>"Mr. Whistler's figure drawings, generally defective and always +incomplete."</p> + +<p class="p2_0 center">38.—FISHING BOAT.</p> + +<p class="p0">"Subjects unimportant in themselves."</p> +<p class="p0_1 hl1 right italic">P. G. Hamerton.</p> + +<p class="p2_0 center">39.—PONTE PIOVAN.</p> + +<p class="p0">"Want of variety in the handling."</p> +<p class="p0_1 hl1 right italic">St. James's Gazette.</p> + +<p class="p2_0 center">40.—GARDEN.</p> + +<p class="p0">"An art which is happier in the gloom of a doorway than in the glow of +the sunshine, and turns with a pleasant blindness from whatsoever in +Nature or Man is of perfect beauty or noble thought."—<span class="italic">'Arry.</span></p> + +<p class="p2_0 center">41.—THE RIALTO.</p> + +<p class="p0">"Mr. Whistler has etched too much for his reputation."—<span class="italic">F. Wedmore.</span></p> + +<p class="sidenoteright"><span class="italic">REFLECTION:</span><br> + This critic, true, is a Slade Professor.<br> +<span class="floatright"> +<img src="images/img045_p120b.jpg" width="50" height="44" alt="Butterfly" title=""></span></p> + +<p>"Scampering caprice."—<span class="italic">S. Colvin.</span></p> + +<p>"Mr. Whistler's drawing, which is sometimes that of a very slovenly +master."</p> + +<p class="p2_0 center">42.—LONG <span class="pagenum"><a id="page102" name="page102"></a>(p. 102)</span> VENICE.</p> + +<p class="p0">"After all, there are certain accepted canons about what constitutes +good drawing, good colour, and good painting; and when an artist +deliberately sets himself to ignore or violate all of these, it is +desirable that his work should not be classed with that of ordinary +artists."—<span class="italic">'Arry.</span></p> + +<p class="p2_0 center">43.—NOCTURNE SALUTE.</p> + +<p class="sidenoteright" title="Footnote 29"><span class="tiny">[29]</span>?<br> +<span class="floatright"> +<img src="images/img046_p121.jpg" width="50" height="68" alt="Butterfly" title=""></span></p> + +<p class="p0">"The utter absence, as far as my eye[29] may be trusted, of +gradation."—<span class="italic">F. Wedmore.</span></p> + +<p class="p0">"There are many things in a painter's art which even a photographer +cannot understand."</p> +<p class="p0_1 hl1 right italic">Laudatory notice in Provincial Press.</p> + +<p class="p2_0 center">44.—FURNACE NOCTURNE.</p> + +<p class="p0">"There is no moral element in his chiaroscuro."</p> +<p class="p0_1 hl1 right italic">Richmond Eagle.</p> + +<p class="p2_0 center">45.—PIAZETTA.</p> + +<p class="p0">"Whistler does not take much pains with his work."</p> +<p class="p0_1 hl1 right italic">New York Paper.</p> + +<p>"A sort of transatlantic impudence in his cleverness."</p> + +<p>"His pictures do not claim to be accurate."</p> + +<p class="p2_0 center">46.—THE <span class="pagenum"><a id="page103" name="page103"></a>(p. 103)</span> LITTLE MAST.</p> + +<p class="p0">"Form and line are of little account to him."</p> + +<p class="p2_0 center">47.—QUIET CANAL.</p> + +<p class="p0">"Herr Whistler stellt ganz wunderbare Productionen aus, die auf +Gesetze der Form und der Farbe gegründet scheinen, die dem +Uneingeweihten unverständlich sind."—<span class="italic">Wiener Presse.</span></p> + +<p>"This new manner of Mr. Whistler's is no improvement upon that which +helped him to win his fame in this field of art."</p> + +<p class="p2_0 center">48.—PALACES.</p> + +<p class="p0">"The absence, seemingly, of any power of drawing the forms of +water."[30]—<span class="italic">F. Wedmore.</span></p> + +<p class="sidenoteright" title="Footnote 30"><span class="tiny">[30]</span>See No. 30, <span class="italic">The Riva</span>.</p> + +<p>"He has never, so far as we know, attempted to transfer to copper any +of the more ambitious works of the architect."—<span class="italic">Pall Mall Gazette.</span></p> + +<p class="p0">"He has been content to show us what his eyes can see, and not what +his hand can do."</p> +<p class="p0_1 hl1 right italic">St. James's Gazette.</p> + +<p class="p2_0 center">49.—SALUTE DAWN.</p> + +<p class="p0">"Too sensational."—<span class="italic">Athenæum.</span></p> + +<p>"Pushing a single artistic principle to the verge of +affectation."—<span class="italic">Sidney Colvin.</span></p> + +<p class="p2_0 center">50.—BEGGARS. <span class="pagenum"><a id="page104" name="page104"></a>(p. 104)</span></p> + +<p class="p0">"In the character of humanity he has not time to be +interested."—<span class="italic">Standard.</span></p> + +<p>"General absence of tone."—<span class="italic">P. G. Hamerton.</span></p> + +<p class="p2_0 center">51.—LAGOON: NOON.</p> + +<p class="p0">"Years ago James Whistler was a person of high promise."—<span class="italic">F. +Wedmore.</span></p> + +<p class="sidenoteright" title="Footnote 31"><span class="tiny">[31]</span><span class="italic">REFLECTION:</span><br> + The quid of sweet and bitter fancy.<br> +<span class="floatright"> +<img src="images/img047_p123a.jpg" width="50" height="49" alt="Butterfly" title=""></span></p> + +<p>"What the art of Mr. Whistler yields is a tertium quid."[31]—<span class="italic">Sidney +Colvin.</span></p> + +<p>"All of which gems, I am sincerely thankful to say, I cannot +appreciate."</p> + +<p class="p0"> +<span class="sidenoteright" title="Footnote 32"><span class="tiny">[32]</span><span class="italic">REFLECTION:</span><br> + The labour of the foolish wearieth every one of them + because he knoweth not how to go to the City.<br> +<span class="floatright"> +<img src="images/img048_p123b.jpg" width="50" height="76" alt="Butterfly" title=""></span></span> +"As we have hinted, the series does not represent any Venice that we +much care to remember; for who wants to remember the degradation of +what has been noble, the foulness of what has been fair?"</p> + +<p class="p0_1 hl1 right italic">'Arry[32] in the "Times."</p> + +<p>"Disastrous failures."—<span class="italic">F. Wedmore.</span></p> + +<p>"Failures that are complete and failures that are partial."—<span class="italic">F. +Wedmore.</span></p> + +<p class="p0">"A publicity rarely bestowed upon failures at all."</p> +<p class="p0_1 hl1 right italic">F. Wedmore, Nineteenth Century.</p> + +<p class="sidenotemaincenter"><span class="italic">"Voilà ce que l'on dit de moi<br> + Dans la Gazette de Hollande."</span></p> + +<p>"Therefore <span class="pagenum"><a id="page105" name="page105"></a>(p. 105)</span> is judgment far from us, neither doth justice +overtake us. We wait for light, but behold obscurity; for brightness, +but we walk in darkness."</p> + +<p>"We grope for the wall like the blind, and we grope as if we had no +eyes; we stumble at noonday as in the night."</p> + +<p>"We roar all like bears."</p> + +<p class="figcenter"> +<img src="images/img049_p124.jpg" width="120" height="100" alt="Butterfly" title=""></p> +</div> + +<h3 class="italic">Taking <span class="pagenum"><a id="page106" name="page106"></a>(p. 106)</span> the Bait</h3> + +<p>By the simple process of applying snippets of published sentences to +works of art to which the original comments + +<span class="sidenoteleft"><span class="italic">The Academy</span>, Feb. 24, 1883.</span> + +were never meant to have +reference, and sometimes, too, by lively misquotation—as when a +writer who "did not wish to understate" Mr. Whistler's merit is made +to say he "did not wish to understand" it, Mr. Whistler has counted on +good-humouredly confounding criticism. He has entertained but not +persuaded; and if his literary efforts with the scissors and the +paste-pot might be taken with any seriousness we should have to rebuke +him for his feat. But we are far from doing so. He desired, it seems, +to say that he and Velasquez were both above criticism. An artist in +literature would have said it in fewer words; but indulgence may +fairly be granted to the less assured methods of an amateur in +authorship.</p> + +<p class="right">F. WEDMORE.</p> + +<h3 class="italic">An <span class="pagenum"><a id="page107" name="page107"></a>(p. 107)</span> Apology</h3> + +<p>Atlas—There are those, they tell me, who have the approval of the +people—and live! For them the <span class="italic">succès d'estime</span>; for me, O Atlas, the +<span class="italic">succès d'exécration</span>—the only tribute possible from the Mob to the +Master! + +<span class="sidenoteleft"><span class="italic">The World</span>, Feb. 28, 1883.</span> + +This I have now nobly achieved. <span class="italic">Glissons!</span> In the hour of my +triumph let me not neglect my ambulance.</p> + +<p>Mr. Frederick Wedmore—a critic—one of the wounded—complains that by +dexterously substituting "understand" for "understate," I have dealt +unfairly by him, and wrongly rendered his writing. Let me hasten to +acknowledge the error, and apologise. My carelessness is culpable, and +the misprint without excuse; for naturally I have all along known, and +the typographer should have been duly warned, that with Mr. Wedmore, +as with his brethren, it is always a matter of understating, and not +at all one of understanding.</p> + +<p><span class="italic">Quant <span class="pagenum"><a id="page108" name="page108"></a>(p. 108)</span> aux autres</span>—well, with the exception of "'Arry," who +really is dead, they will recover. Scalped and disfigured, they are +not mortally hurt; and—would you believe it?—possessed with an +infinite capacity for continuing, they have already returned, nothing +doubting, to their limited literature, of which I have exhausted the +stock.—Yours, <span class="italic">en passant</span>,</p> + +<p><span class="smcap smaller">Chelsea</span>.<br> +<span class="fig30"> +<img src="images/img050_p127.jpg" width="80" height="126" alt="Butterfly" title=""></span></p> + +<h3 class="italic" style="padding-top: 120px">"Jeux <span class="pagenum"><a id="page110" name="page110"></a>(p. 110)</span> Innocents" in Tite Street</h3> + +<p>Mr. Whistler's final breakfast of the year was given on Sunday last. +The hospitable master has fresh wonders + +<span class="sidenoteleft"><span class="italic">The World</span>, Dec. 26, 1883.</span> + +in store for his friends in +the new year; for, not content with treating his next-door critic +after the manner that Portuguese sailors treat the Apostle Judas at +Easter-tide, he is said to have perfected a new instrument of torture. +This invention is of the nature of a camera obscura, whereby, by a +crafty "arrangement" of reflectors, he promises to display in his own +studio, to his friends, "'Arry at the White House," under all the +appropriate circumstances that might be expected of a "Celebrity at +Home."</p> + +<p class="right">ATLAS.</p> + +<h3 class="italic">A <span class="pagenum"><a id="page111" name="page111"></a>(p. 111)</span> Line from the Lands End</h3> + +<p>Delightful! Atlas—I have read here, to the idle miners—culture in +their manners curiously, at this season, blended with +intoxication—your brilliant and graphic description of 'Arry + +<span class="sidenoteright"><span class="italic">The World</span>, Jan. 2, 1884.</span> + +at the +other end of my arrangement in telescopic lenses.</p> + +<p>The sensitive sons of the Cornish caves, by instinct refined, revel in +the writhing of the resurrected 'Arry.</p> + +<p>Our natures are evidently of the same dainty brutality. Cruelty to the +critic after demise, is a revelation, and the story of 'Arry pursued +with post-mortem, and, for Sunday demonstration, kept by galvanism +from his grave, is to them most fascinating.</p> + +<p>I have, my sympathetic Atlas, the success that might have been Edgar +Poe's, could he have read to such an audience the horrible "Case of +Mr. Waldemar."</p> + +<p>My <span class="pagenum"><a id="page112" name="page112"></a>(p. 112)</span> invention and machinery, by the way, these warm-hearted +people believe to be something after the fashion of their own +sluice-boxes—and I dare not undeceive them.</p> + +<p>Atlas, <span class="italic">je te la souhaite bonne et heureuse</span>!</p> + +<p class="fig30"> +<img src="images/img051_p131.jpg" width="80" height="192" alt="Butterfly" title=""></p> + +<p class="left30" style="padding-top: 100px"><span class="left30 smcap">St. Ives, Cornwall</span>,<br> +<span class="left40">Dec. 27.</span></p> + +<h3 class="italic">The <span class="pagenum"><a id="page113" name="page113"></a>(p. 113)</span> Easy Expert</h3> + +<p>Atlas—They have sent me the <span class="italic">Spectator</span>—a paper upon which our late +'Arry lingered to the last as art critic. In its columns I find a +correspondent calling aloud for our kind intervention. Present me, +brave Atlas, to the editor, that I may say to him:</p> + +<p class="sidenoteleft"><span class="italic">The World</span>, Jan. 30, 1884.</p> + +<p>"<span class="smcap">Good sir</span>,—'Your Reviewer' is doubtless my unburied 'Arry. Why, then, +should 'his mistaking a photogravure reproduction of a pen-and-ink +drawing by Samuel Palmer for a finished etching by the same hand' +seem, 'to say the least of it, astounding'?</p> + +<p>"Not at all! By this sort of thing was he known among us, poor +chap—and so was he our fresh gladness and continued surprise."</p> + +<p>"Did I not make historical his enchanting encounter with Mr. +Herkomer's water-colour drawing of Mr. Ruskin at the Grosvenor, which +he described as the 'first oil portrait we have of the great master'? +Amazing that, if you like!</p> + +<p>"Do <span class="pagenum"><a id="page114" name="page114"></a>(p. 114)</span> not all remember how we leaped for joy at the reading of +it?"</p> + +<p>"Even Atlas himself laughed aloud, and, handicapped as he is with the +World, and weighted with wisdom, danced upon his plinth, a slow +measure of reckless acquiescence, as I set down in the chronicles of +all time that 'Arry, 'unable, by mere sense of smell, to distinguish +between oil and water-colour, might at least have inquired; and that +either the fireman or the guardian in the Gallery could have told him +not to blunder in the <span class="italic">Times</span>.'"</p> + +<p>"But no, he never would ask—he liked his potshots at things; it used +to give a sort of sporting interest to his speculations upon pictures. +And so he was ever obstinate—or any one at the Fine Art Society would +have told him the difference between an etching and a photograph.—I +am, good sir, yours, etc."</p> + +<p class="p0 center">Atlas, <span class="italic">à bientôt</span>. +<p class="p0 fig50"> +<img src="images/img052_p133.jpg" width="120" height="94" alt="Butterfly" title=""></p> +<p class="p2 smcap">St. Ives, Cornwall,<br> +<span class="add3em">Jan. 25, 1834.</span></p> + +<h3 class="italic">Propositions—No. 2</h3> <span class="pagenum"><a id="page115" name="page115"></a>(p. 115)</span> + +<p>A picture is finished when all trace of the means used to bring about +the end has disappeared.</p> + +<p>To say of a picture, as is often said in its praise, that it shows +great and earnest labour, is to say that it is incomplete and unfit +for view.</p> + +<p>Industry in Art is a necessity—not a virtue—and any evidence of the +same, in the production, is a blemish, not a quality; a proof, not of +achievement, but of absolutely insufficient work, for work alone will +efface the footsteps of work.</p> + +<p>The work of the master reeks not of the sweat of the brow—suggests no +effort—and is finished from its beginning.</p> + +<p>The completed task of perseverance only, has never been begun, and +will remain unfinished to eternity—a monument of goodwill and +foolishness.</p> + +<p>"There is one that laboureth, and taketh pains, and maketh haste, and +is so much the more behind."</p> + +<p>The <span class="pagenum"><a id="page116" name="page116"></a>(p. 116)</span> masterpiece should appear as the flower to the +painter—perfect in its bud as in its bloom—with no reason to explain +its presence—no mission to fulfil—a joy to the artist—a delusion to +the philanthropist—a puzzle to the botanist—an accident of sentiment +and alliteration to the literary man.</p> + +<p class="figcenter"> +<img src="images/img053_p135.jpg" width="120" height="107" alt="Butterfly" title=""></p> + +<h3 class="italic">A <span class="pagenum"><a id="page118" name="page118"></a>(p. 118)</span> Hint</h3> + +<p>Please to take note, my dear Mr. James McN. W., that your "dearest +foe," + +<span class="sidenoteleft"><span class="italic">The World</span>, Feb. 17, 1886.</span> + +'Arry, is a candidate for the Slade Chair of Art in the +University of Cambridge! This is said to be the age of testimonials. A +few words from you, my dear James, addressed to the distinguished +trustees, could not fail to give 'Arry a lift.</p> + +<p class="right">ATLAS.</p> + +<h3 class="italic">A <span class="pagenum"><a id="page119" name="page119"></a>(p. 119)</span> Distinction</h3> + +<p>Atlas, you provoke me! The wisdom of ages means but little—I have +said it. <span class="italic">Faut être "dans le mouvement,"</span> you dear old thing, or you +are absolutely out of it!</p> + +<p class="sidenoteleft"><span class="italic">The World</span>, Feb. 24, 1886.</p> + +<p>You are misled, and mistake mere fact for the fiction of history, +which is truth—and instructs—and is beautiful.</p> + +<p>Now, in truth, 'Arry is dead—very dead.</p> + +<p>Did I not, from between your shoulders, sally forth and slay +him?—thereby instructing—and making history—and avenging the +beautiful.</p> + +<p>If within the distant Aïden, you can't descry, "with sorrow laden," +the tiny soul of 'Arry, it is because you no longer read your own +small print, my Atlas! and the microbes of Eternity escape you.</p> + +<p>Moreover, are not these things written in the chronicles of Chelsea, +adown whose Embankment I still, Achilles-like, do drag the body of an +afternoon?</p> + +<p>This <span class="pagenum"><a id="page120" name="page120"></a>(p. 120)</span> practice has doubtless completed the confusion of the +wearied ones of Slade—and they of the Schools, accustomed to the +culture of Colvin, whose polished scalp I with difficulty collected, +ceasing to distinguish between the quick and the dead, will probably +prop up our late 'Arry as professor, long to remain undetected in the +Chair!</p> + +<p>Atlas, <span class="italic">tais-toi!</span>—Let us not interfere!</p> + +<p class="figcenter"> +<img src="images/img054_p139.jpg" width="100" height="119" alt="Butterfly" title=""></p> + +<h3 class="italic">A <span class="pagenum"><a id="page121" name="page121"></a>(p. 121)</span> Document</h3> + +<p>Atlas—I have come upon the posthumous paper of 'Arry—his certificate +of character, and printed pretension to the Professorship of +Slade—and O! the shame of it—and the indiscretion of it!</p> + +<p>Read, Atlas, and seek in your past for a parallel:</p> + +<p class="sidenoteright"><span class="italic">The World</span>, March 24, 1886.</p> + +<p>"To the Electors of the Slade Professor of Fine Art for the University +of Cambridge.—My Lord and Gentlemen,—I beg to submit my name as a +candidate for the Slade Professorship, and enclose herewith a few +testimonials ... I have also received favourable letters from the +following gentlemen ... Alma-Tadema, R.A., Marcus Stone, R.A., Briton +Rivière, R.A., John Brett, A.R.A., ... and others."</p> + +<p>What! is the Immaculate impure?—and shall the Academy have coquetted +with the unclean?</p> + +<p>Had Alma the classic aught in common with this 'Arry of commerce?</p> + +<p>Believe him not, Atlas!</p> + +<p>O <span class="pagenum"><a id="page122" name="page122"></a>(p. 122)</span> Alma! O Ichabod! forgive us the thought of it!</p> + +<p>Surely also the pots of "the Forty" do boil before the Lord, and the +flames of the chosen were unfanned by the feather of 'Arry's +goose-quill.</p> + +<p>Again:</p> + +<p>"My experience in art matters has been briefly as follows:</p> + +<p>"I have worked at the subject continually in Italy, having for that +purpose travelled and stayed in that country—at least a dozen times. +I have also painted in France, Germany, and Belgium, in which +last-mentioned country I was in a portrait painter's studio."—(A +portrait by 'Arry!)</p> + +<p>"There are several pictures of mine being exhibited in London at the +present time." (!!!)</p> + +<p>"I have also executed a good deal of distemper....</p> + +<p>"I have also travelled for a year in the East." ('Arry in the East!!)</p> + +<p>"I have had, as a lecturer upon Art, considerable experience—at +working men's clubs— ... and at the Rev. Stopford A. Brooke's College +for men, women, and children.</p> + +<p>"For the last ten years I have written <span class="italic">every article upon art</span> which +has appeared in the <span class="italic">Spectator</span> newspaper"—a confession, Atlas, +clearly a confession!</p> + +<p>"In 1880, I wrote a critical life of Giotto"—he did indeed, <span class="pagenum"><a id="page123" name="page123"></a>(p. 123)</span> +Atlas!—I saw it—a book in blue—his own, and Reckitt's—all bold +with brazen letters:</p> + +<p class="center">"GIOTTO BY 'ARRY"</p> + +<p>—"of which two editions were published"—bless him—and then I killed +him!</p> + +<p> +<span class="left30">and, "I am, Gentlemen,</span><br> +<span class="left40">"Your most obedient servant,</span><br> +<span class="left60">"'ARRY, M.A.</span><br> +<span class="left50">"Trin. Coll. Camb., <span class="italic">Esquire</span>."</span></p> + +<p class="center">The pride of it!</p> + +<p class="fig30"> +<img src="images/img055_p142.jpg" width="110" height="137" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 6em">Sacrilege</h3> <span class="pagenum"><a id="page124" name="page124"></a>(p. 124)</span> + +<p>O Atlas! What of the "Society for the Preservation of Beautiful +Buildings"?</p> + +<p class="sidenoteright">Upon the Alterations of the "White House."</p> + +<p>Where <span class="italic">is</span> Ruskin? and what do Morris and Sir William Drake?</p> + +<p>For, behold! beside the Thames, the work of desecration continues, + +<span class="sidenoteleft"><span class="italic">The World</span>, Oct. 17, 1883.</span> + +and +the "White House" swarms with the mason of contract.</p> + +<p>The architectural <span class="italic">galbe</span> that was the joy of the few, and the +bedazement of "the Board," crumbles beneath the pick, as did the north +side of St. Mark's, and history is wiped from the face of Chelsea.</p> + +<p>Shall no one interfere? Shall the interloper, even after his death, +prevail?</p> + +<p>Shall 'Arry, whom I have hewn down, still live among us by outrage of +this kind, and impose his memory upon our pavement by the public +perpetration of his posthumous philistinism?</p> + +<p>Shall <span class="pagenum"><a id="page125" name="page125"></a>(p. 125)</span> the birthplace of art become the tomb of its parasite +in Tite Street?</p> + +<p>See to it, Atlas! lest, when Time, the healer of all the wounds I have +inflicted, shall for me have exacted those honours the prophet may not +expect while alive, and the inevitable blue disc, imbedded in the +walls, shall proclaim that "Here once dwelt" the gentle Master of all +that is flippant and fine in Art, some anxious student, reading, fall +out with Providence in his vain effort to reconcile such joyous +reputation with the dank and hopeless appearance of this "model +lodging," bequeathed to the people by the arrogance of 'Arry.</p> + +<p class="figcenter"> +<img src="images/img056_p144.jpg" width="110" height="126" alt="Butterfly" title=""></p> + +<h3 class="italic">The <span class="pagenum"><a id="page126" name="page126"></a>(p. 126)</span> Red Rag</h3> + +<p class="sidenoteright">"<span class="italic">Mr. Whistler, Cheyne Walk.</span>"</p> + +<p class="sidenoteright"><span class="italic">The World</span>, May 22, 1878.</p> + +<p>Why should not I call my works "symphonies," "arrangements," +"harmonies," and "nocturnes"? I know that many good people think my +nomenclature funny and myself "eccentric." Yes, "eccentric" is the +adjective they find for me.</p> + +<p>The vast majority of English folk cannot and will not consider a +picture as a picture, apart from any story which it may be supposed to +tell.</p> + +<p>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 tavern. +I care nothing for the past, present, or future of the black figure, +placed there because the black was wanted at that spot. All that I +know is that my combination of grey and gold is the basis of the +picture. Now this is precisely what my friends cannot grasp.</p> + +<p>They say, "Why not call it 'Trotty Veck,' and sell it for a round +harmony of golden guineas?"—naïvely acknowledging that, without +baptism, there is no ... market!</p> + +<p>But <span class="pagenum"><a id="page127" name="page127"></a>(p. 127)</span> even commercially this stocking of your shop with the +goods of another would be indecent—custom alone has made it +dignified. Not even the popularity of Dickens should be invoked to +lend an adventitious aid to art of another kind from his. I should +hold it a vulgar and meretricious trick to excite people about Trotty +Veck when, if they really could care for pictorial art at all, they +would know that the picture should have its own merit, and not depend +upon dramatic, or legendary, or local interest.</p> + +<p>As music is the poetry of sound, so is painting the poetry of sight, +and the subject-matter has nothing to do with harmony of sound or of +colour.</p> + +<p>The great musicians knew this. Beethoven and the rest wrote +music—simply music; symphony in this key, concerto or sonata in that.</p> + +<p>On F or G they constructed celestial harmonies—as harmonies—as +combinations, evolved from the chords of F or G and their minor +correlatives.</p> + +<p>This is pure music as distinguished from airs—commonplace and vulgar +in themselves, but interesting from their associations, as, for +instance, "Yankee Doodle," or "Partant pour la Syrie."</p> + +<p>Art should be independent of all clap-trap—should stand alone, and +appeal to the artistic sense of eye or ear, without confounding this +with emotions entirely foreign to it, as devotion, pity, love, +patriotism, and the <span class="pagenum"><a id="page128" name="page128"></a>(p. 128)</span> like. All these have no kind of concern +with it; and that is why I insist on calling my works "arrangements" +and "harmonies."</p> + +<p>Take the picture of my mother, exhibited at the Royal Academy as an +"Arrangement in Grey and Black." Now that is what it is. To me it is +interesting as a picture of my mother; but what can or ought the +public to care about the identity of the portrait?</p> + +<p>The imitator is a poor kind of creature. If the man who paints only +the tree, or flower, or other surface he sees before him were an +artist, the king of artists would be the photographer. It is for the +artist to do something beyond this: in portrait painting to put on +canvas something more than the face the model wears for that one day; +to paint the man, in short, as well as his features; in arrangement of +colours to treat a flower as his key, not as his model.</p> + +<p>This is now understood indifferently well—at least by dressmakers. In +every costume you see attention is paid to the key-note of colour +which runs through the composition, as the chant of the Anabaptists +through the <span class="italic">Prophète</span>, or the Huguenots' hymn in the opera of that +name.</p> + +<p class="figcenter"> +<img src="images/img057_p147.jpg" width="100" height="161" alt="Butterfly" title=""></p> + +<h3 class="italic">A <span class="pagenum"><a id="page129" name="page129"></a>(p. 129)</span> Rebuke</h3> + +<p>No Birmingham election, no Chamberlain speech, no <span class="italic">Reynolds</span> or +<span class="italic">Dispatch</span> article, + +<span class="sidenoteright"><span class="italic">The World</span>, Dec. 9, 1885.</span> + +could bring the aristocracy more strongly into +ridicule and contempt than does the coarsely coloured cartoon of +"Newmarket" accompanying the winter number of <span class="italic">Vanity Fair</span>. From it +one learns that the Dukes, Duchesses, and turf persons generally, +frequenting the Heath, are a set of blob-headed stumpy dwarfs....</p> + +<p class="right">ATLAS.</p> + +<h3 class="italic">"Les <span class="pagenum"><a id="page130" name="page130"></a>(p. 130)</span> points sur les i"</h3> + +<p>I agree with you, O Atlas of ages, that completeness is a reason for +ceasing to exist; + +<span class="sidenoteright"><span class="italic">The World</span>, Dec. 16, 1885.</span> + +but even indignation might be less vague than is +your righteous anger at <span class="italic">Vanity's</span> Christmas cartoon. Surely you might +have helped the people, who scarcely distinguish between the original +and impudent imitation, to know that this faded leaf is not from the +book of Carlo Pellegrini, the master who has taught them all—that +they can never learn?</p> + +<p class="fig60"> +<img src="images/img058_p149.jpg" width="80" height="102" alt="Butterfly" title=""></p> + +<h3 class="hl2" style="padding-top: 4em"><span class="p4 titleright italic">MR. <span class="pagenum"><a id="page131" name="page131"></a>(p. 131)</span> WHISTLER'S</span><br> +<span class="p2 left45 italic">TEN O'CLOCK</span>"</h3> + + +<p class="fig60"> +<img src="images/img059_p150.jpg" width="60" height="81" alt="Butterfly" title=""></p> + +<p class="p4 smaller" style="padding-top: 4em"><span class="italic">London</span>, 1888</p> + +<span class="pagenum"><a id="page133" name="page133"></a>(p. 133)</span> +<p class="p4 fig60"> +<img src="images/img060_p152.jpg" width="60" height="71" alt="Butterfly" title=""></p> + +<p class="p4 left60 smaller" style="padding-top: 8em"><span class="italic">Delivered in London</span><br> +<span class="add4em">Feb. 20, 1885</span></p> + +<p class="smaller"><span class="italic">At Cambridge</span><br> +<span class="add2em">March 24</span></p> + +<p class="left30 smaller"><span class="italic">At Oxford</span><br> +<span class="add2em">April 30</span></p> + +<p class="p4 smcap">Ladies <span class="pagenum"><a id="page135" name="page135"></a>(p. 135)</span> and Gentlemen:</p> + +<p>It is with great hesitation and much misgiving that I appear before +you, in the character of The Preacher.</p> + +<p>If timidity be at all allied to the virtue modesty, and can find +favour in your eyes, I pray you, for the sake of that virtue, accord +me your utmost indulgence.</p> + +<p>I would plead for my want of habit, did it not seem preposterous, +judging from precedent, that aught save the most efficient effrontery +could be ever expected in connection with my subject—for I will not +conceal from you that I mean to talk about Art. Yes, Art—that has of +late become, as far as much discussion and writing can make it, a sort +of common topic for the tea-table.</p> + +<p>Art is upon the Town!—to be chucked under the chin by the passing +gallant—to be enticed within the gates of the householder—to be +coaxed into company, as a proof of culture and refinement.</p> + +<p>If <span class="pagenum"><a id="page136" name="page136"></a>(p. 136)</span> familiarity can breed contempt, certainly Art—or what is +currently taken for it—has been brought to its lowest stage of +intimacy.</p> + +<p>The people have been harassed with Art in every guise, and vexed with +many methods as to its endurance. They have been told how they shall +love Art, and live with it. Their homes have been invaded, their walls +covered with paper, their very dress taken to task—until, roused at +last, bewildered and filled with the doubts and discomforts of +senseless suggestion, they resent such intrusion, and cast forth the +false prophets, who have brought the very name of the beautiful into +disrepute, and derision upon themselves.</p> + +<p>Alas! ladies and gentlemen, Art has been maligned. She has naught in +common with such practices. She is a goddess of dainty +thought—reticent of habit, abjuring all obtrusiveness, purposing in +no way to better others.</p> + +<p>She is, withal, selfishly occupied with her own perfection +only—having no desire to teach—seeking and finding the beautiful in +all conditions and in all times, as did her high priest Rembrandt, +when he saw picturesque grandeur and noble dignity in the Jews' +quarter of Amsterdam, and lamented not that its inhabitants were not +Greeks.</p> + +<p>As <span class="pagenum"><a id="page137" name="page137"></a>(p. 137)</span> did Tintoret and Paul Veronese, among the Venetians, while +not halting to change the brocaded silks for the classic draperies of +Athens.</p> + +<p>As did, at the Court of Philip, Velasquez, whose Infantas, clad in +inæsthetic hoops, are, as works of Art, of the same quality as the +Elgin marbles.</p> + +<p>No reformers were these great men—no improvers of the way of others! +Their productions alone were their occupation, and, filled with the +poetry of their science, they required not to alter their +surroundings—for, as the laws of their Art were revealed to them they +saw, in the development of their work, that real beauty which, to +them, was as much a matter of certainty and triumph as is to the +astronomer the verification of the result, foreseen with the light +given to him alone. In all this, their world was completely severed +from that of their fellow-creatures with whom sentiment is mistaken +for poetry; and for whom there is no perfect work that shall not be +explained by the benefit conferred upon themselves.</p> + +<p>Humanity takes the place of Art, and God's creations are excused by +their usefulness. Beauty is confounded with virtue, and, before a work +of Art, it is asked: "What good shall it do?"</p> + +<p>Hence it is that nobility of action, in this life, is hopelessly +linked with the merit of the work that portrays <span class="pagenum"><a id="page138" name="page138"></a>(p. 138)</span> it; and thus +the people have acquired the habit of looking, as who should say, not +<span class="italic">at</span> a picture, but <span class="italic">through</span> it, at some human fact, that shall, or +shall not, from a social point of view, better their mental or moral +state. So we have come to hear of the painting that elevates, and of +the duty of the painter—of the picture that is full of thought, and +of the panel that merely decorates.</p> + +<p class="p2">A favourite faith, dear to those who teach, is that certain periods +were especially artistic, and that nations, readily named, were +notably lovers of Art.</p> + +<p>So we are told that the Greeks were, as a people, worshippers of the +beautiful, and that in the fifteenth century Art was engrained in the +multitude.</p> + +<p>That the great masters lived in common understanding with their +patrons—that the early Italians were artists—all—and that the +demand for the lovely thing produced it.</p> + +<p>That we, of to-day, in gross contrast to this Arcadian purity, call +for the ungainly, and obtain the ugly.</p> + +<p>That, could we but change our habits and climate—were we willing to +wander in groves—could we be roasted <span class="pagenum"><a id="page139" name="page139"></a>(p. 139)</span> out of +broadcloth—were we to do without haste, and journey without speed, we +should again <span class="italic">require</span> the spoon of Queen Anne, and pick at our peas +with the fork of two prongs. And so, for the flock, little hamlets +grow near Hammersmith, and the steam horse is scorned.</p> + +<p>Useless! quite hopeless and false is the effort!—built upon fable, +and all because "a wise man has uttered a vain thing and filled his +belly with the East wind."</p> + +<p>Listen! There never was an artistic period.</p> + +<p>There never was an Art-loving nation.</p> + +<p>In the beginning, man went forth each day—some to do battle, some to +the chase; others, again, to dig and to delve in the field—all that +they might gain and live, or lose and die. Until there was found among +them one, differing from the rest, whose pursuits attracted him not, +and so he stayed by the tents with the women, and traced strange +devices with a burnt stick upon a gourd.</p> + +<p>This man, who took no joy in the ways of his brethren—who cared not +for conquest, and fretted in the field—this designer of quaint +patterns—this deviser of the beautiful—who perceived in Nature about +him curious curvings, as faces are seen in the fire—this dreamer +apart, was the first artist.</p> + +<p>And <span class="pagenum"><a id="page140" name="page140"></a>(p. 140)</span> when, from the field and from afar, there came back the +people, they took the gourd—and drank from out of it.</p> + +<p>And presently there came to this man another—and, in time, others—of +like nature, chosen by the Gods—and so they worked together; and soon +they fashioned, from the moistened earth, forms resembling the gourd. +And with the power of creation, the heirloom of the artist, presently +they went beyond the slovenly suggestion of Nature, and the first vase +was born, in beautiful proportion.</p> + +<p>And the toilers tilled, and were athirst; and the heroes returned from +fresh victories, to rejoice and to feast; and all drank alike from the +artists' goblets, fashioned cunningly, taking no note the while of the +craftsman's pride, and understanding not his glory in his work; +drinking at the cup, not from choice, not from a consciousness that it +was beautiful, but because, forsooth, there was none other!</p> + +<p>And time, with more state, brought more capacity for luxury, and it +became well that men should dwell in large houses, and rest upon +couches, and eat at tables; whereupon the artist, with his artificers, +built palaces, and filled them with furniture, beautiful in proportion +and lovely to look upon.</p> + +<p>And the people lived in marvels of art—and ate and drank <span class="pagenum"><a id="page141" name="page141"></a>(p. 141)</span> +out of masterpieces—for there was nothing else to eat and to drink +out of, and no bad building to live in; no article of daily life, of +luxury, or of necessity, that had not been handed down from the design +of the master, and made by his workmen.</p> + +<p>And the people questioned not, <span class="italic">and had nothing to say in the matter</span>.</p> + +<p>So Greece was in its splendour, and Art reigned supreme—by force of +fact, not by election—and there was no meddling from the outsider. +The mighty warrior would no more have ventured to offer a design for +the temple of Pallas Athene than would the sacred poet have proffered +a plan for constructing the catapult.</p> + +<p>And the Amateur was unknown—and the Dilettante undreamed of!</p> + +<p>And history wrote on, and conquest accompanied civilisation, and Art +spread, or rather its products were carried by the victors among the +vanquished from one country to another. And the customs of cultivation +covered the face of the earth, so that all peoples continued to use +what <span class="italic">the artist alone produced</span>.</p> + +<p>And centuries passed in this using, and the world was flooded with all +that was beautiful, until there arose <span class="pagenum"><a id="page142" name="page142"></a>(p. 142)</span> a new class, who +discovered the cheap, and foresaw fortune in the facture of the sham.</p> + +<p>Then sprang into existence the tawdry, the common, the gewgaw.</p> + +<p>The taste of the tradesman supplanted the science of the artist, and +what was born of the million went back to them, and charmed them, for +it was after their own heart; and the great and the small, the +statesman and the slave, took to themselves the abomination that was +tendered, and preferred it—and have lived with it ever since!</p> + +<p>And the artist's occupation was gone, and the manufacturer and the +huckster took his place.</p> + +<p>And now the heroes filled from the jugs and drank from the bowls—with +understanding—noting the glare of their new bravery, and taking pride +in its worth.</p> + +<p>And the people—this time—had much to say in the matter—and all were +satisfied. And Birmingham and Manchester arose in their might—and Art +was relegated to the curiosity shop.</p> + +<p class="p2">Nature contains the elements, in colour and form, of all pictures, as +the keyboard contains the notes of all music.</p> + +<p>But <span class="pagenum"><a id="page143" name="page143"></a>(p. 143)</span> the artist is born to pick, and choose, and group with +science, these elements, that the result may be beautiful—as the +musician gathers his notes, and forms his chords, until he bring forth +from chaos glorious harmony.</p> + +<p>To say to the painter, that Nature is to be taken as she is, is to say +to the player, that he may sit on the piano.</p> + +<p>That Nature is always right, is an assertion, artistically, as untrue, +as it is one whose truth is universally taken for granted. Nature is +very rarely right, to such an extent even, that it might almost be +said that Nature is usually wrong: that is to say, the condition of +things that shall bring about the perfection of harmony worthy a +picture is rare, and not common at all.</p> + +<p>This would seem, to even the most intelligent, a doctrine almost +blasphemous. So incorporated with our education has the supposed +aphorism become, that its belief is held to be part of our moral +being, and the words themselves have, in our ear, the ring of +religion. Still, seldom does Nature succeed in producing a picture.</p> + +<p>The sun blares, the wind blows from the east, the sky is bereft of +cloud, and without, all is of iron. The windows of the Crystal Palace +are seen from all <span class="pagenum"><a id="page144" name="page144"></a>(p. 144)</span> points of London. The holiday-maker +rejoices in the glorious day, and the painter turns aside to shut his +eyes.</p> + +<p>How little this is understood, and how dutifully the casual in Nature +is accepted as sublime, may be gathered from the unlimited admiration +daily produced by a very foolish sunset.</p> + +<p>The dignity of the snow-capped mountain is lost in distinctness, but +the joy of the tourist is to recognise the traveller on the top. The +desire to see, for the sake of seeing, is, with the mass, alone the +one to be gratified, hence the delight in detail.</p> + +<p>And when the evening mist clothes the riverside with poetry, as with a +veil, and the poor buildings lose themselves in the dim sky, and the +tall chimneys become campanili, and the warehouses are palaces in the +night, and the whole city hangs in the heavens, and fairyland is +before us—then the wayfarer hastens home; the working man and the +cultured one, the wise man and the one of pleasure, cease to +understand, as they have ceased to see, and Nature, who, for once, has +sung in tune, sings her exquisite song to the artist alone, her son +and her master—her son in that he loves her, her master in that he +knows her.</p> + +<p>To him her secrets are unfolded, to him her lessons have <span class="pagenum"><a id="page145" name="page145"></a>(p. 145)</span> +become gradually clear. He looks at her flower, not with the enlarging +lens, that he may gather facts for the botanist, but with the light of +the one who sees in her choice selection of brilliant tones and +delicate tints, suggestions of future harmonies.</p> + +<p>He does not confine himself to purposeless copying, without thought, +each blade of grass, as commended by the inconsequent, but, in the +long curve of the narrow leaf, corrected by the straight tall stem, he +learns how grace is wedded to dignity, how strength enhances +sweetness, that elegance shall be the result.</p> + +<p>In the citron wing of the pale butterfly, with its dainty spots of +orange, he sees before him the stately halls of fair gold, with their +slender saffron pillars, and is taught how the delicate drawing high +upon the walls shall be traced in tender tones of orpiment, and +repeated by the base in notes of graver hue.</p> + +<p>In all that is dainty and lovable he finds hints for his own +combinations, and thus is Nature ever his resource and always at his +service, and to him is naught refused.</p> + +<p>Through his brain, as through the last alembic, is distilled the +refined essence of that thought which began with the Gods, and which +they left him to carry out.</p> + +<p>Set <span class="pagenum"><a id="page146" name="page146"></a>(p. 146)</span> apart by them to complete their works, he produces that +wondrous thing called the masterpiece, which surpasses in perfection +all that they have contrived in what is called Nature; and the Gods +stand by and marvel, and perceive how far away more beautiful is the +Venus of Melos than was their own Eve.</p> + +<p class="p4">For some time past, the unattached writer has become the middleman in +this matter of Art, and his influence, while it has widened the gulf +between the people and the painter, has brought about the most +complete misunderstanding as to the aim of the picture.</p> + +<p>For him a picture is more or less a hieroglyph or symbol of story. +Apart from a few technical terms, for the display of which he finds an +occasion, the work is considered absolutely from a literary point of +view; indeed, from what other can he consider it? And in his essays he +deals with it as with a novel—a history—or an anecdote. He fails +entirely and most naturally to see its excellences, or +demerits—artistic—and so degrades Art, by supposing it a method of +bringing about a literary climax.</p> + +<p>It <span class="pagenum"><a id="page147" name="page147"></a>(p. 147)</span> thus, in his hands, becomes merely a means of perpetrating +something further, and its mission is made a secondary one, even as a +means is second to an end.</p> + +<p>The thoughts emphasised, noble or other, are inevitably attached to +the incident, and become more or less noble, according to the +eloquence or mental quality of the writer, who looks the while, with +disdain, upon what he holds as "mere execution"—a matter belonging, +he believes, to the training of the schools, and the reward of +assiduity. So that, as he goes on with his translation from canvas to +paper, the work becomes his own. He finds poetry where he would feel +it were he himself transcribing the event, invention in the intricacy +of the <span class="italic">mise en scène</span>, and noble philosophy in some detail of +philanthropy, courage, modesty, or virtue, suggested to him by the +occurrence.</p> + +<p>All this might be brought before him, and his imagination be appealed +to, by a very poor picture—indeed, I might safely say that it +generally is.</p> + +<p>Meanwhile, the <span class="italic">painter's</span> poetry is quite lost to him—the amazing +invention that shall have put form and colour into such perfect +harmony, that exquisiteness is the result, he is without +understanding—the nobility of thought, that shall have given the +artist's <span class="pagenum"><a id="page148" name="page148"></a>(p. 148)</span> dignity to the whole, says to him absolutely +nothing.</p> + +<p>So that his praises are published, for virtues we would blush to +possess—while the great qualities, that distinguish the one work from +the thousand, that make of the masterpiece the thing of beauty that it +is—have never been seen at all.</p> + +<p>That this is so, we can make sure of, by looking back at old reviews +upon past exhibitions, and reading the flatteries lavished upon men +who have since been forgotten altogether—but, upon whose works, the +language has been exhausted, in rhapsodies—that left nothing for the +National Gallery.</p> + +<p class="p2">A curious matter, in its effect upon the judgment of these gentlemen, +is the accepted vocabulary of poetic symbolism, that helps them, by +habit, in dealing with Nature: a mountain, to them, is synonymous with +height—a lake, with depth—the ocean, with vastness—the sun, with +glory.</p> + +<p>So that a picture with a mountain, a lake, and an ocean—however poor +in paint—is inevitably "lofty," "vast," "infinite," and +"glorious"—on paper.</p> + +<p class="p2">There are those also, sombre of mien, and wise with the wisdom of +books, who frequent museums and burrow <span class="pagenum"><a id="page149" name="page149"></a>(p. 149)</span> in crypts; +collecting—comparing—compiling—classifying—contradicting.</p> + +<p>Experts these—for whom a date is an accomplishment—a hall mark, +success!</p> + +<p>Careful in scrutiny are they, and conscientious of +judgment—establishing, with due weight, unimportant +reputations—discovering the picture, by the stain on the +back—testing the torso, by the leg that is missing—filling folios +with doubts on the way of that limb—disputatious and dictatorial, +concerning the birthplace of inferior persons—speculating, in much +writing, upon the great worth of bad work.</p> + +<p>True clerks of the collection, they mix memoranda with ambition, and, +reducing Art to statistics, they "file" the fifteenth century, and +"pigeon-hole" the antique!</p> + +<p class="p2">Then the Preacher "appointed"!</p> + +<p>He stands in high places—harangues and holds forth.</p> + +<p>Sage of the Universities—learned in many matters, and of much +experience in all, save his subject.</p> + +<p>Exhorting—denouncing—directing.</p> + +<p>Filled with wrath and earnestness.</p> + +<p>Bringing powers of persuasion, and polish of language, to +prove—nothing.</p> + +<p>Torn <span class="pagenum"><a id="page150" name="page150"></a>(p. 150)</span> with much teaching—having naught to impart.</p> + +<p>Impressive—important—shallow.</p> + +<p>Defiant—distressed—desperate.</p> + +<p>Crying out, and cutting himself—while the gods hear not.</p> + +<p>Gentle priest of the Philistine withal, again he ambles pleasantly +from all point, and through many volumes, escaping scientific +assertion—"babbles of green fields."</p> + +<p class="p4">So Art has become foolishly confounded with education—that all should +be equally qualified.</p> + +<p>Whereas, while polish, refinement, culture, and breeding, are in no +way arguments for artistic result, it is also no reproach to the most +finished scholar or greatest gentleman in the land that he be +absolutely without eye for painting or ear for music—that in his +heart he prefer the popular print to the scratch of Rembrandt's +needle, or the songs of the hall to Beethoven's "C minor Symphony."</p> + +<p>Let him have but the wit to say so, and not feel the admission a proof +of inferiority.</p> + +<p>Art happens—no hovel is safe from it, no Prince may depend upon it, +the vastest intelligence cannot bring <span class="pagenum"><a id="page151" name="page151"></a>(p. 151)</span> it about, and puny +efforts to make it universal end in quaint comedy, and coarse farce.</p> + +<p>This is as it should be—and all attempts to make it otherwise are due +to the eloquence of the ignorant, the zeal of the conceited.</p> + +<p>The boundary line is clear. Far from me to propose to bridge it +over—that the pestered people be pushed across. No! I would save them +from further fatigue. I would come to their relief, and would lift +from their shoulders this incubus of Art.</p> + +<p>Why, after centuries of freedom from it, and indifference to it, +should it now be thrust upon them by the blind—until wearied and +puzzled, they know no longer how they shall eat or drink—how they +shall sit or stand—or wherewithal they shall clothe +themselves—without afflicting Art.</p> + +<p class="p2">But, lo! there is much talk without!</p> + +<p class="p2">Triumphantly they cry, "Beware! This matter does indeed concern us. We +also have our part in all true Art!—for, remember the 'one touch of +Nature' that 'makes the whole world kin.'"</p> + +<p>True, indeed. But let not the unwary jauntily suppose that Shakespeare +herewith hands him his passport to Paradise, and thus permits him +speech among <span class="pagenum"><a id="page152" name="page152"></a>(p. 152)</span> the chosen. Rather, learn that, in this very +sentence, he is condemned to remain without—to continue with the +common.</p> + +<p>This one chord that vibrates with all—this "one touch of Nature" that +calls aloud to the response of each—that explains the popularity of +the "Bull" of Paul Potter—that excuses the price of Murillo's +"Conception"—this one unspoken sympathy that pervades humanity, +is—Vulgarity!</p> + +<p>Vulgarity—under whose fascinating influence "the many" have elbowed +"the few," and the gentle circle of Art swarms with the intoxicated +mob of mediocrity, whose leaders prate and counsel, and call aloud, +where the Gods once spoke in whisper!</p> + +<p>And now from their midst the Dilettante stalks abroad. The amateur is +loosed. The voice of the æsthete is heard in the land, and catastrophe +is upon us.</p> + +<p>The meddler beckons the vengeance of the Gods, and ridicule threatens +the fair daughters of the land.</p> + +<p>And there are curious converts to a weird <span class="italic">culte</span>, in which all +instinct for attractiveness—all freshness and sparkle—all woman's +winsomeness—is to give way to a strange vocation for the +unlovely—and this desecration in the name of the Graces!</p> + +<p>Shall this gaunt, ill-at-ease, distressed, abashed mixture <span class="pagenum"><a id="page153" name="page153"></a>(p. 153)</span> +of <span class="italic">mauvaise honte</span> and desperate assertion call itself artistic, and +claim cousinship with the artist—who delights in the dainty, the +sharp, bright gaiety of beauty?</p> + +<p>No!—a thousand times no! Here are no connections of ours.</p> + +<p>We will have nothing to do with them.</p> + +<p>Forced to seriousness, that emptiness may be hidden, they dare not +smile—</p> + +<p>While the artist, in fulness of heart and head, is glad, and laughs +aloud, and is happy in his strength, and is merry at the pompous +pretension—the solemn silliness that surrounds him.</p> + +<p>For Art and Joy go together, with bold openness, and high head, and +ready hand—fearing naught, and dreading no exposure.</p> + +<p>Know, then, all beautiful women, that we are with you. Pay no heed, we +pray you, to this outcry of the unbecoming—this last plea for the +plain.</p> + +<p>It concerns you not.</p> + +<p>Your own instinct is near the truth—your own wit far surer guide than +the untaught ventures of thick heeled Apollos.</p> + +<p>What! will you up and follow the first piper that leads you down +Petticoat Lane, there, on a Sabbath, to gather, for the week, from the +dull rags of ages <span class="pagenum"><a id="page154" name="page154"></a>(p. 154)</span> wherewith to bedeck yourselves? that, +beneath your travestied awkwardness, we have trouble to find your own +dainty selves? Oh, fie! Is the world, then, exhausted? and must we go +back because the thumb of the mountebank jerks the other way?</p> + +<p>Costume is not dress.</p> + +<p>And the wearers of wardrobes may not be doctors of taste!</p> + +<p>For by what authority shall these be pretty masters? Look well, and +nothing have they invented—nothing put together for comeliness' sake.</p> + +<p>Haphazard from their shoulders hang the garments of the +hawker—combining in their person the motley of many manners with the +medley of the mummers' closet.</p> + +<p>Set up as a warning, and a finger-post of danger, they point to the +disastrous effect of Art upon the middle classes.</p> + +<p class="p2">Why this lifting of the brow in deprecation of the present—this +pathos in reference to the past?</p> + +<p>If Art be rare to-day, it was seldom heretofore.</p> + +<p>It is false, this teaching of decay.</p> + +<p>The master stands in no relation to the moment at which <span class="pagenum"><a id="page155" name="page155"></a>(p. 155)</span> he +occurs—a monument of isolation—hinting at sadness—having no part in +the progress of his fellow men.</p> + +<p>He is also no more the product of civilisation than is the scientific +truth asserted dependent upon the wisdom of a period. The assertion +itself requires the <span class="italic">man</span> to make it. The truth was from the +beginning.</p> + +<p>So Art is limited to the infinite, and beginning there cannot +progress.</p> + +<p>A silent indication of its wayward independence from all extraneous +advance, is in the absolutely unchanged condition and form of +implement since the beginning of things.</p> + +<p>The painter has but the same pencil—the sculptor the chisel of +centuries.</p> + +<p>Colours are not more since the heavy hangings of night were first +drawn aside, and the loveliness of light revealed.</p> + +<p>Neither chemist nor engineer can offer new elements of the +masterpiece.</p> + +<p class="p2">False again, the fabled link between the grandeur of Art and the +glories and virtues of the State, for Art feeds not upon nations, and +peoples may be wiped from the face of the earth, but Art <span class="italic">is</span>.</p> + +<p>It <span class="pagenum"><a id="page156" name="page156"></a>(p. 156)</span> is indeed high time that we cast aside the weary weight of +responsibility and co-partnership, and know that, in no way, do our +virtues minister to its worth, in no way do our vices impede its +triumph!</p> + +<p>How irksome! how hopeless! how superhuman the self-imposed task of the +nation! How sublimely vain the belief that it shall live nobly or art +perish.</p> + +<p>Let us reassure ourselves, at our own option is our virtue. Art we in +no way affect.</p> + +<p>A whimsical goddess, and a capricious, her strong sense of joy +tolerates no dulness, and, live we never so spotlessly, still may she +turn her back upon us.</p> + +<p>As, from time immemorial, she has done upon the Swiss in their +mountains.</p> + +<p>What more worthy people! Whose every Alpine gap yawns with tradition, +and is stocked with noble story; yet, the perverse and scornful one +will none of it, and the sons of patriots are left with the clock that +turns the mill, and the sudden cuckoo, with difficulty restrained in +its box!</p> + +<p>For this was Tell a hero! For this did Gessler die!</p> + +<p>Art, the cruel jade, cares not, and hardens her heart, and hies her +off to the East, to find, among the opium-eaters of Nankin, a +favourite with whom she lingers fondly—caressing his blue porcelain, +and painting his coy <span class="pagenum"><a id="page157" name="page157"></a>(p. 157)</span> maidens, and marking his plates with +her six marks of choice—indifferent in her companionship with him, to +all save the virtue of his refinement!</p> + +<p>He it is who calls her—he who holds her!</p> + +<p>And again to the West, that her next lover may bring together the +Gallery at Madrid, and show to the world how the Master towers above +all; and in their intimacy they revel, he and she, in this knowledge; +and he knows the happiness untasted by other mortal.</p> + +<p>She is proud of her comrade, and promises that in after-years, others +shall pass that way, and understand.</p> + +<p>So in all time does this superb one cast about for the man worthy her +love—and Art seeks the Artist alone.</p> + +<p>Where he is, there she appears, and remains with him—loving and +fruitful—turning never aside in moments of hope deferred—of +insult—and of ribald misunderstanding; and when he dies she sadly +takes her flight, though loitering yet in the land, from fond +association, but refusing to be consoled.[33]</p> + +<p class="sidenoteright" title="Footnote 33"><span class="tiny">[33]</span>And so have we the ephemeral influence of + the Master's memory—the afterglow, in which are warmed, + for a while, the worker and disciple.</p> + +<p>With the man, then, and not with the multitude, are her intimacies; +and in the book of her life the names inscribed are few—scant, +indeed, the list of those who have helped to write her story of love +and beauty.</p> + +<p>From <span class="pagenum"><a id="page158" name="page158"></a>(p. 158)</span> the sunny morning, when, with her glorious Greek +relenting, she yielded up the secret of repeated line, as, with his +hand in hers, together they marked in marble, the measured rhyme of +lovely limb and draperies flowing in unison, to the day when she +dipped the Spaniard's brush in light and air, and made his people live +within their frames, and <span class="italic">stand upon their legs</span>, that all nobility +and sweetness, and tenderness, and magnificence should be theirs by +right, ages had gone by, and few had been her choice.</p> + +<p>Countless, indeed, the horde of pretenders! But she knew them not.</p> + +<p>A teeming, seething, busy mass, whose virtue was industry, and whose +industry was vice!</p> + +<p>Their names go to fill the catalogue of the collection at home, of the +gallery abroad, for the delectation of the bagman and the critic.</p> + +<p class="p2">Therefore have we cause to be merry!—and to cast away all +care—resolved that all is well—as it ever was—and that it is not +meet that we should be cried at, and urged to take measures!</p> + +<p>Enough have we endured of dulness! Surely are we weary of weeping, and +our tears have been cozened from us falsely, for they have called out +woe! when there was no grief—and, alas! where all is fair!</p> + +<p>We <span class="pagenum"><a id="page159" name="page159"></a>(p. 159)</span> have then but to wait—until, with the mark of the Gods +upon him—there come among us again the chosen—who shall continue +what has gone before. Satisfied that, even were he never to appear, +the story of the beautiful is already complete—hewn in the marbles of +the Parthenon—and broidered, with the birds, upon the fan of +Hokusai—at the foot of Fusi-yama.</p> + +<p class="fig60"> +<img src="images/img061_p178.jpg" width="60" height="100" alt="Butterfly" title=""></p> + +<h3 style="padding-top: 4em">"<span class="italic">Rengaines!</span>" <span class="pagenum"><a id="page161" name="page161"></a>(p. 161)</span></h3> + +<p>Last night, at Prince's Hall, Mr. Whistler made his first public +appearance as a lecturer on Art.... There were some arrows ... shot +off ... + +<span class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, Feb. 21, 1885.</span> + +and (O, <span class="italic">mea culpa!</span>) at dress reformers most of all.... That +an artist will find beauty in ugliness, <span class="italic">le beau dans l'horrible</span>, is +now a commonplace of the schools.... I differ entirely from Mr. +Whistler. An Artist is not an isolated fact; he is the resultant of a +certain <span class="italic">milieu</span> and a certain <span class="italic">entourage</span>, and can no more be born of +a nation that is devoid of any sense of beauty than a fig can grow +from a thorn or a rose blossom from a thistle.... + +<span class="sidenoteright"><span class="italic">REFLECTION:</span><br> + + It is not enough that our simple Sunflower thrive on his + "thistle"—he has now grafted Edgar Poe on the "rose" + tree of the early American Market in "a certain milieu" + of dry goods and sympathy; and "a certain entourage" of + worship and wooden nutmegs.<br> + + Born of a Nation, not absolutely "devoid of any sense of + beauty"—Their idol—cherished—listened to—and + understood!<br> + + Foolish Baudelaire!—Mistaken Mallarmé!<br> +<span class="floatright"> +<img src="images/img062_p180.jpg" width="50" height="60" alt="Butterfly" title=""></span></span> + +The poet is the +supreme Artist, for he is the master of colour and of form, and the +real musician besides, and is lord over all life and all arts; and so +to the poet beyond all others are these mysteries known; to Edgar +Allan Poe and Baudelaire, not to Benjamin West and Paul Delaroche....</p> + +<p class="left10">OSCAR WILDE.</p> + +<h3 class="italic">Tenderness <span class="pagenum"><a id="page162" name="page162"></a>(p. 162)</span> in Tite Street</h3> + +<p class="right italic">TO THE POET:</p> + +<p>Oscar—I have read your exquisite article in the <span class="italic">Pall Mall</span>. Nothing +is more delicate, in the flattery of "the Poet" to "the Painter," than +the <span class="italic">naïveté</span> of "the Poet," in the choice of his Painters—Benjamin +West and Paul Delaroche!</p> + +<p class="sidenoteright"><span class="italic">The World.</span></p> + +<p>You have pointed out that "the Painter's" mission is to find "<span class="italic">le beau +dans l'horrible</span>," and have left to "the Poet" the discovery of +<span class="italic">"l'horrible" dans "le beau"</span>!</p> + +<p><span class="smcap">Chelsea.</span> +<span class="fig50"> +<img src="images/img063_p181.jpg" width="110" height="96" alt="Butterfly" title=""></span></p> + +<p class="right" style="padding-top: 6em"><span class="italic">TO <span class="pagenum"><a id="page163" name="page163"></a>(p. 163)</span> THE PAINTER:</span></p> + +Dear Butterfly—By the aid of a biographical dictionary, I made the +discovery that there were once two painters, called Benjamin West and + +<span class="sidenoteleft"><span class="italic">The World.</span></span> + +Paul Delaroche, who rashly lectured upon Art. As of their works +nothing at all remains, I conclude that they explained themselves +away. + +<p class="sidenoteright"><span class="italic">REFLECTION:</span><br> + + I do know a bird, who, like Oscar, with his head in the + sand, still believes in the undiscovered!<br> + + If to be misunderstood is to be great, it was rash in + Oscar to reveal the source of his inspirations: the + "<span class="italic">Biographical Dictionary</span>!"<br> +<span class="floatright"> +<img src="images/img064_p182.jpg" width="60" height="53" alt="Butterfly" title=""></span></p> + +<p>Be warned in time, James; and remain, as I do, incomprehensible. To be +great is to be misunderstood.—<span class="italic">Tout à vous</span>,</p> + +<p class="left10">OSCAR WILDE.</p> + +<h3 class="italic">To <span class="pagenum"><a id="page164" name="page164"></a>(p. 164)</span> the Committee of the "National Art Exhibition"</h3> + +<p class="sidenoteleft">Letter read at a meeting of this Society, + associated for purposes of Art reform.</p> + +<p>Gentlemen—I am naturally interested in any effort made among Painters +to prove that they are alive—but + +<span class="sidenoteright"><span class="italic">The World</span>, Nov. 17, 1888.</span> + +when I find, thrust in the van of +your leaders, the body of my dead 'Arry, I know that putrefaction +alone can result. When, following 'Arry, there comes on Oscar, you +finish in farce, and bring upon yourselves the scorn and ridicule of +your <span class="italic">confrères</span> in Europe.</p> + +<p>What has Oscar in common with Art? except that he dines at our tables +and picks from our platters the plums for the pudding he peddles in +the provinces. Oscar—the amiable, irresponsible, esurient Oscar—with +no more sense of a picture than of the fit of a coat, has the courage +of the opinions ... of others!</p> + +<p class="sidenoteright">Enclosed to the Poet, with a line: "Oscar, + you must really keep outside 'the radius'!"<br> +<span class="floatright"> +<img src="images/img065_p183a.jpg" width="50" height="50" alt="Butterfly" title=""></span></p> + +<p>With 'Arry and Oscar you have avenged the Academy.</p> + +<p class="left30">I am, Gentlemen, yours obediently,</p> + +<p class="figcenter"> +<img src="images/img066_p183b.jpg" width="120" height="82" alt="Butterfly" title=""></p> + +<h3 class="italic">Quand <span class="pagenum"><a id="page165" name="page165"></a>(p. 165)</span> même!</h3> + +<p class="sidenoteleft"><span class="italic">The World</span>, Nov. 24, 1886.</p> + +<p>Atlas, this is very sad! With our James vulgarity begins at home, and +should be allowed to stay there.—<span class="italic">À vous</span>,</p> + +<p class="right">OSCAR WILDE</p> + +<p class="p4 right">TO WHOM:</p> + +<p>"A poor thing," Oscar!—"but," for once, I suppose "your own."</p> + +<p class="figcenter"> +<img src="images/img067_p184.jpg" width="120" height="104" alt="Butterfly" title=""></p> + +<h3 class="italic">Philanthropy <span class="pagenum"><a id="page166" name="page166"></a>(p. 166)</span> and Art</h3> + +<p>The <span class="italic">Saturday Review</span> has not thought it disgraceful to once more +justify its title to be called the "Saturday Reviler." This time it is +not to break upon the wheel some poor butterfly of a lady traveller or +novelist, but to scoff at an aged painter of the highest repute—Mr. +Herbert—upon his retirement to the rank of "Honorary Academician," +after a career such as few, if any, painters living can boast. This it +pleases the "Reviler" to congratulate artists upon as "good news," +without a word or a thought of what the retiring Academician has done +in art, except to utter the contemptible untruth that "his resignation +means that he has found out that he is beaten," <span class="italic">not</span> by the natural +failing of old age, but because he failed to impress such a writer as +this with the special exhibition of the works of his long life, that +was made some few years back to mark the completion of his last great +picture for the House of Lords, "The Judgment <span class="pagenum"><a id="page167" name="page167"></a>(p. 167)</span> of Daniel." +That exhibition, which most people, who know anything about painting +in its highest style of religious and monumental art, thought a most +interesting display of a painter's career, is described by this most +genial of critics as "acres of pallid purple canvases, with wizened +saints and virgins in attitudinizing groups."</p> + +<p>Whether that collection of Mr. Herbert's works had merit or not is +matter of opinion which I am not concerned to dispute; but, as a +matter of fact, there were only <span class="italic">three</span> small pictures in which the +virgin or any saints appeared; the other pictures, besides the two +large works of "The Delivery of the Law" and "The Judgment of Daniel," +painted for the nation, being historical subjects, such as the "Lear +Disinheriting Cordelia," a fresco of which is in the House of Lords; +"The Acquittal of the Seven Bishops," which the Corporation of Salford +purchased for their gallery of art; and several fine works of his +youth, such as the "Brides of Venice," a "Procession in Venice, 1528," +and others, which won for him his election to the Academy forty-five +years ago, when he had to compete with such men as are, unfortunately, +not to be found now among the +candidates—Etty—Maclise—Dyce—Egg—and Elmore.</p> + +<p>But the "<span class="italic">Saturday's</span>" art critic, if he ever saw this exhibition +<span class="pagenum"><a id="page168" name="page168"></a>(p. 168)</span> at all, didn't go to see these pictures. As Goethe says, "the +eye sees what it came to see," and he went to see the "acres of purple +canvases, with their wizened saints," which were not there. No +matter—it suits his purpose to declare that they were, just as it +does to cram into a paragraph more ignorance, insolence, and false +assertions combined than is often to be met with even in this locality +of literature, where the editor seems to be surrounded with all the +prigs, and the pumps, and the snobs of the literary profession.</p> + +<p class="right smaller"><span class="italic">Truth</span>, Aug. 19, 1886.</p> + +<h3>"<span class="italic">Nous <span class="pagenum"><a id="page169" name="page169"></a>(p. 169)</span> avons changé tout cela!</span>"</h3> + +<p>Hoity-toity! my dear Henry!—What is all this? How can you startle the +"Constant Reader," + +<span class="sidenoteright"><span class="italic">Truth</span>, Sept. 2, 1886.</span> + +of this cold world, by these sudden dashes into the +unexpected?</p> + +<p>Perceive also what happens.</p> + +<p>Sweet in the security of my own sense of things, and looking upon you +surely as the typical "<span class="italic">Sapem</span>" of modern progress and civilization, +here do I, in full Paris, <span class="italic">à l'heure de l'absinthe</span>, upon mischievous +discussion intent, call aloud for "<span class="italic">Truth</span>."</p> + +<p>"<span class="italic">Vous allez voir</span>," I say to the brilliant brethren gathered about my +table, "you shall hear the latest beautiful thing and bold, said by +our great Henry—'<span class="italic">capable de tout</span>,' beside whom '<span class="italic">ce coquin +d'Habacuc</span>' was mild indeed and usual!" And straightway to my +stultification, I find myself translating paragraphs of pathos and +indignation, in which a colourless old gentleman of the Academy is +sympathized with, and made <span class="pagenum"><a id="page170" name="page170"></a>(p. 170)</span> a doddering hero of, for no +better reason than that he <span class="italic">is</span> old—and those who would point out the +wisdom and comfort of his withdrawal into the wigwam of private life, +sternly reproved and anathematized and threatened with shame—until +they might well expect to find themselves come upon by the bears of +the aged and irascible, though bald-headed, Prophet, whom the children +had thoughtfully urged to "go up."</p> + +<p>Fancy the Frenchmen's astonishment as I read, and their placid +amusement as I attempted to point out that it was "meant drolly—that +<span class="italic">enfin</span> you were a <span class="italic">mystificateur</span>!"</p> + +<p>Henry, why should I thus be mortified? Also, why this new <span class="italic">pose</span>, this +cheap championship of senility?</p> + +<p>How, in the name of all that is incompetent, do you find much virtue +in work spreading over more time! What means this affectation of +<span class="italic">naïveté</span>?</p> + +<p>We all know that work excuses itself only by reason of its quality.</p> + +<p>If the work be foolish, it surely is not less foolish because an +honest and misspent lifetime has been passed in producing it.</p> + +<p>What matters it that the offending worker has grown old among us, and +has endeared himself to many <span class="pagenum"><a id="page171" name="page171"></a>(p. 171)</span> by his caprices as ratepayer +and neighbour?</p> + +<p>Personally, he may have claims upon his surroundings; but, as the +painter of poor pictures, he is damned for ever.</p> + +<p>You see, my Henry, that it is not sufficient to be, as you are in wit +and wisdom, among us, amazing and astute; a very Daniel in your +judgment of many vexed questions; of a frankness and loyalty withal in +your crusade against abuses, that makes of the keen litigator a most +dangerous Quixote.</p> + +<p>This peculiar temperament gives you that superb sense of right, +<span class="italic">outside the realms of art</span>, that amounts to genius, and carries with +it continued success and triumph in the warfare you wage.</p> + +<p>But here it helps you not. And so you find yourself, for instance, +pleasantly prattling in print of "English Art."</p> + +<p>Learn, then, O! Henry, that there is no such thing as English Art. You +might as well talk of English Mathematics. Art is Art, and Mathematics +is Mathematics.</p> + +<p>What you call English Art, is not Art at all, but produce, of which +there is, and always has been, and always will be, a plenty, whether +the men producing it are dead and called ——, or (I refer you to your +own <span class="pagenum"><a id="page172" name="page172"></a>(p. 172)</span> selection, far be it from me to choose)—or alive and +called ——, whosoever you like as you turn over the Academy catalogue.</p> + +<p>The great truth, you have to understand, is that it matters not at all +whom you prefer in this long list. They all belong to the excellent +army of mediocrity; the differences between them being infinitely +small—merely microscopic—as compared to the vast distance between +any one of them and the Great.</p> + +<p>They are the commercial travellers of Art, whose works are their +wares, and whose exchange is the Academy.</p> + +<p>They pass and are forgotten, or remain for a while in the memory of +the worthies who knew them, and who cling to their faith in them, as +it flatters their own place in history—famous themselves—the friends +of the famous!</p> + +<p>Speak of them, if it please you, with uncovered head—even as in +France you would remove your hat as there passes by the hearse—but +remember it is from the conventional habit of awe alone, this show of +respect, and called forth generally by the casual corpse of the +commonest kind.</p> + +<p class="fig60"> +<img src="images/img068_p191.jpg" width="110" height="103" alt="Butterfly" title=""></p> +<p class="smaller" style="padding-top: 2em"><span class="smcap">Paris</span>, Aug. 21, 1886.</p> + +<h3 class="italic">The <span class="pagenum"><a id="page173" name="page173"></a>(p. 173)</span> Inevitable</h3> + +<p class="sidenoteright"><span class="italic">Truth</span>, Sept. 9, 1886.</p> + +<p>When I suggested you as the "Sapeur of modern progress," my dear +Henry, I thought to convey delicately my appreciation, wrapped in +graceful compliment.</p> + +<p>When I am made to say that you are the "Sapem" of +civilisation—whatever that may mean—I would seem to insinuate an +impertinence clothed in classic error.</p> + +<p>I trust that, if you forgive me, you will never pardon the +printer.—Always,</p> + +<p class="fig50"> +<img src="images/img069_p192.jpg" width="60" height="66" alt="Butterfly" title=""></p> + +<h3 style="padding-top: 4em">"<span class="italic">Noblesse <span class="pagenum"><a id="page174" name="page174"></a>(p. 174)</span> oblige</span>"</h3> + +<p>Atlas, look at this! It has been culled from the <span class="italic">Plumber and +Decorator</span>, of all insidious prints, and forwarded to me by the + +<span class="sidenoteleft"><span class="italic">The World</span>, Dec. 31, 1884.</span> + +untiring people who daily supply me with the thinkings of my critics.</p> + +<p>Read, Atlas, and let me execute myself:</p> + +<p>"The 'Peacock' drawing-room of a well-to-do shipowner, of Liverpool, +at Queen's Gate, London, is hand-painted, representing the noble bird +with wings expanded, painted by an Associate of the Royal Academy, at +a cost of £7000, and fortunate in claiming his daughter as his bride, +and is one of the finest specimens of high art in decoration in the +kingdom. The mansion is of modern construction."</p> + +<p>He is not guilty, this honest Associate! It was <span class="italic">I</span>, Atlas, who did +this thing—"alone I did it"—<span class="italic">I</span> "hand-painted" this room in the +"mansion of modern construction."</p> + +<p>Woe <span class="pagenum"><a id="page175" name="page175"></a>(p. 175)</span> is me! <span class="italic">I</span> secreted, in the provincial shipowner's home, +the "noble bird with wings expanded"—<span class="italic">I</span> perpetrated, in harmless +obscurity, "the finest specimen of high-art decoration"—and the +Academy is without stain in the art of its member. Also the immaculate +character of that Royal body has been falsely impugned by this wicked +"<span class="italic">Plumber</span>"!</p> + +<p>Mark these things, Atlas, that justice may be done, the innocent +spared, and history cleanly written.</p> + +<p><span class="left30 italic">Bon soir!</span><br> +<span class="fig50"> +<img src="images/img070_p194.jpg" width="100" height="130" alt="Butterfly" title=""></span></p> +<p class="smcap smaller" style="padding-top: 2em">Chelsea.</p> + +<h3 class="italic" style="padding-top: 4em">Early <span class="pagenum"><a id="page176" name="page176"></a>(p. 176)</span> Laurels</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p class="sidenoteright"><span class="italic">The Observer</span>, April 11, 1886.</p> + +<p>Sir—In your report of the Graham sale of pictures at Messrs. Christie +and Manson's rooms, I read the following:</p> + +<p>"The next work, put upon the easel, was a 'Nocturne in blue and +silver,' by J. M. Whistler. It was received with hisses."</p> + +<p>May I beg, through your widely spread paper, to acknowledge the +distinguished, though I fear unconscious, compliment so publicly paid.</p> + +<p>It is rare that recognition, so complete, is made during the lifetime +of the painter, and I would wish to have recorded my full sense of +this flattering exception in my favour.</p> + +<p class="fig50"> +<img src="images/img071_p195.jpg" width="90" height="167" alt="Butterfly" title=""></p> +<p class="smcap smaller" style="padding-top: 2em">Chelsea.</p> + +<h3 class="italic" style="padding-top: 4em">A <span class="pagenum"><a id="page177" name="page177"></a>(p. 177)</span> Further Proposition</h3> + +<p>The notion that I paint flesh lower in tone than it is in nature, is +entirely based upon the popular superstition as to what flesh really +is—when + +<span class="sidenoteright"><span class="italic">Art Journal</span>, 1887.</span> + +seen on canvas; for the people never look at nature with any +sense of its pictorial appearance—for which reason, by the way, they +also never look at a picture with any sense of nature, but, +unconsciously from habit, with reference to what they have seen in +other pictures.</p> + +<p>Now, in the usual "pictures of the year" there is but one flesh, that +shall do service under all circumstances, whether the person painted +be in the soft light of the room or out in the glare of the open. The +one aim of the unsuspecting painter is to make his man "stand out" +from the frame—never doubting that, on the contrary, he should +really, and in truth absolutely does, stand <span class="italic">within</span> the frame—and at +a depth behind it equal to the distance at which the <span class="pagenum"><a id="page178" name="page178"></a>(p. 178)</span> painter +sees his model. The frame is, indeed, the window through which the +painter looks at his model, and nothing could be more offensively +inartistic than this brutal attempt to thrust the model on the +hither-side of this window!</p> + +<p>Yet this is the false condition of things to which all have become +accustomed, and in the stupendous effort to bring it about, +exaggeration has been exhausted—and the traditional means of the +incompetent can no further go.</p> + +<p>Lights have been heightened until the white of the tube alone +remains—shadows have been deepened until black alone is left. +Scarcely a feature stays in its place, so fierce is its intention of +"firmly" coming forth; and in the midst of this unseemly struggle for +prominence, the gentle truth has but a sorry chance, falling flat and +flavourless, and without force.</p> + +<p>The Master from Madrid, himself, beside this monster success of +mediocrity, would be looked upon as mild: <span class="italic">beau bien sure, mais pas +"dans le mouvement"</span>!</p> + +<p>Whereas, could the people be induced to turn their eyes but for a +moment, with the fresh power of comparison, upon their +fellow-creatures as they pass in the gallery, they might be made dimly +to perceive (though I doubt it, so blind is their belief in the bad), +how <span class="pagenum"><a id="page179" name="page179"></a>(p. 179)</span> little they resemble the impudent images on the walls! +how "quiet" in colour they are! how "grey!" how "low in tone." And +then it might be explained to their riveted intelligence how they had +mistaken meretriciousness for mastery, and by what mean methods the +imposture had been practised upon them.</p> + +<p class="figcenter"> +<img src="images/img072_p198.jpg" width="120" height="157" alt="Butterfly" title=""></p> + +<h3 class="italic">An <span class="pagenum"><a id="page181" name="page181"></a>(p. 181)</span> Opportunity</h3> + +<p>Cher Monsieur—M. —— m'a remis votre petite planche—port d'Amsterdam +avec une épreuve. Elle est charmante et je serais fort heureux de la +faire paraître dans l'article consacré à vos eaux fortes. Seulement, +je crois que vous avez mal interprété ma demande et que par le fait +nous ne nous entendons pas bien. Vous me demandez 63 guinées pour +cette planche, soit plus de 2000 francs, outre que le prix dépasse +celui de la planche la plus chère parue dans la <span class="italic">Gazette</span> depuis sa +fondation, y compris les chefs-d'œuvre de Jacquemart et de +Gaillard, il n'est pas dans les habitudes de la maison, de payer les +planches d'artistes qui accompagnent un compte-rendu de leur œuvre. +C'est ainsi que nous avons agi avec Méryon, Seymour Haden, Edwards, +Evershed, Legros, &c.</p> + +<p>Du reste, la planche pourrait rester votre propriété. Nous vous la +remettrions après avoir fait notre tirage. Il est entendu qu'elle +serait acierée.</p> + +<p>Si <span class="pagenum"><a id="page182" name="page182"></a>(p. 182)</span> ces conditions vous agréent, cher monsieur, je me ferai un +vrai plaisir de faire dans la <span class="italic">Gazette</span> un article sur votre beau +talent d'aquafortiste. Dans le cas contraire, je me verrais avec mille +regrets, dans la necessité de vous renvoyer la planche que je me fusse +fait cependant un véritable honneur de publier.</p> + +<p>Veuillez agréer, cher monsieur, l'expression de mes meilleurs +sentiments.</p> + +<p><span class="left50">LE DIRECTEUR de la</span><br> +<span class="left60 italic">Gazette des Beaux-Arts</span>.</p> +<p class="smaller"><span class="smcap">Paris</span>, le 12 Juin 1878.</p> + +<h3 class="italic">The <span class="pagenum"><a id="page183" name="page183"></a>(p. 183)</span> Opportunity Neglected</h3> + +<p>Cher Monsieur—Je regrette infiniment que mes moyens ne me permettent +pas de naître dans votre Journal.</p> + +<p>L'article que vous me proposez, comme berceau, me coûterait trop cher.</p> + +<p>Il me faudrait donc reprendre ma planche et rester inconnu jusqu'à la +fin des choses, puisque je n'aurais pas été inventé par la <span class="italic">Gazette +des Beaux Arts</span>.—Recevez, Monsieur,</p> + +<p class="figcenter"> +<img src="images/img073_p202.jpg" width="120" height="103" alt="Butterfly" title=""></p> + +<h3 class="italic">Nostalgia</h3> <span class="pagenum"><a id="page184" name="page184"></a>(p. 184)</span> + +<p>... "Quite true—now that it is established as an improbability, it +becomes true!</p> + +<p class="sidenoteright">Extract from a letter <span class="italic">à propos</span> of Mr. + Whistler's contemplated visit to his native land.</p> + +<p>They tell me that December has been fixed upon, by the Fates, for my +arrival in New York—and, if I escape the Atlantic, I am to be wrecked +by the reporter on the pier.</p> + +<p class="sidenoteleft"><span class="italic">The World</span>, Oct. 13, 1886.</p> + +<p>I shall be in his hands, even as is the sheep in the hands of his +shearer—for I have learned nothing from those who have gone +before—and been lost too!</p> + +<p>What will you! I know Matthew Arnold, and am told that he whispered +Truth exquisite, unheeded in the haste of America.</p> + +<p>And these others who have crossed the seas, that they might fasten +upon the hurried ones at home and gird at them with wisdom, +hysterically acquired, and administered, unblushingly, with a +suddenness of purpose that prevented their ever being listened to +here,—must I follow in their wake, to be met with suspicion <span class="pagenum"><a id="page185" name="page185"></a>(p. 185)</span> +by my compatriots, and resented as the invading instructor?</p> + +<p>Heavens!—who knows!—also in the papers, where naturally I read only +of myself, I gather a general impression of offensive aggressiveness, +that, coupled with Chase's monstrous lampoon, has prepared me for the +tomahawk on landing.</p> + +<p>How dared he, Chase, to do this wicked thing?—and I who was charming, +and made him beautiful on canvas—the Masher of the Avenues.</p> + +<p>However, I may not put off until the age of the amateur has gone by, +but am to take with me some of those works which have won for me the +execration of Europe, that they may be shown to a country in which I +cannot be a prophet, and where I, who have no intention of being other +than joyous—improving no one—not even myself—will say again my "Ten +o'Clock," which I refused to repeat in London—<span class="italic">J'ai dit!</span></p> + +<p>This is no time for hesitation—one cannot continually disappoint a +Continent!</p> + +<p class="figcenter"> +<img src="images/img074_p204.jpg" width="100" height="108" alt="Butterfly" title=""></p> + +<h3 class="italic">An <span class="pagenum"><a id="page187" name="page187"></a>(p. 187)</span> Insinuation</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p>My attention has been directed to a paragraph that has gone the round +of the papers, to the effect that Mr. John Burr and Mr. Reid have + +<span class="sidenoteright"><span class="italic">The Daily News</span>, Nov. 22, 1886.</span> + +"withdrawn from the Society of British Artists." This tardy statement +acquires undue significance at this moment, with a tendency to +mislead, implying, as it might, that these resignations were in +consequence of, and intended as a marked disapproval of, the +determined stand made by the Society in excluding from their coming +exhibition the masses of commonplace work hitherto offered to the +public in their galleries. No such importance attaches, however, to +their resignations, as these two gentlemen left Suffolk Street six +months ago.</p> + +<p class="fig50"> +<img src="images/img075_p206.jpg" width="80" height="92" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">An <span class="pagenum"><a id="page188" name="page188"></a>(p. 188)</span> Imputation</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir—Mr. Whistler denies that the recent policy of the Society of +British Artists was the cause of the secession of Messrs. Burr and + +<span class="sidenoteright"><span class="italic">The Daily News</span>, Nov. 24, 1886.</span> + +Reid from the ranks of that Society, and mentions in proof of his +correction that their resignation took place six months ago. He might +have gone further, and added that their secession corresponded in time +with his own election as president. It is well known to artists that +one, if not both, of these gentlemen left the Society knowing that +changes of policy, of which they could not approve, were inevitable +under the presidency of Mr. Whistler. It will be for the patrons of +the Suffolk Street Gallery to decide whether the more than +half-uncovered walls which will be offered to their view next week are +more interesting than the work of many artists of more than average +merit which will be conspicuous by its absence, owing to the selfish +policy inaugurated.</p> + +<p class="right">A BRITISH ARTIST.</p> + +<h3>"<span class="italic">Autre <span class="pagenum"><a id="page189" name="page189"></a>(p. 189)</span> Temps autre Mœurs</span>"</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir—The anonymous "British Artist" says that "Mr. Whistler denies +that the recent policy of the Society of British Artists was the cause + +<span class="sidenoteright"><span class="italic">The Daily News</span>, Nov. 26, 1886.</span> + +of the secession of Messrs. Reid and Burr from the ranks of that +Society."</p> + +<p>Far from me to propose to penetrate the motives of such withdrawal, +but what I did deny was that it could possibly be caused—as its +strangely late announcement seemed sweetly to insinuate—by the strong +determination to tolerate no longer the mediocre work that had +hitherto habitually swarmed the walls of Suffolk Street.</p> + +<p>This is a plain question of date, and I pointed out that these two +gentlemen left the Society six months ago—long <span class="pagenum"><a id="page190" name="page190"></a>(p. 190)</span> before the +supervising committee were called upon to act at all, or make any +demonstration whatever. Your correspondent regrets that I do not "go +further," and straightway goes further himself, and scarcely fares +better, when, with a quaintness of <span class="italic">naïveté</span> rare at this moment, he +proposes that "it will be for the patrons of the gallery to decide +whether the more than half-uncovered walls are more interesting than +the works of many artists of more than the average merit."</p> + +<p>Now it will be for the patrons to decide absolutely nothing. It is, +and will always be, for the gentlemen of the hanging committee alone, +duly chosen, to decide whether empty space be preferable to poor +pictures—whether, in short, it be their duty to cover walls, merely +that walls may be covered—no matter with what quality of work.</p> + +<p>Indeed, the period of the patron has utterly passed away, and the +painter takes his place—to point out what he knows to be consistent +with the demands of his art—without deference to patrons or prejudice +to party. Beyond this, whether the "policy of Mr. Whistler and his +following" be "selfish or no," <span class="pagenum"><a id="page191" name="page191"></a>(p. 191)</span> matters but little; but if +the policy of your correspondent's "following" find itself among the +ruthlessly rejected, his letter is more readily explained.</p> + +<p class="fig30"> +<img src="images/img076_p210.jpg" width="100" height="122" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">Talent <span class="pagenum"><a id="page193" name="page193"></a>(p. 193)</span> in a Napkin</h3> + +<p>If those who talk and write so glibly as to the desirability of +artists devoting themselves + +<span class="sidenoteright">Lecture before the Church Congress, Oct. 7, + 1885.</span> + +to the representation of the naked human +form, only knew a tithe of the degradation enacted before the model is +sufficiently hardened to her shameful calling, they would for ever +hold their tongues and pens in supporting the practice. Is not +clothedness a distinct type and feature of our Christian faith? All +art representations of nakedness are out of harmony with it.</p> + +<p class="right">J. C. HORSLEY, R.A.</p> + +<h3 class="italic">The <span class="pagenum"><a id="page194" name="page194"></a>(p. 194)</span> Critic "Catching on"</h3> + +<p>Mr. Whistler is again, in a sense, the mainstay of the Society + +<span class="sidenoteright"><span class="italic">Pall Mall Gaz.</span> Dec. 8, 1885.</span> + +(British Artists), partly through his own individuality and partly +through the innovations he has introduced.... He has several oil and +pastel pictures, very slight in themselves, of the female nude, +dignified and graceful in line and charmingly chaste, entitled +"Harmony," "Caprice," and "Note." Beneath the latter Mr. Whistler has +written, "Horsley <span class="italic">soit qui mal y pense</span>."</p> + +<p>"This is not," said the artist, "what people are sure to call it, + +<span class="sidenoteright"><span class="italic">REFLECTION:</span><br> + Meant "friendly."</span> + +'Whistler's little joke.' On the contrary, it is an indignant protest +against the idea that there is any immorality in the nude."</p> + +<h3 class="italic">Ingratitude</h3> <span class="pagenum"><a id="page195" name="page195"></a>(p. 195)</span> + +<p>No, kind sir—<span class="italic">trop de zèle</span> on the part of your representative—for I + +<span class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, Dec. 10, 1885.</span> + +surely never explain, and Art certainly requires no "indignant +protest" against the unseemliness of senility. "Horsley <span class="italic">soit qui mal +y pense</span>" is meanwhile a sweet sentiment—why more—and why +"morality"?</p> + +<p class="figcenter"> +<img src="images/img077_p214.jpg" width="110" height="107" alt="Butterfly" title=""></p> + +<h3 class="italic">The <span class="pagenum"><a id="page196" name="page196"></a>(p. 196)</span> Complacent One</h3> + +<p>Mr. Whistler has issued a brown-paper portfolio of half a dozen + +<span class="sidenoteright"><span class="italic">Magazine of Art</span>, Dec. 1887.</span> + +"Notes," reproduced in marvellous facsimile. These "Notes" are +delightful sketches in Indian ink and crayon, masterly so far as they +go—but, then, they go such a little way ... the "Notes" can only be +regarded as painter's raw material, interesting as correct sketches, +but unworthy the glories of facsimile reproduction, and imposing +margin.... The chief honours of the portfolio belong to the +publishers....</p> + +<h3 class="italic">The <span class="pagenum"><a id="page197" name="page197"></a>(p. 197)</span> Critic-flâneur</h3> + +<p>Sir,—You, who are, I perceive, in your present brilliant incarnation, +an undaunted and undulled pursuer of pleasing truths, listen, I pray +you, while again I indicate, with sweet argument, + +<span class="sidenoteright"><span class="italic">Sunday Times</span>, Jan. 15, 1888.</span> + +the alternative of +the bewildered one.</p> + +<p>Notably, it is not necessary that the "Art Critic" should distinguish +between the real and the "reproduction," or otherwise understand +anything of the matter of which he writes—for much shall be forgiven +him—yet surely, as I have before now pointed out, he might inquire.</p> + +<p>Had the expounder of exhibitions, travelling for the <span class="italic">Magazine of +Art</span>, asked the Secretary in the galleries of the Royal Society of +British Artists, he would have been told that the "Notes" on the +staircase, and in the vestibule, are not "delightful sketches in +Indian ink and crayon ... <span class="italic">reproduced in marvellous facsimile</span> by +Boussod, Valadon & Co.... unworthy the <span class="pagenum"><a id="page198" name="page198"></a>(p. 198)</span> glories of facsimile +reproduction, and imposing margin" ... while "the chief honours of the +portfolio, however, belong to the publishers"—but are, disconcerting +as I acknowledge it to be, <span class="italic">themselves the lithographs from nature</span>, +drawn on the stone upon the spot.</p> + +<p>Thus easily provided with paragraph, he would also have been spared +the mortification of rebuke from his well-meaning and embarrassed +employers.</p> + +<p>Let the gentleman be warned—let him learn that the foolish critic +only,—<span class="italic">looks</span>—and brings disaster, upon his paper—the safe and +well-conducted one "informs himself."</p> + +<p class="left50">Yours, Sir, gently,<br> +<img src="images/img078_p217.jpg" width="100" height="140" alt="Butterfly" title=""> +</p> + +<h3 class="italic">A <span class="pagenum"><a id="page199" name="page199"></a>(p. 199)</span> Played-out Policy</h3> + +<p class="right italic"><span class="right3em">TO THE EDITOR</span><br> +OF THE "PALL MALL GAZETTE":</p> + +<p>Sir—In your courageous crusade against the Demon Dulness and his +preposterous surroundings, I think it well that there should be +delivered into your hands certain documents for immediate publication, + +<span class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, Dec. 9, 1886.</span> + +that your readers may be roused quickly, and hear again how well +fenced in are the foolish in strong places—and how greatly to be +desired is their exposure, discomfiture, and death—that Truth may +prevail.</p> + +<p>It happened in this way. The criticism in the <span class="italic">Times</span> called for +instant expostulation, and my answer was consequently sent in to the +Editor, who forthwith returned it, regretting "that its tone prevented +its appearance in the paper." ... I thereupon withdrew to write the +following note to the Editor in person:—</p> + +<p>"Dear Sir—Permit me to call your courteous attention to the fact that +the enclosed letter to the Editor of <span class="pagenum"><a id="page200" name="page200"></a>(p. 200)</span> the <span class="italic">Times</span> is in reply +to an article that appeared in your paper—and that, as I sign my name +in full, I alone am responsible for its tone or form; indeed, that +such is its tone and form, is because it is my letter.</p> + +<p>"In common fairness the answer to, or comment upon, any statements +made in your paper should be published in your paper, as proper +etiquette prevents its insertion in any other journal.</p> + +<p>"Also, you surely would not propose to dictate certain forms or styles +in which alone the columns of the <span class="italic">Times</span> are to be approached—as who +should say all other savour of sacrilege!—or acquiescence alone would +do, and you would have to write all your letters yourselves.</p> + +<p>"My letter concerns the effect produced by criticism of a commonplace +and inferior kind, wholly unworthy the first paper in England—and I +am startled to learn, and still unwilling to believe, that the <span class="italic">Times</span> +would shun all ventilation and refuse to publish any letter as its +sole means of screening its staff or protecting its writers.</p> + +<p>"I submit that the tone of my letter sins against no laws that are +accepted in antagonism—that it offends in no way the etiquette of +attack known to gentlemen.</p> + +<p>"I <span class="pagenum"><a id="page201" name="page201"></a>(p. 201)</span> beg, therefore, again, that if there be still time for its +insertion, you will have it printed in your issue of to-morrow, or +will say that it shall appear in the <span class="italic">Times</span> of Thursday morning.</p> + +<p class="p1_0 left50">"I am, dear Sir,</p> +<p class="p0 left60">"Very faithfully,</p> +<p class="p0 right smcap">"J. McNeill Whistler."</p> + +<p>I was now told, "with the Editor's compliments," "that my letter +should be considered." Taking this in complete good faith, I left the +office, to discover the next day in print a remnant of the letter in +question; that, by itself, entirely did away with sufficient reason +for its being there at all. The two ensuing notes explain themselves:</p> + +<p class="right smaller">To <span class="smcap">J. McN. Whistler</span>, Esq.:</p> + +<p class="smaller">"The Editor of the <span class="italic">Times</span> has inserted in to-day's paper the + only portion of Mr. Whistler's letter of November 30 which + appears to have any claim to publication.</p> + +<p class="smaller">"<span class="smcap">Printing House Square</span>, Dec. 1, 1886."</p> + +<p class="p2 smaller">"To the Editor of the <span class="italic">Times</span>:</p> + +<p class="smaller">"Dear Sir—I beg to acknowledge the consummate sense of + opportunity displayed by the Editor of the <span class="italic">Times</span>, in his + cunning production of a part of my letter.</p> + +<p class="smaller">"Amazing! <span class="italic">Mes compliments!</span>"<br> +<span class="fig50"> +<img src="images/img079_p220.jpg" width="70" height="49" alt="Butterfly" title=""></span></p> + +<p style="padding-top: 3em">Without <span class="pagenum"><a id="page202" name="page202"></a>(p. 202)</span> further comment I hand you a copy of the rejected +letter.</p> + +<p>"To the Editor of the <span class="italic">Times</span>.—Sir—In his article upon the + Society of British Artists, your Art gentleman ventures the + opinion of the 'plain man.'</p> + +<p>"That such opinion is out of place and stultifying in a question + of Art never occurs to him, and it is therefore frankly cited as, + in a way, conclusive.</p> + +<p>"The <span class="italic">naïf</span> train of thought that justified the importance + attached to this poor 'plain' opinion at all would seem to be the + same that pervades the writing throughout; until it becomes + difficult to discover where the easy effrontery and + self-sufficiency of the 'plain one,' nothing doubting, cease, and + the wit and wisdom of the experienced expert begin—so that one + unconsciously confounds the incautious critic with the plausible + plain person, who finally becomes the same authority.</p> + +<p>"Blind plainness certainly is the characteristic of the solemn + censure upon the fine work of Mr. Stott, of Oldham—plain + blindness the omission of all mention of Mr. Ludovici's dainty + dancing-girl.</p> + +<p>"Bewilderment among paintings is naturally the fate of the 'plain + man,' but, when put forth in the <span class="italic">Times</span>, his utterances, however + empty, acquire a semblance of sense; so that while he gravely + descants with bald assurance <span class="pagenum"><a id="page203" name="page203"></a>(p. 203)</span> upon the engineering of + the light in the galleries, and the decoration of the walls, the + reader stands a chance of being misled, and may not discover at + once that the 'plain' writer is qualified by ignorance alone to + continue.</p> + +<p>"Permit me, therefore, to rectify inconsequent impressions, and + tell your readers that there is nothing 'tentative' in the + 'arrangement' of colour, walls, or drapery—that the battens + should <span class="italic">not</span> 'be removed'—that they are meant to remain, not + only for their use, but as bringing parallel lines into play that + subdivide charmingly the lower portion of the walls and add to + their light appearance—that the whole 'combination' is + complete—and that the 'plain man' is, as usual, 'out of it.'—I + am, Sir, etc.,</p> + +<p class="right">"<span class="smcap">J. McNeill Whistler</span>."</p> + +<p class="p2">The question of fair dealing and good manners in this matter I could +not leave in better hands than your own, and I will only add that +hitherto I have always met with the utmost readiness on the part of +the press to receive into their columns any reply, however opposed to +assertions of their own.</p> + +<p>Surely it is but poor policy this peremptory attempt to maintain in +authority the weak and blundering one, that <span class="pagenum"><a id="page204" name="page204"></a>(p. 204)</span> he may destroy +himself and bring sorrow upon his people.</p> + +<p>Rather let him be thrust from his post, that he may be "brayed in a +mortar among wheat with a pestle"—that the Just be assuaged and +foolishness depart from among us.</p> + +<p class="fig40"> +<img src="images/img080_p223.jpg" width="110" height="174" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 8em">An <span class="pagenum"><a id="page205" name="page205"></a>(p. 205)</span> Interview with an ex-President</h3> + +<p>The adverse vote by which the Royal Society of British Artists +transferred its oath of allegiance from Mr. Whistler is for the time + +<span class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, June 11, 1888.</span> + +the chief topic of conversation in artistic circles.... We instructed +our representative to visit Mr. Whistler to obtain his explanation of +the affair.</p> + +<p>"The state of affairs?" said Mr. Whistler, in his light and airy way, +raising his eyebrows and twinkling his eyes, as if it were all the +best possible fun in the world; "why, my dear sir, there's positively +<span class="italic">no</span> state of affairs at all. Contrary to public declaration, there's +actually nothing chaotic in the whole business; on the contrary, +everything is in order, and just as it should be. The survival of the +fittest as regards the presidency, don't you see, and, well—Suffolk +Street is itself again! A new government has come in, and, as I told +the members the other night, I congratulate the Society on the result +of their vote, for no longer can <span class="pagenum"><a id="page206" name="page206"></a>(p. 206)</span> it be said that the right +man is in the wrong place. No doubt their pristine sense of +undisturbed somnolence will again settle upon them after the +exasperated mental condition arising from the unnatural strain +recently put upon the old ship. Eh? what? Ha! ha!"</p> + +<p>"You do not then consider the Society as out of date? You do not +think, as is sometimes said, that the establishment of the Grosvenor +took away the <span class="italic">raison d'être</span> and original intention of the +Society—that of being a foil to the Royal Academy?"</p> + +<p>"I can hardly say what was originally intended, but I do know that it +was originally full of hope, and even determination; shown in a manner +by their getting a Royal Charter—the only art society in London, I +believe, that has one.</p> + +<p>"But by degrees it lapsed into a condition of incapacity—a sort of +secondary state,—do you see, till it acknowledged itself a species of +<span class="italic">crêche</span> for the Royal Academy. Certain it is that when I came into it +the prevalent feeling among all the men was that their best work +should go to 'another place.'</p> + +<p>"I felt that this sense of inferiority was fatal to the well-being of +the place.</p> + +<p>"For that reason I attempted to bring about a sense of <span class="italic">esprit de +corps</span> and ambition, which culminated in <span class="pagenum"><a id="page207" name="page207"></a>(p. 207)</span> what might be +called 'my first offence'—by my proposition that members belonging to +other societies should hold no official position in ours. I wanted to +make it an art centre," continued Mr. Whistler, with a sudden vigour +and an earnestness for which the public would hardly give credit to +this Master of Badinage and Apostle of Persiflage; "they wanted it to +remain a shop, although I said to them, 'Gentlemen, don't you perceive +that as shopmen you have already failed, don't you see, eh?' But they +were under the impression that the sales decreased under my methods +and my <span class="italic">régime</span>, and ignored the fact that sales had declined all over +the country from all sorts of causes, commercial, and so on.</p> + +<p>Their only chance lay in the art tone of the place, for the +old-fashioned pictures had ceased to become saleable wares—buyers +simply wouldn't buy them. But members' work I <span class="italic">couldn't</span>, by the +rules, eliminate—only the bad outsiders were choked off."</p> + +<p>"Then how do you explain the bitterness of all the opposition?"</p> + +<p>"A question of 'pull devil, pull baker,' and the devil has gone and +the bakers remain in Suffolk Street! Ha! ha! Here is a list of the +fiendish party who protested against the thrusting forth of their +president in such an unceremonious way:—</p> + +<p>"Alfred <span class="pagenum"><a id="page208" name="page208"></a>(p. 208)</span> Stevens, Theodore Roussel, Nelson Maclean, Macnab, +Waldo Story, A. Ludovici, jun., Sidney Starr, Francis James, W. A. +Rixon, Aubrey Hunt, Moffatt P. Lindner, E. G. Girardot, Ludby, Arthur +Hill, Llewellyn, W. Christian Symons, C. Wyllie, A. F. Grace, J. E. +Grace, J. D. Watson, Jacomb Hood, Thornley, J. J. Shannon, and Charles +Keen. Why, the very flower of the Society! and whom have they +left—<span class="italic">bon Dieu!</span> whom have they left?"</p> + +<p>"It was a hard fight then?"</p> + +<p>"My dear sir, they brought up the maimed, the halt, the lame, and the +blind—literally—like in Hogarth's 'Election;' they brought up +everything but corpses, don't you know!—very well!"</p> + +<p>"But all this hardly explains the bitterness of the feud and personal +enmity to you."</p> + +<p>"What? Don't you see? My presidential career had in a manner been a +busy one. When I took charge of the ship I found her more or less +water-logged. Well, I put the men to the pumps, and thoroughly shook +up the old vessel; had her re-rigged re-cleaned, and painted—and +finally I was graciously permitted to run up the Royal Standard to the +masthead, and brought her fully to the fore, ready for action—as +became a Royal flagship! And as a natural result mutiny at once set +in!</p> + +<p>"Don't <span class="pagenum"><a id="page209" name="page209"></a>(p. 209)</span> you see," he continued, with one of his strident +laughs, "what might be considered, by the thoughtless, as benefits, +were resented, by the older and wiser of the crew, as innovations and +intrusions of an impertinent and offensive nature. But the immediate +result was that interest in the Society was undeniably developed, not +only at home, but certainly abroad. Notably in Paris all the art +circle was keenly alive to what was taking place in Suffolk Street; +and, although their interest in other institutions in this country had +previously flagged, there was the strong willingness to take part in +its exhibitions.</p> + +<p>For example, there was Alfred Stevens, who showed his own sympathy +with the progressive efforts by becoming a member. And look at the +throngs of people that crowded our private views—eh? ha! ha! what! +But what will you!—the question is, after all, purely a parochial +one—and here I would stop to wonder, if I do not seem pathetic and +out of character, why the Artist is naturally an object of +vituperation to the Vestryman?—Why am <span class="italic">I</span>—who, of course, as you +know, am charming—why am I the pariah of my parish?</p> + +<p>"Why should these people do other than delight in me?—Why should they +perish rather than forgive the one who had thrust upon them honour and +success?"</p> + +<p>"And <span class="pagenum"><a id="page210" name="page210"></a>(p. 210)</span> the moral of it all?"</p> + +<p>Mr. Whistler became impressive—almost imposing—as he stroked his +moustache, and tried to hide a smile behind his hand.</p> + +<p>"The organisation of this 'Royal Society of British Artists' as shown +by its very name, tended perforce to this final convulsion, resulting +in the separation of the elements of which it was composed. They could +not remain together, and so you see the 'Artists' have come out, and +the 'British' remain—and peace and sweet obscurity are restored to +Suffolk Street!—Eh? What? Ha! ha!"</p> + +<p class="figcenter"> +<img src="images/img081_p229.jpg" width="110" height="106" alt="Butterfly" title=""></p> + +<h3 class="italic">Statistics</h3> <span class="pagenum"><a id="page211" name="page211"></a>(p. 211)</span> + +<p>Since our interview with Mr. Whistler curious statements have been set +afloat concerning the question of finance ... giving circumstantial + +<span class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, July 6, 1888.</span> + +evidence of the disaster brought upon the Society by the enforcement +of the Whistlerian policy:—</p> + +<p>This evidence, which is very interesting, is as follows:—The sales of +the Society during the year 1881 were under £5000; 1882, under £6000; +1883, under £7000; 1884, under £8000; 1885 (the first year of Mr. +Whistler's rule), they fell to under £4000; 1886, under £3000; 1887, +under £2000; and the present year, under £1000.</p> + +<p>On the other hand, the fact of the Society having made itself +responsible to Mr. Whistler for a loan raised by him to meet a sudden +expenditure for repairs, is also true; but the unwisdom of the +president and members of any society having money transactions +between <span class="pagenum"><a id="page212" name="page212"></a>(p. 212)</span> them need hardly be commented upon here....</p> + +<p>Mr. Wyke Bayliss, the new president, strikes one as being "a strong +man"—shrewd, logical, and self-restrained. The author of several +books and pamphlets on the more imaginative realm of art, he is, one +would say, as much permeated by religion as he is by art; to both of +these qualities, curiously enough, his canvases, which usually deal +with cathedral interiors of cheery hue, bear witness.</p> + +<p>The hero of three Bond Street "one-man exhibitions," a Board-school +chairman, a lecturer, champion chess-player of Surrey, a member of the +Rochester Diocesan Council, a Shaksperian student, a Fellow of the +Society of Cyclists, a Fellow of the Society of Antiquarians, and +public orator of Noviomagus ... he is surely one of the most versatile +men who ever occupied a presidential chair....</p> + +<h3 class="italic">A <span class="pagenum"><a id="page213" name="page213"></a>(p. 213)</span> Retrospect</h3> + +<p class="right italic"><span class="right3em">TO THE EDITOR</span><br> + OF THE "PALL MALL GAZETTE:"</p> + +<p>Sir,—The Royal Society of British Artists is, perhaps, by this time +again unknown to your agitated readers—but I would recall a brilliant +number of the <span class="italic">Pall Mall Gazette</span> (July 1888), in which mischievous +amusement was sought, with statistics from a newly elected +President—Mr. Bayliss (Wyke).</p> + +<p>Believing it to be, in an official and dull way, more becoming that +the appointed Council of this same Society should deal with the +resulting chaos, I have, until now, waited for a slight washing of +hands, as who should say, on their part as representing the gentle +deprecation of, I assure you, the respectable body in Suffolk Street.</p> + +<p>Well, no!—It was doubtless adjudged wiser, or milder, to "live it +down," and now it, I really believe, behoves <span class="pagenum"><a id="page214" name="page214"></a>(p. 214)</span> me, in a weary +way, to remind you of the document in question, and, for the sake of +commonplace, uninteresting, and foolish fact, to lift up my parable +and declare fallacious that which was supposed to be true, and +generally to bore myself, and perhaps even you, the all-patient one, +with what, I fear, we others care but little for—parish matters.</p> + +<p>In the article, then, entitled "The Royal Society of British Artists +and its Future—An Interview with the New President"—a most appalling +volley of figures was fired off at <span class="italic">brûle-pour-point</span> distance. Under +this deafening detonation I, having no habit, sat for days +incapable—dreaming vaguely that when a President should see fit to +wash his people's linen in the open, there must be indeed crime at +least on the part of the offender at whose instigation such official +sacrifice of dignity could come about. <span class="italic">I</span> was the offender, and for a +while I sincerely believed that disaster had been brought upon this +Royal Society by my own casual self. But behold, upon closer +inspection, these threatening figures are meretricious and misleading, +as was the building account of the early Philanthropist who, in the +days of St. Paul, meant well, and was abruptly discouraged by that +clear-headed apostle.</p> + +<p>Mr. Bayliss tells us that: "The sales of the Society during <span class="pagenum"><a id="page215" name="page215"></a>(p. 215)</span> +the year 1881 were under," whatever that may mean, "£5000; 1882, under +£6000; 1883, under £7000; 1884, under £8000; in 1885 ('the first year +of Mr. Whistler's rule') they fell to under £4000; 1886, under £3000; +1887, under £2000; and the present year, under £1000."</p> + +<p>But also Mr. Bayliss takes this rare occasion of attention, to assert +his various qualifications for his post as head of painters in the +street of Suffolk, and so we learn that he is:—</p> + +<p>"Chairman of the Board-school in his own district," "Champion +chess-player of Surrey," "A member of the Diocesan Council of +Rochester," "Fellow of the Society of Cyclists," and "Public Orator of +Noviomagus."</p> + +<p>As chess-player he may have intuitively bethought himself of a +move—possibly the happy one,—who knows?—which in the provinces +obtained him a cup; as Diocesan Councilman he may have supposed +Rochester indifferent to the means used for an end; but as Public +Cyclist of the Royal Society of Noviomagus his experience must be +opposed to any such bluff as going his entire pile on a left bower +only!</p> + +<p>When I recovered my courage—what did I find?—first my unimpaired +intelligence, and then my memory.</p> + +<p>Now, <span class="pagenum"><a id="page216" name="page216"></a>(p. 216)</span> to my intelligence, it becomes patent that the chairman +of a Clapham School-board, proposes by his figures to prove, that the +income of the sacrificed Society had of late years steadily +increased:—"In 1881, under £5000; 1882, under £6000; 1883, under +£7000; 1884, under £8000," until, under the baneful reign of terror +and Whistler in 1885—"the first year" of the sacrilegious era—the +receipts fell to £4000—and have continued to decrease until, in this +present year, they fall to the miserable sum of under a thousand +pounds—a revelation! discreet, statesmanlike, and worthy the orator +at his best!</p> + +<p>Unfortunately for the triumph of such audacious demonstration, my +revived memory points out that Mr. Whistler was only elected President +in June 1886, and, in conformity with the ancient rules and amusing +customs of the venerable body, only came into office six months +afterwards—that is, practically, in January 1887. Again, with this +last exhibition, he, as everybody knows, had nothing whatever to do.</p> + +<p>Immediately, therefore, the conclusion is "quite other" than that put +forth by the Cyclist of his suburb, and we arrive at the, for once, +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 <span class="pagenum"><a id="page217" name="page217"></a>(p. 217)</span> from his box, and half the +money-bags had been already lost!—from £8000 to £4000 at one fatal +swoop! and the beginning of the end had set in! Indeed, this may have +been one of the strong reasons for his own election by an overwhelming +minority of hysterical and panic-stricken passengers.</p> + +<p>Now, though he did his best, and cried aloud that the coach was safe, +and called it Royal, and proposed to carry the mail, confidence, +difficult to restore, waited for proof, and although fresh paint was +spread upon the panels, and the President coachman wore his hat with +knowing air, on one side and handled the ribbons lightly, and dandled +the drag, inviting jauntily the passer-by, the public recognized the +ramshackle old "conveyance," and scoffingly refused to trust +themselves in the hearse.</p> + +<p>"Four thousand pounds!" down it went—£3000—£2000—the figures are +Wyke's—and this season, the ignominious "£1000 or under," is none of +my booking! and when last I saw the mad machine it was still cycling +down the hill.</p> + +<p class="figcenter"> +<img src="images/img082_p236.jpg" width="110" height="114" alt="Butterfly" title=""></p> + +<h3 class="italic">The <span class="pagenum"><a id="page218" name="page218"></a>(p. 218)</span> New Dynasty</h3> + +<p>Sir—Pray accept my compliments, and be good enough to inform me at +once by whose authority, and upon what pretence, the painting, +designed and executed by myself, upon the panel at the entrance of the + +<span class="sidenoteright"><span class="italic">The Morning Post.</span></span> + +galleries of Suffolk Street, has been defaced. Tampering with the work +of an artist, however obscure, is held to be, in what might be called +the international laws of the whole Art world, so villainous an +offence, that I must at present decline to entertain the +responsibility of the very distinguished and Royal Society of British +Artists, for what must be due to the rash, and ill-considered, zeal of +some enthusiastic and untutored underling.</p> + +<p>Awaiting your reply, I have the honour to be, Sir, your obedient, +humble servant,</p> + +<p><span class="sidenoteright"><span class="italic">Telegram to Council of Royal Society of + British Artists:</span><br> + + "Congratulations upon dignity maintained as Artists left + in charge of a brother Artist's work, and upon graceful + bearing as officers toward their late + President."—<span class="smcap">Whistler.</span></span> + +<span class="fig60"> +<img src="images/img083_p237.jpg" width="70" height="96" alt="Butterfly" title=""></span><br> + +<span class="add2em smcap">To the Hon. Secretary</span><br> +<span class="add1em smcap">of the Royal Society of British Artists.</span><br> +<span class="add2em">March 30, 1889.</span></p> + +<h3 class="italic">An <span class="pagenum"><a id="page219" name="page219"></a>(p. 219)</span> Embroidered Interview</h3> + +<p class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, April 3, 1889.</p> + +<p>"Well, Mr. Whistler, they say they only painted out your butterfly +from the signboard, and changed the date. What do you say?"</p> + +<p>"What do I say? That they have been guilty of an act of villainous +Vandalism."</p> + +<p>"Will you tell me the history of the Board?"</p> + +<p>"When I was elected to the presidency of the Society I offered to +paint a signboard which should proclaim to the passer-by the name and +nature of the Society. My offer was accepted, and the Board was sent +down to my studio, where I treated it as I should a most distinguished +sitter—as a picture or an etching—throwing my artistic soul into the +Board, which gradually became a Board no longer, as it grew into a +picture. You say they say it was only a butterfly. Mendacity could go +no further. I painted a <span class="italic">lion</span> and a butterfly. The lion lay with the +butterfly—a harmony in gold and red, with which I had taken as much +<span class="pagenum"><a id="page220" name="page220"></a>(p. 220)</span> trouble as I did with the best picture I ever painted. And +now they have clothed my golden lion clumsily, awkwardly, and +timorously with a dirty coat of black. My butterfly has gone, the +checks and lines, which I had treated decoratively, have disappeared. +Am I not justified in calling it a piece of gross Vandalism?"</p> + +<p>"What course would you have recommended? You had gone; the Board +remained: perhaps it was weather-beaten—what could they do?"</p> + +<p>"They should have taken the Board down, sir, taken the Board down, not +dared to destroy my work—taken the Board down, returned it to me, and +got another Board of their own to practise on. Good heavens! You say +to my face it was only a Board. You say they <span class="italic">only</span> painted out my +butterfly. It is as if you were condoling with a man who had been +robbed and stripped, and said to him, 'Never mind. It is well it is no +worse. You have escaped easily. Why, you might have had your throat +cut.'"</p> + +<p>And Mr. Whistler's Mephistophelian form disappeared into the black of +the night.</p> + +<h3 class="italic">The <span class="pagenum"><a id="page221" name="page221"></a>(p. 221)</span> "Pall Mall" Puzzled</h3> + +<p class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, April 4, 1889.</p> + +<p>Mr. Whistler begs me to insert the following note exactly as it +stands. I haven't the slightest idea what it means, but here it is +with "<span class="italic">mes compliments</span>":—</p> + +<p>"<span class="smcap">To the Interviewer of the</span> <span class="italic">Pall Mall Gazette</span>:</p> + +<p>"Good! very good! Prettily put, as becomes the <span class="italic">Pall Mall</span>, and yet +you cannot be reproached with being 'too fine for your audience!'</p> + +<p>"I wish I <span class="italic">could</span> say these things as you do for me, even at the risk +of, at last, being understood. <span class="italic">Mes Compliments!</span>"</p> + +<p class="fig30"> +<img src="images/img084_p240.jpg" width="100" height="130" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 8em">Official <span class="pagenum"><a id="page223" name="page223"></a>(p. 223)</span> Bumbledom</h3> + +<p>Sir—As you have considered Mr. Whistler's letter worthy of +publication, I ask you to complete the publication by inserting this +simple statement of the facts as they occurred. The notice board of +the Royal Society of British Artists bears on a red ground, in letters + +<span class="sidenoteleft">To the Editor of <span class="italic">The Morning Post</span></span> + +of gold, the title of the Society. To this Mr. Whistler, during his +presidency, added with his own hand a decorative device of a lion and +a butterfly. On the eve of our private view it was found that, while +the title of the Society, being in pure gold, remained untarnished, +Mr. Whistler's designs, being executed in spurious metals, had nearly +disappeared, and what little remained of them was of a dirty brown. +The board could not be put up in that state. The lion, however, was +not so badly drawn as to make it necessary to do anything more than +restore it in permanent colour, and that has accordingly been done. +But as the notice board was no longer the actual work of <span class="pagenum"><a id="page224" name="page224"></a>(p. 224)</span> Mr. +Whistler, it would manifestly have been improper to have left the +butterfly (his well-known signature) attached to it, even if it had +not appeared in so crushed a state. The soiled butterfly was therefore +effaced.</p> + +<p> +<span class="left50">Yours, &c.,</span><br> +<span class="left60">WYKE BAYLISS,</span><br> +<span class="left70 smcap">Clapham</span>.<br> +<span class="smaller">April 1, 1889.</span></p> + +<h3>"<span class="italic">Aussi <span class="pagenum"><a id="page225" name="page225"></a>(p. 225)</span> que diable allait-il faire dans +cette galère?</span>"</h3> + +<p>Sir—I have read Mr. Bayliss's letter, and am disarmed. I feel the +folly of kicking against the parish pricks. These things are right in + +<span class="sidenoteleft"><span class="italic">The Morning Post.</span></span> + +Clapham, by the common.</p> + +<p class="quote left20 noindent"> +"<span class="italic">V'là ce que c'est, c'est bien fait—<br> + Fallait pas qu'il y aille! fallait pas qu'il y aille!</span>"</p> + +<p>And when, one of these days, all traces of history shall, by dint of +much turpentine, and more Bayliss, have been effaced from the board +that "belongs to us," I shall be justified, and it will be boldly +denied by some dainty student that the delicate butterfly was <span class="italic">ever</span> +"soiled" in Suffolk Street.</p> + +<p class="left50">Yours, &c.,</p> + +<p class="fig60"> +<img src="images/img085_p244.jpg" width="80" height="123" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 6em">The <span class="pagenum"><a id="page226" name="page226"></a>(p. 226)</span> Royal Society of British Artists and their Signboard</h3> + +<p>Sir—The moment has now arrived when, it seems to me proper that, in +your journal, one of the recognized Art organs of the country, should + +<span class="sidenoteleft"><span class="italic">The Athenæum</span>, April 27, 1889.</span> + +be recorded the details of an incident in which the element of grave +offence is, not unnaturally, quite missed by the people in their +indignation at the insignificance of the object to which public +attention has so unwarrantably been drawn—a "notice board"!—the +common sign of commerce!</p> + +<p>Now, however slight might be the value of the work in question +destroyed, it is surely of startling interest to know that <span class="italic">work may +be destroyed</span>, or worse still, defaced and tampered with, at the +present moment in full London, with the joyous approval of the major +part of the popular press.</p> + +<p>I leave to your comment the fact that in this instance the act is +committed with the tacit consent of a body of gentlemen officially +styled "artists," at the <span class="pagenum"><a id="page227" name="page227"></a>(p. 227)</span> instigation of their president, as +he unblushingly acknowledges, and will here distinctly state that the +"notice board of the Royal Society of British Artists" <span class="italic">did not</span> "bear +on a red ground, in letters of gold, the title of the Society," and +that "to this Mr. Whistler, during his presidency," <span class="italic">did not</span> "add +with his own hand a decorative device of a lion and a butterfly." This +damning evidence, though in principle irrelevant—for what becomes of +the soul of a "Diocesan member of the Council of Clapham" is, +artistically, a matter of small moment—I nevertheless bring forward +as the only one that will at present be at all considered or even +understood.</p> + +<p>The "notice board" was of the familiar blue enamel, well known in +metropolitan use, with white lettering, announcing that the exhibition +of the Incorporated Society of British Artists was held above, and +that for the sum of one shilling the public might enter.</p> + +<p>I myself mixed the "red ground," and myself placed, "in letters of +gold, the" <span class="italic">new</span> "title" upon it—in proper relation to the decorative +scheme of the whole design, of which it formed naturally an +all-important feature. The date was that of the Society's Royal grant, +and in commemoration of its new birth. With the offending Butterfly, +it has now been effaced in one clean sweep of independence, while the +lion, "not <span class="pagenum"><a id="page228" name="page228"></a>(p. 228)</span> so badly drawn," was differently dealt with—it +was found not "necessary to do anything more than restore it in +permanent colour, and that," with a bottle of Brunswick black, "has +accordingly been done;" and, as Mr. Bayliss adds, with unpremeditated +truth, in the thoughtless pride of achievement, "the notice board was +no longer the actual work of Mr. Whistler!"</p> + +<p>This exposure of Mr. Bayliss's direct method I have wickedly withheld, +in order that the Philistine impulse of the country should declare +itself in all its freshness of execration before it could be checked +by awkward discovery of mere mendacity, and a timid sense of danger, +called justice.</p> + +<p>Everything has taken place as I pleasantly foresaw, and there is by +this time, with the silent exception of one or two cautious dailies, +scarcely a lay paper in the land that has been able to refrain from +joining in the hearty yell of delight at the rare chance of coarsely, +publicly, and safely insulting an artist! In this eagerness to affront +the man they have irretrievably and ridiculously committed themselves +to open sympathy with the destruction of his work.</p> + +<p>I wish coldly to chronicle this fact in the archives of the <span class="italic">Athenæum</span> +for the future consideration of the cultured New Zealander.</p> + +<p class="fig60"> +<img src="images/img086_p247.jpg" width="110" height="102" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">An <span class="pagenum"><a id="page229" name="page229"></a>(p. 229)</span> Official Letter</h3> + +<p>Sir,—I beg to acknowledge the receipt of your letter, officially +informing me that the Committee award me a second-class gold medal.</p> + +<p>Pray convey my sentiments of tempered and respectable joy to the +gentlemen of the Committee, and my complete appreciation of the +second-hand compliment paid me.</p> + +<p><span class="left30">And I have, Sir,</span><br> +<span class="left40">The honour to be</span><br> +<span class="left30">Your most humble, obedient servant,</span></p> + +<p class="right"><span class="smcap">J. McNEILL WHISTLER</span>.</p> + +<p class="fig60"> +<img src="images/img087_p248.jpg" width="80" height="95" alt="Butterfly" title=""></p> + +<p class="smcap noindent" style="padding-top: 3em">To the 1st Secretary,<br> +<span class="add3em">Central Committee,</span><br> + International Art Exhibition, Munich.</p> + +<h3 class="italic">The <span class="pagenum"><a id="page230" name="page230"></a>(p. 230)</span> Home of Taste</h3> + +<p class="center italic">The Ideas of Mr. Blankety Blank on House Decoration</p> + +<p>The other day I happened to call on Mr. Blank,—Japanese Blank, you +know, whose house is in far Fulham. The garden door flew open at my +summons, and my eye was at once confronted with a house, the hue of + +<span class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, Dec. 1, 1888.</span> + +whose face reminded me of a Venetian palazzo, for it was of a subdued +pink.... If the exterior was Venetian, however, the interior was a +compound of Blank and Japan. Attracted by the curiously pretty hall, I +begged the artist to explain this—the newest style of house +decoration.</p> + +<p>I need not say that Blank, being a man of an <span class="italic">original</span> turn of mind, +with the decorative bump strongly developed, holds what are at present +peculiar views upon wall papers, room tones, and so on. The day is +dark and gloomy, yet once within the halls of Blank there is sweetness +and light.</p> + +<p>You <span class="pagenum"><a id="page231" name="page231"></a>(p. 231)</span> must look through the open door into a luminous little +chamber covered with a soft wash of lemon yellow.</p> + +<p>From the antechamber we passed through the open door into a large +drawing-room, of the same soft lemon-yellow hue. The blinds were down, +the fog reigned without, and yet you would have thought that the sun +was in the room.</p> + +<p>Here let me pause in my description, and put on record the gist of our +conversation concerning the Home of Taste.</p> + +<p>"Now, Mr. Blank, would you tell me how you came to prefer tones to +papers?"</p> + +<p>"Here the walls used to be covered with a paper of a sombre green, +which oppressed me and made me sad," said Blank. 'Why cannot I bring +the sun into the house,' I said to myself, 'even in this land of fog +and clouds?' Then I thought of my experiment and invoked the aid of +the British house-painter. He brought his colours and his buckets, and +I stood over him as he mixed his washes.</p> + +<p>"One night, when the work was nearing completion, one of them caught +sight of himself in the mirror, and remarked with astonishment upon +the loveliness of his own features. It was the lemon-yellow +beautifying the British workman's flesh tones.</p> + +<p>"I <span class="pagenum"><a id="page232" name="page232"></a>(p. 232)</span> assure you the effect of a room full of people in evening +dress seen against the yellow ground is extraordinary, and," added +Blank, "perhaps flattering."</p> + +<p>"Then do I understand that you would remove all wall papers?"</p> + +<p>"A good ground for distemper," chuckled Mr. Blank.</p> + +<p>"But you propose to inaugurate a revolution."</p> + +<p>"I don't go so far as that, but I am glad to be able to introduce my +ideas of house furnishing and house decoration to the public," said +Blank, "and I may tell you that when I go to America with my Paris +pictures, I shall try and decorate a house according to my own ideas, +and ask the Americans to think about the matter."</p> + +<h3 class="italic">Another <span class="pagenum"><a id="page233" name="page233"></a>(p. 233)</span> Poacher in the Chelsea Preserves</h3> + +<p>Atlas—Nothing matters but the unimportant; so, at the risk of +advertising an Australian immigrant of Fulham—who, like the Kangaroo + +<span class="sidenoteright"><span class="italic">The World</span>, Dec. 26, 1888.</span> + +of his country, is born with a pocket and puts everything into +it—and, in spite of much wise advice, we ought not to resist the joy +of noticing how readily a hurried contemporary has fallen a prey to +its superficial knowledge of its various departments, and, culminating +in a "Special Edition" last week to embody a lengthy interview headed +"The Home of Taste," has discovered again the nest of the mare that +was foaled years ago!</p> + +<p>How, by the way, so smart a paper should have printed its <span class="italic">naïf</span> +emotions of ecstasy before the false colours which the "Kangaroo" has +hoisted over his bush, defies all usual explanation, but clearly the +jaunty reporter whose impudent familiarity, on a former memorable +occasion, achieved my wondering admiration, must have been, in stress +of business, replaced by <span class="pagenum"><a id="page234" name="page234"></a>(p. 234)</span> a novice who had never breakfasted +with you and me, Atlas, and the rest of the world, in the +"lemon-yellow," of whose beautiful tone he now, for the first time, is +so completely convinced.</p> + +<p>The "hue" on the "face" of the Fulham "Palazzo" he moreover calls +"Venetian," and is pleased with it—and so was I, Atlas—<span class="italic">for I mixed +it myself</span>!</p> + +<p>And yet, O Atlas, they say that I cannot keep a friend—my dear, I +cannot afford it—and <span class="italic">you</span> only keep for me their scalps!</p> + +<p>"Many, when a thing was lent them, reckoned it to be found, and put +them to trouble that helped them."</p> + +<p class="fig30"> +<img src="images/img088_p253.jpg" width="120" height="125" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 6em">A <span class="pagenum"><a id="page235" name="page235"></a>(p. 235)</span> Suggestion</h3> + +<p>A certain painter has given himself away to an American journalist, +unless that gentleman has romanced, in the <span class="italic">Philadelphia Daily News</span>. + +<span class="sidenoteright"><span class="italic">Truth</span>, March 28, 1889.</span> + +According to him this person explained how he managed the press, and +how he claimed to be the inventor of the system associated with the +name of Mr. Whistler. The Art clubs and the studios have been flooded +with the <span class="italic">Philadelphia Daily News</span>. Mr. Whistler sent on his own copy +to the pretender, with the following note:—</p> + +<p class="quote">"You will blow your brains out, of course. Pigott has shown you + what to do under the circumstances, and you know your way to + Spain. Good-bye!"</p> + +<p class="fig30"> +<img src="images/img089_p254.jpg" width="120" height="81" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 4em">The <span class="pagenum"><a id="page236" name="page236"></a>(p. 236)</span> Habit of Second Natures</h3> + +<p>Most Valiant <span class="italic">Truth</span>—Among your ruthless exposures of the shams of +to-day, nothing, I confess, have I enjoyed with keener relish than +your late tilt at that arch-impostor and pest of the period—the + +<span class="sidenoteright"><span class="italic">Truth</span>, Jan. 2, 1890.</span> + +all-pervading plagiarist!</p> + +<p>I learn, by the way, that in America he may, under the "Law of '84," +as it is called, be criminally prosecuted, incarcerated, and made to +pick oakum, as he has hitherto picked brains—and pockets!</p> + +<p>How was it that, in your list of culprits, you omitted that fattest of +offenders—our own Oscar?</p> + +<p>His methods are brought again freshly to my mind, by the indefatigable +and tardy Romeike, who sends me newspaper cuttings of "Mr. Herbert +Vivian's Reminiscences," in which, among other entertaining anecdotes, +is told at length, the story of Oscar simulating the becoming pride of +author, upon a certain evening, in the club of the Academy students, +and arrogating <span class="pagenum"><a id="page237" name="page237"></a>(p. 237)</span> to himself the responsibility of the lecture, +with which, at his earnest prayer, I had, in good fellowship, crammed +him, that he might not add deplorable failure to foolish appearance, +in his anomalous position, as art expounder, before his clear-headed +audience.</p> + +<p>He went forth, on that occasion, as my St. John—but, forgetting that +humility should be his chief characteristic, and unable to withstand +the unaccustomed respect with which his utterances were received, he +not only trifled with my shoe, but bolted with the latchet!</p> + +<p>Mr. Vivian, in his book, tells us, further on, that lately, in an +article in the <span class="italic">Nineteenth Century</span> on the "Decay of Lying," Mr. Wilde +has deliberately and incautiously incorporated, "without a word of +comment," a portion of the well-remembered letter in which, after +admitting his rare appreciation and amazing memory, I acknowledge that +"Oscar has the courage of the opinions ... of others!"</p> + +<p>My recognition of this, his latest proof of open admiration, I send +him in the following little note, which I fancy you may think <span class="italic">à +propos</span> to publish, as an example to your readers, in similar +circumstances, of noble generosity in sweet reproof, tempered, as it +should be, to the lamb in his condition:—</p> + +<p>"Oscar, <span class="pagenum"><a id="page238" name="page238"></a>(p. 238)</span> you have been down the area again, I see!</p> + +<p>"I had forgotten you, and so allowed your hair to grow over the sore +place. And now, while I looked the other way, you have stolen <span class="italic">your +own scalp</span>! and potted it in more of your pudding.</p> + +<p>"Labby has pointed out that, for the detected plagiarist, there is +still one way to self-respect (besides hanging himself, of course), +and that is for him boldly to declare, 'Je prends mon bien là où je le +trouve.'</p> + +<p>"You, Oscar, can go further, and with fresh effrontery, that will +bring you the envy of all criminal <span class="italic">confrères</span>, unblushingly boast, +'Moi, je prends <span class="italic">son</span> bien là où je le trouve!'"</p> + +<p><span class="fig50"> +<img src="images/img090_p257.jpg" width="110" height="102" alt="Butterfly" title=""></span></p> +<p class="smcap smaller" style="padding-top: 2em">Chelsea.</p> + +<h3 class="italic">In <span class="pagenum"><a id="page239" name="page239"></a>(p. 239)</span> the Market Place</h3> + +<p>Sir—I can hardly imagine that the public are in the very smallest +degree interested in the shrill shrieks of "Plagiarism" that proceed + +<span class="sidenoteleft"><span class="italic">Truth</span>, Jan. 9, 1890.</span> + +from time to time out of the lips of silly vanity or incompetent +mediocrity.</p> + +<p>However, as Mr. James Whistler has had the impertinence to attack me +with both venom and vulgarity in your columns, I hope you will allow +me to state that the assertions contained in his letters are as +deliberately untrue as they are deliberately offensive.</p> + +<p>The definition of a disciple as one who has the courage of the +opinions of his master is really too old even for Mr. Whistler to be +allowed to claim it, and as for borrowing Mr. Whistler's ideas about +art, the only thoroughly original ideas I have ever heard him express +have had reference to his own superiority as a painter over painters +greater than himself.</p> + +<p>It <span class="pagenum"><a id="page240" name="page240"></a>(p. 240)</span> is a trouble for any gentleman to have to notice the +lucubrations of so ill-bred and ignorant a person as Mr. Whistler, but +your publication of his insolent letter left me no option in the +matter.—I remain, Sir, faithfully yours,</p> + +<p class="right">OSCAR WILDE.</p> + +<h3 class="italic">Panic</h3> <span class="pagenum"><a id="page241" name="page241"></a>(p. 241)</span> + +<p>O truth!—Cowed and humiliated, I acknowledge that our Oscar is at +last original. At bay, and sublime in his agony, he certainly has, for + +<span class="sidenoteright"><span class="italic">Truth</span>, Jan. 16, 1890.</span> + +once, borrowed from no living author, and comes out in his own true +colours—as his own "gentleman."</p> + +<p>How shall I stand against his just anger, and his damning allegations! +for it must be clear to your readers, that, beside his clean polish, +as prettily set forth in his epistle, I, alas! am but the "ill-bred +and ignorant person," whose "lucubrations" "it is a trouble" for him +"to notice."</p> + +<p>Still will I, desperate as is my condition, point out that though +"impertinent," "venomous," and "vulgar," he claims me as his +"master"—and, in the dock, bases his innocence upon such relation +between us.</p> + +<p>In all humility, therefore, I admit that the outcome of my "silly +vanity and incompetent mediocrity," must be the incarnation: "Oscar +Wilde." <span class="italic">Mea <span class="pagenum"><a id="page242" name="page242"></a>(p. 242)</span> culpa!</span> the Gods may perhaps forgive and +forget.</p> + +<p>To you, <span class="italic">Truth</span>—champion of the truth—I leave the brave task of +proclaiming again that the story of the lecture to the students of the +Royal Academy was, as I told it to you, no fiction.</p> + +<p>In the presence of Mr. Waldo Story did Oscar make his prayer for +preparation; and at his table was he entrusted with the materials for +his crime.</p> + +<p>You also shall again unearth, in the <span class="italic">Nineteenth Century Review</span> of +Jan. 1889, page 37, the other appropriated property, slily stowed +away, in an article on "The Decay of Lying"—though why Decay!</p> + +<p>To shirk this matter thus is craven, doubtless; but I am awe-stricken +and tremble, for truly, "the rage of the sheep is terrible!"</p> + +<p class="figcenter"> +<img src="images/img091_p261.jpg" width="120" height="105" alt="Butterfly" title=""></p> + +<h3 class="italic">Just <span class="pagenum"><a id="page243" name="page243"></a>(p. 243)</span> Indignation</h3> + +<p>Oscar—How dare you! What means this disguise?</p> + +<p class="sidenoteright">Upon perceiving the Poet, in Polish cap and + green overcoat, befrogged, and wonderfully befurred.</p> + +<p>Restore those things to Nathan's, and never again let me find you +masquerading the streets of my Chelsea in the combined costumes of +Kossuth and Mr. Mantalini!</p> + +<p class="figcenter"> +<img src="images/img092_p262.jpg" width="120" height="98" alt="Butterfly" title=""></p> + +<h3 class="italic">An <span class="pagenum"><a id="page244" name="page244"></a>(p. 244)</span> Advanced Critic</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir—I find myself obliged to notice the critical review of the "Ten +o'Clock," that appeared in your paper (March 6).</p> + +<p class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, March 28, 1888.</p> + +<p>In the interest of my publishers, I beg to state formally that the +work has not as yet been issued at all—and I would point out that +what is still in the hands of the printer, cannot possibly have fallen +into the fingers of your incautious contributor!</p> + +<p>The early telegram is doubtless the ambition of this smart, though +premature and restless one—but he is wanting in habit, and unhappy in +his haste!—What will you? The <span class="italic">Pall Mall</span> and the people have been +imposed upon.</p> + +<p>Be good enough, Sir, to insert this note, lest the public suppose, +upon your authority, that the "Ten o'Clock," as yet unseen in the +window of Piccadilly, has, in consequence of this sudden summing up, +been hurriedly withdrawn from circulation.—I am, Sir,</p> + +<p class="fig60"> +<img src="images/img093_p263.jpg" width="100" height="133" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 6em">The <span class="pagenum"><a id="page245" name="page245"></a>(p. 245)</span> Advantage of Explanation</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir—Just three weeks after publication Mr. Whistler "finds himself +obliged to notice the critical review of the 'Ten o'Clock' that +appeared in your paper." He points out that "what is still in the + +<span class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, March 31, 1888.</span> + +hands of the printer cannot possibly have fallen into the fingers of +your incautious contributor." I do not pretend to be acquainted with +the multitudinous matters that may be in the hands of his publishers' +printers. But I can declare—and you, Sir, will corroborate me—that a +printed copy of Mr. Whistler's smart but misleading lecture was placed +in my hands for review, and, moreover, that the notice did not appear +until the pamphlet was duly advertised by Messrs. Chatto and Windus as +ready. It is, of course, a matter of regret to me if, as Mr. Whistler +suggests, his publishers' interests are likely to suffer from the +review; but if an <span class="pagenum"><a id="page246" name="page246"></a>(p. 246)</span> author's work, in the reviewer's opinion, +be full of rash statement and mischievous doctrine, the publishers +must submit to the risk of frank criticism. But it will be observed +that Mr. Whistler is merely seeking to create an impression that your +Reviewer never saw the work he criticized, which is surely not a +creditable position to take up, even by a sensitive man writhing under +adverse criticism.—I am, Sir, most obediently,</p> + +<p class="right">YOUR REVIEWER.</p> + +<h3 class="italic">Testimony</h3> <span class="pagenum"><a id="page247" name="page247"></a>(p. 247)</span> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir—My apologies, I pray you, to the much disturbed gentleman, "Your +Reviewer," who complains that I have allowed "just three weeks" to go + +<span class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, April 7, 1888.</span> + +by without noticing his writing.</p> + +<p>Let me hasten, lest he be further offended, to acknowledge his answer, +in Saturday's paper.</p> + +<p>After much matter, he comes unexpectedly upon a clear understanding of +my letter—"It will be observed," he says naïvely, "that Mr. Whistler +is merely seeking to create an impression that your Reviewer never saw +the work he criticized,"—herein he is completely right, this is +absolutely the impression I did seek to create—"which," he continues, +"is surely not a creditable position to take up"—again I agree with +him, and admit the sad spectacle a "Reviewer" presents in such +position.</p> + +<p>He <span class="pagenum"><a id="page248" name="page248"></a>(p. 248)</span> further "declares," and calls upon you, Sir, to +"corroborate" him, "that a printed copy of Mr. Whistler's misleading +lecture was placed in my hands for review"—and moreover, that "the +notice did not appear until the pamphlet was duly advertised by +Messrs. Chatto and Windus as ready."</p> + +<p>Pausing to note that if the lecture had not seemed misleading to him, +it would surely not have been worth uttering at all, I come to the +copy in question—this could only have been a printed proof, quaintly +acquired—as will be seen by the following letter from Messrs. Chatto +and Windus, which I must beg you Sir, to publish, with this note—as +it deals also with the remaining point, the advertisement of the +pamphlet,</p> + +<p class="center">And, I am, Sir, +<span class="fig60"> +<img src="images/img094_p267.jpg" width="80" height="84" alt="Butterfly" title=""></span></p> + +<p style="padding-top: 4em">The following is the letter from Mr. Whistler's publishers:—</p> + +<p class="quote"><span class="smcap">Dear Sir</span>—In reply to your question we have to say that we + certainly have not sent out any copy of the "Ten o'Clock" to the + press, or to anybody else excepting yourself. The work is still + in the printers' <span class="pagenum"><a id="page249" name="page249"></a>(p. 249)</span> hands, and we have for a long time + past been advertising it only as "shortly" to be published; + indeed, only a few proofs have so far been taken from the type.</p> + +<p class="left40 quote">Yours faithfully,</p> + +<p class="right">CHATTO <span class="smcap smaller">And</span> WINDUS.</p> + +<h3 class="italic">An <span class="pagenum"><a id="page250" name="page250"></a>(p. 250)</span> Apostasy</h3> + +<p>To speak the truth, the whole truth, and nothing but the truth may + +<span class="sidenoteright">Mr. Whistler's Lecture on Art, by Algernon + Charles Swinburne.<br> + + <span class="italic">Fortnightly Review</span>, June 1888.</span> + +justly be required of the average witness; it cannot be expected, it +should not be exacted, of any critical writer or lecturer on any form +of art....</p> + +<p>... And it appears to one at least of those unfortunate "outsiders" +for whose judgment or whose "meddling" Mr. Whistler has so imperial +and Olympian a contempt....</p> + +<p>Let us begin at the end, as all reasonable people always do: we shall +find that Mr. Whistler concedes to Greek art a place beside Japanese. +Now this, on his own showing, will never do; it crosses, it +contravenes, it nullifies, it pulverizes his theory or his principle + +<span class="sidenoteright"><span class="italic">REFLECTION:</span><br> + + "If" indeed!<br> +<span class="floatright"> +<img src="images/img095_p269.jpg" width="50" height="73" alt="Butterfly" title=""></span></span> + +of artistic limitation. If Japanese art is right in confining itself +to what can be "broidered upon the fan"—and the gist of the whole +argument is in favour of this assumption—then the sculpture which +appeals, indeed, first of all to our perception of beauty, to the +delight of the eye, to the wonder and the worship of the instinct or +the sense, but which in every possible instance appeals also to far +other intuitions and far other sympathies than these, is as absolutely +wrong, as demonstrably inferior, as any picture or as any carving +which may be so degenerate and so debased as to concern itself with a +story or a subject. Assuredly Phidias thought of other things than +"arrangements"[34] + +<span class="sidenoteleft" title="Footnote 34"><span class="tiny">[34]</span><span class="italic">REFLECTION:</span><br> + Because the Bard is blind, shall the Painter cease to + see?<br> +<span> +<img src="images/img096_p270a.jpg" width="50" height="46" alt="Butterfly" title=""></span></span> + +in marble—as certainly as Æschylus thought of +other things than "arrangements" in metre. Nor, I am sorely afraid, +can the adored Velasquez be promoted to a seat "at the foot of +Fusi-yama." Japanese art is not merely the incomparable achievement of +certain harmonies in colour; <span class="italic">it is the negation, the immolation, the +annihilation of everything else</span>. By the code which accepts as the +highest of models and of masterpieces the cups and fans and screens +with which "the poor world" + +<span class="sidenoteleft"><span class="pagenum"><a id="page251" name="page251"></a>(p. 251)</span> <span class="italic">REFLECTION:</span><br> + "Cups and fans and screens," and Hamilton vases, and + figurines of Tanagra, and other "waterflies."<br> +<span> +<img src="images/img097_p270b.jpg" width="50" height="56" alt="Butterfly" title=""></span></span> + +has been as grievously "pestered" of late +years as ever it was in Shakespeare's time "with such +waterflies"—"diminutives of nature"—as excited the scorn of his +moralizing cynic, Velasquez is as unquestionably condemned as is +Raphael or Titian. It is true that this miraculous power of hand +(?)[35] + +<span class="sidenoteright" title="Footnote 35"><span class="tiny">[35]</span><span class="italic">REFLECTION:</span><br> + Quite hopeless!<br> +<span class="floatright"> +<img src="images/img098_p270c.jpg" width="50" height="57" alt="Butterfly" title=""></span></span> + +makes beautiful for <span class="pagenum"><a id="page252" name="page252"></a>(p. 252)</span> us the deformity of dwarfs, and +dignifies the degradation of princes; but that is not the question. It +is true, again, that Mr. Whistler's own merest "arrangements" in +colour are lovely and effective;[36] + +<span class="sidenoteright" title="Footnote 36"><span class="tiny">[36]</span><span class="italic">REFLECTION:</span><br> + Whereby it would seem that, for the Bard, the lovely is + not necessarily "effective."<br> +<span class="floatright"> +<img src="images/img099_p271a.jpg" width="50" height="51" alt="Butterfly" title=""></span></span> + +but his portraits, to speak of +these alone, are liable to the damning and intolerable imputation of +possessing not merely other qualities than these, but qualities which +actually appeal—I blush to remember and I shudder to record it—which +actually appeal to the intelligence[37] + +<span class="sidenoteleft" title="Footnote 37"><span class="tiny">[37]</span><span class="italic">REFLECTION:</span><br> + The "lovely," therefore, confessedly does not appeal to + the intelligence, emotions, mind, and heart of the Bard + even when aided by the "effective."<br> +<span> +<img src="images/img100_p271b.jpg" width="50" height="59" alt="Butterfly" title=""></span></span> + +and the emotions, to the mind +and heart of the spectator. It would be quite useless for Mr. Whistler +to protest—if haply he should be so disposed—that he never meant to +put study of character and revelation of intellect into his portrait +of Mr. Carlyle, or intense pathos of significance and tender depth of +expression into the portrait of his own venerable mother. The +scandalous fact remains, that he has done so; and in so doing has +explicitly violated and implicitly abjured the creed and the canons, +the counsels and the catechism of Japan....</p> + +<p>And when Mr. Whistler informs us that "there never was an artistic +period," we must reply that the statement, so far as it is true, is +the flattest of all possible truisms; for no mortal ever maintained +that there ever was a period in which all men were either good +artists or good judges of art. But when we pass from the positive to +the comparative degree of historic or retrospective criticism, we must +ask whether the lecturer means to say that there have not been times +when the general standard of taste and judgment, + +<span class="sidenoteleft"><span class="pagenum"><a id="page253" name="page253"></a>(p. 253)</span> <span class="italic">REFLECTION:</span><br> + + Of course I do mean this thing—though most imprudent + was the saying of it!—for this Art truth the Poet + resents with the people.—June 1888.<br> +<span> +<img src="images/img101_p272.jpg" width="50" height="53" alt="Butterfly" title=""></span></span> + +reason and +perception, was so much higher than at other times and such periods +may justly and accurately be defined as artistic. If he does mean to +say this, he is beyond answer and beneath confutation; in other words, +he is where an artist of Mr. Whistler's genius and a writer of Mr. +Whistler's talents can by no possibility find himself. If he does not +mean to say this, what he means to say is exactly as well worth +saying, as valuable and as important a piece of information, as the +news that Queen Anne is no more, or that two and two are not generally +supposed to make five.</p> + +<p>But if the light and glittering bark of this brilliant amateur in the +art of letters is not invariably steered with equal dexterity of hand +between the Scylla and Charybdis of paradox and platitude, it is +impossible that in its course it should not once and again touch upon +some point worth notice, if not exploration. Even that miserable +animal the "unattached writer" may gratefully and respectfully +recognize his accurate apprehension and his felicitous application of +well-nigh the most hackneyed verse in all the range of +Shakespeare's—which yet is almost invariably misconstrued and +misapplied—"One touch of nature makes the whole world kin;" and this, +as the poet goes on to explain, is that all, with one consent, prefer +worthless but showy novelties to precious but familiar possessions. +"This one chord that vibrates with all," says Mr. Whistler, who +proceeds to cite artistic examples of the lamentable fact, "this one +unspoken sympathy that pervades humanity, is—Vulgarity." But the +consequence which he proceeds to indicate and to deplore is calculated +to strike his readers with a sense of mild if hilarious astonishment. +It is that men of sound judgment and pure taste, quick feelings and +clear perceptions, most unfortunately and most inexplicably begin to +make their voices "heard in the land." Porson, as all the world knows, +observed of the Germans of his day that "in Greek" they were "sadly to +seek." It is no discredit to Mr. Whistler if this is his case also; +but then he would do well to eschew the use of a Greek term lying so +far out of the common way as the word "æsthete." + +<span class="sidenoteright"><span class="pagenum"><a id="page254" name="page254"></a>(p. 254)</span> <span class="italic">REFLECTION:</span><br> + Je reviens donc de Pontoise!<br> +<span> +<img src="images/img102_p273.jpg" width="50" height="68" alt="Butterfly" title=""></span></span> + +Not merely the only +accurate meaning, but the only possible meaning, of that word is +nothing more, but nothing less, than this—an intelligent, +appreciative, quick-witted person; in a word, as the lexicon has it, +"one who perceives." The <span class="pagenum"><a id="page255" name="page255"></a>(p. 255)</span> man who is no æsthete stands +confessed, by the logic of language and the necessity of the case, as +a thick-witted, tasteless, senseless, and impenetrable blockhead. I do +not wish to insult Mr. Whistler, but I feel bound to avow my +impression that there is no man now living who less deserves the +honour of enrolment in such ranks as these—of a seat in the synagogue +of the anæsthetic....</p> + +<p>... Such abuse of language is possible only to the drivelling +desperation of venomous or fangless duncery: it is in higher and +graver matters, of wider bearing and of deeper import, that we find it +necessary to dispute the apparently serious propositions or assertions +of Mr. Whistler. <span class="italic">How far the witty tongue may be thrust into the +smiling cheek</span> when the lecturer pauses to take breath between these +remarkably brief paragraphs it would be certainly indecorous and +possibly superfluous to inquire. But his theorem is unquestionably +calculated to provoke the loudest and the heartiest mirth that ever +acclaimed the advent of Momus or Erycina. For it is this—that +[38]"Art + +<span class="sidenoteleft" title="Footnote 38"><span class="tiny">[38]</span><span class="italic">REFLECTION:</span><br> + + Is not, then, the funeral hymn a gladness to the singer, + if the verse be beautiful?<br> + + Certainly the funeral monument, to be worthy the + Nation's sorrow buried beneath it, must first be a joy + to the sculptor who designed it.<br> + + The Bard's reasoning is of the People. His Tragedy is + <span class="italic">theirs</span>. As one of them, the <span class="italic">man</span> may weep—yet will + the artist rejoice—for to him is not "A thing of beauty + a joy for ever"?<br> + +<span> +<img src="images/img103_p274a.jpg" width="50" height="77" alt="Butterfly" title=""></span></span> + +and Joy go together," <span class="italic">and that</span>[39] <span class="italic">tragic art is not art +at all</span>.... + +<span class="sidenoteright" title="Footnote 39"><span class="tiny">[39]</span>At what point of my "<span class="italic">O'clock</span>" does Mr. + Swinburne find this last—his own inconsequence?<br> +<span> +<img src="images/img104_p274b.jpg" width="50" height="72" alt="Butterfly" title=""></span></span> + +... The laughing Muse of the lecturer, "quam Jocus circumvolat," must +have glanced round in expectation of the general appeal, "After that +let us take breath." <span class="pagenum"><a id="page256" name="page256"></a>(p. 256)</span> And having done so, they must have +remembered that they were not in a serious world; that they were in +the fairyland of fans, + +<span class="sidenoteleft"><span class="italic">REFLECTION:</span><br> + + Before the marvels of centuries, silence, the only + tribute of the outsider, is by him refused—and the + dignity of ignorance lost in speech.<br> +<span> +<img src="images/img105_p275a.jpg" width="50" height="88" alt="Butterfly" title=""></span></span> + +in the paradise of pipkins, in the limbo of +blue china, screens, pots, plates, jars, joss-houses, + +<span class="sidenoteright"><span class="italic">REFLECTION:</span><br> + + If an æsthete, the Bard is no collector!<br> +<span> +<img src="images/img106_p275b.jpg" width="50" height="52" alt="Butterfly" title=""></span></span> + +and all the +fortuitous frippery of Fusi-yama.</p> + +<p>It is a cruel but an inevitable Nemesis which reduces even a man of +real genius, keen-witted and sharp-sighted, to the level of the critic +Jobson, to the level of the <span class="italic">dotard and the dunce</span>, when paradox is +discoloured by personality and merriment is distorted by +malevolence.(!) No man who really knows the qualities of Mr. +Whistler's best work will imagine that he really believes the highest +expression of his art to be realized in reproduction of the grin and +glare, the smirk and leer, of Japanese womanhood as represented in its +professional types of beauty; but to all appearance he would fain +persuade us that he does.</p> + +<p>In the latter of the two portraits to which I have already referred +there is an expression of living character.... This, however, is an +exception to the general rule of Mr. Whistler's way of work: an +exception, it may be alleged, which proves the rule. A single +infraction of the moral code, a single breach of artistic law, +suffices to vitiate the position of the preacher. And this is no +slight escapade, or casual aberration; it is a full and frank +defiance, a deliberate and elaborate denial, <span class="pagenum"><a id="page257" name="page257"></a>(p. 257)</span> hurled right in +the face of Japanese jocosity, flung straight in the teeth of the +theory which condemns high art, under penalty of being considered +intelligent, to remain eternally on the grin.</p> + +<p>If it be objected that to treat this theorem gravely is "to consider +too curiously" the tropes and the phrases of <span class="italic">a jester</span> of genius, I +have only to answer that it very probably may be so, but that the +excuse for such error must be sought in the existence of the genius. A +man of genius is scarcely at liberty to choose whether he shall or +shall not be considered as a serious figure—one to be acknowledged +and respected as an equal or a superior, not applauded and dismissed +as <span class="italic">a tumbler or a clown</span>. And if the better part of Mr. Whistler's +work as an artist is to be accepted as the work of a serious and +intelligent creature, it would seem incongruous and preposterous to +dismiss the more characteristic points of his theory as a lecturer +with the chuckle or the shrug of mere amusement or amazement. +Moreover, if considered as a joke, a mere joke, and nothing but a +joke, this gospel of the grin has hardly matter or meaning enough in +it to support so elaborate a structure of paradoxical rhetoric. It +must be taken, therefore, as something serious in the main; and if so +taken, and read by the light reflected from Mr. Whistler's more +characteristically brilliant canvases, it may not improbably recall a +certain phrase of Molière's which at once passed into a proverb—"Vous +êtes orfèvre, M. Josse." That worthy tradesman, it will be remembered, +was of opinion that nothing could be so well calculated to restore a +drooping young lady to mental and physical health as the present of a +handsome set of jewels. + +<span class="sidenoteleft"><span class="pagenum"><a id="page258" name="page258"></a>(p. 258)</span> <span class="italic">REFLECTION:</span><br> + + A keen commercial summing up—excused by the "Great + Emperor!"<br> +<span> +<img src="images/img107_p277.jpg" width="70" height="52" alt="Butterfly" title=""></span></span> + +<span class="italic">Mr. Whistler's opinion that there is nothing +like leather—of a jovial and Japanese design—savours somewhat of the +Oriental cordwainer.</span></p> + +<h3>"<span class="italic">Et <span class="pagenum"><a id="page259" name="page259"></a>(p. 259)</span> tu, Brute!</span>"</h3> + +<p>Why, O brother! did you not consult with me before printing, in the +face of a ribald world, <span class="italic">that you also misunderstand</span>, and are capable +of saying so, with vehemence and repetition.</p> + +<p>Have I then left no man on his legs?—and have I shot down the singer +in the far off, when I thought him safe at my side?</p> + +<p>Cannot the man who wrote <span class="italic">Atalanta</span>—and the <span class="italic">Ballads</span> beautiful,—can +he not be content to spend his life with <span class="italic">his</span> work, which should be +his love,—and has for him no misleading doubt and darkness—that he +should so stray about blindly in his brother's flowerbeds and bruise +himself!</p> + +<p>Is life then so long with him, and <span class="italic">his</span> art so short, that he shall +dawdle by the way and wander from his path, reducing his giant +intellect—garrulous upon matters to him unknown, that the scoffer may +rejoice and the Philistine be appeased while he takes <span class="pagenum"><a id="page260" name="page260"></a>(p. 260)</span> up the +parable of the mob and proclaims himself their spokesman and +fellow-sufferer? O Brother! where is thy sting! O Poet! where is thy +victory!</p> + +<p>How have I offended! and how shall you in the midst of your poisoned +page hurl with impunity the boomerang rebuke? "Paradox is discoloured +by personality, and merriment is distorted by malevolence."</p> + +<p>Who are you, deserting your Muse, that you should insult my Goddess +with familiarity, and the manners of approach common to the reasoners +in the marketplace. "Hearken to me," you cry, "and I will point out +how this man, who has passed his life in her worship, is a tumbler and +a clown of the booths—how he who has produced that which I fain must +acknowledge—is a jester in the ring!"</p> + +<p>Do we not speak the same language? Are we strangers, then, or, in our +Father's house are there so many mansions that you lose your way, my +brother, and cannot recognize your kin?</p> + +<p>Shall I be brought to the bar by my own blood, and be borne false +witness against before the plebeian people? Shall I be made to +stultify myself by what I never said—and shall the strength of your +testimony turn upon me? "If"—"If Japanese Art is right in confining +itself to what can be broidered upon the fan" <span class="pagenum"><a id="page261" name="page261"></a>(p. 261)</span> ... and again +... "that he really believes the highest expression of his art to be +realized in reproduction of the grin and glare, the smirk and leer" +... and further ... "the theory which condemns high art, under the +penalty of being considered intelligent, to remain eternally on the +grin" ... and much more!</p> + +<p>"Amateur writer!" Well should I deserve the reproach, had I ventured +ever beyond the precincts of my own science—and fatal would have been +the exposure, as you, with heedless boldness, have unwittingly proven.</p> + +<p>Art tainted with philanthropy—that better Art result!—Poet and +Peabody!</p> + +<p>You have been misled—you have mistaken the pale demeanour and joined +hands for an outward and visible sign of an inward and spiritual +earnestness. For you, these are the serious ones, and, for them, you +others are the serious matter. Their joke is their work. For me—why +should I refuse myself the grim joy of this grotesque tragedy—and, +with them now, you all are my joke!</p> + +<p class="figcenter"> +<img src="images/img108_p280.jpg" width="100" height="131" alt="Butterfly" title=""></p> + +<h3 class="italic">Freeing <span class="pagenum"><a id="page262" name="page262"></a>(p. 262)</span> a Last Friend</h3> + +<p>Bravo! Bard! and exquisitely written, I suppose, as becomes your +state.</p> + +<p class="sidenoteright"><span class="italic">The World</span>, June 3, 1888. Letter to Mr. + Swinburne.</p> + +<p>The scientific irrelevancies and solemn popularities, less elaborately +embodied, I seem to have met with before—in papers signed by more +than one serious and unqualified sage, whose mind also was not +narrowed by knowledge.</p> + +<p>I have been "personal," you say; and, faith! you prove it!</p> + +<p>Thank you, my dear! I have lost a <span class="italic">confrère</span>; but, then, I have gained +an acquaintance—one Algernon Swinburne—"outsider"—Putney.</p> + +<p class="fig50"><img src="images/img109_p281.jpg" width="100" height="149" alt="Butterfly" title=""></p> + +<h3 class="italic" style="padding-top: 8em">An <span class="pagenum"><a id="page264" name="page264"></a>(p. 264)</span> Editor's Anxiety</h3> + +<p class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, April 26, 1889.</p> + +<p>It is reported that Mr. Whistler, having received word that a drawing +of his had been rejected by the Committee of the Universal Exhibition, +arrived yesterday in Paris and withdrew all his remaining works, +including an oil painting and six drawings. The French consider that +he has been guilty of a breach of good manners. The <span class="italic">Paris</span>, for +instance, points out that, after sending his works to the jury, he +should have accepted their judgment, and appealed to the public by +other methods.</p> + +<h3 class="italic">Rassurez <span class="pagenum"><a id="page265" name="page265"></a>(p. 265)</span> vous!</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, April 27, 1889.</p> + +<p>Sir—You are badly informed—a risk you constantly run in your haste +for pleasing news.</p> + +<p>I have not "withdrawn" my works "from the forthcoming Paris +Exhibition."</p> + +<p>I transported my pictures from the American department to the British +section of the "Exposition Internationale," where I prefer to be +represented.</p> + +<p>"The French" have nothing, so far, to do with English or American +exhibits.</p> + +<p>A little paragraph is a dangerous thing.</p> + +<p><span class="left60">And I am, Sir,</span><br> +<span class="floatright"><img src="images/img110_p284.jpg" width="100" height="97" alt="Butterfly" title=""></span> +<span class="smcap">Chelsea</span>.</p> + +<h3 class="italic">Whistler's <span class="pagenum"><a id="page266" name="page266"></a>(p. 266)</span> Grievance</h3> + +<p class="right italic">AN ENTRAPPED INTERVIEW.</p> + +<p>The <span class="italic">Herald</span> correspondent saw Mr. Whistler at the Hôtel Suisse, and +asked the artist about his affairs with the American Art Jury of the +Exhibition.</p> + +<p class="sidenoteright"><span class="italic">New York Herald</span>, Paris Edition, Oct. 3, + 1889.</p> + +<p>"I believe the <span class="italic">Herald</span> made the statement," said Mr. Whistler, "that +I had withdrawn all my etchings and a full-length portrait from the +American section. It all came about in this way: In the first place, +before the pictures were sent in, I received a note from the American +Art Department asking me to contribute some of my work. It was at that +time difficult for me to collect many of my works; but I borrowed what +I could from different people, and sent in twenty-seven etchings and +the portrait."</p> + +<p>"You can imagine that a few etchings do not have any effect at all; so +I sent what I could get together. Shortly afterwards I received a note +saying: 'Sir—Ten <span class="pagenum"><a id="page267" name="page267"></a>(p. 267)</span> of your exhibits have not received the +approval of the jury. Will you kindly remove them?'"</p> + +<p>"At the bottom of this note was the name 'Hawkins'—General Hawkins, I +believe—a cavalry officer, who had charge of the American Art +Department of the Exhibition.</p> + +<p>"Well! the next day I went to Paris and called at the American +headquarters of the Exhibition. I was ushered into the presence of +this gentleman, Hawkins, to whom I said:—'I am Mr. Whistler, and I +believe this note is from you. I have come to remove my etchings'; but +I did not mention that my work was to be transferred to the English +Art Section."</p> + +<p>"'Ah!' said the gentleman—the officer—'we were very sorry not to +have had space enough for all your etchings, but we are glad to have +seventeen and the portrait."</p> + +<p>"'You are too kind' I said, 'but really I will not trouble you.'"</p> + +<p>"Mr. Hawkins was quite embarrassed, and urged me to reconsider my +determination, but I withdrew every one of the etchings, and they are +now well hung in the English Department."</p> + +<p>"I did not mind the fact that my works were criticized, but it was the +discourteous manner in which it was done. If the request to me had +been made <span class="pagenum"><a id="page268" name="page268"></a>(p. 268)</span> in proper language, and they had simply +said:—'Mr. Whistler, we have not space enough for twenty-seven +etchings. Will you kindly select those which you prefer, and we shall +be glad to have them,' I would have given them the privilege of +placing them in the American Section."...</p> + +<h3>"<span class="italic">Whacking <span class="pagenum"><a id="page269" name="page269"></a>(p. 269)</span> Whistler</span>"</h3> + +<p>In an interview in yesterday's <span class="italic">Herald</span> the eccentric artist, Mr. J. +McNeill Whistler, "jumped" in a most emphatic manner upon General + +<span class="sidenoteright"><span class="italic">New York Herald</span>, Paris Edition, Oct. 4. + 1889.</span> + +Hawkins, Commissioner of the American Art Department at the +Exhibition. He objects to the General for being a cavalry officer; +refers to him sarcastically as "Hawkins," and declares him ignorant of +the most elementary principles alike of art and politeness—all this +because he, Whistler, was requested by the Commissioner to remove from +the Exhibition premises some ten of his rejected etchings.</p> + +<p>In a spirit of fair play a correspondent called upon General Hawkins, +giving him an opportunity, if he felt so disposed, of "jumping," in +his turn, on his excitable opponent. The General did feel "so +disposed," and proceeded, in popular parlance, to "see" Mr. J. McNeill +Whistler and "go him one better." In this species of linguistic +gymnastics, by the way, the military <span class="pagenum"><a id="page270" name="page270"></a>(p. 270)</span> Commissioner asks no +odds of any one. He began by gently remarking that Mr. Whistler, in +his published remarks, had soared far out of the domain of strict +veracity. This was not bad for a "starter," and was ably supported by +the following detailed statement:—</p> + +<p>"Mr. Whistler says he received a note from me. That is a mistake. I +have never in my life written a line to Mr. Whistler.[40] + +<span class="sidenoteright" title="Footnote 40"><span class="tiny">[40]</span>The official memory:<br> + + "<span class="smcap">Dear Sir</span>—I wish by return mail you would send + description for oils; and if you desire to have titles + to etchings printed, you will have to furnish the + necessary material for copy.—Yours faithfully,<br> +<span class="smcap">Rush C. Hawkins</span>,<br> +Commissariat General, Paris, March 29, 1889.<br> + (<span class="italic">Autograph.</span>)<br> + To Mr. Whistler."</span> + +What he did +receive was a circular with my name printed at the bottom. These +circulars were sent to all the artists who had pictures refused by the +jury, and contained a simple request that such pictures be removed.</p> + + +<p>"Our way of doing business was not, it seems, up to Mr. Whistler's +standard of politeness, so he got angry and took away, not only the +ten rejected etchings, but seventeen others which had been accepted. +It is a little singular that among about one hundred and fifty artists +who received this circular, Mr. Whistler should have been the only one +to discover its latent discourtesy. How great must be Mr. Whistler's +capacity for detecting a snub where none exists!"</p> + +<p>"In any case, there is not the slightest reason for Mr. Whistler's +venting his ire upon me. I had no more to do with either accepting or +rejecting his pictures <span class="pagenum"><a id="page271" name="page271"></a>(p. 271)</span> than I had with painting them. What +he sent us was judged on its merits by a competent and impartial jury +of his peers. If there were ten etchings rejected it only shows that +there were ten etchings not worthy of acceptance. A few days after the +affair a trio of journalists—not all men either—came to me, +demanding that I reverse this 'iniquitous decision,' as they styled +it. I told these three prying scribblers in a polite way that if they +would kindly attend to their own affairs I would try to attend to +mine. In this connection, I may remark that there are in Paris a +number of correspondents who ought not to be allowed within gun-shot +of a newspaper office."</p> + +<p>"The next mis-statement in Mr. Whistler's interview is in regard to +the ultimate disposal of his important etchings. His words are:—'Mr. +Hawkins was quite embarrassed, and urged me to reconsider my +determination, but I withdrew every one of the etchings, and they are +now well hung in the English department.'"</p> + +<p>"Now, I leave it to any fair-minded person if the plain inference from +this statement is not that the whole twenty-seven etchings were +accepted by the English department. If not, what in heaven's name is +he crowing about? But the truth is that while we rejected <span class="pagenum"><a id="page272" name="page272"></a>(p. 272)</span> +only <span class="italic">ten</span> of his etchings, the English department rejected <span class="italic">eighteen</span> +of them, and of the nine accepted only hung two on the line. Had Mr. +Whistler been the possessor of a more even temper and a little more +common sense, he would have had five or six of his works on the line +in the American department, and nearly twice as many on exhibition +than is actually the case. Really, I fail to see what he gained by the +exchange, unless it was a valuable experience. He says I was +embarrassed when I saw him; I fancy he will be embarrassed when he +sees these facts in 'cold type.'"</p> + +<h3>"<span class="italic">Whistler's <span class="pagenum"><a id="page273" name="page273"></a>(p. 273)</span> Grievance</span>"</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir—I beg that you will kindly print immediately these, my regrets, +that General Rush Hawkins should have been spurred into unwonted and +unbecoming expression by what I myself read with considerable + +<span class="sidenoteright"><span class="italic">New York Herald.</span></span> + +bewilderment in the <span class="italic">New York Herald</span>, October 3, under the head of +"Whistler's Grievance."</p> + +<p>I can assure the gallant soldier that I have no grievance.</p> + +<p>Had I known that, when—over what takes the place of wine and walnuts +in Holland—I remembered lightly the military methods of the jury, I +was being "interviewed," I should have adopted as serious a tone as +the original farce would admit of; or I might have even refused to be +a party at all to the infliction upon your readers of so old and +threadbare a story as that of the raid upon the works of art in the +American section of the Universal Exhibition.</p> + +<p>Your <span class="pagenum"><a id="page274" name="page274"></a>(p. 274)</span> correspondent, I fancy, felt much more warmly, than did +I, wrongs that—who knows?—are doubtless rights in the army; and my +sympathies, I confess, are completely with the General, who did only, +as he complains, his duty in that state of life in which it had +pleased God, and the War Department, to call him, when, according to +order, he signed that naïvely authoritative note, circular, warrant, +or what not—for he did irretrievably fasten his name to it, whether +with pen or print, thereby hopelessly making the letter his own. Thus +have we responsibility, like greatness, sometimes thrust upon us.</p> + +<p>On receipt of the document I came—I saw the commanding officer, who, +until now, I fondly trusted, would ever remember me as pleasantly as I +do himself—and, knowing despatch in all military matters to be of +great importance, I then and there relieved him of the troublesome +etchings, and carried off the painting.</p> + +<p>It is a sad shock to me to find that the good General speaks of me +without affection, and that he evinces even joy when he says with a +view to my entire discomfiture:—"While we rejected only ten of his +etchings, the English department rejected eighteen of them, and of the +nine accepted, only hung two on the line."</p> + +<p>Now, he is wrong!—the General is wrong.</p> + +<p>The etchings now hanging in the English section—and <span class="pagenum"><a id="page275" name="page275"></a>(p. 275)</span> perfect +is their hanging, notwithstanding General Hawkins's flattering +anxiety—are the only ones I sent there.</p> + +<p>In the haste and enthusiasm of your interviewer, I have, on this +point, been misunderstood.</p> + +<p>There was moreover here no question of submitting them to a "competent +and impartial jury of his peers"—one of whom, by the way, I am +informed upon undoubted authority, had never before come upon an +"etching" in his hitherto happy and unchequered Western career.</p> + +<p>We all knew that the space allotted to the English department was +exceedingly limited, and each one refrained from abusing it. Here I +would point out again, hoping this time to be clearly understood, +that, had the methods employed in the American camp been more civil, +if less military, all further difficulties might have been avoided. +Had I been properly advised that the room was less than the demand for +place, I would, of course, have instantly begged the gentlemen of the +jury to choose, from among the number, what etchings they pleased. So +the matter would have ended, and you, Sir, would have been without +this charming communication!</p> + +<p>The pretty embarrassment of General Hawkins on the occasion of my +visit, I myself liked, thinking it seemly, <span class="pagenum"><a id="page276" name="page276"></a>(p. 276)</span> and part of the +good form of a West Point man, who is taught that a drum-head court +martial—and what else in the experience of this finished officer +should so fit him for sitting in judgment upon pictures?—should be +presided at with grave and softened demeanour.</p> + +<p>If I mistook the General's manner, it is another illusion the less.</p> + +<p><span class="left40">And I have, Sir,</span><br> +<span class="left50">the honour to be,</span><br> +<span class="left60">Your obedient servant,</span></p> + +<p class="figcenter"><img src="images/img111_p295.jpg" width="100" height="168" alt="Butterfly" title=""></p> + +<p><span class="smcap smaller">Amsterdam</span>, Oct. 6.</p> + +<h3 class="italic">The <span class="pagenum"><a id="page277" name="page277"></a>(p. 277)</span> Art-Critic's Friend</h3> + +<p>Mr. Whistler has many things to answer for, and not the least of them +is the education of the British Art-Critic. That, at any rate, is the +impression left by a little book made up—apparently against the +writer's will—of certain of the master's letters and <span class="italic">mots</span>.... It is + +<span class="sidenoteright"><span class="italic">The Scots Observer</span>, April 5, 1890.</span> + +useful and pleasant reading; for not only does it prove the painter to +have a certain literary talent—of aptness, unexpectedness, above all +impertinence—but also it proves him never to have feared the face of +art-critical man.... To him the art-critic is nothing if not a person +to be educated, with or against the grain; and when he encounters him +in the ways of error, he leaps upon him joyously, scalps him in print +before the eyes of men, kicks him gaily back into the paths of truth +and soberness, and resumes his avocation with that peculiar zest an +act of virtue does undoubtedly impart. Indeed, Mr. Whistler, so far +from being the critic's enemy, is on the contrary the best friend +<span class="pagenum"><a id="page278" name="page278"></a>(p. 278)</span> that tradesman has ever had. For his function is to make him +ridiculous....</p> + +<p>... Yes, Mr. Whistler is often "rowdy" and unpleasant; in his last +combat with Mr. Oscar Wilde—("Oscar, you have been down the area +again")—he comes off a palpable second; his treatment of 'Arry dead +and "neglected by the parish" goes far to prove that his sense of +smell is not so delicate nor so perfectly trained as his sense of +sight....</p> + +<h3 class="italic">A <span class="pagenum"><a id="page279" name="page279"></a>(p. 279)</span> Question</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir—It is, I suppose, to your pleasant satisfaction in "The Critic's +Friend" that I owe the early copy of the <span class="italic">Scots Observer</span>, pointed + +<span class="sidenoteright"><span class="italic">The Scots Observer</span>, April 19, 1890.</span> + +with proud mark, in the blue pencil of office, whereby the impatient +author hastened to indicate the pithy personal paragraphs, that no +time should be wasted upon other matter with which the periodical is +ballasted.</p> + +<p>Exhilarated by the belief that I had been remembered—for vanity's +sake let me fancy that you have bestowed upon me your own thought and +hand—I plunged forthwith into the underlined article, and read with +much amusement your excellent appreciation.</p> + +<p>Having forgotten none of your professional manner as art arbiter, may +I say that I can picture to myself easily the sad earnestness with +which you now point the <span class="pagenum"><a id="page280" name="page280"></a>(p. 280)</span> thick thumb of your editorial +refinement in deprecation of my choicer "rowdyism"? And knowing your +analytical conscientiousness, I can even understand the humble comfort +you take in Oscar's meek superiority; but, for the life of me, I +cannot follow your literary intention when you say that my care of +"''Arry,' dead and neglected by the parish," goes far to prove that my +"sense of smell is not so delicate nor so perfectly trained as" my +"sense of sight."</p> + +<p>Do you mean that my discovery of the body is the result of a cold in +the head? and that, with a finer scent, I should have missed it +altogether? or were you only unconsciously remembering and dreamily +dipping your pen into the ink of my former description of "'Arry's" +chronic catarrh? In any case, I am charmed with what I have just read, +and only regret that the ridiculous "Romeike" has not hitherto sent me +your agreeable literature.—Also I am, dear Sir, your obedient +servant,</p> + +<p class="figcenter"><img src="images/img112_p299.jpg" width="100" height="97" alt="Butterfly" title=""></p> + +<h3 class="italic">The <span class="pagenum"><a id="page282" name="page282"></a>(p. 282)</span> End of the Piece</h3> + +<p>Sir—I beg to draw your attention to the contents of your letter to +the <span class="italic">Scots Observer</span>, dated April 12th, in which you state that you +"regret the ridiculous Romeike has not hitherto sent me your agreeable +literature."</p> + +<p>This statement, had it been true, was spiteful and injurious, but +being untrue (entirely) it becomes malicious, and I must ask you at +once to apologise.</p> + +<p>And at the same time to draw your attention to the fact that we have +supplied you with 807 cuttings.</p> + +<p>We have written to the <span class="italic">Scots Observer</span> for an ample apology, or the +matter will be placed in our solicitor's hands, and we demand the same +of you.</p> + +<p class="left50">Yours obediently,</p> + +<p class="right">ROMEIKE & CURTICE.</p> + +<p><span class="smcap">J. McN. Whistler</span>, Esq.<br> +<span class="add2em">April 25, 1890.</span></p> + +<h3 class="italic">Exit <span class="pagenum"><a id="page283" name="page283"></a>(p. 283)</span> the Prompter</h3> + +<p>Sir—If it be not actionable, permit me to say that you <span class="italic">really are +delightful</span>!!</p> + +<p><span class="italic">Naïveté</span>, like yours, I have never met—even in my long experience +with all those, some of whose "agreeable literature" may be, I +suppose, in the 807 cuttings you charge me for.</p> + +<p>Who, in Heaven's name, ever dreamed of you as an actual person?—or +one whom one would mean to insult?</p> + +<p>My good Sir, no such intention—believe me—did I, in my wildest of +moments, ever entertain.</p> + +<p><span class="italic">Your</span> scalp—if you have such a thing—is safe enough!—and I even +think—however great my willingness to assist you—could not possibly +appear in the forthcoming Edition.</p> + +<p> +<span class="fig50"><img src="images/img113_p302.jpg" width="120" height="90" alt="Butterfly" title=""></span> +To Mr. <span class="smcap">Romeike</span>,<br> +<span class="add2em">April 25.</span></p> + +<h3 class="italic">L'Envoi</h3> <span class="pagenum"><a id="page285" name="page285"></a>(p. 285)</span> + +<p>When the Chairman, in a singularly brilliant and felicitous speech led +up to the toast of the evening, Mr. Whistler rose to his feet.</p> + +<p class="sidenoteright">Report of a reply to the toast of the evening + at the complimentary dinner given to Mr. Whistler, + London, May 1, 1889.</p> + +<p>"You must feel that, for me," said Mr. Whistler, "it is no easy task +to reply under conditions of which I have so little habit. We are all +even too conscious that mine has hitherto, I fear, been the gentle +answer that sometimes turneth not away wrath."</p> + +<p class="sidenoteleft"><span class="italic">Sunday Times</span>, May 5, 1889.</p> + +<p>"Gentlemen," said he, "this is an age of rapid results, when remedies +insist upon their diseases, that science shall triumph and no time be +lost; and so have we also rewards that bring with them their own +virtue. It would ill become me to question my fitness for the position +it has pleased this distinguished company to thrust upon me."</p> + +<p>"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 +misunderstanding—as that <span class="pagenum"><a id="page286" name="page286"></a>(p. 286)</span> other traveller drew closer about +him the folds of his cloak the more bitterly the winds and the storm +assailed him on his way. But, as with him, when the sun shone upon him +in his path, his cloak fell from his shoulders, so I, in the warm glow +of your friendship, throw from me all former disguise, and, making no +further attempt to hide my true feeling, disclose to you my deep +emotion at such unwonted testimony of affection and faith."</p> + +<h3 class="italic">Auto-Biographical</h3> <span class="pagenum"><a id="page288" name="page288"></a>(p. 288)</span> + +<p class="right italic">TO THE EDITOR:</p> + +<p class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, July 28, 1891.</p> + +<p>Sir,—May I request that you allow me to make known, through your +influential paper, the fact that the canvas, now shown as a completed +work of mine, at Messrs. Dowdeswell's, representing three draped +figures in a conservatory, is a painting long ago barely begun, and +thrown aside for destruction?</p> + +<p>Also I am in no way responsible for the taste of the frame with its +astonishments of plush! and varied gildings.</p> + +<p>I think it not only just to myself to make this statement, but right +that the public should be warned against the possible purchase of a +picture in no way representative, and, in its actual condition, +absolutely worthless.—I am, Sir, your obedient servant,</p> + +<p class="fig50"><img src="images/img114_p307.jpg" width="100" height="104" alt="Butterfly" title=""></p> +<p class="italic smaller">Chelsea, July 27, 1891.</p> + +<h3 class="italic" style="padding-top: 3em">Mr. <span class="pagenum"><a id="page289" name="page289"></a>(p. 289)</span> Whistler "had on his own Toast"</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p>Sir,—I have read with interest Mr. Whistler's letter in your issue of +July 28. I happened to be at Messrs. Dowdeswell's galleries the other + +<span class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, Aug. 1, 1891.</span> + +day and saw the picture he refers to. It was not on public exhibition, +but was in one of their private rooms, and was brought out for my +inspection <span class="italic">à propos</span> of a conversation we were having. Now, so far +from Messrs. Dowdeswell showing it as a "completed work," they +distinctly spoke of it as unfinished; nor can I imagine any one +acquainted with Mr. Whistler's works speaking of any of them as +"completed!" In "L'Envoi" of the catalogue of his exhibition held at +Messrs. Dowdeswell's a short time ago I find the following paragraph +from his pen:—"The work of the master reeks not of the sweat of the +brow—suggests no effort—and <span class="italic">is finished from its beginning</span>." The +only inference possible is either that Mr. Whistler is not a master, +<span class="pagenum"><a id="page290" name="page290"></a>(p. 290)</span> or that the work is finished! He has, however, spent what +time he could spare from his literary labours in endeavouring to +induce the world to believe that the slightest scratch from his pen is +worthy to rank with "Las Lanzas," and I am therefore surprised to +learn that he has altered his opinion. Still, I quite agree with him +when he tells us that some of his work is "absolutely worthless!"—I +am, sir, more in sorrow than in anger, your obedient servant,</p> + +<p class="right">W. C.</p> + +<p class="italic">July 31, 1891.</p> + +<h3 class="italic">What <span class="pagenum"><a id="page291" name="page291"></a>(p. 291)</span> "Mr. Whistler had on his own Toast"</h3> + +<p class="right italic">TO THE EDITOR:</p> + +<p class="sidenoteright"><span class="italic">Pall Mall Gazette</span>, Aug. 4, 1891.</p> + +<p>Sir,—My letter should have met with no reply at all. It was a +statement—authoritative and unanswerable, if there ever were one.</p> + +<p>Because of the attention drawn to it, in the press, I felt called upon +to advise the Public that one of <span class="italic">my own works</span> is condemned <span class="italic">by +myself</span>. Final this, one would fancy!</p> + +<p>That the accidental owners of the Gallery should introduce themselves +to the situation, is of a most marked irrelevancy. They come in <span class="italic">comme +un cheveu sur la soupe</span>, to be removed at once.</p> + +<p>The dealer's business is to buy and sell. In the course of such +traffic, these same busy picture bodies, without consulting me, put +upon the market a painting that I, the author, intended to +efface—and, thanks to your courtesy, I have been enabled to say so +effectually in your journal.</p> + +<p>All <span class="pagenum"><a id="page292" name="page292"></a>(p. 292)</span> along have I carefully destroyed plates, torn up proofs, +and burned canvases, that the truth of the quoted word shall prevail, +and that the future collector shall be spared the mortification of +cataloguing his pet mistakes.</p> + +<p>To destroy, is to remain.</p> + +<p>What is commercial irritation beside a clean canvas?</p> + +<p>What is a gentlemanly firm in Bond Street beside Eternity?—I am, sir, +your obedient servant,</p> + +<p class="fig30"><img src="images/img115_p311.jpg" width="110" height="135" alt="Butterfly" title=""></p> + +<p class="right italic smaller">Chelsea, August 1, 1891.</p> + +<div class="hl2" style="padding-top: 8em"> +<p class="titleright italic">NOCTURNES, <span class="pagenum"><a id="page293" name="page293"></a>(p. 293)</span> MARINES,</p> +<p class="titleright italic">AND</p> +<p class="left45 italic">CHEVALET PIECES</p> +</div> + +<p class="p2 center italic">A CATALOGUE</p> + +<p class="p4 fig60"><img src="images/img116_p312.jpg" width="70" height="50" alt="Butterfly" title=""></p> + +<div class="hl2" style="padding-top: 4em"> +<p class="titleright italic noindent">SMALL COLLECTION</p> +<p class="center italic">KINDLY LENT</p> +<p class="left45 italic">THEIR OWNERS</p> +</div> + +<h3>"<span class="italic">THE <span class="pagenum"><a id="page295" name="page295"></a>(p. 295)</span> VOICE OF A PEOPLE</span>"</h3> + +<p class="left10 quote noindent">"I <span class="pagenum"><a id="page297" name="page297"></a>(p. 297)</span> do not know when so much amusement has been afforded to +the British public as by Mr. Whistler's pictures."</p> + +<p class="left20 italic">Speech of the Attorney-General of England.<br> +<span class="add3em">Westminster, Nov. 16, 1878.</span></p> + +<p class="p2 center">1.—NOCTURNE.</p> + +<p class="center"><span class="smcap">Grey and Silver—Chelsea Embankment—Winter.</span></p> + +<p class="right italic">Lent by F. G. Orchar, Esq.</p> + +<p>"With the exception, perhaps, of one of Mr. Whistler's meaningless +canvases, there is nothing that is actually provocative of undue mirth +or ridicule."</p> + +<p class="right italic">City Press.</p> + +<p>"In some of the Nocturnes the absence, not only of definition, but of +gradation, would point to the conclusion that they are but engaging +sketches. In them we <span class="pagenum"><a id="page298" name="page298"></a>(p. 298)</span> look in vain for all the delicate +differences of light and hue which the scenes depicted present."</p> + +<p class="right italic">F. Wedmore, "Four Masters of Etching."</p> + +<p class="p2 center">2.—SYMPHONY IN WHITE, No. III.</p> + +<p class="right"><span class="italic">Lent by Louis Huth, Esq.</span></p> + +<p>"It is not precisely a symphony in white—one lady has a yellowish +dress and brown hair and a bit of blue ribbon, the other has a red +fan, and there are flowers and green leaves. There is a girl in white +on a white sofa, but even this girl has reddish hair; and of course +there is the flesh colour of the complexions."</p> + +<p class="right italic">P. G. Hamerton, "Saturday Review."</p> + +<p>"Mr. Whistler appears as eccentrically as ever.... Art is not served +by freaks of resentment.... We hold him deeply to blame that these +figures are badly drawn.</p> + +<p>"... 'Taste,' which is mind working in Art, would, even if it could at +all conceive them, utterly reject the vulgarities of Mr. Whistler with +regard to form, and never be content with what suffices him in +composition."—<span class="italic">Athenæum.</span></p> + +<p>"Painting, or art generally, as such, with all its technicalities, +difficulties, and particular ends, is nothing but <span class="pagenum"><a id="page299" name="page299"></a>(p. 299)</span> a noble +and expressive language, invaluable as the vehicle of thought, but by +itself nothing."</p> + +<p class="right italic"><span class="right3em">John Ruskin, Esq., Art Professor,</span><br> +"Modern Painters."</p> + +<p class="p2 center">3.—CHELSEA IN ICE.</p> + +<p class="right italic">Lent by Madame Venturi.</p> + +<p>"We are not sure but that it would be something like insult to our +readers to say more about these 'things.' They must surely be meant in +jest; but whether the public have chiefly to thank Mr. Whistler or the +Managers of the Grosvenor Gallery for playing off on them this sorry +joke we do not know, nor greatly care. <span class="italic">Meliora +canamus!</span>"—<span class="italic">Knowledge.</span></p> + +<p class="p2 center">4.—NOCTURNE.</p> + +<p class="center smcap">Blue and Gold—Old Battersea Bridge.</p> + +<p class="right italic">Lent by Robert H. C. Harrison, Esq.</p> + +<p>"His Nocturne in Blue and Gold, No. 3, might have been called, with a +similar confusion of terms: A Farce in Moonshine, with half-a-dozen +dots."—<span class="italic">Life.</span></p> + +<p>"The picture representing a night scene on Battersea Bridge has no +composition and detail. A day, or a day and a half, seems a reasonable +time within which <span class="pagenum"><a id="page300" name="page300"></a>(p. 300)</span> to paint it. It shows no finish—it is +simply a sketch."</p> + +<p class="right italic"><span class="right3em">Mr. Jones, R.A.—Evidence in Court,</span><br> +Nov. 16, 1878.</p> + +<p class="p2 center">5.—THE LANGE LEIZEN—OF THE SIX MARKS.</p> + +<p class="center smcap">Purple and Rose.</p> + +<p class="right italic">Lent by J. Leathart.</p> + +<p>"Mr. Whistler paints subjects sadly below the merit of his +pencil."—<span class="italic">London Review.</span></p> + +<p>"A worse specimen of humanity than could be found on the oldest piece +of china in existence."</p> + +<p class="right italic">Reader.</p> + +<p>"The hideous forms we find in his Chinese vase painteress ... an +ostentatious slovenliness of execution ... objects as much out of +perspective as the great blue vase in the foreground, <span class="italic">&c.</span> ... +<span class="italic">&c.</span>...</p> + +<p>"It is Mr. Whistler's way to choose people and things for painting +which other painters would turn from, and to combine these oddly +chosen materials as no other painter would choose to combine them. He +should learn that eccentricity is not originality, but the caricature +of it."—<span class="italic">Times.</span></p> + +<p class="p2 center">6.—NOCTURNE. <span class="pagenum"><a id="page301" name="page301"></a>(p. 301)</span></p> + +<p class="center smcap">Trafalgar Square—Snow.</p> + +<p class="right italic">Lent by Albert Moore, Esq.</p> + +<p>"The word 'impressionist' has come to have a bad meaning in art. +Visions of Whistler come before you when you hear it. Such visions are +not of the best possible augury, for who loves a nightmare?"</p> + +<p class="right italic">Oracle.</p> + +<p>"Like the landscape art of Japan, they are harmonious decorations, and +a dozen or so of such engaging sketches placed in the upper panels of +a lofty apartment would afford a justifiable and welcome alternative +even to noble tapestries or Morris wallpapers."—<span class="italic">F. Wedmore, "Four +Masters of Etching."</span></p> + +<p class="p2 center">7.—NOCTURNE—BLACK AND GOLD.</p> + +<p class="center smcap">The Fire Wheel.</p> + +<p>"Mr. Whistler has 'a sweet little isle of his own' in the shape of an +ample allowance of wall space all to himself for the display of his +six most noticeable works: 'Nocturnes' in black and gold, in blue and +silver, 'Arrangements' in black and brown, and 'Harmonies' in amber +and black.</p> + +<p>"These weird productions—enigmas sometimes so occult <span class="pagenum"><a id="page302" name="page302"></a>(p. 302)</span> that +Œdipus might be puzzled to solve them—need much subtle +explanation."—<span class="italic">Daily Telegraph.</span></p> + +<p class="p2 center">8.—ARRANGEMENT IN BLACK AND BROWN.</p> + +<p class="center smcap">The Fur Jacket.</p> + +<p>"Mr. Whistler has whole-length portraits, or rather the shadows of +people, shapes suggestive of good examples of portraiture <span class="italic">when +completed</span>. They are exhibited to illustrate a theory peculiar to the +artist. One is entitled An Arrangement in 'Black and Brown.'"—<span class="italic">Daily +Telegraph.</span></p> + +<p>"Mr. Whistler is anything but a robust and balanced genius."—<span class="italic">Times.</span></p> + +<p>"Whistler, with three portraits which he is pleased to call +'Arrangements,' and which look like ghosts."</p> + +<p class="right italic">Truth.</p> + +<p>"Some figure pieces, which this artist exhibits as 'harmonies' in +this, that, or the other, being, as they are, mere rubs-in of colour, +have no claim to be regarded as pictures."—<span class="italic">Scotsman.</span></p> + +<p>"We are threatened with a Whistler exhibition. The periodical +inflictions with which this gentleman tries the patience of a +long-suffering public generally take <span class="pagenum"><a id="page303" name="page303"></a>(p. 303)</span> some fantastic form to +attract attention. It is an evidence of the painter's worldly +acuteness that this should be so, for public attention may be drawn by +such outbursts of eccentricity to such work as would never impress +sensible people on its bare merit."—<span class="italic">Oracle.</span></p> + +<p class="p2 center">9.—NOCTURNE.</p> + +<p class="center smcap">Blue and Silver.</p> + +<p class="right italic">Lent by Mrs. Leyland.</p> + +<p>"It seems to us a pity that an artist of Mr. Whistler's known ability +should exhibit such an extraordinary collection of pictile +nightmares."—<span class="italic">Society.</span></p> + +<p class="p2">"<span class="smcap">Mr. Bowen:</span> 'Do you consider detail and composition essential to a +work of art?'</p> + +<p>"<span class="smcap">Mr. Jones:</span> 'Most certainly I do.'</p> + +<p>"<span class="smcap">Mr. Bowen:</span> 'Then what detail and composition do you find in this +"Nocturne"?'</p> + +<p>"<span class="smcap">Mr. Jones:</span> 'Absolutely none.'</p> + +<p>"<span class="smcap">Mr. Bowen:</span> 'Do you think two hundred guineas a large price for that +picture?'</p> + +<p>"<span class="smcap">Mr. Jones:</span> 'Yes, when you think of the amount of earnest work done +for a smaller sum.'"</p> + +<p class="right italic"><span class="right3em">Evidence of Mr. Jones, R.A.,</span><br> +Westminster, Nov. 16, 1878.</p> + +<p class="p2 center">10.—NOCTURNE. <span class="pagenum"><a id="page304" name="page304"></a>(p. 304)</span></p> + +<p class="center smcap">In Black and Gold—The Falling Rocket.</p> + +<p>"A dark bluish surface, with dots on it, and the faintest adumbrations +of shape under the darkness, is gravely called a Nocturne in Black and +Gold."</p> + +<p class="right italic">Knowledge.</p> + +<p>"His Nocturne, black and gold, 'The Falling Rocket,' shows such wilful +and headlong perversity that one is almost disposed to despair of an +artist who, in a sane moment [<span class="italic">sic</span>], could send such a daub to any +exhibition."—<span class="italic">Telegraph.</span></p> + +<p>"For Mr. Whistler's own sake, 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 +approached the aspect of wilful imposture. I have seen, and heard, +much of cockney impudence before now, but never expected to hear a +coxcomb ask two hundred guineas for flinging a pot of paint in the +public's face."</p> + +<p class="right italic"><span class="right3em">Professor John Ruskin,</span><br> +July 2, 1877.</p> + +<p>"The 'Nocturne in black and gold' is not a serious work to me."</p> + +<p class="right italic"><span class="right3em">Mr. Firth, R.A.—Evidence at Westminster,</span><br> +Nov. 16, 1878.</p> + +<p>"The <span class="pagenum"><a id="page305" name="page305"></a>(p. 305)</span> 'Nocturne in black and gold,' I do not think a serious +work of art."</p> + +<p class="right italic"><span class="right3em">The Art Critic of the "Times."</span><br> +Evidence at Westminster, Nov. 16, 1878.</p> + +<p>"The Nocturne in black and gold has not the merit of the other two +pictures, and it would be impossible to call it a serious work of art. +Mr. Whistler's picture is only one of the thousand failures to paint +night. The picture is not worth two hundred guineas."</p> + +<p class="right italic"><span class="right3em">Evidence of Mr. Jones, R.A.</span><br> +Westminster, Nov. 16, 1878.</p> + +<p class="p2 center">11.—NOCTURNE—OPAL AND SILVER.</p> + +<p class="right italic">Lent by H. Theobald, Esq.</p> + +<p>"With what feelings must we regard the mad new style, the Nocturnes in +'Blue and Silver,' the Harmonies in Flesh-colour and Pink, the Notes +in Blue and Opal."—<span class="italic">Knowledge.</span></p> + +<p>"The blue and black smudges which purport to depict the 'Thames at +Night.'"—<span class="italic">Life.</span></p> + +<p class="p2 center">12.—HARMONY <span class="pagenum"><a id="page306" name="page306"></a>(p. 306)</span> IN GREEN AND ROSE.</p> + +<p class="center smcap">The Music Room.</p> + +<p class="right italic">Lent by Madame Reveillon.</p> + +<p>"He paints in soot-colours and mud-colours, but, far from enjoying +primary hues, has little or no perception of the loveliness of +secondary or tertiary colour."—<span class="italic">Merrie England.</span></p> + +<p class="p2 center">13.—CREPUSCULE IN FLESH COLOUR AND GREEN.</p> + +<p class="center smcap">Valparaiso.</p> + +<p class="right italic">Lent by Graham Robertson, Esq.</p> + +<p>"Now, the best achievement of The Impressionist School, to which Mr. +Whistler belongs [<span class="italic">sic</span>], is the rendering of air—not air made +palpable and comparatively easy to paint, by fog—but atmosphere which +is the medium of light."—<span class="italic">Merrie England.</span></p> + +<p class="p2 center">14.—CAPRICE IN PURPLE AND GOLD.</p> + +<p class="center smcap">The Gold Screen.</p> + +<p class="right italic">Lent by Cyril Flower, Esq., M.P.</p> + +<p>"I take it to be admitted by those who do not conclude that art is +necessarily great which has the misfortune to be unacceptable, that it +is not by his paintings so much as by his etchings that Mr. Whistler's +name may aspire to live."—<span class="italic">F. Wedmore.</span></p> + +<p class="p2 center">15.—SYMPHONY <span class="pagenum"><a id="page307" name="page307"></a>(p. 307)</span> IN GREY AND GREEN.</p> + +<p class="center smcap">The Ocean.</p> + +<p class="right italic">Lent by Mrs. Peter Taylor.</p> + +<p>"In Mr. Whistler's picture, 'Symphony in Grey and Green: The Ocean,' +the composition is ugly, the sky opaque, the suggestion of sea leaden +and without light or motion."—<span class="italic">Times.</span></p> + +<p>"Mr. Whistler continues these experiments in colour which are now +known as 'Symphonies.' It may be questioned whether these performances +are to be highly valued, except as feats accomplished under needless +and self-imposed restrictions—much as writing achieved by the feet of +a penman who has not been deprived of the use of his +hands."—<span class="italic">Graphic.</span></p> + +<p class="sidenoteright"> +<img src="images/img117_p326.jpg" width="110" height="90" alt="Butterfly" title=""></p> + +<p class="quote"> + "We can paint a cat or a fiddle, so that they look as if we could + take them up; but we cannot imitate the Ocean or the Alps. We can + imitate fruit, but not a tree; flowers, but not a pasture; + cut-glass, but not the rainbow."—<span class="italic">John Ruskin, Esq., Teacher of + Art.</span></p> + +<p class="p2 center">16.—NOCTURNE.</p> + +<p class="center smcap">Grey and Gold—Chelsea Snow.</p> + +<p class="right italic">Lent by Alfred Chapman, Esq.</p> + +<p>"Mr. Whistler sends two of his studies of moonlight, in which form is +eschewed for harmonies of 'Grey <span class="pagenum"><a id="page308" name="page308"></a>(p. 308)</span> and Gold' and 'Blue and +Silver;' and which, for the crowd of exhibition visitors, resolve +themselves into riddles or mystifications.... In a word, painting to +Mr. Whistler is the exact correlative of music, as vague, as purely +emotional, as released from all functions of representation.</p> + +<p>"He is really building up art out of his own imperfections [<span class="italic">sic!</span>] +instead of setting himself to supply them."—<span class="italic">Times.</span></p> + +<p class="p2 center">17.—NOCTURNE.</p> + +<p class="center smcap">Blue and Silver—Battersea Reach.</p> + +<p class="right italic">Lent by W. G. Rawlinson, Esq.</p> + +<p>"J. M. Whistler is here again with his nocturnes."</p> + +<p class="right italic">Scotsman.</p> + +<p class="p2 center">18.—NOCTURNE.</p> + +<p class="center smcap">Blue and Silver—Chelsea.</p> + +<p class="right italic">Lent by W. C. Alexander, Esq.</p> + +<p>"Mr. Whistler confines himself to two small canvases of the nocturne +kind. One is covered with smudgy blue and the other with dirty black."</p> + +<p class="right italic">Saturday Review.</p> +*/ + +<p>"A reputation, for a time, imperilled by original absurdity"—<span class="italic">F. +Wedmore, "Academy."</span></p> + +<p>"I <span class="pagenum"><a id="page309" name="page309"></a>(p. 309)</span> think Mr. Wedmore takes the Nocturnes and Arrangements too +seriously. They are merely first beginnings of pictures, differing +from ordinary first beginnings in having no composition. The great +originality was in venturing to exhibit them."</p> + +<p class="right italic">P. G. Hamerton, "Academy."</p> + +<p class="p2 center">19.—NOCTURNE.</p> + +<p class="center smcap">Grey and Gold—Westminster Bridge.</p> + +<p class="right italic">Lent by the Hon. Mrs. Percy Wyndham.</p> + +<p>"Two of Mr. Whistler's 'colour symphonies'—a 'Nocturne in Blue and +Gold' and a 'Nocturne in Black and Gold.' If he did not exhibit these +as pictures under peculiar and, what seems to most people, pretentious +titles, they would be entitled to their due meed of admiration +[<span class="italic">sic!</span>]. But they only come one step nearer pictures than delicately +graduated tints on a wall-paper do.</p> + +<p>"He must not attempt, with that happy, half-humorous audacity which +all his dealings with his own works suggests, to palm off his +deficiencies upon us as manifestations of power."—<span class="italic">Daily Telegraph.</span></p> + +<p class="p2 center">20.—NOCTURNE. <span class="pagenum"><a id="page310" name="page310"></a>(p. 310)</span></p> + +<p class="center smcap">Blue and Gold—Southampton Water.</p> + +<p class="right italic">Lent by Alfred Chapman, Esq.</p> + +<p>"There is always danger that efforts of this class may degenerate into +the merely tricky and meretricious; and already a suspicion arises +that the artist's eccentricity is somewhat too premeditated and +self-conscious."—<span class="italic">Graphic.</span></p> + +<p class="p2 center">21.—BLUE AND SILVER.</p> + +<p class="center smcap">Blue Wave—Biarritz.</p> + +<p class="right italic">Lent by Gerald Potter, Esq.</p> + +<p>"Mr. Whistler is possessed of much audacity and eccentricity, and +these are useful qualities in an artist who desires to be talked +about. When he comes out into the open, and deals with daylight, we +find these studies to be only the first washes of pictures. He leaves +off where other artists begin. He shirks all the difficulties ahead, +and asks the spectator to complete the picture himself."—<span class="italic">Daily +Telegraph.</span></p> + +<p>"The absence, seemingly, of any power, such as the great marine +painters had, of drawing forms of water, whether in a broad and +wind-swept tidal river or on the high seas...."</p> + +<p class="left50 italic">F. Wedmore,</p> +<p class="p0 right italic">"Nineteenth Century."</p> + +<p class="p2 center">22.—ARRANGEMENT <span class="pagenum"><a id="page311" name="page311"></a>(p. 311)</span> IN BLACK AND BROWN.</p> + +<p class="center smcap">Miss Rosa Corder.</p> + +<p class="right italic">Lent by Graham Robertson, Esq.</p> + +<p>"It is bad enough, in all conscience, to be caricatured by the gifted +pencil and brushes of the admirable Whistler; and it is surely adding +insult to injury to describe the victims and sufferers as +'Arrangements.' With regard to Mr. Whistler's Symphonies, Harmonies, +and so on, we will relate a parable. Here it is:—A lively young +donkey sang a sweet love song to the dawn, and so disturbed all the +neighbourhood, that the neighbours went to the donkey and begged him +to desist. He continued his braying for some time, and then ended with +what appeared, to his own ears, a flourish of surpassing brilliancy.</p> + +<p>"Will you be good enough to give over that hideous noise?" said the +neighbours.</p> + +<p>"'Good Olympus!' said the donkey, 'did you say hideous noise? Why, +that is a "Symphony," which means a concord of sweet sounds, as you +may see by referring to any dictionary.'</p> + +<p>"'But,' said the neighbours, 'we do <span class="italic">not</span> think that "Symphony" is the +word to describe your performance. "Cacophony" would be more correct, +and that means "a bad set of sounds."'</p> + +<p>"'How <span class="pagenum"><a id="page312" name="page312"></a>(p. 312)</span> absurdly you talk!' said the donkey. 'I will refer it +to my fellow-asses, and let them decide.'</p> + +<p>"The donkeys decided that the young donkey's song was a most +symphonious and harmonious, sweet song; so he continues to bray as +melodiously as ever. There is, we believe, a moral to this parable, if +we only knew what it was. Perhaps the piercing eye of the '<span class="italic">Nocturnal</span> +Whistler' may find it out."—<span class="italic">Echo.</span></p> + +<p>"Miss Rosa Corder, and Mr. H. Irving as Philip, are two large blotches +of dark canvas. When I have time I am going again to find out which is +Rose and which is Irving.</p> + +<p>"The rest of the collection is marred by the impatience which has +prevented his achieving any finished work of Art."—<span class="italic">Weekly Press.</span></p> + +<p class="p2 center">23.—"HARMONY IN GREY AND GREEN."</p> + +<p class="center smcap">Portrait of Miss Alexander.</p> + +<p class="right italic">Lent by W. Alexander, Esq.</p> + +<p>"A sketch of Miss Alexander, in which much must be +imagined."—<span class="italic">Standard.</span></p> + +<p>"There is character in it, but it is unpleasant character. Of anything +like real flesh tones the painting is quite innocent."—<span class="italic">Builder.</span></p> + +<p>"But <span class="pagenum"><a id="page313" name="page313"></a>(p. 313)</span> what can we say of Mr. Whistler? His portrait of Miss +Alexander is certainly one of the strangest and most eccentric +specimens of Portraiture we ever saw. If we were unacquainted with his +singular theories of Art, we should imagine he had merely made a +sketch and left it, before the colours were dry, in a room where +chimney-sweeps were at work.... Nobody who sets any value upon the +roses and lilies that adorn the cheeks of our blooming girls can +accept such murky tints as these as representative of a young English +lady"—<span class="italic">Era.</span></p> + +<p>"It is simply a disagreeable presentment of a disagreeable young +lady."—<span class="italic">Liverpool Weekly Mercury.</span></p> + +<p>"Mr. Whistler again appears on the walls with a characteristic +full-length life-size portrait of a girl, Miss Alexander.</p> + +<p>"This work is devoid of colour, being arranged in Black and White and +intermediate tones of grey. The general effect is dismal in the +extreme, and one cannot but wonder how an artist of undoubted talent +should wilfully persist in such perversities of judgment."—<span class="italic">Western +Daily Mercury.</span></p> + +<p>"Miss Alexander, almost in Black and White, and about the most +unattractive piece of work in the Galleries."—<span class="italic">Edinburgh Daily +Review.</span></p> + +<p>"A <span class="pagenum"><a id="page314" name="page314"></a>(p. 314)</span> 'gruesomeness in Grey.'</p> + +<p>"Well, bless thee, J. Whistler! We do not hanker after your brush +system. Farewell!"—<span class="italic">Punch.</span></p> + + +<p class="p2 center">"'<span class="smcap">An Arrangement in Silver and Bile.</span>'</p> + +<p>"The artist has represented this bilious young lady as looking haughty +in a dirty white dress, a grey polonaise, bound by a grey green sash, +a grey hat, with the most unhealthy green feather; furthermore, she +wears black shoes with green bows, and stands defiantly on a grey +floor cloth, opposite a grey wall with a black dado. Two dyspeptic +butterflies hover wearily above her head in search <span class="italic">of a bit of +colour</span> ... evidently losing heart at the grey expanse around.... A +picture should charm, not depress, it should tend to elevate our +thoughts!"—<span class="italic">Society.</span></p> + +<p>"This picture represents a child of ten, and is called a harmony in +grey and green, but the prevailing tone is a rather unpleasant yellow, +and the complexion of the face is wholly unchildlike."—<span class="italic">Echo.</span></p> + +<p>"A large etching in oil, a 'Rhapsody in Raw Child and Cobwebs,' by Mr. +Whistler."—<span class="italic">Artist.</span></p> + +<p>"Mr. Whistler is as spectral as ever in an unattractive portrait of an +awkward little girl, happily not rendered additionally ridiculous by a +musical title."</p> + +<p class="right italic">Bedford Observer.</p> + +<p>"Flattery <span class="pagenum"><a id="page315" name="page315"></a>(p. 315)</span> is objectionable in art as elsewhere, but some +portrait painters seem to find it impossible to tell the truth without +being rude."—<span class="italic">Academy.</span></p> + +<p>"Mr. Whistler has a portrait of a young lady that excites absolute +astonishment.</p> + +<p>"What charm can there be in such colours as these? What effect do they +produce which would not have been better by warmer and less repulsive +tints?"</p> + +<p class="right italic">Leeds Mercury.</p> + +<p>"Mr. Whistler's single contribution is a child's portrait, posed and +painted in a rather distant, if obsequious, imitation of the manner of +Velasquez, the great difference being that whereas the Spaniard's work +is most remarkable for supreme distinction, the present portrait is +uncompromisingly vulgar."</p> + +<p class="right italic">Magazine of Art.</p> + +<p class="p2 center">24.—NOCTURNE.</p> + +<p class="center smcap">Blue and Silver—Bognor.</p> + +<p class="right italic">Lent by Alfred Chapman, Esq.</p> + +<p>"We protest against those foppish airs and affectations by which Mr. +Whistler impresses on us his contempt of public opinion. In landscape +he contributes what he persists in calling a Nocturne in 'Blue and +Silver,' <span class="pagenum"><a id="page316" name="page316"></a>(p. 316)</span> and a Nocturne in 'Black and Gold' which is a mere +insult to the intelligence of his admirers. It is very difficult to +believe that Mr. Whistler is not openly laughing at us."—<span class="italic">Pall Mall +Gazette.</span></p> + +<p class="p2 center">25.—NOCTURNE.</p> + +<p class="center smcap">Battersea Reach.</p> + +<p class="right italic">Lent by Alfred Chapman, Esq.</p> + +<p>"Under the same roof with Mr. Whistler's strange productions is the +collection of animal paintings done by various artists for the +proprietors of the <span class="italic">Graphic</span>, and very refreshing it is to turn into +this agreeably lighted room and rest on comfortable settees whilst +looking at 'Mother Hubbard's Dog,' or the sweet little pussy cats in +the 'Happy Family.'"</p> + +<p class="right italic">Liverpool Courier.</p> + +<p>"A few smears of colour, such as a painter might make in cleaning his +paint brushes, and which, neither near at hand nor far off, neither +from one side nor from the other, nor from in front, do more than +vaguely suggest a shore and bay, was described as a Note in Blue and +Brown.... One who found these pictures other than insults to his +artistic sense could never be reached by reasoning."—<span class="italic">Knowledge.</span></p> + +<p class="p2 center">26.—GREEN <span class="pagenum"><a id="page317" name="page317"></a>(p. 317)</span> AND GREY.</p> + +<p class="center smcap">Channel.</p> + +<p class="right italic">Lent by Alfred Chapman, Esq.</p> + +<p class="p2 center">27.—PINK AND GREY.</p> + +<p class="center smcap">Chelsea.</p> + +<p class="right italic">Lent by Cyril Flower, Esq., M.P.</p> + +<p>"... of the insolent madness of that school of which Mr. Whistler is +the most peccant—we wish we could say the +only—representative."—<span class="italic">Knowledge.</span></p> + +<p class="p2 center">28.—NOCTURNE.</p> + +<p class="center smcap">Blue and Gold—Valparaiso.</p> + +<p class="right italic">Lent by Alexander Ionides, Esq.</p> + +<p>"'A Nocturne' or two by Mr. Whistler—and here we have it in the usual +style—a daub of blue and a spot or two of yellow to illustrate ships +at sea on a dark night, and a splash and splutter of brightness on a +black ground to depict a display of fireworks."</p> + +<p class="right italic">Norwich Argus.</p> + +<p class="p2 center">29.—GREEN <span class="pagenum"><a id="page318" name="page318"></a>(p. 318)</span> AND GREY.</p> + +<p class="center smcap">The Oyster Smacks—Evening.</p> + +<p class="right italic">Lent by Alexander Ionides, Esq.</p> + +<p>"Other people paint localities; Mr. Whistler makes artistic +experiments."—<span class="italic">Academy.</span></p> + +<p class="p2 center">30.—GREY AND BLACK.</p> + +<p class="center smcap">Sketch.</p> + +<p class="right italic">Lent by Alexander Ionides, Esq.</p> + +<p class="p2 center">31.—BROWN AND SILVER.</p> + +<p class="center smcap">Old Battersea Bridge.</p> + +<p class="right italic">Lent by Alexander Ionides, Esq.</p> + +<p>"Nor can I imagine any one acquainted with Mr. Whistler's works +speaking of any of them as 'completed.'"—<span class="italic">Letter to "Pall Mall."</span></p> + +<p class="p2 center">32.—NOCTURNE.</p> + +<p class="center smcap">Black and Gold.</p> + +<p class="p2 center">33.—SYMPHONY <span class="pagenum"><a id="page319" name="page319"></a>(p. 319)</span> IN WHITE, No. 11.</p> + +<p class="center smcap">The Little White Girl.</p> + +<p class="right italic">Lent by Gerald Potter, Esq.</p> + +<p>"Another picture, 'The Little White Girl' was exhibited about the same +time, containing the germ of that paradoxical Whistlerian humour +lately so fully exemplified in various places about London. It was +called 'A Little White Girl' in the catalogue, and yet its colour +generally was grimy grey."—<span class="italic">London.</span></p> + +<p>"The white girl was standing at the side of a mirror where the laws of +incidence and refraction would unfortunately not permit her to see her +own beauty."</p> + +<p class="right italic">Merrie England.</p> + +<p class="p2 center">34.—NOCTURNE.</p> + +<p class="center smcap">Blue and Silver—Cremorne Lights.</p> + +<p class="right italic">Lent by Gerald Potter, Esq.</p> + +<p>"I have expressed, and still adhere to the opinion, that these +pictures only come one step nearer than a delicately tinted wall +paper."</p> + +<p class="right italic"> + <span class="right3em">The Art Critic of the "Times"</span><br> +Evidence at Westminster, Nov. 16, 1878.</p> + +<p>"Paintings, like some of the 'Nocturnes' and some of the +'Arrangements,' are defended only by a generous <span class="pagenum"><a id="page320" name="page320"></a>(p. 320)</span> +self-deception, when it is urged for them that they will be famous +to-morrow because they are not famous to-day."</p> + +<p class="left50 italic">Mr. Wedmore,</p> +<p class="right italic">"Nineteenth Century."</p> + +<p class="p2 center">35.—GREY AND SILVER.</p> + +<p class="center smcap">Chelsea Wharf.</p> + +<p class="right italic">Lent by Gerald Potter, Esq.</p> + +<p class="p2 center">36.—GREY AND SILVER.</p> + +<p class="center smcap">Old Battersea Reach.</p> + +<p class="right italic">Lent by Madame Coronio.</p> + +<p class="p2 center">37.—BLUE AND SILVER.</p> + +<p>"He has no atmosphere and no light. Instead of air he studies various +kinds of fog—and his 'values' are the relative powers of darkness, +not of light. He never paints a sky."—<span class="italic">Merrie England.</span></p> + +<p class="p2 center">38.—NOCTURNE.</p> + +<p class="center italic">Blue and Gold—St. Mark's, Venice.</p> + +<p class="right italic">Lent by Monsieur Gallimard.</p> + +<p class="quote"> + "The mannerism of Canaletto is the most degraded that I know in + the whole range of art....</p> + +<p class="quote">"... It gives no one single architectural ornament, however + near—so <span class="pagenum"><a id="page321" name="page321"></a>(p. 321)</span> much form as might enable us even to guess at + its actual one; and this I say not rashly, for I shall prove it + by placing portions of detail accurately copied from Canaletto + side by side with engravings from the daguerreotype.</p> + +<p class="quote"> +<span class="sidenoteright"> +<img src="images/img118_p340.jpg" width="60" height="62" alt="Butterfly" title=""></span> +"... There is <span class="italic">no</span> stone drawing, <span class="italic">no</span> vitality of architecture + like Prout's."—<span class="italic">Prof. Ruskin, Art Teacher.</span></p> + +<p>"In Mr. Whistler's productions one might safely say that there is no +culture."—<span class="italic">Athenæum.</span></p> + +<p>"Imagine a man of genius following in the wake of +Whistler!"—<span class="italic">Oracle.</span></p> + +<p>"The measure of originality has at times been overrated through the +innocent error of the budding amateur, who in the earlier stage of his +enlightenment confuses the beginning with the end, accepts the +intention for the adequate fulfilment, and exalts an adroit sketch +into the rank of a permanent picture."</p> + +<p class="right italic">F. Wedmore, "Four Masters of Etching."</p> + +<p class="p2 center">39.—CREPUSCULE IN OPAL.</p> + +<p class="right italic">Lent by Fred. Jameson, Esq.</p> + +<p>"Mr. Whistler is eminently an 'Impressionist.' The final business of +art is not with 'impressions.' We want not 'impressionists' but +'expressionists,' men who can say what they mean because they know +what they have heard. [<span class="italic">Sic!</span>]</p> + +<p>"We <span class="pagenum"><a id="page322" name="page322"></a>(p. 322)</span> want not always the blotches and misty suggestions of the +impressionist, <span class="italic">&c.</span>"—<span class="italic">Artist.</span></p> + +<p class="p2 center">40.—HARMONY IN FLESH COLOUR AND GREEN.</p> + +<p class="center smcap">The Balcony.</p> + +<p class="right italic">Lent by John Cavafy, Esq., M.D.</p> + +<p>"It is perhaps a little difficult for any critic to be quite +absolutely just to Mr. Whistler at present, on account of his +eccentricities and his apparent determination to make us forget the +qualities of the artist in our amusement at the freaks and fancies of +the man."—<span class="italic">P. G. Hamerton, in the "Academy."</span></p> + +<p>"<span class="italic">A Variation in Flesh Colour and Green.</span> The damsels—they were not +altogether meritorious. The draughtsmanship displayed in them was +anything but 'searching.'"—<span class="italic">F. Wedmore.</span></p> + +<p>"At about the same time the artist exhibited other sketches (we ask +indulgence for the word) of a like character, notes of impressions of +white dresses, furniture, balconies, and incidental faces and +figures."</p> + +<p class="right italic">Merrie England.</p> + +<p>"The 'evolution principle' has been visibly in operation for a dozen +years or so in the successive Whistlers put before the public during +that time. First of all <span class="pagenum"><a id="page323" name="page323"></a>(p. 323)</span> we remember pictures of ladies pale +and attenuate poring with tender interest over vermilion scarfs. The +taint of realism was on them, but even in them were hints of the +pensive humour that was to fetch mankind in the well-known +'arrangements' at a later time. A good deal was left to the +spectator's imagination even in them."—<span class="italic">London.</span></p> + +<p>"We note his predilections for dinginess and dirt."</p> + +<p class="right italic">Weekly Press.</p> + +<p class="p2 center">41.—ARRANGEMENT IN BLACK.</p> + +<p class="center smcap">La Dame au Brodequin Jaune.</p> + +<p>"All these pictures strike us alike.</p> + +<p>"They seem like half-materialised ghosts at a spiritualistic <span class="italic">séance</span>. +I cannot help wondering when they will gain substance and appear more +clearly out of their environing fog, or when they will melt altogether +from my attentive gaze."—<span class="italic">Echo.</span></p> + +<p>"He has placed one of his portraits on an asphalte floor and against a +coal-black background, the whole apparently representing a dressy +woman in an <span class="italic">inferno</span> of the worldly."—<span class="italic">Merrie England.</span></p> + +<p>"Mr. Whistler has a capricious rendering of a lady dressed in black, +in a black recess, on a dark green floor. She is turning affectedly +half-round towards the <span class="pagenum"><a id="page324" name="page324"></a>(p. 324)</span> spectator as she buttons the <span class="italic">gant de +suède</span> upon her left hand, <span class="italic">&c.</span> <span class="italic">&c.</span> Its obvious affectations render +the work displeasing."—<span class="italic">Morning Advertiser.</span></p> + +<p class="p2 center">42.—ARRANGEMENT IN GREY AND BLACK.</p> + +<p class="center smcap">Thomas Carlyle.</p> + +<p class="right italic">Lent by the Corporation of Glasgow.</p> + +<p>"The purpose of this picture is a form of hero-worship which would +certainly not have received the approbation of Carlyle.</p> + +<p>"... This very doubtful masterpiece—unhappy ratepayers of +Glasgow."—<span class="italic">Dundee Advertiser.</span></p> + +<p>"... and to have recorded on a doleful canvas the head and figure of +Carlyle...."—<span class="italic">F. Wedmore.</span></p> + +<p>"... The rugged simplicity of Mr. Carlyle ... to have painted these +things alone—however strange their mannerism or incomplete their +technique."</p> + +<p class="right italic">Nineteenth Century.</p> + +<p>"The portentous purchase by the civic authorities of Mr. Whistler's +senile Carlyle renders it necessary for that section of the community +who are not enamoured of Impressionism to watch with some vigilance +the next steps taken by that body towards the formation of the +permanent collection.</p> + +<p>"A <span class="pagenum"><a id="page325" name="page325"></a>(p. 325)</span> portrait which omits entirely to bring out the +individuality of the sitter, stands but little chance of recognition +even from immediate posterity."</p> + +<p class="right italic">Letter to "Glasgow Herald," March 4, 1892.</p> + +<p>"We cannot forget his encounter some years ago with Mr. Ruskin, nor +the contemptuous terms in which that foremost of art critics denounced +his work. It has been left to Glasgow to rectify Mr. Ruskin's blunder +in this matter, and it vindicates the merits of the American artist +over whose artistic vagaries—his nocturnes and harmonies in blue and +gold—the <span class="italic">whole press of Britain</span> made merry."</p> + +<p class="right italic">Dundee Advertiser.</p> + +<p>"There is, among portraits of great writers, Mr. Whistler's portrait +of Carlyle. It is a picture whose story is complete, whose honours +have been gathered abroad—in Paris, in Brussels, in Munich. Its +destiny has been accomplished; it belongs to the City of Glasgow, and +from the corporation of that city was borrowed for the Victorian +Exhibition. The corporation lent it in good faith; the borrowers have +treated it with all the indignity it is in their power to bestow on +it.</p> + +<p>"Could there be a better epitome of the recent history of art in +England? One work of Mr. Whistler's is <span class="pagenum"><a id="page326" name="page326"></a>(p. 326)</span> received with high +honour in the Luxembourg on its way to the Louvre; and at that very +moment another work of his, worthy to rank with the first, is hoist +with equally high disrespect to the ceiling of a gallery in +London."—<span class="italic">N. Y. Tribune, Jan. 17, 1892.</span></p> + +<p class="p2 center">43.—HARMONY IN PINK AND GREY.</p> + +<p class="center smcap">Portrait of Lady Meux.</p> + +<p class="right italic">Lent by Sir Henry Meux.</p> + +<p>"Portrait of Mrs. Meux, in which it was not so much the face as the +figure and the movement that came to be deftly suggested, if hardly +elaborately expressed."—<span class="italic">F. Wedmore.</span></p> + +<p>"All Mr. Whistler's work is unfinished. It is sketchy. He no doubt +possesses artistic qualities, and he has got appreciation of qualities +of tone; but he is not complete, and all his works are in the nature +of sketching."</p> + +<p class="right italic"><span class="right3em">The Art Critic of the "Times,"</span><br> +Evidence at Westminster, Nov. 16, 1878.</p> + +<p class="p2 center">44.—ARRANGEMENT IN GREY AND BLACK.</p> + +<p class="center smcap">Portrait of the Painter's Mother.</p> + +<p class="right italic">Photograph of Picture.</p> + +<p>"This canvas is large and much of it vacant.</p> + +<p>"A dim, cold light fills the room, where the flat, grey wall <span class="pagenum"><a id="page327" name="page327"></a>(p. 327)</span> +is only broken by a solitary picture in black and white; a piece of +foldless, creaseless, Oriental flowered crape hangs from the cornice. +And here, in this solemn chamber, sits the lady in mournful garb. The +picture has found few admirers among the thousands who seek to while +away the hours at Burlington House, and for this result the painter +has only to thank himself."—<span class="italic">Times.</span></p> + +<p>"'Arrangement in Grey and Black: Portrait of the Painter's Mother,' is +another of Mr. Whistler's experiments.</p> + +<p>"It is not a picture, and we fail to discover any <span class="italic">object</span> that the +artist can have in view in restricting himself almost entirely to +black and grey."—<span class="italic">Examiner.</span></p> + +<p>"The 'arrangement' is stiff and ugly enough to repel many."—<span class="italic">Hour.</span></p> + +<p>"Before such pictures as the full-length portraits by Mr. Whistler, +critic and spectator are alike puzzled. Criticism and admiration seem +alike impossible, and the mind vacillates between a feeling that the +artist is playing a practical joke upon the spectator, or that the +painter is suffering from some peculiar optical delusion. After all, +there are certain accepted canons about what constitutes good drawing, +good colour, and good painting, and when an artist deliberately sets +himself <span class="pagenum"><a id="page328" name="page328"></a>(p. 328)</span> to ignore or violate all of these, it is desirable +that his work should not be classed with that of ordinary +artists."—<span class="italic">Times.</span></p> + +<p class="quote left20 noident min1em"> + "He that telleth a tale to ... Carlyle's majority speaketh to one + in a slumber: when he hath told his tale he will say, What is the + matter?"</p> + +<p class="figcenter"> +<img src="images/img119_p347.jpg" width="100" height="113" alt="Butterfly" title=""></p> + +<p class="p4 center italic">RÉSUMÉ.</p> + +<p>"It is impossible to take Mr. Whistler seriously."</p> + +<p class="right italic">Advertiser.</p> + +<p>"A combination of circumstances has, within the last year or two, +brought the name and work of Mr. Whistler into special publicity....</p> + +<p>"At the Grosvenor Gallery the less desirable of his designs aroused +the inconsiderate ire of a man of genius and splendid authority.</p> + +<p>"If <span class="pagenum"><a id="page329" name="page329"></a>(p. 329)</span> it be Mr. Whistler's theory that that which all the world +of greatest artists (?) has mistaken for mere means has been in very +seriousness the end, then the aim of Art is immeasurably lowered!...</p> + +<p>"If there be anything to the point, it is to implore us to take a +stone for bread, and the grammar of a language in place of its +literature.</p> + +<p>"Mr. Whistler has assumed that it is only the painter who is occupied +with art.... Unless he is a very exceptional man.... If he is not of +the school of Fulham, he is of the school of Holland Park, or of the +Grove End Road.</p> + +<p>"Has he, like Mr. Ruskin, devoted thirty years of a poet's life to the +Galleries of Europe?</p> + +<p>"Has he, like Diderot, inquired curiously into the meaning and message +of this thing and that? And <span class="italic">appreciating Greuze</span>, been able to +<span class="italic">appreciate Chardin</span>?(!!)"</p> + +<p class="right italic"><span class="right3em">Mr. Wedmore,</span><br> +"Nineteenth Century."</p> + +<p class="p2">"Mr. Ruskin's whole body of doctrine, from the very young days, in +which he took the duty of teacher, on to his old age, was contradicted +by Mr. Whistler's pictures."—<span class="italic">Merrie England.</span></p> + +<p>"In <span class="pagenum"><a id="page330" name="page330"></a>(p. 330)</span> painting, his success is infrequent, and it is limited.</p> + +<p>"In painting, Mr. Whistler is an impressionist. His best painting +betrays something of that almost modern sensitiveness to pleasurable +juxtapositions of delicate colour which we admire in Orchardson, in +Linton (<span class="italic">sic!</span>), and in Albert Moore; it betrays, sometimes, as in a +portrait of Miss Alexander, a deftness of brushwork in the wave of a +feather, in the curve of a hat ... and of high art qualities it +betrays not much besides.</p> + +<p>"It is true that the originality of his painted work is somewhat apt +to be dependent on the innocent error that confuses the beginning with +the end, accepts the intention for the execution, and exalts an adroit +sketch into the rank of a permanent picture."</p> + +<p class="right italic">F. Wedmore, "Four Masters of Etching."</p> + +<p class="p2">"I think Mr. Whistler had great powers at first, which he has not +since justified."</p> + +<p class="left30"><span class="italic">Mr. Jones, R.A.<br> +<span class="left10">Evidence in Court, Nov. 16, 1878.</span></span></p> + +<p class="p2">"The right time and the right place for the conspicuousness of an +Impressionist were undoubtedly England, and the moment when Mr. +Whistler rose up and astonished her.</p> + +<p>"In <span class="pagenum"><a id="page331" name="page331"></a>(p. 331)</span> Paris he was one of many, though he would be at peace in +France, that peace would not be unattended with a certain comparative +obscurity.</p> + +<p>"Inconspicuous solitude would not have had the same charms for +him."—<span class="italic">Merrie England.</span></p> + +<p class="p2">"Au musée du Luxembourg, vient d'être placé, de <span class="smcap">M. Whistler</span>, le +splendide <span class="italic">Portrait de Mme Whistler mère</span>, une œuvre destinée à +l'éternité des admirations, une œuvre sur laquelle la consécration +des siècles semble avoir mis la patine d'un Rembrandt, d'un Titien ou +d'un Velasquez."—<span class="italic">Chronique des Beaux-Arts.</span></p> + +<p class="p4 center">MORAL.</p> + +<p class="quote left20 noindent min1em">"Modern <span class="italic">British</span> (!) art will now be represented in the National + Gallery of the Luxembourg by one of the finest paintings due to + the brush of an <span class="italic">English</span> (!) artist, namely, Mr. Whistler's + portrait of his mother."—<span class="italic">Illustrated London News.</span></p> + +<p class="figcenter"> +<img src="images/img120_p350.jpg" width="60" height="65" alt="Butterfly" title=""></p> + +<h3 class="italic">A <span class="pagenum"><a id="page332" name="page332"></a>(p. 332)</span> Zealous Inquirer</h3> + +<p>"A brown-paper covered catalogue ... compiled by Mr. Whistler....</p> + +<p class="sidenoteleft"><span class="italic">The World</span>, Mar. 23, 1892.</p> + +<p>"Several opinions (and his 'evidence at Westminster') are quoted of +'Mr Jones, R.A.,' in the year 1878. Who is Mr. Jones, R.A.? Mr. Jones, +R.A. (of whom the Duke of Wellington—but no matter...), died in 1869. +Mr Burne-Jones was not elected an A.R.A. until 1885. I am afraid I +expose myself, but I still venture to ask, who is 'Mr Jones, R.A.'?"</p> + +<h3 class="italic">Final <span class="pagenum"><a id="page333" name="page333"></a>(p. 333)</span> Acknowledgments</h3> + +<p>Atlas,—Your correspondent proposes that "Mr. Jones, R.A." is not +R.A.—but <span class="italic">A.</span>R.A.</p> + +<p class="sidenoteright"><span class="italic">The World</span>, Mar. 30, 1892.</p> + +<p><span class="italic">You</span> know these things, Atlas—perhaps he is right, and curiously +microscopic—for surely here we have "a difference without a +distinction!"</p> + +<p>However, R.A. or A.R.A., and, in my opinion he deserves to be both, I +personally owe Mr. Jones a friendly gratitude which I am pleased to +acknowledge; for rare indeed is the courage with which, on the first +public occasion, he sacrificed himself, in the face of all-astounded +etiquette, and future possible ridicule, in order to help write the +history of another.</p> + +<p>These things we like to remember, Atlas, you and I—the bright things, +the droll things, the charming things of this pleasant life—and here, +too, in this lovely land they are understood—and keenly appreciated.</p> + +<p>As to those others—alas! I am afraid we have done <span class="pagenum"><a id="page334" name="page334"></a>(p. 334)</span> with +them. It was our amusement to convict—they thought we cared to +convince!</p> + +<p><span class="italic">Allons!</span> They have served our wicked purpose—Atlas, we "collect" no +more.</p> + +<p class="center quote">"<span class="italic">Autres gens, autres mœurs.</span>"</p> + +<p class="smaller"><span class="smcap">Paris</span>, <span class="italic">March 26, 1892</span>.</p> + +<p class="figcenter"> +<img src="images/img121_p354.jpg" width="300" height="260" alt="Butterfly" title=""></p> + +<span class="pagenum"><a id="page335" name="page335"></a>(p. 335)</span> +<p class="p4 center italic">FINIS</p> + + +<h3><span class="italic">INDEX</span> <span class="pagenum"><a id="page337" name="page337"></a>(p. 337)</span></h3> + + +<p class="index"><span class="italic">Action, The</span>, +<a href="#page002">2</a><br> + + <span class="italic">Admission, An</span>, +<a href="#page071">71</a><br> + + <span class="italic">Advanced Critic, An</span>, +<a href="#page244">244</a><br> + + <span class="italic">Advantage of Explanation, The</span>, +<a href="#page245">245</a><br> + + <span class="italic">Another Poacher in the Chelsea Preserves</span>, +<a href="#page233">233</a><br> + + <span class="italic">Apology, An</span>, +<a href="#page107">107</a><br> + + <span class="italic">Apostasy, An</span>, +<a href="#page250">250</a><br> + + <span class="italic">'Arry in the Grosvenor</span>, +<a href="#page072">72</a><br> + + <span class="italic">Art Critic of the "Times," The</span>, +<a href="#page035">35</a><br> + + <span class="italic">Art Critic's Friend, The</span>, +<a href="#page277">277</a><br> + + "<span class="italic">Aussi que diable allait-il faire dans cette galère?</span>", +<a href="#page225">225</a><br> + + <span class="italic">Auto-biographical</span>, +<a href="#page288">288</a><br> + + "<span class="italic">Autre Temps autre Mœurs</span>", +<a href="#page189">189</a></p> + + +<p class="index"><span class="italic">"Balaam's Ass"</span>, +<a href="#page041">41</a></p> + + +<p class="index"><span class="italic">Committee of the "National Art Exhibition," To the</span>, +<a href="#page164">164</a><br> + + <span class="italic">Complacent One, The</span>, +<a href="#page196">196</a><br> + + <span class="italic">"Confidences" with an Editor</span>, +<a href="#page047">47</a><br> + + <span class="italic">Conviction</span>, +<a href="#page088">88</a><br> + + <span class="italic">Correction, A</span>, +<a href="#page066">66</a><br> + + <span class="italic">Critic "Catching on," The</span>, +<a href="#page194">194</a><br> + + <span class="italic">Critic's Analysis</span>, +<a href="#page044">44</a><br> + + <span class="italic">Critic's "Copy"</span>, +<a href="#page050">50</a><br> + + <span class="italic">Critic's Mind Considered, The</span>, +<a href="#page045">45</a><br> + + <span class="italic">Critic-flâneur, The</span>, +<a href="#page197">197</a></p> + + +<p class="index"><span class="italic">Distinction, A</span>, +<a href="#page119">119</a><br> + + <span class="italic">Document, A</span>, +<a href="#page121">121</a></p> + + +<p class="index"><span class="italic">Eager Authority, An</span>, +<a href="#page070">70</a><br> + + <span class="italic">Early Laurels</span>, +<a href="#page176">176</a><br> + + <span class="italic">Easy Expert, The</span>, +<a href="#page113">113</a><br> + + <span class="italic">Editor's Anxiety, An</span>, +<a href="#page264">264</a><br> + + <span class="italic">Embroidered Interview, An</span>, +<a href="#page219">219</a><br> + + <span class="italic">Encouragement</span>, +<a href="#page074">74</a><br> + + <span class="italic">End of the Piece, The</span>, +<a href="#page282">282</a><br> + + <span class="italic">Etchings and Dry-points</span>, +<a href="#page093">93</a><br> + + "<span class="italic">Et tu, Brute!</span>", +<a href="#page259">259</a><br> + + <span class="italic">Exit the Prompter</span>, +<a href="#page283">283</a><br> + + <span class="italic">Exploded Plot, The</span>, +<a href="#pagevii">vii</a><br> + + <span class="italic">Extraordinary Piratical Plot, An</span>, +<a href="#pagev">v</a></p> + + +<p class="index"><span class="italic">Fate of an Anecdote, The</span>, +<a href="#page081">81</a><br> + + <span class="italic">Final</span>, +<a href="#page039">39</a><br> + + <span class="italic">Final Acknowledgments</span>, +<a href="#page333">333</a><br> + + <span class="italic">Freeing a Last Friend</span>, +<a href="#page262">262</a><br> + + <span class="italic">Full Absolution</span>, +<a href="#page046">46</a><br> + + <span class="italic">Further Proposition, A</span>, +<a href="#page177">177</a></p> + + +<p class="index"><span class="italic">Great Literary Curiosity, A</span>, +<a href="#pageix">ix</a></p> + + +<p class="index"><span class="italic">Habit of Second Natures, The</span>, +<a href="#page236">236</a><br> + + <span class="italic">Hint, A</span>, +<a href="#page118">118</a><br> + + <span class="italic">Home of Taste, The</span>, +<a href="#page230">230</a></p> + + +<p class="index"><span class="italic">Imputation, An</span>, +<a href="#page188">188</a><br> + + <span class="italic">Inconsequences</span>, +<a href="#page079">79</a><br> + + <span class="italic">Inevitable, The</span>, +<a href="#page173">173</a><br> + + <span class="italic">In Excelsis</span>, +<a href="#page086">86</a><br> + + <span class="italic">Ingratitude</span>, +<a href="#page195">195</a><br> + + <span class="italic">Insinuation, An</span>, +<a href="#page187">187</a><br> + + <span class="italic">Interview with an Ex-President, An</span>, +<a href="#page205">205</a></p> + + +<p class="index"><span class="italic">"Jeux Innocents" in Tite Street</span>, +<a href="#page110">110</a><br> + + <span class="italic">Just Indignation</span>, +<a href="#page243">243</a></p> + + +<p class="index"><span class="italic">Last Effort, A</span>, +<a href="#pagex">x</a><br> + + <span class="italic">La Suite</span>, +<a href="#page061">61</a><br> + + <span class="italic">Later</span>, +<a href="#page054">54</a><br> + + <span class="italic">L'Envoi</span>, +<a href="#page285">285</a><br> + + "<span class="italic">Les points sur les i</span>", +<a href="#page130">130</a><br> + + <span class="italic">Line from the Land's End, A</span>, +<a href="#page111">111</a></p> + + +<p class="index"><span class="italic">Market Place, In the</span>, +<a href="#page239">239</a><br> + + <span class="italic">Mr. Whistler and his Critics</span>, +<a href="#page091">91</a><br> + + <span class="italic">Mr. Whistler "had on his own Toast"</span>, +<a href="#page289">289</a><br> + + <span class="italic">Mr. Whistler's Paper Hunt</span>, +<a href="#pageviii">viii</a><br> + + <span class="italic">Mr. Whistler's "Ten o'Clock"</span>, +<a href="#page131">131</a></p> + + +<p class="index"><span class="italic">Naïf Enfant</span>, +<a href="#page068">68</a><br> + + <span class="italic">New Dynasty, The</span>, +<a href="#page218">218</a><br> + + <span class="italic">"Noblesse oblige"</span>, +<a href="#page174">174</a><br> + + <span class="italic">Nocturnes, Marines, and Chevalet Pieces</span>, +<a href="#page293">293</a><br> + + <span class="italic">Nostalgia</span>, +<a href="#page184">184</a><br> + + "<span class="italic">Nous avons changé tout cela!</span>", +<a href="#page169">169</a></p> + + +<p class="index"><span class="italic">Official Bumbledom</span>, +<a href="#page223">223</a><br> + + <span class="italic">Official Letter, An</span>, +<a href="#page229">229</a><br> + + <span class="italic">Opportunity, An</span>, +<a href="#page181">181</a><br> + + <span class="italic">Opportunity Neglected, The</span>, +<a href="#page183">183</a></p> + + +<p class="index"><span class="italic">Painter-Etcher Papers, The</span>, +<a href="#page052">52</a><br> + + <span class="italic">"Pall Mall" Puzzled, The</span>, +<a href="#page221">221</a><br> + + <span class="italic">Panic</span>, +<a href="#page241">241</a><br> + + <span class="italic">Philanthropy and Art</span>, +<a href="#page166">166</a><br> + + <span class="italic">Played-out Policy, A</span>, +<a href="#page199">199</a><br> + + <span class="italic">Point Acknowledged, The</span>, +<a href="#page043">43</a><br> + + <span class="italic">Position, The</span>, +<a href="#page037">37</a><br> + + <span class="italic">Professor Ruskin's Group</span>, +<a href="#page020">20</a><br> + + <span class="italic">Prologue</span>, +<a href="#page001">1</a><br> + + <span class="italic">Proposal, A</span>, +<a href="#page051">51</a><br> + + <span class="italic">Propositions</span>, +<a href="#page076">76</a><br> + + <span class="italic">Propositions—No. 2</span>, +<a href="#page115">115</a><br></p> + + +<p class="index"><span class="italic">Quand même!</span>, +<a href="#page165">165</a><br> + + <span class="italic">Question, A</span>, +<a href="#page279">279</a></p> + + +<p class="index"><span class="italic">Rassurez vous!</span>, +<a href="#page265">265</a><br> + + <span class="italic">Rebuke, A</span>, +<a href="#page129">129</a><br> + + <span class="italic">Red Rag, The</span>, +<a href="#page126">126</a><br> + + <span class="italic">Remonstrance, A</span>, +<a href="#page075">75</a><br> + + "<span class="italic">Rengaines!</span>", +<a href="#page161">161</a><br> + + <span class="italic">Retrospect, A</span>, +<a href="#page213">213</a><br> + + <span class="italic">Royal Society of British Artists and their Signboard</span>, +<a href="#page226">226</a></p> + + +<p class="index"><span class="italic">Sacrilege</span>, +<a href="#page124">124</a><br> + + <span class="italic">Seizure of Mr. Whistler's Pirated Writings</span>, +<a href="#pagevi">vi</a><br> + + <span class="italic">Serious Sarcasm</span>, +<a href="#page038">38</a><br> + + <span class="italic">Statistics</span>, +<a href="#page211">211</a><br> + + <span class="italic">Straight Tip, A</span>, +<a href="#page069">69</a><br> + + <span class="italic">Suggestion, A</span>, +<a href="#page235">235</a><br> + + <span class="italic">Suspicion, A</span>, +<a href="#page087">87</a></p> + + +<p class="index"><span class="italic">Taking the Bait</span>, +<a href="#page106">106</a><br> + + <span class="italic">Talent in a Napkin</span>, +<a href="#page193">193</a><br> + + <span class="italic">Tenderness in Tite Street</span>, +<a href="#page162">162</a><br> + + <span class="italic">Testimony</span>, +<a href="#page247">247</a><br> + + <span class="italic">Troubled One, A</span>, +<a href="#page046">46</a></p> + + +<p class="index"><span class="italic">Unanswered Letter, An</span>, +<a href="#page078">78</a><br> + + <span class="italic">Uncovered Opinions</span>, +<a href="#page080">80</a></p> + + +<p class="index"><span class="italic">Warning, A</span>, +<a href="#page067">67</a><br> + + <span class="italic">"Whacking Whistler"</span>, +<a href="#page269">269</a><br> + + <span class="italic">What "Mr. Whistler had on his own Toast"</span>, +<a href="#page291">291</a><br> + + <span class="italic">Whistler v. Ruskin: Art and Art Critics</span>, +<a href="#page021">21</a><br> + + <span class="italic">Whistler's Grievance</span>, +<a href="#page266">266</a>, +<a href="#page273">273</a></p> + + +<p class="index"><span class="italic">Zealous Inquirer, A</span>, +<a href="#page332">332</a></p> + +<p> </p> +<p> </p> +<hr class="full" noshade> +<p class="pg">***END OF THE PROJECT GUTENBERG EBOOK THE GENTLE ART OF MAKING ENEMIES***</p> +<p class="pg">******* This file should be named 24650-h.txt or 24650-h.zip *******</p> +<p class="pg">This and all associated files of various formats will be found in:<br> +<a href="http://www.gutenberg.org/dirs/2/4/6/5/24650">http://www.gutenberg.org/2/4/6/5/24650</a></p> +<p class="pg">Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p class="pg">Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution.</p> + + + +<pre> +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +<a href="http://www.gutenberg.org/license">http://www.gutenberg.org/license)</a>. + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://www.gutenberg.org/about/contact + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://www.gutenberg.org/fundraising/pglaf + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://www.gutenberg.org/fundraising/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + +<a href="http://www.gutenberg.org">http://www.gutenberg.org</a> + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + +<a href="http://www.gutenberg.org/dirs/etext06/">http://www.gutenberg.org/dirs/etext06/</a> + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + +http://www.gutenberg.org/dirs/1/0/2/3/10234 + +or filename 24689 would be found at: +http://www.gutenberg.org/dirs/2/4/6/8/24689 + +An alternative method of locating eBooks: +<a href="http://www.gutenberg.org/dirs/GUTINDEX.ALL">http://www.gutenberg.org/dirs/GUTINDEX.ALL</a> + +*** END: FULL LICENSE *** +</pre> +</body> +</html> |