Cross-examination continued: "What was the subject of the nocturne in blue and silver belonging to Mr. Grahame?"
"A moonlight effect on the river near old Battersea Bridge."
"What has become of the nocturne in black and gold?"
"I believe it is before you." (Laughter.)
The picture called the nocturne in blue and silver, was now produced in Court.
"That is Mr. Grahame's picture. It represents Battersea Bridge by moonlight."
Baron Huddleston: "Which part of the picture is the bridge?" (Laughter.)
His Lordship earnestly rebuked those who laughed. And witness explained to his Lordship the composition of the picture.
"Do you say that this is a correct representation of Battersea Bridge?"
"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."
"The prevailing colour is blue?"
"Perhaps."
"Are those figures on the top of the bridge intended for people?"
"They are just what you like."
"Is that a barge beneath?"
"Yes. I am very much encouraged at your perceiving that. My whole scheme was only to bring about a certain harmony of colour."
"What is that gold-coloured mark on the right of the picture like a cascade?"
"The 'cascade of gold' is a firework."
A second nocturne in blue and silver was then produced.
Witness: "That represents another moonlight scene on the Thames looking up Battersea Reach. I completed the mass of the picture in one day."
The 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.
After the Court had re-assembled the "Nocturne in Black and Gold" was again produced, and Mr. Whistler was further cross-examined by the Attorney-General: "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."
"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?"
"I have strong evidence that Mr. Ruskin did come to that conclusion."
"Do you think it fair that Mr. Ruskin should come to that conclusion?"
"What might be fair to Mr. Ruskin I cannot answer."
"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 me see the beauty of that picture?"
The 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:
"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. (Laughter.)
"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."
The Court then adjourned.
The Attorney-General, 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 bonâ fide;[1] [1]"Enter now the great room with the Veronese at the end of it, for which the painter (quite rightly) was summoned before the Inquisition of State."—Prof. John Ruskin: Guide to Principal Pictures, Academy of Fine Arts, Venice. 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 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.
After all, Critics had their uses.[2] [2]"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 to be able to teach, the truth respecting art; also knowing that this truth was by time and labour definitely ascertainable."—Prof. Ruskin: Modern Painters, Vol. III.
"Thirdly, that TRUTHS OF COLOUR ARE THE LEAST IMPORTANT OF ALL TRUTHS."—Mr. Ruskin, Prof, of Art: Modern Painters, Vol. I. Chap. V.
"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."—John Ruskin, Esq., M.A., Teacher and Slade Prof. of Fine Arts: Modern Painters. 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.
No Artist could obtain fame, except through criticism.[3] [3]"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. Ruskin, Art Critic.
"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 agreeable" (sic).—J. Ruskin, Art Professor: Modern Painters.
… 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.
… 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] [4]"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."—John Ruskin, Art Authority. he had a right to say so, without subjecting himself to a risk of an action.
He would not be able to call Mr. Ruskin, as he was far too ill to attend;
