The Gentle Art of Making Enemies. James McNeill Whistler

did a sinner good to hear Him deal in ratiocination!" but, if he had been able to appear, he would have given his opinion of Mr. Whistler's work in the witness-box.

      He had the highest appreciation for completed pictures;[5] [5]"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."—J. Ruskin: Modern Painters.and he required from an Artist that he should possess something more than a few flashes of genius![6] [6]"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. Ruskin: Modern Painters.

      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] [7]"Vulgarity, dulness, or impiety will indeed always express themselves through art, in brown and gray, as in Rembrandt."—Prof. John Ruskin: Modern Painters. to ridicule and contempt. Then Mr. Ruskin spoke of "the ill-educated[8] [8]"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."—John Ruskin, Prof. of Painting. 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] [9]"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 John Ruskin. but Mr. Ruskin's views[10] [10]"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."—John Ruskin, Art Professor: Modern Painters. as to his success did not accord with those of Mr. Whistler. REFLECTION:

       "Be not righteous overmuch, neither make thyself overwise; why shouldest thou destroy thyself!"

      

The libel complained of said also, "I never expected to hear a coxcomb ask two hundred guineas for flinging a 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! He did not know when so much amusement had been afforded to the[11] [11]"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."—John Ruskin, Art Professor: Notes on S. Prout and W. Hunt. British Public as by Mr. Whistler's pictures. 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] [12]"It seems to me, and seemed always probable, that I might have done much more good in some other way."—Prof. John Ruskin, Art Teacher: Modern Painters, Vol. V. 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] [13]"Give thorough examination to the wonderful painting, as such, 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."—John Ruskin, Prof. of Fine Art: Guide to Principal Pictures, Academy of Fine Arts, Venice.

      Evidence was then called on behalf of the defendant. Witnesses for the defendant, Messrs. Edward Burne-Jones, Frith, and Tom Taylor.

      Mr. Edward Burne-Jones called.

      Mr. Bowen, by way of presenting him properly to the consideration of the Court, proceeded to read extracts of eulogistic appreciation of this artist from the defendant's own writings.

      The examination of witness then commenced; and in answer to Mr. Bowen, Mr. Jones said: [13]"Of the estimate which shall be formed of Mr. Jones's own work. …

       "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. Ruskin: Fors Clavigera, July 2, 1877. "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."

      Mr. Bowen: "Do you see any art quality in that nocturne, Mr. Jones?"

      Mr. Jones: "Yes … I must speak the truth, you know". … (Emotion.)

      Mr. Bowen: … "Yes. Well, Mr. Jones, what quality do you see in it?"

      Mr. Jones: "Colour. It has fine colour, and atmosphere."

      Mr. Bowen: "Ah. Well, do you consider detail and composition essential to a work of Art?"

      Mr. Jones: "Most certainly I do."

      Mr. Bowen: "Then what detail and composition do you find in this nocturne?"

      [14]REFLECTION:

       There is a cunning condition of mind that requires to know. 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!

      Mr. Jones: "Absolutely none."[14]

      Mr. Bowen: "Do you think two hundred guineas a large price for that picture?"

      "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 know 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."—John Ruskin, LL.D.: Fors Clavigera, July 2, 1877.

      Mr. Jones: "Yes. When you think of the amount of earnest work done for a smaller sum."

      Examination continued: "Does it show the finish of a complete work of art?"

      "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.