The Life of James McNeill Whistler
CHAPTER XLVII: THE END. THE YEARS NINETEEN HUNDRED AND TWO AND NINETEEN
HUNDRED AND THREE.
Whistler came back to No. 74 Cheyne Walk, to the noise of building, to the bedroom at the top of the house--to the conditions against which the doctor's warning was emphatic. When E. saw him about the middle of September on her return--J. was still away--he had been again ill and was confined to his room. On her next visit, within a few days, he was in bed, but he had moved downstairs to a small room adjoining the studio, intended, no doubt, for a model's dressing-room. In one way it was an improvement, for there were no stairs and his studio was close at hand whenever he had strength for work, but the only window looked upon the street, and the clatter of children and traffic was added to the builders' knocking.
Except in this house, we never saw him after his return from The Hague. At times, in the winter and spring, he was able to go out in a carriage, but the three flights of stairs to our flat rose between him and us, an insurmountable barrier. Therefore there were seldom the old long intimate talks, for he was not often alone in the studio. Miss Birnie Philip was usually with him, sometimes sitting apart with her knitting, and only rarely drawn into the conversation. Mrs. Whibley was frequently there, and before "the Ladies" there were reservations, for with many things they were not to be "troubled." This involved a restraint in himself and a sensation of oppression in his visitors. Then there was a coming and going of models, visits from his doctors, his solicitor, his barber, and many other people who helped to distract him. His friends were devoted, encouraged by him and knowing he welcomed anyone from the world without; Mr. Luke Ionides, oldest of all, Mrs. Whistler, Mr. Walton, who lived next door, Professor Sauter, Sir John Lavery, Mr. and Mrs. Addams, his apprentices, Arthur Studd, his near neighbour, drifted in and out almost daily. He was bored when alone and unable to work, though he had of recent years developed an extraordinary passion for reading. But, as a matter of fact, he was hardly ever lonely, for he was surrounded as he liked in his studio, and yet he felt his condition and grew restless, so that his wish to rejoin Mr. Heinemann in "housekeeping" seemed natural.
Whistler had intervals when his energy returned, and he worked and hoped. We knew on seeing him when he was not so well, for his costume of invalid remained original. He clung to a fur-lined overcoat worn into shabbiness. In his younger years he had objected to a dressing-gown as an unmanly concession; apparently he had not outgrown the objection, and on his bad days this shabby worn-out overcoat was its substitute. Nor did the studio seem the most comfortable place for a man so ill as he was. It was bare, with little furniture, as his studios always were, and he had not used it enough to give it the air of a workshop. The whole house showed that illness was reigning there. The hall had a more unfinished, more unsettled look than the entrance at the Rue du Bac, and it was sometimes strewn with the trays and odds and ends of the sickroom. Papers and books lay on the floor of the drawing-room, in contrast to the blue-and-white in the cases. A litter of things at times covered the sideboard in the dining-room. Everywhere you felt the cheerlessness of a house which is not lived in. When we saw Whistler in his big, shabby overcoat shuffling about the huge studio, he struck us as so old, so feeble and fragile that we could imagine no sadder or more tragic figure. It was the more tragic because he had always been such a dandy, a word he would have been the first to use in reference to himself. We recall his horror once when he heard a story that represented him as untidy and slovenly. "I!" he said, "I, when if I had only an old rag to cover me I would wear it with such neatness and propriety and the utmost distinction!" But no one would have suspected the dandy in this forlorn little old man, wrapped in a worn overcoat, hardly able to walk. On his bad days there was not much walking about, and he lay stretched on an easy chair, talking little, barely listening, and dozing. His nights were often sleepless--he had lost the habit of sleep, he told us, and as the day went on he became so drowsy that it seemed as if nothing could rouse him from what was more like death than sleep. Sometimes, sitting by the table where tea was served, he would drop his forehead on the edge of the table, fall asleep, and remain motionless for an hour and more. A pretty little cat, brown and gold and white, that lived in the studio, was often curled up on his lap, sleeping too. His devotion to her was something to remember, and we have seen him get up, when probably he would not have stirred for any human being, just to empty the stale milk from her saucer and fill it up with fresh. A message was sent to E., one day, to announce the birth of her first kittens, that also made the studio their home and became a source of mild distraction to the invalid.
On his good days he liked to play dominoes after tea and he cheated with his accustomed tricks. He often kept J. for a game and sometimes for dinner with himself and Miss Birnie Philip in the studio, the climb to the dining-room out of the question. There were times when he would say he never could get back to work again, but others when he managed to work with not only the old vigour, but the old mastery. He had an Irish model, Miss Dorothy Seton, whose red hair was remarkably beautiful and whose face Whistler thought as remarkable, for it reminded him of Hogarth's _Shrimp Girl_. One afternoon J. found him painting her, her red hair hanging over her shoulders and an apple in her hand, the picture to which the title _Daughter of Eve_ was eventually given. He was walking up and down the studio in delight, looking almost strong, and he seized J. by the arm in the old fashion and walked him up and down too. "Well, Joseph, how long do you think it took me to paint that, now?" and not for weeks had he shown such animation as when he added, "It was done in a couple of hours this very morning." So far as we know, it was the last important picture he painted, and it was, as J. then saw it, the finest thing of his latest period. He must have painted on it again, for at the Paris Memorial Exhibition the bloom of its beauty had faded. Now and then he worked on a portrait of Miss Birnie Philip, and he was anxious to continue the portrait, started a year or so before, of Mrs. Heinemann, which needed only a few more sittings, but, to the world's loss, these could not be arranged. He saw to cleaning the _Rosa Corder_, which Mr. Canfield, who was back in London and buying pictures, drawings, and prints in the studio, bought this winter for two thousand pounds from Mr. Graham Robertson. The story of this purchase was the only amusing thing we ever heard Mr. Canfield say: "Offered the young fellow a thousand pounds--wouldn't hear of it. Offered him two--jumped at it. Why, the darned fool, if he had held on he could have had five!" Whistler telegraphed for us to come and look at _Rosa Corder_ for the last time in England, "to make your _adieux_ to her before her departure for America." When E.--J. again away--arrived at the studio, he was better than since his return from The Hague. He had slept eight hours and a half the night before, and he rejoiced in not being sleepy. He wiped the canvas here and there tenderly with a silk handkerchief and kept turning round to ask triumphantly, "Isn't she beautiful?"
Mr. Canfield was sitting again for his portrait, and was always welcome, not merely as a sitter, but as a friend. He seemed to have hypnotised Whistler, whom we heard say that Canfield was the only man who had never made a mistake in the studio. We could not help regretting this because of Canfield's notorious reputation in New York, and the unpleasant things said of Whistler's tolerance of the man. Whistler had been warned, but had sacrificed a friendship of years in his indignation at "a breath of scandal" against anyone whom he had introduced to "the Ladies." In the early part of 1903 we received numerous letters and telegrams from correspondents of American papers in London re-echoing the question in the New York dailies, "Is Whistler painting gambler Canfield?" The fact that Canfield was much desired at home made the New York papers of the yellowest sort, like the British respectable ones, eager for details, and all sorts and conditions of male and female reporters haunted our stairs. They were a terrible nuisance, and we remember in particular the youth who came with the usual question, "Is Whistler painting the gambler?" and who, on J.'s reply that he had better go and ask the painter, said "But they tell me Whistler would either horsewhip me or kick me out of the house. What do you think?" J.'s answer was that he had better go and see. Whistler's condition rendered any remark which might excite him dangerous, and everybody hesitated to suggest that Canfield was a very public character to include in one's private circle. Canfield's visits did not cease, and the fact that reconciled us to his presence was that it resulted in one of Whistler's masterpieces. The portrait, _His Reverence_, ranked then with _The Master Smith of Lyme Regis_. But this was our estimate when we saw the picture in Whistler's studio. Later it was simply ruined, for he worked on it too.
Whistler often saw dealers who came for his prints. On two memorable afternoons Mr. David Kennedy brought the large MacGeorge Collection of Whistler's etchings, which he had purchased in Glasgow, for Whistler to look over, and, in some cases, we believe, to sign them. He went through as many as he could, commenting on their state and their preservation. There were some he had not seen for years, and Mr. Ionides, who was present on one of the afternoons, seemed to know more about them than Whistler. He soon tired, and was not to be revived by the bottle of American cocktails which Mr. Kennedy, to his complete approval, also brought. Several times we found him going through the accumulation of "charming things" from the studio in the Rue Notre-Dame-des-Champs. Many he did not think so charming were, we understand, destroyed by him. So Miss Birnie Philip maintains, and Mr. Lavery told us that he was calling at Cheyne Walk one afternoon when Whistler said he had been burning things. We are unable to state if a reliable list was made of what was destroyed and what was kept. Some days Whistler read us parts of his earlier correspondence--the "wonderful letters" to the Fine Art Society during the Venetian period. And once, tired though he was, he insisted on reading to E. just once more his letter to a dealer, who had threatened him with a writ and whom he warned of the appearance he would make, "with one hand presenting a Sir Joshua to the nation, with the other serving a writ on Whistler. Well indeed is it that the right hand knows not always what the left hand doeth."
In November he sent the _Little Cardinal_, which had been at the _Salon_ the previous summer, to the Portrait Painters' Exhibition. Several critics spoke of it as a work already seen, giving the impression, he thought, that it dated back many years. He wrote to the _Standard_ to contradict this impression, Wedmore again having blundered. We called to see him on the afternoon the letter was written, and he was in great glee. He said:
"The letter is one of my best. I described Wedmore as Podsnap--an inspiration, isn't it? With the discovery of Podsnap in art criticism I almost feel the thump of Newton's apple on my head, and this I have said. Heinemann promises to take it himself to the editor of the _Standard_, and really the whole thing has such a flavour of intrigue that I do believe it has made me well again!"
He planned to publish the criticism, his letter, the answers, and his final comments in a brown-covered pamphlet, a scheme begun but, owing to his feeble health, never carried out. To an exhibition of old silver at the Fine Art Society's he lent many of his finest pieces and insisted upon their being shown together in a case apart, and arranged according to his instructions. His silver, like everything belonging to him, was a proof of his exquisite taste and faultless judgment. It was chosen, not for historic interest, nor for rarity, but for elegance of form and simplicity of ornament. The other collections in the exhibition were set out on red velvet; his, with which he sent some of his blue-and-white china, was placed on his simple white table linen marked with the Butterfly. After we had been to the exhibition, he asked us for every detail:
"How did the white, the beautiful napkins look? Didn't the slight hint of blue in the Japanese stand and the few perfect plates tell? Didn't the other cases seem vulgar in comparison? and didn't the simplicity of my silver, evidently for use and cared for, make the rest look like museum specimens?"
He examined the catalogue, found fault with it because the McNeill, of which he was so proud, was misspelt, and he could not understand why there were comparatively fewer entries and shorter descriptions of his case than of others where history supplied an elaborate text.
Notwithstanding his state, he forgot none of the old courtesies. When, in November, Sir James Guthrie was elected to the Presidency of the Royal Scottish Academy, he telegraphed his congratulations, and was repaid by his pleasure when Guthrie, still a member of the Council of the International, telegraphed back, "Warmest thanks, my President." On New Year's Day (1903) we received the card of good wishes it was his custom to send to his friends--a visiting-card with greetings written by himself and signed with the Butterfly. Though he could not go to the meetings of the International, the business done at each had to be immediately reported, and when the annual dinner was given he considered every detail, even to the point of revising the _menu_ and sending special directions for the salad. He had great pleasure in the degree of LL.D. conferred upon him by Glasgow University, at the suggestion of Sir James Guthrie and Professor Walter Raleigh. Dr. D. S. MacColl, at their request, we believe, and after consulting J., approached him first to make sure that the honour would be accepted. There was a gleam of the old "wickedness" when Dr. MacColl called. Whistler appointed a Sunday, asking him to lunch, but when he arrived at the appointed hour he was sent upstairs to the unused drawing-room and supplied with _Reynolds'_, a Radical sheet adored by Whistler because of its wholesale abuse of the "Islander." And Whistler said: "When at last he was summoned to the studio, I told him it was the paper that of course he always wanted to read at the Club, but was ashamed to be seen with! And all through lunch I had nothing to say of art--I talked of nothing except West Point."
However, when MacColl had a chance to explain why he came, Whistler expressed his pleasure in receiving the degree. We recall his pains with his letter of acknowledgment after the official announcement came in March, his concern for the correct word and the well-turned phrase, his anxiety that there should be no mistake in the Principal's title and honorary initials. It illustrates his care for detail if we add that, before writing the address, he sent a note, submitting it, next door, to Mr. and Mrs. Walton, who were Scotch, he said, and would know. Another pleasure came from the deference shown him by the Art Department of the Universal Exposition of 1904 at St. Louis. Early in 1903 Professor Halsey C. Ives, Chief of the Art Department, was in London, and went with J. to call on Whistler and to ask him to serve as Chairman of the Committee, of which Sargent, Abbey, and J. were members, for the selection of work by American artists in England. The invitation was a formal recognition of Whistler's position, and he accepted, though he did not live to occupy the post.
These months were not without worries. News of books about him, in preparation or recently published, annoyed him, as he had hoped to prevent such enterprises by giving us his authority for the work to which his illness was a serious interruption. We called one afternoon when he was worrying himself into a fever over the latest attempt of which he had heard, and was unable to think or talk of anything except the insolence of people who undertook to write about him and prepare a biography without consulting him and his wishes. As he talked he complained of pains in his back, and his restlessness was distressing to see. Another afternoon, he was, on the contrary, chuckling over Mr. Elbert Hubbard's _Whistler_ in the _Little Journeys_ series. He read us passages:
"Really with this book I can be amused--I have to laugh. I don't know how many people have taken my name in print, and, you know, usually I am furious. But the intimate tone of this is something quite new. What would my dear Mummy--don't you know, as you see her with her folded hands at the Luxembourg--have said to this story of my father's courtship? And our stay in Russia--our arrival in London--why, the account of my mother and me coming to Chelsea and finding lodgings makes you almost see us--wanderers--bundles at the end of long sticks over our shoulders--arriving footsore and weary at the hour of sunset. Amazing!--it would be worth while, you know, to describe, not the book, but the effect on me reading it."
He was looking desperately ill the day he told us that Montesquiou had sold his portrait, and he was not consoled by the fact that Mr. Canfield was the purchaser, so that it would remain, for the present at least, in America. He was the more hurt because Montesquiou was a friend and, "as you know, the descendant of a long distinguished line of French noblemen."
There were unnecessary worries. Mr. Freer sent some of Whistler's pictures to the Winter Exhibition at the Pennsylvania Academy of Fine Arts in Philadelphia. The jury awarded him the Academy's Gold Medal of Honour, and, to assure to the pictures the place of greatest distinction where they would look best, hung them before anything was installed, building up a screen for them in the most important room, and beginning the numbers in the catalogue with them. For some reason Mr. Freer did not approve of the hanging and seems to have misunderstood the motives for it. The secretary, Mr. Harrison Morris, could make no change. As the incident was reported to Whistler he fancied a slight in the arrangement which was meant to do him honour. A similar incident occurred in the Spring Exhibition of the Society of American Artists in New York, where, also, Mr. Freer objected to the place chosen for Whistler's work. Whistler, as a result, was disturbed by the idea that American artists were treating him with indifference or contempt, though this was at the time when their acceptance of him as master was complete and their eagerness to proclaim it great. Whistler went so far as to say that he never wished work of his to hang again in the Pennsylvania Academy, and in regard to the New York Exhibition he wrote protesting to the New York papers. The agitation and excitement did him no good, and in his weakness such small worries were magnified into grave troubles. It is the more to be regretted because, on all sides, in America he was honoured. The fault was Mr. Freer's inability to understand artistic matters. Mr. Will H. Low and other artists tried as well as they could to explain things to Whistler, but Mr. Freer succeeded in prejudicing him to the day of his death against the Pennsylvania Academy, which had done more than any other American art institution to show its appreciation. Americans may have been slow in acknowledging him officially, but that was because they knew little of his work. They began to make amends long before his death, and their eagerness to possess his work may be contrasted to the indifference in England or in Germany, where it is said a Whistler was bought for Berlin by Dr. Bode for two thousand pounds, but was returned to the dealers by the Emperor's command. The _Sarasate_ had been purchased for the Carnegie Institute in Pittsburgh in November 1896, the first picture, Mr. Beattie, the Director, tells us, bought for the gallery, and we believe the first Whistler bought for any American gallery. It is prized as one of the most important works in the collection, and, though it cost the Institute five thousand dollars, was insured for thirty thousand when it went to the Rome Exhibition in the spring of 1911. We were sorry when last in Pittsburgh to see that it is cracking. _The Yellow Buskin_ was in the Wilstach Collection, Philadelphia, and _The Master Smith_ and _The Little Rose of Lyme Regis_ in the Boston Museum of Fine Arts before 1903, and hardly an American collector of note was not seeking to include Whistlers in his collection. Now the Chicago Institute has _Southampton Water_ and the Metropolitan in New York has the _Irving_, _Connie Gilchrist_, _Cremorne Gardens_, and several important studies, and has purchased from M. Duret his own large portrait and been presented by Mr. E. G. Kennedy with his small one. M. Duret parted with his because he felt he was growing old. He had had many offers from private collectors, but he wished to know the painting was safe in a museum. Two great masters had painted him, Manet and Whistler, he said to us shortly after the sale, and both portraits are now in public galleries. _The Fur Jacket_ is at Worcester, and in the Brooklyn Institute is the very unfinished and unsatisfactory commencement of _Florence Leyland_. The _Lange Leizen_ is in the Johnson Collection, Philadelphia. The Avery collection of etchings is in the New York Public Library, and Charles L. Freer has donated to the National Gallery at Washington his entire collection, the largest in the world, while we have given our collection of Whistleriana to the Library of Congress; the best possible refutation to the nonsense talked about want of appreciation by many self-styled critics, several of whom have been imported into America and England since Whistler's death.
Whistler's health varied so during the winter that we were often encouraged to hope. But with the spring hope lessened with every visit. To consult our notes is to realise, more fully than at the time, how surely the end was approaching. The afternoons of sleep increased with the increasing weakness of his heart. He could not shake off the influenza cold which was dragging him down, and he lived in constant fear of infection from others if anybody even sneezed in his presence. "I can't risk any more microbes--I've about enough of my own." At times his cough was so bad that he was afraid to talk, and he would write what he wanted to say; it was his tonsils, he explained. There were visits when, from the moment we came until we left, he worried, first because the windows were open, then because they were shut, and his impatience if the doctor's visit was delayed would have exhausted a stronger man. J. dined with him on May 14, when there was a rekindling of gaiety. He showed the portrait of Mr. Canfield; he played dominoes for hours; at dinner, when a gooseberry tart was served, he apologised for the "Island." But after this there was no more gaiety for us to record. A few days later J. went abroad for several weeks, and Mr. Heinemann sailed for America. When he said good-bye to Whistler he was entrusted with innumerable commissions. He was to find out the truth concerning the treatment of Whistler's pictures in Philadelphia and New York, to discover who his new unauthorised biographers were, what artists and literary people were saying, what dealers were doing, and, when he returned, then they would "keep house together again." This was the moment when Mr. Heinemann took another flat, with the identical arrangements of the first, in Whitehall Court, so that they could go back to the old life. But before he returned the end had come.
Fortunately, while Mr. Heinemann and J. were away, Mr. Freer arrived in London on his annual visit, and he was free to devote himself to Whistler, whom he drove out whenever Whistler had the strength. But this was not for long, and with her visit to him on July 1 E. gave up hope. He was in bed, but hearing that she was there, he sent for her. There was a vague look in his eyes, as if the old fires were burnt out. He seemed in a stupor and spoke only twice with difficulty. Miss Birnie Philip referred to his want of appetite and the turtle soup ordered by the doctor, which they got from the correct place in the City. "Shocking! shocking!" Whistler broke in slowly, and then after a minute or two, "You know, now we are all in the City!" Miss Birnie Philip wanted to give tea to E., who, seeing how ill he was, thought it wiser not to stay, and after some ten minutes said good-bye. "No wonder," Whistler murmured, "you go from a house where they don't give you anything to eat." E.'s next visit was on the 6th. The doctor had been with him, he was up, dressed, and had been out for a drive. But he looked worse, his eyes vaguer, giving the impression of a man in a stupor. He said not a word until she was leaving, and then his one remark was, "You are looking very nice."
Reports of his feebleness were brought to us by many, among others by M. Duret. In July he came to London, and was deeply moved by the condition in which he found Whistler, who, he thought, wanted to say things when alone in the studio with him, but the day of his first visit could not utter a word. And after a second visit, after an hour with Whistler, who again struggled to talk and could not, Duret felt it was the last time he would see Whistler. It was, and in his sorrow he could but recall the days together gone for ever.
On the 14th E. called again, and again Whistler was dressed and in the studio, and there were pictures on the easels. He seemed better, though his face was sunken and in his eyes was that terrible vagueness. Now he talked, and a touch of gallantry was in his greeting, "I wish I felt as well as you look." He asked about Henley, the news of whose death had come a day or two before. He watched the little mother cat as she ran about the studio. There was a return of vigour in his voice when Miss Birnie Philip brought him a cup of chicken broth and he cried, "Take the damned thing away," and his old charm was in the apology that followed, but, he said, if he ate every half-hour or so as the doctor wanted, how could he be expected to have an appetite for dinner? He dozed a little, but woke up quickly with a show of interest in everything, and when, on the arrival of Mr. Lavery, E. got up to go, fearing that more than one visitor would tire him, he asked, "But why do you go so soon?" and these were the last words he ever spoke to her.
When J. returned to town, on Friday the 17th, he immediately started for Chelsea, but met Mr. T. R. Way, who had been lunching with Mr. Freer at the Carlton, and from whom he learnt that Whistler and Mr. Freer were to go for a drive.
There was no drive that afternoon--no drive ever again. The illness had been long, the end was swift. Whistler was dying before Mr. Freer reached the house. On Thursday he had seemed much better, had gone for a drive, and was so well at dinner that Mrs. Whibley told him laughingly he would soon again be dressing to dine. But after lunch on Friday she was called hurriedly to the studio, where Miss Birnie Philip was already. They realised the seriousness of the attack. The doctor was sent for, but the need for him had passed.
The papers during the next few days showed how Whistler's fame had grown. We saw another side which the public could not see--the affection in which he was held by those who knew him intimately. Many came to us at once: M. Duret, who had lost the last of his old comrades--first Manet, then Zola, and now Whistler, with whom the best hours of his life were spent; Mr. Kennedy, whose business relations with Whistler had developed into warm friendship; Sir John Lavery, Professor Sauter, Mr. Harry Wilson, their one thought to express their love and reverence for their President. Other artists followed, others wrote, and our sorrow for the friend was tempered by knowing how deep and widespread was the regret for the master. Mr. Heinemann returned from New York too late to see Whistler again, and both he and J. were spared the sad memory of Whistler with the life faded from his face, the light gone from his eyes.
The funeral took place on Wednesday, July 22. The service was held in old Chelsea Church, to which he had so often walked with his mother from Lindsey Row. There was a comparatively small attendance. The members of his own family who came were his sister-in-law, Mrs. William Whistler, and his nieces, Mrs. Thynne and Mrs. Réveillon. The Society with which, in his last years, he had identified his interests was represented by the Council: Professor Sauter, Mr. Harry Wilson, Mr. Francis Howard, Mr. Ludovici, Mr. Stirling Lee, Mr. Neven du Mont, Mr. E. A. Walton, and J. Here and there were friends, Mr. Alan S. Cole, Mr. Heinemann, Mrs. Edwin A. Abbey, Dr. Chalmers Mitchell, Mr. W. C. Alexander, Mr. Clifford Addams, Mr. Jonathan Sturgis; and here and there Academicians, Sir Lawrence Alma-Tadema and Sir Alfred East. But Whistler, who valued official recognition, was given none. No one from the American Embassy paid the last tribute of respect to the most distinguished American citizen who ever lived in London. No one from the French Embassy attended the funeral of the Officer of the Legion of Honour. No one from the German Embassy joined in the last rites of the member of two German Royal Academies and the Knight of the Order of St. Michael of Bavarit. Nor was anyone present from the Italian Embassy, though Whistler was Commander of the Crown of Italy and member of the Academy of St. Luke. The only body officially represented besides the International was the Royal Scottish Academy. The police came to restrain the crowd, but there was no crowd.
The coffin was carried the short distance from the house to the church along the shores of the river he made his own. It was covered with a purple pall, upon which lay a wreath of gold laurel leaves sent by his Society. The pall-bearers were M. Théodore Duret, Sir James Guthrie, Sir John Lavery, Edwin A. Abbey, George Vanderbilt, and Mr. Charles L. Freer. The little funeral procession that walked with the coffin from the house to the church included Miss Birnie Philip, Mrs. Charles Whibley, their sisters, brother, and nephews, Mr. William Webb, and Arthur Studd, but none of his own family, none of the group with whom he had been most intimate in his last years. After the burial service was read, the procession re-formed, and the family, the Council of the International, and a few friends went to the graveyard at Chiswick. It was a grey, stormy summer day, and as the clergyman said the last prayers, and the coffin was lowered, the thick London atmosphere wrapped the green enclosure in the magic and mystery that Whistler was the first to see and to reveal. The grave was made by the side of his wife under a wall covered with clematis. A tomb designed by his stepson, E. Godwin, now covers the little plot of ground where Whistler, the greatest artist and most striking personality of the nineteenth century, lies at rest in a remote corner of the London he loved, not far from the house, and nearer the grave, of Hogarth, who had been to him the greatest English master from the days of his boyhood in St. Petersburg.
THE END OF THE LIFE OF JAMES ABBOTT McNEILL WHISTLER. HIS NAME AND HIS FAME WILL LIVE FOR EVER. JOSEPH PENNELL. ELIZABETH ROBINS PENNELL
PRINTED AT THE COMPLETE PRESS
APPENDIX
Page 291, line 29.--"When you ask me to say something about the illustrious and lamented Whistler, you do not, of course, want me to add my contribution to the rich pyramid of admiration and praise that has already been raised to his glory.
"What you must, of course, be thinking of, is anything special and picturesque that I may be able to add to your biography of the great artist.
"Well as I knew and loved his works, I had but a passing glimpse of his person.
"Here are two interesting traits connected with it.
"Some few years ago, he was very much disturbed about a piracy committed in Belgium by a foreigner living at Antwerp, of his curious book, _The Gentle Art of Making Enemies_. One day he appeared in my study, and said to me with a sarcastic smile: 'I should like you to be my counsel in this little affair, because I have been told that you, like myself, practice the gentle art of making enemies.'
"The case was won at Antwerp with the collaboration of my _confrère_, M. Maeterlinck, a relative of the poet who is such an honour to our country. The victory was celebrated at his house. When Whistler, the hero of the festivity, arrived at this hospitable abode, he was a long time in the ante-room. The maid who had let him in came, very much amazed, to the drawing-room where we were awaiting him, and said in Flemish: 'Madame, there is an actor in the ante-room; he is doing his hair before the looking-glass, he is putting on pomade, painting and powdering his face.' After a long interval, Whistler appeared, courteous, correct, waxed and anointed, resplendent as the butterfly which his name recalls, and with which he signed some of the notes he used to write to his counsel.
"This is all I can offer you.
"I have asked M. Maeterlinck for any documents connected with this episode he might have. All his researches have been in vain. Although so many insignificant papers have been preserved, Fate the perverse has allowed these precious fragments to disappear."
* * * * *
Page 415, line 6.--"Whistler was a painter whose drawing had great depth, and this was prepared for by good studies, for he must have studied assiduously.
"His feeling for form was not only that of a good painter, it was that of a sculptor. He had an extraordinary delicacy of sentiment, which made some people think that his basis was not very strong, whereas it was, on the contrary, both strong and firm.
"He understood atmosphere most admirably, and one of his pictures which made a very deep impression on me, _The Thames at Chelsea_, is a marvel of depth and space. The landscape in itself is nothing; there is merely this great extent of atmosphere, rendered with consummate art.
"Whistler's art will lose nothing by the lapse of time; it will gain; for one of its qualities is energy, another is delicacy; but the greatest of all is its mastery of drawing."
INDEX
Abbey, E. A., 139, 309, 321, 430, 435, 436
Abbey, Mrs., 139, 435
Abbot, Gen. H. L., 24
Abbott, Jas., 1
Académie Carmen, 35, 377-92
Académie Royale des Beaux-Arts, 409
_Adam and Eve, Old Chelsea_, 156, 197
Adam houses, Adelphi, 160-61
Addams, Clifford, 77, 360, 408, 418, 424, 435
Addams, Mrs. (Miss Inez Bate), 114, 359, 360, 367, 378, 383-86, 424
"_Albemarle, The_," 279, 311
_Alderney Street_, 275
Alexander, Cicely H. (Mrs. Spring-Rice), 99, 119-24 _Portrait of (Grey and Green)_, 53, 89, 106, 121-24, 131, 146, 208, 299, 375
Alexander, John W., 231, 232, 321
Alexander, May, _Portrait of_, 89, 124
Alexander, W. C., 121, 147, 157, 159, 239, 301, 435
Alexander, Mrs. W. C., 121, 124
Alexandre, Arsène, 315, 320
Allen, Sir William, 8-9
Allingham, W., 120, 403
Alma-Tadema, Sir Lawrence, 56, 58, 153, 154, 252, 253, 435
_Alone with the Tide._ See _Coast of Brittany_
Aman-Jean, E., 320
_Américaine, L'_, 158-59, 208
American Art Association, Paris, 321
American Artists, Society of, 209, 431
_Amsterdam from the Tolhuis_, 74, 80
Amsterdam, Rijks Museum, 280, 418, 422
_Anacapa Island_, 32
_Andalouse, L'_ (_see_ Mrs. C. Whibley), 326, 397
Angel Inn, Cherry Gardens, 63
Angelo, Michael, 364, 403 the Sistine Chapel, 184
_Annabel Lee_, 280
_Ararat, Mount_, 184, 188
Argyll, Duke of, 308
Armitage, Mrs., 377
Armstrong, Thomas, 35-37, 47, 48, 55, 60-61, 168, 170
Armstrong, Sir W., 255, 402 _"Art and Art Critics_," _Whistler v. Ruskin_, 26, 180, 185, 245
Art Institute, Chicago, 283
_"Art Journal,"_ 103, 116, 235, 240, 255, 326
_Art, L'_, 180
_"Art Notes,"_ 157, 267
Art Union, 263
_"Artiste, L',"_ 93, 94
Artists, Society of, 375
Arts Club, 141, 155, 302
Ashbee, C. R., 414, 416
Astor, W. W., 286
Astruc, Z., 49 _Portrait of_, 58
_"Athenæum, The,"_ 59, 67, 69-70, 91, 93, 102, 127, 144, 154, 156, 159, 288
_Au Sixième_, 50
Aubert, M., 37
Augustine (Mme. Bertin), 343, 408
Authors, Society of, 281
Autotype Company, The, 157
Avery, S. P., 99, 100, 210, 432
Axenfeld, M., 49 _Portrait of_, 65
Bacher, Otto H., 118, 190, 191, 192, 193, 194, 196, 199, 200, 202, 206, 231
_Balcony, By the_, 332
_Balcony, The (Flesh-Colour and Green)_, 86, 87, 109, 276, 281, 332
Balestier, Wolcott, 287
Balleroy, De, 91
Baltimore, 1, 26, 27
Bankes, Eldon, 348
Barbizon, excursion to, 318
Barnett, Canon and Mrs., 335
"_Baronet and the Butterfly, The_," 354, 375
_Barr, Miss, Portrait of_, 334
Barr, Robert, 334
Barrie, J. M., 286
Barrington, Mrs., 35
Barthe, M., 78, 129
Bastien-Lepage, J., 237, 371
Bath Club, 400
_Battersea (Symphony)_, 102, 377
_Battersea Bridge, Old_, 100, 186, 201 (_Blue and Silver_, later _Blue and Gold_), 90, 112, 154, 166, 170, 172-76, 217, 258 (_Brown and Silver_), 93, 301
Baudelaire, 46, 70, 85, 91, 102, 217, 255
Bavarian Royal Academy, 279
Bayliss, Sir Wyke, 251, 268-70
Beardsley, A., 184, 188, 310, 312, 314, 345, 352, 373
Beatty, J. W., 432
Beck, J. W., 308
Becquet, M., 37, 49, 367 _Portrait of_, 73
_Beggars, The_, 199, 277
Belfont, M., 311, 326
Bénédite, L., 48, 86, 414
Benham, Capt., 29, 31-33
Benham, Major H. H., 32-33
Berners Street Gallery, 69, 110
Bernhardt, Sarah, 138, 188
Beurdeley, Maître, 330, 353
_Bibi Lalouette_, 38, 49, 50
Bierstadt, A., 100
Bigham, Mr. Justice, 348-49
_Billingsgate_, 107, 186, 275
Bisschop, Dr., 423
Blaas, E. de, 191
_Black Lion Wharf_, 60, 66, 69, 198, 333
Blackburn, Vernon, 286
Blaikie, W. B., 403
Blanche, J. E., 146
Blenheim, 304
Blind, Mr. and Mrs., 84
Blomfield, R. E., 287
Blott, Mr., 164
_Blue and Gold_ (Westminster), 154, 170
_Blue Girl_, 124, 214, 218. _See_ Florence Leyland; _also_ Waller
_Blue Wave, The_, 68, 301, 306
Blum, R., 191, 194
Bode, Dr., 431
Boehm, Sir J. E., 154, 188
Boer War, 398
Boisbaudran, Lecocq de, 34, 46, 113
Boldini, J., 320, 350, 352, 353
Bonnat, L. J. F., 253, 391
Bonvin, F. S., 48, 53, 59 "_Book of the Artists_," 100 "_Book of Scoundrels_," 344
Boot, Miss, 64
Booth, Mrs., 76
Boston Museum of Fine Arts, 209, 432 Public Library, 106, 309
Botticelli, 147
Boucher's _Diana_, copy of, 51
Boudin, E., 338
Boughton, G. H., 39, 57, 59, 111, 137, 150, 155
Bouguereau, A. W., 210, 252
Boussod Valadon, Messrs., 300
Bourgeois, L., 300
Bowen, Lord Justice, 169-81
Boxall, Sir Wm., 17, 18, 54, 110, 338
Bracquemond, F., 48, 73, 85, 91, 216
Breck, Adjt.-Gen., 30
Bremen, Meyer von, 210
_Bridge, The_, 199, 200
"_British Architect, The_," 204
British Artists' Exhibition, 259, 262
British Artists, The Royal Society of, 239, 246, 250-70, 370
British Museum, 75, 107, 108, 170
"_Broad Bridge, The_," 157
Bronson, H., 191
Bronson, Mrs., 191, 195
Bronson, Miss E. (Countess Rucellai), 189
Brooklyn Museum, 124, 432
Brown, Ernest G., 186, 204, 359
Brown, Prof. Fred., 344
Brown, Ford Madox, 82, 84, 110, 147, 203, 204
Brownell, W. C., 186
Browning, Robert, 191, 195
Bruckmann, W. L., 423
Brunel, 76
Buller, Sir Redvers, 399
Buloff, 13
Bunney, R., 191, 193
_Burckhardt, Count_, 71, 72
_Burgomaster Six, The_, 199
Burlington Fine Arts Club, 101
Burne-Jones, Sir E., 81, 104, 107, 147, 153, 154, 169, 175, 178, 204, 227, 253, 333
Burne-Jones, Lady, 168-69, 175
Burr, John, 260
Burton, Director of National Gallery, 178
Burton, Sir R., 404
Burton, Lady, 404
Burty, P., 100, 102
Bussy, Simon, 391
Butler, Mr., 193
Butterfly, The, 89-90, 121, 127, 219, 220, 260, 265, 269, 294, 403 Company of the, 355-57, 397
Byng, Rev. Mr., 272
_Café de Bode_, 75
_Café Molière_, 45, 48
Cahen, Countess Edmond de, 87
Calmour, Alfred, 84
Cambridge University Art Society, 246
Campbell, Lady Archibald, 138, 162-63, 214-16, 233 _Portrait of._ See _Yellow Buskin_
Campbell, Lady Colin, 138 _Portrait of_ (_Ivory and White_), 262
Canaletto, 103, 189-90, 191, 232, 335, 340
Canfield, R. A., 165, 194, 202, 426-27, 430, 433 _Portrait of_, 414
Caravaggio, 341
Carlisle, Earl of, 82
Carlyle, Thomas, 89, 119-21, 123, 334, 403, 404 _Portrait of_ (_Black and Grey_), 53, 74, 98, 119-20, 122, 123, 154, 164, 170, 171, 174, 185, 221, 240, 241, 282, 298-99, 308
_Carmen_, 362
Carmen Rossi, Madame, 313, 331, 358, 377-79, 387
Carnegie Institute, Pittsburgh, 432
Carr, J. Comyns, 240
Carte, Mrs. D'Oyly, 160-61, 241-43
_Cassatt, Mrs., Portrait of_, 257
Cassell, 209
Cauldwell, J. E., 397
Cauty, H. H., 251
Cazin, C., 73
Cellini, 185, 297
Cennino, 185, 379
Centenary Exhibition of Lithography, 331, 332
"_Century Magazine_," 22, 31, 222, 237
Champfleury, 91
Chantrey Collection, 111-12
Chapman, Alfred, 109
Chapman, Miss Emily, 16, 47, 68, 81, 98
Chase, William M., 20, 21, 235-38, 391 _Portrait of_, 236
Chelsea Arts Club, 141, 247, 300
_Chelsea Girl_, 257
_Chelsea in Ice_ (_Harmony in Grey_), 263
_Chelsea Rags_, 279, 375
_Chelsea Reach_ (_Harmony in Grey_), 144
Cheyne Walk, houses in, 76, 98, 283,284, 285, 414, 423
Chicago Exhibition, 308-309
Chicago Institute, 130, 432
Childs, F. L. T., 25
Christie, J. E., 78
_Chronique des Beaux-Arts_, 303
Church, F. E., 100
Cimabue, 253
Claghorn Collection, the, 209
Claretie, Jules, 94
Clarke, Sir Edward, 348-49
Claude, 102, 103, 340
Clausen, George, 270, 289
Clémenceau, Georges, 300
Clerkenwell Church, 360
_Coast of Brittany, The_, 67-69, 220
_Coast Survey, Nos. I. and II._, 31-32,50, 62
Cole, Alan S., 17, 105, 135-37, 144, 145, 147-51, 165-66, 187, 204, 207, 210-13, 218, 228, 240, 256, 273, 284, 300, 354, 359, 435
Cole, Mrs. A. S., 138, 273, 359
Cole, Sir Henry, 33, 106, 149, 187, 212, 217, 375 _note_ _Portrait of_, 145
Cole, Timothy, 338-40, 397
Cole, Vicat, 112
Collingwood, W. G., 155, 167
Collins, Wilkie, 70
Colvin, Sir Sidney, 128, 246, 349
Comstock, Gen. C. B., 24
Conder, Charles, 412
Conway, Dr. Moncure, 101, 247
Cook, E. T., 82, 180
Cooper, T. S., 69
Coquelin Ainé, 225
Corder, Miss Rosa, 156 _Portrait of_ (_Arrangement in Black and Brown_), 146, 156, 165, 185, 208, 280, 283, 299, 306, 373, 426
Cordier, 91
Coronio, Mrs., 56
Courbet, G., 34, 46, 47, 48, 52, 53, 54, 64, 67-68, 86, 95, 102, 103-104, 113, 195, 216, 253
_Courbet on the Shore_, 95
"_Court and Society Review, The_," 233-34, 259
Couture, T., 34, 35, 252
Cowan, J. J., 194 _Portrait of_ (_Grey Man_), 324-25, 334
Crabb, Capt., 135
Crackenthorpe, Hubert, 279
Crane, Walter, 153-54, 175, 270
_Creditor, The_ (see _Gold Scab_), 188
_Cremorne Gardens_, 76-77, 144, 432
_Crépuscule_ (_Flesh-Colour and Green_), 86, 99-100, 222
Crivelli, 147
Crockett, S. R., 334 _Portrait of_ (_Grey Man_), 334
"_Cuckoo, The_," 207
Curtis, Ralph, 191, 193-95, 240
Cust, Henry, 286
Dabo, Léon, 43
D'Ache, Caran, 398
"_Daily Chronicle, The_," 332, 333, 351
"_Daily Graphic, The_," 332
"_Daily Mail, The_," 309
"_Daily News, The_," 143, 168, 246
"_Daily Telegraph, The_," 59, 67, 246
Dalou, J., 131
Dalziel Brothers, 71
_Dam Wood, The_, 124
"_Danbury News_," 137
_Dance House, The_, 51, 276
Dannat, W. T., 264
Darwen, 47
_Daughter of Eve, A_, 426
Davenport, Dr., 325
David, 34, 363
Davis, Edmund, 59, 376
Davis, Jefferson, 28
Day, Mr. Justice, 179
Day, Lewis F., 243
Degas, H. G. E., 34, 53, 239, 253, 349
Delabrosse, 292
Delacroix, E., 91, 253 _Hommage à_, 91
Delannoy, Ernest, 37, 41-46, 55, 81
Delaroche, Paul, 34
Delâtre, A., 49, 50, 62, 85
_Deluge_, 51
Denny, Annie, 33
Deschamps, Charles, 110, 188
_Design for a Mosaic_ (_Gold Girl_), 106
Desnoyers, Fernand, 74
Desoye, Mme., 85
"_Detroit Free Press_," 137
Dicey, F., 137
Dicksee, Frank, 112
Dilkes, the, 17
Disraeli (Lord Beaconsfield), 165
Dobbin, James C., 28
Doria Palace, 363
_Dordrecht--A Little Red Note_, 256
Dowdeswell, Messrs., 188, 208, 213, 260, 308
Dowdeswell, Walter, 135, 211, 235, 260, 263, 266
Drake, A. W., 222
Draughn, Miss Marian, 359
Dresden Museum, 109
Drouet, C., 37, 39, 49, 50, 51, 52, 66, 68, 321, 365, 367 _Portrait of_, 50, 66
Du Maurier, G., 35, 36, 39, 40, 55, 56, 57, 61, 170, 255, 327-28
Dublin Modern Art Gallery, 130-31
Dublin Sketching Club Exhibition, 240-41
Duchâtel, E., 311
Dudley Gallery, 110, 144
Dunn, Henry Treffy, 85, 160
Dunthorne's Gallery, 278, 332
Duran, Carolus, 48, 195, 398
Durand-Ruel, 110, 405
Duranty, 91, 163
Dürer, 185
Duret, Théodore, 1, 34, 48, 52, 53, 63, 68, 95, 99, 144, 159, 202, 216, 276, 293, 299, 311, 321, 432, 434, 435, 436 _Portrait of_ (_Flesh-Colour and Black_), 89, 216-17, 233
_Dutchman holding the Glass, The_, 50
Duveneck, Frank, 190-91, 193, 207
Earnsdale, 47
East, Sir A., 251, 435
Eastwick, Messrs. Harrison and, 7, 13
Eaton, Sir F., 309
Eddy, A. J., 3, 103, 356 _Portrait of_, 323-24
Eden Case, 329-30, 344, 350-57
Eden, Sir W., 344, 353, 366
Eden, Lady, _Portrait of_ (_Brown and Gold_), 326, 329
Edinburgh Exhibition, 280
Edward, King, 108-109
Edwards, Edwin, 66, 67, 109, 131
Edwards, Mrs., 66, 67, 182
Eeden, F. Van, 271
_Effie Deans_, 146, 280, 418
Egg, A. L., 69
Eldon, W., 136, 212, 234
Ellis, F. S., 180
Eloise, 39
Elwell, Mr., 402 _Portrait of_, 359
_Embroidered Curtain, The_, 276
_Encamping_, 66
_Encampment, An_, 22
"_English Etchings_," 275
"_English Illustrated Magazine, The_," 240
Erskine, The Hon. Stuart, 279
_Estampe Originale, L'_, 326
"_Etching and Etchers_," 106, 107, 275
_Etchings from Nature, Two_, 54
Fagan, L., 366
_Falling Rocket, The_ (_Nocturne in Black and Gold_), 144, 153, 155, 166, 170, 171, 173, 176, 178, 223, 305
_Fan, Study for a_, 377
_Fan, The_ (_Red and Black_), 326
Fantin-Latour, 34, 37, 47, 48, 49, 51-55, 57, 63, 64, 66-68, 73, 75, 79, 85, 86, 91, 92, 93, 94, 103, 104, 107, 109, 114, 117, 118, 130, 131, 189, 216, 253, 326, 368, 404
Farge, John La, 362
Farquharson, J., 370
Farren, Nellie, 158
_Figaro_, 398
Fillmore, President, 20
"_Fine Arts Quarterly, The_," 74
Fine Art Society, 108, 111, 180, 186, 188-90, 202-5, 218-19, 246, 332, 344,427-28
_Finette_, 49
_Fire Wheel, The_, 166
"_First Sermon, The_," 71
_Fish Shop, The--Busy Chelsea_, 263, 276, 279
_Flesh-Colour and Grey_, 221
Flower, C., 135
Flower, Wickham, 160, 188 Mrs. Wickham, 160
Followers, the, 229-31, 239, 243
Forbes, Archibald, 241
Forbes, C. S., 191, 202
Ford, Sheridan, 160, 285, 288-94 Mrs. Sheridan, 288-90
_Forge, The_, 67, 73
"_Fors Clavigera_," 169
"_Fortnightly Review, The_," 81, 142, 247-48
Foster, John, 56
"_Four Masters of Etching_," 185
Francesca, Piero della, 162
Franklin, Miss Maud, 125, 136, 146, 155, 158, 190, 195, 206, 211, 233, 272, 280 _Etching_, 158 _Portrait of_ (_Arrangement in Black and White, No. 1_), 158-59, 208
Frederick, Harold, 346
_Free Trade Wharf_, 186
Freer, C. L., 57, 66, 94, 106, 142, 152, 188, 210, 212, 275, 306, 417, 431-34, 436
French Artists, Society of, 110, 144
French Gallery, the, 99, 110
_French Set of Etchings, the_, 43-44, 49-50, 61, 198
French Universal Exhibition, 99
Freshfield, D., 130-31
Frick, 306
Frieseke, Frederick, 391
Frith, W. P., 58, 69, 176
Fromentin, Eugène, 185
Fulleylove, J., 319
Fulleylove, Mr., 319
_Fumette_, 39, 49
_Fur Jacket, The_ (_Black and Brown, Brown, Amber and Black_), 74, 146, 154, 166, 280, 309, 432
Furse, C. W., 287, 310, 370
Gallatin, _Whistler_, 52, 130
Galsworthy, Mrs., 136
_Garden, The_, 199, 287
_Gardens, The_ (Cremorne), 263
Gaskell, Mrs., 77
Gautier, Mr. and Mrs., 30
Gautier, Théophile, 102
Gay, W., 321, 322-23
"_Gazette des Beaux-Arts_," 74, 86, 93, 100, 102, 163, 203, 216, 256, 275
Gee, H., 136
"_Gentle Art of Making Enemies, The_," 90, 106, 117, 127-28, 137, 160, 168, 178, 207, 228, 235, 236, 246, 248, 249, 269, 282, 285, 289-96, 303, 328, 354, 417, 437-38
Gérard, Mère, 39-40, 47, 50, 51, 66, 249
Gérome, J. L., 34, 252-53
Gibson, C. D., 359
Gilbert, A., 280, 299, 347-49, 370
_Gilchrist, Miss Connie, Portrait_ (_Gold Girl_), 146, 159, 185, 188, 432
Gilder, R. W., 222, 223
_Giudecca_ (_Nocturne_), 202
Glasgow Corporation, 299
Glasgow Exhibition, 282
Glasgow Institute of Fine Arts, 331
Glasgow University, 429
Gleyre, 34-35, 37, 39, 43, 46, 252, 327
Godwin, E. W., 141, 159, 163, 187, 204, 206, 271, 272, 298
Godwin, E. (junior), 90, 355, 436
Godwin, Mrs. Beatrix (later Mrs. J. McN. Whistler), 234, 262, 271-74, 292-93, 298, 301, 310, 313-20, 322, 326, 329-33 Death of, 334-35 _Portrait of_ (_Harmony in Red: Lamplight_), 262
_Gold and Orange_, 376
_Gold Girl_, 106
_Gold Scab, The_, 184, 188
_Gold Screen, The_ (_Purple and Gold_), 87, 93
Goncourt, Edmond de, 50, 85, 284
Goncourts, the de, 85
"_Good Words_," 71
Goold, Miss, 283
Gosse, Edmund, 132, 275
Goulding, Frederick, 65, 199, 202, 203, 204, 349
Goupil Gallery, 63, 65, 184, 267, 299-305
Grafton Gallery, 312, 369
Graham, William, 154, 170, 173, 193, 259
Grahame, Kenneth, 286
Grand, Mrs. Sarah, 400
_Grande Place, Brussels_, 282
Grant, General, U.S., 94
Graves, Algernon, 164, 174, 207 Henry, 145, 156, 164, 165, 178, 207, 208, 237-38
Gravesande, S. Van's, 418
Gray, W. E., 395
_Great Sea, The_ (_Green and Silver_), 376
Greaves, Walter and Harry, 63-65, 76-79,90, 97-99, 106, 115, 118, 121, 123, 127, 129, 135, 148, 339
Green, Rev. Mr., 222
_Green and Violet_, 257-58, 347
Greenaway, Kate, 167
Gregg, Gen. D. McN., 24
Greiffenhagen, M., 370
_Gretchen at Heidelberg_, 44
_Grey and Gold_, 117
_Grey Lady_, 214-15
_Grey Man, The_, 324, 334
Grisi, 135
Grist, Mr., 191
Grolier Club, 198 Exhibition, 351
Gross Geroldseck, 43
Grossmith, G., 56
Grosvenor Gallery, 123, 145, 153-54, 158-59, 170, 185, 208, 213, 247, 256, 282, 291, 369
"_Grosvenor Notes_," 159
Guardi, 103, 340, 364
_Guitar Player, The_, 66
Guthrie, Sir James, 298, 321, 370, 374, 429, 436
Haanen, E. Van, 191, 193
Haarlem Gallery, 118, 420-22
Haden, Annie, 59 _Dry-point_, 65 _Etching_, 50
Haden, Lady, 4, 6, 10, 16, 17, 53, 55, 224, 329
Haden, Sir F. Seymour, 16-18, 33, 43, 44, 49-50, 53, 54, 55, 56, 59, 63, 75, 100, 101, 203, 207, 209, 224, 282, 345
Haghe, Louis, 22, 157
Hague, The, 418-19 Exhibition, 75
Halkett, G. R., 221
Hallé, C. E., 153
Hals, Franz, 47, 91, 103, 118, 195, 254, 419-22
Halsbury, Lord, 283
Hamerton, P. G., 74, 76, 102, 106-107, 118, 275
Hamilton, Dr., 207
Hamilton, J. McLure, 288-90
Hannay, A. A., _Portrait of_, 335
Hannay, A. H., 187
Hanover Gallery Exhibition, 205, 207
Hare, Augustus, 184
Harland, H., 287, 310 Mrs., 287
"_Harper's Magazine_," 327-28
Harpignies, H., 73
Harris, F., 346
Harrison, Alex., 321, 324, 368, 398
Harrison, Henry, 52
Harrison, R. H. C., 173, 259
Harry, Gérard, 284, 291
Harte, Bret, 136
Hartley Institution, Southampton, 143
Haweis, Rev. H. R., 174
"_Hawk, The_," 298
Hawkins, Gen. Rush C., 281-82
Haxton, Mr., 287
_Head of Old Man Smoking_, 52
Hearn, G., 146
Heffernan, Joanna, _see_ Jo
Heinemann, E., 341-42
Heinemann, W., 142, 160, 271, 279, 288, 294, 326, 336, 341, 344, 351, 353, 355, 362, 365, 368, 373, 377, 392-94, 397, 404, 408, 411, 417, 424, 428, 433, 435
Heinemann, Mrs., _Portrait of_, 426
Helleu, P., 320, 347, 350
Helst, Van der, 74, 91
Henley, W. E., 285-87, 331, 344, 393, 434
Herbert, J. R., 252
Herkomer, Sir H. von, 112, 285, 346, 364
Heseltine, J. P., 180
Hiroshige, 112, 114, 142
_His Reverence_, 427
"_History of Modern Illustration_," 72
Hogarth, 15-16, 103, 156, 232-33, 255, 341, 426, 436
Hogarth Club, 141, 261, 263, 268, 291
Hogg, Hon. J., 241
Hokusai, 85
Holbein, 48
Holdgate, Mr., 165
Hole, W., 221
Holker, Sir John, 169, 170, 171, 172, 173, 179
Holloway, C. E., 333, 335, 347
Holmes, G. A., 143, 240, 267
Holmes, Sir R. R., 108
_Hommage à Delacroix_, 58
_Hommage à la Vérité_ (_see_ Fantin), 94
Horniman, E. J., 235
Horsley, J. C., 93, 257-58
Houghton, A. B., 58, 138
_Hour in the Life of a Cadet, An_, 22
"_Hour, The_," 127
Howard, F., 369-70, 435
Howard, Gen. O. O., 24
Howell, C. A., 79, 81-83, 84, 85, 138, 141, 145, 155-56, 163-66, 184, 188, 190, 208, 218, 404
Howells, W. D., 321
Hubbard, Elbert, 430
Hubbell, Henry S., 391
Huddleston, Baron, 168, 174
Hueffer, Ford Madox, 84
Huish, M. B., 180, 188
Hungerford, Mrs., 214
_Hungerford Bridge_, 72, 73
Hunt, W. Holman, 61, 153, 252, 254, 270
Huth, Louis, 86, 109, 138
Huth, Mrs., 126, 211 _Portrait of_, 126, 256
Hutton, Mrs., 210
_Idyl, An_, 284
"_Illustrated London News_," 303
Illustrators, Society of, 331, 345
_Imagier, L'_, 326
"_Indépendance Belge_," 291
Ingram, W. Ayerst, 250, 261, 266, 267
Ingres, 51, 103, 364
International Society of Sculptors, Painters, and Gravers, 153, 257, 271, 354, 369-77, 413, 429, 435 Exhibitions, 69, 110, 361, 372, 374-76
Ionides, the, 107-108 Aleco, 35, 55, 56, 153 Alexander, 35, 88-89, 107 Helen (_see_ Mrs. William Whistler), 153 Luke, 35, 37, 39, 41, 43, 55, 56, 61,95, 134, 153, 302, 306, 404, 424, 427 _Portrait of_, 64
_Iris_, The (_see_ Miss Kinsella), 413-14
Irving, Sir Henry _Portrait of_ (_Arrangement in Black_), 74, 84, 144-45, 154, 156, 166, 171, 175, 185, 208, 283, 432
_Isle de la Cité_, 60, 201
Israels, J., 280, 418
Iwan-Muller, E. B., 286
Ives, Prof. H. C., 309, 430
Jackson, F. Ernest, 120
Jacomb-Hood, G. P., 188, 315
Jacquemart, J., 85, 158
James, F., 225, 268, 283, 287
Jameson, F., 104-105, 109
Japanese Art, 89-92, 98, 103, 105, 112-14, 200-201
Jarvis, Lewis, 188
Jekyll, 147, 150
_Jersey_, 218
Jeune, Lady (Lady St. Helier), 247
Jobbins, Mr., 191, 202
"Jo" (Mrs. Joanna Abbott), 63, 67-68, 84, 92, 130, 186 _Portrait of_, 67-68, 156
Johnson Club, 281
Johnson, Dr., 394
Johnston, Humphrey, 321
Jongkind, J. B., 73
Jopling-Rowe, Mrs., 272
Josey, R., 164-65
Jourdan, M., 14, 15
_Jubilee in the Abbey_, 266
Junior Etching Club, 65, 275
Keene, C., 55, 58, 167-68, 263, 281
Kelly, F., 286
Kennedy, David, 427
Kennedy, E. G., 65, 142, 318-19, 334-38, 350-53, 397, 432, 435
_Kensington Gardens_, 332
Keppel, F., 108, 223
Kerr-Lawson, J., 364
Key, J. Ross, 30-31
Kingsley, Martha, 4
Kinsella, Miss, _Portrait of The Iris_ (_Rose and Green_), 325, 347, 413-14
Kingston-Lacy Collection, 411
Kipling, Mrs., 287
Kipling, R., 286
_Kitchen, The_, 199
Kruger, President, 27-28 Mrs., 399
Labouchere, H., 29, 146, 271-72
_Lady at a Window_, 156
_Lagoon, The_, 198
Lagrange, L., 93
Lalouette, 38
Lamartine, M., 12
Lambert, John, 38, 41, 397
Lamont, T. R., 35, 40
Lamour, 317
Landor, A. H. Savage, 341-42
Landseer, Sir E., 93
Lane, Sir Hugh, 130-31
Lang, A., 136
Langdon, Gen. L. L., 23-25
_Lange Leizen_ (_Purple and Rose_), 87, 91, 306, 432
Langtry, Mrs., _Portrait of_, 213
_Lannion, The Yellow House_, 320
Lantéri, Prof. E., 131, 225, 415
Larned, Col., 20-23
_Last of Old Westminster, The_, 72, 73
Laurens, J. P., 73, 253
Laveille, A., 85
Lavery, J., 300-301, 321, 369-70, 374-75, 424, 427, 434-36
Lawless, Hon. F., 225
Lawson, C., 159, 275
Leathart, J., 109, 306
Lee, Col. R. E., 20, 22
Lee, Gen., 24
Lee, T. Stirling, 435
Leech, J., 55, 156
"_Legendary Ballads_," 72
Legion of Honour, 300
Legros, A., 37, 47, 48, 53, 54, 55, 61, 63, 73, 74, 91, 101, 147, 207
Leighton, Lord, 35, 112, 153, 154, 178, 231-33, 247, 252-53, 261, 266, 308, 332
Lemercier, 311
_Lenoir, Miss_, 242
Leslie, C. R., 93, 252
_L'Estampe Originale_, 326
Lewis, Arthur, 56
Lewis, Sir G., 184, 291, 346-47
Leyland, F. R., 89, 98, 105, 106, 109, 116, 124, 125, 133, 147-52, 184, 185, 188, 217, 305 _Portrait of_, 126
Leyland, Mrs., 116, 120, 124-25, 126, 135-36, 153-54, 163 _note_, 170, 211 _Portraits of_, 175-76, 188 _Fanny Leyland_, 51
Leyland, Florence, _Portrait of_ (_Blue Girl_), 124, 125, 187, 432
Liberty, L., 86
Liddell, Dean, 181
_Lido, The_, 193
_Lillie in our Alley_, 360, 362, 375
Linde, Dr., 159
Lindenkohl, A., 30-31
Lindsay, Sir Coutts, 152-54, 169-70, 280
Lindsey Palace, 77
Lindsey Row, houses in, 75, 76, 81, 83, 97-98, 128-44
Lippi, Filippo, 147
"_Lithography and Lithographers_," 326
Lithography Case, 346-50
Lithography, revival of, 311-12
_Little Blue Bonnet_, 361, 373
_Little Cardinal_, 428
_Little Evelyn_, 359
"_Little Journeys_," 430
_Little Lady Sophie of Soho_, 360, 362, 375
_Little Pool, The_, 62
_Little Putney, The_, 186
_Little Red Note: Dordrecht_, 256
_Little Rose of Lyme Regis, The_, 274, 331, 359, 360, 432
_Little Venice_, 223
_Little White Girl, The_ (_Symphony in White, No. II._), 63, 92-93, 126, 306, 331, 397, 405, 417 Verses on, 93
_Liverdun_, 43
Livermore, Mrs., 1, 5-6, 9
Liverpool Art Club Exhibition, 139, 142, 143
_Lobsters, The Loves of the_, 184-85, 188
Logsdail, W., 191
"_London Garland_," 331
London Memorial Exhibition, 51, 64, 67, 73, 74, 104, 105, 106, 108, 118, 121, 173, 198, 212-13, 308, 325, 333
Long, E., 252
"Long Elizas," 85
Lorimer, J. H., 266
Louise, Princess, 150
Louvre, the, 41-42, 46, 47, 48, 52, 322, 412
Lovell, John M., 295
Low, Will H., 431
Lowell, 1, 3, 4, 5, 26, 281
Lucas, G., 41, 99, 144
Ludovici, A., 240, 256, 435
Luxembourg, 209, 299, 408, 413
Lynden, Baron Van, 280 Baroness Van, 280
MacCall, C. H., 294
MacColl, D. S., 139, 310, 312, 344, 371, 429
MacGeorge Collection, the, 427
Maclise, D., 69
Macmillan, Messrs., 331
MacMonnies, F., 321, 322, 330, 353, 377-78, 386-89
Maeterlinck, M., 291-93, 437-38
"_Magazine of Art, The_," 267, 405
_Major's Daughter, The_, 71, 72
Mallarmé, S., 310-11, 315, 321 _Portrait of_, 311
Manchester Art Treasures Exhibition, 47, 231
Manet, E., 53, 73, 74, 85, 91, 94, 195, 216, 218, 253, 404, 435
Mann, Mr., _Portrait of_, 65
Mansfield, Burton, 95, 121
Mansfield, Howard, 55, 210, 306, 408
Mantz, P., 74, 93, 100, 102
_Manuel, Master Stephen_, 359
_Marchande de Moutarde, La_, 50, 275
Marchant, William, 303
Maris, J. M., 280
Marks, Murray, 85, 86, 107, 147, 158
Marks, Stacy, 56, 252
Marlborough, Duke of, 304
Marmalade, Marquis de, 97, 101
Marriott-Watson, H. B., 286
Martin, J., 76
Martin, B. E., 222
Martin, Henri, 37, 47, 53
Martin, Homer, 142
Martinet, 73
Marty, P., 311
Marx, Roger, 300
Marzetti, Mrs., 213-14, 219-20
Mason, George, 58
_Master Smith, The_, 274, 331, 338, 362, 427, 432
Mathew, Justice, 348
Mauritshuis, the, 419-21, 423
Maus, O., 276
McCarthy, J., 298
McClure, S. S., 287
"_McClure's Magazine_," 328
McCulloch, G., 57
McKim, 309
McNeill, Alicia, 6, 9, 10, 18 Charles Donald, 4 Donald, 4 Martha, 4 William G., 4
May, Henry, 355 Phil, 344, 359
Mazzini, 119
_Mèche de Silas_, 58
Melbourne, Lord, 261
Melbourne Museum, 109
Melnikoff, Col., 5, 7
Melville, A., 289, 291, 370
Menpes, M., 139, 160, 200, 203, 206, 207, 223, 230-31, 240, 242, 257, 262, 268, 297
_Mère Gérard, La_, 39-40, 50, 51, 67 Etching, 50
Meredith, G., 79-81, 249
Merritt, Mrs., 116, 208, 241
Méryon, C., 60, 142
Mesdag, H. W., 280, 417, 423
Metsu, 341
Meux, Lady, 212, 217-18, 240, 299, 306 _Portrait of_ (_Flesh-Colour and Pink_), 211, 217-18, 240 _Portrait of_ (_Black and White_), 211, 217-18, 312 _Portrait in Sables_, 212
Milcendeau, Charles, 321
Miles, Frank, 214, 225
Miles, F. B., 27, 37-38
Millais, Sir J. E., 54, 61, 93, 112, 147, 153, 154, 165, 205, 251, 254, 299
_Millbank_, 198
Millet, 405
Minton, 225
Mirbeau, O., 320, 330
_Miser, The_, 199
Mitchell, Dr. Chalmers, 435
"_Modern Men_," 285
"_Modern Painting_," 288
Moncrieff, Mrs., 138, 182
Monet, C., 267
_Moniteur_, 73
Mont, Neven du, 435
Montesquiou, Comte de, 284, 320, 430 _Portrait of_, 157, 284
Montezuma, 40
Montiori, Mrs., 136
Moody, Mr., 149
Moore, Albert, 58, 77, 103, 130, 135, 142, 147, 168, 174, 180, 226
Moore, Augustus, 298
Moore, George, 288, 329-31, 349, 354
Moore, Henry, 143
Moreau, Gustave, 391
Moreau-Nélaton Collection, 91
Morgan, Mr., 303
_Morning before the Massacre of St. Bartholomew, The_, 71, 72
"_Morning Post, The_," 149, 417
Morris, Harrison S., 416, 431 Mrs., 416
Morris, Phil, 120
Morris, W., 85, 107, 147, 161, 186, 227, 244, 333
Morrison, A., 286
Morse, S., 161, 218, 366
Morse, Mrs., 161
_Mother, The_ (_Arrangement in Grey and Black, No. I._) (_see_ Mrs. Whistler), 53, 74, 98, 110, 117, 118, 121, 164, 165, 208-10, 220, 237-38, 240, 280, 282, 298-300 Dry-point, 156
Moulton, Mrs., 19-20
Mulready, W., 149
Munich International Exhibition, 279
Murano, 332, 364
_Murano Glass Furnace_, 193
Murger, 37, 102
_Music Room, The_ (_Green and Rose_), 64-65, 301
Nash, J., 22, 157
National Academy of Design, 372
National Art Exhibition, 1886, 270
National Art Collections Fund, 173 _note_
National Gallery, the, 47, 109, 112, 173 _note_, 212, 232, 340
National Portrait Gallery, 221
"_National (Scots) Observer, The_," 285-86
_Naval Review Set_, 266, 267, 374
_Neighbours, The_ (_Gold and Orange_), 376
New English Art Club, 282, 344, 371
New Gallery, 153, 282, 308, 376
"_New Review_," 351
New York Etching Club, 209
"_New York Herald_," 282, 289
New York Metropolitan Museum, 57, 146, 210, 335, 432
New York Public Library, 100, 109
"_New York State Library Bulletin_," 328
Nicholson, W., 351, 356
"_Nineteenth Century, The_," 185, 219
Norman, the Misses, 417
Northumberland House, 147
Norton, C. E., 169
Noseda, Mrs., 164
_Note Blanche_, 68
Obach, Messrs., 152, 160
"_Observer_," 259
Ochtervelt, 412
_Old Chelsea_, 197 Dr. Martin, 222-24
_Old Putney Bridge_, 186
_Old Westminster Bridge_, 72
Olga, Grand Duchess, 13
"_Once a Week_," 71
Orchardson, Sir W. Q., 112, 232, 280, 299
Osborne, Walter, 403
Oulevey, H., 37, 39, 41, 42, 48, 50, 321, 368
_Pacific, The_, 185
"_Paddon Papers, The_," 83, 218
Pagani, 142
"_Pageant, The_," 326
Painter-Etchers, The Royal Society of, 207
_Palaces, Nocturne_, 190, 219-20
Pall Mall, exhibition at, 126-27, 143
"_Pall Mall Gazette_," 127, 218, 246, 256-58, 269, 277, 286, 308, 327, 330
"_Pall Mall Pictures_," 263
Palmer, Amos, 10
Palmer, Miss, 4-5, 18, 19
Palmer, Mrs. Potter, 363
Paris, Centenary Exhibition, 331, 332
Paris, Memorial Exhibition, 68, 105-106, 358
Paris, Universal Exhibitions, 159, 163, 255, 279, 281, 397
Park, Rev. Roswell, 19-20
Parrish, S., 224
Parry, Mr. Sergeant (now Judge), 169-81
Parsons, Alfred, 345
"_Passages from Modern English Poets_," 69
Pastel Society, 282
Pater, W., 227, 244
Pawling, S. S., 335
Payne, 342
_Peacock Room, The_, 77, 89, 143-52, 160, 189, 257, 309
Pearsall, Booth, 240
Peck, Miss, _Portrait of_, 325
Pellegrini, C., 142, 158, 226
Pennell, (J.), 72, 222-24, 278, 285, 289, 310-20, 330-33, 336, 338-40, 344, 346-49, 353, 360, 365, 370-71, 374, 376, 393-98, 406-408, 410, 413-14, 423, 425-27, 429-30, 433-35
Pennell, Mrs. (E.), 335, 344, 347, 353, 368, 392, 394-95, 410-11, 417-18, 422-23, 433-34
Pennington, Harper, 118, 119, 191, 194, 202, 211, 225, 232
Pennsylvania Academy, 208-209, 329, 431
Pepys, Samuel, 2
Périvier, President, 353
Perugino, 390
Petheram, Mr., 169-81
Petit Gallery, 300
Pfalzburg, 43
Philadelphia Society of Etchers, 209
Philip, John Birnie, 271
Philip, Mrs. Birnie, 411, 413, 414, 424
Philip, R. Birnie, 406, 407 _Portrait of_, 359
Philip, Miss R. Birnie, 212, 275, 331, 335, 336, 340, 341, 366, 376, 393-97, 401, 414-17, 424-27, 433, 434, 436
Phillip, John, 59
Phillips, Sir Claude, 256
_Philosopher, The_ (_see_ Holloway), 335, 373
_Phryne the Superb_, 360, 376
_Piano Picture, The_ (_At the Piano_), 47, 48, 52, 53, 58-59, 60, 64, 65, 71, 99, 373
Picard, E., 291, 292
"_Piccadilly_," 157
_Piccadilly_ (_Grey and Gold_), 241
"_Piker Papers, The_," 207
Poe, E. A., 26, 46
Pollitt, A. J., _Portrait of_, 332, 334
Pomfret, 18-20
_Pool, The_, 73
Poole, R. W., 350
"_Portfolio, The_," 107, 178, 186, 275
Portrait Painters' Exhibition, 331, 428
Potter, G., 109, 137, 306
Potter, Mrs., 47, 109, 138
Powerscourt, Lord, 240
Poynter, Sir E. J., 35, 36, 38, 49, 55, 61, 69, 104, 112, 149, 153, 154, 170, 178, 203, 252, 255, 364
_Pretty Nelly Brown_, 359
Prince, Miss, 391
Prince's Hall, 239, 240, 242
Prince's Skating Club, 369
_Princesse du Pays de la Porcelaine, La_, 86, 87, 88, 89, 93, 110, 148, 151, 188, 305-306, 309, 373
Prinsep, Val, 57, 79, 93, 116, 125, 129, 247
Probyn, Sir Dighton, 149
"_Propositions No. 2_," 221
"_Proposition, A Further_," 235
"_Propositions_," 260, 295, 297
"_Punch_," 55, 255
_Punt, The_, 66, 69
Putnam, Messrs., 295
_Putney Bridge_, 111, 185, 186
Puvis de Chavannes, 162, 320, 362
_Quat'z Arts_ Ball, 319
Quilter, H., 163, 187, 191-92
Rae, George, 110
Raffalovitch, A., 287
Rajon, P., 235
Raleigh, Sir W., 287, 429
Raphael, 363, 390
Ratier, Maître, 330
Rawlinson, W. J., 109, 138, 155, 164
Realism, influence of Courbet, 103-104
_Red House, Paimpol_, 320
_Red Note_, 267
_Red Rag_, 297
_Rédacteur du Journal "L'Artiste,"_ 58-59
Redesdale, Lord, 117, 128, 133, 136, 137, 143, 145-46, 148, 149, 188 _Portrait of_, 145-46
Redesdale, Lady, 145
_Regent's Quadrant_, 275
Regnault, H., 195
_Relief Fund in Lancashire_, 71
Rembrandt, 47, 52, 62, 67, 68, 69, 74, 91, 103, 166-67, 203. 245, 276-77, 311, 418-19
Renouard, P., 335
Renan, Ary, 378
Repplier, Agnes, 222
Réveillon, Mrs., 65, 435
Reynolds, Sir J., 5, 185, 297, 364, 428, 429
Rhodes, Cecil, 332
Riault, M., 49 _Portrait of_, 65
_Rialto_, 199
Ribot, T., 52, 53, 405
Richmond, 153, 154
Ricketts, C., 370
Rico, M., 191, 193
Ridley, M. W., 66 _Portrait of_, 213
Rijks Museum, 280
Ritchie, Lady, 17, 33, 34, 59, 150
_Riva_, 189
Roberts, Earl, 399
Robertson, G., 377, 426
Robins, Miss E., 344
Robinson, Lionel, 148
Rodd, Sir R., 24, 139, 214, 225
Rodenbach, G., 320
Rodin, A., 320, 325, 375, 376, 388, 412, 415
Roland, Marcel, 261
Rolshoven, J., 191
Romeike, 286
Rose, A., 109, 143, 160, 164, 167, 174, 180
_Rose and Red_, 282
Ross, Alexander, 310 Robert, 310
Rossetti, D. G., 79-80, 82-85, 89, 92, 93, 101, 107-109, 137, 147, 153, 168, 182, 227, 253, 397, 404, 412
Rossetti, W. M., 59, 69, 71, 79-81, 82, 84, 85, 91-92, 98, 100, 101, 102, 105, 132, 166, 173-74, 178, 180
Rothenstein, W., 349, 370
_Rotherhithe_, 63, 69
Roussel, T., 57, 96, 263, 287, 294
Roussoff, P., 193
Rowley. J., 35-36
Royal Academy, 18, 54, 58, 63, 67, 69, 73, 91, 93, 102, 109-11, 143-44, 185, 232, 266
Royal Academy, Students' Club, 247
Royal Scottish Academy, 435-36
Ruben, Mr., 193
Rubens, 390
Rucellai, Countess. _See_ Miss E. Bronson
Ruggles, Gen., 23
Ruskin, John, 82, 92, 114, 144, 154-55, 158, 166-81, 185, 227, 240, 243, 297
Ruskin Libel Action, 166-81
_Russian Schube, The_, 333
Rutter, Frank, 215
Sackett, Major, 23
St. Gaudens, A., 309
_St. George_, 194
_St. James's Street_, 156
_St. John's, Westminster_, 336
St. Louis Exhibition, 430
_St. Mark's_ (_Blue and Gold_), 189, 194, 202, 262
St. Mary Abbots', Whistler married in, 272
St. Peter's, Rome, 363
St. Petersburg, 12-14
St. Petersburg Academy of Fine Arts, 11, 15 Hermitage, The, 16
Sala, George Augustus, 72
Salaman, M., 233-35, 259, 261
_Salon_, 48, 53, 59, 73, 91, 94, 99, 109, 208, 217, 220, 299, 310, 312, 347, 360, 371, 428
_Salon des Refusés_, 73-74, 100
Sandys, F., 79, 83, 84, 362, 369
Sarah Brown Students' Revolution, Paris, 319
Sarasate, P., 160 _Portrait of_, 90, 126, 223, 256, 260, 263, 299, 351, 431
Sargent, J. S., 240, 309, 321, 332, 339-40, 406, 430
Sarony, 22
"_Saturday Review_," 102, 125, 127, 235, 346, 349-50, 404
Sauter, G., 369, 376, 413, 416, 418
Sauter, Mrs., 422
Savage Club, 141
Saverne Museum, 43
Savile Club, 141, 287
_Savoy Scaffolding_, 242
_Scarf, The_, 93
Scharfe, Sir G., 221
Scheffer, A., 34, 35, 252
Schmitz, Herr, 44-45
Scottish National Portraits Exhibition, 221
"_Scotsman_," 221
Scott, W., 191-93, 197
Scott, W. B., 79
"_Scribner's Magazine_," 186, 209
_Sea and Rain_, 95, 102, 306
Secessions, German, 264
Seeley and Co., 186
Seitz, Don C., 293
_Seton, Miss, Portrait of_ (see _Daughter of Eve_), 425
Severn, A., 56, 72, 85, 179
Shannon, C. H., 349, 370, 377
Shannon, J. J., 370
Shaw, G. B. 278
Shaw, Norman, 147
_Shipping--Nocturne_, 199
_Shipping at Liverpool_, 124
Short, Sir F., 396
Sickert, B., 116, 144, 198
Sickert, W., 213-16, 225, 231, 242, 263, 280, 283, 287, 332, 346, 348-49 _Portrait of_, 234
Sickert, Mrs. W., 68, 160, 287 _Portrait of_, I. (_Violet and Pink_), 263; II. (_Green and Violet_), 263, 326, 331
_Siesta, The_, 332
Simpson, J. W., 158
Singleton, Mrs., 138
_Six Projects_, 104-105, 109, 116, 126, 234, 283 See _Venus_ and _Three Figures_
_Sixteen Etchings of Scenes on the Thames_, 108
_Sketching_, 67, 69
Slade Professorship, 181
Smalley, G. W., 308
Smith, F. Hopkinson, 224
Smith, John Russell, 144
Snyders, 167
Société Nationale des Beaux-Arts, 300
"Society of Three," 48
Solferino, 285-86
Solon, L., 85
_Song of the Graduates_, 22
"_Songs on Stone_," 279, 326
Sotheby, Messrs., 188
_Soupe à Trois Sous_, 49, 50
_Southampton Water_, 218, 432
South Kensington (Victoria and Albert) Museum, 69, 106, 108, 110, 277
South Kensington Museum International Exhibitions, 109
Sower, H., 56
Spartali, Mr., 87-88
Spartali, Christine (Countess Edmond de Cahen), 87-88 _Portrait of._ See _Princesse du Pays de la Porcelaine_
"_Spectator, The_," 178
_Speke Hall_, 124
_Speke Shore_, 124
Spreckles, Mrs., 188
"_Standard, The_," 428
Stansfield, Mrs., 136
Stanton, General, 95
Stanton, Mrs. Dr., 4-5
"_Star, The_," 278, 283
Starr, S., 131, 247, 258, 262, 268, 279, 287, 304, 311, 391, 402
Steevens, G. W., 286
Stephens, F. S., 144
Stevens, Alfred (Belgian), 237, 262, 320
Stevens, Alfred (English), 252, 262
Stevenson, R. A. M., 285-87, 310, 312, 371
Stillman, W. J., 101
Stillman, Mrs. (Marie Spartali), 87-88, 145, 150
Stoeckl, Baron de, 30
Stoker, Bram, 145
Stokes, Messrs. Frederick, 293
Stone, Marcus, 252
Stonington, 4, 18, 26, 33, 51
_Storm, The_, 66
Story, J., 135, 138, 214, 225-26, 240
Story, W., 135, 138, 214, 225-26
Stott, W., of Oldham, 264
Strahan, W., 71
Strange, E. F., 349
_Street at Saverne_, 43, 50, 51
Street, G. S., 286
Studd, A., 306, 424, 436
"_Studies of Seven Arts_," 368
"_Studio_," the, 326
Sturges, J., 350, 435
Sullivan, E. J., 222
Sutherland, Sir Thomas, 148, 160, 184, 407
Swain, J., 71
_Swan and Iris_, 275
Swift, Dr. Foster, 4
Swift, Mary, 3-4
Swinburne, A. C., 51, 71, 79, 80, 81, 84, 91, 92, 93, 109, 119, 167, 247-50, 417
Symons, A., 140, 184, 368
Symons, W. C., 280
Tate Gallery, the, 90, 112, 154
Taylor, Tom, 131, 176, 178, 296
Teck, Prince of, 149, 174, 205
Templar, Major, 214
"_Ten O'Clock, The_," 69, 104, 115, 228, 239-49, 295, 297, 354
Tennyson, Alfred, 71
Terborg, 195, 341
Terry, Edward, 158
_Tête de Paysanne_, 52
Thackeray, W. M., 59
Thackeray, Miss, 17
_Thames at Chelsea_, 438
_Thames, The_, 333
_Thames in Ice, The_, 63, 65, 69, 99
_Thames Set of Etchings, The_, 59, 60-62, 65, 66, 69, 108, 197-98
_Thames Warehouses_, 69
Theobald, H. S., 260, 307
Thibaudeau, A. W., 108
Thomas, Brandon, 287, 359
Thomas, Edmund, 61, 62, 107
Thomas, Percy, 62, 107, 128, 144
Thomas, Ralph, 49, 62, 144
Thomas, Sergeant, 61-62
Thompson, Sir H., 86, 157 _Catalogue of Blue and White Nankin Porcelain_, 157
Thomson, D. Croal, 157, 275, 299-302, 304
Thornbury, W., 72
_Three Figures, Pink and Grey_ (_Three Girls_) (see _Six Projects_), 103-105, 109, 148, 308
Thynne, Mrs. (Annie Haden), 17, 52, 64-65, 435
Tiepolo, 105
"_Times, The_," 154, 159, 167-68, 176-78, 212, 218, 229, 246, 251, 298, 308, 361, 375
Tintoretto, 189, 245, 254, 335, 341
Tissot, J. J., 51, 85, 131, 135, 174
Tite Street, houses in, 210, 225, 226, 256-57, 272, 413
Titian, 177, 189, 325, 341, 364
Tito, E., 191
Todd, Col., 8, 9, 10
_Toilet, The_, 157
Traer, Mr., 66, 100
_Traghetto, The_, 197-99, 220, 277
"_Trilby_," 35, 39-40, 327-28
_Trouville_, 375
"_Truth_," 271, 297
Tuckerman, H. T., 100
Tuckerman, Miss, 416
Tudor House, 79, 80, 81, 83, 84
_Tulip, The_ (_Rose and Gold_), 326, 376
Turner, J. M. W., 76, 166, 167, 340
Turner, Ross, 190, 191, 202
Twain, Mark, 136, 140
Tweed, J., 415
_Twelve_, the, 203-204
_Twelve Etchings from Nature_, 61
Twenty Club, Brussels, Exhibition, 260
_Twenty-fifth on the Thames_, 69
_Twilight on the Ocean_ (see _Valparaiso_), 100
_Two Little White Girls_ (_Symphony in White, No. III._), 102, 103, 129, 233, 235, 376
_Tyre Smith, The_, 279
_Tyzac, Whiteley and Co._, 60
Uffizi, the, 364-65
Underdown, E. M., 280
United States Military Academy, 20
Universal Exhibition, 163, 281
Unwin, T. F., 334, 345, 416
Unwin, Mrs., 345
Valentin, Bibi, 49
Valparaiso, Journey to, 96-97
Valparaiso, Paintings of, 101, 187, 376
_Valparaiso Bay_, 263
Vanderbilt, G., 351, 436 _Portrait of_, 358
Vanderbilt, Mrs., _Portrait of_ (_Ivory and Gold_), 358
Van Dyck, 390
Van Dyke, J. C., 339
"_Vanity Fair_," 156, 158
Vasari, 185
Velarium, the, 264, 267-68
Velasquez, 16, 47, 51, 68, 103, 118, 121, 167, 195, 245, 254, 339, 363-64, 373, 411
_Velvet Gown, The_ (_see_ Mrs. Leyland), 124, 125
Venice, 186-87, 189-96
_Venice Etchings_, 51, 108, 195-200, 203-204, 207, 218-19, 260, 312, 331
Venice International Exhibition, 331
Venice Museum, 109
Venturi, Mme., 119, 135
_Venus_ (see _Six Projects_), 47, 105-106, 234, 313, 414
Vermeer, 195, 341
Veronese, 54, 189, 245
Victoria and Albert Museum. _See_ South Kensington
Victoria, Queen, Jubilee Addresses, 264-65
_Vieille aux Loques, La_, 32
Viélé-Griffin, F., 320, 331
Vinci, Leonardo da, 185
Vistelious, Prof., 11
Vivian, H., 228, 279
Voivov, Prof., 11
Vollon, A., 73, 94, 195
Vose, G. L., 3
Wagner, 70, 314
Wales, Prince and Princess, 219, 263-64
Walker, F., 58
Walker, Howard, 190
Waller, Miss Maud, 213 _Portrait of_ (_Blue Girl_), 213, 218
Waller, Pickford R., 160
Walton, E. A., 202, 298, 369, 424, 430, 435
Walton, Mrs., 430
_Wapping_, 63, 65, 91, 99, 210
Ward, H. H. and Co., 375
Ward, Leslie, 158
Washington, 26, 27
Water Colour Society, 256
Watts, G. I., 58, 82, 107, 119, 120, 126, 147, 153, 252, 412
Watts-Dunton, T., 79, 80, 138, 157, 249-50
Way, T. and T. R., 150-57, 180, 184, 187, 188, 203-204, 212, 247, 279, 303, 311, 326, 329, 333, 349, 434
_Weary_, 51, 72, 73
Webb, Gen., 21, 23
Webb, W., 133, 318, 375, 405, 417, 436
Webster, D., 20
Wedmore, F., 39, 66, 142-43, 185, 219-20, 281, 302, 428
Weir, J. A., 21, 141-42, 209
Weir, R. W., 21-22
Westminster Abbey, Jubilee ceremonies, 266
_Westminster Bridge, Old_, 72
Westminster, Marquis of, 150
_Westminster, The Last of Old_, 72
West Point, 1, 3, 5, 20-26, 28-29, 398, 415-16
Wheeler, Gen., 416
Whibley, C, 286, 331, 344, 393
Whibley, Mrs. (Ethel Birnie Philip), 272, 310, 326, 331, 336, 374, 417, 424, 434, 436
"_Whirlwind, The_," 279, 311
Whistler, Mrs. Anna M. (_née_ McNeill), 1-20, 45, 46, 81, 88, 95, 99, 104, 110, 123, 124, 128, 129; death, 206 Anne (_née_ Bishop), 3 Anthony, 2 Charles D., 5, 6 Daniel, 2 Deborah (_see_ Lady Haden) Francis, 2-3 Gabriel, 2 George, 4, 6, 18, 20, 27, 33, 52 George Washington, 1, 3-6, 14, 16, 18; death, 18; portrait of, 52 Hugh, 2 James Abbott McNeill; birth, 1; christening, 1; journey to Russia, 6; early portraits, 9, 33; severe illness, 15-16; return to America, 18; West Point, 20-26; Coast Survey, 27-33; arrival in Paris, 33; journey to Alsace, 43; London, 53; journey to Valparaiso, 96-97; Ruskin Trial, 166-81; journey to Venice, 189; joins British Artists, 250-51; resigns, 268; marriage, 271-74; the Eden Case, 329-30, 350-57; International Society of Sculptors, Painters, and Gravers, 369-77; the Académie Carmen, 377-92; journey to Rome, 363; journey to Corsica, 407-409; death, 433-36 _Portraits of_ himself, 50, 97 --_W. with Hat_, 52 --_W. with the White Lock_, 57 --_W. in his Studio_, 131 --(_Brown and Gold_), 359, 397 _Portrait of_, by Boldini, 350; by Boxall, 17, 18, 338; by Chase, 236-37; by Fantin, 94; by Nicholson, 351; by Rajon, 235 _Bust of_, by Boehm, 154, 188
"_Whistler as I knew him_," 231, 240, 243, 262
"_Whistler frame_," the, 90-91
Whistler, John, 14 Master John, 2 Major John, 2, 3 Joseph, 4 Julia (_née_ Winans), 27 Kensington, 3
Whistler, Kirk Booth, 5 Mary (_née_ Swift), 3-4 Ralph, 2 Rose Fuller, 2 Sarah, 1 Dr. William, 5-18, 27, 75, 94, 153, 206, 247, 272, 276; death, 368; _portrait of_, 95 Mrs. William (_see_ Miss Helen Ionides), 137, 153, 160, 188, 240, 272-73, 276, 424, 435
_White Girl, The_ (_Symphony in White, No. I._), 63, 67, 69, 70, 73, 74, 100, 102, 110, 130, 210
White House, the, 159, 160, 162-64, 180-83, 186-87
_White Note_, A, 282
White, C. Harry, 391
_Whiteley and Co._, 60
Whitman, Mrs. Sarah, 416
Whittmore, 210
Wilde, Oscar, 138, 142, 188, 213, 225-29, 243, 246, 293, 314, 328
Wilkie, Sir David, 252
Wilkins, W. H., 279
Wilkinson, Mr., 188
Williams, Capt., 51
Williams, Charlotte, _Portrait of_, 325
Williamson, Dr. G. C., 57
Wills, W. G., 84, 174
Wilson, H., 366, 435
Wilstach Collection, 216, 432
Wimbush, W. L., 355, 396, 402
Winans, Louis, 51
Winans, Ross, 27
Winans, Thomas, 27, 33, 63
Windsor Castle Collection, 108, 170, 277
Windus, W. L., 147
_Wine Glass, The_, 158
_Winged Hat, The_, 279
Winstanley, W., 6
Wisselingh, E. J. van, 280
Wistler de Westhannye, John le, 2
Woakes, Miss, 360 _Portrait of_, 360
Wolkoff, 191, 193
Wolseley, Lord, 138 _Portrait of_, 141
Wolseley, Lady, 138, 141
Wombat, Story of the, 80-81
Woods, H., 189, 191, 193
"_World, The_," 156, 233, 249, 261, 267, 280, 297
Working Women's College, Queen's Square Exhibition, 283
World's Columbian Exhibition, 308-309
Wortley, Stuart, 280
_Wreck, The_, 51
Wuerpel, E. H., 313, 321
Wyndham, Hon. P., 170
Wyndham, Hon. Mrs. P., 154, 170
Yates, E. ("Atlas"), 280, 296
"_Yellow Book, The_," 314
_Yellow Buskin, The_, 159, 214, 216, 279, 281, 299, 309, 432
_Yellow House, Lannion_, the, 320
Zaandam, 276-77
Zaehmsdorf, Messrs., 265
Zalinski, Major, 26
Zola, E., 74, 435
Zucchero, 70
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