ir
interest, on the drawing of festoons of cord hanging from unequal
heights."

_P. G. Hamerton._

37.--TRAGHETTO.

"The artist's present principles seem to deny him any effective
chiaroscuro."--_P. G. Hamerton._

[Sidenote: _REFLECTION:_

"Sometimes generally always."

[Illustration]]

"Mr. Whistler's figure drawings, generally defective and always
incomplete."

38.--FISHING BOAT.

"Subjects unimportant in themselves."

_P. G. Hamerton._

39.--PONTE PIOVAN.

"Want of variety in the handling."

_St. James's Gazette._

40.--GARDEN.

"An art which is happier in the gloom of a doorway than in the glow of
the sunshine, and turns with a pleasant blindness from whatsoever in
Nature or Man is of perfect beauty or noble thought."--_'Arry._

41.--THE RIALTO.

"Mr. Whistler has etched too much for his reputation."--_F. Wedmore._

[Sidenote: _REFLECTION:_

This critic, true, is a Slade Professor.

[Illustration]]

"Scampering caprice."--_S. Colvin._

"Mr. Whistler's drawing, which is sometimes that of a very slovenly
master."

42.--LONG VENICE.

"After all, there are certain accepted canons about what constitutes
good drawing, good colour, and good painting; and when an artist
deliberately sets himself to ignore or violate all of these, it is
desirable that his work should not be classed with that of ordinary
artists."--_'Arry._

43.--NOCTURNE SALUTE.

"The utter absence, as far as my eye[29] may be trusted, of
gradation."--_F. Wedmore._

[Note 29:?

[Illustration]]

"There are many things in a painter's art which even a photographer
cannot understand."

_Laudatory notice in Provincial Press._

44.--FURNACE NOCTURNE.

"There is no moral element in his chiaroscuro."

_Richmond Eagle._

45.--PIAZETTA.

"Whistler does not take much pains with his work."

_New York Paper._

"A sort of transatlantic impudence in his cleverness."

"His pictures do not claim to be accurate."

46.--THE LITTLE MAST.

"Form and line are of little account to him."

47.--QUIET CANAL.

"Herr Whistler stellt ganz wunderbare Productionen