ss than for the protection of the purchaser, Sir Coutts
Lindsay ought not to have admitted works into the gallery in which the
ill-educated conceit of the artist so nearly approached the aspect of
wilful imposture. I have seen, and heard, much of cockney impudence
before now; but never expected to hear a coxcomb ask two hundred
guineas for flinging a pot of paint in the public's face." That
passage, no doubt, had been read by thousands, and so it had gone
forth to the world that Mr. Whistler was an ill-educated man, an
impostor, a cockney pretender, and an impudent coxcomb.

Mr. WHISTLER, cross-examined by the ATTORNEY-GENERAL, said: "I have
sent pictures to the Academy which have not been received. I believe
that is the experience of all artists.... The nocturne in black and
gold is a night piece, and represents the fireworks at Cremorne."

"Not a view of Cremorne?"

"If it were called a view of Cremorne, it would certainly bring about
nothing but disappointment on the part of the beholders. (_Laughter._)
It is an artistic arrangement. It was marked two hundred guineas."

"Is not that what we, who are not artists, would call a stiffish
price?"

"I think it very likely that that may be so."

"But artists always give good value for their money, don't they?"

"I am glad to hear that so well established. (_A laugh._) I do not
know Mr. Ruskin, or that he holds the view that a picture should only
be exhibited when it is finished, when nothing can be done to improve
it, but that is a correct view; the arrangement in black and gold was
a finished picture, I did not intend to do anything more to it."

"Now, Mr. Whistler. Can you tell me how long it took you to knock off
that nocturne?"

... "I beg your pardon?" (_Laughter._)

"Oh! I am afraid that I am using a term that applies rather perhaps to
my own work. I should have said, How long did you take to paint that
picture?"

"Oh, no! permit me, I am too greatly flattered to think that you
apply, to work of mine, any term that you are in the habit of using
with reference to your own. Let us say then how long did I take
to--'knock off,' I think that is it--to knock off that nocturne; well,
as well as I remember, about a day."

"Only a day?"

"Well, I won't be quite positive; I may have still put a few more
touches to it the next day if the painting were not dry. I had
better say then, that I was two days at work on it."

"Oh, two days! The labour of two days, the