rception of the loveliness of
secondary or tertiary colour."--_Merrie England._

13.--CREPUSCULE IN FLESH COLOUR AND GREEN.

VALPARAISO.

_Lent by Graham Robertson, Esq._

"Now, the best achievement of The Impressionist School, to which Mr.
Whistler belongs [_sic_], is the rendering of air--not air made
palpable and comparatively easy to paint, by fog--but atmosphere which
is the medium of light."--_Merrie England._

14.--CAPRICE IN PURPLE AND GOLD.

THE GOLD SCREEN.

_Lent by Cyril Flower, Esq., M.P._

"I take it to be admitted by those who do not conclude that art is
necessarily great which has the misfortune to be unacceptable, that it
is not by his paintings so much as by his etchings that Mr. Whistler's
name may aspire to live."--_F. Wedmore._

15.--SYMPHONY IN GREY AND GREEN.

THE OCEAN.

_Lent by Mrs. Peter Taylor._

"In Mr. Whistler's picture, 'Symphony in Grey and Green: The Ocean,'
the composition is ugly, the sky opaque, the suggestion of sea leaden
and without light or motion."--_Times._

"Mr. Whistler continues these experiments in colour which are now
known as 'Symphonies.' It may be questioned whether these performances
are to be highly valued, except as feats accomplished under needless
and self-imposed restrictions--much as writing achieved by the feet of
a penman who has not been deprived of the use of his hands."--_Graphic._

"We can paint a cat or a fiddle, so that they look as if we could
take them up; but we cannot imitate the Ocean or the Alps. We can
imitate fruit, but not a tree; flowers, but not a pasture;
cut-glass, but not the rainbow."--_John Ruskin, Esq., Teacher of
Art._

[Sidenote: [Illustration]]

16.--NOCTURNE.

GREY AND GOLD--CHELSEA SNOW.

_Lent by Alfred Chapman, Esq._

"Mr. Whistler sends two of his studies of moonlight, in which form is
eschewed for harmonies of 'Grey and Gold' and 'Blue and Silver;'
and which, for the crowd of exhibition visitors, resolve themselves
into riddles or mystifications.... In a word, painting to Mr. Whistler
is the exact correlative of music, as vague, as purely emotional, as
released from all functions of representation.

"He is really building up art out of his own imperfections [_sic!_]
instead of setting himself to supply them."--_Times._

17.--NOCTURNE.