The Gentle Art of Making Enemies Part 11

Chelsea.

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_A Remonstrance_

Atlas, how could you!

[Sidenote: _The World_, Feb. 22, 1882.]

I know you carry the _World_ on your back, and am not surprised that my note to Oscar, on its way, should have fallen from your shoulders into your dainty fingers; but why present it in the state of puzzle?

Besides, your caution is one-sided and unfair; for if you print S---- C----, why not A---- Q----? Why not X Y Z at once?

And how unlike me! Instead of the frank recklessness which has unfortunately become a characteristic, I am, for the first time, disguised in careful timidity, and discharge my insinuating initials from the ambush of innuendo.

My dear Atlas, if I may not always call a spade a spade, may I not call a Slade Professor, Sidney Colvin?

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_Propositions_

[Sidenote: With compliments to the Committee of the "Hoboken" Etching Club upon the occasion of receiving an invitation to compete in an etching tourney whose first condition was that the plate should be at least two feet by three.

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I. That in Art, it is criminal to go beyond the means used in its exercise.

II. That the s.p.a.ce to be covered should always be in proper relation to the means used for covering it.

III. That in etching, the means used, or instrument employed, being the finest possible point, the s.p.a.ce to be covered should be small in proportion.

IV. That all attempts to overstep the limits insisted upon by such proportion, are inartistic thoroughly, and tend to reveal the paucity of the means used, instead of concealing the same, as required by Art in its refinement.

V. That the huge plate, therefore, is an offence--its undertaking an unbecoming display of determination and ignorance--its accomplishment a triumph of unthinking earnestness and uncontrolled energy--endowments of the "duffer."

VI. That the custom of "Remarque" emanates from the amateur, and reflects his foolish facility beyond the border of his picture, thus testifying to his unscientific sense of its dignity.

VII. That it is odious.

VIII. That, indeed, there should be no margin on the proof to receive such "Remarque."

IX. That the habit of margin, again, dates from the outsider, and continues with the collector in his unreasoning connoisseurship--taking curious pleasure in the quant.i.ty of paper.

X. That the picture ending where the frame begins, and, in the case of the etching, the white mount, being inevitably, because of its colour, the frame, the picture thus extends itself irrelevantly through the margin to the mount.

XI. That wit of this kind would leave six inches of raw canvas between the painting and its gold frame, to delight the purchaser with the quality of the cloth.

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_An Unanswered Letter_

PRe CHARMOY, AUTUN, SAoNE ET LOIRE, FRANCE, Sept. 13, 1867.

Sir--I am at present engaged upon a book on etching and should be glad to give a full account of what you have done, but find a difficulty, which is that, although I have seen many of your etchings, I have not fully and fairly studied them. I wonder whether you would object to lend me a set of proofs for a few weeks. As the book is already advanced, I should be glad of an early reply. My opinion of your work is, _on the whole, so favourable that your reputation could only gain_ by your affording me the opportunity of speaking of your work at length.

I remain, Sir, Your obedient servant, P. G. HAMERTON.

JAMES WHISTLER, Esq.

_Inconsequences_

[Sidenote: The "book on etching."]

James Whistler is of American extraction, and studied painting in France. As a student he was capricious and irregular, and did not leave the impression amongst his fellow-pupils that his future would be in any way distinguished ... his artistic education seems to have been mainly acquired by private and independent study....

Mr. Whistler seems to be aware that etchings are usually sought as much for their rarity as their excellence, and to have determined that his own plates shall be rare already.

I have been told that, if application is made by letter to Mr.

Whistler for a set of his etchings, he may, perhaps, if he chooses to answer the letter, do the applicant the favour to let him have a copy for about the price of a good horse....

Whistler's etchings are not generally remarkable for poetical feeling....

P. G. HAMERTON,[20]

_Etching and Etchers_.

[Note 20: "If beauty were the only province of art, neither painters nor etchers would find anything to occupy them in the foul stream that washes the London wharfs"--P. G. HAMERTON, _Etching and Etchers_.]

_Uncovered Opinions_