could."—John Ruskin, Prof. of Fine Art: Guide to Principal Pictures, Academy of Fine Arts, Venice.

Evidence was then called on behalf of the defendant. Witnesses for the defendant, Messrs. Edward Burne-Jones, Frith, and Tom Taylor.

Mr. Edward Burne-Jones called.

Mr. Bowen, by way of presenting him properly to the consideration of the Court, proceeded to read extracts of eulogistic appreciation of this artist from the defendant's own writings.

The examination of witness then commenced; and in answer to Mr. Bowen, Mr. Jones said: [13]"Of the estimate which shall be formed of Mr. Jones's own work....

"His work, first, is simply the only art-work at present produced in England which will be received by the future as 'classic' in its kind—the best that has been or could be."—Prof. Ruskin: Fors Clavigera, July 2, 1877. "I am a painter, and have devoted about twenty years to the study. I have painted various works, including the 'Days of Creation' and 'Venus's Mirror,' both of which were exhibited at the Grosvenor Gallery in 1877. I have also exhibited 'Deferentia,' 'Fides,' 'St. George,' and 'Sybil.' I have one work, 'Merlin and Vivian,' now being exhibited in Paris. In my opinion complete finish ought to be the object of all artists. A picture ought not to fall short of what has been for ages considered complete finish."

Mr. Bowen: "Do you see any art quality in that nocturne, Mr. Jones?"

Mr. Jones: "Yes ... I must speak the truth, you know".... (Emotion.)

Mr. Bowen: ... "Yes. Well, Mr. Jones, what quality do you see in it?"

Mr. Jones: "Colour. It has fine colour, and atmosphere."

Mr. Bowen: "Ah. Well, do you consider detail and composition essential to a work of Art?"

Mr. Jones: "Most certainly I do."

Mr. Bowen: "Then what detail and composition do you find in this nocturne?"

[14]REFLECTION:
There is a cunning condition of mind that requires to know. On the Stock Exchange this insures safe investment. In the painting trade this would induce certain picture-makers to cross the river at noon, in a boat, before negotiating a Nocturne, in order to make sure of detail on the bank, that honestly the purchaser might exact, and out of which he might have been tricked by the Night!

Mr. Jones: "Absolutely none."[14]

Mr. Bowen: "Do you think two hundred guineas a large price for that picture?"

"The action of imagination of the highest power in Burne Jones, under the conditions of scholarship, of social beauty, and of social distress, which necessarily aid, thwart, and colour it in the nineteenth century, are alone in art,—unrivalled in their kind; and I know that these will be immortal, as the best things the mid-nineteenth century in England could do, in such true relations as it had, through all confusion, retained with the paternal and everlasting Art of the world."—John Ruskin, LL.D.: Fors Clavigera, July 2, 1877.

Mr. Jones: "Yes. When you think of the amount of earnest work done for a smaller sum."

Examination continued: "Does it show the finish of a complete work of art?"

"Not in any sense whatever. The picture representing a night scene on Battersea Bridge, is good in colour, but bewildering in form; and it has no composition and detail. A day or a day and a half seems a reasonable time within which to paint it. It shows no finish—it is simply a sketch. The nocturne in black and gold has not the merit of the other two pictures, and it would be impossible to call it a serious work of art. Mr. Whistler's picture is only one of the thousand failures to paint night. The picture is not worth two hundred guineas."

Mr. Bowen here proposed to ask the witness to look at a picture of Titian,[15] [15]"I believe the world may see another Titian, and another Raffaelle, before it sees another Rubens."—Mr. Ruskin. in order to show what finish was.[16] [16] ... "The Butcher's Dog, in the corner of Mr. Mulready's 'Butt,' displays, perhaps, the most wonderful, because the most dignified, finish ... and assuredly the most perfect unity of drawing and colour which the entire range of ancient and modern art can exhibit. Albert Durer is, indeed, the only rival who might be suggested."—John Ruskin Slade Professor of Art: Modern Painters.

Mr. Serjeant Parry objected.

Mr. Baron Huddleston: "You will have to prove that it is a Titian."

Mr. Bowen: "I shall be able to do that."

Mr. Baron Huddleston: "That can only be by repute. I do not want to raise a laugh, but there is a well-known case of 'an undoubted' Titian being purchased with a view to enabling students and others to find out how to produce his wonderful colours. With that object the picture was rubbed down, and they found a red surface, beneath which they thought was the secret, but on continuing the rubbing they discovered a full length portrait of George III. in uniform!"

The witness was then asked to look at the picture, and he said: "It is a portrait of Doge Andrea Gritti, and I believe it is a real Titian. It shows finish. It is a very perfect sample of the highest finish of ancient art.[17] [17] ... "I feel entitled to point out that the picture by Titian, produced in the case of Whistler v. Ruskin, is an early specimen of that master, and does not represent adequately the style and qualities which have obtained for him his great reputation—one obvious point of difference between this and his more mature work being the far greater amount of finish—I do not say completeness—exhibited in it ... and as the picture was brought forward with a view to inform the jury as to the nature of the work of the greatest painter, and more especially as to the high finish introduced in it, it is evident that it was calculated to produce an erroneous impression on their minds, if indeed any one present at the inquiry can hold that those gentlemen were in any way fitted to understand the issues raised therein.—I am, Sir, your obedient servant,

A. MOORE.
"Nov. 28."
Extract of a letter to the Editor of the Echo. The flesh is perfect, the modelling of the face is round and good. That is an 'arrangement in flesh and blood!'"

The witness having pointed out the excellences of that portrait, said: "I think Mr. Whistler had