| | PAGE |
[Portrait of James McNeill Whistler, by Boldini]
(See page [230)] | Frontispiece |
| [The Self Portrait of 1859] | 9 |
| [Pen and Ink Sketch, Made at West Point] | 11 |
| [Drawing Made for the United States Coast and Geodetic Survey] | 12 |
| [Portrait Sketch of Fantin-Latour] | 13 |
| ["Hommage à Delacroix," by Fantin-Latour] | 16 |
[The Woman in White]
Owned by John H. Whittemore. | 19 |
[Arrangement in Black: F. R. Leyland]
National Gallery, Washington. | 22 |
| [Jo (Etching)] | 28 |
| [Wapping Wharf (Etching)] | 37 |
[Harmony in Green and Rose: The Music Room]
Owned by Frank J. Hecker. | 45 |
[Lange Leizen of the Six Marks: Purple and Rose]
Owned by John G. Johnson. | 51 |
[The Princess of the Porcelain Land]
National Gallery, Washington. | 54 |
[Symphony in White, II: The Little White Girl]
Owned by Arthur Studd. | 53 |
[On the Balcony: Variations in Flesh-colour and Green]
National Gallery, Washington. | 56 |
[Nocturne in Black and Gold: The Falling Rocket]
Owned by Mrs. Samuel Untermyer. | 60 |
[Nocturne in Blue and Gold: Old Battersea Bridge]
Tate Gallery, London. | 67 |
| [Nocturne in Gray and Gold: Chelsea, Snow] | 72 |
| [Nocturne in Blue and Silver] | 75 |
[Lady in Gray]
Courtesy of the Metropolitan Museum, New York. | 83 |
["L'Andalusienne"]
Owned by John H. Whittemore. | 87 |
[Sir Henry Irving as Philip II]
Courtesy of the Metropolitan Museum, New York. | 124 |
| [Arrangement in Black and White: Lady Meux (No. 1)] | 133 |
[Arrangement in Black: Senor Pablo Sarasate]
Carnegie Art Institute, Pittsburg. | 98 |
| [Shutter Decoration, Peacock Room] | 105 |
| [Arrangement in Gray and Green: Miss Alexander] | 110 |
| [Eagle Wharf (Etching)] | 119 |
| [At the Piano] | 123 |
[Arrangement in Black and Brown: Miss Rose Corder]
Owned by Richard A. Canfield. | 129 |
[Arrangement in Black: Lady Archibald Campbell (The Yellow Buskin)]
Wilstach Gallery, Philadelphia. | 137 |
[Arrangement in Black and Gold: Comte de Montesquiou]
Owned by Richard A. Canfield. | 143 |
[Arrangement in Black and Gray: Thomas Carlyle
]
City Art Gallery, Glasgow. | 144 |
[Arrangement in Black and Gray: the Artist's Mother]
Luxembourg Gallery, Paris. | 146 |
| ["La Vieille aux Loques" (Etching)] | 150 |
| [Street in Saverne (Etching)] | 151 |
| [Portrait of Drouet (Etching)] | 153 |
| [Black Lion Wharf (Etching)] | 155 |
| [Wapping, on the Thames (Etching)] | 161 |
| [Old Hungerford Bridge (Etching)] | 162 |
| [The Silent Canal (Etching)] | 164 |
| [View of Amsterdam (Etching)] | 167 |
| [Nocturne (Lithograph)] | 171 |
[Little Rose of Lyme Regis]
Boston Museum of Fine Arts. | 175 |
| [Study of Nude Figure (Chalk Drawing)] | 177 |
[Pastel Study]
Owned by Th. R. Way. | 179 |
[Archway, Venice (Pastel)]
Owned by Howard Mansfield. | 183 |
[The Japanese Dress (pastel)]
Owned by Howard Mansfield. | 186 |
[Mr. Kennedy: Portrait Study]
Courtesy of the Metropolitan Museum, New York. | 192 |
| [The Lime Burner (Etching)] | 199 |
| [Portrait of Stéphane Mallarmé (Lithograph)] | 208 |
| [Arrangement in Flesh-colour and Black: Theodore Duret] | 215 |
| [The Unsafe Tenement (Etching)] | 221 |
| [In the Sunshine (Etching)] | 227 |
| [The Pool (Etching)] | 232 |
| [Arrangement in Black and White: "L'Américaine"] | 239 |
| [The Fiddler (Etching)] | 247 |
| [Nocturne in Brown and Silver: Old Battersea Bridge] | 249 |
The white chrysanthemum is my favourite flower. There are other flowers, I grant, perhaps more beautiful, which I cannot help admiring, but the white chrysanthemum somehow appeals to me more than any other flower. Why? That is more than I can tell. The unconscious movements of our soul activity cannot be turned into sodden prose. What would be the use of having a favourite flower if one could give any reason for liking it? It merely reveals that part of our personality, not to be logically explained, which rises within us like the reminiscences of some former soul existence. There are colours and certain sounds and odours which effect me similarly. Whenever I gaze at a white chrysanthemum, my mind becomes conscious of something which concerns my life alone; something which I would like to express in my art, but which I shall never be able to realize, at least not in the vague and, at the same time, convincing manner the flower conveys it to me. I am also fond of displaying it occasionally in my buttonhole; not for effect, however, but simply because I want other people to know who I am; for those human beings who are sensitive to the charms of the chrysanthemum, must hail from the same country in which my soul abides, and I should like to meet them. I should not have much to say to them—souls are not talkative—but we should make curtsies, and hand white chrysanthemums to one another.