the sweetest, loveliest boys I ever met, and was a great favourite."
The deepest impression he left at Pomfret was as a draughtsman. He made caricatures and illustrations to the books he read, portraits of his friends, and landscapes. Many of his sketches have been preserved. The late Mrs. Louise Chandler Moulton, also one of his schoolmates, describes him as "a man as fascinating as he was great, with a charm which from the very beginning everyone who knew him recognised." Whistler told us that he used to walk to school with her, carrying her books and basket, and she wrote us:
"He was very attentive and kind; full of fun in those days. The master of the school—Rev. Dr. Roswell Park—was one of the stiffest and most precise of clergymen, and dressed the part. One day Whistler came to school with a high, stiff collar and a tie precisely copied from Dr. Park's. Of course, the schoolroom was full of suppressed laughter. The reverend gentleman was very angry, but he could hardly take open notice of an offence of that sort. So he bottled up his wrath, but when Jimmy—as we used to call him in those schooldays—gave him some trifling cause of offence, the Rev. Dr. went for him with a ferrule. The school was in two divisions—the girls sitting on one side of the large hall, and the boys on the other. Jimmy, pursued by the Dr. and the ferrule, went round back of the girls' row, and threw himself down on the floor, and the Dr. followed him and whacked him, more, I think, to Jimmy's amusement than to his discomfort."
Mrs. Moulton had further recollections of the maps he drew, which "were at once the pride and the envy of all the rest of us—they were so perfect, so delicate, so exquisitely dainty in workmanship."
The work done at Pomfret by Whistler which we have seen does not strike us as remarkable. It has its historic importance, but shows no greater evidence of genius than the early work of any great artist.
CHAPTER IV: WEST POINT.
THE YEARS EIGHTEEN FIFTY-ONE TO EIGHTEEN FIFTY-FOUR.
Though Whistler's mother was proud of his drawing, she did not see in art a career for him. She thought he had inherited a profession more distinguished. Many Whistlers and McNeills had been soldiers. West Point had made of them men—Americans. West Point must do the same for him. Through the influence of George Whistler with Daniel Webster, he was appointed cadet At Large by President Fillmore, and on July 1, 1851, after two years at Pomfret school, within ten days of his seventeenth birthday, he entered the United States Military Academy, West Point, where Colonel Robert E. Lee was Commandant. Whistler was not made for the army any more than Giotto for Tuscan pastures, or Corot for a Paris bonnet shop. It was inevitable that he should fail. Yet his three years at West Point were an experience he would not have missed.
BIBI LALOUETTE
ETCHING. G. 51
[Pg 20b]
STREET AT SAVERNE
ETCHING. G. 19
The record sent to us from West Point by Colonel C. W. Larned is: "He entered July 1, 1851, under the name of James A. Whistler; aged sixteen years and eleven months. He was appointed At Large. … At the end of his second year, in 1853, he was absent with leave on account of ill-health. On June 16, 1854, he was discharged from the Academy for deficiency in chemistry. At that time he stood at the head of his class in drawing and No. 39 in philosophy, the total number in the class being 43."
The Professor of Drawing was Robert W. Weir. Mr. J. Alden Weir, his son, remembers, "as a boy, my father showing me his work, which at that time hung in what was known as the Gallery of the Drawing Academy. There were about ten works by him framed. From the start he showed evidences of a talent which later proved to be unique in those fine and rare qualities hard to be understood by the majority."
Brigadier-General Alexander S. Webb, one of Whistler's classmates, says: "In the art class one day, while Whistler was busy over an India-ink drawing of a French peasant girl, Weir walked, as usual, from desk to desk, examining the pupils' work. After looking over Whistler's shoulder he stepped back to his own desk, filled his brush with India-ink [General Webb says he can see him now, rubbing the colour on the slab], and approached Whistler with a view of correcting some of the lines in the latter's drawing. When Whistler saw him coming, he raised his hands as if to ward off the strokes of his brush, and called out, 'Oh, don't, sir, don't! You'll spoil it!'"
Mr. William M. Chase told the story to Whistler and asked if there was any truth in it. "Well, you know he would have!" said Whistler.
Colonel Larned writes us: "I have here two drawings made by Whistler in his course of instruction in drawing, one of which is a water-colour copy of a coloured print, without special merit, and much touched up by Professor Weir, as was his wont; another, a pen-and-ink copy also of a colour print, quite brilliant and masterful in execution, which I presented to the officers' mess. The colour sketch bears the ear-marks all over it of Weir's retouching. It was his habit to touch up all water-colours of the cadets for the examination exhibition, and I don't believe Whistler at that time had any such facility in colour work as is indicated in this drawing. With my knowledge of my predecessor's practice, which we instructors follow to the best of our ability, I have always been suspicious of its integrity. At the same time Whistler was head in drawing, and it may be that Weir forbore in his case. The pen-and-ink, however, must have been his own interpretation of a colour lithograph, and shows such facility that it makes me hesitate.
"Whistler did another water-colour of a monk seated at a table by a window writing. This is also a copy of an old print which was used by Weir through successive classes. I think it was—— who saw the thing and wrote a lot of tommy-rot and hi-falutin about it and Whistler's satiric genius, and his introduction in the monk's face of that of his room-mate, assuming it to have been an original production. As a matter of fact I have copies of the same thing by cadets in the gallery, all touched up by Weir, and I fancy about as good as Whistler's."
Of these West Point drawings, copies probably of lithographs by Nash or Haghe, only the pen drawing gives any promise. The water-colour is worthless. The pen drawing has in it the beginning of the handling of his etchings. Five drawings, four of An Hour in the Life of a Cadet in pen-and-ink, and one of An Encampment in wash, have lately been found at West Point. The cadet drawings are far the best of his early work that we have seen. The Century Magazine published (March 1910) a lithograph, called The Song of the Graduates, said to be by Whistler. It is evident, however, that if Whistler did make the sketch, it was re-drawn by a professional lithographer at Sarony's, who printed it. The Century also published (September 1910) a wood-engraving of some class function for which he is given the credit as draughtsman and engraver. But the work is that of a professional wood-engraver and could not have been done by Whistler at any period of his life. The attribution of these published prints to him is altogether unjustified.
Of his other studies there is little to record. This is Colonel Larned's account of his failure in chemistry: "Whistler said: 'Had silicon been a gas, I would have been a major-general.' He was called up for examination in chemistry … and given silicon