to both Rossetti and Whistler. Rossetti rejoiced in Howell's "Niagara of lies," and immortalised them:
"There's a Portuguese person called Howell,
Who lays on his lies with a trowel;
When I goggle my eyes,
And start with surprise,
'Tis at the monstrous big lies told by Howell."
Whistler described him as "the wonderful man, the genius, the Gil Blas-Robinson Crusoe hero out of his proper time, the creature of top-boots and plumes, splendidly flamboyant, the real hero of the Picaresque novel, forced by modern conditions into other adventures, and along other roads."
Whistler gave Howell credit for more than picturesqueness. He had the instinct for beautiful things, Whistler said: "He knew them and made himself indispensable by knowing them. He was of the greatest service to Rossetti; he helped Watts to sell his pictures and raise his prices; he acted as artistic adviser to Mr. Howard, Lord Carlisle. He had the gift of intimacy; he was at once a friend, on closest terms of confidence. He introduced everybody to everybody else, he entangled everybody with everybody else, and it was easier to get involved with Howell than to get rid of him."
Many years passed before there was any wish on Whistler's part to get rid of him. He was soon as frequent a visitor at Lindsey Row as at Tudor House. For a time he lived at Putney, and Whistler used to take his morning pull up the river to breakfast with him. Of none of the Rossetti group did Whistler so often talk to us as of Howell, telling us his adventures—adventures in pursuit of old furniture and china until he was known to, and loved and hated by, every pawnbroker in London, and seemed to spend all his time with rare and beautiful things; adventures with creditors and bailiffs: once his collection of blue pots saved by a device only Howell could have invented, forty blue pots carried off in forty four-wheelers to the law-courts, where he was complimented by the judge and awarded heavy damages by the jury; adventures as vestryman, giving teas to hundreds of schoolchildren; adventures at Selsea Bill, where three cottages were turned into a house for himself and he swaggered in the village as a great personage, finding an occupation in stripping the copper from an old wreck that had been there for years and possibly selling it to etchers; adventures ending eventually in The Paddon Papers, of which there will be something to say when the date of their publication is reached.
Frederick Sandys' work never interested Whistler, but Sandys the man was a delight to him, though the two lost sight of each other for many years. Sandys was usually without a penny in his pocket, but he faced the situation with calm and swagger. Accidents never separated him from his white waistcoat, though he might have to carry it himself to the laundry, or get his model, "the little girl" he called her, to carry it for him. You were always meeting them with the brown-paper parcel, Whistler said, and at the nearest friend's house he would stop for five minutes and emerge from it splendid in a clean waistcoat. In money matters he reckoned like a Rothschild. It was always, "Huh! five hundred," that he wanted. Late one afternoon, as Whistler was going into Rossetti's, he met Sandys coming out unusually depressed. He stopped Whistler:
"Do, do try and reason with Gabriel, huh! He is most thoughtless. He says I must go to America, and I must have five hundred, huh, and go! But, if I could go, huh, I could stay!"
Once Whistler, Sandys, and Rossetti are said to have gone to Winchelsea with W. G. Wills, Irving, and Alfred Calmour, from whom the story comes. Whistler and Rossetti wanted to see a beautiful old house. A grumpy old man lived in it, but Irving warned them that he would probably ask them all to dinner. Rossetti said they must refuse, he hated dining with strangers; Whistler was sure the wine would be bad, Sandys as certain they would be bored by infernal chatter. But they went to the house. Whistler knocked. The servant opened. Whistler asked him to tell his master that "Mr. Whistler and Mr. Rossetti and Mr. Irving wish to see the place." A rough voice was heard: "Shut the door, Roger, I don't want these damned show people stealing my silver." Whistler and Rossetti were furious, and thought they should demand an apology. "He thinks we are confounded actors," Whistler said. "My dear James, he's never heard of you!" was Irving's comment. The only drawback to the story is that we doubt if Whistler knew Irving until after he had ceased to see anything of Rossetti and Sandys.
Whistler got to know other friends of Rossetti's, and he drifted to Ford Madox Brown's, in Fitzroy Square: "Once in a long while I would take my gaiety, my sunniness, to Madox Brown's receptions. And there were always the most wonderful people—the Blinds, Swinburne, anarchists, poets and musicians, all kinds and sorts, and, in an inner room, Rossetti and Mrs. Morris sitting side by side in state, being worshipped, and, fluttering round them, Howell with a broad red ribbon across his shirt-front, a Portuguese decoration hereditary in the family."
According to his grandson, Mr. Ford Madox Hueffer, Ford Madox Brown thought so much of Whistler's work that once, knowing Whistler wanted money, he sent round among his friends a circular praising Whistler's etchings and urging their purchase.
Whistler shared Rossetti's interest in the spiritual manifestations that, for several years, agitated the circle at Tudor House. He told us once of the strange things that happened when he went to séances at Rossetti's with Jo, and also when he and Jo tried the same things in his studio, and a cousin from the South, long dead, talked to him and told him much that no one else could have known. He believed, but he gave up the séances when they threatened to become engrossing, for he felt that he would be obliged to sacrifice to them the work he had to do in the world.
[Pg 84a]
THE BLUE WAVE
OIL
In the possession of A. A. Pope, Esq.
[Pg 84b]
THE FORGE
DRY-POINT. G. 68
The chief bond between Whistler and Rossetti was their love for blue and white and Japanese prints. Whistler was in Paris in 1856, when Bracquemond "discovered" Japan in a little volume of Hokusai used for packing china, and rescued by Delâtre, the printer. It passed into the hands of Laveille, the engraver, and from him Bracquemond obtained it. After that, Bracquemond had the book always by him; and when in 1862 Madame Desoye, who, with her husband, had lived in Japan, opened a shop under the arcades of the Rue de Rivoli, the enthusiasm spread to Manet, Fantin, Tissot, Jacquemart and Solon, Baudelaire and the De Goncourts. Rossetti was supposed to have made it the fashion. But the fashion in Paris began before Rossetti owned his first blue pot or his first colour-print. Whistler brought the knowledge and the love of the art to London. "It was he who invented blue and white in London," Mr. Murray Marks assured us, and Mr. W. M. Rossetti was as certain
