the Salon of 1867, where it had been rejected eight years before, At the Piano was accepted, and also The Thames in Ice—Sur la Tamise: l'Hiver. It was the year of the French Universal Exhibition. M. Duret writes that probably Mr. George Lucas spoke of Whistler to Mr. Avery, the United States Art Commissioner at the Exhibition. The result was that a number of his etchings and four pictures were hung: The White Girl, Wapping or On the Thames, Old Battersea Bridge, Twilight on the Ocean, the title then of the Crépuscule in Flesh Colour and Green. The Hudson River School dominated American art, and Whistler's paintings had to compete with the big machines of Church and Bierstadt. Tuckerman, in his Book of the Artists, quotes an unnamed American critic who, in 1867, found that Whistler's etchings differed from his paintings in meriting the attention they attracted, but he could see in the Marines only "blurred, foggy imperfections," and in The White Girl only "a powerful female with red hair, and a vacant stare in her soulless eyes. She is standing on a wolfskin hearthrug, for what reason is unrecorded. The picture evidently means vastly more than it expresses—albeit expressing too much. Notwithstanding an obvious want of purpose, there is some boldness in the handling, and singularity in the glare of the colours which cannot fail to divert the eye and weary it."
Americans were not treated with respect by the Hanging Committee. Their work was put in corridors and dark corners, and Whistler suffered. French critics, enthusiastic over his pictures four years earlier, were now no more appreciative than the American. Paul Mantz was distressed by the "strange white apparition" upon which, at the Salon des Refusés, he had lavished his praise. Burty thought that either time exaggerated the defects of the prints or else critical eyes had lost their indulgence, for the etchings were photographic and had a dryness and minuteness due to the early training of "Mr. Whystler." Both wrote in the Gazette des Beaux-Arts. Mr. Avery, however, had the sense to appreciate the etchings, and it was probably at this time he commenced his great collection, now in the New York Public Library.
Whistler and his brother, the Doctor, went to Paris in April. There they heard of the sudden death of Traer, Seymour Haden's assistant, and a member of the British Jury, on which Haden also served. Whistler liked Traer, and the circumstances of his death and burial led to a misunderstanding between the two brothers and the brother-in-law. The three met. The dispute was short and sharp; the result, a summons for the brothers to appear before a juge de paix. Whistler had been in the same court a few days earlier. A workman had dropped plaster on him as he passed through a narrow street in the Latin Quarter, and he had met the offence in the only way possible according to his code. Whistler sent for the American Minister, and the magistrate apologised. When he appeared again, "Connu!" said the judge, and there was no apology, but a fine. Haden said he fell through a plate-glass window, Whistler that he knocked him through. Haden maintained that both brothers were against him, Whistler that he demolished Haden single-handed.
It happened just when London gossip got hold of the story of the Marquis de Marmalade and Whistler's return from Valparaiso. Dr. Moncure Conway, in his Reminiscences, recalls a dinner given by Dante Rossetti to W. J. Stillman, in the winter of 1867, when "Whistler (a Confederate) related with satisfaction his fisticuff with a Yankee [really the black Marquis] on shipboard, William Rossetti remarked: 'I must say, Whistler, that your conduct was scandalous.' (Stillman and myself were silent.) Dante Gabriel promptly wrote:
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