Whistler as I knew him . began tospread himself on the margin, sketching exquisite,characteristic figures, free in line and crisply were typical little Whistlers such as we knownow. He began even at that early age as an , this plate, when finished, was placedin the etching bath during Whistlers absence fromthe office, without any attempt at stopping out themarginal notes. The result was a print which stag-gered the principal. Young Whistler was calledbefore him for an explanation. In answering to hissuperior, he took the line that became habitual. Heconsidered it
Whistler as I knew him . began tospread himself on the margin, sketching exquisite,characteristic figures, free in line and crisply were typical little Whistlers such as we knownow. He began even at that early age as an , this plate, when finished, was placedin the etching bath during Whistlers absence fromthe office, without any attempt at stopping out themarginal notes. The result was a print which stag-gered the principal. Young Whistler was calledbefore him for an explanation. In answering to hissuperior, he took the line that became habitual. Heconsidered it a presumption in anyone to dare tamperwith the work of an artist. The margin was a verysuitable place on which to try his point. He himselfshould have been allowed to bite in the plate. Asa matter of fact, it was a very providential coincidencethat Whistlers map was plunged into the acid bath,marginal sketches and all. The lovely little figures MASTER MENPES From a water-colour drawing in the possession of Mrs. THE ETCHER 89 were obviously of so much greater merit than themechanical drawing that he became convinced of themagnitude of his own prowess. In this way hebegan his brilliant career as an etcher. It was in connection with Whistler as an etcherthat I first came into contact with him. He had justreturned from Venice after having created that marvel-lous series of Venetian etchings, the lagoons and thenocturne palaces. It was at a period when Whistleras an etcher was really at his height — when he wascreating his finest masterpieces. At about that timeI was working under E. J. Poynter at the South Ken-sington Schools; and I remember well, as if it werebut yesterday, my first meeting with Whistler. Hewas in a little room at the Fine Art Society — a roomwhich had been set apart for him to print a seriesof twelve plates, a commission from the Society. Themoment I saw him I realised that I had at last comeinto contact with a master. I became conscious thatI was m
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