Picture galleries, 124-128 Pictures, arrangement of, by periods, 211; “At the Piano,” 114, 210; Carlyle portrait, 123-124; estimation of, 261; exhibition of, to visitors, 133-135; “Falling Rocket,” 140; hanging of, a lost art, 124-128; hanging of portrait of his mother, 115; “Lange Leizen,” 210; marines, 212; naming of, 178, 183, 185; “Nocturnes,” “Harmonies,” and “Symphonies,” 210, 211; present prices of, 114-115; “The Princess of the Land of Porcelain,” 58, 128, 210; “Little Rose, Lyme Regis,” 273; story of “The Yellow Buskin,” 119-120; Symphonies in White, II. and III., 210; “Thames in Ice,” 210; “The Balcony,” 210; “The Gold Screen,” 210; the Japanese group, 210, 211; “The Music Room,” 210; “White Girl,” 59-60, 109, 210, 282; “The Yellow Buskin,” 65. See Portraits Pomfret, 36 Portraits, classification of, 248; color compositions, 258; difference between Whistler and Velasquez, 256-258; each one to be a masterpiece, 241-242; his best, 261-262; Irving as Philip II., 119; Lady Campbell, 119; likeness, 258-262; manner and mode of painting, 231-237; Miss Gilchrist, 119; of Lady E----, 269; portrait-painting, 244; sittings required, 30-31, 235; wraith-like quality, 255 Praxiteles, 261 “Propositions” and “The Ten o’Clock,” 108 Providence, 32 Puritan element, 49-50 Racial influence, 61-78 Raphael, 253 Rembrandt, 67, 175, 244, 253, 254, 255, 256; essentially Dutch, 67 Reynolds, Sir Joshua, 247, 249, 252 Rosa Corder, 119 Rossetti, 111 Rossi, Carmen, school of, 277-281 Royal Academy, attitude towards, 114-119; exhibitions at, etc., 114-119 Royal Society of British Artists, 217 Rue du Bac, 219 Ruskin and flat tones, 212; attitude towards color, 158-160, 199-208; attitude towards early criticism of Turner, 143; color in his home, 207-208; his limitations, 165; suit, 140-149 Savoy Hotel, 181 Sayings. See Anecdotes and sayings School, no American, 61-63; of Carmen Rossi, 277-281 Sculptor and portrait busts, 245-246 Society of British Artists, exhibition of, 136 Sounds, range of musical, 186-188 Springfield, 33 St. Petersburg, 27-28, 34-35 Stonington, 32, 35 Stories. See Anecdotes and sayings Studio, description of, 230-231; in Paris, 229 Swinburne, 74, 177 Taylor, Tom, 146 Teacher, as a, 277-281 “Ten o’Clock,” no artistic period, 73-78 Time, dilatory habits, 37-41; indifference to, 29-31; never prompt, 30 Travel, dislike for, 33-34; effect of, on artists, 69-70 Turner and color, 199; early criticism of, 142-143; Whistler’s appreciation of, 56 Valparaiso, trip to, 22-23 Velasquez, 60, 175, 244, 251, 253, 254, 255, 256, 257; essentially Spanish, 68; influence of, 71 Venice, early days in, 92-95 “Voice of a People,” 165-167 Water-color, his first, 106 Webster, Daniel, letter to, 35-36 West Point, 35-36 Westerly, 32 “White Girl,” 53, 283 “White House.” See Chelsea Will, 240