There had been many before him, but none like him. During the first half of the century the process was in great vogue in France, and men like Ingres, Millet, Corot, and Delacroix tried the facile stone. One can readily understand how so fascinating a process appealed to Whistler, and the wonder is that he did not attempt it earlier. The use of transfer-paper, whereby the artist is enabled to make his drawing when and where he pleases upon the paper, instead of being hampered by the heavy stone, has greatly advanced the art, though drawing on the stone possesses certain advantages and attractions over the paper. Not many years ago Whistler was called as an expert witness in a case which involved the question whether the use of transfer-paper was lithography. The result of the case is of no consequence. While on the stand, he turned to the judge, and said: “May I be permitted to explain, my lord, to these gentlemen (the jury) why we are all here?” “Certainly not,” answered the court; “we are all here because we cannot help it.” The witty ruling of the court deprived those present of remarks which would have been not only to the point but greatly amusing. It was in this case that an artist who had written many fine things about Whistler and his work appeared as a witness on the other side, and in cross-examining the great painter, counsel called attention to one of the complimentary things that had been written (“Mr. Whistler’s almost nothings are priceless”), and asked, “You don’t dissent to that, do you, Mr. Whistler?” Whistler smiled, and replied, “It is very simple and very proper that Mr. ---- should say that sort of a thing, but I attach no importance to it.” And it is really true that no man ever enjoyed more having nice things said about his work, and no man ever attributed less importance to either favorable or unfavorable comments. He accepted both as a matter of course and of no consequence; neither he nor his work was affected in the slightest degree. In 1896 he exhibited some seventy lithographs in the rooms of the Fine Arts Society, and they were a revelation of the possibilities of the process in the hands of a master of line. The Way catalogue, now out of print, contained one hundred and thirty, purporting to cover those printed down to and including 1896. To this list must be added at least eight more which are well known, and possibly others. * * * * * There are, therefore, in existence nearly four hundred etchings and dry-points by Whistler, and probably not less than one hundred and fifty lithographs,--a large volume of work for one man, even if he produced nothing else. Stress is here laid upon the mere volume of his work to meet some remarkable views which have been put forth concerning him and to correct the popular impression that his controversies diverted him from his art.