The daily morning journal and courier., 1904-12-27
wHIsrLER,s pEAcocK RooM.
Quarrels That Marked Progress of tn,
 Work Immortalized in Palnt.

IQuarrels That Marked Progress of the
 Work Immortalized in Paint.
 The fact that Artist whistler's ia
 nous Peacock room is soon to be
 brought, in sections to this country makes interesting an account of this
 wonderful work of Whistler's eerie gen
 jus. Many descriptions of how the room came into being have been writ ten--in books about Whistler and in various art Journals but the best is that of an anonymous writer i,l the l New York Herald, from which wo quote at length;
 The house was the property of Mr. F. R. Leyland, and stands at Princess Gate. London. The dining. room origf nally was in the early Norman style, with drop ceilings and much woodwork. On the whole it was rather a gloomy interior The dominant color tons was supplied by the walls, which were GOV cred with old Spanish leather very costly but somewhat gloomy deeora- ton.
 With the intention of Tightening the room Mir Leyland called upon ths fla nous artist to paint panel to occupy one side of the room. The price ar- ranged for this single panel, incidental lyl was twenty-five thousand dollars. The painting, which Whistler comple- ted in due time, was entitled La Prin- cesse du Pays de Porcelain" It was in his best manner and has beel greatly admired. The central figure os the painting is that of girl dressed in light pink robes, the general effect sug- gesting strongly a Japanese painting.
 It soon became evident to tho owner of the house that the painting, with it's delicate Japanese color effect and treat ment, did not harmonize with the darker decoration of the room. asd Whistler was called in to advise. Whistler suggested that he might light en the room in the vicinity of his painting with a little gold leaf, and re ceived the owners permission to go ahead. He began to tighten it with gold and Antwerp blue Whistler, ac- cording to his own confession later, had no idea of making any great alter ation in the room, but the spirit of the work took hold of him, and he attacked the project with enthusiasm.
 The wall which furnished the setting for his original painting grew much lighter by the addition of blue and gold. Tn his enthusiasm he did not take the time to remove the leather, whereas the bare walls might have served his purpose better. Finally Whistler, fore seeing objections, told MT. Leyland that he must work alone and undis- turbed if at all, and requested the pro- prietor of the house to leaveaLondon for month. MT. Leyland objected, and Whistler thereupon refused point blank to go on with the work. He was finally left alone in the dining room. Immediately Whistler anda pupil sup piled themselves with an unlimited quantity of Antwerp blue and gold leaf, and attacked the room as a whole. The vast expanse of Spanish leather quick ly disappeared under the new covering. The ceiling was next treated, and af- terward the woodwork, until every part of the room was resplendent with blue and gold. Great fans of brilliant peacock's feathers spread themselves over the great ceilings. In place of the somber ancient leather, which had cost thousands of dollars, thas walls shimmered with the delicate shades of blue and gold. There were gold pea cocks on gold grounds, with great ex- panses of peacock eyes, and feathers in gold and blue crowded into the remot- est corners of the wonderful room, vet ail in the most perfect harmony.
 It was in the midst of the work and while the room was in a state of wild disorder that the owner of the house suddenly appeared and demanded ad- mittance. Whistler inlperiolisly re fused him. A few days laterA however, MT. Leyland stole into the room unex- pectedly while Whistler and his pupil were at work. Leyland was furious. The rare woods he had gathered at such cost were hidden beneath paint