UNIVERSITY of GLASGOW

architecture, church, people, interior.

There are several variations on the title, as follows:


'Church' (1887/1888, Whistler). 1
'The Church – Brussels (Adoration)' (1888, Whistler). 2
'Church Brussels' (1890/1891, Whistler). 3
'Church Interior, Brussels' (1909, Wunderlich's). 4
'The Church, Brussels' (1899, Frederick Wedmore (1844-1921)). 5
'Church, Brussels' (1909, Howard Mansfield (1849-1938)). 6


The title of 'The Church – Brussels (Adoration)' was used more than once by Whistler and is appropriate - if ironic - because it shows the congregation bowing before the butterfly as well as the altar.

A view across chairs in a church, looking across the body of the church to a balcony supported by pillars, over two shadowed chapels. On a wall at far right there is a large circular window. At upper left is a decorative scrolled metal chandelier. A man is standing in the chapel at the right. To left, on the broad rectangular column supporting the vault, is a small box. In the centre is a figure wearing a hat or turban, standing with bowed head. To left, half a dozen figures stand, leaning forward and looking to left, where, to left of the pillar, a butterfly radiates rays of light.

The interior of the gothic Church of St. Nicholas (Église St-Nicolas) in Brussels, facing west.

Photograph © G. Petri, Whistler Etchings Project.

In his memoirs, Walter Shaw Sparrow (1862-1940) remembered how he, as a young man, studied at the Académie des Beaux Arts in Brussels, where he met the Belgian Symbolist painter Fernand Edmond Jean Marie Khnopff (1859-1921). Khnopff told him a story about Whistler's visit to Brussels:

'On a Sunday they went into the city together. Whistler's little feet were in patent leather shoes, which were delicately made with pointed toes. There was a delicate cane in one hand, and in the other a dainty pair of gloves in a Whistlerian tint. A heavy shower of rain came on and Whistler began to walk on tiptoe. They entered a church when Mass was being celebrated. Whistler taking from his pocket a small sketch-book, filled a leaf with light impressive lines: then he turned to Khnopff and said: "There's no room for my butterfly". A little later, at the elevation of the Host, he turned again to Khnopff: "Yes, there is room for my butterfly," he whispered, and made a few touches with his pencil. When Khnopff told me this amazing story, a few days after, his face was indescribably pained and perplexed.' 7

There is a strong element of irreverent humour in Whistler's treatment of the subject and the title, with the congregation genuflecting to the butterfly, which radiates light upon their bowed heads.