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+*** START OF THE PROJECT GUTENBERG EBOOK 30262 ***
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 30262-h.htm or 30262-h.zip:
+      (http://www.gutenberg.org/files/30262/30262-h/30262-h.htm)
+      or
+      (http://www.gutenberg.org/files/30262/30262-h.zip)
+
+
+
+
+
+FREDERIC LORD LEIGHTON
+
+Late President of the Royal Academy of Arts
+
+An Illustrated Record of His Life and Work
+
+by
+
+ERNEST RHYS
+
+
+
+
+
+
+
+[Illustration: _Winding the Skein._
+               _By permission of the Fine Art Society._
+               _F. Leighton. pinxt._
+               _Swan Electric Engraving Co. Sc._]
+
+
+George Bell & Sons
+
+London: George Bell & Sons
+1900
+
+First Published, super-royal, 4to, 1895.
+Second Edition, revised, colombier 8vo, 1898.
+Third Edition, revised, crown 8vo, 1900.
+
+
+
+
+Publishers' Note to Third Edition
+
+
+The reception given to previous editions of this work encourages the
+publishers to hope that a re-issue in a smaller form may be appreciated.
+The present volume is reprinted with a few alterations and corrections
+from the second edition published in 1898. A chapter on "Lord Leighton's
+House in 1900," by Mr. S. Pepys Cockerell, has been added.
+
+The publishers take the opportunity to repeat their acknowledgments of
+assistance most kindly given by numerous owners and admirers of the
+artist's work. By the gracious consent of H.M. the Queen, the _Cimabue_
+in the Buckingham Palace collection, is here reproduced. Especial thanks
+are also due to Lord Davey, Lord Hillingdon, Lord Rosebery, Mrs.
+Dyson-Perrins, the late Mr. Alfred Morrison, Sir Bernhard Samuelson, Lady
+Hallé, Mr. Alex. Henderson, Mr. Francis Reckitts, the late Sir Henry
+Tate, the Birmingham and Manchester Corporations, and the President and
+Council of the Royal Academy, who have kindly permitted the reproduction
+of pictures in their possession. To the late Lord Leighton himself the
+author and publishers have to acknowledge their indebtedness for a
+large number of studies and sketches, hitherto unpublished, as well as
+for his kind co-operation in the preparation of the volume. The author
+wishes also to record his thanks to Mr. M. H. Spielmann for permission
+to use his admirable account of the President's method of painting.
+
+By arrangement with the holders of several important copyrights,
+including Messrs. Thos. Agnew and Sons, P. and D. Colnaghi and Co.,
+H. Graves and Co., Arthur Tooth and Sons, the Society for Promoting
+Christian Knowledge, the proprietors of the Art Journal, the Berlin
+Photographic Company, and the Fine Art Society (whose courtesies in the
+matter are duly credited in the list of illustrations), the publishers
+have been enabled to represent many of the most popular paintings by the
+artist, and a selection of his famous designs for Dalziel's Bible
+Gallery.
+
+
+
+
+Contents
+
+                                                                   PAGE
+
+   CHAPTER I. HIS EARLY YEARS                                         3
+
+          II. YEAR BY YEAR--1855 TO 1864                             12
+
+         III. YEAR BY YEAR--1864 TO 1869                             21
+
+          IV. YEAR BY YEAR--1870 TO 1878                             28
+
+           V. YEAR BY YEAR--1878 TO 1896                             39
+
+          VI. HIS METHOD OF PAINTING                                 54
+
+         VII. MURAL DECORATION, SCULPTURE, AND ILLUSTRATION          61
+
+        VIII. DISCOURSES ON ART                                      71
+
+          IX. LORD LEIGHTON'S HOME                                   88
+
+           X. LORD LEIGHTON'S HOUSE IN 1900. BY S. PEPYS COCKERELL   92
+
+          XI. THE ARTIST AND HIS CRITICS                            103
+
+         XII. CONCLUSION                                            115
+
+  APPENDIX I. CHRONOLOGICAL LIST OF WORKS                           121
+
+          II. LIST OF LANDSCAPES AND STUDIES SOLD AT CHRISTIE'S
+              (JULY, 1896)                                          132
+
+        INDEX                                                       137
+
+
+
+
+List of Illustrations
+
+
+I. FIGURE SUBJECTS.
+
+                                                                   PAGE
+
+  WINDING THE SKEIN                                      _Frontispiece_
+    _By permission of the Fine Art Society._
+    (_Photogravure plate._)
+
+  CIMABUE'S MADONNA                                                  10
+    _By the gracious permission of Her Majesty the Queen._
+
+  GOLDEN HOURS                                                       21
+    _By the kind permission of Lord Davey._
+
+  HELEN OF TROY                                                      22
+    _By permission of Messrs. H. Graves and Co._
+
+  ORPHEUS AND EURYDICE                                               22
+    _By the kind permission of Francis Reckitts, Esq._
+
+  VENUS DISROBING FOR THE BATH                                       24
+    _By the kind permission of Alexander Henderson, Esq._
+
+  ELECTRA AT THE TOMB OF AGAMEMNON                                   24
+
+  DÆDALUS AND ICARUS                                                 26
+    _By the kind permission of Alexander Henderson, Esq._
+
+  ST. JEROME                                                         26
+    _By the kind permission of the President and Council of
+    the Royal Academy of Arts._
+
+  HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS             30
+    _By the kind permission of Sir Bernhard Samuelson._
+
+  SUMMER MOON                                                        30
+    _By the kind permission of the late Alfred Morrison, Esq.,
+    from the photogravure published by Messrs. P. and D.
+    Colnaghi and Co._
+
+  THE JUGGLING GIRL                                                  32
+    _By the kind permission of Lord Hillingdon._
+
+  A CONDOTTIERE                                                      32
+    _By permission of the Corporation of Birmingham._
+
+  THE DAPHNEPHORIA                                                   34
+    _By permission of the Fine Art Society._
+
+  NAUSICAA                                                           38
+
+  SISTER'S KISS                                                      40
+    _By permission of the Fine Art Society._
+
+  PHRYNE AT ELEUSIS                                                  42
+    _By permission of the late Lord Leighton._
+
+  DAY DREAMS                                                         42
+    _By permission of the Fine Art Society._
+
+  CYMON AND IPHIGENIA                                                44
+    _By permission of the Fine Art Society._
+    (_Photogravure plate._)
+
+  THE LAST WATCH OF HERO                                             46
+    _By permission of the Corporation of Manchester._
+
+  GREEK GIRLS PLAYING AT BALL                                        48
+    _By permission of the Berlin Photographic Company._
+
+  THE BATH OF PSYCHE                                                 48
+    _By permission of the Berlin Photographic Company._
+
+  FAREWELL                                                           50
+    _By permission of Messrs. A. Tooth and Sons._
+
+  "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT"                    50
+    _By the kind permission of Sir Henry Tate._
+
+  THE FRIGIDARIUM                                                    50
+    _By permission of Messrs. H. Graves and Co._
+
+  RIZPAH                                                             52
+    _By permission of Messrs. Cassell and Co._
+
+  THE BRACELET                                                       52
+    _By permission of Messrs. T. Agnew and Sons._
+
+  FATIDICA                                                           52
+    _By permission of Messrs. T. Agnew and Sons._
+
+  A BACCHANTE                                                        54
+    _By permission of Messrs. H. Graves and Co._
+
+  HIT                                                                54
+    _By permission of the proprietors of the "Art Journal."_
+
+  EGYPTIAN SLINGER                                                  112
+    _By the kind permission of Lord Davey._
+
+  ELISHA AND THE SHUNAMITE'S SON                                    114
+    _By the kind permission of Mrs. Dyson-Perrins._
+
+  "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT"             128
+
+
+II. LANDSCAPES, ETC.
+
+  GARDEN AT GENERALIFE, GRANADA                                      28
+
+  MIMBAR OF THE GREAT MOSQUE AT DAMASCUS                             28
+
+  FOUNTAIN IN COURT AT DAMASCUS                                     132
+
+  THE ISLAND OF ÆGINA, PNYX IN THE FOREGROUND                       132
+
+  RUINED MOSQUE, BROUSSA                                            134
+
+  CITY OF TOMBS, ASSIOUT, EGYPT                                     134
+
+  ATHENS, WITH THE GENOESE TOWER, PNYX IN FOREGROUND                136
+
+  COAST OF ASIA MINOR SEEN FROM RHODES                              136
+
+  RED MOUNTAINS DESERT, CAIRO                                       136
+
+
+III. PORTRAITS.
+
+  PORTRAIT OF THE ARTIST. (In the Uffizi Gallery, Florence)           3
+
+  PORTRAIT OF THE HON. MABEL MILLS                                   36
+    _By the kind permission of Lady Hillingdon._
+
+  PORTRAIT OF CAPTAIN (SIR) RICHARD BURTON                           36
+
+  PORTRAIT OF SIGNOR COSTA                                           40
+
+  PORTRAIT OF THE LADY SYBIL PRIMROSE                                46
+    _By the kind permission of Lord Rosebery._
+
+
+IV. STUDIES AND SKETCHES.
+
+  TWO EARLY PENCIL STUDIES                                            6
+
+  SCHEME FOR A PICTURE, "THE PLAGUE IN FLORENCE"                      8
+
+  STUDY FOR A HEAD--"THE DEAD ROMEO"                                 14
+
+  A PENCIL STUDY                                                     16
+
+  A LEMON TREE. (A pencil study)                                     18
+
+  BYZANTINE WELL-HEAD. (A pencil study)                              18
+
+  STUDY FOR "THE DAPHNEPHORIA"                                       34
+
+  STUDY FOR "ELIJAH IN THE WILDERNESS"                               38
+
+  STUDY FOR "CAPTIVE ANDROMACHE" (nude)                              56
+
+  STUDY FOR A FIGURE IN "CAPTIVE ANDROMACHE"                         56
+
+  STUDY FOR "ANDROMACHE"                                             56
+
+  STUDY FOR "PERSEUS AND ANDROMEDA"                                  58
+
+  STUDY FOR A FIGURE IN "THE BATH OF PSYCHE"                         58
+
+  STUDY FOR "SOLITUDE"                                               58
+
+  STUDY FOR A FIGURE IN "THE RETURN OF PERSEPHONE"                   60
+
+  STUDY FOR "PERSEPHONE"                                             60
+
+  STUDIES FOR THE DECORATION OF THE CEILING OF A MUSIC ROOM          62
+
+  CAIN AND ABEL                  {                 }
+  MOSES VIEWS THE PROMISED LAND  { From Dalziel's  }
+  SAMSON AND THE LION            { "Bible Gallery" }                 70
+  SAMSON CARRYING OFF THE GATES  {                 }
+    _By permission of Messrs. J. S. Virtue and Co. and the
+    Society for Promoting Christian Knowledge._
+
+  "A CONTRAST"                                                       72
+
+  A STUDY IN OILS. (Head of a girl, back view)                       74
+
+  HEAD OF A YOUNG GIRL. (A Study in oils)                            76
+    _By the kind permission of Lady Hallé._
+
+  STUDY OF A HEAD                                                    78
+
+  STUDY OF A HEAD                                                    80
+
+  A STUDY IN OILS. (Head of a girl)                                  82
+
+
+V. FRESCOES, WALL PAINTINGS, ETC.
+
+  TWO FRIEZES--MUSIC, THE DANCE                                      44
+
+  DECORATION FOR THE CEILING OF A MUSIC ROOM                         62
+
+  THE INDUSTRIAL ARTS OF WAR. (From the fresco at South
+    Kensington Museum)                                               64
+
+  THE INDUSTRIAL ARTS OF PEACE. (From the fresco at South
+    Kensington Museum)                                               64
+
+  CUPID. (From a fresco)                                             66
+
+  PHOENICIANS BARTERING WITH BRITONS. (Panel in the Royal
+    Exchange)                                                        66
+
+
+VI. SCULPTURE.
+
+  AN ATHLETE STRUGGLING WITH A PYTHON. (Bronze statue, from
+    two points of view)                                              68
+
+  STUDY IN CLAY FOR "CYMON"                                          68
+
+  STUDY IN CLAY FOR "THE SLUGGARD"                                   68
+
+  STUDY IN CLAY FOR "PERSEUS"                                        68
+
+  STUDY IN CLAY FOR "ANDROMEDA"                                      68
+
+  DESIGN FOR REVERSE OF THE JUBILEE MEDALLION (1887)                130
+
+
+VII. LORD LEIGHTON'S HOUSE.
+
+  IN THE INNER HALL. (From a photograph taken specially
+    by Mr. James Hyatt)                                              88
+
+  IN THE ARAB HALL. (From a photograph by Messrs. Bedford,
+    Lemere, and Co.)                                                 96
+
+
+  BOOKPLATE OF LORD LEIGHTON. (Designed by R. Anning Bell)          120
+
+_With four exceptions all the reproductions are by the Swan
+Electric Engraving Company._
+
+
+
+
+FREDERIC LORD LEIGHTON, P.R.A.
+
+
+LIST OF DIGNITIES AND HONOURS CONFERRED
+ON FREDERIC LEIGHTON.
+
+Knighted, 1878; created a Baronet, 1886; created Baron Leighton of
+Stretton, 1896; elected Associate of the Royal Academy, 1864; Royal
+Academician, 1869; President of the Royal Academy, 1878; Hon. Mem. Royal
+Scottish Academy, and Royal Hibernian Academy, Associate of the
+Institute of France, President of the International Jury of Painting,
+Paris Exhibition, 1878; Hon. Member, Berlin Academy, 1886; also Member
+of the Royal Academy of Vienna, 1888, Belgium, 1886, of the Academy of
+St. Luke, Rome, and the Academies of Florence (1882), Turin, Genoa,
+Perugia, and Antwerp (1885); Hon. D.C.L., Oxford, 1879; Hon. LL.D.,
+Cambridge, 1879; Hon. LL.D., Edinburgh, 1884; Hon. D.Lit., Dublin, 1892;
+Hon. D.C.L., Durham, 1894; Hon. Fellow of Trinity College, London, 1876;
+Lieut.-Colonel of the 20th Middlesex (Artists') Rifle Volunteers, 1876
+to 1883 (resigned); then Hon. Colonel and holder of the Volunteer
+Decoration; Commander of the Legion of Honour, 1889; Commander of the
+Order of Leopold; Knight of the Prussian Order "pour le Mérite," and of
+the Coburg Order Dem Verdienste.
+
+
+
+
+[Illustration: PORTRAIT OF THE ARTIST (1881)
+              _Painted for the Uffizi Gallery_]
+
+
+
+
+FREDERIC LORD LEIGHTON, P.R.A.
+
+AN ILLUSTRATED CHRONICLE
+
+
+
+
+CHAPTER I
+
+HIS EARLY YEARS
+
+
+To Italy, at whose liberal well-head English Art has so often renewed
+itself, we turn naturally for an opening to this chronicle of a great
+English artist's career. Frederic Leighton was the painter of our time
+who strove hardest to keep alive an Italian ideal of beauty in London;
+therefore it is in Italy, the Italy of Raphael and Angelo and his
+favourite Giotteschi, that we must seek the true beginnings of his art.
+
+London made its first acquaintance with him and his painting in 1855,
+when the picture, _Cimabue's Madonna carried in Procession through the
+Streets of Florence_, startled the Royal Academy, and proved that a
+'prentice work could be in its way something of a masterpiece. This
+picture, the work of an unknown young artist of twenty-five, painted
+chiefly in Rome, showed at once a new force and a new quality, and in
+its singular feeling for certain of the archaic Italian schools, showed,
+too, where for the moment the sympathies of the painter really lay. How
+far the potentiality disclosed in it was developed during the forty
+years following, how far the ideals in art, which it seemed to declare,
+were pursued or departed from, the Royal Academy year by year is
+witness. Here, before we turn to consider the history of those later
+years, we shall find it interesting to use this first picture as an
+index to that period of probation, which is so often the most
+interesting part of an artist's history. In accounting for it, and
+finding out the determining experiences of the artist's pupilage, we
+shall account, also, for much that came after. Although Frankfort and
+Paris play their part, the formative influences of that early period, we
+shall find, carry us chiefly, and again and again, into Italy.
+
+Frederic Leighton was born on the 3rd of December, 1830, at Scarborough,
+the son of a medical practitioner. His father, Dr. Frederic Leighton,
+was also the son of a physician who was knighted for eminence in his
+profession. Thus we have two generations of medicine and culture in the
+family; but there is no sign of art, or love for art, before the third.
+This generation produced three children, all devoted to the graphic arts
+and to music, of whom the boy, Frederic was the eldest.
+
+A word or two more must be given to his forbears, on grounds of
+character and heredity, before we pass. Sir James Leighton, the
+grandfather, was Physician to the Court at St. Petersburg, where he
+served in succession Alexander the First, and Nicholas, with whom he was
+on terms of considerable intimacy. His son, Dr. Frederic Leighton, who
+promised to be a still more brilliant practioner, was educated at
+Stonyhurst, but after taking his M.D. degree at Edinburgh, just as he
+was rapidly acquiring the highest professional reputation, contracted a
+cold that led to a partial deafness. This made it impossible for him to
+go on practising with safety, and retiring to his study he turned from
+physical to metaphysical pursuits. In spite of his deafness, as severe
+an embargo on social reputation as can well be laid, Dr. Leighton is
+said to have been equally noted among his friends for his keen
+intellectual quality and his urbanity.
+
+To be the son of his father, then, counted for something in our hero's
+career. Even in art, which Dr. Leighton did not care for particularly,
+the boy had very great opportunities. Before he was ten years old, he
+went abroad with his mother, who was in ill health; and already he had
+shown such decided signs of the _furor pingendi_ during a chance visit
+to Mr. Lance's studio in Paris, that it is without surprise that we hear
+of him in 1840 as taking drawing lessons from Signor F. Meli, at Rome.
+During these early travels the boy's sketch books were full (we are
+told) of precociously clever things. The climacteric moment came early
+in his career. At Florence, in 1844, when he was fourteen, he delivered
+himself of a sort of boyish ultimatum to his father, who, after taking
+counsel of Hiram Powers, the American sculptor, wisely gave the boy his
+wish, and decided to let him be an artist. Powers when asked, "Shall I
+make him an artist?" exclaimed in no uncertain terms, "Sir, you have no
+choice in the matter, he is one already;" and on further question, the
+father being anxious about the boy's possibilities, said, "He may become
+as eminent as he pleases."
+
+Few art students of our time appear to have encountered more fortunate
+conditions, on the whole, than did Frederic Leighton in the years
+immediately following. The Florentine school of fifty years ago,
+however, was not the best for a beginner. It was full of mannerisms,
+which a boy of that age was sure to pick up, and exaggerate on his own
+account. At that time Bezzuoli and Servolini were the great lights and
+directors of the Academy of the Fine Arts, and they delighted,
+naturally, in so able and so apt a pupil; that he found it hard to shake
+off their teaching becomes evident later.
+
+Those who had the good fortune at any time to have heard Lord Leighton
+describe his early wanderings in Europe, must have been struck by the
+warmth of his tribute to Johann Eduard Steinle, the Frankfort master,
+who did more than any other to correct his style, and to decide the
+whole future bent of his art.
+
+Steinle, whose name is barely known to us in England, was one of that
+remarkable school of painters, called familiarly "the Nazarenes,"
+because of their religious range of subjects, who were inspired
+originally by Overbeck and Pfühler. Leighton in recent years described
+him as "an intensely fervent Catholic;" a man of most striking
+personality, and of most courtly manners, whose influence upon younger
+men was fairly magnetic. In the case of this particular pupil,
+certainly, his intervention was of most powerful effect. Religious in
+his methods, as well as in his sentiment of art, the florid
+insincerities and mannerisms of the Florentine Academy, as they were
+still to be seen in the young Leighton's work, found in him an admirable
+chastener, but it took many years of painfully hard work, lasting until
+1852, to undo the evil wrought by decadent Florence.
+
+Prior to this fortunate intercourse with Steinle, the student had an old
+acquaintance with Frankfort, which, like Florence, seemed destined to
+play a great part in his history. Before going to Florence, and deciding
+on his artistic career, in 1844, he had been sent to school in
+Frankfort. He returned there from Florence to resume his general
+education, and on leaving at seventeen, went for a year to the
+Städtelsches Institut.
+
+
+[Illustration: TWO EARLY PENCIL STUDIES]
+
+
+In 1848 he went to Brussels, and worked there for a time without any
+master, painting the first picture that deserves to be remembered.
+Characteristically enough, this depicted _Cimabue finding Giotto in the
+fields of Florence_. The shepherd boy is engaged in drawing the figure
+of a lamb upon a smooth rock, using a piece of coal for pencil; an
+admirable and precocious piece of work. At the time it was first shown
+it was considered especially good in its harmonious and original
+colouring, nor did a sight of it in 1896 at the Winter Exhibition of the
+Royal Academy contradict the generous verdict of contemporary critics.
+At Brussels he painted a portrait of himself, a notable thing of its
+kind, wherein we see a slight, dark youth, with a face of much charm and
+distinction, whose features one easily sees to be like those of later
+portraits. Then, immediately before the return to Frankfort, and the
+studying there, under Steinle, Leighton spent some months in Paris,
+working in an atelier in the Rue Richer.
+
+The conditions of this most informal of life-schools were such as Henri
+Murger, who was alive and writing at the time, might have approved, but
+were hardly to be called educative in any higher sense. The only master
+that these Bohemians could boast was a very invertebrate old artist, who
+seems to have been the soul of politeness and irresponsibility, and who
+accompanied every weak criticism with the deprecatory conclusion, "Voilà
+mon opinion!"
+
+"M. Voilà mon opinion!" is a type not unknown otherwhere than in that
+Paris atelier. A fine alterative the student must have found the severe
+and stringent tonics that Steinle prescribed immediately afterwards in
+Frankfort.
+
+In the admirable monograph on "Sir Frederic Leighton" by Mrs. Andrew
+Lang, from which we have drawn on occasion in these pages, an
+interesting account is given of an exploit at Darmstadt, in which the
+young artist took a chief part. An artists' festival was to be held
+there, and Sir Frederic and one of his fellow-students, Signor Gamba,
+took it into their heads to paint a picture for the occasion on the
+walls of an old ruined castle near the town. The design was speedily
+sketched after the most approved mediæval fashion, and no time was lost
+in executing the work. "The subject was a knight standing on the
+threshold of the castle, welcoming the guests, while in the centre of
+the picture was Spring, receiving the representatives of the three arts,
+all of them caricatures of well-known figures. In one corner were the
+two young artists themselves, surveying the pageant. The Schloss where
+this piece was painted is still in existence, and the Grand Duke has
+lately erected a wooden roof over the painting, to preserve it from
+destruction."
+
+Before leaving Frankfort, Leighton had already interested Steinle in his
+projected picture of _Cimabue's Madonna_, and the design for it was made
+under Steinle's direction. Under his direct influence, too, and inspired
+by Boccaccio, another Florentine picture--a cartoon of its great
+plague--was painted. In speaking of the dramatic treatment of its
+subject, Mrs. Lang describes "the contrast between the merry revellers
+on one side of the picture and the death-cart and its pile of corpses on
+the other, while in the centre is the link between the two--a
+terror-stricken woman attempting to escape with her baby from the
+pestilence-stricken city. We shall look in vain among the President's
+later works for any picture with a similar _motif_. In general he shared
+Plato's opinion--that violent passions are unsuitable subjects for art;
+not so much because the sight of them is degrading, as because what is
+at once hideous and transitory in its nature should not be
+perpetuated."
+
+
+[Illustration: SCHEME FOR A PICTURE: THE PLAGUE IN FLORENCE]
+
+
+We have seen how the spirit and sentiment of Italy continually remained
+by the artist in his German studio, and how in Frankfort his artistic
+imagination returned again and again to Florence, and to the early
+Florentines of his particular adoration--Cimabue and Giotto. The recall
+to Italy came inevitably, as Steinle's teaching at last had fully worked
+its purpose. Steinle himself counselled the move, and gave his favourite
+pupil an introduction to Cornelius in Rome. It was to Rome, therefore,
+and not to Florence, that the young artist went--to Rome where sooner or
+later the steps of all men who work for art or for religion tend, and
+where so few stay. This was in 1852, the year which was represented in
+the Commemorative Exhibition at Burlington House by _A Persian Pedlar_,
+a small full-length figure of a man in Oriental costume, seated
+cross-legged on a divan, with a long pipe in his hand. To 1853 belongs a
+_Portrait of Miss Laing_ (Lady Nias), which was shown again at the same
+time.
+
+The Rome of the mid-century was Rome at its best, with much artistic
+stimulus of the present, as well as of the past. The English colony was
+particularly strong. Thackeray was there, moving about after his wont in
+the studios and salons; the Brownings were there, and in their prime.
+The young painter and his work, including the _Cimabue's Madonna_ in its
+earlier stages, made a great impression on Thackeray, who turned prophet
+for once on the strength of it. On returning to London and meeting
+Millais, he prophesied gaily to that ardent Pre-Raphaelite, then
+marching on from success to success: "Millais! my boy, I have met in
+Rome a versatile young dog called Leighton, who will one of these days
+run you hard for the presidentship!" This was early days for such a
+rumour to reach the Academy, who knew an older school, represented by
+Landseer and Eastlake, and a younger school, represented by Millais and
+Rossetti, but as yet knew not Leighton.
+
+Among the leading artists in Rome at this time, beside Cornelius, were
+the two French painters, Bouguereau and Gerome. To these, especially to
+Bouguereau, who was a great believer in "scientific composition,"
+Leighton was, on his own testimony, largely indebted for his fine sense
+of form. Yet another famous Frenchman, Robert Fleury, whom he afterwards
+met in Paris, may be mentioned here, since from him he learnt much in
+the way of colouring, and the technique of his art.
+
+Turning from the painters to the poets, it was at Rome that Robert
+Browning, who was at this time writing his "Men and Women," formed close
+acquaintance with the young artist. Something of the atmosphere which
+permeates such poems as "Bishop Blougram's Apology," "Andrea del Sarto,"
+and others of the same series, seems to linger yet in the record of
+those early meetings of poets and painters, with all their associations:
+
+                            "The Vatican,
+  Greek busts, Venetian paintings, Roman walls,
+  And English books."
+
+
+One easily supposes Browning speaking through his Bishop Blougram, as,
+it is said, he was heard to speak in those days in praise of Correggio,
+to whose qualities, Ruskin tells us, Sir Frederic Leighton curiously
+approximates:
+
+  "'Twere pleasant could Correggio's fleeting glow
+  Hang full in face of one where'er one roams,
+  Since he more than the others brings with him
+  Italy's self--the marvellous Modenese!"
+
+Italy's self, in truth, Frederic Leighton, like Browning in poetry,
+did not fail to bring with him, and revived for us for many years, by
+his art and southern glow of colour, in the gray heart of London.
+
+
+[Illustration: CIMABUE'S MADONNA CARRIED IN PROCESSION THROUGH THE STREETS
+OF FLORENCE (1855)]
+
+
+Among other people whom Leighton met in Rome were George Sand, Mrs.
+Kemble, George Mason the painter, of _Harvest Moon_ fame, Gibson the
+sculptor, and Lord Lyons. Like Robert Browning, let us add, he was
+readily responsive to the quickening of his contemporaries, and
+vigorously studied the present in order that he might the better paint
+the past, and put live souls into the archaic raiment of Cimabue and old
+Florence.
+
+He was working hard all this while, with a devotion and concentration
+that impressed other friends beside Thackeray, upon his picture of
+_Cimabue's Madonna_, which was exhibited in the Academy of 1855, and as
+the work of an unknown hand made a distinct sensation. It was discussed,
+angrily by some, delightedly by others. The criticism which Rossetti,
+Mr. Ruskin, and other critics bestowed upon it in the press or in
+private correspondence[1] will come more fitly into our later pages,
+when we turn to deal with contemporary opinions upon Leighton's work.
+Enough to say here that it won fame for the artist at a stroke. The
+Queen bought it for £600, having bespoken it, I believe, before it left
+his studio, and hung it eventually in Buckingham Palace. With this
+encouraging first great success, the probationary stage of our artist's
+history may be said to close.
+
+
+
+
+CHAPTER II
+
+YEAR BY YEAR--1855 TO 1864
+
+
+The Academy of forty years ago was very different from that we know
+to-day. It was held in the left wing of the National Gallery, and had
+not nearly so much space at its disposal as it has in its present
+quarters at Burlington House. The exhibition of 1855 contained few
+pictures, compared with the multitudinous items of the present shows.
+
+Generally speaking, the exhibition was of a heavier, more Georgian
+aspect, in spite of certain Pre-Raphaelite experiments and other signs
+of the coming of a younger generation. Sir Charles Eastlake was
+President. Professor Hart was delivering lectures to its students, full
+of academic, respectable intelligence, if little more; lectures which
+those who are curious may find reported in full in the "Athenæum" of
+that time.
+
+More interesting was the appearance of Mr. Ruskin as commentator on the
+pictures of the Academy in this year, the first in which he issued his
+characteristic "Academy Notes." His long, and, all things considered,
+remarkably appreciative criticism of the _Cimabue's Madonna_ we discuss
+elsewhere (p. 103). Of another picture of Italy by a very different
+painter, which was considered a masterpiece by some critics, we find him
+speaking in terms of monition: "Is it altogether too late to warn him
+that he is fast becoming nothing more than an Academician?" The one
+picture of the year, according to Mr. Ruskin, was the _Rescue_, by
+Millais. "It is the only great picture exhibited this year," he writes,
+"but this is very great." For the rest, _A Scene from As You Like It_,
+by Maclise; another Shakespearean subject, the inevitable _Lear and
+Cordelia_, by Herbert; and a _Beatrice_ by the then President, and we
+have recalled everything that served to give the Academy of that year
+its distinction in the eyes of contemporary critics. Sir Edwin Landseer,
+who to the outer world was the one great fact in the art of the time,
+does not appear to have exhibited in 1855.
+
+Looking back now to that date, what one discerns chiefly is the
+emergence of the Pre-Raphaelites from the more conventional multitude
+that were taking up the artistic traditions of the first half of the
+century. Millais, Rossetti, Holman Hunt, and their associates, count to
+us, to-day, as the representatives of an earlier generation; in 1855
+they still stood for all that was daring, unprecedented, and adventurous
+in their art.
+
+This newcomer, with his _Cimabue's Madonna_ in a new style, puzzled the
+critics considerably. They did not know quite how to allot him in their
+casual division of contemporary schools. "Landseer and Maclise we know;
+and Millais and Holman Hunt; but who is Leighton?" was the tenor of
+their commentary.
+
+Meanwhile an event of great significance to English Art in this year was
+happening--an exhibition of English pictures in Paris, the first of its
+kind. This beginning of such international exchanges was important; it
+has led up to many striking modifications of both English and French
+schools since that date. It is curious that it should coincide with the
+awakening to certain other foreign influences: that of the early Italian
+school upon the Pre-Raphaelites, and that of the later Italian,
+popularly known as "the classic school," upon Leighton and Mr. G. F.
+Watts.
+
+Of this exhibition of English pictures, which was held in the Avenue
+Montaigne, M. Ernest Chesneau, a critic very sympathetic to English art,
+tells us, in his admirable book on the "English School of Painting,"
+that "for the French it was a revelation of a style and a school of the
+very existence of which they had hitherto had no idea; and whether owing
+to its novelty, or the surprise it occasioned, or, indeed, to its real
+merit, whatever may have been the true cause, most certain it is that
+the English, until then little thought of and almost unknown abroad,
+obtained in France a great success."
+
+M. Chesneau, in going on to account further for the great impression
+made by the English painters in Paris, attributes it largely to the
+_singularity_ which, for foreign eyes, marks their work. It is curious,
+indeed, that French critics, and M. Chesneau among them, really admire
+this singularity, which they count distinctively British. They look for
+it in our pictures, and if they do not find it--as in the work of
+Leighton--they feel aggrieved.
+
+British eccentricity, whether thinking its way with the aid of genius
+into "Pre-Raphaelitism," or now again, with the aid of extreme
+cleverness and talent, into certain cruder forms of "impressionism," is
+sure of its effect. But an art like Leighton's, whose aim is beauty and
+not eccentricity, is apt to be slighted by both French and English
+critics, with some notable exceptions. Not all its grace, its classic
+quality, its beauty of line and distinction of treatment, avail it, when
+it comes into conflict with doctrinaire theories on the one hand, and a
+love for mere sensationalism on the other.
+
+
+[Illustration: THE DEAD ROMEO
+               A PENCIL STUDY]
+
+
+The success of his picture at the Academy, and the incidental
+lionizing of a season, did not tempt the artist to stay long in London,
+and he went to Paris, where he settled himself in a studio and proceeded
+to complete his _Triumph of Music_, and other pictures begun in Rome.
+
+By this time the painter's method might seem assured, but Paris was
+still able to add something to his style, with the aid of such masters
+as Fleury. English critics, who expected _The Triumph of Music_ to
+sustain the reputation won by _Cimabue's Madonna_, were
+disappointed--partly because Orpheus was represented as playing a
+violin, in place of the traditional lyre. To those who will examine and
+compare them more carefully, there is no such discrepancy. _The Triumph
+of Music: Orpheus by the power of his Art redeems his wife from Hades_,
+which is every whit as distinctive a performance as the _Cimabue's
+Madonna_ (as indeed it was conceived and painted largely under the same
+conditions), was nevertheless not a popular success. Certainly, it
+marks, as clearly as anything can, the sense of colour, the sense of
+form, the draughtsmanship, the immensely cultured eye and hand, first
+discovered to the English critics by its predecessor. It was sold after
+the painter's death.
+
+Of certain other works painted in 1856, 1857, and 1858, some of which
+never found their way to the Academy, little need be said. To this
+period belong two pictures painted in Paris, the one, _Pan_ under a
+fig-tree, with a quotation from Keats's "Endymion":
+
+                       "O thou, to whom
+  Broad-leaved fig-trees even now foredoom
+  Their ripened heritage,"
+
+and the other, a pendant to it, _A Nymph and Cupid_.
+
+_Salome, the Daughter of Herodias_, painted in 1857, but apparently not
+exhibited at the Academy, represents a small full-length figure in white
+drapery, with her arms above her head, which is crowned with flowers;
+behind her stands a female musician. Another, shown in 1858 at the Royal
+Academy, and again in the 1897 retrospective exhibition, was first
+entitled _The Fisherman and Syren_, and afterwards _The Mermaid_; it is
+a composition of two small full-length figures, a mermaid clasping a
+fisherman round the neck. The subject is taken from a ballad by Goethe:
+
+  "Half drew she him,
+  Half sunk he in,
+  And never more was seen."
+
+In the same year was a painting inspired by "Romeo and Juliet," entitled
+_Count Paris, accompanied by Friar Laurence, comes to the house of the
+Capulets to claim his bride; he finds Juliet stretched, apparently
+lifeless, on the bed_. The picture shows, in addition to the figures
+named in its former title, the father and mother of Juliet bending over
+their daughter's body, and through an opening beyond numerous figures at
+the foot of the staircase.
+
+The latter year marked the painter's return to London, where he entered
+more actively into its artistic life than he had done hitherto, and made
+closer acquaintance with the Pre-Raphaelites, who were already entering
+upon their second and maturer stage. To take Rossetti: it was in 1856
+that he made those five notable designs to illustrate "Poems by Alfred
+Tennyson," which Moxon and Co. published in the following year; an event
+that, for the first time, really introduced him to the public at large.
+To 1857, again, belongs Rossetti's _Blue Closet_ and _Damsel of the
+Sangrael_, both painted for Mr. W. Morris. And in 1857 and 1858, the
+famous and hapless distemper pictures on the walls of the Union Debating
+Society's room at Oxford, were engaging Rossetti and his associates,
+including Burne-Jones, William Morris, Mr. Val. Prinsep, Mr. Arthur
+Hughes, and Mr. Spencer Stanhope.
+
+
+[Illustration: A PENCIL STUDY]
+
+
+It was in the summer of 1858, Mr. F. G. Stephens tells us, that the
+original Hogarth Club was founded, of which the two Rossettis were
+prominent instigators,--one of the most notable of the many protestant
+societies that have sprung up at different times from a slightly
+anti-Academic bias. It is interesting to find that Leighton's famous
+_Lemon Tree_ drawing in silverpoint was exhibited here. The Hogarth Club
+held its meetings at 178, Piccadilly, in the first instance; removed
+afterwards to 6, Waterloo Place, Pall Mall, and finally dissolved, in
+1861, after existing for four seasons.
+
+To speak of other painters more or less associated with Rossetti and his
+school, Mr. Holman Hunt, whose _Light of the World_ had greatly struck
+Paris in 1855, exhibited his _Scapegoat_ at the Academy of 1856, a
+picture which called from Mr. Ruskin immense praise, and a
+characteristic protest: "I pray him to paint a few pictures with less
+feeling in them, and more handling." Of Millais we have already spoken.
+In 1856 he exhibited _The Child of the Regiment_, _Peace Concluded_, and
+_Autumn Leaves_.
+
+In 1859 Leighton showed three pictures at the Academy. One, _A Roman
+Lady_ (then called _La Nanna_), a half-length black-haired figure,
+facing the spectator, in Italian costume; another, now called _Nanna_,
+then entitled _Pavonia_, a half-length figure of a girl in Italian
+costume, with peacock's feathers in the background; and _Sunny Hours_,
+which seems to have escaped record so far. The same year saw another of
+his pictures, _Samson and Delilah_, exhibited at Suffolk Street.
+
+We must not pass by the famous _Study of a Lemon Tree_ (now at Oxford),
+mentioned above, without quoting the praise by Mr. Ruskin, which made it
+famous. Mr. Ruskin couples it with another drawing, both of which we
+have been fortunately able to reproduce in our pages. These "two perfect
+early drawings," he writes, "are of _A Lemon Tree_, and another of the
+same date, of _A Byzantine Well_, which determine for you without
+appeal, the question respecting necessity of delineation as the first
+skill of a painter. Of all our present masters Sir Frederic Leighton
+delights most in softly-blended colours, and his ideal of beauty is more
+nearly that of Correggio than any seen since Correggio's time. But you
+see by what precision of terminal outline he at first restrained, and
+exalted, his gift of beautiful _vaghezza_." The _Lemon Tree_ study, let
+us add, was drawn at Capri in the spring of 1859. Here, and elsewhere in
+the South of Europe, whither the artist returned, escaping from London
+at every opportunity, many other notable studies and drawings were made
+during this period. Some of these were employed long since for the
+backgrounds of pictures familiar to us all. Others, faithful studies of
+nature, small oil and water-colour drawings, chiefly landscape, were
+scarce known to the general public during the painter's life, but were
+eagerly competed for at the sale of his pictures in July, 1896.
+
+The little picture of _Capri at Sunrise_ was hung in the Academy of
+1860, the painter's only contribution of that year. In the year
+following, we find another small picture of Capri, together with five
+others, some of which played their part in winning for the artist his
+wider recognition.
+
+
+[Illustration: A LEMON TREE
+               A PENCIL STUDY]
+
+
+[Illustration: BYZANTINE WELL HEAD
+               A PENCIL STUDY]
+
+
+Meanwhile, the artist was drawing his London ties closer. In 1860 he
+took up his abode at 2, Orme Square, where he continued to reside until
+he built his famous house in Holland Park Road, some years later. His
+art did not for this reason become more like London, or more infected
+with that British singularity which some critics would seem to demand.
+On the contrary, Italy and the South, the glow of colour, the perfection
+of form, the plastic exquisiteness, which mark for us his mature
+performances, and which follow after classic ideals, were more and more
+clearly to be discerned in the remarkable cycle of pictures associated
+with this part of his career.
+
+In 1861 he painted portraits of his sister, _Mrs. Sutherland Orr_, and
+of _Mr. John Hanson Walker_, the former shown at the Academy, where also
+hung _Paolo e Francesca_, _A Dream_, _Lieder ohne Worte_, _J. A.--a
+Study_, and _Capri--Paganos_. Rossetti, writing of this exhibition,
+says: "Leighton might, as you say, have made a burst had not his
+pictures been ill-placed mostly--indeed, one of them (the only very good
+one, _Lieder ohne Worte_) is the only instance of very striking
+unfairness in the place."[2] In 1862 there were no fewer than six of the
+artist's pictures at the May exhibition of the Academy: the _Odalisque_,
+a very popular work, shows a draped female figure, in a very
+Leightonesque pose, with her arm above her head, leaning against a wall
+by the water. She holds a peacock's feather screen in her left hand,
+while a swan in the water at her feet cranes its head upwards towards
+her; _Michael Angelo nursing his dying Servant_, a group of two
+three-quarter length figures; the servant reclining in an armchair with
+his head resting against the shoulder of Michael Angelo--a fairly
+powerful but somewhat academic version of the incident--which looks at
+first glance like the work of a not very important "old master;" _The
+Star of Bethlehem_, showing one of the Magi on the terrace of his house
+looking at the strange star in the East, while below are indications of
+a revel he has just left. _Duett_, _Sisters_, _Sea Echoes_, and _Rustic
+Music_, also belong to this year.
+
+In 1863 he showed _Eucharis_, a half-length figure of a white-robed
+girl, with a basket of fruit on her head; _Jezebel and Ahab_; _A
+Cross-bow Man_; and _A Girl Feeding Peacocks_; with these we complete
+the list of his work as an outsider.
+
+
+
+
+[Illustration: GOLDEN HOURS (1864)]
+
+
+CHAPTER III
+
+YEAR BY YEAR--1864 TO 1869
+
+
+In 1864 Leighton was made an Associate of the Royal Academy. To its
+summer exhibition he contributed three pictures, showing great and
+various power in their composition. _Dante at Verona_, _Orpheus and
+Eurydice_, and _Golden Hours_. The first of these, one of the most
+remarkable pictures of our modern English school, in which "Dante"
+appears, is a large work, with figures something less than life-size. It
+illustrates the verses in the "Paradiso":
+
+                       "Thou shalt prove
+  How salt the savour is of others' bread;
+  How hard the passage, to descend and climb
+  By others' stairs. But that shall gall thee most
+  Will be the worthless and vile company
+  With whom thou must be thrown into the straits,
+  For all ungrateful, impious all and mad
+  Shall turn against thee."
+
+
+"Dante, in fulfilment of this prophecy, is seen descending the palace
+stairs of the Can Grande, at Verona, during his exile. He is dressed in
+sober grey and drab clothes, and contrasts strongly in his ascetic and
+suffering aspect with the gay revellers about him. The people are
+preparing for a festival, and splendidly and fantastically robed, some
+bringing wreaths of flowers. Bowing with mock reverence, a jester gibes
+at Dante. An indolent sentinel is seated at the porch, and looks on
+unconcernedly, his spear lying across his breast. A young man, probably
+acquainted with the writing of Dante, sympathises with him. In the
+centre and just before the feet of Dante, is a beautiful child,
+brilliantly dressed and crowned with flowers, and dragging along the
+floor a garland of bay leaves and flowers, while looking earnestly and
+innocently in the poet's face. Next come a pair of lovers, the lady
+looking at Dante with attention, the man heedless. The last wears a vest
+embroidered with eyes like those in a peacock's tail. A priest and a
+noble descend the stairs behind, jeering at Dante."[3]
+
+It was the _Golden Hours_ which, though perhaps less memorable and
+imaginative than the others, won the greatest popular success of the
+three, a success beyond anything that the artist had so far painted. As
+this picture is here reproduced, description is needless, except so far
+as regards the colour of the background, which is literally golden. The
+dress of the lady who leans upon the spinet is white, embroidered with
+flowers. The _Orpheus and Eurydice_ showed that the old friendship,
+formed originally in Rome, between the painter and Robert Browning, was
+maintained. Some of the poet's lines served as a text for the picture;
+and as they are little known we repeat them here:
+
+  "But give them me--the mouth, the eyes, the brow--
+  Let them once more absorb me! One look now
+  Will lap me round for ever, not to pass
+  Out of its light, though darkness lie beyond.
+  Hold me but safe again within the bond
+  Of one immortal look! All woe that was,
+  Forgotten, and all terror that may be,
+  Defied,--no past is mine, no future! look at me!"
+
+
+[Illustration: HELEN OF TROY (1865)
+               _By permission of Messrs. Henry Graves and Co._]
+
+
+[Illustration: ORPHEUS AND EURYDICE (1864)]
+
+
+To this year, also, belongs a portrait of _The late Miss Lavinia
+I'Anson_, a circular panel showing the sky for background. This was
+exhibited again in the winter Academy of 1897.
+
+In 1865 the artist showed once again his eclectic sympathies, by the
+variety of the subject-pictures that he sent to the Academy, ranging
+from _David_ to _Helen of Troy_.
+
+In his tenderly conceived _David_, the Psalmist is seen gazing at two
+doves in the sky above; he, sunk in a profound reverie, is seated upon a
+house-top overlooking some neighbouring hills. The whole is large in its
+handling and treatment, and in the simplicity of its drapery recalls
+several of the famous illustrations the artist contributed to Dalziel's
+Bible Gallery. It was exhibited with the quotation, "Oh, that I had
+wings like a dove! for then would I fly away and be at rest." With the
+delightful _Helen of Troy_ we are recalled to the third book of the
+Iliad, when Iris bids Helen go and see the general truce made pending
+the duel between Paris and Menelaus, of which she is to be the prize. So
+Helen, having summoned her maids and "shadowed her graces with white
+veils," rose and passed along the ramparts of Troy. In the picture the
+light falls on her shoulders and her hair, while her face and the whole
+of the front of her form are shadowed over, with somewhat mystical
+effect.
+
+To the same year belongs _In St. Mark's_, a picture of a lady with a
+child in her arms leaving the church, a lovely and finished study of
+colour; _The Widow's Prayer_; and _Mother and Child_, a graceful
+reminder of a gentler world than Helen's.
+
+In 1866 the critics had at last a work which seemed to them to follow
+the lines of the _Cimabue's Madonna_. This was the radiant and lovely
+picture of the _Syracusan Bride leading Wild Beasts in Procession to
+the Temple of Diana_. The composition of this remarkable painting
+deserves to be closely studied, for it is very characteristic of Sir
+Frederic Leighton's theories of art, and his conviction of the
+necessarily decorative effect of such works. A terrace of white marble,
+whose line is reflected and repeated by the line of white clouds in the
+sky painting above, affords the figures of the procession a delightful
+setting. The Syracusan bride leads a lioness, and these are followed by
+a train of maidens and wild beasts, the last reduced to a pictorial
+seemliness and decorative calm, very fortunate under the circumstances.
+The procession is seen approaching the door of the temple, and a statue
+of Diana serves as a last note in the ideal harmonies of form and colour
+to which the whole is attuned. As compared with the _Cimabue's Madonna_,
+it is a more finished piece of work, and the handling throughout is more
+assured. It was as much an advance, technically, upon that, as the
+_Daphnephoria_, which crowned the artist's third decade, was upon this.
+According to popular report, it was this picture of the _Syracusan
+Bride_ which decided his future election as a full member of the
+Academy; but as a matter of fact, it was in 1869 that this election took
+place. The picture, let us add, was suggested to the painter by a
+passage in the second Idyll of Theocritus: "And for her then many other
+wild beasts were going in procession round about, and among them a
+lioness." _The Painter's Honeymoon_ and a _Portrait of Mrs. James
+Guthrie_ were also exhibited this year; and the wall-painting of _The
+Wise and Foolish Virgins_, at Lyndhurst, in the New Forest, was executed
+during the summer.
+
+
+[Illustration: VENUS DISROBING FOR THE BATH (1867)]
+
+
+[Illustration: ELECTRA AT THE TOMB OF AGAMEMNON (1869)]
+
+
+In its next exhibition, that of 1867, the Academy held five pictures by
+the artist, including the delightful _Pastoral_, two small
+full-length figures standing in a landscape of a shepherd and a
+girl--whom he is teaching to play the pipes. This again might be
+considered a painter's translation from Theocritus, and the _Venus
+Disrobing for the Bath_, one of the most debated of all the artist's
+paintings of the nude. The paleness of the flesh-tint of this Venus
+aroused a criticism which has often been urged against his
+pictures--that such a hue was not in nature. In imparting an ideal
+effect to an ideal subject, Leighton always, however, followed his own
+conviction--that art has a law of its own, and a harmony of colour and
+form, derived and selected no doubt from natural loveliness, but not to
+be referred too closely to the natural, or to the average, in these
+things.
+
+To the 1868 Academy Leighton contributed another biblical theme,
+_Jonathan's Token to David_. With this were four others, as widely
+varying in subject and conception as need be desired. One was a very
+charming portrait of a very pretty woman, _Mrs. Frederick P. Cockerell_.
+Then follow three more in that cycle of classic subjects, of which the
+painter never tired. The full title of the first runs, _Ariadne abandoned
+by Theseus: Ariadne watches for his return: Artemis releases her by death_.
+In it the figure of Ariadne, clothed in white drapery, is seen lying on a
+rocky promontory overlooking the sea. _Acme and Septimius_ is a circular
+picture, with two small full-length figures reclining on a marble bench.
+This extract from Sir Theodore Martin's translation of Catullus was
+appended to its title in the catalogue:
+
+  "Then bending gently back her head,
+  With that sweet mouth so rosy red,
+  Upon his eyes she dropped a kiss,
+  Intoxicating him with bliss."
+
+A love song on canvas, a pictorial transcript from Catullus, it was
+perhaps the most popular picture of the year. The last of the three was
+_Actæa, the Nymph of the Shore_. It represents a small full-length nude
+figure lying on white drapery by the sea-shore. Actæa is a lovely
+figure, full of that grace which Leighton so well knew how to impart to
+his idealized figures.
+
+After this year, at any rate, there could be no longer any doubt but
+that the artist's power really lay in the creation of ideal forms;
+whether presented in monomime or combined in poetic and decorative
+groups, called up from the wonderful limbo of classic myth and history.
+
+With 1869 came _Electra at the Tomb of Agamemnon_, a memorable picture,
+full of characteristic effects of colour and composition, and a notable
+exercise in the grand style. This work, considered from any side, must
+be seen to be the outcome of a unique faculty, so unprecedented in
+English art as to run every risk of misconception that native
+predilections could impose upon those who stopped to criticise it. The
+figure of Electra clad in black drapery offered a problem of peculiar
+difficulty.
+
+Another painting shown this year was _Dædalus and Icarus_, a strikingly
+conceived picture. The two figures are singularly noble conceptions of
+the idealized nude; the drapery at the back of Icarus is typical of the
+painter in every fold, while the landscape seen far below the stone
+platform on which the figures stand, shows a bay of the blue Ægean sea
+in full sidelight, with a lovely glimpse of the white walls of a distant
+town.
+
+The same exhibition of 1869 saw, also, the vigorously painted diploma
+picture, _St. Jerome_, which marked his election as R.A. In it the
+saint, nude to the waist, kneels with uplifted arms at the foot of a
+crucifix, his lion seen in the background. _Helios and Rhodos_,
+another painting exhibited at the same time, shows Helios descending
+from his chariot, which is in a cloud above, to embrace the nymph
+Rhodos, who has risen from the sea.
+
+
+[Illustration: DÆDALUS AND ICARUS (1869)]
+
+
+[Illustration: ST. JEROME (1869)]
+
+
+
+
+CHAPTER IV
+
+YEAR BY YEAR--1870 TO 1878
+
+
+Sundry journeys into the East during this period of Leighton's career,
+gave him new subject-matter, new tints to his palette, and added
+something of an oriental fantasy to the classic sentiment of his art.
+The sketches of Damascus and other time-honoured eastern cities,
+mosques, gardens, and courtyards, which figured largely among Sir
+Frederic's studies, were made for the most part in the autumn of 1873.
+
+Previously, as early as 1867, the East had cast its spell upon him. In
+1868, he went into Egypt, and made a voyage up the Nile with M. de
+Lesseps, then at the flood of good-fortune. The Khedive himself provided
+the steamer for this adventure. "It was during this voyage," we are
+told, "that Sir Frederic came across a small child with the strangest
+and most limited idea of full dress that probably ever occurred to
+mortal--a tiny coin strung on to one of her strong coarse hairs." Of the
+studies made during the journey, one is a woman's head, draped so as to
+have a singularly archaic and Sphinx-like effect. Another is the fine
+profile of a young peasant; and yet another, the head of an old man,
+simple-minded and philosophical.
+
+
+[Illustration: GARDEN AT GENERALIFE, GRANADA]
+
+
+[Illustration: MIMBAR OF THE GREAT MOSQUE AT DAMASCUS
+               (Since destroyed by fire)]
+
+
+In 1869 the _Helios and Rhodos_, already mentioned, served as the first
+sign to the public of the new R.A.'s interest in things oriental. To the
+1870 exhibition, his only contribution was the picture, _A Nile Woman_,
+which is now owned by the Princess of Wales. It is a small
+full-length figure of a girl, balancing an empty pitcher upon her head,
+at the time of moonrise. Anticipating the Eastern subjects which future
+years produced, we may note a picture of _Old Damascus_, showing the
+Jews' quarter in that fabled city, in all its motley picturesqueness,
+and the delightful _Moorish Garden,--A Dream of Granada_, which were
+exhibited in 1874. A powerful picture, shown in 1875, of the _Egyptian
+Slinger_,[4] is illustrated later in this volume, but no reproduction
+can quite suggest the striking colouring of the original, and the
+masterly treatment of its light and shade, in the presentment of this
+lonely figure posed high on its platform against the clear evening sky.
+The delightful _Little Fatima_, and the _Grand Mosque, Damascus_,
+enlarged from the sketch previously alluded to, were also exhibited in
+1875.
+
+But perhaps the most picturesque memorial of the East due to the
+artist's wanderings of these years, is an architectural, and not a
+pictorial one. The fame of the Arab Hall in Lord Leighton's house has
+reached even further than that of _Little Fatima_, or his painting of
+the _Grand Mosque at Damascus_. Built originally to provide a setting
+for some exquisite blue tiles, brought by the owner from Damascus
+itself, it remains the most perfect representation of an oriental
+interior to be found in London; but this again belongs to a later
+period, and we must return to the date whence this chronicle was
+interrupted. Before doing so, however, it may be noted that in 1870
+began the famous Winter Exhibitions of Old Masters and Deceased British
+Artists, of which Leighton was one of the most active supporters.
+
+In the May exhibition of the Royal Academy, 1871, was hung a notable
+canvas, _Greek Girls picking up Pebbles by the Sea_, described at the
+time as "a delightful composition, comprising figures of almost
+exhaustless grace, and wealth of beauty in design and colour."
+
+Another painting, also shown there, _Cleoboulos instructing his daughter
+Cleobouline_, is a charming example of its kind. The philosopher, with a
+scroll on his lap, sits on a cushioned bench with his young daughter by
+his side, his earnest action in delightful contrast with her girlish
+grace.
+
+But his great work in 1871 was _Hercules wrestling with Death for the
+body of Alcestis_. The scene of this profound tragedy is on the
+sea-shore, where the body of Alcestis, robed in white, lies under the
+branches of trees in the centre of the picture. On the left is a group
+of mourners, a seated girl and a woman prostrate in grief. On the right
+are the two struggling figures; Hercules' superb form and tossing
+lion-skin contrasting finely, both in action and colouring, with the
+tall and coldly grey-robed spectre of Death, who presses forward to the
+bed where Alcestis lies, whence he is thrust back by the mighty
+Hercules. The exquisite figure of Alcestis with her statuesquely draped
+robes and their pure and delicate colouring, forms a wonderful contrast
+to the two strenuous figures on the right, while the figures of the
+mourners on the left are delightfully posed and full of grace.
+
+In July of this year, it is interesting to remember, appeared Browning's
+"Balaustion's Adventure," which contained the following tribute to the
+above picture and its painter:
+
+  "I know, too, a great Kaunian painter, strong
+  As Herakles, though rosy with a robe
+  Of grace that softens down the sinewy strength:
+  And he has made a picture of it all.
+  There lies Alkestis dead, beneath the sun,
+  She longed to look her last upon, beside
+  The sea, which somehow tempts the life in us
+  To come trip over its white waste of waves,
+  And try escape from earth, and fleet as free.
+  Behind the body I suppose there bends
+  Old Pheres in his hoary impotence;
+  And women-wailers, in a corner crouch
+  --Four, beautiful as you four,--yes, indeed!
+  Close, each to other, agonizing all,
+  As fastened, in fear's rhythmic sympathy,
+  To two contending opposite. There strains
+  The might o' the hero 'gainst his more than match,
+  --Death, dreadful not in thew and bone, but like
+  The envenomed substance that exudes some dew,
+  Whereby the merely honest flesh and blood
+  Will fester up and run to ruin straight,
+  Ere they can close with, clasp and overcome,
+  The poisonous impalpability
+  That simulates a form beneath the flow
+  Of those grey garments; I pronounce that piece
+  Worthy to set up in our Poikilé!"
+
+
+[Illustration: HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS
+(1871)]
+
+
+[Illustration: SUMMER MOON (1872)
+               _By permission of Messrs. P. and D. Colnaghi and Co._]
+
+
+To 1872 belongs the _Summer Moon_, one of the loveliest things ever
+shown at the Academy, a picture full of that rarer feeling for light and
+colour, which the artist achieved again and again in his treatment of
+sunset, twilight, and night effects. _After Vespers_, exhibited the same
+year, is a three-quarter length figure of a girl in a green robe
+standing in front of a bench, holding in her right hand a string of
+beads. This year's Academy held also _A Condottiere_, the noble figure
+of a man in armour, now in the Birmingham Municipal Gallery, and a
+portrait of the _Right Hon. Edward Ryan_. Hardly less memorable was
+_Moretta_, exhibited in the Academy of 1873, in the words of a critic of
+the day, "one of the most subtle and fortunate productions of the
+painter." _Moretta_ is robed in green, with masses of loosely arranged
+hair, and a tender and delicate face. _Weaving the Wreath_, shown the
+same year (and again in the Guildhall, 1895), is a very charming figure
+of quite a young girl seated on a carpet upon a raised step at the foot
+of a building. Behind her is a bas-relief, against which her head,
+crowned by a chaplet of flowers, tells out with sculpturesque effect;
+the sharp, vertical line of thread strained between her hands, and
+thence in diagonal line to the ball at her feet, is curiously rigid, and
+by contrast makes the draperies across which it is silhouetted appear
+still more mobile.
+
+We are passing over, deliberately, the artist's decorative masterpieces
+of this period,--the South Kensington frescoes to wit; of which the
+_Arts of War_ belongs to the year 1872, and its companion, _Arts of
+Peace_, to 1873. These works will be found treated at length in a later
+chapter on the artist's decorative work (pp. 63, 64).
+
+In the Academy of 1874 appeared four pictures, the most important being
+the heroic painting,--_Clytemnestra from the Battlements of Argos
+watches for the Beacon-fires which are to announce the Return of
+Agamemnon_. In this picture, the figure of Clytemnestra is seen standing
+erect, with hands folded, supporting the drapery that clothes a majestic
+form. For further description, we may be content to quote that given at
+the time in the appreciative art columns of the "Athenæum:"
+
+"There is the grandeur of Greek tragedy in Mr. Leighton's _Clytemnestra_
+watching for the signal of her husband's return from Troy. The time is
+deep in the fateful night, while the city sleeps; moonlight floods the
+walls, the roofs, the gates, and the towers with a ghastly glare, which
+seems presageful, and casts shadows as dark as they are mysterious and
+terrible. The dense blue of the sky is dim, sad, and ominous. But the
+most ominous and impressive element of the picture is a grim figure,
+the tall woman on the palace roof before us, who looks Titanic in her
+stateliness, and huge beyond humanity in the voluminous white drapery
+that wraps her limbs and bosom. Her hands are clenched and her arms
+thrust down straight and rigidly, each finger locked as in a struggle to
+strangle its fellow; the muscles swell on the bulky limbs. Drawn erect
+and with set features, which are so pale that the moonlight could not
+make them paler, the queen stares fixedly and yet eagerly into the
+distance, as if she had the will to look over the very edge of the world
+for the light to come."
+
+
+[Illustration: THE JUGGLING GIRL (1874)]
+
+
+[Illustration: A CONDOTTIERE (1872)
+               _By permission of the Corporation of Birmingham_]
+
+
+Another picture this year was the _Moorish Garden--a dream of Granada_,
+a delightful little canvas, almost square. In the foreground is a young
+girl carrying copper vessels, and followed by two peacocks; the
+background is obviously taken from the study of a garden at Generalife
+(reproduced at p. 28); the _Antique Juggling Girl_ and _Old Damascus:
+the Jews' Quarter_, were also in the Academy of 1874.
+
+To 1875 belongs the _Egyptian Slinger_, a picture which, as we shall see
+later, provoked severe censure from Mr. Ruskin. As exhibited it differed
+much from its present state. Not only was the sky of deeper violet, but
+almost in silhouette against the moon, on another raised platform, stood
+a draped female figure, afterwards painted out entirely. Other works
+shown this year were _Little Fatima_, a small half-length figure of a
+little girl in Eastern costume, seen against a dark background; and a
+_Portion of the Interior of the Grand Mosque at Damascus_ (reproduced at
+p. 28). As the building it depicts has since been burnt down, the fine
+transcript has an added interest. We are come now to a year which, even
+beyond other years of activity, displayed the artist's characteristic
+energy: 1876. In the Academy of that year, with the _Daphnephoria_,
+Leighton once more chose a great classic theme, for a painting which, by
+its composition, reminded the critics and lovers of art of the artist's
+early triumph with the _Cimabue's Madonna_, and of his other great
+processional picture, the _Syracusan Bride_.
+
+Of all his works in this class, there is no doubt that the
+_Daphnephoria_ is the most technically complete. The procession is seen
+defiling along a terrace backed by trees through which the clear
+southern sky gleams. A youth carrying the symbolic olive bough, called
+the Kopo, adorned with its curious emblems, leads the procession. He is
+clad in purple robes and crowned with leaves. The youthful priest, known
+as the Daphnephoros (the laurel-bearer) follows, clothed in white
+raiment. He is similarly crowned, and carries a slim laurel stem. Then
+come three boys, in scanty red and green draperies, which serve only to
+emphasize the beauty of their almost naked forms, the middle and tallest
+one bearing aloft a draped trophy of golden armour. These are seen to be
+pausing while the leader of the chorus, a tall, finely modelled man,
+whose back is turned, is giving directions to the chorus with uplifted
+right hand; in his left hand is a lyre, and the left arm from the elbow
+is characteristically draped. The first row of the chorus is composed of
+five children, clothed in purple, crowned with flowers; two rows of
+maidens, in blue and white, come next; and these in turn are succeeded
+by some boys with cymbals. The interest of the passing procession is
+very much enhanced by the effect produced on two lovely bystanders,--a
+girl and child in blue, beautifully designed, who are drawing water in
+the left foreground. In the valley below is seen the town of Thebes.
+
+
+[Illustration: THE DAPHNEPHORIA (1876)
+               _By permission of The Fine Art Society._]
+
+
+[Illustration: STUDY FOR "THE DAPHNEPHORIA"]
+
+
+With the painter's reading of the _Daphnephoria_ it may be
+interesting to compare another account of this splendid religious
+function. At this festival in honour of Apollo, celebrated every ninth
+year by the Boeotians, it was usual, says pleasant Lempriere, "to
+adorn an olive bough with garlands of laurel and other flowers, and
+place on the top a brazen globe, from which were suspended smaller ones.
+In the middle was placed a number of crowns, and a globe of inferior
+size, and the bottom was adorned with a saffron-coloured garment. The
+globe on the top represented the Sun, or Apollo; that in the middle was
+an emblem of the moon, and the others of the stars. The crowns, which
+were 365 in number, represented the sun's annual revolution. This bough
+was carried in solemn procession by a beautiful youth of an illustrious
+family, whose parents were both living. He was dressed in rich garments
+which reached to the ground, his hair hung loose and dishevelled, his
+head was covered with a golden crown, and he wore on his feet shoes
+called _Iphricatidæ_, from Iphricates, an Athenian who first invented
+them. He was called Daphnêphoros, 'laurel-bearer,' and at that
+time he executed the office of priest of Apollo. He was preceded by one
+of his nearest relations, bearing a rod adorned with garlands, and
+behind him followed a train of virgins with branches in their hands. In
+this order the procession advanced as far as the temple of Apollo,
+surnamed Ismenius, where supplicatory hymns were sung to the god."[5]
+
+In the 1876 Academy hung also the striking portrait, _Captain Richard
+Burton, H.M.'s Consul at Trieste_; and two very characteristic single
+figures, _Teresina_ and _Paolo_. The portrait of Captain Burton has been
+fairly described as masterly. "There is no attempt," said one critic,
+"at posing or picturesqueness in the portrait. It is the head of a man
+who is lean and rugged and brown, but the face is full of character, and
+every line tells. It is painted in the same strong and bold, and yet
+careful, way that distinguishes the head of Signor Costa, painted three
+years later."
+
+The next year saw Leighton's first appearance as a sculptor. It was at
+the Academy of 1877 that he exhibited the well-known, vigorously
+designed and wrought _Athlete Struggling with a Python_.[6] This
+adventure of the R.A. into a new field proved so successful, that the
+_Athlete_ took rank as the most striking piece of sculpture of that
+year. "In this work," said a friendly critic, "Mr. Leighton has
+attempted to succeed in a truly antique way. We are bound to admit that
+he has done wisely, bravely, and successfully." The statue was bought,
+we may add, for £2,000, as the first purchase made by the trustees of
+the Chantrey Fund, and is now in the Tate Gallery at Millbank. It was
+afterwards repeated in marble, by the artist's own hand, for the Danish
+Museum at Copenhagen.
+
+Still more popular was his _Music Lesson_, another work in the same
+exhibition. To realize the full charm of this picture, one must see the
+original; for much depends upon the beauty of its colouring. Imagine a
+classical marble hall, marble floor, marble walls, in black and white,
+and red--deep red--marble pillars; and sitting there, sumptuously
+attired, but bare-footed, two fair-haired girls, who serve for pupil and
+music-mistress. The elder is showing the younger how to finger a lyre,
+of exquisite design and finish; and the expression on their faces is
+charmingly true, while the colours that they contribute to the
+composition,--the pale blue of the child's dress, the pale flesh tints,
+the pale yellow hair, and the white and gold of the elder girl's loose
+robe, and the rich auburn of her hair,--are most harmonious. A bit of
+scarlet pomegranate blossom, lying on the marble ground, gives the last
+high note of colour to the picture. Two other pictures of 1877 must not
+be omitted. _Study_ shows us a little girl (the present Lady Orkney), in
+Eastern garb, diligently reading a sheet of music which lies before her
+on a little desk. There is great charm in the simple grace of the
+picture and in the softly brilliant colouring of the child's costume.
+Very delightful, too, is the portrait of _Miss Mabel Mills_ (now the
+Hon. Mrs. Grenfell), habited in black velvet, and a large dark hat with
+coloured feathers, set against a grey background, a picture here
+reproduced. _A Study_, _An Italian Girl_, and a _Portrait of H. E.
+Gordon_, were all three shown at the Grosvenor Gallery the same year.
+
+
+[Illustration: PORTRAIT OF THE HON. MABEL MILLS (1877)]
+
+
+[Illustration: PORTRAIT OF CAPTAIN RICHARD BURTON (1876)]
+
+
+Another picture, in which a simple theme is treated in a classic
+fashion--not dissimilar to that employed for the _Music Lesson_--is
+_Winding the Skein_, a lovely painting exhibited at the Academy in 1878.
+In this we see two Greek maidens as naturally employed as we often see
+English girls in other surroundings. This idealization of a familiar
+occupation--so that it is lifted out of a local and casual sphere, into
+the permanent sphere of classic art, is characteristic of the whole of
+Leighton's work. He, like Sir L. Alma-Tadema and Albert Moore, contrived
+also to preserve a certain modern contemporary feeling in the classic
+presentment of his themes. He was never archaic; so that the classic
+scenarium of his subjects, in his hands, appears as little antiquarian
+as a mediæval environment, shall we say, in the hands of Browning.
+_Nausicaa_, a full-length girlish figure, in green and white draperies,
+standing in a doorway, and _Serafina_, another single figure, and _A
+Study_, were also shown the same year. At the Grosvenor Gallery were a
+_Portrait of Miss Ruth Stewart Hodgson_, a demure little damsel in
+outdoor attire, and a _Study of a Girl's Head_, full face.
+
+
+[Illustration: NAUSICAA (1878)]
+
+
+
+
+[Illustration: STUDY FOR "ELIJAH AND THE ANGEL"]
+
+
+CHAPTER V
+
+YEAR BY YEAR--1878 TO 1896
+
+
+On November 13th, 1878, Frederic Leighton was elected President of the
+Royal Academy, in succession to Sir Francis Grant, and immediately
+received the honour of knighthood.
+
+In 1879 Leighton sent eight contributions to the Academy, not one of
+which, with the possible exception of the _Elijah_, perhaps, has been
+counted among his masterpieces. Four of them belong to that group of
+ideal figure paintings which almost constitute a _genre_ in themselves:
+_Biondina_, _Catarina_, _Amarilla_, and _Neruccia_, a girl with a red
+flower in her hair, in white dress, against a dark background. The
+finely austere _Elijah in the Wilderness_ was an addition to the notable
+group of Scriptural paintings. In this picture the nude figure of the
+prophet is seen reclining on a rock, with head and arms thrown back,
+while beside him stands an angel holding bread and water. The striking
+and powerful _Portrait of Professor Costa_, the _Portrait of the
+Countess Brownlow_, and a portrait study, completed the list of the
+year's contributions, the largest number ever sent in by Leighton,
+before his election or afterward. This year ten of his landscape-studies
+in oil were exhibited at the Grosvenor Gallery.
+
+It may be thought by the outsider that the coveted office of the
+President of the Royal Academy of Arts is, in a way, an ornamental
+one,--some such golden sinecure as that of the old High Chamberlains.
+Nothing could be more mistaken. "Not everybody," wrote the late Mr.
+Underhill, who for some time, as private secretary to Sir Frederic
+Leighton, had special opportunities of knowing, "is aware of the tax
+upon a man's time and energy that is involved in the acceptance of the
+office in question. The post is a peculiar one, and requires a
+combination of talents not frequently to be found, inasmuch as it
+demands an established standing as a painter, together with great
+urbanity and considerable social position. The inroads which the
+occupancy of the office makes upon an artist's time are very
+considerable. There is, on the average, at least one Council meeting for
+every three weeks throughout the whole of the year. There are from time
+to time general assemblies for the election of new members and for other
+purposes, over which the President is bound, of course, to preside. For
+ten days or a fortnight in every April he has to be in attendance with
+the Council daily at Burlington House, for the purpose of selecting the
+pictures which are to be hung in the Spring Exhibition. He has to
+preside over the banquet which yearly precedes the opening of the
+Academy, and he has to act as host at the annual conversazione. Finally,
+it is his duty every other year to deliver a long, elaborate, and
+carefully prepared 'Discourse' upon matters connected with art, to the
+students who are for that purpose assembled. It is a post of much honour
+and small profit."
+
+
+[Illustration: SISTER'S KISS (1880)
+               _By permission of the Fine Art Society_]
+
+
+[Illustration: PORTRAIT OF SIGNOR COSTA (1879)]
+
+
+In filling this post, and neglecting no one of its smallest offices and
+endless small courtesies, an artist had needs be without the
+characteristic artist's defects of hesitation and delay; and in fact,
+Lord Leighton mastered, as much as any statesman of our time, the
+indispensable secret of despatch. We quote from Mr. Underhill again:
+"To administer the affairs of the Academy, to fulfil a round of social
+semi-public and public engagements, and to paint pictures which
+invariably reach a high level of excellence, would of course be
+impossible--even to Sir Frederic Leighton--were it not for the fact that
+he makes the very most of the time at his disposal. 'That's the secret,'
+remarked a distinguished member of the Academy to the present writer
+some little time before the President's death; 'Sir Frederic knows
+exactly how long it will take to do a certain thing, and he apportions
+his time accordingly.' This being the case, no one will be surprised to
+learn that he attached the greatest importance to punctuality. He
+himself never failed to keep an appointment at the exact moment fixed
+upon, and he expected, of course, similar punctuality on the part of
+others. The stroke of eight from the Academy clock was the signal for
+Sir Frederic to enter the Council Room at Burlington House, and to open
+the deliberations of the body over which he presided. 'They will never
+again get a man to devote so much time and energy to the business of the
+Academy,' said Sir Frederic Leighton's most distinguished colleague
+shortly before his death; 'never again.'" And since that time the same
+tribute has been paid ungrudgingly in public and private often enough.
+
+In 1880, we are tempted by five canvases; of which the _Sister's Kiss_
+and _Psamathe_, are perhaps the most important. The former turns a
+garden wall to delightful account, in its picture of a child, who is
+seated upon it, and of her charmingly drawn elder sister, who gives the
+kiss. The composition of this picture may be seen in our reproduction,
+but the colour of the bronze green robe--of singular beauty--is of
+course not even suggested. More classic, perhaps, and not less
+picturesque, is the Greek maiden, Psamathe, who was, if we remember
+aright, one of the Nereides. The artist has painted her sitting by the
+seashore, gazing over the Ægean, with her back turned to the spectator.
+Filmy garments, which have slipped from her shoulders on to the sand;
+arms folded about her knees; every detail of the picture carries out the
+effect of dreamy loveliness that pervades Psamathe and her surroundings.
+_Iostephane_ is a three-quarter length figure, less than life size, of a
+girl in light yellow drapery, with violets in her fair hair, who stands
+facing the spectator and arranging her draperies over her right arm;
+there are marble columns and a fountain in the background. _The Light of
+the Harem_ is a version of one of the groups in the fresco of _The
+Industrial Arts of Peace_ at South Kensington. The picture now known as
+the _Nymph of the Dargle_ was also exhibited this year under the title
+of _Crenaia_. It represents a small full-length figure facing the
+spectator; the river Dargle flows through Powerscourt, and forms the
+waterfall here represented in the background, hence its name.
+_Rubinella_, a girl with red gold hair was shown at the Summer
+Exhibition and a large number of sketches and studies at the Winter
+Exhibition of the Grosvenor Gallery this year.
+
+In 1881, the portrait of the Painter, painted by invitation in 1880 for
+the collection of autograph portraits of artists in the Uffizi Gallery,
+Florence, deserves particular mention. Not even Mr. Watts' best portrait
+of Leighton is quite so like as this, which shows the striking head of
+the artist to great effect, assisted by the decorative President's robe
+and insignia. The _Idyll_, shown the same year, has been compared by
+some critics with the _Cymon and Iphigenia_, the scene and circumstance
+of both being to a certain degree similar, while there are similar
+effects in both of colour and of composition. In the _Idyll_, we have a
+lovely female figure, lying at full length, attended by a second nymph,
+and by a piping man, all grouped beneath an arm of a beech tree, that
+extends overhead and shadows the upland ridge on which they have come to
+rest, while they gaze on a river winding among sunlit meads. The water
+reflects the blue and white of sky and clouds; the land is dashed by
+shadows. The nymphs' robes are red, blue, and pale yellow.
+
+
+[Illustration: PHRYNE AT ELEUSIS (1882)]
+
+
+[Illustration: DAY DREAMS (1882)
+               _By permission of the Fine Art Society_]
+
+
+We ought not to overlook another idyllic picture in the same exhibition,
+_Whispers_, an illustration of Horace's well-known line, "Lenesque sub
+noctem susurri." In this charming work, amid masses of crimson flowers
+and green leaves, two lovers are seen seated upon a marble bench, while
+he whispers tenderly in her ear, and she listens with dreamy eyes and
+maidenly mien. The noble picture of _Elisha and the Shunamite's Son_
+(reproduced at p. 114) was also shown this year, as well as _Bianca_, a
+fair-haired girl in a white dress, standing with folded arms, _Viola_,
+and two portraits, _Mrs. Augustus Ralli_, exhibited at the Royal
+Academy, and _Mrs. Algernon Sartoris_, at the Grosvenor Gallery.
+
+In the 1882 Academy appeared two of the most popular of Sir Frederic's
+pictures, _Wedded_ and _Day Dreams_. In the latter, a fair Sybarite is
+pressing her cheek against her hands, as she stands near a tapestry,
+with eyes gazing far away, the images of love-dreams in them; her purple
+mantle, embroidered with silver, produces a charming effect of colour.
+Still more famous is _Wedded_,--"one of the happiest of Sir Frederic's
+designs," said a critic at the time, "and as a composition of lines,
+difficult, subtle, and original, may be called one of the most
+remarkable productions of this decade." Other pictures shown this year
+were _Antigone_ and the much-debated _Phryne at Eleusis_--a notable
+study of the famous hetaira, who is seen standing, and holding out with
+one hand the mass of her deep auburn hair. Her skin is of a ruddy golden
+hue, as if seen under a glow of sunlight. Red tissue, which falls from
+her shoulders and extended arms, and an olive-coloured mantle that has
+fallen at the foot of the marble columns behind her, backed by a sky,
+very characteristic of the painter, in which snowlike masses of cloud
+float in a southern azure, produce a total effect of a certain
+super-womanly order of beauty. A _Design for a portion of a Proposed
+Decoration in St. Paul's_, a picture entitled _Melittion_, and a
+_Portrait of Mrs. Mocatta_, were also hung at the Academy in 1882;
+_Zeyra_, a little Eastern child in plum coloured headdress, a rich bit
+of colour elaborately painted, was shown at the Grosvenor Gallery.
+
+In 1883, _Memories_, though not one of the most typical of Leighton's
+pictures, decidedly pleased the general public. It shows the half-length
+figure of a blonde, in a black and gold dress. More interesting
+artistically was a decorative frieze, _The Dance_, for a drawing-room,
+the design for which we reproduce, and which may, in so far, answer for
+itself. Other pictures of 1883 are _Kittens_, a full-length figure of a
+fair-haired child in purple and embroidered drapery, seated on a bench
+covered with a leopard skin, holding a rose in hand and looking down at
+a kitten sitting beside her; and the _Vestal_, a bust of a girl with her
+head and shoulders swathed with white gold-embroidered draperies. To
+this year also belongs a _Portrait of Miss Nina Joachim_, a child in a
+blue frock with crimson sash.
+
+
+[Illustration: _Cymon and Iphigenia._
+               _By permission of the Fine Art Society._
+               _F. Leighton. pinxt._
+               _Swan Electric Engraving Co. Sc._]
+
+
+[Illustration: STUDIES FOR TWO FRIEZES "MUSIC" AND "THE DANCE"]
+
+
+The next year, 1884, brought _Letty_, that most delightful of English
+maidens, _A Nap_, _Sun Gleams_, and the imaginative and admirably
+romantic _Cymon and Iphigenia_. _Letty_ was one of Leighton's pictures
+which particularly excited Mr. Ruskin's admiration. It shows a simply
+pretty child, with soft brown hair under a black hat, a saffron kerchief
+about her neck. The _Letty_ and the _Cymon and Iphigenia_, with a few
+other notable pictures, did much to leave a pleasant recollection of the
+exceptional Academy of 1884. "A more original effect of light and
+colour, used in the broad, true, and ideal treatment of lovely forms,"
+said a French critic, "we do not remember to have seen at the Academy,
+than that produced by the _Cymon and Iphigenia_." Engravings and other
+reproductions of the picture have made its design, at any rate, almost
+as familiar now as Boccaccio's tale itself. There are some divergences,
+however, in the two versions. Boccaccio's tale is a tale of spring; Sir
+Frederic, the better to carry out his conception of the drowsy desuetude
+of sleep, and of that sense of pleasant but absolute weariness which one
+associates with the season of hot days and short nights, has changed the
+spring into that riper summer-time which is on the verge of autumn; and
+that hour of late sunset which is on the verge of night. Under its rich
+glow lies the sleeping Iphigenia, draped in folds upon folds of white,
+and her attendants; while Cymon, who is as unlike the boor of tradition
+as Spenser's Colin Clout is unlike an ordinary Cumbrian herdsman, stands
+hard-by, wondering, pensively wrapt in so exquisite a vision.
+Altogether, a great presentment of an immortal idyll; so treated,
+indeed, that it becomes much more than a mere reading of Boccaccio, and
+gives an ideal picture of Sleep itself,--that Sleep which so many
+artists and poets have tried at one time or another to render.
+
+In 1885, among the five contributions of the President to the Academy,
+appeared the vivacious portrait of Lord Rosebery's little daughter, _The
+Lady Sybil Primrose_, who appears in white with a blue sash, carrying a
+doll. _A Portrait of Mrs. A. Hichens_ and _Phoebe_ were the only other
+pictures this year. A frieze, _Music_, was shown, and at the Grosvenor
+Gallery _A Study_ of a fair-haired girl, in green velvet dress. 1886 was
+chiefly notable for the statue in bronze of _The Sluggard_, in which
+Leighton again furnished us with a plastic characterization of Sleep,
+which he designed by way of contrast to his statue of the struggling
+Athlete. It was suggested, Mr. Spielmann says, by accidental
+circumstances. The model who had been sitting to him fell a-yawning in
+his interval of rest, and charmed the artist, not only with his
+exceptional beauty of line and play of muscle, but also with the
+artistic contrast of energy and languor. But that he might not lay
+himself open to the charge that the work was a glorification of
+indolence, the sculptor made concession to what after all was an
+artistic suggestion, and placed under the yawner's foot
+
+  "The glorious wreath of laurel leaves
+  Heel trodden and despised."
+
+The graceful statuette of a little girl who is alarmed by a toad on the
+edge of a pool or stream of water, called _Needless Alarms_, appeared at
+the same time; and was so much admired by the President's colleague, Sir
+John Everett Millais, that he wished to purchase it, whereupon Sir
+Frederic presented it to him, and received, in return, the charming
+picture of _Shelling Peas_, which Sir John painted specially for this
+pleasant exchange. In 1886 also appeared the _Decoration in Painting for
+a Music Room_, destined for New York, which is illustrated[7] by
+the completed work, and its preliminary studies from life for it.
+_Gulnihal_, a single figure, is the only other painting exhibited at the
+Academy in this year.
+
+
+[Illustration: THE LAST WATCH OF HERO (1887)
+               _By permission of the Manchester Corporation_]
+
+
+[Illustration: PORTRAIT OF THE LADY SYBIL PRIMROSE (1885)]
+
+
+In 1887 appeared a picture which seems scarcely to have received its due
+appreciation, _The Jealousy of Simætha the Sorceress_. This is a
+seated figure in yellow and white drapery, with a purple mantle wrapped
+around her shoulders; a well-wrought, finely-rendered work. _The Last
+Watch of Hero_, also first seen this year, is now in the Manchester
+Corporation Gallery. It is in two compartments; in the upper, and
+larger, Hero, clad in pink drapery, is seen drawing aside a curtain and
+gazing out over the sea. Below, in the smaller panel, is the body of the
+dead Leander, on a rock washed by the waves. A quotation from Sir Edwin
+Arnold's translation of Musæus was appended to its title:
+
+  "With aching heart she scanned the sea-face dim.
+       *       *       *       *       *
+  Lo! at the turret's foot his body lay,
+  Rolled on the stones and washed with breaking spray."
+
+A picture of a little girl with yellow hair and pale blue eyes, entitled
+with a verse by Robert Browning:
+
+    "Yellow and pale as ripened corn
+    Which Autumn's kiss frees,--grain from sheath,--
+    Such was her hair, while her eyes beneath
+  Showed Spring's faint violets freshly born,"
+
+was in the same exhibition, and also a design for the reverse of the
+Jubilee medallion, executed for her Majesty's Government.
+
+In 1888 appeared another large work, which, although not absolutely a
+procession, has much in common with the _Cimabue_, the _Syracusan
+Bride_, and _The Daphnephoria_. It was entitled _Captive Andromache_,
+and accompanied by a fragment of the "Iliad," translated by E. B.
+Browning:
+
+                          ... "Some standing by
+  Marking thy tears fall, shall say, 'This is she,
+  The wife of that same Hector that fought best
+  Of all the Trojans when all fought for Troy.'"
+
+This, and a _Portrait of Amy, Lady Coleridge_, were the artist's only
+contributions to the Royal Academy of 1888. The _Portraits of the Misses
+Stewart Hodgson_ is also of this year, which saw four landscape studies
+exhibited at the Royal Society of Painters in Water Colours, and five at
+the Royal Society of British Artists, Suffolk Street.
+
+The _Sibyl_, exhibited in 1889, is a full-length figure swathed in lilac
+drapery, seated with her legs crossed, on a chair, her chin supported by
+her left hand, and gazing out of the picture. Beside her are scrolls,
+and a sombre sky is behind the figure. _Invocation_, a girl in white
+robes with arms raised above her head, and a _Portrait of Mrs. F.
+Lucas_, were also shown; but _Greek Girls playing at Ball_ is not only
+the most important, but is also a picture that shows the mannerism of
+Lord Leighton's treatment of drapery at its finest. Elsewhere the
+undulating snaky coils may be somewhat distressing, here they float in
+the air and help the suggestion of movement. The landscape at the back
+is also both typical and beautiful. An _Elegy_ was the fifth of the
+artist's contributions to the Academy of 1889.
+
+In 1890 _The Bath of Psyche_ appeared at the Academy. This at once
+established its position as a popular favourite, and has probably been
+more widely reproduced than any other. It was purchased under the terms
+of the Chantrey Bequest, and is now in the Tate Gallery. It was
+suggested, so Mr. M. H. Spielmann tells us, by the "paper-knife"
+picture, as Lord Leighton called it, which he had painted for Sir L.
+Alma-Tadema's wall screen. _Solitude_ was also shown this year, and the
+_Tragic Poetess_, a full-length figure, clad in blue and purple drapery,
+on a terrace, with the sea beyond. The fourth picture at the Academy was
+a very faithfully painted transcript of _The Arab Hall_, at No. 2,
+Holland Park Road.
+
+
+[Illustration: GREEK GIRLS PLAYING AT BALL (1889)
+               _By permission of the Berlin Photographic Co._]
+
+
+[Illustration: THE BATH OF PSYCHE (1890)
+               _By permission of the Berlin Photographic Co._]
+
+
+In 1891 appeared _Perseus and Andromeda_, a very original version of a
+theme which it seems the destiny of every painter and sculptor of
+classical subjects to attempt at some time. In this Andromeda is bound
+to a rock, the monster stands over her with outstretched wings, while
+from the clouds above, Perseus, on his winged steed, is discharging
+arrows. The clay models for Perseus are reproduced elsewhere (at p. 68).
+The _Return of Persephone_ was another important work shown this year.
+It represents Persephone, supported by Hermes, being brought back to the
+upper world, where she is awaited with outstretched arms by Demeter. A
+_Portrait of A. B. Mitford, Esq._, and a marble version of the _Athlete
+Struggling with a Python_, were also shown in the same exhibition.
+
+In 1892 a version of a panel of the proposed decoration for the dome of
+St. Paul's appeared with the title, _And the Sea gave up the Dead which
+were in it_; this, purchased by Mr. Henry Tate, is now among the
+pictures he gave to the Gallery at Millbank. The most important of
+Leighton's later works, _The Garden of the Hesperides_, in many respects
+the most sumptuous piece of decoration he ever achieved, was shown this
+year. It is a large circular picture, the centre occupied by a tree
+bearing golden apples; under its branches recline the three Hesperides,
+caressing the dragon who assists them to guard the treasure. A superbly
+brilliant sea is in the distance. The charm of this picture is mainly in
+its colour, but as an example of elaborately artificial composition it
+is hardly less noteworthy. Unfortunately, despite every effort of Lord
+Leighton, most kindly exerted on behalf of the editor of this volume,
+the owners of the copyright refused under any condition to allow it to
+be illustrated herein. _A Bacchante_, and _At the Fountain_, a girl in
+fawn-coloured and violet draperies, with a bunch of lemons overhanging
+the marble wall behind her, were shown this year; and also a _Clytie_,
+which must not be confused with another known by the same title, the
+last picture on which the artist was at work before his death. The 1892
+version, shown in the retrospective exhibition, is thus described in its
+catalogue: "A small figure of Clytie is seen on the right, kneeling on a
+stone building with arms outstretched towards the sun, which is setting
+behind a range of moorland hills."
+
+In 1893 _Hit_, _The Frigidarium_, _Farewell_, _Corinna of Tanagra_, and
+_Rizpah_ were exhibited at the Academy. Of these the most important is
+the last named. It illustrates the story of the two sons of Rizpah, by
+Saul, Armoni and Mephibosheth, who were slain by the Gideonites. Rizpah,
+robed in dark blue, is seen in the act of fetching away their bodies,
+which are shrouded by dull lilac and blue draperies. Vultures circle
+above, and two leopards approach stealthily. _Farewell_ is a single
+figure in olive green and plum-coloured peplis under a portico above the
+sea, where she pauses to take a last look at an outward-bound ship.
+
+_Atalanta_ depicts the bust only of a dark-haired girl in purple and
+white drapery, with a snake-like ornament twisted round her arm, which
+is bare to the shoulder. _Corinna of Tanagra_ is a half-length figure
+crowned with leaves, in coloured drapery, resting her clasped hands upon
+her lyre. _The Frigidarium_ is an upright figure in semi-transparent red
+drapery, which with the background of gold is reflected in the water
+beneath her feet.
+
+
+[Illustration: FAREWELL (1893)
+               _By permission of Messrs. Arthur Tooth and Sons_]
+
+
+[Illustration: "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."--REV.
+XX. 13 (1892)]
+
+
+[Illustration: THE FRIGIDARIUM (1893)
+               _By permission of Messrs. H. Graves and Co._]
+
+
+In 1894 were shown _The Spirit of the Summit_, a white-robed figure with
+upturned face, sitting on a snowy peak, with starlit sky beyond; _The
+Bracelet_; _Fatidica_, a figure in green-white robes; _At the Window_, a
+dark-haired boy in blue, looking over the ledge of a window; and _Summer
+Slumber_. This last is a somewhat elaborate composition; a girl in
+salmon colour draperies is lying asleep on the broad rim of a marble
+fountain, masses of flowers are in the mid distance, and a vista of
+sunny landscape through the open window beyond.
+
+In 1895, the last year of the artist's working life, he sent six
+pictures to the Academy, and completed the wall decoration at the Royal
+Exchange (here illustrated), _Phoenicians Bartering with Britons_. The
+paintings were entitled, _Flaming June_ (a picture reproduced in colours
+for a Christmas number of the "Graphic"), in which the "broad" painting
+of the sea beyond was a notable exception to the artist's usual
+handling; _Lachrymæ_, a standing figure in robes of black and blue
+green, resting her arm upon a Doric column; _'Twixt Hope and Fear_, a
+seated figure of a black-haired Greek girl, robed in white and olive,
+with a sheep-skin thrown around her; _The Maid with her Yellow Hair_, a
+girlish figure in lemon-coloured drapery, reading from a red-backed
+book; _Listener_, a child seated with crossed legs on a fur rug; and a
+_Study of a Girl's Head_, with auburn, wavy hair.
+
+In the 1896 Academy _Clytie_ was the only picture. In Lord Leighton's
+studio in various stages of completion were a _Bacchante_, a half-length
+figure of a fair-haired girl crowned with leaves, and a leopard skin
+over her shoulder; _The Fair Persian_, a bust of a girl with flowing
+dark hair, crowned by a jewelled circlet; and _The Vestal_, a
+half-length figure of a girl in white drapery, these were all exhibited
+at the Winter Exhibition of 1897.
+
+To _Clytie_, his last picture, a small monograph has been devoted by the
+Fine Art Society. In this we read: "'Thank goodness my ailment has not
+interfered with my capacity for work, for I have never had a better
+appetite for it, nor I believe done better. I was idle for five months
+in the summer, but since my return I have been working hard and have
+produced the pictures you see.' Thus he spoke to the present writer [of
+the monograph in question] as he led the way across his studio....
+Turning to the _Clytie_ he continued: 'This I have been at work upon all
+the morning. Orchardson has been so good as to say I have never done
+anything finer than the sky. You know the story. I have shown the
+goddess in adoration before the setting sun, whose last rays are
+permeating her whole being. With upraised arms she is entreating her
+beloved one not to forsake her. A flood of golden light saturates the
+scene, and to carry out my intention, I have changed my model's hair
+from black to auburn. To the right is a small altar, upon which is an
+offering of fruit, and upon a pillar beyond I shall show the feet of a
+statue of Apollo.'
+
+"But a few days after this occurrence the dead President lay in
+semi-state in his coffin, before the picture. A drawing in the 'Graphic'
+(January 26th, 1896) shows the interior of the studio, with the figure
+of Clytie, in her attitude of despair, stretching her arms above the
+body of her creator."
+
+Here the record, year by year, is closed. A few pictures seem to have
+escaped the honours of exhibition. One,[8] _A Noble Lady of Venice_, in
+possession of Lord Armstrong, does not appear to have been
+exhibited. It is probably the picture which was sold at Christie's in
+1875 for 950 guineas. A _Lady with Pomegranates_, which sold for 765
+guineas at the sale of Baron Grant's pictures in 1877, does not appear
+in our list of exhibited works; nor, it may be, are all the early
+pictures included therein. But the official catalogues of the Royal
+Academy May Exhibitions, and of the special Winter Exhibition devoted to
+the artist's works, have been freely drawn upon for description, and to
+the list of his life's work, as it appeared in the first edition of this
+work, many additions have been made.
+
+
+[Illustration: RIZPAH (1893)]
+
+
+[Illustration: THE BRACELET (1894)
+               _By permission of Messrs. T. Agnew and Sons_]
+
+
+[Illustration: FATIDICA (1894)
+               _By permission of Messrs. T Agnew and Sons_]
+
+
+
+
+CHAPTER VI
+
+HIS METHOD OF PAINTING
+
+
+For particulars of the wonderfully thorough "method," which Leighton
+used in preparing his pictures, we cannot do better than quote the
+following admirable account by Mr. M. H. Spielmann (published during the
+painter's life), which he has allowed us to reprint here.[9]
+
+"I have said that the sense of line in composition, in figure and
+drapery, is one of the chief qualities of the artist; and the conviction
+that the method in which he places them upon canvas with such unerring
+success--for it may be said that the President rarely, if ever, produces
+an ugly form in a picture--would be both interesting and instructive,
+prompted me to learn in what manner his effects are produced. This I
+have done, having special regard to one of his Academy pictures, _The
+Sibyl_, which, being a single figure, simplifies greatly the explanation
+of the mode of procedure. This explanation holds good in every case, be
+the composition great or small, elaborate or simple; the _modus
+operandi_ is always the same.
+
+
+[Illustration: A BACCHANTE (1896)
+               _By permission of Messrs. Henry Graves and Co._]
+
+
+[Illustration: "HIT" (1893)
+               _By permission of "The Art Journal"_]
+
+
+"Having by good fortune observed in a model an extraordinarily fine and
+'Michelangelesque' formation of the hand and wrist--an articulation as
+rare to find as it is anatomically beautiful and desirable--he bethought
+him of a subject that would enable him to introduce his
+_trouvaille_. As but one attitude could display the special
+formation to advantage, the idea of a Sibyl, sitting brooding beside her
+oracular tripod, was soon evolved, but not so soon was its form
+determined and fixed. Like Mr. Watts, Sir Frederic Leighton thinks out
+the whole picture before he puts brush to canvas, or chalk to paper;
+but, unlike Mr. Watts, once he is decided upon his scheme of colour, the
+arrangement of line, the disposition of the folds, down to the minutest
+details, he seldom, if ever, alters a single line. And the reason is
+evident. In Sir Frederic's pictures--which are, above all, decorations
+in the real sense of the word--the design is a pattern in which every
+line has its place and its proper relation to other lines, so that the
+disturbing of one of them, outside of certain limits, would throw the
+whole out of gear. Having thus determined his picture in his mind's eye,
+he in the majority of cases makes a sketch in black and white chalk upon
+brown paper to fix it. In the first sketch, the care with which the
+folds have been broadly arranged will be evident, and, if it be compared
+with the finished picture, the very slight degree in which the general
+scheme has been departed from will convince the reader of the almost
+scientific precision of the artist's line of action. But there is a good
+reason for this determining of the draperies before the model is called
+in; and it is this. The nude model, no matter how practised he or she
+may be, never moves or stands or sits, in these degenerate days, with
+exactly the same freedom as when draped; action or pose is always
+different--not so much from a sense of mental constraint as from the
+unusual liberty experienced by the limbs, to which the muscular action
+invariably responds when the body is released from the discipline and
+confinement of clothing.
+
+"The picture having been thus determined, the model is called in, and is
+posed as nearly as possible in the attitude desired. As nearly as
+possible I say, for, as no two faces are exactly alike, no two models
+ever entirely resemble one another in body or muscular action, and
+cannot, therefore, pose in such a manner as exactly to correspond with
+either another model or another figure--no matter how correctly the
+latter may be drawn. From the model the artist makes the careful
+outline, in brown paper, a true transcript from life, which may entail
+some slight corrections of the original design in the direction of
+modifying the attitude and general appearance of the figure. This would
+be rendered necessary, probably by the bulk and material of the drapery.
+So far, of course, the artist's attention is engaged exclusively by
+'form,' 'colour' being always treated more or less ideally. The figure
+is now placed in its surroundings, and established in exact relation to
+the canvas. The result is the first true sketch of the entire design,
+figure and background, and is built up of the two previous ones. It must
+be absolutely accurate in the distribution of spaces, for it has
+subsequently to be 'squared off' on to the canvas, which is ordered to
+the exact scale of the sketch. At this moment, the design being finally
+determined, the sketch in oil colours is made. It has been deferred till
+now, because the placing of the colours is, of course, of as much
+importance as the harmony. This done, the canvas is for the first time
+produced, and thereon is enlarged the design, the painter re-drawing the
+outline--never departing a hair's breadth from the outlines and forms
+already obtained--and then highly finishing the whole figure in warm
+monochrome from the life. Every muscle, every joint, every crease is
+there, although all this careful painting is shortly to be hidden with
+the draperies; such, however, is the only method of insuring absolute
+correctness of drawing. The fourth stage completed, the artist
+returns once more to his brown paper, re-copies the outline accurately
+from the picture, on a larger scale than before, and resumes his studies
+of draperies in greater detail and with still greater precision, dealing
+with them in sections, as parts of a homogeneous whole. The draperies
+are now laid with infinite care on to the living model, and are made to
+approximate as closely as possible to the arrangement given in the first
+sketch, which, as it was not haphazard, but most carefully worked out,
+must of necessity be adhered to. They have often to be drawn piecemeal,
+as a model cannot by any means always retain the attitude sufficiently
+long for the design to be wholly carried out at one cast. This
+arrangement is effected with special reference to painting--that is to
+say, giving not only form and light and shade, but also the relation and
+'values' of tones. The draperies are drawn over, and are made to conform
+exactly to the forms copied from the nudes of the underpainted picture.
+This is a cardinal point, because in carrying out the picture the folds
+are found fitting mathematically on to the nude, or nudes, first
+established on the canvas. The next step then is to transfer these
+draperies to the canvas on which the design has been squared off, and
+this is done with flowing colour in the same monochrome as before over
+the nudes, to which they are intelligently applied, and which nudes must
+never--mentally at least--be lost sight of. The canvas has been prepared
+with a grey tone, lighter or darker, according to the subject in hand,
+and the effect to be produced. The background and accessories being now
+added, the whole picture presents a more or less completed
+aspect--resembling that, say, of a print of any warm tone. In the case
+of draperies of very vigorous tone, a rich flat local colour is probably
+rubbed over them, the modelling underneath being, though thin, so sharp
+and definite as to assert itself through this wash. Certain portions of
+the picture might probably be prepared with a wash or flat tinting of a
+colour the _opposite_ of that which it is eventually to receive. A blue
+sky, for instance, would possibly have a soft, ruddy tone spread over
+the canvas--the sky, which is a very definite and important part of the
+President's compositions, being as completely drawn in monochrome as any
+other portion of the design; or for rich blue mountains a strong orange
+wash or tint might be used as a bed. The structure of the picture being
+thus absolutely complete, and the effect distinctly determined by a
+sketch which it is the painter's aim to equal in the big work, he has
+nothing to think of but colour, and with that he now proceeds
+deliberately, but rapidly.
+
+
+[Illustration: NUDE STUDY FOR "CAPTIVE ANDROMACHE"]
+
+
+[Illustration: STUDY FOR A FIGURE IN "CAPTIVE ANDROMACHE"]
+
+
+[Illustration: STUDY FOR "ANDROMACHE"]
+
+
+"Such is the method by which Sir Frederic Leighton finds it convenient
+to build up his pictures. The labour entailed by such a system as this
+is, of course, enormous, more especially when the composition to be
+worked out is of so complex a character as the _Captive Andromache_ of
+last year, every figure and group of which were treated with the same
+completeness and detail as we have seen to attend the production of so
+simple a picture as _The Sibyl_. Deliberateness of workmanship and
+calculation of effect, into which inspiration of the moment is never
+allowed to enter, are the chief characteristics of the painter's
+craftsmanship. The inspiration stage was practically passed when he took
+the crayon in his hand; and to this circumstance probably is to be
+assigned the absence of realism which arrests the attention of the
+beholder."
+
+Mr. Spielmann has instanced, in the above account, the tragic and lovely
+_Captive Andromache_, exhibited in 1888; and we may further add
+that exquisite painting of _Greek Girls playing at Ball_, of 1889; or
+the still more exquisite _Bath of Psyche_, of the year following. All
+three are full of technical delicacy and finesse. For other qualities
+take that radiantly pictured myth, the _Perseus and Andromeda_, or the
+_Return of Persephone_ (both of 1891); or the lovely _Clytie_ of 1892,
+whose sunset background was painted at Malinmore, on the west coast of
+Donegal; or the _Atalanta_ or the _Rizpah_ of 1893.
+
+
+[Illustration: STUDY FOR "PERSEUS AND ANDROMEDA"]
+
+
+[Illustration: STUDY FOR "THE BATH OF PSYCHE"]
+
+
+[Illustration: STUDY FOR "SOLITUDE"]
+
+
+The memorable picture, first named of these, which shows Andromache at
+the Well, is in particular a most characteristic example of the artist's
+larger style. In it, true to his classic predilections, he gives a new
+setting to the touching old story of Andromache's captivity. Following
+up the earlier scene in the "Iliad," where Andromache begs her husband
+Hector not to sally forth to battle, but to stay and defend the city,
+and where, finding her prayers in vain, and weeping, she bids Hector
+farewell, the picture shows the fulfilment of Andromache's fears and the
+dire prophecy which Hector had recalled to his wife.
+
+By way of contrast to this sombre canvas, take the glowing and brilliant
+colours of the _Perseus and Andromeda_, one of the three pictures shown
+at the Academy in 1891. The painting of the surroundings of Andromeda,
+the deep blue water in the sea lagoon beneath, and these radiant
+elemental people of air and light, provides such a glow of colour, as
+haunts the eye for long after one has gazed one's fill upon it.
+Something of the same feeling for the spirit that is in the forces of
+the earth, lurks behind many of Leighton's representments of the classic
+myths. It is certainly to be found, with a difference, in the _Return of
+Persephone_, exhibited with the _Perseus_, which becomes in the
+artist's hands a profound allegory of the return of Spring, with all
+kind of symbolical meanings in the three figures of Proserpine, Ceres,
+and Hermes, that are seen meeting before the mouth of Hades. _The Spirit
+of the Summit_, one of the latest of these embodiments of the relation
+of Man to Nature, may be read to mean Man's finer spirit of aspiration,
+and the mountainous imagination of Art itself. It is characteristic of
+the artist that, in the later years of his career, at a time when most
+artists and men are apt to give up something of their earlier pursuit of
+ideals, he retained undiminished a feeling for the unaccomplished
+heights of the imagination. _The Spirit of the Summit_ may serve, then,
+as the symbol, not so much of things attained, and Art victorious, as of
+things that are always to be attained, and of Art striving and
+undeterred. In this way it may serve, too, as in some sort the emblem of
+Leighton's own ideals, and of his whole career. His artistic temper was
+throughout, one of endless energy, endless determination; with a dash of
+that finer dissatisfaction which is always seeking out new embodiments,
+under all difficulties, of Man's pursuit, in a difficult, and often an
+unbeautiful world, of Truth and Beauty. Above all, he was a consummate
+draughtsman, and as Francisco Pacheco, the father-in-law of Velasquez,
+wrote in his "Arte de la Pintura" (1649): "Drawing is the life and soul
+of painting; drawing, especially outline, is the hardest; nay, the Art
+has, strictly speaking, no other difficulty. Without drawing painting is
+nothing but a vulgar craft; those who neglect it are bastards of the
+Art, mere daubers and blotchers."
+
+
+[Illustration: STUDY FOR "THE RETURN OF PERSEPHONE"]
+
+
+[Illustration: STUDY FOR "PERSEPHONE"]
+
+
+
+
+CHAPTER VII
+
+MURAL DECORATION, SCULPTURE, AND ILLUSTRATION
+
+
+The drawings of Lord Leighton deserve special consideration. The famous
+_Lemon Tree_ was made at Capri in the Spring of 1859; it is work that no
+Pre-Raphaelite could have finished more minutely, yet it has nothing
+"niggling" in its treatment. In a conversation[10] Lord Leighton is said
+to have referred to the many days spent upon the production of this
+study--dwelling specially on the difficulty he experienced in finding
+again and again each separate leaf in the perspective of the confused
+branches, as morning after morning he returned at sunrise to continue
+the work. The drawing of each leaf reveals the close observation which
+ultimately recorded its particular individuality. You feel that as a
+shepherd knows his sheep to call each by its name, so the artist must
+have become familiar with every separate leaf and twig before he had
+completed his task. The whole is broad and simple, and scarcely suggests
+the enormous patience which must have been needed to carry out the
+self-imposed toil. Nothing is shirked, nothing is scamped; from the stem
+to the outermost leaf, every part in succession reveals equal interest,
+and yet the whole is not without that larger quality which brings it
+together in a harmonious whole, so that it is as much the study of a
+tree as the study of each separate item that composes it.
+
+The _Byzantine Well-head_ is another notable instance of similar labour
+devoted to an architectural subject; this was evidently a favourite with
+its author; for during his life it hung close by his bed in the simple
+chamber of his otherwise sumptuous home, a room devoid of luxury and
+almost ascetic in its appointments.[11]
+
+The great mass of studies, on brown paper chiefly, which he had
+carefully preserved, were purchased by the Fine Art Society, and some
+two hundred and fifty were exhibited at their gallery in December, 1896,
+and a selection in facsimile has been published in sumptuous form. In a
+prefatory note to the catalogue of these studies Mr. S. Pepys Cockerell
+says: "It is seldom that we are privileged to watch at ease the workings
+of another's mind, but these drawings, the intimate record of a long
+life-time, offer an unusually good opportunity. One might call them the
+confessions of an artist; and anyone who wants to know what Leighton was
+really like, has only to use his eyes. One thing, at any rate, no one
+can fail to see, viz., that he had the qualities which result in
+industry. Whatever success he achieved was only gained after desperate
+labour. It is curious that while he had the reputation for working with
+ease, he considered himself to have no facility for anything, whether
+for art, for writing, or for speaking. I recollect his once saying:
+'Thank Heaven, I was never clever at anything,' for he believed with Sir
+Joshua, that everything is granted to well-deserved labour."
+
+The landscape studies in oil (of which a list almost complete will be
+found in Appendix II.), show equal observation and sympathetic
+perception of the beauty of colour, as well as of the beauty of
+form. The truth of these carefully recorded impressions of scenery was
+no less patent than the masterly "selection" which had set itself to
+depict all that seemed of value, and escaped at once the photographic
+imitation of one school, and the evasion of detail of another. They all
+preserve a certain classic repose, without violence to topographical
+accuracy, or painter-like intention.
+
+
+[Illustration: STUDY FOR THE CEILING OF A MUSIC-ROOM]
+
+
+[Illustration: STUDY FOR THE CEILING OF A MUSIC-ROOM]
+
+
+[Illustration]
+
+
+[Illustrations: DECORATION FOR THE CEILING OF A MUSIC-ROOM]
+
+
+We have had occasion to refer frequently, in passing, to Leighton's
+decorative works, but we have purposely deferred any description of
+them, preferring to treat them separately. To know how present was his
+feeling for decorative effect at all times, it is sufficient to glance
+never so casually at his own house, about which we hope presently to say
+something,--genuine expression as it is of his Art. Now we wish rather
+to touch on his more public performances. Of these, the famous frescoes
+which fill large lunettes in the central court at South Kensington, _The
+Industrial Arts of War_ and _The Industrial Arts of Peace_, are the best
+known, as they are among the most characteristic of all the artist's
+productions.
+
+The fresco of _The Arts of War_ is a very complex piece of work. It is
+crowded with figures, full of that orderly disorder which one must
+expect to find, on the hurried morning of a day of battle, in these
+delightfully decorative warriors. "In the centre"--we quote here Mrs.
+Lang's description--"is a white marble staircase, leading from the
+quadrangle to an archway, beyond which is another courtyard. Seen
+through the archway, knights are riding by.... The busy scene in the
+courtyard suggests an immediate departure to the seat of war. In the
+corner to the right crossbows are being chosen and tested; a man is
+kneeling by a pile of swords, and descanting on their various merits to
+an undecided customer, while those weapons that he has already disposed
+of are having their blades tried and felt. A little way off, to the left
+of the archway, some men-at-arms are trying on the armour of a youth who
+has still to win his spurs.... The whole is distinguished by the extreme
+naturalness and simplicity of all the actions, and by soft, glowing
+colours, chiefly dark olive green and splendid saffrons."
+
+In _The Arts of Peace_, its companion, the central portion of the fresco
+is devised as the interior of a Greek house, where within a semicircular
+alcove we see a number of Greek maidens and older women, delightfully
+grouped, mainly occupied in the art of personal adornment. Before this
+house is the waterside, with a very decorative boat, confined by a
+gracefully-looped chain, whose curve, as it hangs, is very subtly
+designed to complete the salient lines of the whole composition. On
+either side of this interior we have groups of men, more vigorously
+treated,--drawing water, bearing burdens, pushing a boat from land. The
+total effect of these finely posed contrasted groups, of the admirably
+architectured walls, piers, and pavements, and of the striking
+background, as of another hill-crowned Athens, is most complete and
+satisfying. The colouring throughout, diversified with extreme art as it
+is, is full of that southern radiance, and clear, sunlit glamour, so
+often found in the artist's pictures. To realize this fully, South
+Kensington must be visited, for word-painting at its best but poorly
+reproduces the art that it doubtfully imitates.
+
+
+[Illustration: FRESCO: THE INDUSTRIAL ARTS OF WAR (1872)]
+
+
+[Illustration: FRESCO: THE INDUSTRIAL ARTS OF PEACE (1873)]
+
+
+But these were by no means the first attempts of the artist to
+acclimatize the noblest form of mural decoration, which cannot even at
+this date be regarded as fully naturalized amongst us. In 1866 he
+commenced work on a fresco of _The Wise and Foolish Virgins_, which
+forms the altarpiece of the beautiful modern church at Lyndhurst,
+erected on the site of the older building commemorated in Charles
+Kingsley's ballad. This painting still remains a lasting attraction to
+visitors in the New Forest village. In the centre, the Bridegroom, clad
+in white, bearing lilies in His left hand, extends His right to the
+foremost of the five wise virgins. Angels at each side of the central
+figure welcome the one group, and repel the other. On the extreme right
+is a kneeling figure, "Ora;" on the left, "Vigila," a figure trimming a
+lamp. The scale of the figures is over life-size, and the unfortunate
+position of the work, immediately under a large east window, so that the
+figures appear standing on the altar, has provoked adverse criticism;
+but the painting itself, as a triumphant accomplishment of a peculiarly
+difficult undertaking, and a superb scheme of line and colour, has won
+favourable comments at all times. It was painted in the medium, a
+mixture of copal, wax, resin, and oil, previously employed with success
+by Mr. Gambier Parry in his decorations for Ely Cathedral.
+
+It is interesting to read the account of the execution of this work,
+which is said to have been carried out chiefly on Saturday afternoons,
+the artist catching a mid-day train from town, and working on it from
+the moment of his arrival until dusk. Experience of the London and South
+Western Railway Company thirty years ago makes one doubt whether leaving
+town at mid-day should not be taken as arriving at Lyndhurst Road at
+that time, for otherwise it would have been a miracle to accomplish the
+task by daylight. It is, however, exhilarating to find that the
+sustained enthusiasm of the young artist was equal to the effort
+involved in mastering so many obstacles; for the result, despite the
+increased attention given to decoration in these later years, may even
+now be considered, so far as modern ecclesiastical painting is
+concerned, to be without a rival in England.
+
+The beautiful _Cupid with Doves_, is also said to be from a fresco;
+whether a genuine painting on the wall itself (after the true fresco
+manner) or not, it has the larger qualities peculiar to the method which
+distinguishes several other works that were certainly not executed in
+this medium,--the latest of Leighton's mural decorations, for example, a
+painting of _Phoenicians Bartering with Britons_, which the President
+of the Royal Academy in 1895 presented as the first of a series of
+panels in the Royal Exchange. Although, as this was painted on canvas,
+it cannot be ranked as a legitimate successor in the direct line of the
+Lyndhurst and South Kensington frescoes, it is marked by many of the
+architectural qualities which distinguish a painting designed to be in
+true relation to the planes of its surroundings, and employs a
+convention which makes it appear an integral part of the wall surface,
+not a mere panel accidentally placed within a frame supplied by the
+features of the building itself.
+
+The South Kensington frescoes, as we have before stated, were painted in
+1872-3. Some ten years later Sir Frederic collaborated with Sir Edward
+(then Mr.) Poynter in the decoration of the dome of St. Paul's. His
+share was to have filled eight _medallions_, so called, in the
+compartments into which his colleague divided the dome. The design for
+one of these, _The Sea gave up the Dead which were in it_, was exhibited
+at the Academy of 1892, and is now among the works presented by Mr. Tate
+to the National Gallery of British Art. This is another treatment of a
+great subject, in which the problem of reconciling the dramatic with
+the decorative has been seriously attempted. The dome of St. Paul's, had
+it been completed according to this scheme, might have been a worthy if
+a somewhat academic presentation of the tremendous visions of the
+Apocalypse.
+
+
+[Illustration: CUPID: FROM A FRESCO]
+
+
+[Illustration: PHOENICIANS BARTERING WITH BRITONS
+               PANEL IN THE ROYAL EXCHANGE (1895)]
+
+
+Certain others of Leighton's decorative works we have already mentioned,
+such as the design for a ceiling, now in New York. Not so well known is
+his frieze delineating a dance, for an English drawing-room; or the
+small frieze with a design of Dolphins, also in England. A scheme in
+water-colours for a mural decoration, entitled _The Departure for the
+War_, was never carried out; the sketch for it was sold with the
+remaining works at Christie's, July, 1896. The single figures in mosaic
+of _Cimabue_ and _Pisano_, at the South Kensington Museum, must not be
+forgotten.
+
+To the public--or at least that portion which limits its art to the
+exhibitions of the Royal Academy--Leighton, as we have seen, made his
+_début_ as a sculptor with the group, _An Athlete struggling with a
+Python_ (known also as _An Athlete strangling a Python_), which in the
+bronze version is now among works purchased under the terms of the
+Chantrey bequest in the Tate Gallery. But long before that date he had
+successfully essayed plastic art; his first effort being for the
+medallion of a monument to Mrs. Browning in the Protestant cemetery at
+Florence. Two other monuments, to the memory of Major Sutherland Orr
+(his sister's husband), and Lady Charlotte Greville, must also be
+mentioned. We have already spoken of _The Athlete_, _The Sluggard_, and
+_Needless Alarms_. But it would be unfair to omit mention of many small
+works--small, that is to say, in scale, for they are distinguished by
+great breadth of handling--which were prepared as auxiliary studies for
+his paintings. Visitors to the studio in Holland Park Road, were always
+impressed by several of these models, which stood on a large chest in
+the bay of a great studio window. Especially noteworthy was a group of
+three singing maidens, who figure in _The Daphnephoria_, and another of
+the "choragus" for the same picture; for later works, the mounted
+Perseus, and Andromeda with the monster, both designed for the picture
+of that legend. Others belonging to a slightly earlier period
+included--the sleeping Iphigenia, a crouching figure of her attendant,
+and a nude figure of Cymon, all, of course, for _Cymon and Iphigenia_.
+These models were made to be clad in wet drapery of exquisitely fine
+texture, and were prepared only for ten minutes' drawing of the first
+idea of the figures; all serious study being made from the draped model,
+or the lay figure. Such help as they have rendered must all be referred
+to the period before the finished cartoon was ready to be traced on the
+canvas. Since Lord Leighton's decease most of these have been
+successfully cast in bronze, and are the property of the Royal Academy.
+In the studio were also the first sketches in clay for _The Sluggard_,
+and also for _The Athlete_, which was not originally intended to be
+carried further. Indeed, several people mistook it for a genuine
+antique, and admired it accordingly; Dalou, the great French sculptor,
+was especially so struck by it, that he advised its author to work out
+the idea in full size. The three years' labour devoted to the task, the
+failures by the way, and its ultimate triumphant success, both here and
+in Paris, are too well known to need recapitulation. A replica was
+commissioned for the Copenhagen Gallery, and probably no work of its
+accomplished author did more to win him the appreciation of French and
+German artists.
+
+
+[Illustration: BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)]
+
+
+[Illustration: BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)]
+
+
+[Illustration: STUDY IN CLAY FOR "CYMON"]
+
+
+[Illustration: STUDY IN CLAY FOR "THE SLUGGARD"]
+
+
+[Illustration: STUDY IN CLAY FOR "PERSEUS"]
+
+
+[Illustration: STUDY IN CLAY FOR "ANDROMEDA"]
+
+
+In this brief mention of Lord Leighton's achievements in sculpture, the
+medal commemorating the Jubilee of Queen Victoria, a study for which is
+reproduced at p. 130, must not be overlooked.
+
+Although to those who have not followed closely the splendid period of
+English illustration which may be said to have reached its zenith at the
+time when Dalziel's "Bible Gallery" was published, it may be a surprise
+to find "Frederic Leighton" figuring as an illustrator, yet the nine
+compositions in that book are by no means his sole contribution to the
+art of black and white.
+
+For each instalment of "Romola," as it ran through the pages of the
+"Cornhill Magazine," the artist contributed a full page drawing, and an
+initial letter. The twenty-four full pages were afterwards reprinted in
+"The Cornhill Gallery" (Smith and Elder, 1865). These are most notable
+works, even when measured by the standard of their contemporaries. The
+same magazine contains two other works from his pen, one illustrating a
+poem, "The great God Pan," by Mrs. Browning, and another illustrating a
+story by Mrs. Sartoris, entitled "A Week in a French Country House."
+These, and the nine compositions in the "Bible Gallery" (the pictures
+from which have lately been re-issued in a popular form by the Society
+for Promoting Christian Knowledge) exhaust the list of those which can
+be traced. As four of the magnificent designs are reproduced here, it
+would be superfluous to describe them; the titles of the five others
+are: _Abram and the Angel_, _Eliezer and Rebekah_, _Death of the First
+Born_, _The Spies' Escape_, and _Samson at the Mill_.
+
+One of the original drawings on wood is now on view at the South
+Kensington Museum, and, by comparison with impressions from the engraved
+blocks, we see how small has been the loss in translation, so admirably
+has the artist mastered the limitation of the technique that was to
+represent his work in another medium. The reproductions here given are
+considerably reduced, and necessarily lose something, but they retain
+enough to prove that had the artist cared to rest his reputation upon
+such works, he might have done so with a light heart, for whenever the
+golden period of English illustration is recalled, these comparatively
+few drawings will inevitably be recalled with it.
+
+A photographic silver-print from a drawing which forms the frontispiece
+to a little book of fairy tales is of hardly sufficient
+importance--charming though its original must have been--to be included
+among the book illustrations. The drawing, _A Contrast_, reproduced at
+p. 72, is undated; the idea it is intended to suggest, a model who once
+stood for some youthful god, revisiting the adolescent portrait of
+himself when old age has him gripped fast with rheumatism and failing
+vigour.
+
+To-day, when one has heard sculptors claim that Lord Leighton's finest
+work was in their own craft, one has also heard many illustrators not
+merely extol these drawings--notably the Bible subjects--as his
+masterpieces, but jealously refuse to consider him entitled to serious
+regard as an artist in any other medium. This attitude, so curiously
+unlike the usual welcome from experts which awaits an artist who
+ventures into fresh mediums for expressing himself, should be put on
+record as a unique tribute; the more worthy of attention, because in
+each instance it was advanced not wholly as praise, but to some extent
+as a reproach on Leighton's painting. No intended compliment could carry
+more genuine appreciation than this warm approval from fellow experts in
+the special subjects of which they are masters.
+
+
+[Illustration: CAIN AND ABEL]
+
+
+[Illustration: MOSES VIEWS THE PROMISED LAND]
+
+
+[Illustration: SAMSON AND THE LION]
+
+
+[Illustration: SAMSON CARRYING THE GATES]
+
+
+
+
+CHAPTER VIII
+
+DISCOURSES ON ART
+
+
+We must next speak of the late President's Addresses and Discourses on
+Art, and of that other art of oratory, which, we shall find, as he
+conceived it, had something of the same monumental quality he imparted
+to his painting. His presidential speeches at the annual banquet of the
+Academy would alone be sufficient to show this; but it is of course to
+his Addresses and Discourses that we must turn if we would understand
+his feeling for the two unallied arts.
+
+His success in the one is to be explained, we shall find, in very much
+the same way as his success in the other. Like most speakers of any
+distinction, Lord Leighton left nothing to chance. In his speeches and
+Discourses, as in his pictures, the most careful and exact preparation
+was made for every effect, however apparently casual it may have seemed.
+His Discourses were obviously based upon classic models; for their full
+periods, sonorously and deliberately arranged, have a rhythm that
+attends to the whole period, and not merely, as is often the way with
+English speakers, to each sentence in turn.
+
+In quoting from these Discourses, we do so, however, with an eye to his
+own proper art as a painter, and to his whole theory and sentiment of
+that art and its functions, and its allied plastic arts, even more than
+to his art as a speaker. Indeed, the Discourses form a unique
+contribution to the art criticism of our time; they cover the most
+interesting and various periods in the history of the Art of Europe; and
+although the cycle he had mapped out was interrupted before he had
+completed it--first by illness which postponed the biennial discourse,
+and then by death--the portions already delivered touch incidentally on
+the theory and philosophy of all Art in a highly suggestive and eloquent
+way.
+
+In his first Discourse, delivered to the Academy students on the 10th of
+December, 1879, the new President took occasion to estimate the modern
+predicament and general position of Art, as a prelude to the
+consideration of its special developments, in later Discourses. "I wish
+in so doing," he said, "to seek the solution of certain perplexities and
+doubts which will often, in these days of restless self-questioning in
+which we live, arise in the minds and weigh on the hearts of students
+who think as well as work."
+
+In answering the question of questions in Art for us to-day--that is,
+what are its chances in the present, compared with the glory and
+splendour of its achievement in the past?--Leighton provides us with
+some memorable passages in his first Discourse. Speaking of the
+"Evolution of Painting in Italy," he turned it to notable account in his
+argument, as in this reference to the Florentine school:
+
+"It is, perhaps," he said, "in Tuscany, and notably in Florence, that we
+see the national temperament most clearly declared in its art, as indeed
+in all its intellectual productions; here we see that strange mixture of
+Attic subtlety and exquisiteness of taste, with a sombre fervour and a
+rude Pelasgic strength which marks the Tuscans, sending forth a Dante, a
+Brunelleschi, and a Michael Angelo,--a Fiesole, a Boccaccio, and a
+Botticelli, and we find that eagerness in the pursuit of the
+knowledge of men and things, which was so characteristic of them, summed
+up in a Macchiavelli and a Lionardi da Vinci."
+
+
+[Illustration: A CONTRAST]
+
+
+How different the conditions when we turn to consider English Art, as it
+stands to-day: "The whole current of human life setting resolutely in a
+direction opposed to artistic production; no love of beauty, no sense of
+the outward dignity and comeliness of things, calling on the part of the
+public for expression at the artist's hands; and, as a corollary, no
+dignity, no comeliness for the most part, in their outward aspect;
+everywhere a narrow utilitarianism which does not include the
+gratification of the artistic sense amongst things useful; the works of
+artists sought for indeed, but too often as a profitable merchandise, or
+a vehicle of speculation, too often on grounds wholly foreign to their
+intrinsic worth as productions of a distinctive form of human genius,
+with laws and conditions of its own."
+
+The modern student may well question, whether the great artists of the
+past, if they lived now under our different conditions, would achieve
+all that they did then. For further bewilderment, the differences to be
+seen in the past itself, between school and school, and one age and
+another, may lead him to doubt "whether Art be not indeed an ephemeral
+thing, a mere efflorescence of the human intelligence, an isolated
+development, incapable of organic growth." To such doubts, comes the
+reassuring answer: "That Art is fed by forces that lie in the depth of
+our nature, and which are as old as man himself; of which therefore we
+need not doubt the durability; and to the question whether Art with all
+its blossoms has but one root, the answer we shall see to be: Assuredly
+it has; for its outward modes of expression are many and various, but
+its underlying vital motives are the same."
+
+The new President concluded his first Discourse with an eloquent plea
+for sincerity in Art: "Without sincerity of emotion no gift, however
+facile and specious, will avail you to win the lasting sympathies of
+men"--a truth which perhaps needs more repeating to-day than ever it
+did!
+
+In the second Discourse (December 10th, 1881), we are called upon to
+consider that other question which has so often perplexed the artist,
+especially the English artist, in whom the moral sentiment is apt to
+take a threatening form on occasion: "What is the relation in which Art
+stands to Morals and to Religion?"
+
+For his reply, Leighton took in turn the two contentions: one, that the
+first duty of all artistic productions is the inculcation of a moral
+lesson, if not indeed of a Christian truth; the other, that Art is
+altogether independent of ethics. His conclusion is the only sagacious
+and sane one: that whilst Art in itself is indeed independent of ethics,
+yet is there no error so deadly as to deny that "the moral complexion,
+the ethos, of the artist does in truth tinge every work of his hand, and
+fashion, in silence, but with the certainty of fate, the course and
+current of his whole career." The steps that lead irresistibly to this
+conclusion, are very clearly indicated in the course of this Discourse;
+and the more convincingly, because the speaker is himself so sympathetic
+to the religious inspiration of Italian art, on the one hand, and to its
+merely natural æsthetic growth on the other.
+
+
+[Illustration: A STUDY IN OILS]
+
+
+"The language of Art," he said then, "is not the appointed vehicle of
+ethic truths;... On the other hand, there is a field in which she has no
+rival. We have within us the faculty for a range of emotion, of
+exquisite subtlety and of irresistible force, to which Art, and Art
+alone amongst human forms of expression, has a key; these then, and
+no others, are the chords which it is her appointed duty to strike; and
+form, colour, and the contrasts of light and shade are the agents
+through which it is given to her to set them in motion. Her duty is,
+therefore, to awaken those sensations directly emotional and indirectly
+intellectual, which can be communicated only through the sense of sight,
+to the delight of which she has primarily to minister. And the dignity
+of these sensations lies in this, that they are inseparably connected by
+association of ideas with a range of perception and feelings of infinite
+variety and scope. They come fraught with dim complex memories of all
+the evershifting spectacle of inanimate creation and of the more deeply
+stirring phenomena of life; of the storm and the lull, the splendour and
+the darkness of the outer world; of the storm and the lull, the
+splendour and the darkness of the changeful and the transitory lives of
+men."
+
+In his third Discourse, which was delivered on the 10th December, 1883,
+the President entered on his exhaustive discussion, continued in many
+subsequent Discourses, of "The relation of Artistic Production to the
+conditions of time and place under which it is evolved, and to the
+characteristics of the races to which it is due." In this Discourse he
+briefly and suggestively reviews the Art of Egypt, Assyria, and Greece,
+endeavouring to account for the main characteristics of each. In Egypt
+he shows how a nation securely established in a peace and pre-eminence
+lasting for ages, blessed beyond measure in a fertile and prospering
+climate, a nation beyond all things pious and occupied in reverential
+care of the dead, should give birth to an art serene, magnificent, and
+vast. "Those whose fortune it has been," he eloquently said, "to stand
+by the base of the Great Pyramid of Khoofoo, and look up at its far
+summit flaming in the violet sky, or to gaze on the wreck of that
+solemn watcher of the rising sun, the giant Sphinx of Gizeh, erect,
+still, after sixty centuries in the desert's slowly rising tide; or who
+have rested in the shade of the huge shafts which tell of the pomp and
+splendour of hundred-gated Thebes; must, I think, have received
+impressions of majesty and of enduring strength which will not fade
+within their memory."
+
+After old Egypt, and the account of Chaldæan and Assyrian Art, with its
+warlike expression, we are led on in turn to the consideration of Greek
+Art, and the causes of its development. "Nothing that I am aware of in
+the history of the human intelligence," he said, "is for a moment
+comparable to the dazzling swiftness of the ripening of Greek Art in the
+fifth century before Christ." After speaking of the fortunate balance
+and interaction of races which resulted in the Greek Art of that era, he
+goes on to speak of the exceptionally favouring circumstances of the
+people: "Here are no vast alluvial plains, such as those along which, in
+the East, whole empires surged to and fro in battle; no mighty flood of
+rivers, no towering mountain walls: instead, a tract of moderate size; a
+fretted promontory thrust out into the sea--far out, and flinging across
+the blue a multitude of purple isles and islets towards the Ionian,
+kindred, shores." Such a fortunate environment, joined to the
+extraordinarily high ideal formed by the Greeks of citizenship, had much
+to do with the fostering of Greek Art, in all "its nobility and its
+serenity, its exquisite balance, its searching after truth, and its
+thirst for the ideal."
+
+
+[Illustration: HEAD OF A YOUNG GIRL
+               A STUDY IN OILS]
+
+
+In his fourth Discourse Lord Leighton carried on his inquiry upon the
+origins and conditions of Art into the difficult region of the
+Etruscans; whose plastic work, like their speech, he considers, was at
+best an uncouth, vigorous imitation, or re-shaping, of Greek models.
+As examples of Etruscan Art, we are referred to "the two lovely bronze
+mirrors, preserved at Perugia and Berlin, representing,--one, Helen
+between Castor and Pollux,--the other, Bacchus, Semele, and Apollo....
+In either case, the design is distinctly Greek; nevertheless a certain
+ruggedness of form and handling is felt in both, betraying a temper less
+subtle than the Hellenic; and we read without surprise on the one
+'Pultuke,' and 'Phluphluus' on the other." Lest it should be thought
+that something less than justice is done to Etruscan Art, take this fine
+description of the tomb of Volumnus Violens:
+
+"The recumbent effigy of the Volumnian is, indeed, rude and of little
+merit; rude also in execution is the monument on which it rests, but in
+conception and design of a dignity almost Dantesque. Facing the visitor,
+as he enters the sepulchral chamber, this small sarcophagus--small in
+dimensions, but in impressiveness how great!--rivets him at once under
+the taper's fitful light. Raised on a rude basement, the body of the
+monument figures the entrance to a vault; in the centre, painted in
+colours that have nearly faded, appears a doorway, within the threshold
+of which four female figures gaze wistfully upon the outer world; on
+either side two winged genii, their brows girt with the never-failing
+Etruscan serpents, but wholly free from the quaintness of early Etruscan
+treatment, sit cross-legged, watching, torch in hand, the gate from
+which no living man returns. Roughly as they are hewn, it would be
+difficult to surpass the stateliness of their aspect or the art with
+which they are designed; Roman gravity, but quickened with Etruscan
+fire, invests them: ... and our thoughts are irresistibly carried
+forward to the supreme sculptor whom the Tuscan land was one day to
+bear."
+
+From Etruria, we pass naturally on to Rome; for, as we are significantly
+reminded, "The Romans lay, until the tide of Greek Art broke on them
+after the fall of Syracuse, wholly under the influence of the
+Etruscans.... Etruria gave them kings, augurs, doctors, mimes,
+musicians, boxers, runners; the royal purple, the royal sceptre, the
+fasces, the curule chair, the Lydian flute, the straight trumpet, and
+the curved trumpet. The education of a Roman youth received its
+finishing touches in Etruria: Tuscan engineers had girt Rome with walls;
+Tuscan engineers had built the great conduit through which the swamp,
+which was one day to be the Forum, was drained into the Tiber. What
+wonder, then, that in architecture, also in painting, in sculpture, in
+jewellery, and in all the things of taste, Etruscans gave the law to the
+ruder and less cultured race?"
+
+This influence lasted, until the counter-current of Greece found an
+inlet to Roman life, filtering "through Campania into Rome from the
+opposite end of the peninsula." And then, from the fall of Syracuse, and
+the bringing of its spoils to Rome, we find a perfect craze for Grecian
+marbles, bronzes, pictures, gems, inflaming the magnates, nobles, and
+_nouveaux riches_ of Rome. How fortunate that influence was in another
+field, that of literature, we know. In plastic art, by reason of the
+essentially inartistic spirit of the Roman race, the result was
+practically small; save indeed in one department, that of portraiture,
+to which the essential impulse was, as Leighton very suggestively shows,
+"ethic, not æsthetic." Even in Roman architecture, our critic finds
+little to weaken his view of the Roman æsthetic inefficiency. "It was
+not," he said, "the spontaneous utterance of an æsthetic instinct, but
+the outcome of material needs and of patriotic pride," and hence only an
+incomplete expression of Roman civilization. "To them, in brief, art
+was not vernacular: their purest taste, their brightest gifts of mind,
+found no utterance in it."
+
+
+[Illustration: STUDY OF A HEAD]
+
+
+"We have seen Art," he concluded, "such Art as it was given to Rome to
+achieve--rise and fall with the virtues of the Roman people. From the
+lips of the most seeing of its sons we know the solvent in which those
+virtues perished: that solvent was the greed, the insatiate greed, of
+gold--'auri sacra fames'--the rot of luxury. 'More deadly than arms,'
+Juvenal magnificently exclaims, 'luxury has swept down upon us, and
+avenges the conquered world.'
+
+                           ...... 'Sævior armis
+  Luxuria incubuit, victumque ulciscitur orbem.'"
+
+
+From Rome we are taken, in the fifth Discourse, delivered on the 10th
+December, 1887, to the making and the racial re-shaping of Italy, that
+began with the fifth century. All through these Discourses the speaker
+laid great stress upon the ethnological history of the European races,
+as he turned to one after another, and essayed to trace their artistic
+idiosyncracy and their artistic evolution. Italy is, to the ethnologist
+as well as to the art student, one of the most interesting countries in
+Europe. Rome almost alone, among the Italian provinces, retained her
+racial and æsthetic peculiarities, unaffected to the end of the chapter;
+and even when she wielded "the sceptre of the Christian world," still
+she produced no one flower of native genius, we are reminded, unless
+Giulio Romano, that "brawny and prolific plagiarist of Raphael," as
+Leighton well stigmatizes him, be thought a genius; which criticism
+forbid!
+
+It was different with Tuscany, where the introduction of new racial
+elements had a distinct effect. This "new amalgam" produced in the
+field of Art, we are told, an infinitely nobler and more exquisite
+result than had grown out of the old conditions. Still, however, the old
+Etruscan allied grace and harsh strength lingered on in the art of
+Christian Etruria. "Of the subtle graces which breathe in that art, from
+Giotto to Lionardo, it is needless to speak; and surely in the rugged
+angularities of a Verocchio, a Signorelli, or a Donatello, and in the
+shadow of sadness which broods over so much of the finest Florentine
+work, the more sombre phase of the Etruscan temper still lives on."
+
+In the end, if we try to account for the artistic power and mastery of
+one people in Italy, and the lack of that power in another, we are
+driven to the conclusion that the source of the artistic gift is hidden
+and obscure. One may cite the opposite examples of Venice and of
+Genoa,--the one so masterfully artistic; the other so impotent. And yet
+the same favouring conditions, _à priori_, might have seemed to exist
+for both.
+
+With the intermingling of the peoples, and the rejuvenescence of the
+physical life, came the spiritual outburst of Christianity. And the
+influence, again, of Christianity upon Italian Art was immense. In place
+of joy in the ideals of bodily perfection, "loathing of the body and its
+beauty, as of the vehicle of all temptation, a yearning for a life in
+which the flesh should be shaken off, a spirit of awe, of pity, and of
+love, became the moving forces that shaped its creations."
+
+After great religious periods, we often find that great scientific
+periods follow. The ethical impulse that religion gives, is converted
+into other forms of energy, by reason of man's awakened consciousness of
+the meaning of things, physical and material as well as spiritual.
+
+
+[Illustration: STUDY OF A HEAD]
+
+
+In Italy a reaction against the Christian doctrine of the degradation of
+the flesh led to a new recognition of the beauty of man and of his
+physical environment. Anatomy and perspective were studied, accordingly,
+with a new sense of their significance in Art. The spirit of science led
+to "such amazing studies of leaf and flower as Lionardo loved to draw.
+Thus to Tuscan artists the new movement brought the love of nature, and
+the light of science."
+
+We come upon Dante and Petrarch in this Discourse, in tracing the
+history of Italian Art during the centuries of transition: "With Dante
+we reach the threshold of the Renaissance. He stands on the verge of the
+middle ages; in him the old order ends. With Petrarch the new order
+begins." It is not so much as a poet, however, that Petrarch counts in
+this process from one period to another; but rather as an intellectual
+pioneer, leading the way into the great pagan world. Petrarch "was the
+first Humanist," in short.
+
+We cannot stay to dwell upon the effect of the Humanists and all they
+stood for, good and evil, in Italian Art and Letters. We pass on, now,
+from Petrarch and the influence the movement had on Italian literature,
+to its effect on Italian Art. The Renaissance did not affect Art in the
+same way, as Botticelli may serve to show. "But perhaps," said the
+lecturer, "the various operations in the province of Art of the two main
+motive forces of the Renaissance--the impulse towards the scientific
+study of nature, and the impulse to reinstate the classic spirit--may be
+best illustrated by reference to Lionardo da Vinci, Raphael, and Michael
+Angelo." The passages in which Leighton characterised these three
+masters are among the most striking of all those uttered by him within
+the walls of the Academy. Lionardo's scientific "avidity of research,"
+Raphael's "classic serenity," and Angelo's "mediæval ardour," are turned
+to admirable effect in the pages of this Discourse; and the tribute paid
+to them on the part of an English painter who has zealously sought to
+live and work in the light of their great examples, has indeed an
+interest that is personal, in a sense, as well as general and critical.
+
+Take this concluding sentence upon Raphael:
+
+"Whatever was best in the classic spirit was absorbed and eagerly
+assimilated by him, and imparted to the work of his best day that
+rhythm, that gentle gravity, and that noble plenitude of form, which are
+its stamp, and proclaim him the brother of Mozart and of Sophocles."
+
+Or this, again, on Michael Angelo, as distinguishing him from Raphael:
+
+"The type of human form which he lifted to the fullest expressional
+force is the last development of a purely indigenous conception of human
+beauty, whereas the type which we know as Raphaelesque is a classic
+ideal warmed with Christian feeling. Sublimely alone as Buonarotti's
+genius stands, towering and unapproached, ... it does but mark the
+highest summit reached in the magnificent continuity of its evolution,
+by the purely native genius of Tuscan Art."
+
+Having arrived at Tuscan Art, and at Michael Angelo, in whom it reaches
+its consummate development, we leave Italy, and turn now to the
+description of Art in Spain, given by Lord Leighton in his Discourse of
+December, 1889. And first we have some account of the extraordinarily
+various racial strains which were contributed to form the significant
+figure of the fifteenth-century Spaniard. On the ancient Iberian stock
+was grafted Celtic, Greek, Phoenician, and Carthaginian blood; and to
+these infusions succeeded the great invasion of the Visigoths of the
+fifth century.
+
+
+[Illustration: STUDY OF A HEAD]
+
+
+"The Art of Spain," he said, "was, at the outset, wholly borrowed, and
+from various sources; we shall see heterogeneous, imported elements,
+assimilated sometimes in a greater or less degree, frequently flung
+together in illogical confusion, seldom, if ever, fused into a new,
+harmonious whole by that inner welding fire which is genius; and we
+shall see in the sixteenth century a foreign influence received and
+borne as a yoke"--(that of the Italian Renaissance) "because no living
+generative force was there to throw it off--with results too often
+dreary beyond measure; and, finally, we shall meet this strange freak of
+nature, a soil without artistic initiative bringing forth the greatest
+initiator--observe, I do not say the greatest artist--the greatest
+initiator perhaps since Lionardo in modern art--except it be his
+contemporary Rembrandt--Diego Velasquez."
+
+In his Discourse of December, 1891, we have, rapidly sketched, the
+Evolution of Art in France. Touching again on the question of race, the
+lecturer adduced the great race of Gauls, submitting first to Roman, and
+afterwards to Frankish, or Teutonic, domination and admixture. The main
+characteristics of the Gaulish people he judges to be, "a love of
+fighting and a magnificent bravery, great impatience of control, a
+passion for new things, a swift, brilliant, logical intelligence, a gay
+and mocking spirit--for 'to laugh,' says Rabelais, 'is the proper mark
+of man,'--an inextinguishable self-confidence." With the reign of
+Charlemagne began the development of the architecture of France, but not
+until the tenth and eleventh centuries did the "movement reach its full
+force; and its development was due mainly to the great monastic
+community, which, founded by St. Benedict early in the sixth century,
+had poured from the heights of Monte Cassino its beneficent influence
+over Western Europe."
+
+Here we have it explained how the principle of Gothic architecture, "the
+substitution of a balance of active forces for the principle of inert
+resistance," was gradually evolved. This principle once found, Gothic
+architecture reached its most splendid period in a wonderfully short
+space of time; cathedrals and churches were built everywhere, and before
+the end of the thirteenth century, the most splendid Gothic buildings
+were begun or completed. With the end of the thirteenth century Gothic
+architecture began to decline, lured by the "fascination of the statical
+_tour de force_, the craving to bring down to an irreducible minimum the
+amount of material that would suffice to the stability of a building
+extravagantly lofty."
+
+Many more extracts we would gladly make, whether from the account of the
+French sculpture of this period, marked as it was by "sincerity and
+freshness, often by great beauty and stateliness;" or from the criticism
+of such artists as Jean Cousin, who painted windows which were "limpid
+with hues of amethyst, sapphire, and topaz, and fair as a May morning;"
+or again, of Watteau, of whom we are told that "in the vivacity and
+grace of his drawing, in the fascination of his harmonies, rich and
+suave at once, in the fidelity with which he reflected his times without
+hinting at their coarseness, this wizard of the brush remains one of the
+most interesting, as he is one of the most fascinating, masters of his
+country's art."
+
+In the Discourse of 1893 the History of Gothic Architecture was pursued,
+from its native France to its adopted home in Germany. At the end of
+last century Goethe declared that not only was the Gothic style native
+to Germany, but no other nation had a peculiar style of its own; "for,"
+he said, "the Italians have none, and still less the Frenchmen"!
+According to Leighton, "the Germans, as a race, were, speaking broadly,
+never at one in spirit with ogival architecture. The result was such as
+you would expect; in the use of a form of architecture which was not of
+spontaneous growth in their midst, and unrestrained, moreover, as they
+were, by a sound innate instinct of special fitness, German builders
+were often led into solecisms, incongruities, and excesses, from which
+in the practice of their native style they have been largely free." Of
+this style, which may be called the German-Romanesque, the best examples
+are to be found among the churches of the Rhineland. In the thirteenth
+century this style, admirably as it expressed the genius of the Teuton,
+succumbed to invading French influence. "I have often wondered," he
+continued, "at the strange contrast between the reticent and grave
+sobriety of the architecture of Germany before the fall of the
+Hohenstaufens, and its erratic self-indulgence in the Gothic period."
+There is much, however, to be said in praise of the Gothic churches of
+Germany, their fine colouring, suggestiveness, and variety. Take the
+description of the Church of St. Lorenz in Nuremberg. "Nothing could
+well be more delightful than the impression which you receive on
+entering it; the beauty of the dark brown stone, the rich hues of the
+stained glass, the right relation of tone value, to use a painter's
+term, between the structure and the lights--the sombre blazoned shields
+which cluster along the walls, the succession on pier beyond pier of
+pictures powerful in colour and enhanced by the gleaming gold of
+fantastic carven frames, above all the succession of picturesque objects
+in mid-air above you, a large chandelier, a stately rood-cross, and to
+crown all, Veit Stoss's masterpiece, the Annunciation, rich with gold
+and colour; all these things conspire to produce a whole, delightful and
+poetic, in spite of much that invites criticism in the architectural
+forms themselves." Still more interesting is the word-picture of the
+great Cathedral of Cologne, "a monument of indomitable will, of science,
+and of stylistic orthodoxy ... its beautiful rhythm, its noble
+consistency and unity, its soaring height, rivet the beholder's gaze";
+and yet, the building, in spite of all, does not entirely convince: "the
+kindling touch of genius" seems to be wanting.
+
+Take, finally, this description of Albert Dürer: "He was a man of a
+strong and upright nature, bent on pure and high ideals, a man ever
+seeking, if I may use his own characteristic expression, to make known
+through his work the mysterious treasure that was laid up in his heart;
+he was a thinker, a theorist, and as you know, a writer; like many of
+the great artists of the Renaissance, he was steeped also in the love of
+science.... Superbly inexhaustible as a designer, as a draughtsman he
+was powerful, thorough, and minute to a marvel, but never without a
+certain almost caligraphic mannerism of hand, wanting in spontaneous
+simplicity--never broadly serene. In his colour he was rich and vivid,
+not always unerring in his harmonies, not alluring in his
+execution--withal a giant."
+
+With this tribute to a great predecessor we must leave these Discourses,
+which need, to be properly appreciated, to be studied as a whole; as
+indeed they form Leighton's deliberate exposition of his whole
+principles of Aesthetics. In working this out, Discourse by Discourse,
+he was not content to rely upon convenient literary sources, or
+previously acquired knowledge of his subject; but undertook special
+journeys, and spent long periods, abroad, to procure his own evidence
+at first hand. This gives his Discourses all the value of original
+research, based on new materials, to add to their purely critical value.
+Had they been completed, they would have formed an invaluable
+contribution to the history and the philosophy of Art.
+
+
+
+
+CHAPTER IX
+
+LORD LEIGHTON'S HOME
+
+
+If we seek for practical expression of Leighton's sympathy for
+decorative art, we may find it most satisfactorily in his own home as it
+appeared during his life. Mr. George Aitchison, R.A., designed the whole
+house;--even the Arab Hall being largely built from drawings made
+specially by him in Moorish Spain. Although the exterior of No. 2,
+Holland Park Road has individuality, rather than distinction, it was
+within that its special charms were found. One of the first things seen
+on entering was a striking bronze statue, "Icarus," by Mr. Alfred
+Gilbert; a typical instance of Leighton's generous recognition of
+artistic contemporaries.
+
+In earlier pages we spoke of the Arab Hall and its Oriental enchantment.
+No attempt to paint the effects of such an interior in words can call it
+up half as clearly as the slightest actual drawing. There is a dim dome
+above, and a fountain falling into a great black marble basin below;
+there are eight little arched windows of stained glass in the dome; and
+there are white marble columns, whose bases are green, whose capitals
+are carved with rare and curious birds, supporting the arches of the
+alcoves. The Cairo lattice-work in the lower arched recesses lets in
+only so much of the hot light of midsummer (for it is in summer that one
+should see it to appreciate its last charm), as consists with the
+coolness, and the quiet, and the perfect Oriental repose, which give
+the chamber its spell.
+
+
+[Illustration: THE HOUSE: THE INNER HALL]
+
+
+More in what we may call the highway of the house, from entrance hall to
+studios, is the large hall, out of which the Arab Hall leads, and from
+which the dark oak staircase ascends with walls tiled in blue and white.
+Here, on every side, one saw all manner of lovely paintings and
+exquisite _bric-à-brac_: a drawing of _The Fontana della Tartarughe in
+Rome_ by Leighton's old mentor, Steinle; other bronzes and paintings,
+and in full view a huge stuffed peacock, which seemed to have shed some
+of its brilliant hues upon its surroundings.
+
+In the drawing-room hung many Corots and Constables, with a superb
+Daubigny, and a most tempting example of George Mason,--a picture of a
+girl driving calves on a windy hill, amid a perfect embarrassment of
+such artistic riches. The famous Corots, a sequence of panels,
+representing _Morning_, _Noon_, _Evening_, and _Night_, which cost Lord
+Leighton less than 1,000 francs each, were sold for 6,000 guineas for
+the four, at Christie's, in July, 1896. Still another small Corot, a
+picture of a boat afloat on a still lake, was also in this room. One of
+the Constables that hung there is literally historic--for it is the
+sketch for that famous _Hay Wain_ which, exhibited in Paris, at once
+upset the classical tradition, and gave impetus to the whole modern
+school of French landscape. Near it was one of Constable's many pictures
+of Hampstead Heath,--simply a bit of dark heath against a sympathetic
+sky; but so painted as to be a masterpiece of its kind. These pictures
+were but a few of the many artfully disposed things of beauty, born in
+older Italy, or newer France, or in our new-old London.
+
+Upon the staircase there were pictures at every turn to make one pause,
+step by step, on the way. Sir Joshua Reynolds was represented by an
+unfinished canvas of Lord Rockingham, in which the great Burke, in his
+minor function of secretary, also figures. Then came G. F. Watts's
+earlier portrait of Leighton himself; and here a genuine Tintoretto.
+There was the P.R.A.'s famous _Portrait of Captain Burton_; and over a
+doorway his early painting of _The Plague at Florence_, with another
+early work, _Romeo and Juliet_, one of his very few Shakespearean
+pictures.
+
+From the landing whence most of these things were visible, you entered
+at once the great studio. Round the upper wall ran a cast of the
+Parthenon frieze, and beneath this the wall on one side was riddled and
+windowed, as it were, with innumerable framed pictures, small studies of
+foreign scenes; so that one looked out in turn upon Italy and the South,
+Egypt and the East, or upon an Irish sunset, or a Scottish
+mountain-side.
+
+Opposite these, below the great window, were many of the artist's
+miniature wax models and studies. Else, the ordinary not unpicturesque
+lumber of an artist's studio was conspicuously absent. The secret of
+Leighton's despatch and careful ordering of his days, was to be read,
+indeed, in every detail of his work-a-day surroundings. Even in a dim
+antechamber, with a trellised niche most mysteriously overlooking the
+Arab Hall, at one end of the studio, in which the curious visitor might
+have expected to find dusty studies, discarded canvases, and other such
+æsthetic remnants,--even that was found to contain not lumber, but a
+Sebastian del Piombo, a sketch of Sappho by Delacroix, a landscape by
+Costa, a Madonna and Child of Sano di Pietro del Piombo.
+
+At the extreme other end of the main studio was the working studio of
+glass, built to combat the fogs by procuring whatever vestige of light
+Kensington may accord in its most November moods. The last addition to
+the building, not long before Lord Leighton's death, was a gallery,
+known as "The Music Room," expressly designed to receive his
+pictures--mostly gifts from contemporary artists; or, to speak more
+accurately, works that had been exchanged for others in a wholly
+non-commercial spirit. These included, _Shelling Peas_, by Sir J. E.
+Millais, _The Corner of the Studio_, by Sir L. Alma-Tadema, _The
+Haystacks_, and _Venus_, by G. F. Watts, and _Chaucer's Dream of Good
+Women_, by Sir E. Burne-Jones.
+
+Such was the daily environment of that hard, unceasing, indefatigable
+labour which, natural faculty taken for granted, is always the secret of
+an artist's extraordinary production. And it was an environment, as one
+felt on leaving it for the gray London without, that well accorded with
+the radiant painted procession of the figures, classic and other, that
+file through Lord Leighton's pictures.
+
+
+
+
+CHAPTER X
+
+LORD LEIGHTON'S HOUSE IN 1900
+
+
+In the preceding chapter a picture is drawn of the "House Beautiful," as
+it was in Lord Leighton's lifetime. It was then full to overflowing with
+all manner of treasures; but now all that were removable have been
+dispersed. Only the shell, the house itself, remains. Yet denuded as it
+is, that is still well worth looking at. The architectural features to
+which Mr. Rhys, dazzled by other things, hardly did justice, are now all
+the more apparent.
+
+One of the rarest of all accomplishments, at any rate in England, is a
+cultivated taste in architecture; but it so happened that amongst his
+many acquirements Lord Leighton possessed it in a remarkable degree. In
+fact he received, although a painter by profession, the gold medal of
+the Royal Institute of British Architects in virtue of the intimate
+knowledge of architecture he had displayed in some of his
+backgrounds--for instance, those of the frescoes at South Kensington. It
+is a great honour, and one by no means lightly bestowed. At any rate,
+when there was a question of building himself a house, though he might
+not have been able to build it himself, he was thoroughly qualified to
+choose an architect. His choice fell upon Professor Aitchison, now R.A.,
+and he probably hit upon the only man of his generation able to put his
+feeling into bricks and mortar, viz., the feeling for a beauty sedate,
+delicate, and dignified.
+
+We must remember the condition of things architectural in the sixties to
+do justice to the independence of employer and architect. It was a time
+when the Albert Memorial was possible, and when men tried to guide their
+steps by the light of "The Seven Lamps of Architecture." A sentimental
+fancy for Gothic based on irrational grounds was all but universal, and
+it needed courage to avow a preference for the classical. The compromise
+in favour of quaintness and capricious prettiness which began under the
+name of the "Queen Anne style," and has contributed so many picturesque
+and pleasing buildings to our modern London, had not yet budded. Nor
+would it ever at any time of his life have thoroughly responded to
+Leighton's taste. So long as he could detect a defect he was
+dissatisfied, and extreme nicety is not what the Dutch style pretends
+to. It depends upon a picturesque combination of forms of no great
+refinement in themselves, but which give a varied skyline and a pretty
+play of light and shade. It amuses at the first glance, and as it rarely
+demands a second, it is well suited to turbid atmospheres, which blur
+outlines, and a chilly climate in which people cannot loiter out of
+doors. Moreover, the old-world memories it evokes, although in a minor
+degree than was the case with the Gothic, contribute to its facile
+popularity. But the classical taste is a love for form and delicate
+beauty of line _as such_, quite irrespective of any associations which
+may accompany them, or lamps, be they seven or seventy times seven. And
+to build his house in this style was the natural thing for a sculptor
+and fastidious seeker after the ideal in form. He found the man he
+wanted in Professor Aitchison.
+
+We must go over the outside and inside of the house, but rapidly; for to
+do more than just indicate the points worth attention would be waste of
+effort. To convey an idea of the feelings produced by architecture is
+perhaps possible, but it is perfectly vain to hope to picture it or
+reproduce in words the actual beauties of proportion or of colour. Those
+who wish to verify them must see for themselves and examine the building
+carefully.
+
+The aspect of the house as seen from the street is, it must be admitted,
+hardly symmetrical; but it is evident also that the first design has
+been much altered and added to. At one end the Arab Hall, with its dome
+and "bearded" battlements, is an obvious afterthought, in great contrast
+with the serious simplicity of the rest. And at the other end the glass
+studio, which was added later still, is also clearly an excrescence. The
+centre part was the original house, and the studio was the chief feature
+of it, and very much as it is now. It is, of course, on the north side,
+and the street, the south side, is occupied by small rooms which, with
+their repeated small openings, offer no great scope for designing.
+Still, the whole has that look of dignity which always accompanies high
+finish; and the entrance, far from being commonplace, because it has
+nothing quaint or surprising about it, has a certain ample serenity
+which it is rare to find. The mouldings of stonework and woodwork, few
+and simple as they are, are not taken out of a pattern-book, as is
+usually the case, but are specially designed each for its own position.
+All the refinement of a building consists in its mouldings, and no one
+has designed mouldings better than Professor Aitchison. A vast
+improvement has been made in this respect in the last twenty years or
+so, and it is largely due to his influence. At any rate he was one of
+the first and he remains the best of modern designers of mouldings.
+There are some fine examples of his work in the house.
+
+On the north the house looks into a fair-sized garden, skilfully
+planted, so that it looks much larger than it is. In the mind of the
+writer this aspect is intimately bound up with the recollection of
+delightful Sunday mornings in summer, when he sat chatting on random
+subjects with the President, who, in slippers, a so-called "land and
+water hat," and a smock frock, leant back in a garden-chair and talked
+as no one else could. The quiet, the sun overhead, the grass under our
+feet, the green trees around us, and the house visible between them,
+form an ineffaceable picture of æsthetic contentment it is a delight to
+recall. It recurred every Sunday whenever the weather was fine and warm.
+Then it was that there was leisure to appreciate the admirable symmetry
+of the architecture; for in England it is so rare to sit out of doors
+where one may look at architecture that even if architects were to
+design exteriors with all the subtlety of a Brunelleschi or a Bramante,
+they would seldom get anyone to notice their work.
+
+The studio occupies the whole of the upper story, and the architect had
+a good opportunity, as there was no need to cut it up as is the case
+when several rooms have to be provided for, by numerous uniform lights.
+Here, in the centre, is one great light between wide spaces of wall
+judiciously divided by string courses, and in the upper part on either
+side of the great window is a row of three small windows. At the east
+end is a small door leading into a pretty little Venetian balcony with
+stone parapet. The whole makes a very beautiful building, and the
+details and proportions are all worth examining.
+
+This central part was what one saw through the trees as one sat in the
+garden. Less visible were the glass studio on its iron columns, an
+excellent piece of work, considering its few possibilities, and the Arab
+Hall at the other end. Of course the latter looks a little incongruous.
+It is a professed reproduction of Arab architecture, but carried out,
+like the rest of the house, with unstinted expense, care, and finish.
+
+We will now go inside by the front door. The cornice of the ceiling of
+the vestibule first entered is singularly fine. Like every other good
+artist Professor Aitchison improved as he went on, and this is one of
+his latest designs in mouldings. When the entrance was altered some
+years before the President's death, an opportunity occurred for putting
+in a new ceiling.
+
+Passing on into the hall one comes upon a very picturesque arrangement
+of staircase. It is lit from above by a broad skylight. The stairs begin
+to rise against the wall of the dining-room which is recessed; while on
+the first floor the wall of the studio is projected and carried on
+columns, beyond which the stairs rise. So that figures coming through
+the hall in the light, begin mounting the stairs in the shadow, and
+re-emerge into the light, as the stairs turn, with a very varied and
+striking effect. By the first short flight of steps, and between the two
+columns, is a seat made of a Persian chest or cassone, beautiful and
+unusual in shape, and richly inlaid. Lord Leighton bought it in Rhodes
+or Lindos, and was very proud of it. It could not be removed and sold
+with the rest of the treasures at Christie's as it was a "fixture." The
+floor of the hall is of marble mosaic, mostly black and white. Only one
+small piece by the dining-room door, a very agreeable design, is in
+pinkish marbles.
+
+
+[Illustration: THE HOUSE: THE ARAB HALL]
+
+
+On the left, down a short passage, is the Arab Hall. It is so unlike
+anything else in Europe that its reputation has withdrawn all
+attention from the rest of the house. It certainly is a most sumptuous
+piece of work. Elsewhere Leighton satisfied his love of chastened form;
+in this room and its approach he gave full scope to his delight in rich
+colours. The general scheme is a peacock blue, known technically as
+Egyptian green, and gold, with plentiful black and white. Here and there
+tiny spots of red occur, but they are rare. The harmony begins in the
+staircase hall. The walls, except in the recessed part, where there are
+genuine oriental tiles, are lined to the level of the first floor with
+tiles of a fine blue, from the kilns of Mr. De Morgan, and the soffitt
+of the stairs is coloured buff, with gold spots. In the passage the tone
+increases in richness. The ceiling is silver and the cornice gold, while
+the walls, except for a fine panel of oriental tiles over the
+drawing-room door, are lined with the same tiles as the staircase. Then
+between two grand columns of red Caserta marble, with gilt capitals
+modelled by Randolph Caldecott, we pass into the Arab Hall itself, and
+we come upon the full magnificence of the effect. It is made up of
+polished marbles of many colours, gilt and sculptured capitals,
+alabaster, shining tiles, glistening mosaic of gold and colours, brass
+and copper in the hanging corona, and coloured glass in the little
+pierced windows, in fact, of every form of enrichment yet devised by
+Eastern or Western Art. From the floor, which is black and white, the
+tone rises through blue to lose itself in the gloom of a golden dome,
+sparsely lit by jewel-like coloured lights.
+
+In the centre a jet of water springs up, to fall back into a basin of
+black marble. The form of the basin which deepens towards the centre in
+successive steps, is an adaptation of the pattern of a well-known
+oriental fountain. All is equally black in this pool, and the border
+unfortunately is barely distinguishable from the water. After a dinner
+party at which Sir E. Burne-Jones, Mr. Whistler, Mr. Albert Moore, and
+many others were present, I recollect how, when we were smoking and
+drinking coffee in this hall, somebody, excitedly discoursing, stepped
+unaware right into the fountain. Two large Japanese gold tench, whose
+somnolent existence was now for the first time made interesting, dashed
+about looking for an exit, and there was a general noise of splashing
+and laughter. The dark, apparently fathomless pool was rather a mistake.
+Mishaps like that just mentioned occurred, I believe, more than once.
+There had been at first a white marble basin, but it did not give
+satisfaction, because, being in several pieces, it leaked, whereas the
+black one is all cut out of one block, at great expense, of course. But
+the white had the advantage of lightness where light is none too
+plentiful. In our winter, when days are dark and cold, black pools, with
+marble columns and floors, tiled walls, and dim domes about them do not
+fall in with English notions of cosy woollen comfort. The season to do
+justice to this hall is when summer comes round. When the sun breaks
+through the lattice work of the musharabiyehs, and the light is thrown
+up on the storied tiles, and up the polished columns to the glinting
+mosaic, to die away in the golden cupola, the effect is indeed superb,
+and to sit on the divan, by the splash of the fountain, and look from
+the glories within to the green trees without, is to live not in London
+but in the veritable Arabian nights.
+
+The hall is square. On one side is the entrance. In the centre of each
+of the other sides is a lofty arched recess. Those to the north and
+south are windows, shuttered with genuine musharabiyehs bought in Cairo
+and having deep cushioned divans. The recess to the west has only a
+small pierced window high up. It has a raised step, and in it used to
+stand certain bronze reproductions from Pompeii, with pots, vases, etc.,
+now gone. Some of the tiles were bought in Damascus in 1873. The price
+paid was £200 for the complete tile surface of one room. What would they
+be worth now? Others, particularly the great inscription spoken of
+below, were bought later in Cairo, and the rest at odd times. Here and
+there are single tiles, but most of them are in sets forming fine
+panels. An interesting one, in the south-east corner, represents hawks
+clutching their prey, cheetahs and deer, a hunter, etc., and another has
+herons, fish, tortoises, deer, etc. Set into the woodwork in the western
+recess are four tiles with female figures. These are either Persian or
+come from the neighbourhood of Persia, for the Anatolian or Egyptian
+Mahommedan tolerated no representations of life. The rest repeat in
+pleasing variety the usual motives of oriental design, viz., vines,
+cypresses, pinks and vases, doorways (? the entrances of mosques), with
+hanging lamps, and conventional floral designs. Above the entrance runs
+the chief treasure, the grand series of tiles bearing the great
+inscription. It is about sixteen feet long. According to Mr. Harding
+Smith it may be translated thus:
+
+"In the name of the merciful and long-suffering God. The Merciful hath
+taught the Koran. He hath created man and taught him speech. He hath set
+the sun and moon in a certain course. Both the trees and the grass are
+in subjection to him."
+
+It cannot be said that there is anything very new in that. There rarely
+is in such inscriptions. There are three others, but so far as they have
+been deciphered they appear to be incomplete, and in two cases, at any
+rate, to much the same effect as the big one. Just pious reminders. The
+real interest of them lies in the decorative effect of the imposing
+procession of letters across the wall, and the splendour of their
+colours. For beauty and condition this great inscription is said to be
+without a rival in any collection in Europe.
+
+Let into the woodwork panelling in the west bay there are two small
+lustred Persian tiles of the thirteenth century. They have been
+mutilated as to the faces of the figures by true believers. The rest
+belong to the sixteenth or early seventeenth centuries, a time when
+artistic production was stimulated by the commercial wealth brought by
+the trade of Venice and Genoa with the East through Anatolia, Damascus
+and Cairo.
+
+Round three sides above the tiles runs a decorative mosaic frieze, by
+Walter Crane, of an arabesque design on a gold ground. It is a beautiful
+and fanciful piece of work in itself, and it serves moreover to blend
+the prevailing colour of the tiles with the gilding of the upper
+regions. But it does not continue round the fourth side, because over
+the entrance, above the great inscription, an oriel window of
+musharabiyeh work looks down into the hall from the first floor of the
+house.
+
+The pierced windows, or at least eight of them, were brought from Cairo,
+and when bought had the original glass in them; but in the east the
+glass is stuck in with white of egg, and as they were, as usual,
+ill-packed, the glass all came out and was ground to fragments in the
+jolting of the journey. Only enough could be saved to fill the window in
+the upper part of the west recess opposite the entrance. The remainder
+had to be filled with English imitations.
+
+Returning now to the staircase, we find it ends on the first floor in a
+landing leading to the great studio. On the left it is open to the
+little studio; so-called because, having a skylight, Lord Leighton used
+it for painting out-of-door effects until he had the glass studio built.
+Adjoining it, or forming an extension of it, is another room, built only
+a year or two before the late owner's death. After the addition of the
+glass studio the two were only used as an antechamber, and were hung
+with the pictures presented by brother artists, and with a few old
+masters. The mouldings round the skylights are very pretty. The latticed
+window before mentioned looks down from the little studio into the Arab
+Hall.
+
+The great studio is a large room about sixty feet by twenty-five and
+about seventeen in height. In the centre of the north side is the lofty
+window forming a bay and extending into a skylight in the top. High up
+on either side of it are the three small openings mentioned when
+speaking of the exterior. A curtain hangs in front of them, and in point
+of fact they were never used. In the west wall is an apse with a gilt
+semi-dome, which appears in some of Lord Leighton's pictures. Across the
+east end runs a gallery at about eight feet from the floor with
+bookshelves under it on either side, and in the middle a broad passage
+leads into the glass studio, and still outside this is a wide balcony
+looking into the garden. Casts of a portion of the Panathenaic frieze of
+the Parthenon run along the upper part of the wall of the great studio, fit
+emblem of the lifelong devotion of the President to classic art. Such
+then is the workshop. Even now, comparatively bare as it is at the
+present moment of writing, this is one of the most picturesque suites of
+rooms in existence; but to see it on one of the grand occasions of
+Leighton's musical receptions was a very different sight and one not
+easily to be forgotten. Then when walls and easels were covered with
+pictures, when rare carpets hung from the gallery, flowers and palms
+filled the bay window, beautiful women and men of every form of
+distinction crowded the floor to listen to Joachim and Piatti, nothing
+was wanting which could give beauty or interest to the spectacle.
+
+It will be seen that the house is still rich in artistic beauty and
+still has objects of value. But the most precious of its contents are
+after all its associations. Its floors have been trodden by all that was
+most notable in the society of its owner's day, people whose names alone
+would be an epitome of our times. It was also the workshop of a great
+artist. But, above all, it was the centre of a great influence which
+profoundly modified English art.
+
+Whatever judgment the future may pass upon his own productions, the fact
+must never be lost sight of that even without them Leighton was a great
+man. Intellectually, spiritually, and socially he was the most brilliant
+leader and stimulator of artists we have ever seen in England. His
+earnest example and lifelong persistence fanned the flame of enthusiasm
+among all branches of art workers. He taught Englishmen to study form,
+and it was under his encouragement that sculpture, which was fallen so
+low, has now risen into so good a place. Finally he did more than anyone
+else has done to raise the status of the artist in society.
+
+The house which he built himself was his hobby, and in the refinement
+and catholicity of taste it shows, there is so just a reflex of his
+characteristics that an account of it is indispensable to any book which
+claims to describe the man.
+
+S. PEPYS COCKERELL.
+
+
+
+
+CHAPTER XI
+
+THE ARTIST AND HIS CRITICS
+
+
+Before closing our record it will be well to quote, as we promised
+earlier, some of the contemporary criticism that Sir Frederic's work has
+encountered from time to time; and especially the criticism of his
+earlier performances, while he was still in the years of his
+pre-Academic probation.
+
+As a provocation to criticism, most interesting of all is his picture,
+the _Cimabue's Madonna carried in Procession through the Streets of
+Florence_, upon which we have already commented. As we may here remind
+our readers, it was painted at Rome chiefly, in 1853-4, and was
+exhibited at the Academy of 1855. In that year, as good fortune would
+have it, Mr. Ruskin issued for the first time, "Notes on some of the
+Principal Pictures Exhibited in the Rooms of the Royal Academy." Some
+pages of this famous pronouncement are devoted to this very picture, and
+we cannot do better than quote freely from a criticism so remarkable.
+
+"This is a very important and very beautiful picture," says Mr. Ruskin.
+"It has both sincerity and grace, and is painted on the purest
+principles of Venetian art--that is to say, on the calm acceptance of
+the whole of nature, small and great, as, in its place, deserving of
+faithful rendering. The great secret of the Venetians was their
+simplicity. They were great colourists, not because they had peculiar
+secrets about oil and colour, but because when they saw a thing red,
+they painted it red; and ... when they saw it distinctly, they painted
+it distinctly. In all Paul Veronese's pictures, the lace borders of the
+table cloths or fringes of the dresses are painted with just as much
+care as the faces of the principal figures; and the reader may rest
+assured that in all great art it is so. Everything in it is done as well
+as it _can_ be done. Thus in the picture before us, in the background is
+the Church of San Miniato, strictly accurate in every detail; on the top
+of the wall are oleanders and pinks, as carefully painted as the church;
+the architecture of the shrine on the wall is well studied from
+thirteenth-century Gothic, and painted with as much care as the pinks;
+the dresses of the figures, very beautifully designed, are painted with
+as much care as the faces: that is to say, all things throughout with as
+much care as the painter could bestow. It necessarily follows that what
+is most difficult (_i.e._ the faces) should be comparatively the worst
+done. But if they are done as well as the painter could do them, it is
+all we have to ask; and modern artists are under a wonderful mistake in
+thinking that when they have painted faces ill, they make their pictures
+more valuable by painting the dresses worse.
+
+"The painting before us has been objected to because it seems broken up
+in bits. Precisely the same objection would hold, and in very nearly the
+same degree, against the best works of the Venetians. All faithful
+colourists' work, in figure-painting, has a look of sharp separation
+between part and part.... Although, however, in common with all other
+works of its class, it is marked by these sharp divisions, there is no
+confusion in its arrangement. The principal figure is nobly principal,
+not by extraordinary light, but by its own pure whiteness; and both the
+Master and the young Giotto attract full regard by distinction of form
+and face. The features of the boy are carefully studied, and are indeed
+what, from the existing portraits of him, we know those of Giotto must
+have been in his youth. The head of the young girl who wears the garland
+of blue flowers is also very sweetly conceived.
+
+"Such are the chief merits of the picture. Its defect is that the equal
+care given to the whole of it is not yet _care enough_. I am aware of no
+instance of a young painter, who was to be really great, who did not in
+his youth paint with intense effort and delicacy of finish. The handling
+here is much too broad; and the faces are, in many instances, out of
+drawing, and very opaque and feeble in colour. Nor have they in general
+the dignity of the countenance of the thirteenth century. The Dante
+especially is ill-conceived--far too haughty, and in no wise noble or
+thoughtful. It seems to me probable that Mr. Leighton has greatness in
+him, but there is no absolute proof of it in this picture; and if he
+does not, in succeeding years, paint far better, he will soon lose the
+power of painting so well."
+
+To Mr. Ruskin's account, which is sufficient to enable one to realize
+the picture in some detail, we may add further the criticism of the
+"Athenæum" of May 12th, 1855, which is interesting as showing how the
+work affected a contemporary critic of another order. It speaks of Mr.
+Leighton as "a young artist who, we believe, has studied in Italy," and
+goes on to say: "There can be no question that the picture is one of
+great power, although the composition is quaint even to sectarianism;
+and though the touch, in parts broad and masterly, is in the lesser
+parts of the roughest character." The last clause of the sentence bears
+out, it may be perceived, a significant indictment in Mr. Ruskin's
+deliverance, which lays stress on a defect that the artist, in his
+maturer brush-work, does not show.
+
+Rossetti, writing to his friend William Allingham, May 11th, 1855, says:
+"There is a big picture of _Cimabue_, one of his works in procession, by
+a new man, living abroad, named Leighton--a huge thing, which the Queen
+has bought, which everyone talks of. The R.A.'s have been gasping for
+years for someone to back against Hunt and Millais, and here they have
+him, a fact that makes some people do the picture injustice in return.
+It was _very_ uninteresting to me at first sight; but on looking more at
+it, I think there is great richness of arrangement, a quality which,
+when _really_ existing, as it does in the best old masters, and perhaps
+hitherto in no living man--at any rate English--ranks among the great
+qualities.
+
+"But I am not quite sure yet either of this or of the faculty for
+colour, which I suspect exists very strongly, but is certainly at
+present under a thick veil of paint, owing, I fancy, to too much
+continental study. One undoubted excellence it has--facility, without
+much neatness or ultra-cleverness in the execution, which is greatly
+like that of Paul Veronese; and the colour may mature in future works to
+the same resemblance, I fancy. There is much feeling for beauty, too, in
+the women. As for purely intellectual qualities, expression, intention,
+etc., there is little as yet of them; but I think that in art richness
+of arrangement is so nearly allied to these, that where it exists (in an
+earnest man) they will probably supervene. However, the choice of
+subject, though interesting in a certain way, leaves one quite in the
+dark as to what faculty the man may have for representing incident or
+passionate emotion. But I believe, as far as this showing goes, that he
+possesses qualities which the mass of our artists aim at chiefly, and
+only seem to possess. Whether he have those of which neither they nor he
+give sign, I cannot tell; but he is said to be only twenty-four years
+old. There is something very French in his work, at present, which is
+the most disagreeable thing about it; but this I dare say would leave
+him if he came to England."[12]
+
+In the year following Leighton's academical _début_, he exhibited a
+picture entitled _The Triumph of Music_, which the "Athenæum," hereafter
+so sympathetic towards his work, described as "anything but a triumph of
+art."
+
+Partly, perhaps, because of the general tone of discouragement in all
+the criticisms of this year, the artist did not send in anything to the
+Academy of 1857. In 1858 his two pictures--_The Fisherman and the
+Syren_, and _Count Paris_, although admirably conceived, and extremely
+interesting to us now, received no word of friendly criticism that is
+worth recording.
+
+At the Academy of 1859 were exhibited two pictures by him, which served
+to reassure at last those critics who had been shaking their heads over
+his supposed inability to follow up his first success. We turn to the
+"Athenæum" again, to study its gradual conversion from an attitude of
+critical distrust to one of critical sympathy:
+
+"Mr. Leighton," says the "Athenæum," "after a temporary eclipse,
+struggles again to light. His heads of Italian women this year are
+worthy of a young old master: anything more feeling, commanding, or
+coldly beautiful, we have not seen for many a day.... This is real
+painting, and we cannot but think that a painter who can paint so
+powerfully will soon be able to surpass that processional picture of
+his,..." _i.e._, the _Cimabue_.
+
+In 1860, the artist, who then entered upon his thirtieth year, exhibited
+a small picture, _Capri, Sunrise_, which won great praise for its
+successful treatment of Italian landscape under the Scirocco, whose
+sulphurous light is cast with evil suggestion upon the white houses and
+green vegetation. In paying his tribute to the quality of the picture,
+the critic of the "Athenæum" cannot resist, however, the old cry of
+great expectations. For the effect of the _Cimabue's Madonna_ had
+aroused critics to regard the painter as one who would continue the
+legend of the great historical schools, and carry on the traditions of
+the so-called grand style. But the critic proposes, the creator
+disposes: the artist went his own way, following still his own ideals.
+
+In 1861, some rather warm discussion raged over two of the artist's
+contributions to the Royal Academy, which appeared in its catalogue as
+Nos. 399 and 550, and which, it was said, had been deliberately slighted
+by the hanging committee. In later years, Leighton must sometimes have
+smiled when he heard (as from his position he must needs have,) the
+annual plaint of the "skied." It is to the "Art Journal," whose
+criticisms, when they had to do with the new and rising schools, used to
+be always entertaining, if often provoking, in those days, that we turn
+for a contemporary account of these things, rather than to any other
+source. The critic having premised, with a delightful and convincing air
+of "I told you so!" that his first effort (the inevitable _Cimabue's
+Madonna_) having exhausted the poor artist, "he has been coming down the
+ladder of fame ever since," continues in characteristic tones: "Instead
+of being hung too high, the _Dream_, had it been properly hung, would
+have been displayed upon the ceiling." The picture, according to this
+authority, consisted only of a questionable combination of the "lower
+forms of mere decorative ornamentation," and was in fact, "not so much a
+picture as a very clever treatment for the centre of a ceiling." So much
+for what was really the first clear sign of the artist's delightful
+decorative faculty.
+
+It is clear from various evidences of the feeling of the critics about
+Leighton at this time, that they had begun to look upon him as one whose
+ideals were frivolous, and not seriously minded, or weighted with the
+true British substantiality of the old Academy tradition. In the very
+next year, the artist, by the chances of his own temperamental
+many-sided delight in life and art, did something to reassure his
+admonitors once more. No. 217 at the Royal Academy of 1862 was his
+picture, _The Star of Bethlehem_, which, with some natural and not
+unfair deductions, won considerable praise from the critic last quoted.
+In this painting, which shows curiously the mingled academic and natural
+quality of the artist, the critic found profound incompatibilities of
+conception and technique; and next year, the same critic was stirred to
+exclaim,--"The pictures which of all others give most trouble and
+anxiety to the critic are perhaps those of Mr. Millais and Mr.
+Leighton,"--a very suggestive conjunction of names, let us add.
+
+It was probably the same critic, who speaking of the _Dante at Verona_,
+in 1864, said gravely, "The promise given by the _Cimabue_ here reaches
+fruition."
+
+Writing in 1863, Mr. W. M. Rossetti, a critic whom it is interesting to
+be able to cite, said of two of the artist's pictures of that year, the
+_Girl feeding Peacocks_ and the _Girl with a Basket of Fruit_, they
+belong "to that class of art in which Mr. Leighton shines--the art of
+luxurious exquisiteness; beauty, for beauty's sake; colour, light, form,
+choice details, for their own sake, or for beauty's."
+
+In the same year, Mr. Rossetti spoke of the young artist as the one
+"British painter of special faculty who has come forward with the most
+decided novelty of aim"--since, that is, the new development of art
+under the little band of Pre-Raphaelites,--with which Mr. W. M. Rossetti
+was himself so closely associated.
+
+By way of contrast, we may cite the "Art Journal" of 1865, which
+provides a most extraordinary criticism of _David_, of that year. "We
+would venture to ask," says this ingenious critic, "why the divine
+psalmist has so small a brain? Within this skull there is not compass
+for the poet's thoughts to range. We state as a physiological fact, that
+a head so small, with a brow so receding, could not have belonged to any
+man who has made himself conspicuous in the world's history. Again,
+descending to mere matter of costume, there cannot be a doubt that the
+purple mantle flung on the psalmist's shoulders is wholly wanting in
+study of detail, and constitutes a blot on the landscape. Barring these
+oversights, the picture possesses merits."
+
+At this period we hear the first critical murmurs against the artist's
+very deliberately chosen method of flesh-painting. In 1867, speaking of
+the _Venus Disrobing_, the "Art Journal" critic says: "According to the
+manner, not to say the mannerism, of the artist, it has a pale silvery
+hue, not as white as marble, not so life-glowing as flesh." With this we
+may compare, for the comparison is instructive, the "Athenæum," whose
+notice is more sympathetic. The figure of the goddess it describes as
+"all rosy white, ... admirably drawn, and modelled with extreme care."
+
+Again, in 1868, the "Art Journal" says of Sir Frederic's _Actæa_: "The
+artist has made some attempt to paint flesh in its freshness and
+transparency, and indeed the more he renounces the opacity of the German
+school, and the more he can realize the brilliance of the old Venetian
+painters, the better."
+
+In 1869, the "Athenæum" praised the _Sister's Kiss_, as "a lovely
+group," but complained that the execution was a "little too smooth,"--a
+complaint not infrequently echoed from time to time by the artist's
+critics. Some years later we find Mr. W. M. Rossetti making the same
+complaint in criticising _Winding the Skein_.
+
+In 1875 the picture, _Portions of the Interior of the Grand Mosque at
+Damascus_, won great praise, as "a remarkably delicate piece of work, in
+which the beautiful colouring of the tiled walls and mosaic pavement are
+skilfully rendered."
+
+In 1876, the quondam hostile "Art Journal" is completely converted by
+the _Daphnephoria_: "To project such a scene upon canvas presupposes a
+man of high poetic imagination, and when it is accompanied by such
+delicacy and yet such precision of drawing and such sincerity of
+modelling, the poet is merged in the painter and we speak of such a one
+as a master. There is, indeed, nothing more consolatory to those who
+take an interest in British art than the knowledge that we have among us
+a man of such pure devotion and lofty aim."
+
+It was in 1875, that Mr. Ruskin, resuming his _rôle_ of an Academy
+critic, claimed Leighton as "a kindred Goth," and confessed, "I
+determined on writing this number of 'Academy Notes,' simply because I
+was so much delighted with Mr. Leslie's _School_, Mr. Leighton's _Little
+Fatima_, Mr. Hook's _Hearts of Oak_, and Mr. Couldery's _Kittens_."
+
+In his lectures on the Art of England, the same critic, speaking of
+Leighton's children, says: "It is with extreme gratitude, and
+unqualified admiration, that I find Sir Frederic condescending from the
+majesties of Olympus to the worship of those unappalling powers, which,
+heaven be thanked, are as brightly Anglo-Saxon as Hellenic; and painting
+for us, with a soft charm peculiarly his own, the witchcraft and the
+wonderfulness of childhood."
+
+Upon the _Egyptian Slinger_ of the same year, which Mr. Ruskin terms the
+"study of man in his Oriental function of scarecrow (symmetrically
+antithetic to his British one of game preserver)," his criticism is
+interesting, but adverse. The critic who elsewhere acknowledged fully
+the artist's acutely observant and enthusiastic study of the organism of
+the human body, confesses himself unable to recognize his skill, or to
+feel sympathy with the subjects that admit of its display. It is, he
+goes on to say further of the _Slinger_, "it is, I do not doubt,
+anatomically correct, and with the addition of the corn, the poppies,
+and the moon, becomes semi-artistic; so that I feel much compunction in
+depressing it into the Natural History class; and the more, because it
+partly forfeits its claim even to such position, by obscuring in
+twilight and disturbing our minds, in the process of scientific
+investigation, by sensational effects of afterglow and lunar effulgence,
+which are disadvantageous, not to the scientific observer only, but to
+less learned spectators; for when simple persons like myself, greatly
+susceptible to the influence of the stage lamps and pink side-lights,
+first catch sight of this striding figure from the other side of the
+room, and take it, perhaps, for the angel with his right foot on the sea
+and the left on the earth, swearing there shall be Time no longer; or
+for Achilles alighting from one of his lance-cast-long leaps on the
+shore of Scamander, and find on near approach that all this grand
+straddling and turning down of the gas mean practically only a lad
+shying stones at sparrows, we are only too likely to pass it petulantly
+without taking note of what is really interesting in this eastern custom
+and skill."
+
+
+[Illustration: EGYPTIAN SLINGER (1875)]
+
+
+The most recent criticism of importance on the art of Leighton is
+contained in an admirable volume by M. de la Sizeranne.[13] We take this
+opportunity of quoting a few sentences from an appreciation which opens
+with the significant remark that Sir Frederic Leighton is officially the
+representative of English painting on the Continent, and, in reality,
+the representative of Continental painting in England, and concludes by
+tracing the definitely English ideal that underlies the artist's work.
+Elsewhere the critic says, "Ce qui est britannique en M. Leighton,
+quoique bien voilé par son éclectisme, transparaîtra encore." Apart from
+Leighton's distinctively native predilection for certain subjects, M. de
+la Sizeranne finds him very English in his treatment of draperies, for
+instance, a treatment which he traces ingeniously to the much study
+given to the Greek drapery of the Elgin marbles by the English School,
+since the days of the Pre-Raphaelites. Elsewhere, taking as his text the
+picture _The Spirit of the Summit_, he says: "Des sujets qui élèvent la
+pensée vers les sommets de la vie ou de l'histoire, de sorte qu'on ne
+puisse se rappeler un nez ou une jambe sans se souvenir de quelque haute
+leçon évangélique, ou de moins de quelque grande nécessité sociale,
+voilà ce que M. Leighton a traité. Et un style beaucoup plus sobre que
+celui d'Overbeck, beaucoup plus viril que celui de M. Bouguereau, voilà
+comment il les a traités." Again: "La grandeur de la communion humaine,
+la noblesse de la paix, tel est le thème qui a le plus souvent et le
+mieux inspiré M. Leighton. Et cela il ne l'a pas trouvé en France, ni
+ailleurs. C'est bien une idée anglaise." No better summing up of the
+chronicle of the life work of the artist could well be found.
+
+But we have pursued far enough this study of an artist's progress
+through the thorny, devious ways of art criticism. We have reached the
+point, in fact, where the comparative uncertainties of an artist's
+career make way for the certainties. With one quotation more, in which
+we have a tribute from another critic, Mr. Comyns Carr, we may fitly
+close: "No painter of our time," said Mr. Carr, "maintains a firmer or
+more constant adherence to those severe principles of design which have
+received the sanction of great example in the past. Sir Frederic
+Leighton has never lowered the standard of his work in deference to any
+popular demand, and for this persistent devotion to his own highest
+ideals he deserves well of all who share his faith in the power of
+beauty."
+
+
+[Illustration: ELISHA AND THE SHUNAMITE'S SON (1881)]
+
+
+
+
+CHAPTER XII
+
+CONCLUSION
+
+
+In now bringing this record to a close, we will of set purpose remain
+true to the chronicler's function, pure and simple; attempting no
+profounder or more critical summing up of our subject, than consists
+with the plain record of a remarkable career.
+
+After a year of indifferent health, during part of which time he was
+ordered abroad for rest and change, being thus unable to preside at the
+annual banquet in May, Leighton returned to England apparently
+convalescent. Although unable to deliver the biennial presidential
+address, which fell due in December, 1895, he met the students on that
+occasion, and apologized for not delivering the Discourse which was due,
+in these words: "The cloud which has hung over me hangs over me
+still."[14]
+
+Early in 1896 a peerage was bestowed upon him, and all the world
+applauded the honour conferred on Art in his name. On January 13th,
+1896, the news of his death came as a terrible surprise. The new peer,
+Baron Leighton of Stretton, was buried with much state at St. Paul's
+Cathedral, before men in general had wholly recognized that Lord
+Leighton was the popular "Sir Frederic," the President of the Royal
+Academy, and one of the most familiar figures at any important
+function--at court or elsewhere.
+
+Except perhaps in the case of politicians, who live in some degree by
+the public recognition of their personal qualities, it is difficult to
+render tribute gracefully and well to a contemporary. But we cannot
+close these pages, now, without pausing to recall how fortunate it has
+been that English Art, for seventeen years, had as its titular head an
+artist whose affluent artistic faculty was but the open sign of a
+crowded life, loyal throughout to the great causes, high ideals, and,
+let us add, the early friendships, chosen long ago in the mid century.
+We are now at that century's end,--an end not without its reproach, as
+expressed by a decadence more self-conscious than dignified, more
+critical than creative; but in Lord Leighton's Art there was little
+diminution in his active energy, and of that finer health and spirit of
+life, which is behind all beauty! Like his distinguished friend and
+colleague, Mr. G. F. Watts (whose tribute to him as a man and as an
+artist has been expressed again and again in eloquent terms), Leighton
+remained, in his later period as in his youth, generously alive to all
+the things that count, devoted still to the Art, the current life, and
+the great national traditions, of his own country.
+
+From another famous colleague, Sir E. J. Poynter, P.R.A., one may fitly
+add here the following further sentences of contemporary tribute, which
+were written by way of dedication to his "Ten Lectures on Art,"
+published some years ago:--"I came to-day from the 'Varnishing Day' at
+the Royal Academy Exhibition with a pleasant conviction that there is on
+all sides a more decided tendency towards a higher standard in Art, both
+as regards treatment of subject and execution, than I have before
+noticed; and I have no hesitation in attributing this sudden improvement
+in the main to the stimulus given to us all by the election of our new
+President, and to the influence of the energy, thoroughness and nobility
+of aim which he displays in everything he undertakes. I was probably the
+first, when we were both young and in Rome together, to whom he had the
+opportunity of showing the disinterested kindness which he has
+invariably extended to beginners, and to him, as the friend and master
+who first directed my ambition, and whose precepts I never fail to
+recall when at work (as many another will recall them), I venture to
+dedicate this book with affection and respect."
+
+"As we are, so our work is!" said Leighton in one of the most memorable
+of his Discourses; "and the moral effect of what we are will control the
+artist's work from the first touch of the brush or chisel to the last."
+"Believe me," he concludes, in a striking passage that may very fitly
+serve us, too, with a conclusion to these passages, "believe me,
+whatever of dignity, whatever of strength we have within us, will
+dignify and will make strong the labours of our hands; whatever
+littleness degrades our spirit will lessen them and drag them down.
+Whatever noble fire is in our hearts will burn also in our work,
+whatever purity is ours will also chasten and exalt it; for as we are,
+so our work is, and what we sow in our lives, that, beyond a doubt, we
+shall reap for good or for ill in the strengthening or defacing of
+whatever gifts have fallen to our lot."
+
+It would be superfluous to quote from the elegiac tributes which
+appeared in the public press after Lord Leighton's death, and invidious
+to repeat certain unkind and unjust strictures which marred the
+otherwise unanimous note of appreciation. It is obvious that an artist
+with so strongly marked a personality must needs have been fettered by
+the very limits he himself had set. At one time, when a painter of
+eminence openly expressed his preference for Lord Leighton's unfinished
+work, and begged him to keep a certain picture as "a beautiful sketch,"
+he replied: "No, I shall finish it, and probably, as you suggest, spoil
+it. To complete satisfactorily is what we painters live for. I am not a
+great painter, but I am always striving to finish my work up to my first
+conception."
+
+There are many mansions in the city of Art, and if the one of Lord
+Leighton's building was not to the taste of all his contemporaries, the
+edifice can be left to await the final test of years. Fashions in taste
+change rapidly, and much of his finish that finds disfavour to-day may
+in time charm once again. A career overburdened by official honour was
+destined to provoke a certain amount of envious protest; but as a man,
+no voice has urged a word against his ideally perfect performance, not
+merely of his official duties, but of others which indeed were laid upon
+him by his position. These he obeyed without ostentation--almost without
+men's knowledge. His kindly help, by commendation or by commission given
+to young artists; his broad and tolerant view of work conceived in
+direct opposition to all he valued himself, was not hidden from his
+friends. "It is with a sense of amazement," a critic writes in a private
+letter, "that one afternoon after a protest that nothing he said was to
+be published, I heard him discuss the prospects and the works of our
+ultra-modern painters. Even in fields beyond his sympathy he picked out
+the chaff from the wheat, and was judicially accurate in his verdicts of
+the difference between 'tweedle-dum' and 'tweedle-dee,' both one would
+have said, entirely unknown to him."
+
+In Lord Leighton British artists lost a truer friend than many of them
+suspected, one who wielded his power justly to all, and was more often
+on the side of progress than not, a power for reform that can never be
+estimated at its actual value, working within a highly conservative
+body, full of vested interests and prejudice--as is the habit of
+academies of Art and Literature abroad no less than at home. That
+Leighton, who controlled its destinies so long, was loyal to its true
+interests, and never forgot the institution with which he was associated
+so many years is evident from his last words: "Give my love to all at
+the Academy."
+
+
+[Illustration: BOOKPLATE OF LORD LEIGHTON. DESIGNED BY R. ANNING BELL.]
+
+
+
+
+APPENDIX I
+
+LIST OF PRINCIPAL WORKS
+
+_With date and place of exhibition_
+
+
+1850  (_circa_). *CIMABUE FINDING GIOTTO IN THE FIELDS OF FLORENCE.[15]
+      (49-1/2 × 37 in.) Steinle Institute (Frankfort).
+
+1850. THE DUEL BETWEEN ROMEO AND TYBALT. (37 × 50 in.)
+
+1851  (_circa_). THE DEATH OF BRUNELLESCHI. Steinle Institute.
+
+1851. [EARLY PORTRAIT OF LEIGHTON BY HIMSELF.]
+
+1852. *A PERSIAN PEDLAR.
+
+  "   [BUFFALMACCO, THE PAINTER. A humorous subject, taken from Vasari,
+      was undertaken about this date.]
+
+1853. PORTRAIT OF MISS LAING (Lady Nias).
+
+1855. *CIMABUE'S CELEBRATED MADONNA IS CARRIED IN PROCESSION THROUGH
+      THE STREETS OF FLORENCE. In front of the Madonna, and crowned with
+      laurels, walks Cimabue himself, with his pupil Giotto; behind it,
+      Arnolfo di Lapo, Gaddo Gaddi, Andrea Tafi, Nicola Pisano,
+      Buffalmacco and Simone Memmi; in the corner, Dante.
+      (87-1/2 × 205 in.)                                           R.A.[16]
+
+  "   THE RECONCILIATION OF THE MONTAGUES AND CAPULETS over the dead
+      bodies of Romeo and Juliet. Paris International Exhibition.[17]
+
+1856. THE TRIUMPH OF MUSIC. (80 × 110 in.)                             R.A.
+
+      "Orpheus, by the power of his art, redeems his wife from Hades."
+
+1857. *SALOME, the daughter of Herodias. (44-1/2 × 25 in.)
+
+1858. *THE MERMAID (THE FISHERMAN AND THE SYREN).
+      (From a ballad by Goethe.) (26-1/2 × 18-1/2 in.)                 R.A.
+
+          "Half drew she him,
+          Half sunk he in,
+          And never more was seen."
+
+  "   "COUNT PARIS, accompanied by Friar Lawrence and a band of
+      musicians, comes to the house of the Capulets, to claim his
+      bride: he finds Juliet stretched apparently lifeless on her
+      bed."--_Romeo and Juliet_, act IV., sc. 5. (26-1/2 × 18-1/2 in.) R.A.
+
+  "   REMINISCENCE OF ALGIERS.                                         S.S.
+
+        _These were_,
+
+          [A SUBJECT FROM KEATS'S HYMN TO PAN,] _in the first book of
+          "Endymion," a figure of Pan under a fig-tree, with the
+          inscription_,
+
+                                "_O thou, to whom
+              Broad-leaved fig-trees even now foredoom
+              Their ripen'd fruitage;_"
+
+        _and the other_,
+
+          [A PENDANT TO THE "PAN,"] _the figure of a nude nymph about
+          to bathe, with a little Cupid loosening her sandal._
+
+1859. SUNNY HOURS.                                                     R.A.
+
+  "   *ROMAN LADY (La Nanna).                                          R.A.
+
+  "   *NANNA (Pavonia).                                                R.A.
+
+  "   SAMSON AND DELILAH.                                              S.S.
+
+1860. CAPRI--SUNRISE.                                                  R.A.
+
+1861. *PORTRAIT OF MRS. SUTHERLAND ORR. [Mrs. S. O., a portrait.]
+      (28 × 18 in.)                                                    R.A.
+
+  "   *PORTRAIT OF JOHN HANSON WALKER, ESQ. (23 × 17 in.)
+
+  "   PAOLO E FRANCESCA.                                               R.A.
+
+          "Ma solo un punto fu quel che ci vinse
+          Quando legemmo il disiato riso
+          Esser baciato da cotanto amante,
+          Questi, che mai da me non fia diviso,
+          La bocca mi baciò tutto tremante:
+          Galeotto fu'l libro e chi lo scrisse:
+          Quel giorno più non vi legemmo avante."
+
+  "   A DREAM.                                                         R.A.
+
+          ... "Not yet--not yet--
+          Still there is trial for thee, still the lot
+          To bear (the Father wills it) strife and care;
+          With this sweet consciousness in balance set
+          Against the world, to soothe thy suffering there
+             Thy Lord rejects thee not.
+          Such tender words awoke me hopeful, shriven
+          To life on earth again from dream of heaven."
+
+  "   LIEDER OHNE WORTE.                                               R.A.
+
+  "   J. A. A STUDY.                                                   R.A.
+
+  "   CAPRI--PAGANOS.                                                  R.A.
+
+1862. ODALISQUE.                                                       R.A.
+
+  "   *THE STAR OF BETHLEHEM. (60 × 23-1/2 in.)                        R.A.
+
+          One of the Magi, from the terrace of his house, stands
+          looking at the star in the East; the lower part of the
+          picture indicates a road, which he may be supposed
+          just to have left.
+
+  "   SISTERS.                                                         R.A.
+
+  "   *MICHAEL ANGELO NURSING HIS DYING SERVANT. (43 × 36 in.)         R.A.
+
+  "   DUETT.                                                           R.A.
+
+  "   SEA ECHOES.                                                      R.A.
+
+  "   RUSTIC MUSIC.
+
+1863. JEZEBEL AND AHAB, having caused Naboth to be put to death,
+      go down to take possession of his vineyard; they are met at
+      the entrance by Elijah the Tishbite:                             R.A.
+
+          "Hast thou killed, and also taken possession?"
+
+  "   *EUCHARIS. (A Girl with a Basket of Fruit.) (32-1/2 × 22 in.)    R.A.
+
+  "   A GIRL FEEDING PEACOCKS.                                         R.A.
+
+  "   AN ITALIAN CROSSBOW-MAN. (15 × 24-1/2 in.)                       R.A.
+
+1864. DANTE AT VERONA.                                                 R.A.
+
+  "   *ORPHEUS AND EURYDICE. (49 × 42 in.)                             R.A.
+
+          "But give them me--the mouth, the eyes,--the brow--
+          Let them once more absorb me! One look now
+          Will lap me round for ever, not to pass
+          Out of its light, though darkness lie beyond!
+          Hold me but safe again within the bond
+          Of one immortal look! All woe that was,
+          Forgotten, and all terror that may be,
+          Defied--no past is mine, no future! look at me!"
+                              ROBERT BROWNING: _A Fragment_.
+
+  "   *GOLDEN HOURS. (36 × 48 in.)                                     R.A.
+
+  "   *PORTRAIT OF THE LATE MISS LAVINIA I'ANSON. (Circular, 12-1/2 in.)
+
+1865. *DAVID. (37 × 47 in.)                                            R.A.
+
+          "Oh that I had wings like a dove! for then would I fly
+          away and be at rest." _Psalm_ lv.
+
+  "   MOTHER AND CHILD.                                                R.A.
+
+  "   WIDOW'S PRAYER.                                                  R.A.
+
+  "   HELEN OF TROY.                                                   R.A.
+
+          "Thus as she spoke, in Helen's breast arose
+          Fond recollections of her former lord,
+          Her home, and parents; o'er her head she threw
+          A snowy veil; and shedding tender tears
+          She issued forth not unaccompanied;
+          For with her went fair Æthra, Pittheus' child.
+          And stag-eyed Clymene, her maidens twain.
+          They quickly at the Scæan gate arrived."
+
+  "   IN ST. MARK'S.                                                   R.A.
+
+1866. PAINTER'S HONEYMOON.                                             R.A.
+
+  "   PORTRAIT OF MRS. JAMES GUTHRIE.                                  R.A.
+
+  "   SYRACUSAN BRIDE LEADING WILD BEASTS IN PROCESSION TO THE
+      TEMPLE OF DIANA.                                                 R.A.
+
+          (Suggested by a passage in the second Idyll of Theocritus.)
+
+          "And for her, then, many other wild beasts were going in
+          procession round about, and among them a lioness."
+
+  "   THE WISE AND FOOLISH VIRGINS. (Fresco in Lyndhurst Church.)
+
+1867. *PASTORAL. (51-1/2 × 26 in.)                                     R.A.
+
+  "   *GREEK GIRL DANCING. (Spanish Dancing Girl: Cadiz in the old
+      times.) (34 × 45 in.)                                            R.A.
+
+  "   KNUCKLE-BONE PLAYER.                                             R.A.
+
+  "   *ROMAN MOTHER. (24 × 19 in.)                                     R.A.
+
+  "   *VENUS DISROBING FOR THE BATH. (79 × 35-1/2 in.)                 R.A.
+
+  "   *PORTRAIT OF MRS. JOHN HANSON WALKER. (18 × 16 in.)
+
+1868. JONATHAN'S TOKEN TO DAVID.                                       R.A.
+
+          "And it came to pass in the morning, that Jonathan went
+          out into the field at the time appointed by David, and
+          a little lad with him."
+
+  "   *PORTRAIT OF MRS. FREDERICK P. COCKERELL. (23-1/2 × 19-1/2 in.)  R.A.
+
+  "   *PORTRAIT OF JOHN MARTINEAU, ESQ. (23-1/2 × 19-1/2 in.)
+
+  "   *ARIADNE ABANDONED BY THESEUS; Ariadne watches for his return;
+      Artemis releases her by death. (45 × 62 in.)                     R.A.
+
+  "   *ACME AND SEPTIMIUS. (Circular, 37-1/2 in.)                      R.A.
+
+          "Then bending gently back her head
+          With that sweet mouth, so rosy red,
+          Upon his eyes she dropped a kiss,
+          Intoxicating him with bliss."
+                              CATULLUS (Theodore Martin's translation).
+
+  "   *ACTÆA, THE NYMPH OF THE SHORE. (22 × 40 in.)                    R.A.
+
+1869. *ST. JEROME. (Diploma work, deposited in the Academy on his
+      election as an Academician.) (72 × 55 in.)                       R.A.
+
+  "   *DÆDALUS AND ICARUS. (53-1/2 × 40-1/2 in.)                       R.A.
+
+  "   *ELECTRA AT THE TOMB OF AGAMEMNON. (59-1/2 × 29 in.)             R.A.
+
+  "   *HELIOS AND RHODOS. (65-1/2 × 42 in.)                            R.A.
+
+1870. A NILE WOMAN. (21-1/2 × 11-1/2 in.)                              R.A.
+
+  "   STUDY.                                                           S.S.
+
+1871. *HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS.
+      (54 × 104-1/2 in.)                                               R.A.
+
+  "   GREEK GIRLS PICKING UP PEBBLES BY THE SHORE OF THE SEA.          R.A.
+
+  "   *CLEOBOULOS INSTRUCTING HIS DAUGHTER CLEOBOULINE.
+      (24 × 37-1/2 in.)                                                R.A.
+
+  "   VIEW OF ASSIOUT(?) (_A sketch._)                                 S.S.
+
+  "   SUNRISE AT LONGSOR. (_A sketch._)                                S.S.
+
+  "   VIEW OF THE RED MOUNTAINS NEAR CAIRO. (_A sketch._)              S.S.
+
+1872. *AFTER VESPERS. (43 × 27-1/2 in.)                                R.A.
+
+  "   *SUMMER MOON. (Guildhall, 1890.) (39-1/2 × 50-1/2 in.)           R.A.
+
+  "   PORTRAIT OF THE RIGHT HON. EDWARD RYAN, Secretary of the
+      Dilettanti Society, for which the picture was painted.
+      (S.P.P., 1893.)                                                  R.A.
+
+  "   A CONDOTTIERE.                                                   R.A.
+
+  "   *THE INDUSTRIAL ARTS OF WAR at the International Exhibition
+      at South Kensington. (Monochrome, 76 × 177 in.)
+
+  "   THE CAPTIVE.                                                     S.S.
+
+  "   AN ARAB CAFÉ, ALGIERS.                                           S.S.
+
+1873. *WEAVING THE WREATH. (Guildhall, 1895.)                          R.A.
+
+  "   MORETTA. (Guildhall, 1894.) (20-1/2 × 14-1/2 in.)                R.A.
+
+  "   *THE INDUSTRIAL ARTS OF PEACE. (Monochrome, 76 × 177 in.)        R.A.
+
+  "   A ROMAN.                                                         S.S.
+
+  "   VITTORIA.                                                        S.S.
+
+1874. *MOORISH GARDEN: a dream of Granada. (41 × 40 in.)
+      (Guildhall, 1895.)                                               R.A.
+
+  "   OLD DAMASCUS: Jews' Quarter.                                     R.A.
+
+  "   *ANTIQUE JUGGLING GIRL. (Guildhall, 1892.) (41-1/2 × 24 in.)     R.A.
+
+  "   CLYTEMNESTRA from the battlements of Argos watches for the
+      beacon fires which are to announce the return of Agamemnon.      R.A.
+
+  "   ANNARELLA, ANA CAPRI.                                            D.G.
+
+  "   RUBINELLA, CAPRI.                                                D.G.
+
+  "   LEMON TREE, CAPRI.                                               D.G.
+
+  "   WEST COURT OF PALAZZO, VENICE.                                   D.G.
+
+1875. *PORTION OF THE INTERIOR OF THE GRAND MOSQUE OF DAMASCUS.
+      (62 × 47 in.)                                                    R.A.
+
+  "   *PORTRAIT OF MRS. H. E. GORDON (35-1/2 × 37 in.)                 R.A.
+
+  "   *LITTLE FATIMA. (15-1/2 × 9-1/4 in.)                             R.A.
+
+  "   VENETIAN GIRL.                                                   R.A.
+
+  "   *EGYPTIAN SLINGER. (Eastern Slinger Scaring Birds in
+      Harvest-time: Moonrise.) (Guildhall, 1890.)                      R.A.
+
+  "   FLORENTINE YOUTH.                                                S.S.
+
+  "   RUINED MOSQUE IN DAMASCUS.                                       S.S.
+
+1876. *PORTRAIT OF SIR RICHARD FRANCIS BURTON, K.C.M.G. (Portrait
+      of Capt. Richard Burton, H.M. Consul at Trieste). (23-1/2 ×
+      19-1/2 in.) (Paris, 1878; Melbourne, 1888; S.P.P., 1892.)        R.A.
+
+  "   *THE DAPHNEPHORIA. (89 × 204 in.)                                R.A.
+
+          A triumphal procession held every ninth year at Thebes,
+          in honour of Apollo and to commemorate a victory of the
+          Thebans over the Æolians of Arne. (See Proclus,
+          "Chrestomath," p. 11.)
+
+  "   TERESINA.                                                        R.A.
+
+  "   PAOLO.                                                           R.A.
+
+1877. *MUSIC LESSON. (36-1/2 × 37-1/8 in.) (Paris, 1878.)              R.A.
+
+  "   *PORTRAIT OF MISS MABEL MILLS (The Hon. Mrs. Grenfell).
+      (23 × 19 in.)                                                    R.A.
+
+  "   *AN ATHLETE STRANGLING A PYTHON.[18] Bronze. (Paris, 1878.)      R.A.
+
+  "   *PORTRAIT OF H. E. GORDON. (23-1/2 × 19 in.)                     G.G.
+
+  "   AN ITALIAN GIRL.                                                 G.G.
+
+  "   *STUDY. (A little girl with fair hair, in a pink robe.)
+      (24 × 28 in.)                                                    R.A.
+
+  "   A STUDY.                                                         G.G.
+
+1878. *NAUSICAA. (57-1/2 × 25-1/2 in.) (Guildhall, 1896.)              R.A.
+
+  "   SERAFINA.                                                        R.A.
+
+  "   *WINDING THE SKEIN. (39-1/2 × 63-1/2 in.)                        R.A.
+
+  "   A STUDY.                                                         R.A.
+
+  "   *PORTRAIT OF MISS RUTH STEWART HODGSON. (50-1/2 × 35-1/2 in.)    G.G.
+
+  "   STUDY OF A GIRL'S HEAD.                                          G.G.
+
+  "   SIERRA: ELVIZA IN THE DISTANCE, GRANADA.                         S.S.
+
+  "   THE SIERRA ALHAMA, GRANADA.                                      S.S.
+
+1879. BIONDINA.                                                        R.A.
+
+  "   CATARINA.                                                        R.A.
+
+  "   *ELIJAH IN THE WILDERNESS. (91 × 81-1/2 in.) (Paris, 1878.)      R.A.
+
+  "   PORTRAIT OF SIGNOR G. COSTA.                                     R.A.
+
+  "   AMARILLA.                                                        R.A.
+
+  "   A STUDY.                                                         R.A.
+
+  "   PORTRAIT OF THE COUNTESS BROWNLOW.                               R.A.
+
+  "   *NERUCCIA. (19 × 16 in.)                                         R.A.
+
+  "   A STUDY.                                                         S.S.
+
+  "   THE CARRACA HILLS.                                               S.S.
+
+  "   A STREET IN LERICI.                                              S.S.
+
+  "   VIA BIANCA, CAPRI.                                               G.G.
+
+  "   ARCHWAY IN ALGIERS.                                              G.G.
+
+  "   RUINS OF A MOSQUE, DAMASCUS.                                     G.G.
+
+  "   STUDY OF A DONKEY.                                               G.G.
+
+  "   ON THE TERRACE, CAPRI.                                           G.G.
+
+  "   SKETCH NEAR DAMASCUS.                                            G.G.
+
+  "   VIEW IN GRANADA.                                                 G.G.
+
+  "   STUDY OF A DONKEY, EGYPT.                                        G.G.
+
+  "   STUDY OF A HEAD.                                                 G.G.
+
+  "   NICANDRA.                                                        G.G.
+
+1880. *SISTER'S KISS. (48 × 21-1/2 in.)                                R.A.
+
+  "   *IOSTEPHANE. (37 × 19 in.)                                       R.A.
+
+  "   THE LIGHT OF THE HAREM. (60 × 33 in.)                            R.A.
+
+  "   PSAMATHE. (36 × 24 in.)                                          R.A.
+
+  "   *THE NYMPH OF THE DARGLE (Crenaia). (29-1/2 × 10 in.)            R.A.
+
+  "   RUBINELLA.                                                       G.G.
+
+  "   THE POZZO CORNER, VENICE.           Winter Exhibition.           G.G.
+
+  "   JACK AND HIS CIDER CAN.               "        "                 G.G.
+
+  "   THE PAINTER'S HONEYMOON.              "        "                 G.G.
+
+  "   WINDING OF THE SKEIN (with sketch).   "        "                 G.G.
+
+  "   HEAD OF URBINO.                       "        "                 G.G.
+
+  "   STEPS OF THE BARGELLO, FLORENCE.      "        "                 G.G.
+
+  "   A CONTRAST.                           "        "                 G.G.
+
+  "   GARDEN AT CAPRI.                      "        "                 G.G.
+
+  "   TWENTY-NINE STUDIES OF HEADS,
+      FLOWERS, AND DRAPERIES.               "        "                 G.G.
+
+1881. ELISHA RAISING THE SON OF THE SHUNAMITE. (32 x 54 in.)
+      (Guildhall, 1895.)                                               R.A.
+
+  "   PORTRAIT OF THE PAINTER.[19]                                     R.A.
+
+  "   *IDYLL. (41-1/2 × 84 in.)                                        R.A.
+
+  "   *PORTRAIT OF MRS. STEPHEN RALLI. (48 × 33 in.)                   R.A.
+
+  "   *WHISPERS. (48 × 30 in.)                                         R.A.
+
+  "   VIOLA.                                                           R.A.
+
+  "   *BIANCA. (18 × 12-1/2 in.)                                       R.A.
+
+  "   PORTRAIT OF MRS. ALGERNON SARTORIS.                              G.G.
+
+1882. *DAY-DREAMS. (47-1/2 × 35-1/2 in.)                               R.A.
+
+  "   WEDDED.                                                          R.A.
+
+  "   PHRYNE AT ELEUSIS. (86 × 48 in.) (Melbourne, 1888.)              R.A.
+
+  "   ANTIGONE.                                                        R.A.
+
+  "   "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."
+      _Rev._ xx. 13. (Design for a portion of a decoration in
+      St. Paul's.)                                                     R.A.
+
+  "   MELITTION.                                                       R.A.
+
+  "   *PORTRAIT OF MRS. MOCATTA. (23-1/2 × 19-1/2 in.)
+
+  "   ZEYRA.                                                           G.G.
+
+1883. THE DANCE: decorative frieze for a drawing-room in a
+      private house.                                                   R.A.
+
+  "   *VESTAL. (24-1/2 × 17 in.)                                       R.A.
+
+  "   *KITTENS. (48 × 31-1/2 in.)                                      R.A.
+
+  "   MEMORIES.                                                        R.A.
+
+  "   *PORTRAIT OF MISS NINA JOACHIM. (16 × 13 in.)
+
+1884. *LETTY. (18 × 15-1/2 in.)                                        R.A.
+
+  "   *CYMON AND IPHIGENIA. (64 × 129 in.)                             R.A.
+
+  "   A NAP.                                                           R.A.
+
+  "   SUN GLEAMS.                                                      R.A.
+
+1885. "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT."
+      (46 × 27 in.)                                                    R.A.
+
+  "   PORTRAIT OF THE LADY SYBIL PRIMROSE.                             R.A.
+
+  "   *PORTRAIT OF MRS. A. HICHENS. (26-1/2 × 20-1/2 in.)              R.A.
+
+  "   MUSIC: a frieze.                                                 R.A.
+
+  "   PHOEBE. (Manchester, 1887.)                                      R.A.
+
+  "   A STUDY.                                                         G.G.
+
+  "   TOMBS OF MUSLIM SAINTS.                                          S.S.
+
+  "   MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS.                      S.S.
+
+1886. PAINTED DECORATION FOR THE CEILING OF A MUSIC-ROOM.[20]
+      (7 ft. × 20 ft.)                                                 R.A.
+
+  "   GULNIHAL.                                                        R.A.
+
+  "   *THE SLUGGARD. Statue, bronze.                                   R.A.
+
+  "   *NEEDLESS ALARMS. Statuette.                                     R.A.
+
+1887. *THE JEALOUSY OF SIMÆTHA, THE SORCERESS. (35-1/2 × 55-1/2 in.)   R.A.
+
+  "   *THE LAST WATCH OF HERO. (62-1/2 × 35-1/2 in., with predella
+      12-1/2 × 29-1/2 in.)                                             R.A.
+
+          "With aching heart she scanned the sea-face dim.
+          .    .    .    .    .    .    .    .    .    .
+          Lo! at the turret's foot his body lay,
+          Rolled on the stones, and washed with breaking spray."
+
+              _Hero and Leander: Musæus_ (translated by Edwin Arnold).
+
+  "   [Picture of A LITTLE GIRL WITH GOLDEN HAIR AND PALE BLUE EYES.]
+
+            "Yellow and pale as ripened corn
+            Which Autumn's kiss frees--grain from sheath--
+            Such was her hair, while her eyes beneath,
+          Showed Spring's faint violets freshly born."
+                              ROBERT BROWNING.
+
+  "   *Design for the reverse of THE JUBILEE MEDALLION. (_Executed
+      for Her Majesty's Government._)                                  R.A.
+
+          _Empire, enthroned in the centre, rests her right hand on
+          the sword of Justice, and holds in her left the symbol of
+          victorious rule. At her feet, on one side, Commerce
+          proffers wealth, on the other a winged figure holds
+          emblems of Electricity and Steam-power. Flanking the
+          throne to the right of the spectator are Agriculture and
+          Industry--on the opposite side, Science, Literature, and
+          the Arts. Above, interlocking wreaths, held by winged
+          genii representing respectively the years 1837 and 1887,
+          inclose the initials,_ V.R.I.
+
+1888. *CAPTIVE ANDROMACHE. (77 × 160 in.)                              R.A.
+
+                                    ".... Some standing by,
+           Marking thy tears fall, shall say, 'This is she,
+           The wife of that same Hector that fought best
+           Of all the Trojans, when all fought for Troy.'"
+                          _Iliad_, VI. (E. B. Browning's translation.)
+
+  "   *PORTRAIT OF AMY, LADY COLERIDGE. (42 × 39-1/2 in.)
+      (S.P.P., 1891.)                                                  R.A.
+
+  "   *PORTRAITS OF THE MISSES STEWART HODGSON. (47 × 39-1/2 in.)
+
+  "   FOUR STUDIES.                                                  R.W.S.
+
+  "   FIVE STUDIES.                                                    S.S.
+
+1889. *SIBYL. (59 × 34 in.)                                            R.A.
+
+  "   *INVOCATION. (54 × 33-1/2 in.)                                   R.A.
+
+  "   ELEGY.                                                           R.A.
+
+  "   GREEK GIRLS PLAYING AT BALL. (45 × 78 in.)                       R.A.
+
+  "   *PORTRAIT OF MRS. FRANCIS A. LUCAS. (23-1/2 × 19-1/2 in.)        R.A.
+
+1890. SOLITUDE.                                                        R.A.
+
+  "   *THE BATH OF PSYCHE.[21] (75 × 24-1/2 in.)                       R.A.
+
+  "   *TRAGIC POETESS. (63 × 34 in.)                                   R.A.
+
+  "   *THE ARAB HALL. (33 × 16 in.) (Guildhall, 1890.)                 R.A.
+
+1891. *PERSEUS AND ANDROMEDA. (91-1/2 × 50 in.)                        R.A.
+
+  "   *PORTRAIT OF A. B. FREEMAN-MITFORD, ESQ., C.B.
+      (46-1/2 × 38-1/2 in.)                                            R.A.
+
+  "   *RETURN OF PERSEPHONE. (79 × 59-1/2 in.)                         R.A.
+
+  "   ATHLETE STRUGGLING WITH A PYTHON--group, marble.                 R.A.
+
+1892. *"AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."
+      (Circular, 93 in.)                                               R.A.
+
+  "   AT THE FOUNTAIN. (49 × 37 in.)                                   R.A.
+
+  "   *THE GARDEN OF THE HESPERIDES. (Circular, 66 in.)
+      (Chicago, 1893; Guildhall, 1895.)                                R.A.
+
+  "   BACCHANTE.                                                       R.A.
+
+  "   *CLYTIE. (32-1/2 × 53-1/2 in.)                                   R.A.
+
+  "   PHRYNE AT THE BATH. (24 × 12 in.)                                S.S.
+
+  "   MALIN HEAD, DONEGAL.                                             S.S.
+
+  "   ST. MARK'S, VENICE.                                              S.S.
+
+  "   INTERIOR OF ST. MARK'S, VENICE.                                  S.S.
+
+  "   THE DOORWAY, NORTH AISLE, VENICE.                                S.S.
+
+  "   RIZPAH (the small study in oils). (7 × 7 in.)                    S.S.
+
+1893. *FAREWELL! (63 × 26-1/2 in.)                                     R.A.
+
+  "   *HIT! (29 × 22 in.)                                              R.A.
+
+  "   *ATALANTA. (26-1/2 × 19 in.)                                     R.A.
+
+  "   RIZPAH. (36 × 52 in.)                                            R.A.
+
+  "   *CORINNA OF TANAGRA. (47-1/2 × 21 in.)                           R.A.
+
+  "   THE FRIGIDARIUM.                                                 R.A.
+
+1894. *THE SPIRIT OF THE SUMMIT. (77-1/2 × 39-1/2 in.)                 R.A.
+
+  "   *THE BRACELET. (59-1/2 × 23 in.)                                 R.A.
+
+  "   *FATIDICA. (59-1/2 × 23 in.)                                     R.A.
+
+  "   *SUMMER SLUMBER. (45-1/2 × 62 in.)                               R.A.
+
+  "   AT THE WINDOW.                                                   R.A.
+
+  "   WIDE WONDERING EYES. (20 × 15-1/2 in.)                    Manchester.
+
+  "   THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE.               S.S.
+
+  "   THE ACROPOLIS OF LINDOS.                                         S.S.
+
+  "   FIUME MORTO, GOMBO, PISA.                                        S.S.
+
+  "   GIBRALTAR FROM SAN ROCQUE.                                       S.S.
+
+1895. LACHRYMÆ. (60 × 24 in.)                                          R.A.
+
+  "   THE MAID WITH THE YELLOW HAIR.                                   R.A.
+
+  "   *"'TWIXT HOPE AND FEAR." (43-1/2 × 38-1/2 in.)                   R.A.
+
+  "   *FLAMING JUNE. (46 × 46 in.)                                     R.A.
+
+  "   LISTENER.                                                        R.A.
+
+  "   A STUDY.                                                         R.A.
+
+  "   PHOENICIANS BARTERING WITH BRITONS.                   Royal Exchange.
+
+  "   BOY WITH POMEGRANATE.                                Grafton Gallery.
+
+  "   MISS DENE.
+
+  "   AQUA CERTOSA, ROME.                                              S.S.
+
+  "   CHAIN OF HILLS SEEN FROM RONDA.                                  S.S.
+
+  "   ROCKS, MALIN HEAD, DONEGAL.                                      S.S.
+
+  "   TLEMÇEN, ALGERIA.                                                S.S.
+
+1896. *CLYTIE. (61-1/2 × 53-1/2 in.)                                   R.A.
+
+  "   CANDIDA. (21 × 41-1/2 in.)                             Antwerp, 1896.
+
+  "   *THE VESTAL. (27 × 20-1/2 in.) Unfinished.
+
+  "   *A BACCHANTE. (26-1/2 × 21 in.)
+
+  "   *THE FAIR PERSIAN. (25-1/2 × 19-1/2 in.) Unfinished.
+
+
+[Illustration: "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT"
+(1885)]
+
+
+[Illustration: DESIGN FOR THE REVERSE OF THE JUBILEE MEDALLION (1887)]
+
+
+
+
+APPENDIX II
+
+
+The studies in oil, chiefly landscape, of quite small size, few of which
+had been exhibited, were sold, with the remaining works of the artist,
+by Messrs. Christie, Manson and Woods on July 11th, 13th, and 14th,
+1896, when the prices realized, from 50 to 100 guineas each for the
+best, were in excess of those the most sympathetic admirer of Lord
+Leighton's singular power as a landscape-painter had dared to expect.
+For convenience of future reference, the list of these as they appear in
+the sale catalogue may be worth the space it occupies; the numbers
+denote the "lot."
+
+   1. {HEAD OF A GIRL.
+      {HEAD OF A BOY.
+   2. A STUDY OF HOUSES, VENICE.
+   3. THE COAST OF ASIA MINOR, FROM RHODES.
+   4. A STREET SCENE.
+   5. HOUSES AT CAPRI.
+   6. THE COAST OF ASIA MINOR, FROM RHODES.
+   7. A GARDEN SCENE.
+   8. A FORTRESS, EGYPT.
+   9. TOMBS OF MUSLIM SAINTS AT ASSOUAN, FIRST CATARACT. R.S.B.A., 1895.
+  10. A BAY, ASIA MINOR, FROM RHODES.
+  11. THE BAY OF LINDOS.
+  12. IN THE CAMPAGNA, ITALY.
+  13. A TOWN, CAPRI.
+  14. MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS. R.S.B.A., 1895.
+  15. A VIEW IN THE CAMPAGNA.
+  16. A COVERED STREET IN ALGIERS.
+  17. A DOORWAY, ALGIERS.
+  18. HEAD OF A GIRL.
+  19. HEAD OF A MAN.
+  20. HEAD OF A GIRL.
+  21. HEAD OF A GIRL.
+  22. STREET IN ALGIERS.
+  23. ST. MARK'S, VENICE. R.S.B.A., 1892.
+  24. INTERIOR OF ST. MARK'S, VENICE. R.S.B.A., 1892.
+  25. THE DOORWAY, NORTH AISLE, ST. MARK'S, VENICE. R.S.B.A., 1892.
+  26. A BAY SCENE, ISLE OF RHODES.
+  27. A VIEW ON THE COAST, LINDOS.
+  28. DENDERAH.
+  29. THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE. R.S.B.A., 1894.
+  30. A STUDY IN THE CAMPAGNA.
+  31. AQUA CERTOSA, ROME.
+  32. A VIEW OF THE TOWN OF LINDOS.
+  33. THE ACROPOLIS OF LINDOS, where stood the Temple of Athena Pallas.
+      R.S.B.A., 1894.
+  34. A STUDY IN THE CAMPAGNA, WITH MONTE SORACTE.
+  35. STUDY OF A MAN'S HEAD.
+  36. AN ARAB'S HEAD.
+  37. A SHEIK.
+  38. AN ARAB.
+  39. HEAD OF AN OLD LADY.
+  40. A TURKISH BOATMAN.
+  41. FIUME MORTO, GOMBO, PISA. R.S.B.A., 1894.
+  42. THE CITADEL, CAIRO.
+  43. A VIEW IN DAMASCUS.
+  44. A VIEW IN CAPRI.
+  45. BOCCA D'ARNO.
+  46. THE CITY OF TOMBS, ASSIOUT, EGYPT. R.S.B.A. [1871?].
+  47. BUILDINGS, SIOUT, EGYPT.
+  48. A MOUNTAINOUS LANDSCAPE, SPAIN.
+  49. A STREET SCENE, CAPRI.
+  50. A COAST SCENE, ISLE OF WIGHT.
+  51. BARREN LAND.
+  52. A TOWN IN SPAIN.
+  53. BOSCO SACRO, CAMPAGNA.
+  54. VILLA MALTA, ROME.
+  55. THE ROCKS OF THE SIRENS, CAPRI.
+  56. A VIEW IN SPAIN.
+  57. A VALLEY, SPAIN.
+  58. ON THE COAST, ISLE OF WIGHT.
+  59. GARDEN AT GENERALIFE, GRANADA.
+  60. THE BATHS AT CARACALLA.
+  61. A HOUSE, CAPRI.
+  62. IN ST. MARK'S, VENICE.
+  63. THE STAIRCASE OF A HOUSE, CAPRI.
+  64. THE GARDEN OF A HOUSE, CAPRI.
+  65. STUDY OF A MALE FIGURE CARRYING A PITCHER.
+  66. HEAD OF A GIRL.
+  67. THE COAST OF ASIA MINOR, FROM RHODES.
+  68. CHAIN OF HILLS SEEN FROM RONDA. R.S.B.A., 1893.
+  69. THE COAST OF ASIA MINOR. (Study for the background of _Perseus_.)
+  70. A POOL, FINDHORN RIVER, N.B. (Study for the background of
+      _Solitude_.)
+  71. A LANE. (Study of rocks for _Solitude_.)
+  72. A WOMAN SEATED, IN A LANDSCAPE. (Study for _Simætha the Sorceress_.)
+  73. TAORMINA, SICILY. (Sketch for background of _Wedded_.)
+  74. A POOL ON THE FINDHORN RIVER, FORRES, N.B. (Study for the background
+      of _Solitude_.)
+  75. TAORMINA, SICILY. (Study for the background of _Wedded_.)
+  76. INTERIOR OF A HOUSE AT LINDOS. (Study for the picture of
+      _Cleoboulos_.)
+  77. STUDY OF A WOMAN'S HEAD. Capri, moonlight. (Study for the effect in
+      _Clytemnestra_.)
+  78. BUILDINGS, CAPRI, MOONLIGHT. (A study for the same.)
+  79. AN ALLEGORICAL DESIGN FOR A MURAL DECORATION.
+  80. HEAD OF A LADY AND GENTLEMAN OF THE FIFTEENTH CENTURY.
+      (16 × 14-1/4 in.) (Painted in 1853.)
+  81. HEAD OF A LADY. White on brown ground.
+  82. A STUDY FROM VELASQUEZ.
+
+[83 to 117 _were larger works, mainly studies for completed pictures or
+the pictures themselves_.]
+
+       {A LANDSCAPE.
+  118. {STUDY OF SKY AT MALINMORE.
+       {STUDY.
+  119. A ROCKY COAST, MALINMORE, DONEGAL.
+  120. A MOUNTAINOUS LANDSCAPE.
+  121. A VIEW IN SCOTLAND.
+  122. A LANDSCAPE, ITALY.
+  123. FISHING BOATS ON THE COAST, CAPRI.
+  124. A VILLAGE ON A HILL, CAPRI.
+  125. A SCENE IN THE DESERT.
+  126. THE COAST OF GREECE.
+  127. HEAD OF A MAN.
+  128. A SCOTCH LAKE.
+  129. NEAR KYNANCE COVE.
+  130. CARRARA MOUNTAINS.
+  131. A VIEW IN ALGIERS.
+  132. TLEMÇEN, ALGERIA. R.S.B.A., 1895.
+  133. THE DAMASCUS GATE, JERUSALEM.
+  134. THE ERICTHEUM (_sic_).
+  135. A STREET IN LERICI, near where Shelley was drowned.
+  136. {STUDY OF TREES.
+       {A LANDSCAPE.
+  137. {HEAD OF A GONDOLIER.
+       {IRISH PEASANT GIRL.
+  138. HEAD OF AN ITALIAN PEASANT.
+  139. {A COMMON.
+       {LANDSCAPE, WITH COTTAGES.
+  140. A ROCKY COAST, KYNANCE.
+  141. GRANITE BOULDERS, FORRES, N.B.
+  142. A SUNNY CORNFIELD.
+  143. A COURTYARD, TANGIERS.
+  144. A COURTYARD, TANGIERS.
+  145. A SKETCH OF ALBANO.
+  146. A COAST SCENE, IRELAND.
+  147. A SCOTCH SCENE.
+  148. A STUDY OF ROCKS.
+  149. THE STEEPLE ROCK, KYNANCE COVE.
+  150. A SANDY BAY, IRELAND.
+  151. KYNANCE COVE.
+  152. HOLY ISLAND. Bamborough in the distance.
+  153. A COAST SCENE, ISCHIA.
+  154. GLEN COLUMBKILL, IRELAND.
+  155. A MOORISH ARCHWAY, TANGIERS.
+  156. PERUGIA.
+  157. A ROCKY COAST, MALINMORE.
+  158. MALIN HEAD, DONEGAL. R.S.B.A., 1894.
+  159. GIBRALTAR, FROM SAN ROCQUE. R.S.B.A., 1895.
+  160. A BAY SCENE, SPAIN.
+  161. A SKETCH IN BEDFORDSHIRE.
+  162. A LANDSCAPE, RONDA.
+  163. A SPANISH TOWN.
+  164. THE BATHS OF CARACALLA.
+  165. THE STREET OF THE KNIGHTS, RHODES.
+  166. THE COAST OF ASIA MINOR, SEEN FROM RHODES.
+  167. LONGSOR.
+  168. A MOUNTAIN SCENE, WITH TEMPLE AND FIGURE, EGYPT.
+  169. A STUDY ON THE COAST OF IRELAND.
+  170. A RIVER SCENE, SCOTLAND.
+  171. MICKLEOUR, SCOTLAND.
+  172. A SEA PIECE.
+  173. THE COAST OF ASIA MINOR.
+  174. {ON THE NILE.
+       {A VIEW IN SPAIN.
+  175. {A TEMPLE ON THE NILE.
+       {SPANISH VIEW.
+  176. MALINMORE, DONEGAL.
+  177. THE BAY OF CADIZ, MOONLIGHT, AND PALAZZO REZZONICO.
+  178. A VIEW OF ATHENS.
+  179. {SCOTCH MOUNTAINS: SUNSET.
+       {A COAST SCENE, RHODES.
+  180. VITTORIA. R.S.B.A., 1873.
+  181. {A CLASSICAL HEAD. (Monochrome.)
+       {HEAD OF A MAN.
+  182. A STUDY OF PINE TREES.
+  183. A VILLAGE ON A HILL.
+  184. A RUINED MOSQUE AT BROUSSA.
+  185. A WOODY BANK.
+  186. RUINS OF A MOORISH ARCH, SPAIN.
+  187. A VIEW IN ITALY, WITH A CORNFIELD.
+  188. (This number is omitted in the sale catalogue.)
+  189. MIMBAR OF THE GREAT MOSQUE AT DAMASCUS.
+  190. {ROCKS, CAPRI.
+       {A FORTRESS, SPAIN.
+  191. {LANDSCAPE, SCOTLAND.
+       {LANDSCAPE, SCOTLAND.
+  192. THE RED MOUNTAINS, DESERT, EGYPT.
+  193. SKETCH NEAR CAIRO.
+  194. A FOUNTAIN IN THE COURT-YARD OF A JEW'S HOUSE, SPAIN.
+  195. A HOUSE IN TANGIERS. Mansion House, 1882.
+  196. A STREET SCENE, CAIRO.
+  197. A MOORISH STREET.
+  198. A STUDY OF ROCKS, SCOTLAND.
+  199. THE GARDEN OF THE HOUSE OF THE MAN WHO BUILT THE ALHAMBRA.
+  200. A SPANISH DONKEY.
+  201. A DONKEY AND ARAB DRIVER.
+  202. MENA DONKEY.
+  203. A STUDY OF HILLS.
+  204. THE TEMPLE OF PHYLÆ.
+  205. DAMASCUS: NIGHT.
+  206. A MOUNTAINOUS LANDSCAPE, WITH A CAVERN.
+  207. A WOOD SCENE.
+  208. HEAD OF AN ITALIAN GIRL.
+  209. THE DUNGEONS OF A CASTLE.
+  210. A CASTLE KEEP.
+  211. ENTRANCE TO A HOUSE, CAPRI.
+  212. A COAST SCENE, IRELAND: STORM EFFORT (_sic_).
+  213. LONGSOR.
+  214. THE NILE AT THEBES.
+  215. A VIEW ON THE CAMPAGNA.
+  216. A MOUNTAINOUS LANDSCAPE, SCOTLAND.
+  217. CAPRI BY NIGHT.
+  218. A FORTRESS ON THE CAMPAGNA.
+  219. A LANDSCAPE, WITH SAND HILLS.
+  220. A WOOD SCENE.
+  221. NEAR DENDERAH.
+  222. A LANDSCAPE.
+  223. ATHENS, WITH THE GENOESE TOWER, PNYX IN THE FOREGROUND.
+  224. A LANDSCAPE, CAIRO.
+  225. ON THE NILE.
+  226. PASTURE, EGYPT.
+  227. RED MOUNTAINS DESERT, EGYPT.
+  228. AN EGYPTIAN VILLAGE.
+  229. THE ISLAND OF ÆGINA.
+  230. THEBES.
+  231. THE COAST OF ÆGINA, PNYX IN THE FOREGROUND.
+  232. BUILDINGS ON THE COAST, ISLAND OF RHODES.
+  233. ASSOUAN, EGYPT.
+  234. A VINEYARD, CAPRI.
+  235. THE TEMPLE OF PHYLÆ, LOOKING UP THE NILE.
+  236. THE NILE AT ESUEH.
+  237. THE CATHEDRAL, CAPRI.
+  238. A SQUARE IN CADIZ.
+  239. ON THE NILE.
+  240. IN THE NILE VALLEY.
+  241. A VIEW ACROSS THE NILE.
+  242. A WOODY HILL SIDE.
+  243. ROCKS OF THE SIRENS CAPRI.
+  244. A FARM.
+
+
+There were also copies made by Leighton himself of _Peace and War_ after
+Rubens, the _Massacre of the Innocents_, after Bonifazio, _A Martyrdom_,
+and the _Last Supper_, after Veronese.
+
+The huge collection of studies, mainly in chalk upon brown paper, made
+by Lord Leighton, were nearly all preserved; two hundred and forty of
+these were exhibited by the Fine Art Society, who bought the whole
+collection, and afterwards published a volume containing forty
+reproduced in facsimile.
+
+
+[Illustration: FOUNTAIN IN COURT AT DAMASCUS]
+
+
+[Illustration: THE ISLAND OF ÆGINA: PNYX IN FOREGROUND]
+
+
+[Illustration: RED MOUNTAINS DESERT, CAIRO]
+
+
+[Illustration: RUINED MOSQUE, BROUSSA]
+
+
+[Illustration: CITY OF TOMBS, ASSIOUT, EGYPT]
+
+
+[Illustration: ATHENS WITH THE GENOESE TOWER: PNYX IN FOREGROUND]
+
+
+[Illustration: COAST OF ASIA MINOR SEEN FROM RHODES]
+
+
+
+
+INDEX.
+
+_Titles of Pictures are printed in italics._
+
+
+  _Abram and the Angel_, 69.
+
+  _Acme and Septimius_, 25.
+
+  _Actæa_, 26, 111.
+
+  _Ægina, The Island of_, illus., 132.
+
+  _After Vespers_, 31.
+
+  Aitchison, George, R.A., 88.
+
+  Allingham, William, 106.
+
+  Alma-Tadema, Sir L., 37, 48, 91.
+
+  _Amarilla_, 39.
+
+  _And the Sea gave up its Dead_, 49, 66;
+    illus., 50.
+
+  _Andromeda_ (study in clay), 68;
+    illus., 68.
+
+  _Antigone_, 43.
+
+  _Antique Juggling Girl_, 33;
+    illus., 32.
+
+  Arab Hall, The, 29, 49, 88, 94, 96-100;
+    illus., 96.
+
+  _Ariadne abandoned by Theseus_, 25.
+
+  Arnold, Sir Edwin, translation of Musæus, 47.
+
+  Art and Morals, Leighton on, 74.
+
+  "Art Journal," criticisms of the, 108, _et seq._
+
+  Artistic Production in relation to Time and Place, Leighton on, 75.
+
+  _Arts of Peace, The_, 32, 42, 63, 64;
+    illus., 64.
+
+  _Arts of War, The_, 32, 63;
+    illus., 64.
+
+  _Asia Minor, The Coast of_, illus., 136.
+
+  Assyria, the Art of, Leighton on, 76.
+
+  _At the Fountain_, 50.
+
+  _At the Window_, 51.
+
+  _Atalanta_, 50, 59.
+
+  "Athenæum," criticisms of the, 32, 105, _et seq._
+
+  _Athens, with the Genoese Tower_, illus., 136.
+
+  _Athlete struggling with a Python_, 36, 67, 68, 126;
+    illus., 36, 49;
+    (marble version), 68.
+
+
+  _Bacchante_ (1892), 50, (1896) 51;
+    illus., 54.
+
+  _Bath of Psyche, The_, 48, 59, 129;
+    illus., 48.
+
+  Bezzuoli, 5.
+
+  _Bianca_, 43.
+
+  "Bible Gallery," Dalziel's, 23, 69, 70.
+
+  _Biondina_, 39.
+
+  Black and white, Leighton's work in, 69, 70.
+
+  Boccaccio, Leighton inspired by, 8, 45.
+
+  Book illustration, 69, 70.
+
+  Bookplate, Leighton's, illus., 120.
+
+  Bouguereau, Leighton and, 10.
+
+  _Bracelet, The_, 51;
+    illus., 52.
+
+  Bronzes, 36, 46, 67, 68.
+
+  _Broussa, Ruined Mosque at_, illus., 134.
+
+  _Brownlow, Countess of_, 39.
+
+  Browning, E. B., 47;
+    medallion of a monument to, 67;
+    illustration by Leighton to her "Great God Pan," 69.
+
+  Browning, Robert, 10;
+    subjects from, 22, 47;
+    on _Hercules wrestling with Death_, 30.
+
+  Brussels, Leighton at, 6, 7.
+
+  Burne-Jones, Sir E., 17, 91.
+
+  _Burton, Capt. Richard_, 35, 90;
+    illus., 36.
+
+  _Byzantine Well-head, A_, 18, 62;
+    illus., 18.
+
+
+  _Cain and Abel_, illus., 70.
+
+  _Cairo, Red Mountains Desert_, illus., 136.
+
+  _Capri--Paganos_, 19.
+
+  _Capri at Sunrise_, 18, 108.
+
+  Capri, Leighton at, 18, 61.
+
+  _Captive Andromache_, 47, 58;
+    _Studies_ for, illus., 56.
+
+  Carr, Mr. Comyns, on Leighton, 114.
+
+  _Catarina_, 39.
+
+  Ceiling, design for a, 46, 67, 128;
+    illus., 62.
+
+  Chesneau, Ernest, on English Art, 14.
+
+  Cimabue, influence of, 9.
+
+  _Cimabue_ (mosaic figure), 67.
+
+  _Cimabue finding Giotto_, 7.
+
+  _Cimabue's Madonna_, 3, 8, 9, 11, 23, 34, 47;
+    criticisms of, 103-107, 108;
+    illus., 10.
+
+  _City of Tombs, Assiout_, illus., 134.
+
+  _Cleoboulos instructing his daughter Cleobouline_, 30.
+
+  _Clytemnestra_, 32.
+
+  _Clytie_ (1892), 50, 59.
+
+  _Clytie_ (his last picture), 51, 52.
+
+  Cockerell, S. Pepys, on Leighton's drawings, 62.
+
+  _Cockerell, Mrs. Frederick P._, 25.
+
+  _Coleridge, Lady_, 48.
+
+  Cologne Cathedral, Leighton on, 86.
+
+  Colour: Leighton's mode of procedure, 55-58.
+
+  _Condottiere, A_, 31;
+    illus., 32.
+
+  _Contrast, A_, 70;
+    illus., 72.
+
+  _Corinna of Tanagra_, 50.
+
+  Cornelius, 9, 10.
+
+  "Cornhill Gallery, The," 69.
+
+  Correggio, Leighton and, 10, 18.
+
+  _Costa, Signor_, 39;
+    illus., 40.
+
+  _Count Paris_, 16, 107, 122.
+
+  Cousin, Jean, 84.
+
+  _Crenaia_, 42.
+
+  _Cross-bow Man, A_, 20.
+
+  _Cupid with Doves_, 66;
+    illus., 66.
+
+  _Cymon_ (clay model), 68;
+    illus., 68.
+
+  _Cymon and Iphigenia_, 42, 44, 45, 68;
+    photogravure, 44.
+
+
+  _Dædalus and Icarus_, 26;
+    illus., 26.
+
+  Dalou and _The Athlete_, 68.
+
+  Dalziel's "Bible Gallery," 23, 69, 70;
+    illus., 70.
+
+  _Damascus, Grand Mosque at_, 29, 33, 111;
+    illus., 28.
+
+  Damascus, sketches of, 28, 29, 33, 111;
+    illus., 28, 132.
+
+  _Dance, The_, 44, 67;
+    illus., 44.
+
+  Dante, Leighton on, 81.
+
+  _Dante at Verona_, 21, 109.
+
+  _Daphnephoria_, 24, 34, 35, 47, 111;
+    clay models for, 68;
+    illus., 34;
+    _Study for_ (illus.), 34.
+
+  Darmstadt, Leighton at, 8.
+
+  _David_, 23, 110;
+    illus., 24.
+
+  _Day Dreams_, 43;
+    illus., 42.
+
+  _Death of the First Born_, 69.
+
+  Decorative work, Leighton's, 63-67.
+
+  _Departure for the War, The_, 67.
+
+  Discourses on Art, Leighton's, 71-87.
+
+  Drapery, Leighton's treatment of, 48, 55-58.
+
+  _Dream, A_, 19, 109.
+
+  _Duett_, 20.
+
+  Dürer, Albert, Leighton on, 86.
+
+
+  Eastlake, Sir Charles, 10-12.
+
+  Egypt, Leighton's visit to, 28;
+    on the Art of, 75.
+
+  _Egyptian Slinger_, 29, 33, 112;
+    illus., 112.
+
+  _Electra at the Tomb of Agamemnon_, 26;
+    illus., 26.
+
+  _Elegy_, 48.
+
+  _Eliezer and Rebekah_, 69.
+
+  _Elijah in the Wilderness_, 39;
+    _Study for_, illus., 38.
+
+  _Elisha and the Shunamite's Son_, illus., 114.
+
+  English Art, Leighton on, 73.
+
+  Etruscan Art, Leighton on, 76, 77.
+
+  _Eucharis_, 20.
+
+
+  _Fair Persian, The_, 51.
+
+  _Farewell_, 50;
+    illus., 50.
+
+  _Fatidica_, 51;
+    illus., 52.
+
+  _Fisherman and Syren, The_, 16, 107.
+
+  _Flaming June_, 51.
+
+  Fleury, Robert, 10, 15.
+
+  _Florence, The Plague at_, 8, 90;
+    illus., 8.
+
+  Florence, Leighton at, 5, 6.
+
+  _Fountain, At the_, 50.
+
+  _Fountain in Court at Damascus_, illus., 132.
+
+  France, Evolution of Art in, Leighton on, 83.
+
+  Frankfort, Leighton at, 6-8.
+
+  Frescoes, 32, 63-66;
+    illus., 64-66.
+
+  Friezes, 44, 46, 67;
+    illus., 44.
+
+  _Frigidarium, The_, 50;
+    illus., 50.
+
+
+  Gamba, Signor, 8.
+
+  _Garden of the Hesperides, The_, 49.
+
+  Generalife, Study of a Garden at, 33;
+    illus., 28.
+
+  German Architecture, Leighton on, 85-86.
+
+  Gerome, 10.
+
+  Gibson, the sculptor, 11.
+
+  Gilbert, Alfred, 88.
+
+  Giotto, 9.
+
+  Girl, A little (1887), 47.
+
+  ---- in Eastern garb (1877), 37.
+
+  _Girl Feeding Peacocks, A_, 20, 109.
+
+  _Girl with a Basket of Fruit_, 109.
+
+  _Girls' Heads, Studies of_, 38, 51;
+    illus., 74, 76, 78, 80.
+
+  Goethe: subject from, 16;
+    on Gothic architecture, 84.
+
+  _Golden Hours_, 21, 22;
+    illus., 21.
+
+  _Gordon, H. E._, 37.
+
+  Gothic architecture, Leighton on, 84.
+
+  Greek Art, Leighton on, 76.
+
+  _Greek Girls picking up Pebbles by the Sea_, 30.
+
+  _Greek Girls playing at Ball_, 48, 59;
+    illus., 48.
+
+  Grenfell, the Hon. Mrs. (_Miss Mabel Mills_), 37.
+
+  Greville, Lady Charlotte, monument to, 67.
+
+  _Gulnihal_, 46.
+
+  _Guthrie, Portrait of Mrs. James_, 24.
+
+
+  Hart, Professor, 12.
+
+  _Helen of Troy_, 23;
+    illus., 22.
+
+  _Helios and Rhodos_, 27, 28.
+
+  _Hercules wrestling with Death_, 30;
+    illus., 30.
+
+  _Hesperides, Garden of the_, 49.
+
+  _Hichens, Mrs. A._, 46.
+
+  _Hit_, 50;
+    illus., 54.
+
+  _Hodgson, Miss Ruth_, 38.
+
+  _Hodgson, Misses Stewart_, 48.
+
+  Hogarth Club, the, 17.
+
+  Hunt, Holman, 13, 17.
+
+
+  _I'Anson, the late Mrs. Lavinia_, 23.
+
+  _Idyll_, 42.
+
+  _In St. Mark's_, 23.
+
+  _Invocation_, 48.
+
+  _Iostephane_, 42.
+
+  _Italian Girl, An_, 37.
+
+  Italy, Evolution of Painting in, Leighton on the, 72.
+
+
+  _J. A.--a Study_, 19.
+
+  _Jezebel and Ahab_, 20, 123.
+
+  _Joachim, Miss Nina_, 44.
+
+  _Jonathan's Token to David_, 25, 124.
+
+  Jubilee medal, 46, 69, 129;
+    illus., 130.
+
+  _Juggling Girl_, 33;
+    illus., 32.
+
+
+  Keats's "Endymion," subject from, 15, 122.
+
+  Kemble, Mrs., 11.
+
+  _Kittens_, 44.
+
+
+  _Lachrymæ_, 51.
+
+  _Lady with Pomegranates, A_, 53.
+
+  _Laing, Miss, Portrait of_, 9.
+
+  Landscape studies, Leighton's, 16, 28, 29, 33, 39, 62, 132;
+    illus., 28, 132, 134, 136.
+
+  Landseer, Sir Edwin, 10, 13.
+
+  Lang's, Mrs. Andrew, monograph on Leighton, 7, 8, 63.
+
+  _Last Watch of Hero_, 47;
+    illus., 46.
+
+  Leighton, Frederic, Lord;
+    list of dignities and titles, 2;
+    ancestors and birth, 4;
+    first picture, 7;
+    portrait (1848), 7;
+    first picture for the Academy, 11;
+    A.R.A., 21;
+    R.A., 24;
+    first appearance as a sculptor, 36;
+    P.R.A., 39;
+    _Portrait_, by himself, 42;
+    illus., 3;
+    portraits by Watts, 42, 90;
+    his method of painting, 54-60;
+    drawings, 60, 61;
+    decorative works, 63-67;
+    sculpture, 67, 68;
+    book illustration, 69, 70;
+    Discourses on Art, 71-87;
+    house, 88-102;
+    criticisms on his work, 103, 114;
+    death, 115.
+
+  _Lemon Tree, Study of a_, 17, 18, 61;
+    illus., 18.
+
+  Lesseps, F. de, 28.
+
+  _Letty_, 44, 45.
+
+  _Lieder ohne Worte_, 19.
+
+  _Light of the Harem, The_, 42.
+
+  Lionardo da Vinci, Leighton on, 80, 81, 82.
+
+  _Listener_, 51.
+
+  _Little Fatima_, 29, 33, 111.
+
+  _Lucas, Mrs. F._, 48.
+
+  Lyndhurst, altarpiece at, 24, 64, 65.
+
+  Lyons, Lord, 11.
+
+
+  _Maid with her Yellow Hair, The_, 51.
+
+  Martin's, Sir Theodore, "Catullus," 25.
+
+  Mason, George, 11, 89.
+
+  Meli, Signor F., 5.
+
+  _Melittion_, 44.
+
+  _Memories_, 44.
+
+  _Mermaid, The_, 16.
+
+  Michael Angelo, Leighton on, 82.
+
+  _Michael Angelo nursing his dying Servant_, 19.
+
+  Millais, Sir J. E., 9, 13, 46, 68, 73.
+
+  _Mills, Miss Mabel_, 37;
+    illus., 36.
+
+  _Mitford, A. B._, 49.
+
+  _Mocatta, Mrs._, 44.
+
+  Modelling and models (clay), 67, 68.
+
+  _Moorish Garden_, 29, 33.
+
+  Morals, Art and, Leighton on, 74.
+
+  _Moretta_, 31.
+
+  Morris, William, and Rossetti, 17.
+
+  Mosaics, 67.
+
+  _Moses views the Promised Land_, illus., 70.
+
+  _Mosque, Ruined, at Broussa_, illus., 134.
+
+  _Mother and Child_, 23.
+
+  Murger, Henri, 7.
+
+  _Music_ (a frieze), 46;
+    illus., 44.
+
+  _Music, The Triumph of_, 15, 107.
+
+  _Music Lesson_, 36, 37.
+
+  _Music Room, Decoration for a_, 46, 67, 128;
+    illus., 62.
+
+
+  _Nanna_, 17.
+
+  _Nap, A_, 44.
+
+  Nature in Leighton's compositions, 58.
+
+  _Nausicaa_, 37;
+    illus., 38.
+
+  _Needless Alarms_, 46, 67.
+
+  _Neruccia_, 39.
+
+  Nias, Lady (_Miss Laing_), 9.
+
+  Nile, voyage up the, 28.
+
+  _Nile Woman, A_, 29.
+
+  _Noble Lady of Venice, A_, 52.
+
+  _Nymph and Cupid, A_, 15, 84.
+
+  Nymph of the Dargle, The, 42.
+
+
+  _Odalisque_, 19.
+
+  _Old Damascus_ (the Jews' quarter), 29, 33.
+
+  Orchardson, Mr., on _Clytie_, 52.
+
+  Orkney, Lady, 37.
+
+  _Orpheus and Eurydice_, 21, 22;
+    illus., 22.
+
+  Orr, Major Sutherland, monument to, 67.
+
+  _Orr, Mrs. Sutherland_, 19.
+
+
+  Pacheco, Francisco, on drawing, 60.
+
+  _Painter's Honeymoon, The_, 24.
+
+  _Pan_, 15, 122.
+
+  _Paolo_, 35.
+
+  _Paolo e Francesca_, 19, 122.
+
+  _Paris, Count_, 16, 107, 122.
+
+  Paris, Leighton at, 7, 15;
+    exhibition at, 13.
+
+  Parry, Gambier, and Ely Cathedral, 65.
+
+  _Pastoral_, 24.
+
+  _Pavonia_, 17.
+
+  _Pencil Drawings, Two Early_, illus., 6.
+
+  _Pencil Study, A_, illus., 16.
+
+  _Persephone, Return of_, 49, 59;
+    _Studies for_, illus., 60.
+
+  _Perseus_ (clay model), 68;
+    illus., 68.
+
+  _Perseus and Andromeda_, 49, 59, 68;
+    _Study for_, illus., 58.
+
+  _Persian Pedlar_, A, 9.
+
+  Petrarch, Leighton on, 81.
+
+  _Phoebe_, 46.
+
+  _Phoenicians bartering with Britons_, 51, 66;
+    illus., 66.
+
+  _Phryne at Eleusis_, 44;
+    illus., 42.
+
+  _Pisano, Niccolò_ (mosaic), 67.
+
+  _Plague at Florence, The_, 8, 90;
+    illus., 8.
+
+  Powers, Hiram, 5.
+
+  Poynter, Sir E. J., and Leighton, 66, 116.
+
+  Pre-Raphaelites, the, 16, 17.
+
+  _Primrose, The Lady Sybil_, 46;
+    illus., 46.
+
+  _Psamathe_, 41.
+
+
+  _Ralli, Mrs. Augustus_, 43.
+
+  Raphael, Leighton on, 81.
+
+  _Red Mountains Desert, Cairo_, illus., 136.
+
+  _Return of Persephone, The_, 49, 59;
+    _Studies for_, illus., 60.
+
+  _Rizpah_, 50, 59;
+    illus., 52.
+
+  Roman Art, Leighton on, 78.
+
+  _Roman Lady, A_, 17.
+
+  Romano Giulio, Leighton on, 79.
+
+  Rome, Leighton at, 3, 9-11.
+
+  _Romeo, The Dead_, illus., 14.
+
+  _Romeo and Juliet_, 90.
+
+  "Romola" illustrations, 69.
+
+  Rossetti, D. G., 10, 13;
+    works by, 16, 17;
+    on Leighton, 11, 19, 106.
+
+  Rossetti, W. M., on Leighton, 109, 110, 111.
+
+  Royal Exchange, decoration at, 51, 66;
+    illus., 66.
+
+  _Rubinella_, 42.
+
+  Ruskin on Leighton, 11, 12, 17, 33, 103, 111, 112.
+
+  _Rustic Music_, 20.
+
+  _Ryan, Edward_, 31.
+
+
+  _St. Jerome_, 26;
+    illus., 26.
+
+  _St. Marks, In_, 23.
+
+  St. Paul's, Design for proposed decoration of, 44, 49, 66.
+
+  _Salome_, 15.
+
+  _Samson and Delilah_, 18.
+
+  _Samson and the Lion_, illus., 70.
+
+  _Samson at the Mill_, 69.
+
+  _Samson carrying the Gates_, illus., 70.
+
+  Sand, George, 11.
+
+  Sartoris, Mrs. Algernon, _Portrait of_, 43;
+    illustration by Leighton to her "Week in a French Country House," 69.
+
+  Sculpture, 36, 46, 67, 68;
+    illus., 68, 130.
+
+  _Sea Echoes_, 20.
+
+  _Sea gave up the Dead, And the_, 49, 66;
+    illus., 50.
+
+  _Serafina_, 38.
+
+  "_Serenely Wandering_," illus., 128.
+
+  Servolini, 5.
+
+  _Sibyl_, 48, 54, 58.
+
+  _Simætha the Sorceress_, 47.
+
+  _Sisters_, 20.
+
+  _Sister's Kiss_, 41, 111;
+    illus., 40.
+
+  Sizeranne, M. de la, on Leighton, 113.
+
+  _Sluggard, The_, 46, 67, 68;
+    _Study for_, illus., 68.
+
+  _Solitude_, 49;
+    _Study for_, illus., 58.
+
+  South Kensington, drawings on wood at, 69;
+    frescoes, 32, 63-66;
+    mosaic, 67.
+
+  Spain, Leighton on the Art of, 82, 83.
+
+  Spielmann, Mr. M. H., on Leighton, 46, 48, 54-58.
+
+  _Spies' Escape, The_, 69.
+
+  _Spirit of the Summit, The_, 51, 60, 113.
+
+  _Star of Bethlehem, The_, 20, 109, 123.
+
+  Steinle, Johann Eduard, 6, 8, 9.
+
+  Stephens, F. G., on the Hogarth Club, 17.
+
+  Studies, collection of Leighton's, 62.
+
+  Studies in oil, list of, 132-136.
+
+  _Studies of Heads_, 38, 51;
+    illus., 14, 74, 76, 78, 80, 82.
+
+  _Study_ (little girl in Eastern Garb), 37.
+
+  _Study A_ (Grosvenor Gallery, 1877), 37;
+    (Academy, 1878), 38;
+    (Grosvenor Gallery, 1885), 46.
+
+  _Summer Moon_, 31;
+    illus., 30.
+
+  _Summer Slumber_, 51.
+
+  _Sun Gleams_, 44.
+
+  _Sunny Hours_, 17.
+
+  _Syracusan Bride_, 23, 24, 34, 47.
+
+
+  Tate Gallery, The, 36, 48, 49.
+
+  _Teresina_, 35.
+
+  Thackeray on Leighton, 9.
+
+  _Tragic Poetess_, 49.
+
+  _Triumph of Music, The_, 15, 107.
+
+  _'Twixt Hope and Fear_, 51.
+
+
+  Velasquez, Diego, Leighton on, 83.
+
+  _Venus Disrobing_, 25, 160;
+    illus., 24.
+
+  _Vestal_, 44, 51.
+
+  _Viola_, 43.
+
+  Volumnus Violens, tomb of, Leighton on, 77.
+
+
+  _Walker, John Hanson_, 19.
+
+  Watteau, Leighton on, 84.
+
+  Watts, G. F., 14;
+    pictures by, 91;
+    portraits of Leighton, 42, 90;
+    method compared with Leighton's, 55;
+    on Leighton, 116.
+
+  _Weaving the Wreath_, 32.
+
+  _Wedded_, 43.
+
+  _Whispers_, 43.
+
+  _Widow's Prayer, The_, 23.
+
+  _Winding the Skein_, 37, 111;
+    photogravure, _Front_.
+
+  _Wise and Foolish Virgins, The_, 24, 64.
+
+
+  _Zeyra_, 43.
+
+
+
+CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.
+
+TOOKS COURT, CHANCERY LANE, LONDON.
+
+
+
+
+Footnotes:
+
+[1] See pages 103-114.
+
+[2] Letter to William Allingham, May 10th, 1861.
+
+[3] "Athenæum," April, 1864.
+
+[4] The original title of this picture was _Eastern Slinger scaring
+Birds in Harvest-time: Moonrise_. See Illustration at p. 112.
+
+[5] This picture was re-sold at Christie's in 1892 for 3,750 guineas.
+
+[6] Sometimes entitled _An Athlete strangling a Python_.
+
+[7] At page 62.
+
+[8] Engraved in the "Magazine of Art," March, 1896.
+
+[9] "Current Art" ("Magazine of Art," May, 1889).
+
+[10] "The Studio," vol. iii.
+
+[11] Reproductions of both of these drawings are given at p. 18.
+
+[12] "Letters of Dante Gabriel Rossetti to William Allingham," by George
+Birkbeck Hill, D.C.L., LL.D. London, T. Fisher Unwin, 1897.
+
+[13] "La Peinture Anglaise Contemporaine" (Paris, Hachette, 1895).
+
+[14] "Magazine of Art," March, 1896, p. 197.
+
+[15] The asterisk denotes works exhibited at the Winter Exhibition of
+the Royal Academy of Arts, 1897.
+
+[16] R.A., Royal Academy; G.G., Grosvenor Gallery; R.W.S., Royal Society
+of Painters in Water-Colours; S.S., Royal Society of British Artists,
+Suffolk Street; D.G., Dudley Gallery; S.P.P., Society of Portrait
+Painters.
+
+[17] Exhibited in the Roman Section, by some blunder of the Committee;
+the picture having been painted in Rome.
+
+[18] Purchased for £2,000 by the President and Council of the Royal
+Academy, under the terms of the Chantrey Bequest.
+
+[19] Painted by invitation for the Collection of Portraits of Artists
+painted by themselves in the Uffizi Gallery, Florence.
+
+[20] Painted for the house of Mr. Murquand, New York.
+
+[21] Purchased for 1,000 guineas by the President and Council of the
+Royal Academy, under the terms of the Chantrey Bequest.
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+Passages in italics are indicated by _underscore_.
+
+Images have been moved from the middle of a paragraph to the closest
+paragraph break or to the end of a long quote.
+
+The following misprints have been corrected:
+  "Dyson-Perrin" corrected to "Dyson-Perrins" (page v)
+  "Frederic" corrected to "Frederick" (page 25 and index)
+  Missing word added on page 101 (assumed "the").
+
+Additional spacing after some of the quotes is intentional to indicate
+both the end of a quotation and the beginning of a new paragraph as
+presented in the original text.
+
+The original text includes Greek characters. For this text version
+these letters have been replaced with transliterations.
+
+*** END OF THE PROJECT GUTENBERG EBOOK 30262 ***
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+<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" />
+<title>The Project Gutenberg eBook of Frederic Lord Leighton , by Ernest Rhys</title>
+    <style type="text/css">
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+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 30262 ***</div>
+<h1>The Project Gutenberg eBook, Frederic Lord Leighton , by Ernest Rhys</h1>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+
+<div class="figcenter"><a name="skein" id="skein"></a><img src="images/image01.jpg" alt="Winding the Skein" /></div>
+<table border="0" cellpadding="0" cellspacing="0" summary="info">
+<tr><td><i>F. Leighton. pinx<sup>t</sup>.</i></td><td><span class="spacer">&nbsp;</span></td><td align="right"><i>Swan Electric Engraving C<sup>o</sup>. Sc.</i></td></tr></table>
+<p class="center"><big><i>Winding the Skein</i></big><br /><i>By permission of the Fine Art Society.</i></p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<h2>Frederic Lord Leighton</h2>
+<h5>Late President of the Royal Academy of Arts</h5>
+
+<h3>An Illustrated Record of</h3>
+<h3>His Life and Work</h3>
+<h3>By Ernest Rhys</h3>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/image02.jpg" alt="George Bell &amp; Sons" /></div>
+<p>&nbsp;</p>
+
+<h4>London: George Bell &amp; Sons</h4>
+<h4>1900</h4>
+
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+<p class="center"><span class="smcap">First Published</span>, super-royal, 4to, 1895.</p>
+<p class="center"><span class="smcap">Second Edition</span>, revised, colombier 8vo, 1898.</p>
+<p class="center"><span class="smcap">Third Edition</span>, revised, crown 8vo, 1900.</p>
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2>Publishers' Note to Third Edition</h2>
+
+<p class='dropcap'><span class="caps">The</span> reception given to previous editions of this work encourages the
+publishers to hope that a re-issue in a smaller form may be appreciated.
+The present volume is reprinted with a few alterations and corrections
+from the second edition published in 1898. A chapter on "Lord Leighton's
+House in 1900," by Mr. S. Pepys Cockerell, has been added.</p>
+
+<p>The publishers take the opportunity to repeat their acknowledgments of
+assistance most kindly given by numerous owners and admirers of the
+artist's work. By the gracious consent of H.M. the Queen, the <i>Cimabue</i>
+in the Buckingham Palace collection, is here reproduced. Especial thanks
+are also due to Lord Davey, Lord Hillingdon, Lord Rosebery, Mrs.
+Dyson-<ins class="correction" title="original reads 'Perrin'">Perrins</ins>, the late Mr. Alfred Morrison, Sir Bernhard Samuelson, Lady
+Hall&eacute;, Mr. Alex. Henderson, Mr. Francis Reckitts, the late Sir Henry
+Tate, the Birmingham and Manchester Corporations, and the President and
+Council of the Royal Academy, who have kindly permitted the reproduction
+of pictures in their possession. To the late Lord Leighton himself the
+author and publishers have to acknowledge their<span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> indebtedness for a
+large number of studies and sketches, hitherto unpublished, as well as
+for his kind co-operation in the preparation of the volume. The author
+wishes also to record his thanks to Mr. M. H. Spielmann for permission
+to use his admirable account of the President's method of painting.</p>
+
+<p>By arrangement with the holders of several important copyrights,
+including Messrs. Thos. Agnew and Sons, P. and D. Colnaghi and Co.,
+H. Graves and Co., Arthur Tooth and Sons, the Society for Promoting
+Christian Knowledge, the proprietors of the Art Journal, the Berlin
+Photographic Company, and the Fine Art Society (whose courtesies in the
+matter are duly credited in the list of illustrations), the publishers
+have been enabled to represent many of the most popular paintings by the
+artist, and a selection of his famous designs for Dalziel's Bible
+Gallery.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2><a name="Contents" id="Contents"></a>Contents</h2>
+
+<table border="0" cellpadding="5" cellspacing="0" summary="Table of Contents">
+<tr><td>&nbsp;</td><td>&nbsp;</td><td align="right"><small>PAGE</small></td></tr>
+<tr><td><span class="smcap">Chapter</span></td><td align="right"><a href="#CHAPTER_I">I.</a></td><td><span class="smcap">His Early Years</span></td><td align="right"><a href="#Page_3">3</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_II">II.</a></td><td><span class="smcap">Year by Year&mdash;1855 to 1864</span></td><td align="right"><a href="#Page_12">12</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_III">III.</a></td><td><span class="smcap">Year by Year&mdash;1864 to 1869</span></td><td align="right"><a href="#Page_21">21</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_IV">IV.</a></td><td><span class="smcap">Year by Year&mdash;1870 to 1878</span></td><td align="right"><a href="#Page_28">28</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_V">V.</a></td><td><span class="smcap">Year by Year&mdash;1878 to 1896</span></td><td align="right"><a href="#Page_39">39</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_VI">VI.</a></td><td><span class="smcap">His Method of Painting</span></td><td align="right"><a href="#Page_54">54</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_VII">VII.</a></td><td><span class="smcap">Mural Decoration, Sculpture, and Illustration</span></td><td align="right"><a href="#Page_61">61</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_VIII">VIII.</a></td><td><span class="smcap">Discourses on Art</span></td><td align="right"><a href="#Page_71">71</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_IX">IX.</a></td><td><span class="smcap">Lord Leighton's Home</span></td><td align="right"><a href="#Page_88">88</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_X">X.</a></td><td><span class="smcap">Lord Leighton's House in 1900. By S. Pepys Cockerell</span></td><td align="right"><a href="#Page_92">92</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_XI">XI.</a></td><td><span class="smcap">The Artist and His Critics</span></td><td align="right"><a href="#Page_103">103</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_XII">XII.</a></td><td><span class="smcap">Conclusion</span></td><td align="right"><a href="#Page_115">115</a></td></tr>
+<tr><td><span class="smcap">Appendix</span></td><td  align="right"><a href="#APPENDIX_I">I.</a></td><td><span class="smcap">Chronological List of Works</span></td><td align="right"><a href="#Page_121">121</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#APPENDIX_II">II.</a></td><td><span class="smcap">List of Landscapes and Studies Sold at Christie's (July, 1896)</span></td><td align="right"><a href="#Page_132">132</a></td></tr>
+<tr><td colspan="2" align="right"><span class="smcap"><a href="#INDEX">Index</a></span></td><td>&nbsp;</td><td align="right"><a href="#Page_137">137</a></td></tr></table>
+<p>&nbsp;</p>
+<p><span class='pagenum'>[Pg viii]</span></p>
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2>List of Illustrations</h2>
+
+<p class="center"><big>I. FIGURE SUBJECTS.</big></p>
+<table border="0" cellpadding="5" cellspacing="0" summary="Figure Subjects">
+<tr><td>&nbsp;</td><td align="right"><small>PAGE</small></td></tr>
+<tr><td><span class="smcap">Winding the Skein</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i> (<i>Photogravure plate.</i>)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#skein"><i>Frontispiece</i></a></td></tr>
+<tr><td><span class="smcap">Cimabue's Madonna</span><br />
+<span style="margin-left: 1em;"><i>By the gracious permission of Her Majesty the Queen.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#madonna">10</a></td></tr>
+<tr><td><span class="smcap">Golden Hours</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lord Davey.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#goldenhours">21</a></td></tr>
+<tr><td><span class="smcap">Helen of Troy</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. H. Graves and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#helen">22</a></td></tr>
+<tr><td><span class="smcap">Orpheus and Eurydice</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Francis Reckitts, Esq.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#orpheus">22</a></td></tr>
+<tr><td><span class="smcap">Venus Disrobing for the Bath</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Alexander Henderson, Esq.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#disrobing">24</a></td></tr>
+<tr><td><span class="smcap">Electra at the Tomb of Agamemnon</span></td><td>&nbsp;</td><td align="right"><a href="#electra">24</a></td></tr>
+<tr><td><span class="smcap">D&aelig;dalus and Icarus</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Alexander Henderson, Esq.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#icarus">26</a></td></tr>
+<tr><td><span class="smcap">St. Jerome</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of the President and Council of the</i></span><br /><span style="margin-left: 1em;"><i>Royal Academy of Arts.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#jerome">26</a></td></tr>
+<tr><td><span class="smcap">Hercules Wrestling With Death for the Body Of Alcestis</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Sir Bernhard Samuelson.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#hercules">30</a></td></tr>
+<tr><td><span class="smcap">Summer Moon</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of the late Alfred Morrison, Esq., from the</i></span><br /><span style="margin-left: 1em;"><i>photogravure published by Messrs. P. and D. Colnaghi and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#summer">30</a></td></tr>
+<tr><td><span class="smcap">The Juggling Girl</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lord Hillingdon.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#juggling">32</a></td></tr>
+<tr><td><span class="smcap">A Condottiere</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Corporation of Birmingham.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#condot">32</a></td></tr>
+<tr><td><span class='pagenum'><a name="Page_x" id="Page_x">[Pg x]</a></span><span class="smcap">The Daphnephoria</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#daphne">34</a></td></tr>
+<tr><td><span class="smcap">Nausicaa</span></td><td>&nbsp;</td><td align="right"><a href="#nausicaa">38</a></td></tr>
+<tr><td><span class="smcap">Sister's Kiss</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#sister">40</a></td></tr>
+<tr><td><span class="smcap">Phryne at Eleusis</span><br />
+<span style="margin-left: 1em;"><i>By permission of the late Lord Leighton.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#phryne">42</a></td></tr>
+<tr><td><span class="smcap">Day Dreams</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#daydreams">42</a></td></tr>
+<tr><td><span class="smcap">Cymon and Iphigenia</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i> (<i>Photogravure plate.</i>)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#cymon">44</a></td></tr>
+<tr><td><span class="smcap">The Last Watch of Hero</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Corporation of Manchester.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#lastwatch">46</a></td></tr>
+<tr><td><span class="smcap">Greek Girls playing at Ball</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Berlin Photographic Company.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#greekgirls">48</a></td></tr>
+<tr><td><span class="smcap">The Bath of Psyche</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Berlin Photographic Company.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#psyche">48</a></td></tr>
+<tr><td><span class="smcap">Farewell</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. A. Tooth and Sons.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#farewell">50</a></td></tr>
+<tr><td><span class="smcap">"And the Sea gave up the dead which were in it"</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Sir Henry Tate.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#thesea">50</a></td></tr>
+<tr><td><span class="smcap">The Frigidarium</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. H. Graves and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#frigid">50</a></td></tr>
+<tr><td><span class="smcap">Rizpah</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. Cassell and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#rizpah">52</a></td></tr>
+<tr><td><span class="smcap">The Bracelet</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. T. Agnew and Sons.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#bracelet">52</a></td></tr>
+<tr><td><span class="smcap">Fatidica</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. T. Agnew and Sons.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#fatidica">52</a></td></tr>
+<tr><td><span class="smcap">A Bacchante</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. H. Graves and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#bacchante">54</a></td></tr>
+<tr><td><span class="smcap">Hit</span><br />
+<span style="margin-left: 1em;"><i>By permission of the proprietors of the "Art Journal."</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#hit">54</a></td></tr>
+<tr><td><span class="smcap">Egyptian Slinger</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lord Davey.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#slinger">112</a></td></tr>
+<tr><td><span class="smcap">Elisha and the Shunamite's Son</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Mrs. Dyson-Perrins.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#elisha">114</a></td></tr>
+<tr><td><span class="smcap">"... Serenely Wandering in a trance of sober thought"</span></td><td>&nbsp;</td><td align="right"><a href="#serene">128</a></td></tr>
+<tr><td><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="32" align="center"><big>II. LANDSCAPES, ETC.</big></td></tr>
+<tr><td><span class="smcap">Garden at Generalife, Granada</span></td><td>&nbsp;</td><td align="right"><a href="#granada">28</a></td></tr>
+<tr><td><span class="smcap">Mimbar of the Great Mosque at Damascus</span></td><td>&nbsp;</td><td align="right"><a href="#mimbar">28</a></td></tr>
+<tr><td><span class="smcap">Fountain in Court at Damascus</span></td><td>&nbsp;</td><td align="right"><a href="#damascus">132</a></td></tr>
+<tr><td><span class="smcap">The Island of &AElig;gina, Pnyx in the Foreground</span></td><td>&nbsp;</td><td align="right"><a href="#island">132</a></td></tr>
+<tr><td><span class="smcap">Ruined Mosque, Broussa</span></td><td>&nbsp;</td><td align="right"><a href="#broussa">134</a></td></tr>
+<tr><td><span class="smcap">City of Tombs, Assiout, Egypt</span></td><td>&nbsp;</td><td align="right"><a href="#tombs">134</a></td></tr>
+<tr><td><span class="smcap">Athens, With the Genoese Tower, Pnyx in Foreground</span></td><td>&nbsp;</td><td align="right"><a href="#athens">136</a></td></tr>
+<tr><td><span class="smcap">Coast of Asia Minor Seen From Rhodes</span></td><td>&nbsp;</td><td align="right"><a href="#rhodes">136</a></td></tr>
+<tr><td><span class="smcap">Red Mountains Desert, Cairo</span></td><td>&nbsp;</td><td align="right"><a href="#reddesert">136</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>III. PORTRAITS.</big></td></tr>
+<tr><td><span class="smcap">Portrait of the Artist.</span> (In the Uffizi Gallery, Florence)</td><td>&nbsp;</td><td align="right"><a href="#leighton">3</a></td></tr>
+<tr><td><span class="smcap">Portrait of the Hon. Mabel Mills</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lady Hillingdon.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#mabelmills">36</a></td></tr>
+<tr><td><span class="smcap">Portrait of Captain (Sir) Richard Burton</span></td><td>&nbsp;</td><td align="right"><a href="#burton">36</a></td></tr>
+<tr><td><span class="smcap">Portrait of Signor Costa</span></td><td>&nbsp;</td><td align="right"><a href="#costa">40</a></td></tr>
+<tr><td><span class="smcap">Portrait of the Lady Sybil Primrose</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lord Rosebery.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#primrose">46</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>IV. STUDIES AND SKETCHES.</big></td></tr>
+<tr><td><span class="smcap">Two Early Pencil Studies</span></td><td>&nbsp;</td><td align="right"><a href="#twoearly">6</a></td></tr>
+<tr><td><span class="smcap">Scheme for a Picture, "The Plague in Florence"</span></td><td>&nbsp;</td><td align="right"><a href="#plague">8</a></td></tr>
+<tr><td><span class="smcap">Study for a Head&mdash;"The Dead Romeo"</span></td><td>&nbsp;</td><td align="right"><a href="#romeo">14</a></td></tr>
+<tr><td><span class="smcap">A Pencil Study</span></td><td>&nbsp;</td><td align="right"><a href="#pencil">16</a></td></tr>
+<tr><td><span class="smcap">A Lemon Tree.</span> (A pencil study)</td><td>&nbsp;</td><td align="right"><a href="#lemon">18</a></td></tr>
+<tr><td><span class="smcap">Byzantine Well-Head.</span> (A pencil study)</td><td>&nbsp;</td><td align="right"><a href="#byzantine">18</a></td></tr>
+<tr><td><span class="smcap">Study for "The Daphnephoria"</span></td><td>&nbsp;</td><td align="right"><a href="#daphnestudy">34</a></td></tr>
+<tr><td><span class="smcap">Study for "Elijah in the Wilderness"</span></td><td>&nbsp;</td><td align="right"><a href="#elijahstudy">38</a></td></tr>
+<tr><td><span class="smcap">Study for "Captive Andromache"</span> (nude)</td><td>&nbsp;</td><td align="right"><a href="#andronude">56</a></td></tr>
+<tr><td><span class="smcap">Study for a Figure in "Captive Andromache"</span></td><td>&nbsp;</td><td align="right"><a href="#androcap">56</a></td></tr>
+<tr><td><span class="smcap">Study for "Andromache"</span></td><td>&nbsp;</td><td align="right"><a href="#andro">56</a></td></tr>
+<tr><td><span class="smcap">Study for "Perseus and Andromeda"</span></td><td>&nbsp;</td><td align="right"><a href="#perseusstudy">58</a></td></tr>
+<tr><td><span class="smcap">Study for a Figure in "The Bath of Psyche"</span></td><td>&nbsp;</td><td align="right"><a href="#psychestudy">58</a></td></tr>
+<tr><td><span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg xii]</a></span><span class="smcap">Study for "Solitude"</span></td><td>&nbsp;</td><td align="right"><a href="#solitude">58</a></td></tr>
+<tr><td><span class="smcap">Study for a Figure in "The Return of Persephone"</span></td><td>&nbsp;</td><td align="right"><a href="#persestudy">60</a></td></tr>
+<tr><td><span class="smcap">Study for "Persephone"</span></td><td>&nbsp;</td><td align="right"><a href="#perse">60</a></td></tr>
+<tr><td><span class="smcap">Studies for the Decoration of the Ceiling of a Music Room</span></td><td>&nbsp;</td><td align="right"><a href="#ceilingstudy">62</a></td></tr>
+<tr><td><span class="smcap">Cain and Abel</span></td><td rowspan="4"><span class="bracket4">{</span></td><td rowspan="4" align="left">From Dalziel's<br />"Bible Gallery"</td></tr>
+<tr><td><span class="smcap">Moses Views the Promised Land</span></td></tr>
+<tr><td><span class="smcap">Samson and the Lion</span></td></tr>
+<tr><td><span class="smcap">Samson Carrying Off the Gates</span></td></tr>
+<tr><td><span style="margin-left: 1em;"><i>By permission of Messrs. J. S. Virtue and Co. and the</i></span><br /><span style="margin-left: 1em;"><i>Society for Promoting Christian Knowledge.</i></span></td><td>&nbsp;</td><td valign="top" align="right"><a href="#cain">70</a></td></tr>
+<tr><td><span class="smcap">"A Contrast"</span></td><td>&nbsp;</td><td align="right"><a href="#contrast">72</a></td></tr>
+<tr><td><span class="smcap">A Study in Oils.</span> (Head of a girl, back view)</td><td>&nbsp;</td><td align="right"><a href="#head1">74</a></td></tr>
+<tr><td><span class="smcap">Head of a Young Girl.</span> (A Study in oils)<br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lady Hall&eacute;.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#head2">76</a></td></tr>
+<tr><td><span class="smcap">Study of a Head</span></td><td>&nbsp;</td><td align="right"><a href="#head3">78</a></td></tr>
+<tr><td><span class="smcap">Study of a Head</span></td><td>&nbsp;</td><td align="right"><a href="#head4">80</a></td></tr>
+<tr><td><span class="smcap">A Study in Oils.</span> (Head of a girl)</td><td>&nbsp;</td><td align="right"><a href="#head5">82</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>V. FRESCOES, WALL PAINTINGS, ETC.</big></td></tr>
+<tr><td><span class="smcap">Two Friezes&mdash;Music, the Dance</span></td><td>&nbsp;</td><td align="right"><a href="#friezes">44</a></td></tr>
+<tr><td><span class="smcap">Decoration for the Ceiling of a Music Room</span></td><td>&nbsp;</td><td align="right"><a href="#ceiling">62</a></td></tr>
+<tr><td><span class="smcap">The Industrial Arts of War.</span><br /><span style="margin-left: 1em;">(From the fresco at South Kensington Museum)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#artsofwar">64</a></td></tr>
+<tr><td><span class="smcap">The Industrial Arts of Peace.</span><br /><span style="margin-left: 1em;">(From the fresco at South Kensington Museum)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#artsofpeace">64</a></td></tr>
+<tr><td><span class="smcap">Cupid.</span> (From a fresco)</td><td>&nbsp;</td><td align="right"><a href="#cupid">66</a></td></tr>
+<tr><td><span class="smcap">Ph&oelig;nicians bartering with Britons.</span><br /><span style="margin-left: 1em;">(Panel in the Royal Exchange)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#britons">66</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>VI. SCULPTURE.</big></td></tr>
+<tr><td><span class="smcap">An Athlete Struggling with a Python.</span><br /><span style="margin-left: 1em;">(Bronze statue, from two points of view)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#athlete">68</a></td></tr>
+<tr><td><span class="smcap">Study in Clay for "Cymon"</span></td><td>&nbsp;</td><td align="right"><a href="#cymonstudy">68</a></td></tr>
+<tr><td><span class="smcap">Study in Clay for "The Sluggard"</span></td><td>&nbsp;</td><td align="right"><a href="#sluggard">68</a></td></tr>
+<tr><td><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span><span class="smcap">Study in Clay for "Perseus"</span></td><td>&nbsp;</td><td align="right"><a href="#perseus">68</a></td></tr>
+<tr><td><span class="smcap">Study in Clay for "Andromeda"</span></td><td>&nbsp;</td><td align="right"><a href="#andromeda">68</a></td></tr>
+<tr><td><span class="smcap">Design for Reverse of the Jubilee Medallion</span> (1887)</td><td>&nbsp;</td><td align="right"><a href="#medallion">130</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>VII. LORD LEIGHTON'S HOUSE.</big></td></tr>
+<tr><td><span class="smcap">In the Inner Hall.</span><br /><span style="margin-left: 1em;">(From a photograph taken specially by Mr. James Hyatt)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#innerhall">88</a></td></tr>
+<tr><td><span class="smcap">In the Arab Hall.</span><br /><span style="margin-left: 1em;">(From a photograph by Messrs. Bedford, Lemere, and Co.)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#arabhall">96</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td><span class="smcap">Bookplate of Lord Leighton.</span><br />
+<span style="margin-left: 1em;">(Designed by R. Anning Bell)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#bookplate">120</a></td></tr></table>
+
+<p class="center"><i>With four exceptions all the reproductions are by the Swan Electric Engraving Company.</i></p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2>FREDERIC LORD LEIGHTON, P.R.A.</h2>
+
+<p class="center">
+LIST OF DIGNITIES AND HONOURS CONFERRED<br />
+ON FREDERIC LEIGHTON.<br />
+<br />
+Knighted, 1878; created a Baronet, 1886; created Baron Leighton of Stretton,<br />
+1896; elected Associate of the Royal Academy, 1864; Royal Academician, 1869;<br />
+President of the Royal Academy, 1878; Hon. Mem. Royal Scottish Academy,<br />
+and Royal Hibernian Academy, Associate of the Institute of France, President<br />
+of the International Jury of Painting, Paris Exhibition, 1878; Hon. Member,<br />
+Berlin Academy, 1886; also Member of the Royal Academy of Vienna,<br />
+1888, Belgium, 1886, of the Academy of St. Luke, Rome, and the Aca-<br />
+demies of Florence (1882), Turin, Genoa, Perugia, and Antwerp (1885);<br />
+Hon. D.C.L., Oxford, 1879; Hon. LL.D., Cambridge, 1879; Hon.<br />
+LL.D., Edinburgh, 1884; Hon. D.Lit., Dublin, 1892; Hon.<br />
+D.C.L., Durham, 1894; Hon. Fellow of Trinity College,<br />
+London, 1876; Lieut.-Colonel of the 20th Middlesex<br />
+(Artists') Rifle Volunteers, 1876 to 1883 (resigned);<br />
+then Hon. Colonel and holder of the Volunteer<br />
+Decoration; Commander of the Legion of<br />
+Honour, 1889; Commander of the<br />
+Order of Leopold; Knight of the<br />
+Prussian Order "pour le<br />
+M&eacute;rite," and of the<br />
+Coburg Order Dem<br />
+Verdienste.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="leighton" id="leighton"></a><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+
+<div class="figcenter"><img src="images/image03.jpg" alt="Portrait of the Artist" /></div>
+<p class="center">PORTRAIT OF THE ARTIST (1881)<br />
+<i>Painted for the Uffizi Gallery</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<h2>FREDERIC LORD LEIGHTON, P.R.A.</h2>
+
+<h2>AN ILLUSTRATED CHRONICLE</h2>
+
+
+<h3><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h3>
+
+<h4><span class="smcap">His Early Years</span></h4>
+
+
+<p class='dropcap'><span class="caps">To</span> Italy, at whose liberal well-head English Art has so often renewed
+itself, we turn naturally for an opening to this chronicle of a great
+English artist's career. Frederic Leighton was the painter of our time
+who strove hardest to keep alive an Italian ideal of beauty in London;
+therefore it is in Italy, the Italy of Raphael and Angelo and his
+favourite Giotteschi, that we must seek the true beginnings of his art.</p>
+
+<p>London made its first acquaintance with him and his painting in 1855,
+when the picture, <i>Cimabue's Madonna carried in Procession through the
+Streets of Florence</i>, startled the Royal Academy, and proved that a
+'prentice work could be in its way something of a masterpiece. This
+picture, the work of an unknown young artist of twenty-five, painted
+chiefly in Rome, showed at once a new force and a new quality, and in
+its singular feeling for certain of the archaic Italian schools, showed,
+too, where for the moment the sympathies of the painter really lay. How
+far the potentiality disclosed in it was developed during the forty
+years following, how far the<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> ideals in art, which it seemed to declare,
+were pursued or departed from, the Royal Academy year by year is
+witness. Here, before we turn to consider the history of those later
+years, we shall find it interesting to use this first picture as an
+index to that period of probation, which is so often the most
+interesting part of an artist's history. In accounting for it, and
+finding out the determining experiences of the artist's pupilage, we
+shall account, also, for much that came after. Although Frankfort and
+Paris play their part, the formative influences of that early period, we
+shall find, carry us chiefly, and again and again, into Italy.</p>
+
+<p>Frederic Leighton was born on the 3rd of December, 1830, at Scarborough,
+the son of a medical practitioner. His father, Dr. Frederic Leighton,
+was also the son of a physician who was knighted for eminence in his
+profession. Thus we have two generations of medicine and culture in the
+family; but there is no sign of art, or love for art, before the third.
+This generation produced three children, all devoted to the graphic arts
+and to music, of whom the boy, Frederic was the eldest.</p>
+
+<p>A word or two more must be given to his forbears, on grounds of
+character and heredity, before we pass. Sir James Leighton, the
+grandfather, was Physician to the Court at St. Petersburg, where he
+served in succession Alexander the First, and Nicholas, with whom he was
+on terms of considerable intimacy. His son, Dr. Frederic Leighton, who
+promised to be a still more brilliant practioner, was educated at
+Stonyhurst, but after taking his M.D. degree at Edinburgh, just as he
+was rapidly acquiring the highest professional reputation, contracted a
+cold that led to a partial deafness. This made it impossible for him to
+go on practising with safety, and retiring to his study he turned from
+physical to metaphysical<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> pursuits. In spite of his deafness, as severe
+an embargo on social reputation as can well be laid, Dr. Leighton is
+said to have been equally noted among his friends for his keen
+intellectual quality and his urbanity.</p>
+
+<p>To be the son of his father, then, counted for something in our hero's
+career. Even in art, which Dr. Leighton did not care for particularly,
+the boy had very great opportunities. Before he was ten years old, he
+went abroad with his mother, who was in ill health; and already he had
+shown such decided signs of the <i>furor pingendi</i> during a chance visit
+to Mr. Lance's studio in Paris, that it is without surprise that we hear
+of him in 1840 as taking drawing lessons from Signor F. Meli, at Rome.
+During these early travels the boy's sketch books were full (we are
+told) of precociously clever things. The climacteric moment came early
+in his career. At Florence, in 1844, when he was fourteen, he delivered
+himself of a sort of boyish ultimatum to his father, who, after taking
+counsel of Hiram Powers, the American sculptor, wisely gave the boy his
+wish, and decided to let him be an artist. Powers when asked, "Shall I
+make him an artist?" exclaimed in no uncertain terms, "Sir, you have no
+choice in the matter, he is one already;" and on further question, the
+father being anxious about the boy's possibilities, said, "He may become
+as eminent as he pleases."</p>
+
+<p>Few art students of our time appear to have encountered more fortunate
+conditions, on the whole, than did Frederic Leighton in the years
+immediately following. The Florentine school of fifty years ago,
+however, was not the best for a beginner. It was full of mannerisms,
+which a boy of that age was sure to pick up, and exaggerate on his own
+account. At that time Bezzuoli and Servolini were the great lights and
+directors of the<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> Academy of the Fine Arts, and they delighted,
+naturally, in so able and so apt a pupil; that he found it hard to shake
+off their teaching becomes evident later.</p>
+
+<p>Those who had the good fortune at any time to have heard Lord Leighton
+describe his early wanderings in Europe, must have been struck by the
+warmth of his tribute to Johann Eduard Steinle, the Frankfort master,
+who did more than any other to correct his style, and to decide the
+whole future bent of his art.</p>
+
+<p>Steinle, whose name is barely known to us in England, was one of that
+remarkable school of painters, called familiarly "the Nazarenes,"
+because of their religious range of subjects, who were inspired
+originally by Overbeck and Pf&uuml;hler. Leighton in recent years described
+him as "an intensely fervent Catholic;" a man of most striking
+personality, and of most courtly manners, whose influence upon younger
+men was fairly magnetic. In the case of this particular pupil,
+certainly, his intervention was of most powerful effect. Religious in
+his methods, as well as in his sentiment of art, the florid
+insincerities and mannerisms of the Florentine Academy, as they were
+still to be seen in the young Leighton's work, found in him an admirable
+chastener, but it took many years of painfully hard work, lasting until
+1852, to undo the evil wrought by decadent Florence.</p>
+
+<p>Prior to this fortunate intercourse with Steinle, the student had an old
+acquaintance with Frankfort, which, like Florence, seemed destined to
+play a great part in his history. Before going to Florence, and deciding
+on his artistic career, in 1844, he had been sent to school in
+Frankfort. He returned there from Florence to resume his general
+education, and on leaving at seventeen, went for a year to the
+St&auml;dtelsches Institut.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="twoearly" id="twoearly"></a></p>
+<div class="figcenter"><img src="images/image04top.png" alt="Early Pencil Study" /></div>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/image04bot.png" alt="Early Pencil Study" /></div>
+<p class="center">TWO EARLY PENCIL STUDIES</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1848 he went to Brussels, and worked there for a<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> time without any
+master, painting the first picture that deserves to be remembered.
+Characteristically enough, this depicted <i>Cimabue finding Giotto in the
+fields of Florence</i>. The shepherd boy is engaged in drawing the figure
+of a lamb upon a smooth rock, using a piece of coal for pencil; an
+admirable and precocious piece of work. At the time it was first shown
+it was considered especially good in its harmonious and original
+colouring, nor did a sight of it in 1896 at the Winter Exhibition of the
+Royal Academy contradict the generous verdict of contemporary critics.
+At Brussels he painted a portrait of himself, a notable thing of its
+kind, wherein we see a slight, dark youth, with a face of much charm and
+distinction, whose features one easily sees to be like those of later
+portraits. Then, immediately before the return to Frankfort, and the
+studying there, under Steinle, Leighton spent some months in Paris,
+working in an atelier in the Rue Richer.</p>
+
+<p>The conditions of this most informal of life-schools were such as Henri
+Murger, who was alive and writing at the time, might have approved, but
+were hardly to be called educative in any higher sense. The only master
+that these Bohemians could boast was a very invertebrate old artist, who
+seems to have been the soul of politeness and irresponsibility, and who
+accompanied every weak criticism with the deprecatory conclusion, "Voil&agrave;
+mon opinion!"</p>
+
+<p>"M. Voil&agrave; mon opinion!" is a type not unknown otherwhere than in that
+Paris atelier. A fine alterative the student must have found the severe
+and stringent tonics that Steinle prescribed immediately afterwards in
+Frankfort.</p>
+
+<p>In the admirable monograph on "Sir Frederic Leighton" by Mrs. Andrew
+Lang, from which we have drawn on occasion in these pages, an
+interesting account<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> is given of an exploit at Darmstadt, in which the
+young artist took a chief part. An artists' festival was to be held
+there, and Sir Frederic and one of his fellow-students, Signor Gamba,
+took it into their heads to paint a picture for the occasion on the
+walls of an old ruined castle near the town. The design was speedily
+sketched after the most approved medi&aelig;val fashion, and no time was lost
+in executing the work. "The subject was a knight standing on the
+threshold of the castle, welcoming the guests, while in the centre of
+the picture was Spring, receiving the representatives of the three arts,
+all of them caricatures of well-known figures. In one corner were the
+two young artists themselves, surveying the pageant. The Schloss where
+this piece was painted is still in existence, and the Grand Duke has
+lately erected a wooden roof over the painting, to preserve it from
+destruction."</p>
+
+<p>Before leaving Frankfort, Leighton had already interested Steinle in his
+projected picture of <i>Cimabue's Madonna</i>, and the design for it was made
+under Steinle's direction. Under his direct influence, too, and inspired
+by Boccaccio, another Florentine picture&mdash;a cartoon of its great
+plague&mdash;was painted. In speaking of the dramatic treatment of its
+subject, Mrs. Lang describes "the contrast between the merry revellers
+on one side of the picture and the death-cart and its pile of corpses on
+the other, while in the centre is the link between the two&mdash;a
+terror-stricken woman attempting to escape with her baby from the
+pestilence-stricken city. We shall look in vain among the President's
+later works for any picture with a similar <i>motif</i>. In general he shared
+Plato's opinion&mdash;that violent passions are unsuitable subjects for art;
+not so much because the sight of them is degrading, as because what is
+at once hideous and transitory in its nature should not be
+perpetuated."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="plague" id="plague"></a></p>
+<div class="figcenter"><img src="images/image05.jpg" alt="The Plague in Florence" /></div>
+<p class="center">SCHEME FOR A PICTURE: THE PLAGUE IN FLORENCE</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span>We have seen how the spirit and sentiment of Italy continually remained
+by the artist in his German studio, and how in Frankfort his artistic
+imagination returned again and again to Florence, and to the early
+Florentines of his particular adoration&mdash;Cimabue and Giotto. The recall
+to Italy came inevitably, as Steinle's teaching at last had fully worked
+its purpose. Steinle himself counselled the move, and gave his favourite
+pupil an introduction to Cornelius in Rome. It was to Rome, therefore,
+and not to Florence, that the young artist went&mdash;to Rome where sooner or
+later the steps of all men who work for art or for religion tend, and
+where so few stay. This was in 1852, the year which was represented in
+the Commemorative Exhibition at Burlington House by <i>A Persian Pedlar</i>,
+a small full-length figure of a man in Oriental costume, seated
+cross-legged on a divan, with a long pipe in his hand. To 1853 belongs a
+<i>Portrait of Miss Laing</i> (Lady Nias), which was shown again at the same
+time.</p>
+
+<p>The Rome of the mid-century was Rome at its best, with much artistic
+stimulus of the present, as well as of the past. The English colony was
+particularly strong. Thackeray was there, moving about after his wont in
+the studios and salons; the Brownings were there, and in their prime.
+The young painter and his work, including the <i>Cimabue's Madonna</i> in its
+earlier stages, made a great impression on Thackeray, who turned prophet
+for once on the strength of it. On returning to London and meeting
+Millais, he prophesied gaily to that ardent Pre-Raphaelite, then
+marching on from success to success: "Millais! my boy, I have met in
+Rome a versatile young dog called Leighton, who will one of these days
+run you hard for the presidentship!" This was early days for such a
+rumour to reach the Academy, who knew an older<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> school, represented by
+Landseer and Eastlake, and a younger school, represented by Millais and
+Rossetti, but as yet knew not Leighton.</p>
+
+<p>Among the leading artists in Rome at this time, beside Cornelius, were
+the two French painters, Bouguereau and Gerome. To these, especially to
+Bouguereau, who was a great believer in "scientific composition,"
+Leighton was, on his own testimony, largely indebted for his fine sense
+of form. Yet another famous Frenchman, Robert Fleury, whom he afterwards
+met in Paris, may be mentioned here, since from him he learnt much in
+the way of colouring, and the technique of his art.</p>
+
+<p>Turning from the painters to the poets, it was at Rome that Robert
+Browning, who was at this time writing his "Men and Women," formed close
+acquaintance with the young artist. Something of the atmosphere which
+permeates such poems as "Bishop Blougram's Apology," "Andrea del Sarto,"
+and others of the same series, seems to linger yet in the record of
+those early meetings of poets and painters, with all their associations:</p>
+
+<div class="poem">
+<span style="margin-left: 13.5em;">"The Vatican,</span><br />
+Greek busts, Venetian paintings, Roman walls,<br />
+And English books."</div>
+
+<p>&nbsp;</p>
+<p>One easily supposes Browning speaking through his Bishop Blougram, as,
+it is said, he was heard to speak in those days in praise of Correggio,
+to whose qualities, Ruskin tells us, Sir Frederic Leighton curiously
+approximates:</p>
+
+<div class="poem">
+"'Twere pleasant could Correggio's fleeting glow<br />
+Hang full in face of one where'er one roams,<br />
+Since he more than the others brings with him<br />
+Italy's self&mdash;the marvellous Modenese!"</div>
+
+<p>Italy's self, in truth, Frederic Leighton, like Browning in<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> poetry,
+did not fail to bring with him, and revived for us for many years, by
+his art and southern glow of colour, in the gray heart of London.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="madonna" id="madonna"></a></p>
+<div class="figcenter"><img src="images/image06.jpg" alt="Madonna Carried in Procession" /></div>
+<p class="center">CIMABUE'S MADONNA CARRIED IN PROCESSION THROUGH THE STREETS OF FLORENCE (1855)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>Among other people whom Leighton met in Rome were George Sand, Mrs.
+Kemble, George Mason the painter, of <i>Harvest Moon</i> fame, Gibson the
+sculptor, and Lord Lyons. Like Robert Browning, let us add, he was
+readily responsive to the quickening of his contemporaries, and
+vigorously studied the present in order that he might the better paint
+the past, and put live souls into the archaic raiment of Cimabue and old
+Florence.</p>
+
+<p>He was working hard all this while, with a devotion and concentration
+that impressed other friends beside Thackeray, upon his picture of
+<i>Cimabue's Madonna</i>, which was exhibited in the Academy of 1855, and as
+the work of an unknown hand made a distinct sensation. It was discussed,
+angrily by some, delightedly by others. The criticism which Rossetti,
+Mr. Ruskin, and other critics bestowed upon it in the press or in
+private correspondence<small><a name="f1.1" id="f1.1" href="#f1">[1]</a></small> will come more fitly into our later pages,
+when we turn to deal with contemporary opinions upon Leighton's work.
+Enough to say here that it won fame for the artist at a stroke. The
+Queen bought it for &pound;600, having bespoken it, I believe, before it left
+his studio, and hung it eventually in Buckingham Palace. With this
+encouraging first great success, the probationary stage of our artist's
+history may be said to close.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
+<h3><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h3>
+
+<h4><span class="smcap">Year by Year&mdash;1855 to 1864</span></h4>
+
+
+<p class='dropcap'><span class="caps">The</span> Academy of forty years ago was very different from that we know
+to-day. It was held in the left wing of the National Gallery, and had
+not nearly so much space at its disposal as it has in its present
+quarters at Burlington House. The exhibition of 1855 contained few
+pictures, compared with the multitudinous items of the present shows.</p>
+
+<p>Generally speaking, the exhibition was of a heavier, more Georgian
+aspect, in spite of certain Pre-Raphaelite experiments and other signs
+of the coming of a younger generation. Sir Charles Eastlake was
+President. Professor Hart was delivering lectures to its students, full
+of academic, respectable intelligence, if little more; lectures which
+those who are curious may find reported in full in the "Athen&aelig;um" of
+that time.</p>
+
+<p>More interesting was the appearance of Mr. Ruskin as commentator on the
+pictures of the Academy in this year, the first in which he issued his
+characteristic "Academy Notes." His long, and, all things considered,
+remarkably appreciative criticism of the <i>Cimabue's Madonna</i> we discuss
+elsewhere (p. <a href="#Page_103">103</a>). Of another picture of Italy by a very different
+painter, which was considered a masterpiece by some critics, we find him
+speaking in terms of monition: "Is it altogether too late to warn him
+that he is fast becoming nothing more than an Academician?"<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span> The one
+picture of the year, according to Mr. Ruskin, was the <i>Rescue</i>, by
+Millais. "It is the only great picture exhibited this year," he writes,
+"but this is very great." For the rest, <i>A Scene from As You Like It</i>,
+by Maclise; another Shakespearean subject, the inevitable <i>Lear and
+Cordelia</i>, by Herbert; and a <i>Beatrice</i> by the then President, and we
+have recalled everything that served to give the Academy of that year
+its distinction in the eyes of contemporary critics. Sir Edwin Landseer,
+who to the outer world was the one great fact in the art of the time,
+does not appear to have exhibited in 1855.</p>
+
+<p>Looking back now to that date, what one discerns chiefly is the
+emergence of the Pre-Raphaelites from the more conventional multitude
+that were taking up the artistic traditions of the first half of the
+century. Millais, Rossetti, Holman Hunt, and their associates, count to
+us, to-day, as the representatives of an earlier generation; in 1855
+they still stood for all that was daring, unprecedented, and adventurous
+in their art.</p>
+
+<p>This newcomer, with his <i>Cimabue's Madonna</i> in a new style, puzzled the
+critics considerably. They did not know quite how to allot him in their
+casual division of contemporary schools. "Landseer and Maclise we know;
+and Millais and Holman Hunt; but who is Leighton?" was the tenor of
+their commentary.</p>
+
+<p>Meanwhile an event of great significance to English Art in this year was
+happening&mdash;an exhibition of English pictures in Paris, the first of its
+kind. This beginning of such international exchanges was important; it
+has led up to many striking modifications of both English and French
+schools since that date. It is curious that it should coincide with the
+awakening to certain other foreign influences: that of the early Italian
+school upon the Pre-Raphaelites, and that of the later Italian,
+popularly<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> known as "the classic school," upon Leighton and Mr. G. F.
+Watts.</p>
+
+<p>Of this exhibition of English pictures, which was held in the Avenue
+Montaigne, M. Ernest Chesneau, a critic very sympathetic to English art,
+tells us, in his admirable book on the "English School of Painting,"
+that "for the French it was a revelation of a style and a school of the
+very existence of which they had hitherto had no idea; and whether owing
+to its novelty, or the surprise it occasioned, or, indeed, to its real
+merit, whatever may have been the true cause, most certain it is that
+the English, until then little thought of and almost unknown abroad,
+obtained in France a great success."</p>
+
+<p>M. Chesneau, in going on to account further for the great impression
+made by the English painters in Paris, attributes it largely to the
+<i>singularity</i> which, for foreign eyes, marks their work. It is curious,
+indeed, that French critics, and M. Chesneau among them, really admire
+this singularity, which they count distinctively British. They look for
+it in our pictures, and if they do not find it&mdash;as in the work of
+Leighton&mdash;they feel aggrieved.</p>
+
+<p>British eccentricity, whether thinking its way with the aid of genius
+into "Pre-Raphaelitism," or now again, with the aid of extreme
+cleverness and talent, into certain cruder forms of "impressionism," is
+sure of its effect. But an art like Leighton's, whose aim is beauty and
+not eccentricity, is apt to be slighted by both French and English
+critics, with some notable exceptions. Not all its grace, its classic
+quality, its beauty of line and distinction of treatment, avail it, when
+it comes into conflict with doctrinaire theories on the one hand, and a
+love for mere sensationalism on the other.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="romeo" id="romeo"></a></p>
+<div class="figcenter"><img src="images/image07.jpg" alt="The Dead Romeo" /></div>
+<p class="center">THE DEAD ROMEO<br />A PENCIL STUDY</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>The success of his picture at the Academy, and the<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> incidental
+lionizing of a season, did not tempt the artist to stay long in London,
+and he went to Paris, where he settled himself in a studio and proceeded
+to complete his <i>Triumph of Music</i>, and other pictures begun in Rome.</p>
+
+<p>By this time the painter's method might seem assured, but Paris was
+still able to add something to his style, with the aid of such masters
+as Fleury. English critics, who expected <i>The Triumph of Music</i> to
+sustain the reputation won by <i>Cimabue's Madonna</i>, were
+disappointed&mdash;partly because Orpheus was represented as playing a
+violin, in place of the traditional lyre. To those who will examine and
+compare them more carefully, there is no such discrepancy. <i>The Triumph
+of Music: Orpheus by the power of his Art redeems his wife from Hades</i>,
+which is every whit as distinctive a performance as the <i>Cimabue's
+Madonna</i> (as indeed it was conceived and painted largely under the same
+conditions), was nevertheless not a popular success. Certainly, it
+marks, as clearly as anything can, the sense of colour, the sense of
+form, the draughtsmanship, the immensely cultured eye and hand, first
+discovered to the English critics by its predecessor. It was sold after
+the painter's death.</p>
+
+<p>Of certain other works painted in 1856, 1857, and 1858, some of which
+never found their way to the Academy, little need be said. To this
+period belong two pictures painted in Paris, the one, <i>Pan</i> under a
+fig-tree, with a quotation from Keats's "Endymion":</p>
+
+<div class="poem">
+<span style="margin-left: 10em;">"O thou, to whom</span><br />
+Broad-leaved fig-trees even now foredoom<br />
+Their ripened heritage,"</div>
+
+<p>and the other, a pendant to it, <i>A Nymph and Cupid</i>.</p>
+
+<p><i>Salome, the Daughter of Herodias</i>, painted in 1857,<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> but apparently not
+exhibited at the Academy, represents a small full-length figure in white
+drapery, with her arms above her head, which is crowned with flowers;
+behind her stands a female musician. Another, shown in 1858 at the Royal
+Academy, and again in the 1897 retrospective exhibition, was first
+entitled <i>The Fisherman and Syren</i>, and afterwards <i>The Mermaid</i>; it is
+a composition of two small full-length figures, a mermaid clasping a
+fisherman round the neck. The subject is taken from a ballad by Goethe:</p>
+
+<div class="poem">
+"Half drew she him,<br />
+Half sunk he in,<br />
+And never more was seen."</div>
+
+<p>In the same year was a painting inspired by "Romeo and Juliet," entitled
+<i>Count Paris, accompanied by Friar Laurence, comes to the house of the
+Capulets to claim his bride; he finds Juliet stretched, apparently
+lifeless, on the bed</i>. The picture shows, in addition to the figures
+named in its former title, the father and mother of Juliet bending over
+their daughter's body, and through an opening beyond numerous figures at
+the foot of the staircase.</p>
+
+<p>The latter year marked the painter's return to London, where he entered
+more actively into its artistic life than he had done hitherto, and made
+closer acquaintance with the Pre-Raphaelites, who were already entering
+upon their second and maturer stage. To take Rossetti: it was in 1856
+that he made those five notable designs to illustrate "Poems by Alfred
+Tennyson," which Moxon and Co. published in the following year; an event
+that, for the first time, really introduced him to the public at large.
+To 1857, again, belongs Rossetti's <i>Blue Closet</i> and <i>Damsel of the
+Sangrael</i>, both painted for Mr. W.<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> Morris. And in 1857 and 1858, the
+famous and hapless distemper pictures on the walls of the Union Debating
+Society's room at Oxford, were engaging Rossetti and his associates,
+including Burne-Jones, William Morris, Mr. Val. Prinsep, Mr. Arthur
+Hughes, and Mr. Spencer Stanhope.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="pencil" id="pencil"></a></p>
+<div class="figcenter"><img src="images/image08.jpg" alt="A Pencil Study" /></div>
+<p class="center">A PENCIL STUDY</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>It was in the summer of 1858, Mr. F. G. Stephens tells us, that the
+original Hogarth Club was founded, of which the two Rossettis were
+prominent instigators,&mdash;one of the most notable of the many protestant
+societies that have sprung up at different times from a slightly
+anti-Academic bias. It is interesting to find that Leighton's famous
+<i>Lemon Tree</i> drawing in silverpoint was exhibited here. The Hogarth Club
+held its meetings at 178, Piccadilly, in the first instance; removed
+afterwards to 6, Waterloo Place, Pall Mall, and finally dissolved, in
+1861, after existing for four seasons.</p>
+
+<p>To speak of other painters more or less associated with Rossetti and his
+school, Mr. Holman Hunt, whose <i>Light of the World</i> had greatly struck
+Paris in 1855, exhibited his <i>Scapegoat</i> at the Academy of 1856, a
+picture which called from Mr. Ruskin immense praise, and a
+characteristic protest: "I pray him to paint a few pictures with less
+feeling in them, and more handling." Of Millais we have already spoken.
+In 1856 he exhibited <i>The Child of the Regiment</i>, <i>Peace Concluded</i>, and
+<i>Autumn Leaves</i>.</p>
+
+<p>In 1859 Leighton showed three pictures at the Academy. One, <i>A Roman
+Lady</i> (then called <i>La Nanna</i>), a half-length black-haired figure,
+facing the spectator, in Italian costume; another, now called <i>Nanna</i>,
+then entitled <i>Pavonia</i>, a half-length figure of a girl in Italian
+costume, with peacock's feathers in the background; and <i>Sunny Hours</i>,
+which seems to have escaped record so far. The<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> same year saw another of
+his pictures, <i>Samson and Delilah</i>, exhibited at Suffolk Street.</p>
+
+<p>We must not pass by the famous <i>Study of a Lemon Tree</i> (now at Oxford),
+mentioned above, without quoting the praise by Mr. Ruskin, which made it
+famous. Mr. Ruskin couples it with another drawing, both of which we
+have been fortunately able to reproduce in our pages. These "two perfect
+early drawings," he writes, "are of <i>A Lemon Tree</i>, and another of the
+same date, of <i>A Byzantine Well</i>, which determine for you without
+appeal, the question respecting necessity of delineation as the first
+skill of a painter. Of all our present masters Sir Frederic Leighton
+delights most in softly-blended colours, and his ideal of beauty is more
+nearly that of Correggio than any seen since Correggio's time. But you
+see by what precision of terminal outline he at first restrained, and
+exalted, his gift of beautiful <i>vaghezza</i>." The <i>Lemon Tree</i> study, let
+us add, was drawn at Capri in the spring of 1859. Here, and elsewhere in
+the South of Europe, whither the artist returned, escaping from London
+at every opportunity, many other notable studies and drawings were made
+during this period. Some of these were employed long since for the
+backgrounds of pictures familiar to us all. Others, faithful studies of
+nature, small oil and water-colour drawings, chiefly landscape, were
+scarce known to the general public during the painter's life, but were
+eagerly competed for at the sale of his pictures in July, 1896.</p>
+
+<p>The little picture of <i>Capri at Sunrise</i> was hung in the Academy of
+1860, the painter's only contribution of that year. In the year
+following, we find another small picture of Capri, together with five
+others, some of which played their part in winning for the artist his
+wider recognition.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="lemon" id="lemon"></a></p>
+<div class="figcenter"><img src="images/image09.jpg" alt="A Lemon Tree" /></div>
+<p class="center">A LEMON TREE<br />A PENCIL STUDY</p>
+<p>&nbsp;</p><p>&nbsp;<a name="byzantine" id="byzantine"></a></p>
+<div class="figcenter"><img src="images/image10.jpg" alt="Byzantine Well Head" /></div>
+<p class="center">BYZANTINE WELL HEAD<br />A PENCIL STUDY</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span>Meanwhile, the artist was drawing his London ties closer. In 1860 he
+took up his abode at 2, Orme Square, where he continued to reside until
+he built his famous house in Holland Park Road, some years later. His
+art did not for this reason become more like London, or more infected
+with that British singularity which some critics would seem to demand.
+On the contrary, Italy and the South, the glow of colour, the perfection
+of form, the plastic exquisiteness, which mark for us his mature
+performances, and which follow after classic ideals, were more and more
+clearly to be discerned in the remarkable cycle of pictures associated
+with this part of his career.</p>
+
+<p>In 1861 he painted portraits of his sister, <i>Mrs. Sutherland Orr</i>, and
+of <i>Mr. John Hanson Walker</i>, the former shown at the Academy, where also
+hung <i>Paolo e Francesca</i>, <i>A Dream</i>, <i>Lieder ohne Worte</i>, <i>J. A.&mdash;a
+Study</i>, and <i>Capri&mdash;Paganos</i>. Rossetti, writing of this exhibition,
+says: "Leighton might, as you say, have made a burst had not his
+pictures been ill-placed mostly&mdash;indeed, one of them (the only very good
+one, <i>Lieder ohne Worte</i>) is the only instance of very striking
+unfairness in the place."<small><a name="f2.1" id="f2.1" href="#f2">[2]</a></small> In 1862 there were no fewer than six of the
+artist's pictures at the May exhibition of the Academy: the <i>Odalisque</i>,
+a very popular work, shows a draped female figure, in a very
+Leightonesque pose, with her arm above her head, leaning against a wall
+by the water. She holds a peacock's feather screen in her left hand,
+while a swan in the water at her feet cranes its head upwards towards
+her; <i>Michael Angelo nursing his dying Servant</i>, a group of two
+three-quarter length figures; the servant reclining in an armchair with
+his head resting against the shoulder of Michael Angelo&mdash;a fairly
+powerful but somewhat<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> academic version of the incident&mdash;which looks at
+first glance like the work of a not very important "old master;" <i>The
+Star of Bethlehem</i>, showing one of the Magi on the terrace of his house
+looking at the strange star in the East, while below are indications of
+a revel he has just left. <i>Duett</i>, <i>Sisters</i>, <i>Sea Echoes</i>, and <i>Rustic
+Music</i>, also belong to this year.</p>
+
+<p>In 1863 he showed <i>Eucharis</i>, a half-length figure of a white-robed
+girl, with a basket of fruit on her head; <i>Jezebel and Ahab</i>; <i>A
+Cross-bow Man</i>; and <i>A Girl Feeding Peacocks</i>; with these we complete
+the list of his work as an outsider.</p>
+
+
+<hr style="width: 65%;" />
+<p>&nbsp;</p><p>&nbsp;<a name="goldenhours" id="goldenhours"></a></p>
+<div class="figcenter"><img src="images/image11.jpg" alt="Golden Hours" /></div>
+<p class="center">GOLDEN HOURS (1864)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+<h3><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h3>
+
+<h4><span class="smcap">Year by Year&mdash;1864 to 1869</span></h4>
+
+
+<p class='dropcap'><span class="caps">In</span> 1864 Leighton was made an Associate of the Royal Academy. To its
+summer exhibition he contributed three pictures, showing great and
+various power in their composition. <i>Dante at Verona</i>, <i>Orpheus and
+Eurydice</i>, and <i>Golden Hours</i>. The first of these, one of the most
+remarkable pictures of our modern English school, in which "Dante"
+appears, is a large work, with figures something less than life-size. It
+illustrates the verses in the "Paradiso":</p>
+
+<div class="poem">
+<span style="margin-left: 10.5em;">"Thou shalt prove</span><br />
+How salt the savour is of others' bread;<br />
+How hard the passage, to descend and climb<br />
+By others' stairs. But that shall gall thee most<br />
+Will be the worthless and vile company<br />
+With whom thou must be thrown into the straits,<br />
+For all ungrateful, impious all and mad<br />
+Shall turn against thee."</div>
+
+<p>&nbsp;</p>
+<p>"Dante, in fulfilment of this prophecy, is seen descending the palace
+stairs of the Can Grande, at Verona, during his exile. He is dressed in
+sober grey and drab clothes, and contrasts strongly in his ascetic and
+suffering aspect with the gay revellers about him. The people are
+preparing for a festival, and splendidly and fantastically robed, some
+bringing wreaths of flowers. Bowing with mock reverence, a jester gibes
+at Dante. An indolent<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> sentinel is seated at the porch, and looks on
+unconcernedly, his spear lying across his breast. A young man, probably
+acquainted with the writing of Dante, sympathises with him. In the
+centre and just before the feet of Dante, is a beautiful child,
+brilliantly dressed and crowned with flowers, and dragging along the
+floor a garland of bay leaves and flowers, while looking earnestly and
+innocently in the poet's face. Next come a pair of lovers, the lady
+looking at Dante with attention, the man heedless. The last wears a vest
+embroidered with eyes like those in a peacock's tail. A priest and a
+noble descend the stairs behind, jeering at Dante."<small><a name="f3.1" id="f3.1" href="#f3">[3]</a></small></p>
+
+<p>It was the <i>Golden Hours</i> which, though perhaps less memorable and
+imaginative than the others, won the greatest popular success of the
+three, a success beyond anything that the artist had so far painted. As
+this picture is here reproduced, description is needless, except so far
+as regards the colour of the background, which is literally golden. The
+dress of the lady who leans upon the spinet is white, embroidered with
+flowers. The <i>Orpheus and Eurydice</i> showed that the old friendship,
+formed originally in Rome, between the painter and Robert Browning, was
+maintained. Some of the poet's lines served as a text for the picture;
+and as they are little known we repeat them here:</p>
+
+<div class="poem">
+"But give them me&mdash;the mouth, the eyes, the brow&mdash;<br />
+Let them once more absorb me! One look now<br />
+Will lap me round for ever, not to pass<br />
+Out of its light, though darkness lie beyond.<br />
+Hold me but safe again within the bond<br />
+Of one immortal look! All woe that was,<br />
+Forgotten, and all terror that may be,<br />
+Defied,&mdash;no past is mine, no future! look at me!"</div>
+
+<p>&nbsp;</p><p>&nbsp;<a name="helen" id="helen"></a></p>
+<div class="figcenter"><img src="images/image12.jpg" alt="Helen of Troy" /></div>
+<p class="center">HELEN OF TROY (1865)<br /><i>By permission of Messrs. Henry Graves and Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="orpheus" id="orpheus"></a></p>
+<div class="figcenter"><img src="images/image13.jpg" alt="Orpheus and Eurydice" /></div>
+<p class="center">ORPHEUS AND EURYDICE (1864)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>To this year, also, belongs a portrait of <i>The late Miss Lavinia
+I'Anson</i>, a circular panel showing the sky for background. This was
+exhibited again in the winter Academy of 1897.</p>
+
+<p>In 1865 the artist showed once again his eclectic sympathies, by the
+variety of the subject-pictures that he sent to the Academy, ranging
+from <i>David</i> to <i>Helen of Troy</i>.</p>
+
+<p>In his tenderly conceived <i>David</i>, the Psalmist is seen gazing at two
+doves in the sky above; he, sunk in a profound reverie, is seated upon a
+house-top overlooking some neighbouring hills. The whole is large in its
+handling and treatment, and in the simplicity of its drapery recalls
+several of the famous illustrations the artist contributed to Dalziel's
+Bible Gallery. It was exhibited with the quotation, "Oh, that I had
+wings like a dove! for then would I fly away and be at rest." With the
+delightful <i>Helen of Troy</i> we are recalled to the third book of the
+Iliad, when Iris bids Helen go and see the general truce made pending
+the duel between Paris and Menelaus, of which she is to be the prize. So
+Helen, having summoned her maids and "shadowed her graces with white
+veils," rose and passed along the ramparts of Troy. In the picture the
+light falls on her shoulders and her hair, while her face and the whole
+of the front of her form are shadowed over, with somewhat mystical
+effect.</p>
+
+<p>To the same year belongs <i>In St. Mark's</i>, a picture of a lady with a
+child in her arms leaving the church, a lovely and finished study of
+colour; <i>The Widow's Prayer</i>; and <i>Mother and Child</i>, a graceful
+reminder of a gentler world than Helen's.</p>
+
+<p>In 1866 the critics had at last a work which seemed to them to follow
+the lines of the <i>Cimabue's Madonna</i>. This was the radiant and lovely
+picture of the <i>Syracusan</i><span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> <i>Bride leading Wild Beasts in Procession to
+the Temple of Diana</i>. The composition of this remarkable painting
+deserves to be closely studied, for it is very characteristic of Sir
+Frederic Leighton's theories of art, and his conviction of the
+necessarily decorative effect of such works. A terrace of white marble,
+whose line is reflected and repeated by the line of white clouds in the
+sky painting above, affords the figures of the procession a delightful
+setting. The Syracusan bride leads a lioness, and these are followed by
+a train of maidens and wild beasts, the last reduced to a pictorial
+seemliness and decorative calm, very fortunate under the circumstances.
+The procession is seen approaching the door of the temple, and a statue
+of Diana serves as a last note in the ideal harmonies of form and colour
+to which the whole is attuned. As compared with the <i>Cimabue's Madonna</i>,
+it is a more finished piece of work, and the handling throughout is more
+assured. It was as much an advance, technically, upon that, as the
+<i>Daphnephoria</i>, which crowned the artist's third decade, was upon this.
+According to popular report, it was this picture of the <i>Syracusan
+Bride</i> which decided his future election as a full member of the
+Academy; but as a matter of fact, it was in 1869 that this election took
+place. The picture, let us add, was suggested to the painter by a
+passage in the second Idyll of Theocritus: "And for her then many other
+wild beasts were going in procession round about, and among them a
+lioness." <i>The Painter's Honeymoon</i> and a <i>Portrait of Mrs. James
+Guthrie</i> were also exhibited this year; and the wall-painting of <i>The
+Wise and Foolish Virgins</i>, at Lyndhurst, in the New Forest, was executed
+during the summer.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="disrobing" id="disrobing"></a></p>
+<div class="figcenter"><img src="images/image14.jpg" alt="Venus Disrobing for the Bath" /></div>
+<p class="center">VENUS DISROBING FOR THE BATH (1867)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="electra" id="electra"></a></p>
+<div class="figcenter"><img src="images/image15.jpg" alt="Electra at the Tomb of Agamemnon" /></div>
+<p class="center">ELECTRA AT THE TOMB OF AGAMEMNON (1869)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In its next exhibition, that of 1867, the Academy held five pictures by
+the artist, including the delightful<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> <i>Pastoral</i>, two small
+full-length figures standing in a landscape of a shepherd and a
+girl&mdash;whom he is teaching to play the pipes. This again might be
+considered a painter's translation from Theocritus, and the <i>Venus
+Disrobing for the Bath</i>, one of the most debated of all the artist's
+paintings of the nude. The paleness of the flesh-tint of this Venus
+aroused a criticism which has often been urged against his
+pictures&mdash;that such a hue was not in nature. In imparting an ideal
+effect to an ideal subject, Leighton always, however, followed his own
+conviction&mdash;that art has a law of its own, and a harmony of colour and
+form, derived and selected no doubt from natural loveliness, but not to
+be referred too closely to the natural, or to the average, in these things.</p>
+
+<p>To the 1868 Academy Leighton contributed another biblical theme,
+<i>Jonathan's Token to David</i>. With this were four others, as widely
+varying in subject and conception as need be desired. One was a very
+charming portrait of a very pretty woman, <i>Mrs. <ins class="correction" title="original reads 'Frederic'">Frederick</ins> P. Cockerell</i>.
+Then follow three more in that cycle of classic subjects, of which the
+painter never tired. The full title of the first runs, <i>Ariadne
+abandoned by Theseus: Ariadne watches for his return: Artemis
+releases her by death</i>. In it the figure of Ariadne, clothed in white
+drapery, is seen lying on a rocky promontory overlooking the sea. <i>Acme
+and Septimius</i> is a circular picture, with two small full-length figures
+reclining on a marble bench. This extract from Sir Theodore Martin's
+translation of Catullus was appended to its title in the catalogue:</p>
+
+<div class="poem">
+"Then bending gently back her head,<br />
+With that sweet mouth so rosy red,<br />
+Upon his eyes she dropped a kiss,<br />
+Intoxicating him with bliss."</div>
+
+<p><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span>A love song on canvas, a pictorial transcript from Catullus, it was
+perhaps the most popular picture of the year. The last of the three was
+<i>Act&aelig;a, the Nymph of the Shore</i>. It represents a small full-length nude
+figure lying on white drapery by the sea-shore. Act&aelig;a is a lovely
+figure, full of that grace which Leighton so well knew how to impart to
+his idealized figures.</p>
+
+<p>After this year, at any rate, there could be no longer any doubt but
+that the artist's power really lay in the creation of ideal forms;
+whether presented in monomime or combined in poetic and decorative
+groups, called up from the wonderful limbo of classic myth and history.</p>
+
+<p>With 1869 came <i>Electra at the Tomb of Agamemnon</i>, a memorable picture,
+full of characteristic effects of colour and composition, and a notable
+exercise in the grand style. This work, considered from any side, must
+be seen to be the outcome of a unique faculty, so unprecedented in
+English art as to run every risk of misconception that native
+predilections could impose upon those who stopped to criticise it. The
+figure of Electra clad in black drapery offered a problem of peculiar
+difficulty.</p>
+
+<p>Another painting shown this year was <i>D&aelig;dalus and Icarus</i>, a strikingly
+conceived picture. The two figures are singularly noble conceptions of
+the idealized nude; the drapery at the back of Icarus is typical of the
+painter in every fold, while the landscape seen far below the stone
+platform on which the figures stand, shows a bay of the blue &AElig;gean sea
+in full sidelight, with a lovely glimpse of the white walls of a distant
+town.</p>
+
+<p>The same exhibition of 1869 saw, also, the vigorously painted diploma
+picture, <i>St. Jerome</i>, which marked his election as R.A. In it the
+saint, nude to the waist, kneels with uplifted arms at the foot of a
+crucifix, his<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> lion seen in the background. <i>Helios and Rhodos</i>,
+another painting exhibited at the same time, shows Helios descending
+from his chariot, which is in a cloud above, to embrace the nymph
+Rhodos, who has risen from the sea.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="icarus" id="icarus"></a></p>
+<div class="figcenter"><img src="images/image16.jpg" alt="Daedalus and Icarus" /></div>
+<p class="center">D&AElig;DALUS AND ICARUS (1869)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="jerome" id="jerome"></a></p>
+<div class="figcenter"><img src="images/image17.jpg" alt="St. Jerome" /></div>
+<p class="center">ST. JEROME (1869)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+<h3><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h3>
+
+<h4><span class="smcap">Year by Year&mdash;1870 to 1878</span></h4>
+
+
+<p class='dropcap'><span class="caps">Sundry</span> journeys into the East during this period of Leighton's career,
+gave him new subject-matter, new tints to his palette, and added
+something of an oriental fantasy to the classic sentiment of his art.
+The sketches of Damascus and other time-honoured eastern cities,
+mosques, gardens, and courtyards, which figured largely among Sir
+Frederic's studies, were made for the most part in the autumn of 1873.</p>
+
+<p>Previously, as early as 1867, the East had cast its spell upon him. In
+1868, he went into Egypt, and made a voyage up the Nile with M. de
+Lesseps, then at the flood of good-fortune. The Khedive himself provided
+the steamer for this adventure. "It was during this voyage," we are
+told, "that Sir Frederic came across a small child with the strangest
+and most limited idea of full dress that probably ever occurred to
+mortal&mdash;a tiny coin strung on to one of her strong coarse hairs." Of the
+studies made during the journey, one is a woman's head, draped so as to
+have a singularly archaic and Sphinx-like effect, Another is the fine
+profile of a young peasant; and yet another, the head of an old man,
+simple-minded and philosophical.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="granada" id="granada"></a></p>
+<div class="figcenter"><img src="images/image18.jpg" alt="Garden at Generalife" /></div>
+<p class="center">GARDEN AT GENERALIFE, GRANADA</p>
+<p>&nbsp;</p><p>&nbsp;<a name="mimbar" id="mimbar"></a></p>
+<div class="figcenter"><img src="images/image19.jpg" alt="Mimbar of the Great Mosque at Damascus" /></div>
+<p class="center">MIMBAR OF THE GREAT MOSQUE AT DAMASCUS<br />(Since destroyed by fire)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1869 the <i>Helios and Rhodos</i>, already mentioned, served as the first
+sign to the public of the new R.A.'s interest in things oriental. To the
+1870 exhibition, his only contribution was the picture, <i>A Nile Woman</i>,
+which<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> is now owned by the Princess of Wales. It is a small
+full-length figure of a girl, balancing an empty pitcher upon her head,
+at the time of moonrise. Anticipating the Eastern subjects which future
+years produced, we may note a picture of <i>Old Damascus</i>, showing the
+Jews' quarter in that fabled city, in all its motley picturesqueness,
+and the delightful <i>Moorish Garden,&mdash;A Dream of Granada</i>, which were
+exhibited in 1874. A powerful picture, shown in 1875, of the <i>Egyptian
+Slinger</i>,<small><a name="f4.1" id="f4.1" href="#f4">[4]</a></small> is illustrated later in this volume, but no reproduction
+can quite suggest the striking colouring of the original, and the
+masterly treatment of its light and shade, in the presentment of this
+lonely figure posed high on its platform against the clear evening sky.
+The delightful <i>Little Fatima</i>, and the <i>Grand Mosque, Damascus</i>,
+enlarged from the sketch previously alluded to, were also exhibited in
+1875.</p>
+
+<p>But perhaps the most picturesque memorial of the East due to the
+artist's wanderings of these years, is an architectural, and not a
+pictorial one. The fame of the Arab Hall in Lord Leighton's house has
+reached even further than that of <i>Little Fatima</i>, or his painting of
+the <i>Grand Mosque at Damascus</i>. Built originally to provide a setting
+for some exquisite blue tiles, brought by the owner from Damascus
+itself, it remains the most perfect representation of an oriental
+interior to be found in London; but this again belongs to a later
+period, and we must return to the date whence this chronicle was
+interrupted. Before doing so, however, it may be noted that in 1870
+began the famous Winter Exhibitions of Old Masters and Deceased British
+Artists, of which Leighton was one of the most active supporters.</p>
+
+<p><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span>In the May exhibition of the Royal Academy, 1871, was hung a notable
+canvas, <i>Greek Girls picking up Pebbles by the Sea</i>, described at the
+time as "a delightful composition, comprising figures of almost
+exhaustless grace, and wealth of beauty in design and colour."</p>
+
+<p>Another painting, also shown there, <i>Cleoboulos instructing his daughter
+Cleobouline</i>, is a charming example of its kind. The philosopher, with a
+scroll on his lap, sits on a cushioned bench with his young daughter by
+his side, his earnest action in delightful contrast with her girlish
+grace.</p>
+
+<p>But his great work in 1871 was <i>Hercules wrestling with Death for the
+body of Alcestis</i>. The scene of this profound tragedy is on the
+sea-shore, where the body of Alcestis, robed in white, lies under the
+branches of trees in the centre of the picture. On the left is a group
+of mourners, a seated girl and a woman prostrate in grief. On the right
+are the two struggling figures; Hercules' superb form and tossing
+lion-skin contrasting finely, both in action and colouring, with the
+tall and coldly grey-robed spectre of Death, who presses forward to the
+bed where Alcestis lies, whence he is thrust back by the mighty
+Hercules. The exquisite figure of Alcestis with her statuesquely draped
+robes and their pure and delicate colouring, forms a wonderful contrast
+to the two strenuous figures on the right, while the figures of the
+mourners on the left are delightfully posed and full of grace.</p>
+
+<p>In July of this year, it is interesting to remember, appeared Browning's
+"Balaustion's Adventure," which contained the following tribute to the
+above picture and its painter:</p>
+
+<div class="poem">
+"I know, too, a great Kaunian painter, strong<br />
+As Herakles, though rosy with a robe<br />
+Of grace that softens down the sinewy strength:<br />
+<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span>And he has made a picture of it all.<br />
+There lies Alkestis dead, beneath the sun,<br />
+She longed to look her last upon, beside<br />
+The sea, which somehow tempts the life in us<br />
+To come trip over its white waste of waves,<br />
+And try escape from earth, and fleet as free.<br />
+Behind the body I suppose there bends<br />
+Old Pheres in his hoary impotence;<br />
+And women-wailers, in a corner crouch<br />
+&mdash;Four, beautiful as you four,&mdash;yes, indeed!<br />
+Close, each to other, agonizing all,<br />
+As fastened, in fear's rhythmic sympathy,<br />
+To two contending opposite. There strains<br />
+The might o' the hero 'gainst his more than match,<br />
+&mdash;Death, dreadful not in thew and bone, but like<br />
+The envenomed substance that exudes some dew,<br />
+Whereby the merely honest flesh and blood<br />
+Will fester up and run to ruin straight,<br />
+Ere they can close with, clasp and overcome,<br />
+The poisonous impalpability<br />
+That simulates a form beneath the flow<br />
+Of those grey garments; I pronounce that piece<br />
+Worthy to set up in our Poikil&eacute;!"</div>
+
+<p>&nbsp;</p><p>&nbsp;<a name="hercules" id="hercules"></a></p>
+<div class="figcenter"><img src="images/image20.jpg" alt="Hercules Wrestling with Death" /></div>
+<p class="center">HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS (1871)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="summer" id="summer"></a></p>
+<div class="figcenter"><img src="images/image21.jpg" alt="Summer Moon" /></div>
+<p class="center">SUMMER MOON (1872)<br /><i>By permission of Messrs. P. and D. Colnaghi and Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>To 1872 belongs the <i>Summer Moon</i>, one of the loveliest things ever
+shown at the Academy, a picture full of that rarer feeling for light and
+colour, which the artist achieved again and again in his treatment of
+sunset, twilight, and night effects. <i>After Vespers</i>, exhibited the same
+year, is a three-quarter length figure of a girl in a green robe
+standing in front of a bench, holding in her right hand a string of
+beads. This year's Academy held also <i>A Condottiere</i>, the noble figure
+of a man in armour, now in the Birmingham Municipal Gallery, and a
+portrait of the <i>Right Hon. Edward Ryan</i>. Hardly less memorable was
+<i>Moretta</i>, exhibited in the Academy of 1873, in the words of a critic of
+the day, "one of the most subtle and fortunate productions of the
+painter." <i>Moretta</i> is robed in green, with masses of loosely arranged
+hair, and<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> a tender and delicate face. <i>Weaving the Wreath</i>, shown the
+same year (and again in the Guildhall, 1895), is a very charming figure
+of quite a young girl seated on a carpet upon a raised step at the foot
+of a building. Behind her is a bas-relief, against which her head,
+crowned by a chaplet of flowers, tells out with sculpturesque effect;
+the sharp, vertical line of thread strained between her hands, and
+thence in diagonal line to the ball at her feet, is curiously rigid, and
+by contrast makes the draperies across which it is silhouetted appear
+still more mobile.</p>
+
+<p>We are passing over, deliberately, the artist's decorative masterpieces
+of this period,&mdash;the South Kensington frescoes to wit; of which the
+<i>Arts of War</i> belongs to the year 1872, and its companion, <i>Arts of
+Peace</i>, to 1873. These works will be found treated at length in a later
+chapter on the artist's decorative work (pp. <a href="#Page_63">63</a>, <a href="#Page_64">64</a>).</p>
+
+<p>In the Academy of 1874 appeared four pictures, the most important being
+the heroic painting,&mdash;<i>Clytemnestra from the Battlements of Argos
+watches for the Beacon-fires which are to announce the Return of
+Agamemnon</i>. In this picture, the figure of Clytemnestra is seen standing
+erect, with hands folded, supporting the drapery that clothes a majestic
+form. For further description, we may be content to quote that given at
+the time in the appreciative art columns of the "Athen&aelig;um:"</p>
+
+<p>"There is the grandeur of Greek tragedy in Mr. Leighton's <i>Clytemnestra</i>
+watching for the signal of her husband's return from Troy. The time is
+deep in the fateful night, while the city sleeps; moonlight floods the
+walls, the roofs, the gates, and the towers with a ghastly glare, which
+seems presageful, and casts shadows as dark as they are mysterious and
+terrible. The dense blue of the sky is dim, sad, and ominous. But the
+most ominous<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> and impressive element of the picture is a grim figure,
+the tall woman on the palace roof before us, who looks Titanic in her
+stateliness, and huge beyond humanity in the voluminous white drapery
+that wraps her limbs and bosom. Her hands are clenched and her arms
+thrust down straight and rigidly, each finger locked as in a struggle to
+strangle its fellow; the muscles swell on the bulky limbs. Drawn erect
+and with set features, which are so pale that the moonlight could not
+make them paler, the queen stares fixedly and yet eagerly into the
+distance, as if she had the will to look over the very edge of the world
+for the light to come."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="juggling" id="juggling"></a></p>
+<div class="figcenter"><img src="images/image22.jpg" alt="The Juggling Girl" /></div>
+<p class="center">THE JUGGLING GIRL (1874)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="condot" id="condot"></a></p>
+<div class="figcenter"><img src="images/image23.jpg" alt="A Condottiere" /></div>
+<p class="center">A CONDOTTIERE (1872)<br /><i>By permission of the Corporation of Birmingham</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>Another picture this year was the <i>Moorish Garden&mdash;a dream of Granada</i>,
+a delightful little canvas, almost square. In the foreground is a young
+girl carrying copper vessels, and followed by two peacocks; the
+background is obviously taken from the study of a garden at Generalife
+(reproduced at p. <a href="#Page_28">28</a>); the <i>Antique Juggling Girl</i> and <i>Old Damascus:
+the Jews' Quarter</i>, were also in the Academy of 1874.</p>
+
+<p>To 1875 belongs the <i>Egyptian Slinger</i>, a picture which, as we shall see
+later, provoked severe censure from Mr. Ruskin. As exhibited it differed
+much from its present state. Not only was the sky of deeper violet, but
+almost in silhouette against the moon, on another raised platform, stood
+a draped female figure, afterwards painted out entirely. Other works
+shown this year were <i>Little Fatima</i>, a small half-length figure of a
+little girl in Eastern costume, seen against a dark background; and a
+<i>Portion of the Interior of the Grand Mosque at Damascus</i> (reproduced at
+p. <a href="#Page_28">28</a>). As the building it depicts has since been burnt down, the fine
+transcript has an added interest. We are come now to a year which, even
+beyond other years of activity, displayed the artist's characteristic<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+energy: 1876. In the Academy of that year, with the <i>Daphnephoria</i>,
+Leighton once more chose a great classic theme, for a painting which, by
+its composition, reminded the critics and lovers of art of the artist's
+early triumph with the <i>Cimabue's Madonna</i>, and of his other great
+processional picture, the <i>Syracusan Bride</i>.</p>
+
+<p>Of all his works in this class, there is no doubt that the
+<i>Daphnephoria</i> is the most technically complete. The procession is seen
+defiling along a terrace backed by trees through which the clear
+southern sky gleams. A youth carrying the symbolic olive bough, called
+the Kopo, adorned with its curious emblems, leads the procession. He is
+clad in purple robes and crowned with leaves. The youthful priest, known
+as the Daphnephoros (the laurel-bearer) follows, clothed in white
+raiment. He is similarly crowned, and carries a slim laurel stem. Then
+come three boys, in scanty red and green draperies, which serve only to
+emphasize the beauty of their almost naked forms, the middle and tallest
+one bearing aloft a draped trophy of golden armour. These are seen to be
+pausing while the leader of the chorus, a tall, finely modelled man,
+whose back is turned, is giving directions to the chorus with uplifted
+right hand; in his left hand is a lyre, and the left arm from the elbow
+is characteristically draped. The first row of the chorus is composed of
+five children, clothed in purple, crowned with flowers; two rows of
+maidens, in blue and white, come next; and these in turn are succeeded
+by some boys with cymbals. The interest of the passing procession is
+very much enhanced by the effect produced on two lovely bystanders,&mdash;a
+girl and child in blue, beautifully designed, who are drawing water in
+the left foreground. In the valley below is seen the town of Thebes.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="daphne" id="daphne"></a></p>
+<div class="figcenter"><img src="images/image24.jpg" alt="The Daphnephoria" /></div>
+<p class="center">THE DAPHNEPHORIA (1876)<br /><i>By permission of The Fine Art Society.</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="daphnestudy" id="daphnestudy"></a></p>
+<div class="figcenter"><img src="images/image25.jpg" alt="Study for 'The Daphnephoria'" /></div>
+<p class="center">STUDY FOR "THE DAPHNEPHORIA"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>With the painter's reading of the <i>Daphnephoria</i> it may<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> be
+interesting to compare another account of this splendid religious
+function. At this festival in honour of Apollo, celebrated every ninth
+year by the B&oelig;otians, it was usual, says pleasant Lempriere, "to
+adorn an olive bough with garlands of laurel and other flowers, and
+place on the top a brazen globe, from which were suspended smaller ones.
+In the middle was placed a number of crowns, and a globe of inferior
+size, and the bottom was adorned with a saffron-coloured garment. The
+globe on the top represented the Sun, or Apollo; that in the middle was
+an emblem of the moon, and the others of the stars. The crowns, which
+were 365 in number, represented the sun's annual revolution. This bough
+was carried in solemn procession by a beautiful youth of an illustrious
+family, whose parents were both living. He was dressed in rich garments
+which reached to the ground, his hair hung loose and dishevelled, his
+head was covered with a golden crown, and he wore on his feet shoes
+called <i>Iphricatid&aelig;</i>, from Iphricates, an Athenian who first invented
+them. He was called <ins class="correction" title="Daphn&ecirc;phoros">&#916;&#945;&#966;&#957;&#951;&#966;&#972;&#961;&#959;&#962;</ins>, 'laurel-bearer,' and at that
+time he executed the office of priest of Apollo. He was preceded by one
+of his nearest relations, bearing a rod adorned with garlands, and
+behind him followed a train of virgins with branches in their hands. In
+this order the procession advanced as far as the temple of Apollo,
+surnamed Ismenius, where supplicatory hymns were sung to the god."<small><a name="f5.1" id="f5.1" href="#f5">[5]</a></small></p>
+
+<p>In the 1876 Academy hung also the striking portrait, <i>Captain Richard
+Burton, H.M.'s Consul at Trieste</i>; and two very characteristic single
+figures, <i>Teresina</i> and <i>Paolo</i>. The portrait of Captain Burton has been
+fairly described as masterly. "There is no attempt," said one critic,
+"at<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> posing or picturesqueness in the portrait. It is the head of a man
+who is lean and rugged and brown, but the face is full of character, and
+every line tells. It is painted in the same strong and bold, and yet
+careful, way that distinguishes the head of Signor Costa, painted three
+years later."</p>
+
+<p>The next year saw Leighton's first appearance as a sculptor. It was at
+the Academy of 1877 that he exhibited the well-known, vigorously
+designed and wrought <i>Athlete Struggling with a Python</i>.<small><a name="f6.1" id="f6.1" href="#f6">[6]</a></small> This
+adventure of the R.A. into a new field proved so successful, that the
+<i>Athlete</i> took rank as the most striking piece of sculpture of that
+year. "In this work," said a friendly critic, "Mr. Leighton has
+attempted to succeed in a truly antique way. We are bound to admit that
+he has done wisely, bravely, and successfully." The statue was bought,
+we may add, for &pound;2,000, as the first purchase made by the trustees of
+the Chantrey Fund, and is now in the Tate Gallery at Millbank. It was
+afterwards repeated in marble, by the artist's own hand, for the Danish
+Museum at Copenhagen.</p>
+
+<p>Still more popular was his <i>Music Lesson</i>, another work in the same
+exhibition. To realize the full charm of this picture, one must see the
+original; for much depends upon the beauty of its colouring. Imagine a
+classical marble hall, marble floor, marble walls, in black and white,
+and red&mdash;deep red&mdash;marble pillars; and sitting there, sumptuously
+attired, but bare-footed, two fair-haired girls, who serve for pupil and
+music-mistress. The elder is showing the younger how to finger a lyre,
+of exquisite design and finish; and the expression on their faces is
+charmingly true, while the colours that they contribute<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> to the
+composition,&mdash;the pale blue of the child's dress, the pale flesh tints,
+the pale yellow hair, and the white and gold of the elder girl's loose
+robe, and the rich auburn of her hair,&mdash;are most harmonious. A bit of
+scarlet pomegranate blossom, lying on the marble ground, gives the last
+high note of colour to the picture. Two other pictures of 1877 must not
+be omitted. <i>Study</i> shows us a little girl (the present Lady Orkney), in
+Eastern garb, diligently reading a sheet of music which lies before her
+on a little desk. There is great charm in the simple grace of the
+picture and in the softly brilliant colouring of the child's costume.
+Very delightful, too, is the portrait of <i>Miss Mabel Mills</i> (now the
+Hon. Mrs. Grenfell), habited in black velvet, and a large dark hat with
+coloured feathers, set against a grey background, a picture here
+reproduced. <i>A Study</i>, <i>An Italian Girl</i>, and a <i>Portrait of H. E.
+Gordon</i>, were all three shown at the Grosvenor Gallery the same year.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="mabelmills" id="mabelmills"></a></p>
+<div class="figcenter"><img src="images/image26.jpg" alt="Portrait of Mabel Mills" /></div>
+<p class="center">PORTRAIT OF THE HON. MABEL MILLS (1877)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="burton" id="burton"></a></p>
+<div class="figcenter"><img src="images/image27.jpg" alt="Portrait of Richard Burton" /></div>
+<p class="center">PORTRAIT OF CAPTAIN RICHARD BURTON (1876)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>Another picture, in which a simple theme is treated in a classic
+fashion&mdash;not dissimilar to that employed for the <i>Music Lesson</i>&mdash;is
+<i>Winding the Skein</i>, a lovely painting exhibited at the Academy in 1878.
+In this we see two Greek maidens as naturally employed as we often see
+English girls in other surroundings. This idealization of a familiar
+occupation&mdash;so that it is lifted out of a local and casual sphere, into
+the permanent sphere of classic art, is characteristic of the whole of
+Leighton's work. He, like Sir L. Alma-Tadema and Albert Moore, contrived
+also to preserve a certain modern contemporary feeling in the classic
+presentment of his themes. He was never archaic; so that the classic
+scenarium of his subjects, in his hands, appears as little antiquarian
+as a medi&aelig;val environment, shall we say, in the hands of Browning.
+<i>Nausicaa</i>, a full-length girlish figure, in green and white<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> draperies,
+standing in a doorway, and <i>Serafina</i>, another single figure, and <i>A
+Study</i>, were also shown the same year. At the Grosvenor Gallery were a
+<i>Portrait of Miss Ruth Stewart Hodgson</i>, a demure little damsel in
+outdoor attire, and a <i>Study of a Girl's Head</i>, full face.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="nausicaa" id="nausicaa"></a></p>
+<div class="figcenter"><img src="images/image28.jpg" alt="Nausicaa" /></div>
+<p class="center">NAUSICAA (1878)</p>
+
+<hr style="width: 65%;" />
+<p>&nbsp;</p><p>&nbsp;<a name="elijahstudy" id="elijahstudy"></a></p>
+<div class="figcenter"><img src="images/image29.jpg" alt="Study for 'Elijah and the Angel'" /></div>
+<p class="center">STUDY FOR "ELIJAH AND THE ANGEL"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+<h3><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h3>
+
+<h4><span class="smcap">Year by Year&mdash;1878 to 1896</span></h4>
+
+
+<p class='dropcap'><span class="caps">On</span> November 13th, 1878, Frederic Leighton was elected President of the
+Royal Academy, in succession to Sir Francis Grant, and immediately
+received the honour of knighthood.</p>
+
+<p>In 1879 Leighton sent eight contributions to the Academy, not one of
+which, with the possible exception of the <i>Elijah</i>, perhaps, has been
+counted among his masterpieces. Four of them belong to that group of
+ideal figure paintings which almost constitute a <i>genre</i> in themselves:
+<i>Biondina</i>, <i>Catarina</i>, <i>Amarilla</i>, and <i>Neruccia</i>, a girl with a red
+flower in her hair, in white dress, against a dark background. The
+finely austere <i>Elijah in the Wilderness</i> was an addition to the notable
+group of Scriptural paintings. In this picture the nude figure of the
+prophet is seen reclining on a rock, with head and arms thrown back,
+while beside him stands an angel holding bread and water. The striking
+and powerful <i>Portrait of Professor Costa</i>, the <i>Portrait of the
+Countess Brownlow</i>, and a portrait study, completed the list of the
+year's contributions, the largest number ever sent in by Leighton,
+before his election or afterward. This year ten of his landscape-studies
+in oil were exhibited at the Grosvenor Gallery.</p>
+
+<p>It may be thought by the outsider that the coveted office of the
+President of the Royal Academy of Arts is,<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> in a way, an ornamental
+one,&mdash;some such golden sinecure as that of the old High Chamberlains.
+Nothing could be more mistaken. "Not everybody," wrote the late Mr.
+Underhill, who for some time, as private secretary to Sir Frederic
+Leighton, had special opportunities of knowing, "is aware of the tax
+upon a man's time and energy that is involved in the acceptance of the
+office in question. The post is a peculiar one, and requires a
+combination of talents not frequently to be found, inasmuch as it
+demands an established standing as a painter, together with great
+urbanity and considerable social position. The inroads which the
+occupancy of the office makes upon an artist's time are very
+considerable. There is, on the average, at least one Council meeting for
+every three weeks throughout the whole of the year. There are from time
+to time general assemblies for the election of new members and for other
+purposes, over which the President is bound, of course, to preside. For
+ten days or a fortnight in every April he has to be in attendance with
+the Council daily at Burlington House, for the purpose of selecting the
+pictures which are to be hung in the Spring Exhibition. He has to
+preside over the banquet which yearly precedes the opening of the
+Academy, and he has to act as host at the annual conversazione. Finally,
+it is his duty every other year to deliver a long, elaborate, and
+carefully prepared 'Discourse' upon matters connected with art, to the
+students who are for that purpose assembled. It is a post of much honour
+and small profit."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="sister" id="sister"></a></p>
+<div class="figcenter"><img src="images/image30.jpg" alt="Sister's Kiss" /></div>
+<p class="center">SISTER'S KISS (1880)<br /><i>By permission of the Fine Art Society</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="costa" id="costa"></a></p>
+<div class="figcenter"><img src="images/image31.jpg" alt="Portrait of Signor Costa" /></div>
+<p class="center">PORTRAIT OF SIGNOR COSTA (1879)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In filling this post, and neglecting no one of its smallest offices and
+endless small courtesies, an artist had needs be without the
+characteristic artist's defects of hesitation and delay; and in fact,
+Lord Leighton mastered, as much as any statesman of our time, the
+indispensable secret of despatch. We quote from Mr.<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> Underhill again:
+"To administer the affairs of the Academy, to fulfil a round of social
+semi-public and public engagements, and to paint pictures which
+invariably reach a high level of excellence, would of course be
+impossible&mdash;even to Sir Frederic Leighton&mdash;were it not for the fact that
+he makes the very most of the time at his disposal. 'That's the secret,'
+remarked a distinguished member of the Academy to the present writer
+some little time before the President's death; 'Sir Frederic knows
+exactly how long it will take to do a certain thing, and he apportions
+his time accordingly.' This being the case, no one will be surprised to
+learn that he attached the greatest importance to punctuality. He
+himself never failed to keep an appointment at the exact moment fixed
+upon, and he expected, of course, similar punctuality on the part of
+others. The stroke of eight from the Academy clock was the signal for
+Sir Frederic to enter the Council Room at Burlington House, and to open
+the deliberations of the body over which he presided. 'They will never
+again get a man to devote so much time and energy to the business of the
+Academy,' said Sir Frederic Leighton's most distinguished colleague
+shortly before his death; 'never again.'" And since that time the same
+tribute has been paid ungrudgingly in public and private often enough.</p>
+
+<p>In 1880, we are tempted by five canvases; of which the <i>Sister's Kiss</i>
+and <i>Psamathe</i>, are perhaps the most important. The former turns a
+garden wall to delightful account, in its picture of a child, who is
+seated upon it, and of her charmingly drawn elder sister, who gives the
+kiss. The composition of this picture may be seen in our reproduction,
+but the colour of the bronze green robe&mdash;of singular beauty&mdash;is of
+course not even suggested. More classic, perhaps, and not less
+picturesque,<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> is the Greek maiden, Psamathe, who was, if we remember
+aright, one of the Nereides. The artist has painted her sitting by the
+seashore, gazing over the &AElig;gean, with her back turned to the spectator.
+Filmy garments, which have slipped from her shoulders on to the sand;
+arms folded about her knees; every detail of the picture carries out the
+effect of dreamy loveliness that pervades Psamathe and her surroundings.
+<i>Iostephane</i> is a three-quarter length figure, less than life size, of a
+girl in light yellow drapery, with violets in her fair hair, who stands
+facing the spectator and arranging her draperies over her right arm;
+there are marble columns and a fountain in the background. <i>The Light of
+the Harem</i> is a version of one of the groups in the fresco of <i>The
+Industrial Arts of Peace</i> at South Kensington. The picture now known as
+the <i>Nymph of the Dargle</i> was also exhibited this year under the title
+of <i>Crenaia</i>. It represents a small full-length figure facing the
+spectator; the river Dargle flows through Powerscourt, and forms the
+waterfall here represented in the background, hence its name.
+<i>Rubinella</i>, a girl with red gold hair was shown at the Summer
+Exhibition and a large number of sketches and studies at the Winter
+Exhibition of the Grosvenor Gallery this year.</p>
+
+<p>In 1881, the portrait of the Painter, painted by invitation in 1880 for
+the collection of autograph portraits of artists in the Uffizi Gallery,
+Florence, deserves particular mention. Not even Mr. Watts' best portrait
+of Leighton is quite so like as this, which shows the striking head of
+the artist to great effect, assisted by the decorative President's robe
+and insignia. The <i>Idyll</i>, shown the same year, has been compared by
+some critics with the <i>Cymon and Iphigenia</i>, the scene and circumstance
+of both being to a certain degree similar, while there are<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> similar
+effects in both of colour and of composition. In the <i>Idyll</i>, we have a
+lovely female figure, lying at full length, attended by a second nymph,
+and by a piping man, all grouped beneath an arm of a beech tree, that
+extends overhead and shadows the upland ridge on which they have come to
+rest, while they gaze on a river winding among sunlit meads. The water
+reflects the blue and white of sky and clouds; the land is dashed by
+shadows. The nymphs' robes are red, blue, and pale yellow.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="phryne" id="phryne"></a></p>
+<div class="figcenter"><img src="images/image32.jpg" alt="Phryne at Eleusis" /></div>
+<p class="center">PHRYNE AT ELEUSIS (1882)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="daydreams" id="daydreams"></a></p>
+<div class="figcenter"><img src="images/image33.jpg" alt="Day Dreams" /></div>
+<p class="center">DAY DREAMS (1882)<br /><i>By permission of the Fine Art Society</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>We ought not to overlook another idyllic picture in the same exhibition,
+<i>Whispers</i>, an illustration of Horace's well-known line, "Lenesque sub
+noctem susurri." In this charming work, amid masses of crimson flowers
+and green leaves, two lovers are seen seated upon a marble bench, while
+he whispers tenderly in her ear, and she listens with dreamy eyes and
+maidenly mien. The noble picture of <i>Elisha and the Shunamite's Son</i>
+(reproduced at p. <a href="#Page_114">114</a>) was also shown this year, as well as <i>Bianca</i>, a
+fair-haired girl in a white dress, standing with folded arms, <i>Viola</i>,
+and two portraits, <i>Mrs. Augustus Ralli</i>, exhibited at the Royal
+Academy, and <i>Mrs. Algernon Sartoris</i>, at the Grosvenor Gallery.</p>
+
+<p>In the 1882 Academy appeared two of the most popular of Sir Frederic's
+pictures, <i>Wedded</i> and <i>Day Dreams</i>. In the latter, a fair Sybarite is
+pressing her cheek against her hands, as she stands near a tapestry,
+with eyes gazing far away, the images of love-dreams in them; her purple
+mantle, embroidered with silver, produces a charming effect of colour.
+Still more famous is <i>Wedded</i>,&mdash;"one of the happiest of Sir Frederic's
+designs," said a critic at the time, "and as a composition of lines,
+difficult, subtle, and original, may be called one of the most
+remarkable productions of this decade."<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> Other pictures shown this year
+were <i>Antigone</i> and the much-debated <i>Phryne at Eleusis</i>&mdash;a notable
+study of the famous hetaira, who is seen standing, and holding out with
+one hand the mass of her deep auburn hair. Her skin is of a ruddy golden
+hue, as if seen under a glow of sunlight. Red tissue, which falls from
+her shoulders and extended arms, and an olive-coloured mantle that has
+fallen at the foot of the marble columns behind her, backed by a sky,
+very characteristic of the painter, in which snowlike masses of cloud
+float in a southern azure, produce a total effect of a certain
+super-womanly order of beauty. A <i>Design for a portion of a Proposed
+Decoration in St. Paul's</i>, a picture entitled <i>Melittion</i>, and a
+<i>Portrait of Mrs. Mocatta</i>, were also hung at the Academy in 1882;
+<i>Zeyra</i>, a little Eastern child in plum coloured headdress, a rich bit
+of colour elaborately painted, was shown at the Grosvenor Gallery.</p>
+
+<p>In 1883, <i>Memories</i>, though not one of the most typical of Leighton's
+pictures, decidedly pleased the general public. It shows the half-length
+figure of a blonde, in a black and gold dress. More interesting
+artistically was a decorative frieze, <i>The Dance</i>, for a drawing-room,
+the design for which we reproduce, and which may, in so far, answer for
+itself. Other pictures of 1883 are <i>Kittens</i>, a full-length figure of a
+fair-haired child in purple and embroidered drapery, seated on a bench
+covered with a leopard skin, holding a rose in hand and looking down at
+a kitten sitting beside her; and the <i>Vestal</i>, a bust of a girl with her
+head and shoulders swathed with white gold-embroidered draperies. To
+this year also belongs a <i>Portrait of Miss Nina Joachim</i>, a child in a
+blue frock with crimson sash.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="cymon" id="cymon"></a></p>
+<div class="figcenter"><img src="images/image34.jpg" alt="Cymon and Iphigenia" /></div>
+<table border="0" cellpadding="0" cellspacing="0" summary="info">
+<tr><td><i>F. Leighton. pinx<sup>t</sup>.</i></td><td><span class="spacer">&nbsp;</span></td><td align="right"><i>Swan Electric Engraving C<sup>o</sup>. Sc.</i></td></tr></table>
+<p class="center"><big><i>Cymon and Iphigenia.</i></big><br /><i>By permission of the Fine Art Society</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="friezes" id="friezes"></a></p>
+<div class="figcenter"><img src="images/image35top.jpg" alt="Study for Frieze" /></div>
+<div class="figcenter"><img src="images/image35bot.jpg" alt="Study for Frieze" /></div>
+<p class="center">STUDIES FOR TWO FRIEZES "MUSIC" AND "THE DANCE"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>The next year, 1884, brought <i>Letty</i>, that most delightful of English
+maidens, <i>A Nap</i>, <i>Sun Gleams</i>, and<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> the imaginative and admirably
+romantic <i>Cymon and Iphigenia</i>. <i>Letty</i> was one of Leighton's pictures
+which particularly excited Mr. Ruskin's admiration. It shows a simply
+pretty child, with soft brown hair under a black hat, a saffron kerchief
+about her neck. The <i>Letty</i> and the <i>Cymon and Iphigenia</i>, with a few
+other notable pictures, did much to leave a pleasant recollection of the
+exceptional Academy of 1884. "A more original effect of light and
+colour, used in the broad, true, and ideal treatment of lovely forms,"
+said a French critic, "we do not remember to have seen at the Academy,
+than that produced by the <i>Cymon and Iphigenia</i>." Engravings and other
+reproductions of the picture have made its design, at any rate, almost
+as familiar now as Boccaccio's tale itself. There are some divergences,
+however, in the two versions. Boccaccio's tale is a tale of spring; Sir
+Frederic, the better to carry out his conception of the drowsy desuetude
+of sleep, and of that sense of pleasant but absolute weariness which one
+associates with the season of hot days and short nights, has changed the
+spring into that riper summer-time which is on the verge of autumn; and
+that hour of late sunset which is on the verge of night. Under its rich
+glow lies the sleeping Iphigenia, draped in folds upon folds of white,
+and her attendants; while Cymon, who is as unlike the boor of tradition
+as Spenser's Colin Clout is unlike an ordinary Cumbrian herdsman, stands
+hard-by, wondering, pensively wrapt in so exquisite a vision.
+Altogether, a great presentment of an immortal idyll; so treated,
+indeed, that it becomes much more than a mere reading of Boccaccio, and
+gives an ideal picture of Sleep itself,&mdash;that Sleep which so many
+artists and poets have tried at one time or another to render.</p>
+
+<p>In 1885, among the five contributions of the President<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> to the Academy,
+appeared the vivacious portrait of Lord Rosebery's little daughter, <i>The
+Lady Sybil Primrose</i>, who appears in white with a blue sash, carrying a
+doll. <i>A Portrait of Mrs. A. Hichens</i> and <i>Ph&oelig;be</i> were the only other
+pictures this year. A frieze, <i>Music</i>, was shown, and at the Grosvenor
+Gallery <i>A Study</i> of a fair-haired girl, in green velvet dress. 1886 was
+chiefly notable for the statue in bronze of <i>The Sluggard</i>, in which
+Leighton again furnished us with a plastic characterization of Sleep,
+which he designed by way of contrast to his statue of the struggling
+Athlete. It was suggested, Mr. Spielmann says, by accidental
+circumstances. The model who had been sitting to him fell a-yawning in
+his interval of rest, and charmed the artist, not only with his
+exceptional beauty of line and play of muscle, but also with the
+artistic contrast of energy and languor. But that he might not lay
+himself open to the charge that the work was a glorification of
+indolence, the sculptor made concession to what after all was an
+artistic suggestion, and placed under the yawner's foot</p>
+
+<div class="poem">
+"The glorious wreath of laurel leaves<br />
+Heel trodden and despised."</div>
+
+<p>The graceful statuette of a little girl who is alarmed by a toad on the
+edge of a pool or stream of water, called <i>Needless Alarms</i>, appeared at
+the same time; and was so much admired by the President's colleague, Sir
+John Everett Millais, that he wished to purchase it, whereupon Sir
+Frederic presented it to him, and received, in return, the charming
+picture of <i>Shelling Peas</i>, which Sir John painted specially for this
+pleasant exchange. In 1886 also appeared the <i>Decoration in Painting for
+a Music Room</i>, destined for New York, which is illustrated<small><a name="f7.1" id="f7.1" href="#f7">[7]</a></small>
+<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> by
+the completed work, and its preliminary studies from life for it.
+<i>Gulnihal</i>, a single figure, is the only other painting exhibited at the
+Academy in this year.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="lastwatch" id="lastwatch"></a></p>
+<div class="figcenter"><img src="images/image36.jpg" alt="The Last Watch of Hero" /></div>
+<p class="center">THE LAST WATCH OF HERO (1887)<br /><i>By permission of the Manchester Corporation</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="primrose" id="primrose"></a></p>
+<div class="figcenter"><img src="images/image37.jpg" alt="Portrait of Sybil Primrose" /></div>
+<p class="center">PORTRAIT OF THE LADY SYBIL PRIMROSE (1885)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1887 appeared a picture which seems scarcely to have received its due
+appreciation, <i>The Jealousy of Sim&aelig;tha the Sorceress</i>. This is a
+seated figure in yellow and white drapery, with a purple mantle wrapped
+around her shoulders; a well-wrought, finely-rendered work. <i>The Last
+Watch of Hero</i>, also first seen this year, is now in the Manchester
+Corporation Gallery. It is in two compartments; in the upper, and
+larger, Hero, clad in pink drapery, is seen drawing aside a curtain and
+gazing out over the sea. Below, in the smaller panel, is the body of the
+dead Leander, on a rock washed by the waves. A quotation from Sir Edwin
+Arnold's translation of Mus&aelig;us was appended to its title:</p>
+
+<div class="poem">
+"With aching heart she scanned the sea-face dim.<br />
+<span class="spacer2">*</span><span class="spacer2">*</span><span class="spacer2">*</span><span class="spacer2">*</span><br />
+Lo! at the turret's foot his body lay,<br />
+Rolled on the stones and washed with breaking spray."</div>
+
+<p>A picture of a little girl with yellow hair and pale blue eyes, entitled
+with a verse by Robert Browning:</p>
+
+<div class="poem">
+<span style="margin-left: 1em;">"Yellow and pale as ripened corn</span><br />
+<span style="margin-left: 1em;">Which Autumn's kiss frees,&mdash;grain from sheath,&mdash;</span><br />
+<span style="margin-left: 1em;">Such was her hair, while her eyes beneath</span><br />
+Showed Spring's faint violets freshly born,"</div>
+
+<p>was in the same exhibition, and also a design for the reverse of the
+Jubilee medallion, executed for her Majesty's Government.</p>
+
+<p>In 1888 appeared another large work, which, although not absolutely a
+procession, has much in common with the <i>Cimabue</i>, the <i>Syracusan
+Bride</i>, and <i>The Daphnephoria</i>.<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> It was entitled <i>Captive Andromache</i>,
+and accompanied by a fragment of the "Iliad," translated by E. B.
+Browning:</p>
+
+<div class="poem">
+<span style="margin-left: 12em;">... "Some standing by</span><br />
+Marking thy tears fall, shall say, 'This is she,<br />
+The wife of that same Hector that fought best<br />
+Of all the Trojans when all fought for Troy.'"</div>
+
+<p>This, and a <i>Portrait of Amy, Lady Coleridge</i>, were the artist's only
+contributions to the Royal Academy of 1888. The <i>Portraits of the Misses
+Stewart Hodgson</i> is also of this year, which saw four landscape studies
+exhibited at the Royal Society of Painters in Water Colours, and five at
+the Royal Society of British Artists, Suffolk Street.</p>
+
+<p>The <i>Sibyl</i>, exhibited in 1889, is a full-length figure swathed in lilac
+drapery, seated with her legs crossed, on a chair, her chin supported by
+her left hand, and gazing out of the picture. Beside her are scrolls,
+and a sombre sky is behind the figure. <i>Invocation</i>, a girl in white
+robes with arms raised above her head, and a <i>Portrait of Mrs. F.
+Lucas</i>, were also shown; but <i>Greek Girls playing at Ball</i> is not only
+the most important, but is also a picture that shows the mannerism of
+Lord Leighton's treatment of drapery at its finest. Elsewhere the
+undulating snaky coils may be somewhat distressing, here they float in
+the air and help the suggestion of movement. The landscape at the back
+is also both typical and beautiful. An <i>Elegy</i> was the fifth of the
+artist's contributions to the Academy of 1889.</p>
+
+<p>In 1890 <i>The Bath of Psyche</i> appeared at the Academy. This at once
+established its position as a popular favourite, and has probably been
+more widely reproduced than any other. It was purchased under the terms
+of the Chantrey Bequest, and is now in the Tate Gallery. It was
+suggested, so Mr. M. H. Spielmann tells us, by the<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> "paper-knife"
+picture, as Lord Leighton called it, which he had painted for Sir L.
+Alma-Tadema's wall screen. <i>Solitude</i> was also shown this year, and the
+<i>Tragic Poetess</i>, a full-length figure, clad in blue and purple drapery,
+on a terrace, with the sea beyond. The fourth picture at the Academy was
+a very faithfully painted transcript of <i>The Arab Hall</i>, at No. 2,
+Holland Park Road.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="greekgirls" id="greekgirls"></a></p>
+<div class="figcenter"><img src="images/image38.jpg" alt="Greek Girls Playing at Ball" /></div>
+<p class="center">GREEK GIRLS PLAYING AT BALL (1889)<br /><i>By permission of the Berlin Photographic Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="psyche" id="psyche"></a></p>
+<div class="figcenter"><img src="images/image39.jpg" alt="The Bath of Psyche" /></div>
+<p class="center">THE BATH OF PSYCHE (1890)<br /><i>By permission of the Berlin Photographic Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1891 appeared <i>Perseus and Andromeda</i>, a very original version of a
+theme which it seems the destiny of every painter and sculptor of
+classical subjects to attempt at some time. In this Andromeda is bound
+to a rock, the monster stands over her with outstretched wings, while
+from the clouds above, Perseus, on his winged steed, is discharging
+arrows. The clay models for Perseus are reproduced elsewhere (at p. <a href="#Page_68">68</a>).
+The <i>Return of Persephone</i> was another important work shown this year.
+It represents Persephone, supported by Hermes, being brought back to the
+upper world, where she is awaited with outstretched arms by Demeter. A
+<i>Portrait of A. B. Mitford, Esq.</i>, and a marble version of the <i>Athlete
+Struggling with a Python</i>, were also shown in the same exhibition.</p>
+
+<p>In 1892 a version of a panel of the proposed decoration for the dome of
+St. Paul's appeared with the title, <i>And the Sea gave up the Dead which
+were in it</i>; this, purchased by Mr. Henry Tate, is now among the
+pictures he gave to the Gallery at Millbank. The most important of
+Leighton's later works, <i>The Garden of the Hesperides</i>, in many respects
+the most sumptuous piece of decoration he ever achieved, was shown this
+year. It is a large circular picture, the centre occupied by a tree
+bearing golden apples; under its branches recline the three Hesperides,
+caressing the dragon who assists them to guard the treasure. A superbly
+brilliant sea is in the distance. The charm of this picture is mainly in
+its colour, but as<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> an example of elaborately artificial composition it
+is hardly less noteworthy. Unfortunately, despite every effort of Lord
+Leighton, most kindly exerted on behalf of the editor of this volume,
+the owners of the copyright refused under any condition to allow it to
+be illustrated herein. <i>A Bacchante</i>, and <i>At the Fountain</i>, a girl in
+fawn-coloured and violet draperies, with a bunch of lemons overhanging
+the marble wall behind her, were shown this year; and also a <i>Clytie</i>,
+which must not be confused with another known by the same title, the
+last picture on which the artist was at work before his death. The 1892
+version, shown in the retrospective exhibition, is thus described in its
+catalogue: "A small figure of Clytie is seen on the right, kneeling on a
+stone building with arms outstretched towards the sun, which is setting
+behind a range of moorland hills."</p>
+
+<p>In 1893 <i>Hit</i>, <i>The Frigidarium</i>, <i>Farewell</i>, <i>Corinna of Tanagra</i>, and
+<i>Rizpah</i> were exhibited at the Academy. Of these the most important is
+the last named. It illustrates the story of the two sons of Rizpah, by
+Saul, Armoni and Mephibosheth, who were slain by the Gideonites. Rizpah,
+robed in dark blue, is seen in the act of fetching away their bodies,
+which are shrouded by dull lilac and blue draperies. Vultures circle
+above, and two leopards approach stealthily. <i>Farewell</i> is a single
+figure in olive green and plum-coloured peplis under a portico above the
+sea, where she pauses to take a last look at an outward-bound ship.</p>
+
+<p><i>Atalanta</i> depicts the bust only of a dark-haired girl in purple and
+white drapery, with a snake-like ornament twisted round her arm, which
+is bare to the shoulder. <i>Corinna of Tanagra</i> is a half-length figure
+crowned with leaves, in coloured drapery, resting her clasped hands upon
+her lyre. <i>The Frigidarium</i> is an upright figure in<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>
+semi-transparent red drapery, which with the background of gold is reflected in the water beneath her feet.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="farewell" id="farewell"></a></p>
+<div class="figcenter"><img src="images/image40.jpg" alt="Farewell" /></div>
+<p class="center">FAREWELL (1893)<br /><i>By permission of Messrs. Arthur Tooth and Sons</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="thesea" id="thesea"></a></p>
+<div class="figcenter"><img src="images/image41.jpg" alt="'And the Sea Gave Up the Dead" /></div>
+<p class="center">"AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."&mdash;<span class="smcap">Rev.</span> XX. 13 (1892)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="frigid" id="frigid"></a></p>
+<div class="figcenter"><img src="images/image42.jpg" alt="The Frigidarium" /></div>
+<p class="center">THE FRIGIDARIUM (1893)<br /><i>By permission of Messrs. H. Graves and Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1894 were shown <i>The Spirit of the Summit</i>, a white-robed figure with
+upturned face, sitting on a snowy peak, with starlit sky beyond; <i>The
+Bracelet</i>; <i>Fatidica</i>, a figure in green-white robes; <i>At the Window</i>, a
+dark-haired boy in blue, looking over the ledge of a window; and <i>Summer
+Slumber</i>. This last is a somewhat elaborate composition; a girl in
+salmon colour draperies is lying asleep on the broad rim of a marble
+fountain, masses of flowers are in the mid distance, and a vista of
+sunny landscape through the open window beyond.</p>
+
+<p>In 1895, the last year of the artist's working life, he sent six
+pictures to the Academy, and completed the wall decoration at the Royal
+Exchange (here illustrated), <i>Ph&oelig;nicians Bartering with Britons</i>. The
+paintings were entitled, <i>Flaming June</i> (a picture reproduced in colours
+for a Christmas number of the "Graphic"), in which the "broad" painting
+of the sea beyond was a notable exception to the artist's usual
+handling; <i>Lachrym&aelig;</i>, a standing figure in robes of black and blue
+green, resting her arm upon a Doric column; <i>'Twixt Hope and Fear</i>, a
+seated figure of a black-haired Greek girl, robed in white and olive,
+with a sheep-skin thrown around her; <i>The Maid with her Yellow Hair</i>, a
+girlish figure in lemon-coloured drapery, reading from a red-backed
+book; <i>Listener</i>, a child seated with crossed legs on a fur rug; and a
+<i>Study of a Girl's Head</i>, with auburn, wavy hair.</p>
+
+<p>In the 1896 Academy <i>Clytie</i> was the only picture. In Lord Leighton's
+studio in various stages of completion were a <i>Bacchante</i>, a half-length
+figure of a fair-haired girl crowned with leaves, and a leopard skin
+over her shoulder; <i>The Fair Persian</i>, a bust of a girl with flowing
+dark hair, crowned by a jewelled circlet; and <i>The Vestal</i>, a
+half-length<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> figure of a girl in white drapery, these were all exhibited
+at the Winter Exhibition of 1897.</p>
+
+<p>To <i>Clytie</i>, his last picture, a small monograph has been devoted by the
+Fine Art Society. In this we read: "'Thank goodness my ailment has not
+interfered with my capacity for work, for I have never had a better
+appetite for it, nor I believe done better. I was idle for five months
+in the summer, but since my return I have been working hard and have
+produced the pictures you see.' Thus he spoke to the present writer [of
+the monograph in question] as he led the way across his studio....
+Turning to the <i>Clytie</i> he continued: 'This I have been at work upon all
+the morning. Orchardson has been so good as to say I have never done
+anything finer than the sky. You know the story. I have shown the
+goddess in adoration before the setting sun, whose last rays are
+permeating her whole being. With upraised arms she is entreating her
+beloved one not to forsake her. A flood of golden light saturates the
+scene, and to carry out my intention, I have changed my model's hair
+from black to auburn. To the right is a small altar, upon which is an
+offering of fruit, and upon a pillar beyond I shall show the feet of a
+statue of Apollo.'</p>
+
+<p>"But a few days after this occurrence the dead President lay in
+semi-state in his coffin, before the picture. A drawing in the 'Graphic'
+(January 26th, 1896) shows the interior of the studio, with the figure
+of Clytie, in her attitude of despair, stretching her arms above the
+body of her creator."</p>
+
+<p>Here the record, year by year, is closed. A few pictures seem to have
+escaped the honours of exhibition. One,<small><a name="f8.1" id="f8.1" href="#f8">[8]</a></small> <i>A Noble Lady of Venice</i>, in
+possession of Lord Armstrong,<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span> does not appear to have been
+exhibited. It is probably the picture which was sold at Christie's in
+1875 for 950 guineas. A <i>Lady with Pomegranates</i>, which sold for 765
+guineas at the sale of Baron Grant's pictures in 1877, does not appear
+in our list of exhibited works; nor, it may be, are all the early
+pictures included therein. But the official catalogues of the Royal
+Academy May Exhibitions, and of the special Winter Exhibition devoted to
+the artist's works, have been freely drawn upon for description, and to
+the list of his life's work, as it appeared in the first edition of this
+work, many additions have been made.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="rizpah" id="rizpah"></a></p>
+<div class="figcenter"><img src="images/image43.jpg" alt="Rizpah" /></div>
+<p class="center">RIZPAH (1893)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="bracelet" id="bracelet"></a></p>
+<div class="figcenter"><img src="images/image44.jpg" alt="The Bracelet" /></div>
+<p class="center">THE BRACELET (1894)<br /><i>By permission of Messrs. T. Agnew and Sons</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="fatidica" id="fatidica"></a></p>
+<div class="figcenter"><img src="images/image45.jpg" alt="Fatidica" /></div>
+<p class="center">FATIDICA (1894)<br /><i>By permission of Messrs. T Agnew and Sons</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span></p>
+<h3><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h3>
+
+<h4><span class="smcap">His Method of Painting</span></h4>
+
+
+<p class='dropcap'><span class="caps">For</span> particulars of the wonderfully thorough "method," which Leighton
+used in preparing his pictures, we cannot do better than quote the
+following admirable account by Mr. M. H. Spielmann (published during the
+painter's life), which he has allowed us to reprint here.<small><a name="f9.1" id="f9.1" href="#f9">[9]</a></small></p>
+
+<p>"I have said that the sense of line in composition, in figure and
+drapery, is one of the chief qualities of the artist; and the conviction
+that the method in which he places them upon canvas with such unerring
+success&mdash;for it may be said that the President rarely, if ever, produces
+an ugly form in a picture&mdash;would be both interesting and instructive,
+prompted me to learn in what manner his effects are produced. This I
+have done, having special regard to one of his Academy pictures, <i>The
+Sibyl</i>, which, being a single figure, simplifies greatly the explanation
+of the mode of procedure. This explanation holds good in every case, be
+the composition great or small, elaborate or simple; the <i>modus
+operandi</i> is always the same.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="bacchante" id="bacchante"></a></p>
+<div class="figcenter"><img src="images/image46.jpg" alt="A Bacchante" /></div>
+<p class="center">A BACCHANTE (1896)<br /><i>By permission of Messrs. Henry Graves and Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="hit" id="hit"></a></p>
+<div class="figcenter"><img src="images/image47.jpg" alt="'Hit'" /></div>
+<p class="center">"HIT" (1893)<br /><i>By permission of "The Art Journal"</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"Having by good fortune observed in a model an extraordinarily fine and
+'Michelangelesque' formation of the hand and wrist&mdash;an articulation as
+rare to find as it is anatomically beautiful and desirable&mdash;he bethought
+him of a subject that would enable him to introduce his<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>
+<i>trouvaille</i>. As but one attitude could display the special
+formation to advantage, the idea of a Sibyl, sitting brooding beside her
+oracular tripod, was soon evolved, but not so soon was its form
+determined and fixed. Like Mr. Watts, Sir Frederic Leighton thinks out
+the whole picture before he puts brush to canvas, or chalk to paper;
+but, unlike Mr. Watts, once he is decided upon his scheme of colour, the
+arrangement of line, the disposition of the folds, down to the minutest
+details, he seldom, if ever, alters a single line. And the reason is
+evident. In Sir Frederic's pictures&mdash;which are, above all, decorations
+in the real sense of the word&mdash;the design is a pattern in which every
+line has its place and its proper relation to other lines, so that the
+disturbing of one of them, outside of certain limits, would throw the
+whole out of gear. Having thus determined his picture in his mind's eye,
+he in the majority of cases makes a sketch in black and white chalk upon
+brown paper to fix it. In the first sketch, the care with which the
+folds have been broadly arranged will be evident, and, if it be compared
+with the finished picture, the very slight degree in which the general
+scheme has been departed from will convince the reader of the almost
+scientific precision of the artist's line of action. But there is a good
+reason for this determining of the draperies before the model is called
+in; and it is this. The nude model, no matter how practised he or she
+may be, never moves or stands or sits, in these degenerate days, with
+exactly the same freedom as when draped; action or pose is always
+different&mdash;not so much from a sense of mental constraint as from the
+unusual liberty experienced by the limbs, to which the muscular action
+invariably responds when the body is released from the discipline and
+confinement of clothing.</p>
+
+<p>"The picture having been thus determined, the model is called in, and is
+posed as nearly as possible in the attitude<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> desired. As nearly as
+possible I say, for, as no two faces are exactly alike, no two models
+ever entirely resemble one another in body or muscular action, and
+cannot, therefore, pose in such a manner as exactly to correspond with
+either another model or another figure&mdash;no matter how correctly the
+latter may be drawn. From the model the artist makes the careful
+outline, in brown paper, a true transcript from life, which may entail
+some slight corrections of the original design in the direction of
+modifying the attitude and general appearance of the figure. This would
+be rendered necessary, probably by the bulk and material of the drapery.
+So far, of course, the artist's attention is engaged exclusively by
+'form,' 'colour' being always treated more or less ideally. The figure
+is now placed in its surroundings, and established in exact relation to
+the canvas. The result is the first true sketch of the entire design,
+figure and background, and is built up of the two previous ones. It must
+be absolutely accurate in the distribution of spaces, for it has
+subsequently to be 'squared off' on to the canvas, which is ordered to
+the exact scale of the sketch. At this moment, the design being finally
+determined, the sketch in oil colours is made. It has been deferred till
+now, because the placing of the colours is, of course, of as much
+importance as the harmony. This done, the canvas is for the first time
+produced, and thereon is enlarged the design, the painter re-drawing the
+outline&mdash;never departing a hair's breadth from the outlines and forms
+already obtained&mdash;and then highly finishing the whole figure in warm
+monochrome from the life. Every muscle, every joint, every crease is
+there, although all this careful painting is shortly to be hidden with
+the draperies; such, however, is the only method of insuring absolute
+correctness of drawing. The fourth stage completed,<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> the artist
+returns once more to his brown paper, re-copies the outline accurately
+from the picture, on a larger scale than before, and resumes his studies
+of draperies in greater detail and with still greater precision, dealing
+with them in sections, as parts of a homogeneous whole. The draperies
+are now laid with infinite care on to the living model, and are made to
+approximate as closely as possible to the arrangement given in the first
+sketch, which, as it was not haphazard, but most carefully worked out,
+must of necessity be adhered to. They have often to be drawn piecemeal,
+as a model cannot by any means always retain the attitude sufficiently
+long for the design to be wholly carried out at one cast. This
+arrangement is effected with special reference to painting&mdash;that is to
+say, giving not only form and light and shade, but also the relation and
+'values' of tones. The draperies are drawn over, and are made to conform
+exactly to the forms copied from the nudes of the underpainted picture.
+This is a cardinal point, because in carrying out the picture the folds
+are found fitting mathematically on to the nude, or nudes, first
+established on the canvas. The next step then is to transfer these
+draperies to the canvas on which the design has been squared off, and
+this is done with flowing colour in the same monochrome as before over
+the nudes, to which they are intelligently applied, and which nudes must
+never&mdash;mentally at least&mdash;be lost sight of. The canvas has been prepared
+with a grey tone, lighter or darker, according to the subject in hand,
+and the effect to be produced. The background and accessories being now
+added, the whole picture presents a more or less completed
+aspect&mdash;resembling that, say, of a print of any warm tone. In the case
+of draperies of very vigorous tone, a rich flat local colour is probably
+rubbed over them, the modelling<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> underneath being, though thin, so sharp
+and definite as to assert itself through this wash. Certain portions of
+the picture might probably be prepared with a wash or flat tinting of a
+colour the <i>opposite</i> of that which it is eventually to receive. A blue
+sky, for instance, would possibly have a soft, ruddy tone spread over
+the canvas&mdash;the sky, which is a very definite and important part of the
+President's compositions, being as completely drawn in monochrome as any
+other portion of the design; or for rich blue mountains a strong orange
+wash or tint might be used as a bed. The structure of the picture being
+thus absolutely complete, and the effect distinctly determined by a
+sketch which it is the painter's aim to equal in the big work, he has
+nothing to think of but colour, and with that he now proceeds
+deliberately, but rapidly.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="andronude" id="andronude"></a></p>
+<div class="figcenter"><img src="images/image48.jpg" alt="Nude Study for 'Captive Andromache'" /></div>
+<p class="center">NUDE STUDY FOR "CAPTIVE ANDROMACHE"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="androcap" id="androcap"></a></p>
+<div class="figcenter"><img src="images/image49.jpg" alt="Study for a Figure in 'Captive Andromache'" /></div>
+<p class="center">STUDY FOR A FIGURE IN "CAPTIVE ANDROMACHE"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="andro" id="andro"></a></p>
+<div class="figcenter"><img src="images/image50.jpg" alt="Study for 'Andromache'" /></div>
+<p class="center">STUDY FOR "ANDROMACHE"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"Such is the method by which Sir Frederic Leighton finds it convenient
+to build up his pictures. The labour entailed by such a system as this
+is, of course, enormous, more especially when the composition to be
+worked out is of so complex a character as the <i>Captive Andromache</i> of
+last year, every figure and group of which were treated with the same
+completeness and detail as we have seen to attend the production of so
+simple a picture as <i>The Sibyl</i>. Deliberateness of workmanship and
+calculation of effect, into which inspiration of the moment is never
+allowed to enter, are the chief characteristics of the painter's
+craftsmanship. The inspiration stage was practically passed when he took
+the crayon in his hand; and to this circumstance probably is to be
+assigned the absence of realism which arrests the attention of the
+beholder."</p>
+
+<p>Mr. Spielmann has instanced, in the above account, the tragic and lovely
+<i>Captive Andromache</i>, exhibited in<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> 1888; and we may further add
+that exquisite painting of <i>Greek Girls playing at Ball</i>, of 1889; or
+the still more exquisite <i>Bath of Psyche</i>, of the year following. All
+three are full of technical delicacy and finesse. For other qualities
+take that radiantly pictured myth, the <i>Perseus and Andromeda</i>, or the
+<i>Return of Persephone</i> (both of 1891); or the lovely <i>Clytie</i> of 1892,
+whose sunset background was painted at Malinmore, on the west coast of
+Donegal; or the <i>Atalanta</i> or the <i>Rizpah</i> of 1893.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="perseusstudy" id="perseusstudy"></a></p>
+<div class="figcenter"><img src="images/image51.jpg" alt="Study for 'Perseus and Andromeda'" /></div>
+<p class="center">STUDY FOR "PERSEUS AND ANDROMEDA"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="psychestudy" id="psychestudy"></a></p>
+<div class="figcenter"><img src="images/image52.jpg" alt="Study for 'The Bath of Psyche'" /></div>
+<p class="center">STUDY FOR "THE BATH OF PSYCHE"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="solitude" id="solitude"></a></p>
+<div class="figcenter"><img src="images/image53.jpg" alt="Study for 'Solitude'" /></div>
+<p class="center">STUDY FOR "SOLITUDE"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>The memorable picture, first named of these, which shows Andromache at
+the Well, is in particular a most characteristic example of the artist's
+larger style. In it, true to his classic predilections, he gives a new
+setting to the touching old story of Andromache's captivity. Following
+up the earlier scene in the "Iliad," where Andromache begs her husband
+Hector not to sally forth to battle, but to stay and defend the city,
+and where, finding her prayers in vain, and weeping, she bids Hector
+farewell, the picture shows the fulfilment of Andromache's fears and the
+dire prophecy which Hector had recalled to his wife.</p>
+
+<p>By way of contrast to this sombre canvas, take the glowing and brilliant
+colours of the <i>Perseus and Andromeda</i>, one of the three pictures shown
+at the Academy in 1891. The painting of the surroundings of Andromeda,
+the deep blue water in the sea lagoon beneath, and these radiant
+elemental people of air and light, provides such a glow of colour, as
+haunts the eye for long after one has gazed one's fill upon it.
+Something of the same feeling for the spirit that is in the forces of
+the earth, lurks behind many of Leighton's representments of the classic
+myths. It is certainly to be found, with a difference, in the <i>Return of
+Persephone</i>, exhibited with<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> the <i>Perseus</i>, which becomes in the
+artist's hands a profound allegory of the return of Spring, with all
+kind of symbolical meanings in the three figures of Proserpine, Ceres,
+and Hermes, that are seen meeting before the mouth of Hades. <i>The Spirit
+of the Summit</i>, one of the latest of these embodiments of the relation
+of Man to Nature, may be read to mean Man's finer spirit of aspiration,
+and the mountainous imagination of Art itself. It is characteristic of
+the artist that, in the later years of his career, at a time when most
+artists and men are apt to give up something of their earlier pursuit of
+ideals, he retained undiminished a feeling for the unaccomplished
+heights of the imagination. <i>The Spirit of the Summit</i> may serve, then,
+as the symbol, not so much of things attained, and Art victorious, as of
+things that are always to be attained, and of Art striving and
+undeterred. In this way it may serve, too, as in some sort the emblem of
+Leighton's own ideals, and of his whole career. His artistic temper was
+throughout, one of endless energy, endless determination; with a dash of
+that finer dissatisfaction which is always seeking out new embodiments,
+under all difficulties, of Man's pursuit, in a difficult, and often an
+unbeautiful world, of Truth and Beauty. Above all, he was a consummate
+draughtsman, and as Francisco Pacheco, the father-in-law of Velasquez,
+wrote in his "Arte de la Pintura" (1649): "Drawing is the life and soul
+of painting; drawing, especially outline, is the hardest; nay, the Art
+has, strictly speaking, no other difficulty. Without drawing painting is
+nothing but a vulgar craft; those who neglect it are bastards of the
+Art, mere daubers and blotchers."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="persestudy" id="persestudy"></a></p>
+<div class="figcenter"><img src="images/image54.jpg" alt="Study for 'The Return of Persephone'" /></div>
+<p class="center">STUDY FOR "THE RETURN OF PERSEPHONE"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="perse" id="perse"></a></p>
+<div class="figcenter"><img src="images/image55.jpg" alt="Study for 'Persephone'" /></div>
+<p class="center">STUDY FOR "PERSEPHONE"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span></p>
+<h3><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h3>
+
+<h4>MURAL DECORATION, SCULPTURE, AND ILLUSTRATION</h4>
+
+
+<p class='dropcap'><span class="caps">The</span> drawings of Lord Leighton deserve special consideration. The famous
+<i>Lemon Tree</i> was made at Capri in the Spring of 1859; it is work that no
+Pre-Raphaelite could have finished more minutely, yet it has nothing
+"niggling" in its treatment. In a conversation<small><a name="f10.1" id="f10.1" href="#f10">[10]</a></small> Lord Leighton is said
+to have referred to the many days spent upon the production of this
+study&mdash;dwelling specially on the difficulty he experienced in finding
+again and again each separate leaf in the perspective of the confused
+branches, as morning after morning he returned at sunrise to continue
+the work. The drawing of each leaf reveals the close observation which
+ultimately recorded its particular individuality. You feel that as a
+shepherd knows his sheep to call each by its name, so the artist must
+have become familiar with every separate leaf and twig before he had
+completed his task. The whole is broad and simple, and scarcely suggests
+the enormous patience which must have been needed to carry out the
+self-imposed toil. Nothing is shirked, nothing is scamped; from the stem
+to the outermost leaf, every part in succession reveals equal interest,
+and yet the whole is not without that larger quality which brings it
+together in a harmonious whole, so that it is as<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> much the study of a
+tree as the study of each separate item that composes it.</p>
+
+<p>The <i>Byzantine Well-head</i> is another notable instance of similar labour
+devoted to an architectural subject; this was evidently a favourite with
+its author; for during his life it hung close by his bed in the simple
+chamber of his otherwise sumptuous home, a room devoid of luxury and
+almost ascetic in its appointments.<small><a name="f11.1" id="f11.1" href="#f11">[11]</a></small></p>
+
+<p>The great mass of studies, on brown paper chiefly, which he had
+carefully preserved, were purchased by the Fine Art Society, and some
+two hundred and fifty were exhibited at their gallery in December, 1896,
+and a selection in facsimile has been published in sumptuous form. In a
+prefatory note to the catalogue of these studies Mr. S. Pepys Cockerell
+says: "It is seldom that we are privileged to watch at ease the workings
+of another's mind, but these drawings, the intimate record of a long
+life-time, offer an unusually good opportunity. One might call them the
+confessions of an artist; and anyone who wants to know what Leighton was
+really like, has only to use his eyes. One thing, at any rate, no one
+can fail to see, viz., that he had the qualities which result in
+industry. Whatever success he achieved was only gained after desperate
+labour. It is curious that while he had the reputation for working with
+ease, he considered himself to have no facility for anything, whether
+for art, for writing, or for speaking. I recollect his once saying:
+'Thank Heaven, I was never clever at anything,' for he believed with Sir
+Joshua, that everything is granted to well-deserved labour."</p>
+
+<p>The landscape studies in oil (of which a list almost complete will be
+found in Appendix II.), show equal observation and sympathetic
+perception of the beauty of<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> colour, as well as of the beauty of
+form. The truth of these carefully recorded impressions of scenery was
+no less patent than the masterly "selection" which had set itself to
+depict all that seemed of value, and escaped at once the photographic
+imitation of one school, and the evasion of detail of another. They all
+preserve a certain classic repose, without violence to topographical
+accuracy, or painter-like intention.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="ceilingstudy" id="ceilingstudy"></a></p>
+<div class="figcenter"><img src="images/image56.jpg" alt="Study for the Ceiling of a Music-Room" /></div>
+<p class="center">STUDY FOR THE CEILING OF A MUSIC-ROOM</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+<div class="figcenter"><img src="images/image57.jpg" alt="Study for the Ceiling of a Music-Room" /></div>
+<p class="center">STUDY FOR THE CEILING OF A MUSIC-ROOM</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+<div class="figcenter"><img src="images/image58.jpg" alt="" /></div>
+<p>&nbsp;</p><p>&nbsp;<a name="ceiling" id="ceiling"></a></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="Decoration for the Ceiling of a Music-Room">
+<tr><td><img src="images/image59left.jpg" alt="" /></td><td><span class="spacer2">&nbsp;</span></td><td><img src="images/image59right.jpg" alt="" /></td></tr></table>
+<p class="center">DECORATION FOR THE CEILING OF A MUSIC-ROOM</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>We have had occasion to refer frequently, in passing, to Leighton's
+decorative works, but we have purposely deferred any description of
+them, preferring to treat them separately. To know how present was his
+feeling for decorative effect at all times, it is sufficient to glance
+never so casually at his own house, about which we hope presently to say
+something,&mdash;genuine expression as it is of his Art. Now we wish rather
+to touch on his more public performances. Of these, the famous frescoes
+which fill large lunettes in the central court at South Kensington, <i>The
+Industrial Arts of War</i> and <i>The Industrial Arts of Peace</i>, are the best
+known, as they are among the most characteristic of all the artist's
+productions.</p>
+
+<p>The fresco of <i>The Arts of War</i> is a very complex piece of work. It is
+crowded with figures, full of that orderly disorder which one must
+expect to find, on the hurried morning of a day of battle, in these
+delightfully decorative warriors. "In the centre"&mdash;we quote here Mrs.
+Lang's description&mdash;"is a white marble staircase, leading from the
+quadrangle to an archway, beyond which is another courtyard. Seen
+through the archway, knights are riding by.... The busy scene in the
+courtyard suggests an immediate departure to the seat of war. In the
+corner to the right crossbows are being chosen and tested; a man is
+kneeling by a pile of swords, and descanting on their various merits to
+an undecided customer,<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> while those weapons that he has already disposed
+of are having their blades tried and felt. A little way off, to the left
+of the archway, some men-at-arms are trying on the armour of a youth who
+has still to win his spurs.... The whole is distinguished by the extreme
+naturalness and simplicity of all the actions, and by soft, glowing
+colours, chiefly dark olive green and splendid saffrons."</p>
+
+<p>In <i>The Arts of Peace</i>, its companion, the central portion of the fresco
+is devised as the interior of a Greek house, where within a semicircular
+alcove we see a number of Greek maidens and older women, delightfully
+grouped, mainly occupied in the art of personal adornment. Before this
+house is the waterside, with a very decorative boat, confined by a
+gracefully-looped chain, whose curve, as it hangs, is very subtly
+designed to complete the salient lines of the whole composition. On
+either side of this interior we have groups of men, more vigorously
+treated,&mdash;drawing water, bearing burdens, pushing a boat from land. The
+total effect of these finely posed contrasted groups, of the admirably
+architectured walls, piers, and pavements, and of the striking
+background, as of another hill-crowned Athens, is most complete and
+satisfying. The colouring throughout, diversified with extreme art as it
+is, is full of that southern radiance, and clear, sunlit glamour, so
+often found in the artist's pictures. To realize this fully, South
+Kensington must be visited, for word-painting at its best but poorly
+reproduces the art that it doubtfully imitates.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="artsofwar" id="artsofwar"></a></p>
+<div class="figcenter"><img src="images/image60.jpg" alt="Fresco: The Industrial Arts of War" /></div>
+<p class="center">FRESCO: THE INDUSTRIAL ARTS OF WAR (1872)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="artsofpeace" id="artsofpeace"></a></p>
+<div class="figcenter"><img src="images/image61.jpg" alt="Fresco: The Industrial Arts of Peace" /></div>
+<p class="center">FRESCO: THE INDUSTRIAL ARTS OF PEACE (1873)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>But these were by no means the first attempts of the artist to
+acclimatize the noblest form of mural decoration, which cannot even at
+this date be regarded as fully naturalized amongst us. In 1866 he
+commenced work on a fresco of <i>The Wise and Foolish Virgins</i>, which<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span>
+forms the altarpiece of the beautiful modern church at Lyndhurst,
+erected on the site of the older building commemorated in Charles
+Kingsley's ballad. This painting still remains a lasting attraction to
+visitors in the New Forest village. In the centre, the Bridegroom, clad
+in white, bearing lilies in His left hand, extends His right to the
+foremost of the five wise virgins. Angels at each side of the central
+figure welcome the one group, and repel the other. On the extreme right
+is a kneeling figure, "Ora;" on the left, "Vigila," a figure trimming a
+lamp. The scale of the figures is over life-size, and the unfortunate
+position of the work, immediately under a large east window, so that the
+figures appear standing on the altar, has provoked adverse criticism;
+but the painting itself, as a triumphant accomplishment of a peculiarly
+difficult undertaking, and a superb scheme of line and colour, has won
+favourable comments at all times. It was painted in the medium, a
+mixture of copal, wax, resin, and oil, previously employed with success
+by Mr. Gambier Parry in his decorations for Ely Cathedral.</p>
+
+<p>It is interesting to read the account of the execution of this work,
+which is said to have been carried out chiefly on Saturday afternoons,
+the artist catching a mid-day train from town, and working on it from
+the moment of his arrival until dusk. Experience of the London and South
+Western Railway Company thirty years ago makes one doubt whether leaving
+town at mid-day should not be taken as arriving at Lyndhurst Road at
+that time, for otherwise it would have been a miracle to accomplish the
+task by daylight. It is, however, exhilarating to find that the
+sustained enthusiasm of the young artist was equal to the effort
+involved in mastering so many obstacles; for the result, despite the<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+increased attention given to decoration in these later years, may even
+now be considered, so far as modern ecclesiastical painting is
+concerned, to be without a rival in England.</p>
+
+<p>The beautiful <i>Cupid with Doves</i>, is also said to be from a fresco;
+whether a genuine painting on the wall itself (after the true fresco
+manner) or not, it has the larger qualities peculiar to the method which
+distinguishes several other works that were certainly not executed in
+this medium,&mdash;the latest of Leighton's mural decorations, for example, a
+painting of <i>Ph&oelig;nicians Bartering with Britons</i>, which the President
+of the Royal Academy in 1895 presented as the first of a series of
+panels in the Royal Exchange. Although, as this was painted on canvas,
+it cannot be ranked as a legitimate successor in the direct line of the
+Lyndhurst and South Kensington frescoes, it is marked by many of the
+architectural qualities which distinguish a painting designed to be in
+true relation to the planes of its surroundings, and employs a
+convention which makes it appear an integral part of the wall surface,
+not a mere panel accidentally placed within a frame supplied by the
+features of the building itself.</p>
+
+<p>The South Kensington frescoes, as we have before stated, were painted in
+1872-3. Some ten years later Sir Frederic collaborated with Sir Edward
+(then Mr.) Poynter in the decoration of the dome of St. Paul's. His
+share was to have filled eight <i>medallions</i>, so called, in the
+compartments into which his colleague divided the dome. The design for
+one of these, <i>The Sea gave up the Dead which were in it</i>, was exhibited
+at the Academy of 1892, and is now among the works presented by Mr. Tate
+to the National Gallery of British Art. This is another treatment of a
+great subject, in which the<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> problem of reconciling the dramatic with
+the decorative has been seriously attempted. The dome of St. Paul's, had
+it been completed according to this scheme, might have been a worthy if
+a somewhat academic presentation of the tremendous visions of the
+Apocalypse.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="cupid" id="cupid"></a></p>
+<div class="figcenter"><img src="images/image62.jpg" alt="Cupid: From a Fresco" /></div>
+<p class="center">CUPID: FROM A FRESCO</p>
+<p>&nbsp;</p><p>&nbsp;<a name="britons" id="britons"></a></p>
+<div class="figcenter"><img src="images/image63.jpg" alt="Ph&oelig;nicians Bartering with Britons" /></div>
+<p class="center">PH&OElig;NICIANS BARTERING WITH BRITONS<br />PANEL IN THE ROYAL EXCHANGE (1895)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>Certain others of Leighton's decorative works we have already mentioned,
+such as the design for a ceiling, now in New York. Not so well known is
+his frieze delineating a dance, for an English drawing-room; or the
+small frieze with a design of Dolphins, also in England. A scheme in
+water-colours for a mural decoration, entitled <i>The Departure for the
+War</i>, was never carried out; the sketch for it was sold with the
+remaining works at Christie's, July, 1896. The single figures in mosaic
+of <i>Cimabue</i> and <i>Pisano</i>, at the South Kensington Museum, must not be
+forgotten.</p>
+
+<p>To the public&mdash;or at least that portion which limits its art to the
+exhibitions of the Royal Academy&mdash;Leighton, as we have seen, made his
+<i>d&eacute;but</i> as a sculptor with the group, <i>An Athlete struggling with a
+Python</i> (known also as <i>An Athlete strangling a Python</i>), which in the
+bronze version is now among works purchased under the terms of the
+Chantrey bequest in the Tate Gallery. But long before that date he had
+successfully essayed plastic art; his first effort being for the
+medallion of a monument to Mrs. Browning in the Protestant cemetery at
+Florence. Two other monuments, to the memory of Major Sutherland Orr
+(his sister's husband), and Lady Charlotte Greville, must also be
+mentioned. We have already spoken of <i>The Athlete</i>, <i>The Sluggard</i>, and
+<i>Needless Alarms</i>. But it would be unfair to omit mention of many small
+works&mdash;small, that is to say, in scale, for they are distinguished by
+great breadth of handling&mdash;which were prepared as auxiliary studies for
+his paintings. Visitors<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> to the studio in Holland Park Road, were always
+impressed by several of these models, which stood on a large chest in
+the bay of a great studio window. Especially noteworthy was a group of
+three singing maidens, who figure in <i>The Daphnephoria</i>, and another of
+the "choragus" for the same picture; for later works, the mounted
+Perseus, and Andromeda with the monster, both designed for the picture
+of that legend. Others belonging to a slightly earlier period
+included&mdash;the sleeping Iphigenia, a crouching figure of her attendant,
+and a nude figure of Cymon, all, of course, for <i>Cymon and Iphigenia</i>.
+These models were made to be clad in wet drapery of exquisitely fine
+texture, and were prepared only for ten minutes' drawing of the first
+idea of the figures; all serious study being made from the draped model,
+or the lay figure. Such help as they have rendered must all be referred
+to the period before the finished cartoon was ready to be traced on the
+canvas. Since Lord Leighton's decease most of these have been
+successfully cast in bronze, and are the property of the Royal Academy.
+In the studio were also the first sketches in clay for <i>The Sluggard</i>,
+and also for <i>The Athlete</i>, which was not originally intended to be
+carried further. Indeed, several people mistook it for a genuine
+antique, and admired it accordingly; Dalou, the great French sculptor,
+was especially so struck by it, that he advised its author to work out
+the idea in full size. The three years' labour devoted to the task, the
+failures by the way, and its ultimate triumphant success, both here and
+in Paris, are too well known to need recapitulation. A replica was
+commissioned for the Copenhagen Gallery, and probably no work of its
+accomplished author did more to win him the appreciation of French and
+German artists.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="athlete" id="athlete"></a></p>
+<div class="figcenter"><img src="images/image64.jpg" alt="An Athlete Struggling with a Python" /></div>
+<p class="center">BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+<div class="figcenter"><img src="images/image65.jpg" alt="An Athlete Struggling with a Python" /></div>
+<p class="center">BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="cymonstudy" id="cymonstudy"></a></p>
+<div class="figcenter"><img src="images/image66.jpg" alt="Study in Clay for 'Cymon'" /></div>
+<p class="center">STUDY IN CLAY FOR "CYMON"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="sluggard" id="sluggard"></a></p>
+<div class="figcenter"><img src="images/image67.jpg" alt="Study in Clay for 'The Sluggard'" /></div>
+<p class="center">STUDY IN CLAY FOR "THE SLUGGARD"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="perseus" id="perseus"></a></p>
+<div class="figcenter"><img src="images/image68.jpg" alt="Study in Clay for 'Perseus'" /></div>
+<p class="center">STUDY IN CLAY FOR "PERSEUS"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="andromeda" id="andromeda"></a></p>
+<div class="figcenter"><img src="images/image69.jpg" alt="Study in Clay for 'Andromeda'" /></div>
+<p class="center">STUDY IN CLAY FOR "ANDROMEDA"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In this brief mention of Lord Leighton's achievements<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+in sculpture, the medal commemorating the Jubilee of Queen Victoria, a
+study for which is reproduced at p. 130, must not be
+overlooked.</p>
+
+<p>Although to those who have not followed closely the splendid period of
+English illustration which may be said to have reached its zenith at the
+time when Dalziel's "Bible Gallery" was published, it may be a surprise
+to find "Frederic Leighton" figuring as an illustrator, yet the nine
+compositions in that book are by no means his sole contribution to the
+art of black and white.</p>
+
+<p>For each instalment of "Romola," as it ran through the pages of the
+"Cornhill Magazine," the artist contributed a full page drawing, and an
+initial letter. The twenty-four full pages were afterwards reprinted in
+"The Cornhill Gallery" (Smith and Elder, 1865). These are most notable
+works, even when measured by the standard of their contemporaries. The
+same magazine contains two other works from his pen, one illustrating a
+poem, "The great God Pan," by Mrs. Browning, and another illustrating a
+story by Mrs. Sartoris, entitled "A Week in a French Country House."
+These, and the nine compositions in the "Bible Gallery" (the pictures
+from which have lately been re-issued in a popular form by the Society
+for Promoting Christian Knowledge) exhaust the list of those which can
+be traced. As four of the magnificent designs are reproduced here, it
+would be superfluous to describe them; the titles of the five others
+are: <i>Abram and the Angel</i>, <i>Eliezer and Rebekah</i>, <i>Death of the First
+Born</i>, <i>The Spies' Escape</i>, and <i>Samson at the Mill</i>.</p>
+
+<p>One of the original drawings on wood is now on view at the South
+Kensington Museum, and, by comparison with impressions from the engraved
+blocks, we see how small<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> has been the loss in translation, so admirably
+has the artist mastered the limitation of the technique that was to
+represent his work in another medium. The reproductions here given are
+considerably reduced, and necessarily lose something, but they retain
+enough to prove that had the artist cared to rest his reputation upon
+such works, he might have done so with a light heart, for whenever the
+golden period of English illustration is recalled, these comparatively
+few drawings will inevitably be recalled with it.</p>
+
+<p>A photographic silver-print from a drawing which forms the frontispiece
+to a little book of fairy tales is of hardly sufficient
+importance&mdash;charming though its original must have been&mdash;to be included
+among the book illustrations. The drawing, <i>A Contrast</i>, reproduced at
+p. <a href="#contrast">72</a>, is undated; the idea it is intended to suggest, a model who once
+stood for some youthful god, revisiting the adolescent portrait of
+himself when old age has him gripped fast with rheumatism and failing
+vigour.</p>
+
+<p>To-day, when one has heard sculptors claim that Lord Leighton's finest
+work was in their own craft, one has also heard many illustrators not
+merely extol these drawings&mdash;notably the Bible subjects&mdash;as his
+masterpieces, but jealously refuse to consider him entitled to serious
+regard as an artist in any other medium. This attitude, so curiously
+unlike the usual welcome from experts which awaits an artist who
+ventures into fresh mediums for expressing himself, should be put on
+record as a unique tribute; the more worthy of attention, because in
+each instance it was advanced not wholly as praise, but to some extent
+as a reproach on Leighton's painting. No intended compliment could carry
+more genuine appreciation than this warm approval from fellow experts in
+the special subjects of which they are masters.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="cain" id="cain"></a></p>
+<div class="figcenter"><img src="images/image70.jpg" alt="Cain and Abel" /></div>
+<p class="center">CAIN AND ABEL</p>
+<p>&nbsp;</p><p>&nbsp;<a name="moses" id="moses"></a></p>
+<div class="figcenter"><img src="images/image71.jpg" alt="Moses Views the Promised Land" /></div>
+<p class="center">MOSES VIEWS THE PROMISED LAND</p>
+<p>&nbsp;</p><p>&nbsp;<a name="samsonlion" id="samsonlion"></a></p>
+<div class="figcenter"><img src="images/image72.jpg" alt="Samson and the Lion" /></div>
+<p class="center">SAMSON AND THE LION</p>
+<p>&nbsp;</p><p>&nbsp;<a name="samsongate" id="samsongate"></a></p>
+<div class="figcenter"><img src="images/image73.jpg" alt="Samson Carrying the Gates" /></div>
+<p class="center">SAMSON CARRYING THE GATES</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
+<h3><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h3>
+
+<h4><span class="smcap">Discourses on Art</span></h4>
+
+
+<p class='dropcap'><span class="caps">We</span> must next speak of the late President's Addresses and Discourses on
+Art, and of that other art of oratory, which, we shall find, as he
+conceived it, had something of the same monumental quality he imparted
+to his painting. His presidential speeches at the annual banquet of the
+Academy would alone be sufficient to show this; but it is of course to
+his Addresses and Discourses that we must turn if we would understand
+his feeling for the two unallied arts.</p>
+
+<p>His success in the one is to be explained, we shall find, in very much
+the same way as his success in the other. Like most speakers of any
+distinction, Lord Leighton left nothing to chance. In his speeches and
+Discourses, as in his pictures, the most careful and exact preparation
+was made for every effect, however apparently casual it may have seemed.
+His Discourses were obviously based upon classic models; for their full
+periods, sonorously and deliberately arranged, have a rhythm that
+attends to the whole period, and not merely, as is often the way with
+English speakers, to each sentence in turn.</p>
+
+<p>In quoting from these Discourses, we do so, however, with an eye to his
+own proper art as a painter, and to his whole theory and sentiment of
+that art and its functions, and its allied plastic arts, even more than
+to his art as a<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> speaker. Indeed, the Discourses form a unique
+contribution to the art criticism of our time; they cover the most
+interesting and various periods in the history of the Art of Europe; and
+although the cycle he had mapped out was interrupted before he had
+completed it&mdash;first by illness which postponed the biennial discourse,
+and then by death&mdash;the portions already delivered touch incidentally on
+the theory and philosophy of all Art in a highly suggestive and eloquent
+way.</p>
+
+<p>In his first Discourse, delivered to the Academy students on the 10th of
+December, 1879, the new President took occasion to estimate the modern
+predicament and general position of Art, as a prelude to the
+consideration of its special developments, in later Discourses. "I wish
+in so doing," he said, "to seek the solution of certain perplexities and
+doubts which will often, in these days of restless self-questioning in
+which we live, arise in the minds and weigh on the hearts of students
+who think as well as work."</p>
+
+<p>In answering the question of questions in Art for us to-day&mdash;that is,
+what are its chances in the present, compared with the glory and
+splendour of its achievement in the past?&mdash;Leighton provides us with
+some memorable passages in his first Discourse. Speaking of the
+"Evolution of Painting in Italy," he turned it to notable account in his
+argument, as in this reference to the Florentine school:</p>
+
+<p>"It is, perhaps," he said, "in Tuscany, and notably in Florence, that we
+see the national temperament most clearly declared in its art, as indeed
+in all its intellectual productions; here we see that strange mixture of
+Attic subtlety and exquisiteness of taste, with a sombre fervour and a
+rude Pelasgic strength which marks the Tuscans, sending forth a Dante, a
+Brunelleschi, and a Michael Angelo,&mdash;a Fiesole, a Boccaccio, and a
+Botticelli, and we<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span> find that eagerness in the pursuit of the
+knowledge of men and things, which was so characteristic of them, summed
+up in a Macchiavelli and a Lionardi da Vinci."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="contrast" id="contrast"></a></p>
+<div class="figcenter"><img src="images/image74.jpg" alt="A Contrast" /></div>
+<p class="center">A CONTRAST</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>How different the conditions when we turn to consider English Art, as it
+stands to-day: "The whole current of human life setting resolutely in a
+direction opposed to artistic production; no love of beauty, no sense of
+the outward dignity and comeliness of things, calling on the part of the
+public for expression at the artist's hands; and, as a corollary, no
+dignity, no comeliness for the most part, in their outward aspect;
+everywhere a narrow utilitarianism which does not include the
+gratification of the artistic sense amongst things useful; the works of
+artists sought for indeed, but too often as a profitable merchandise, or
+a vehicle of speculation, too often on grounds wholly foreign to their
+intrinsic worth as productions of a distinctive form of human genius,
+with laws and conditions of its own."</p>
+
+<p>The modern student may well question, whether the great artists of the
+past, if they lived now under our different conditions, would achieve
+all that they did then. For further bewilderment, the differences to be
+seen in the past itself, between school and school, and one age and
+another, may lead him to doubt "whether Art be not indeed an ephemeral
+thing, a mere efflorescence of the human intelligence, an isolated
+development, incapable of organic growth." To such doubts, comes the
+reassuring answer: "That Art is fed by forces that lie in the depth of
+our nature, and which are as old as man himself; of which therefore we
+need not doubt the durability; and to the question whether Art with all
+its blossoms has but one root, the answer we shall see to be: Assuredly
+it has; for its outward modes of expression are many and various, but
+its underlying vital motives are the same."</p>
+
+<p><span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span>The new President concluded his first Discourse with an eloquent plea
+for sincerity in Art: "Without sincerity of emotion no gift, however
+facile and specious, will avail you to win the lasting sympathies of
+men"&mdash;a truth which perhaps needs more repeating to-day than ever it
+did!</p>
+
+<p>In the second Discourse (December 10th, 1881), we are called upon to
+consider that other question which has so often perplexed the artist,
+especially the English artist, in whom the moral sentiment is apt to
+take a threatening form on occasion: "What is the relation in which Art
+stands to Morals and to Religion?"</p>
+
+<p>For his reply, Leighton took in turn the two contentions: one, that the
+first duty of all artistic productions is the inculcation of a moral
+lesson, if not indeed of a Christian truth; the other, that Art is
+altogether independent of ethics. His conclusion is the only sagacious
+and sane one: that whilst Art in itself is indeed independent of ethics,
+yet is there no error so deadly as to deny that "the moral complexion,
+the ethos, of the artist does in truth tinge every work of his hand, and
+fashion, in silence, but with the certainty of fate, the course and
+current of his whole career." The steps that lead irresistibly to this
+conclusion, are very clearly indicated in the course of this Discourse;
+and the more convincingly, because the speaker is himself so sympathetic
+to the religious inspiration of Italian art, on the one hand, and to its
+merely natural &aelig;sthetic growth on the other.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head1" id="head1"></a></p>
+<div class="figcenter"><img src="images/image75.jpg" alt="A Study in Oils" /></div>
+<p class="center">A STUDY IN OILS</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"The language of Art," he said then, "is not the appointed vehicle of
+ethic truths;... On the other hand, there is a field in which she has no
+rival. We have within us the faculty for a range of emotion, of
+exquisite subtlety and of irresistible force, to which Art, and Art
+alone amongst human forms of expression, has a key; these<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span>
+then, and no others, are the chords which it is her appointed duty to strike; and
+form, colour, and the contrasts of light and shade are the agents
+through which it is given to her to set them in motion. Her duty is,
+therefore, to awaken those sensations directly emotional and indirectly
+intellectual, which can be communicated only through the sense of sight,
+to the delight of which she has primarily to minister. And the dignity
+of these sensations lies in this, that they are inseparably connected by
+association of ideas with a range of perception and feelings of infinite
+variety and scope. They come fraught with dim complex memories of all
+the evershifting spectacle of inanimate creation and of the more deeply
+stirring phenomena of life; of the storm and the lull, the splendour and
+the darkness of the outer world; of the storm and the lull, the
+splendour and the darkness of the changeful and the transitory lives of
+men."</p>
+
+<p>In his third Discourse, which was delivered on the 10th December, 1883,
+the President entered on his exhaustive discussion, continued in many
+subsequent Discourses, of "The relation of Artistic Production to the
+conditions of time and place under which it is evolved, and to the
+characteristics of the races to which it is due." In this Discourse he
+briefly and suggestively reviews the Art of Egypt, Assyria, and Greece,
+endeavouring to account for the main characteristics of each. In Egypt
+he shows how a nation securely established in a peace and pre-eminence
+lasting for ages, blessed beyond measure in a fertile and prospering
+climate, a nation beyond all things pious and occupied in reverential
+care of the dead, should give birth to an art serene, magnificent, and
+vast. "Those whose fortune it has been," he eloquently said, "to stand
+by the base of the Great Pyramid of Khoofoo, and look up at its far
+summit flaming in the violet sky, or to gaze on the<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> wreck of that
+solemn watcher of the rising sun, the giant Sphinx of Gizeh, erect,
+still, after sixty centuries in the desert's slowly rising tide; or who
+have rested in the shade of the huge shafts which tell of the pomp and
+splendour of hundred-gated Thebes; must, I think, have received
+impressions of majesty and of enduring strength which will not fade
+within their memory."</p>
+
+<p>After old Egypt, and the account of Chald&aelig;an and Assyrian Art, with its
+warlike expression, we are led on in turn to the consideration of Greek
+Art, and the causes of its development. "Nothing that I am aware of in
+the history of the human intelligence," he said, "is for a moment
+comparable to the dazzling swiftness of the ripening of Greek Art in the
+fifth century before Christ." After speaking of the fortunate balance
+and interaction of races which resulted in the Greek Art of that era, he
+goes on to speak of the exceptionally favouring circumstances of the
+people: "Here are no vast alluvial plains, such as those along which, in
+the East, whole empires surged to and fro in battle; no mighty flood of
+rivers, no towering mountain walls: instead, a tract of moderate size; a
+fretted promontory thrust out into the sea&mdash;far out, and flinging across
+the blue a multitude of purple isles and islets towards the Ionian,
+kindred, shores." Such a fortunate environment, joined to the
+extraordinarily high ideal formed by the Greeks of citizenship, had much
+to do with the fostering of Greek Art, in all "its nobility and its
+serenity, its exquisite balance, its searching after truth, and its
+thirst for the ideal."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head2" id="head2"></a></p>
+<div class="figcenter"><img src="images/image76.jpg" alt="Head of a Yound Girl" /></div>
+<p class="center">HEAD OF A YOUNG GIRL<br />A STUDY IN OILS</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In his fourth Discourse Lord Leighton carried on his inquiry upon the
+origins and conditions of Art into the difficult region of the
+Etruscans; whose plastic work, like their speech, he considers, was at
+best an uncouth,<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span> vigorous imitation, or re-shaping, of Greek models.
+As examples of Etruscan Art, we are referred to "the two lovely bronze
+mirrors, preserved at Perugia and Berlin, representing,&mdash;one, Helen
+between Castor and Pollux,&mdash;the other, Bacchus, Semele, and Apollo....
+In either case, the design is distinctly Greek; nevertheless a certain
+ruggedness of form and handling is felt in both, betraying a temper less
+subtle than the Hellenic; and we read without surprise on the one
+'Pultuke,' and 'Phluphluus' on the other." Lest it should be thought
+that something less than justice is done to Etruscan Art, take this fine
+description of the tomb of Volumnus Violens:</p>
+
+<p>"The recumbent effigy of the Volumnian is, indeed, rude and of little
+merit; rude also in execution is the monument on which it rests, but in
+conception and design of a dignity almost Dantesque. Facing the visitor,
+as he enters the sepulchral chamber, this small sarcophagus&mdash;small in
+dimensions, but in impressiveness how great!&mdash;rivets him at once under
+the taper's fitful light. Raised on a rude basement, the body of the
+monument figures the entrance to a vault; in the centre, painted in
+colours that have nearly faded, appears a doorway, within the threshold
+of which four female figures gaze wistfully upon the outer world; on
+either side two winged genii, their brows girt with the never-failing
+Etruscan serpents, but wholly free from the quaintness of early Etruscan
+treatment, sit cross-legged, watching, torch in hand, the gate from
+which no living man returns. Roughly as they are hewn, it would be
+difficult to surpass the stateliness of their aspect or the art with
+which they are designed; Roman gravity, but quickened with Etruscan
+fire, invests them: ... and our thoughts are irresistibly carried
+forward to the supreme sculptor whom the Tuscan land was one day to
+bear."</p>
+
+<p><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span>From Etruria, we pass naturally on to Rome; for, as we are significantly
+reminded, "The Romans lay, until the tide of Greek Art broke on them
+after the fall of Syracuse, wholly under the influence of the
+Etruscans.... Etruria gave them kings, augurs, doctors, mimes,
+musicians, boxers, runners; the royal purple, the royal sceptre, the
+fasces, the curule chair, the Lydian flute, the straight trumpet, and
+the curved trumpet. The education of a Roman youth received its
+finishing touches in Etruria: Tuscan engineers had girt Rome with walls;
+Tuscan engineers had built the great conduit through which the swamp,
+which was one day to be the Forum, was drained into the Tiber. What
+wonder, then, that in architecture, also in painting, in sculpture, in
+jewellery, and in all the things of taste, Etruscans gave the law to the
+ruder and less cultured race?"</p>
+
+<p>This influence lasted, until the counter-current of Greece found an
+inlet to Roman life, filtering "through Campania into Rome from the
+opposite end of the peninsula." And then, from the fall of Syracuse, and
+the bringing of its spoils to Rome, we find a perfect craze for Grecian
+marbles, bronzes, pictures, gems, inflaming the magnates, nobles, and
+<i>nouveaux riches</i> of Rome. How fortunate that influence was in another
+field, that of literature, we know. In plastic art, by reason of the
+essentially inartistic spirit of the Roman race, the result was
+practically small; save indeed in one department, that of portraiture,
+to which the essential impulse was, as Leighton very suggestively shows,
+"ethic, not &aelig;sthetic." Even in Roman architecture, our critic finds
+little to weaken his view of the Roman &aelig;sthetic inefficiency. "It was
+not," he said, "the spontaneous utterance of an &aelig;sthetic instinct, but
+the outcome of material needs and of patriotic pride," and hence only an
+incomplete<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span> expression of Roman civilization. "To them, in brief, art
+was not vernacular: their purest taste, their brightest gifts of mind,
+found no utterance in it."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head3" id="head3"></a></p>
+<div class="figcenter"><img src="images/image77.jpg" alt="Study of a Head" /></div>
+<p class="center">STUDY OF A HEAD</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"We have seen Art," he concluded, "such Art as it was given to Rome to
+achieve&mdash;rise and fall with the virtues of the Roman people. From the
+lips of the most seeing of its sons we know the solvent in which those
+virtues perished: that solvent was the greed, the insatiate greed, of
+gold&mdash;'auri sacra fames'&mdash;the rot of luxury. 'More deadly than arms,'
+Juvenal magnificently exclaims, 'luxury has swept down upon us, and
+avenges the conquered world.'</p>
+
+<div class="poem">
+<span style="margin-left: 12em;">...... 'S&aelig;vior armis</span><br />
+Luxuria incubuit, victumque ulciscitur orbem.'"</div>
+
+<p>&nbsp;</p>
+<p>From Rome we are taken, in the fifth Discourse, delivered on the 10th
+December, 1887, to the making and the racial re-shaping of Italy, that
+began with the fifth century. All through these Discourses the speaker
+laid great stress upon the ethnological history of the European races,
+as he turned to one after another, and essayed to trace their artistic
+idiosyncracy and their artistic evolution. Italy is, to the ethnologist
+as well as to the art student, one of the most interesting countries in
+Europe. Rome almost alone, among the Italian provinces, retained her
+racial and &aelig;sthetic peculiarities, unaffected to the end of the chapter;
+and even when she wielded "the sceptre of the Christian world," still
+she produced no one flower of native genius, we are reminded, unless
+Giulio Romano, that "brawny and prolific plagiarist of Raphael," as
+Leighton well stigmatizes him, be thought a genius; which criticism
+forbid!</p>
+
+<p>It was different with Tuscany, where the introduction of new racial
+elements had a distinct effect. This "new<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> amalgam" produced in the
+field of Art, we are told, an infinitely nobler and more exquisite
+result than had grown out of the old conditions. Still, however, the old
+Etruscan allied grace and harsh strength lingered on in the art of
+Christian Etruria. "Of the subtle graces which breathe in that art, from
+Giotto to Lionardo, it is needless to speak; and surely in the rugged
+angularities of a Verocchio, a Signorelli, or a Donatello, and in the
+shadow of sadness which broods over so much of the finest Florentine
+work, the more sombre phase of the Etruscan temper still lives on."</p>
+
+<p>In the end, if we try to account for the artistic power and mastery of
+one people in Italy, and the lack of that power in another, we are
+driven to the conclusion that the source of the artistic gift is hidden
+and obscure. One may cite the opposite examples of Venice and of
+Genoa,&mdash;the one so masterfully artistic; the other so impotent. And yet
+the same favouring conditions, <i>&agrave; priori</i>, might have seemed to exist
+for both.</p>
+
+<p>With the intermingling of the peoples, and the rejuvenescence of the
+physical life, came the spiritual outburst of Christianity. And the
+influence, again, of Christianity upon Italian Art was immense. In place
+of joy in the ideals of bodily perfection, "loathing of the body and its
+beauty, as of the vehicle of all temptation, a yearning for a life in
+which the flesh should be shaken off, a spirit of awe, of pity, and of
+love, became the moving forces that shaped its creations."</p>
+
+<p>After great religious periods, we often find that great scientific
+periods follow. The ethical impulse that religion gives, is converted
+into other forms of energy, by reason of man's awakened consciousness of
+the meaning of things, physical and material as well as spiritual.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head4" id="head4"></a></p>
+<div class="figcenter"><img src="images/image78.jpg" alt="Study of a Head" /></div>
+<p class="center">STUDY OF A HEAD</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span>In Italy a reaction against the Christian doctrine of the degradation of
+the flesh led to a new recognition of the beauty of man and of his
+physical environment. Anatomy and perspective were studied, accordingly,
+with a new sense of their significance in Art. The spirit of science led
+to "such amazing studies of leaf and flower as Lionardo loved to draw.
+Thus to Tuscan artists the new movement brought the love of nature, and
+the light of science."</p>
+
+<p>We come upon Dante and Petrarch in this Discourse, in tracing the
+history of Italian Art during the centuries of transition: "With Dante
+we reach the threshold of the Renaissance. He stands on the verge of the
+middle ages; in him the old order ends. With Petrarch the new order
+begins." It is not so much as a poet, however, that Petrarch counts in
+this process from one period to another; but rather as an intellectual
+pioneer, leading the way into the great pagan world. Petrarch "was the
+first Humanist," in short.</p>
+
+<p>We cannot stay to dwell upon the effect of the Humanists and all they
+stood for, good and evil, in Italian Art and Letters. We pass on, now,
+from Petrarch and the influence the movement had on Italian literature,
+to its effect on Italian Art. The Renaissance did not affect Art in the
+same way, as Botticelli may serve to show. "But perhaps," said the
+lecturer, "the various operations in the province of Art of the two main
+motive forces of the Renaissance&mdash;the impulse towards the scientific
+study of nature, and the impulse to reinstate the classic spirit&mdash;may be
+best illustrated by reference to Lionardo da Vinci, Raphael, and Michael
+Angelo." The passages in which Leighton characterised these three
+masters are among the most striking of all those uttered by him within
+the walls of the Academy.<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> Lionardo's scientific "avidity of research,"
+Raphael's "classic serenity," and Angelo's "medi&aelig;val ardour," are turned
+to admirable effect in the pages of this Discourse; and the tribute paid
+to them on the part of an English painter who has zealously sought to
+live and work in the light of their great examples, has indeed an
+interest that is personal, in a sense, as well as general and critical.</p>
+
+<p>Take this concluding sentence upon Raphael:</p>
+
+<p>"Whatever was best in the classic spirit was absorbed and eagerly
+assimilated by him, and imparted to the work of his best day that
+rhythm, that gentle gravity, and that noble plenitude of form, which are
+its stamp, and proclaim him the brother of Mozart and of Sophocles."</p>
+
+<p>Or this, again, on Michael Angelo, as distinguishing him from Raphael:</p>
+
+<p>"The type of human form which he lifted to the fullest expressional
+force is the last development of a purely indigenous conception of human
+beauty, whereas the type which we know as Raphaelesque is a classic
+ideal warmed with Christian feeling. Sublimely alone as Buonarotti's
+genius stands, towering and unapproached, ... it does but mark the
+highest summit reached in the magnificent continuity of its evolution,
+by the purely native genius of Tuscan Art."</p>
+
+<p>Having arrived at Tuscan Art, and at Michael Angelo, in whom it reaches
+its consummate development, we leave Italy, and turn now to the
+description of Art in Spain, given by Lord Leighton in his Discourse of
+December, 1889. And first we have some account of the extraordinarily
+various racial strains which were contributed to form the significant
+figure of the fifteenth-century Spaniard. On the ancient Iberian stock
+was grafted Celtic, Greek, Ph&oelig;nician, and Carthaginian blood; and to
+these<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> infusions succeeded the great invasion of the Visigoths of the
+fifth century.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head5" id="head5"></a></p>
+<div class="figcenter"><img src="images/image79.jpg" alt="Study of a Head" /></div>
+<p class="center">STUDY OF A HEAD</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"The Art of Spain," he said, "was, at the outset, wholly borrowed, and
+from various sources; we shall see heterogeneous, imported elements,
+assimilated sometimes in a greater or less degree, frequently flung
+together in illogical confusion, seldom, if ever, fused into a new,
+harmonious whole by that inner welding fire which is genius; and we
+shall see in the sixteenth century a foreign influence received and
+borne as a yoke"&mdash;(that of the Italian Renaissance) "because no living
+generative force was there to throw it off&mdash;with results too often
+dreary beyond measure; and, finally, we shall meet this strange freak of
+nature, a soil without artistic initiative bringing forth the greatest
+initiator&mdash;observe, I do not say the greatest artist&mdash;the greatest
+initiator perhaps since Lionardo in modern art&mdash;except it be his
+contemporary Rembrandt&mdash;Diego Velasquez."</p>
+
+<p>In his Discourse of December, 1891, we have, rapidly sketched, the
+Evolution of Art in France. Touching again on the question of race, the
+lecturer adduced the great race of Gauls, submitting first to Roman, and
+afterwards to Frankish, or Teutonic, domination and admixture. The main
+characteristics of the Gaulish people he judges to be, "a love of
+fighting and a magnificent bravery, great impatience of control, a
+passion for new things, a swift, brilliant, logical intelligence, a gay
+and mocking spirit&mdash;for 'to laugh,' says Rabelais, 'is the proper mark
+of man,'&mdash;an inextinguishable self-confidence." With the reign of
+Charlemagne began the development of the architecture of France, but not
+until the tenth and eleventh centuries did the "movement reach its full
+force; and its development was due mainly to the great monastic
+community, which, founded by St.<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> Benedict early in the sixth century,
+had poured from the heights of Monte Cassino its beneficent influence
+over Western Europe."</p>
+
+<p>Here we have it explained how the principle of Gothic architecture, "the
+substitution of a balance of active forces for the principle of inert
+resistance," was gradually evolved. This principle once found, Gothic
+architecture reached its most splendid period in a wonderfully short
+space of time; cathedrals and churches were built everywhere, and before
+the end of the thirteenth century, the most splendid Gothic buildings
+were begun or completed. With the end of the thirteenth century Gothic
+architecture began to decline, lured by the "fascination of the statical
+<i>tour de force</i>, the craving to bring down to an irreducible minimum the
+amount of material that would suffice to the stability of a building
+extravagantly lofty."</p>
+
+<p>Many more extracts we would gladly make, whether from the account of the
+French sculpture of this period, marked as it was by "sincerity and
+freshness, often by great beauty and stateliness;" or from the criticism
+of such artists as Jean Cousin, who painted windows which were "limpid
+with hues of amethyst, sapphire, and topaz, and fair as a May morning;"
+or again, of Watteau, of whom we are told that "in the vivacity and
+grace of his drawing, in the fascination of his harmonies, rich and
+suave at once, in the fidelity with which he reflected his times without
+hinting at their coarseness, this wizard of the brush remains one of the
+most interesting, as he is one of the most fascinating, masters of his
+country's art."</p>
+
+<p>In the Discourse of 1893 the History of Gothic Architecture was pursued,
+from its native France to its adopted home in Germany. At the end of
+last century Goethe declared that not only was the Gothic style native
+to<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> Germany, but no other nation had a peculiar style of its own; "for,"
+he said, "the Italians have none, and still less the Frenchmen"!
+According to Leighton, "the Germans, as a race, were, speaking broadly,
+never at one in spirit with ogival architecture. The result was such as
+you would expect; in the use of a form of architecture which was not of
+spontaneous growth in their midst, and unrestrained, moreover, as they
+were, by a sound innate instinct of special fitness, German builders
+were often led into solecisms, incongruities, and excesses, from which
+in the practice of their native style they have been largely free." Of
+this style, which may be called the German-Romanesque, the best examples
+are to be found among the churches of the Rhineland. In the thirteenth
+century this style, admirably as it expressed the genius of the Teuton,
+succumbed to invading French influence. "I have often wondered," he
+continued, "at the strange contrast between the reticent and grave
+sobriety of the architecture of Germany before the fall of the
+Hohenstaufens, and its erratic self-indulgence in the Gothic period."
+There is much, however, to be said in praise of the Gothic churches of
+Germany, their fine colouring, suggestiveness, and variety. Take the
+description of the Church of St. Lorenz in Nuremberg. "Nothing could
+well be more delightful than the impression which you receive on
+entering it; the beauty of the dark brown stone, the rich hues of the
+stained glass, the right relation of tone value, to use a painter's
+term, between the structure and the lights&mdash;the sombre blazoned shields
+which cluster along the walls, the succession on pier beyond pier of
+pictures powerful in colour and enhanced by the gleaming gold of
+fantastic carven frames, above all the succession of picturesque objects
+in mid-air above you, a large chandelier, a stately rood-cross, and to
+crown all,<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> Veit Stoss's masterpiece, the Annunciation, rich with gold
+and colour; all these things conspire to produce a whole, delightful and
+poetic, in spite of much that invites criticism in the architectural
+forms themselves." Still more interesting is the word-picture of the
+great Cathedral of Cologne, "a monument of indomitable will, of science,
+and of stylistic orthodoxy ... its beautiful rhythm, its noble
+consistency and unity, its soaring height, rivet the beholder's gaze";
+and yet, the building, in spite of all, does not entirely convince: "the
+kindling touch of genius" seems to be wanting.</p>
+
+<p>Take, finally, this description of Albert D&uuml;rer: "He was a man of a
+strong and upright nature, bent on pure and high ideals, a man ever
+seeking, if I may use his own characteristic expression, to make known
+through his work the mysterious treasure that was laid up in his heart;
+he was a thinker, a theorist, and as you know, a writer; like many of
+the great artists of the Renaissance, he was steeped also in the love of
+science.... Superbly inexhaustible as a designer, as a draughtsman he
+was powerful, thorough, and minute to a marvel, but never without a
+certain almost caligraphic mannerism of hand, wanting in spontaneous
+simplicity&mdash;never broadly serene. In his colour he was rich and vivid,
+not always unerring in his harmonies, not alluring in his
+execution&mdash;withal a giant."</p>
+
+<p>With this tribute to a great predecessor we must leave these Discourses,
+which need, to be properly appreciated, to be studied as a whole; as
+indeed they form Leighton's deliberate exposition of his whole
+principles of Aesthetics. In working this out, Discourse by Discourse,
+he was not content to rely upon convenient literary sources, or
+previously acquired knowledge of his subject; but undertook special
+journeys, and spent long periods, abroad, to pro<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span>cure his own evidence
+at first hand. This gives his Discourses all the value of original
+research, based on new materials, to add to their purely critical value.
+Had they been completed, they would have formed an invaluable
+contribution to the history and the philosophy of Art.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+<h3><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX</h3>
+
+<h4><span class="smcap">Lord Leighton's Home</span></h4>
+
+
+<p class='dropcap'><span class="caps">If</span> we seek for practical expression of Leighton's sympathy for
+decorative art, we may find it most satisfactorily in his own home as it
+appeared during his life. Mr. George Aitchison, R.A., designed the whole
+house;&mdash;even the Arab Hall being largely built from drawings made
+specially by him in Moorish Spain. Although the exterior of No. 2,
+Holland Park Road has individuality, rather than distinction, it was
+within that its special charms were found. One of the first things seen
+on entering was a striking bronze statue, "Icarus," by Mr. Alfred
+Gilbert; a typical instance of Leighton's generous recognition of
+artistic contemporaries.</p>
+
+<p>In earlier pages we spoke of the Arab Hall and its Oriental enchantment.
+No attempt to paint the effects of such an interior in words can call it
+up half as clearly as the slightest actual drawing. There is a dim dome
+above, and a fountain falling into a great black marble basin below;
+there are eight little arched windows of stained glass in the dome; and
+there are white marble columns, whose bases are green, whose capitals
+are carved with rare and curious birds, supporting the arches of the
+alcoves. The Cairo lattice-work in the lower arched recesses lets in
+only so much of the hot light of midsummer (for it is in summer that one
+should see it to appreciate its last charm), as consists with the
+coolness, and the<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> quiet, and the perfect Oriental repose, which give
+the chamber its spell.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="innerhall" id="innerhall"></a></p>
+<div class="figcenter"><img src="images/image80.jpg" alt="The House: The Inner Hall" /></div>
+<p class="center">THE HOUSE: THE INNER HALL</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>More in what we may call the highway of the house, from entrance hall to
+studios, is the large hall, out of which the Arab Hall leads, and from
+which the dark oak staircase ascends with walls tiled in blue and white.
+Here, on every side, one saw all manner of lovely paintings and
+exquisite <i>bric-&agrave;-brac</i>: a drawing of <i>The Fontana della Tartarughe in
+Rome</i> by Leighton's old mentor, Steinle; other bronzes and paintings,
+and in full view a huge stuffed peacock, which seemed to have shed some
+of its brilliant hues upon its surroundings.</p>
+
+<p>In the drawing-room hung many Corots and Constables, with a superb
+Daubigny, and a most tempting example of George Mason,&mdash;a picture of a
+girl driving calves on a windy hill, amid a perfect embarrassment of
+such artistic riches. The famous Corots, a sequence of panels,
+representing <i>Morning</i>, <i>Noon</i>, <i>Evening</i>, and <i>Night</i>, which cost Lord
+Leighton less than 1,000 francs each, were sold for 6,000 guineas for
+the four, at Christie's, in July, 1896. Still another small Corot, a
+picture of a boat afloat on a still lake, was also in this room. One of
+the Constables that hung there is literally historic&mdash;for it is the
+sketch for that famous <i>Hay Wain</i> which, exhibited in Paris, at once
+upset the classical tradition, and gave impetus to the whole modern
+school of French landscape. Near it was one of Constable's many pictures
+of Hampstead Heath,&mdash;simply a bit of dark heath against a sympathetic
+sky; but so painted as to be a masterpiece of its kind. These pictures
+were but a few of the many artfully disposed things of beauty, born in
+older Italy, or newer France, or in our new-old London.</p>
+
+<p>Upon the staircase there were pictures at every turn to make one pause,
+step by step, on the way. Sir Joshua<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span> Reynolds was represented by an
+unfinished canvas of Lord Rockingham, in which the great Burke, in his
+minor function of secretary, also figures. Then came G. F. Watts's
+earlier portrait of Leighton himself; and here a genuine Tintoretto.
+There was the P.R.A.'s famous <i>Portrait of Captain Burton</i>; and over a
+doorway his early painting of <i>The Plague at Florence</i>, with another
+early work, <i>Romeo and Juliet</i>, one of his very few Shakespearean
+pictures.</p>
+
+<p>From the landing whence most of these things were visible, you entered
+at once the great studio. Round the upper wall ran a cast of the
+Parthenon frieze, and beneath this the wall on one side was riddled and
+windowed, as it were, with innumerable framed pictures, small studies of
+foreign scenes; so that one looked out in turn upon Italy and the South,
+Egypt and the East, or upon an Irish sunset, or a Scottish
+mountain-side.</p>
+
+<p>Opposite these, below the great window, were many of the artist's
+miniature wax models and studies. Else, the ordinary not unpicturesque
+lumber of an artist's studio was conspicuously absent. The secret of
+Leighton's despatch and careful ordering of his days, was to be read,
+indeed, in every detail of his work-a-day surroundings. Even in a dim
+antechamber, with a trellised niche most mysteriously overlooking the
+Arab Hall, at one end of the studio, in which the curious visitor might
+have expected to find dusty studies, discarded canvases, and other such
+&aelig;sthetic remnants,&mdash;even that was found to contain not lumber, but a
+Sebastian del Piombo, a sketch of Sappho by Delacroix, a landscape by
+Costa, a Madonna and Child of Sano di Pietro del Piombo.</p>
+
+<p>At the extreme other end of the main studio was the working studio of
+glass, built to combat the fogs by procuring whatever vestige of light
+Kensington may accord<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> in its most November moods. The last addition to
+the building, not long before Lord Leighton's death, was a gallery,
+known as "The Music Room," expressly designed to receive his
+pictures&mdash;mostly gifts from contemporary artists; or, to speak more
+accurately, works that had been exchanged for others in a wholly
+non-commercial spirit. These included, <i>Shelling Peas</i>, by Sir J. E.
+Millais, <i>The Corner of the Studio</i>, by Sir L. Alma-Tadema, <i>The
+Haystacks</i>, and <i>Venus</i>, by G. F. Watts, and <i>Chaucer's Dream of Good
+Women</i>, by Sir E. Burne-Jones.</p>
+
+<p>Such was the daily environment of that hard, unceasing, indefatigable
+labour which, natural faculty taken for granted, is always the secret of
+an artist's extraordinary production. And it was an environment, as one
+felt on leaving it for the gray London without, that well accorded with
+the radiant painted procession of the figures, classic and other, that
+file through Lord Leighton's pictures.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>
+<h3><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X</h3>
+
+<h4><span class="smcap">Lord Leighton's House in 1900</span></h4>
+
+
+<p class='dropcap'><span class="caps">In</span> the preceding chapter a picture is drawn of the "House Beautiful," as
+it was in Lord Leighton's lifetime. It was then full to overflowing with
+all manner of treasures; but now all that were removable have been
+dispersed. Only the shell, the house itself, remains. Yet denuded as it
+is, that is still well worth looking at. The architectural features to
+which Mr. Rhys, dazzled by other things, hardly did justice, are now all
+the more apparent.</p>
+
+<p>One of the rarest of all accomplishments, at any rate in England, is a
+cultivated taste in architecture; but it so happened that amongst his
+many acquirements Lord Leighton possessed it in a remarkable degree. In
+fact he received, although a painter by profession, the gold medal of
+the Royal Institute of British Architects in virtue of the intimate
+knowledge of architecture he had displayed in some of his
+backgrounds&mdash;for instance, those of the frescoes at South Kensington. It
+is a great honour, and one by no means lightly bestowed. At any rate,
+when there was a question of building himself a house, though he might
+not have been able to build it himself, he was thoroughly qualified to
+choose an architect. His choice fell upon Professor Aitchison, now R.A.,
+and he probably hit upon the only man of his generation able to put his<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>
+feeling into bricks and mortar, viz., the feeling for a beauty sedate,
+delicate, and dignified.</p>
+
+<p>We must remember the condition of things architectural in the sixties to
+do justice to the independence of employer and architect. It was a time
+when the Albert Memorial was possible, and when men tried to guide their
+steps by the light of "The Seven Lamps of Architecture." A sentimental
+fancy for Gothic based on irrational grounds was all but universal, and
+it needed courage to avow a preference for the classical. The compromise
+in favour of quaintness and capricious prettiness which began under the
+name of the "Queen Anne style," and has contributed so many picturesque
+and pleasing buildings to our modern London, had not yet budded. Nor
+would it ever at any time of his life have thoroughly responded to
+Leighton's taste. So long as he could detect a defect he was
+dissatisfied, and extreme nicety is not what the Dutch style pretends
+to. It depends upon a picturesque combination of forms of no great
+refinement in themselves, but which give a varied skyline and a pretty
+play of light and shade. It amuses at the first glance, and as it rarely
+demands a second, it is well suited to turbid atmospheres, which blur
+outlines, and a chilly climate in which people cannot loiter out of
+doors. Moreover, the old-world memories it evokes, although in a minor
+degree than was the case with the Gothic, contribute to its facile
+popularity. But the classical taste is a love for form and delicate
+beauty of line <i>as such</i>, quite irrespective of any associations which
+may accompany them, or lamps, be they seven or seventy times seven. And
+to build his house in this style was the natural thing for a sculptor
+and fastidious seeker after the ideal in form. He found the man he
+wanted in Professor Aitchison.</p>
+
+<p><span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span>We must go over the outside and inside of the house, but rapidly; for to
+do more than just indicate the points worth attention would be waste of
+effort. To convey an idea of the feelings produced by architecture is
+perhaps possible, but it is perfectly vain to hope to picture it or
+reproduce in words the actual beauties of proportion or of colour. Those
+who wish to verify them must see for themselves and examine the building
+carefully.</p>
+
+<p>The aspect of the house as seen from the street is, it must be admitted,
+hardly symmetrical; but it is evident also that the first design has
+been much altered and added to. At one end the Arab Hall, with its dome
+and "bearded" battlements, is an obvious afterthought, in great contrast
+with the serious simplicity of the rest. And at the other end the glass
+studio, which was added later still, is also clearly an excrescence. The
+centre part was the original house, and the studio was the chief feature
+of it, and very much as it is now. It is, of course, on the north side,
+and the street, the south side, is occupied by small rooms which, with
+their repeated small openings, offer no great scope for designing.
+Still, the whole has that look of dignity which always accompanies high
+finish; and the entrance, far from being commonplace, because it has
+nothing quaint or surprising about it, has a certain ample serenity
+which it is rare to find. The mouldings of stonework and woodwork, few
+and simple as they are, are not taken out of a pattern-book, as is
+usually the case, but are specially designed each for its own position.
+All the refinement of a building consists in its mouldings, and no one
+has designed mouldings better than Professor Aitchison. A vast
+improvement has been made in this respect in the last twenty years or
+so, and it is largely due to his influence. At any rate he was one of
+the first<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> and he remains the best of modern designers of mouldings.
+There are some fine examples of his work in the house.</p>
+
+<p>On the north the house looks into a fair-sized garden, skilfully
+planted, so that it looks much larger than it is. In the mind of the
+writer this aspect is intimately bound up with the recollection of
+delightful Sunday mornings in summer, when he sat chatting on random
+subjects with the President, who, in slippers, a so-called "land and
+water hat," and a smock frock, leant back in a garden-chair and talked
+as no one else could. The quiet, the sun overhead, the grass under our
+feet, the green trees around us, and the house visible between them,
+form an ineffaceable picture of &aelig;sthetic contentment it is a delight to
+recall. It recurred every Sunday whenever the weather was fine and warm.
+Then it was that there was leisure to appreciate the admirable symmetry
+of the architecture; for in England it is so rare to sit out of doors
+where one may look at architecture that even if architects were to
+design exteriors with all the subtlety of a Brunelleschi or a Bramante,
+they would seldom get anyone to notice their work.</p>
+
+<p>The studio occupies the whole of the upper story, and the architect had
+a good opportunity, as there was no need to cut it up as is the case
+when several rooms have to be provided for, by numerous uniform lights.
+Here, in the centre, is one great light between wide spaces of wall
+judiciously divided by string courses, and in the upper part on either
+side of the great window is a row of three small windows. At the east
+end is a small door leading into a pretty little Venetian balcony with
+stone parapet. The whole makes a very beautiful building, and the
+details and proportions are all worth examining.</p>
+
+<p>This central part was what one saw through the trees<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> as one sat in the
+garden. Less visible were the glass studio on its iron columns, an
+excellent piece of work, considering its few possibilities, and the Arab
+Hall at the other end. Of course the latter looks a little incongruous.
+It is a professed reproduction of Arab architecture, but carried out,
+like the rest of the house, with unstinted expense, care, and finish.</p>
+
+<p>We will now go inside by the front door. The cornice of the ceiling of
+the vestibule first entered is singularly fine. Like every other good
+artist Professor Aitchison improved as he went on, and this is one of
+his latest designs in mouldings. When the entrance was altered some
+years before the President's death, an opportunity occurred for putting
+in a new ceiling.</p>
+
+<p>Passing on into the hall one comes upon a very picturesque arrangement
+of staircase. It is lit from above by a broad skylight. The stairs begin
+to rise against the wall of the dining-room which is recessed; while on
+the first floor the wall of the studio is projected and carried on
+columns, beyond which the stairs rise. So that figures coming through
+the hall in the light, begin mounting the stairs in the shadow, and
+re-emerge into the light, as the stairs turn, with a very varied and
+striking effect. By the first short flight of steps, and between the two
+columns, is a seat made of a Persian chest or cassone, beautiful and
+unusual in shape, and richly inlaid. Lord Leighton bought it in Rhodes
+or Lindos, and was very proud of it. It could not be removed and sold
+with the rest of the treasures at Christie's as it was a "fixture." The
+floor of the hall is of marble mosaic, mostly black and white. Only one
+small piece by the dining-room door, a very agreeable design, is in
+pinkish marbles.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="arabhall" id="arabhall"></a></p>
+<div class="figcenter"><img src="images/image81.jpg" alt="The House: The Arab Hall" /></div>
+<p class="center">THE HOUSE: THE ARAB HALL</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>On the left, down a short passage, is the Arab Hall. It is so unlike
+anything else in Europe that its reputation<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span> has withdrawn all
+attention from the rest of the house. It certainly is a most sumptuous
+piece of work. Elsewhere Leighton satisfied his love of chastened form;
+in this room and its approach he gave full scope to his delight in rich
+colours. The general scheme is a peacock blue, known technically as
+Egyptian green, and gold, with plentiful black and white. Here and there
+tiny spots of red occur, but they are rare. The harmony begins in the
+staircase hall. The walls, except in the recessed part, where there are
+genuine oriental tiles, are lined to the level of the first floor with
+tiles of a fine blue, from the kilns of Mr. De Morgan, and the soffitt
+of the stairs is coloured buff, with gold spots. In the passage the tone
+increases in richness. The ceiling is silver and the cornice gold, while
+the walls, except for a fine panel of oriental tiles over the
+drawing-room door, are lined with the same tiles as the staircase. Then
+between two grand columns of red Caserta marble, with gilt capitals
+modelled by Randolph Caldecott, we pass into the Arab Hall itself, and
+we come upon the full magnificence of the effect. It is made up of
+polished marbles of many colours, gilt and sculptured capitals,
+alabaster, shining tiles, glistening mosaic of gold and colours, brass
+and copper in the hanging corona, and coloured glass in the little
+pierced windows, in fact, of every form of enrichment yet devised by
+Eastern or Western Art. From the floor, which is black and white, the
+tone rises through blue to lose itself in the gloom of a golden dome,
+sparsely lit by jewel-like coloured lights.</p>
+
+<p>In the centre a jet of water springs up, to fall back into a basin of
+black marble. The form of the basin which deepens towards the centre in
+successive steps, is an adaptation of the pattern of a well-known
+oriental fountain. All is equally black in this pool, and the border<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span>
+unfortunately is barely distinguishable from the water. After a dinner
+party at which Sir E. Burne-Jones, Mr. Whistler, Mr. Albert Moore, and
+many others were present, I recollect how, when we were smoking and
+drinking coffee in this hall, somebody, excitedly discoursing, stepped
+unaware right into the fountain. Two large Japanese gold tench, whose
+somnolent existence was now for the first time made interesting, dashed
+about looking for an exit, and there was a general noise of splashing
+and laughter. The dark, apparently fathomless pool was rather a mistake.
+Mishaps like that just mentioned occurred, I believe, more than once.
+There had been at first a white marble basin, but it did not give
+satisfaction, because, being in several pieces, it leaked, whereas the
+black one is all cut out of one block, at great expense, of course. But
+the white had the advantage of lightness where light is none too
+plentiful. In our winter, when days are dark and cold, black pools, with
+marble columns and floors, tiled walls, and dim domes about them do not
+fall in with English notions of cosy woollen comfort. The season to do
+justice to this hall is when summer comes round. When the sun breaks
+through the lattice work of the musharabiyehs, and the light is thrown
+up on the storied tiles, and up the polished columns to the glinting
+mosaic, to die away in the golden cupola, the effect is indeed superb,
+and to sit on the divan, by the splash of the fountain, and look from
+the glories within to the green trees without, is to live not in London
+but in the veritable Arabian nights.</p>
+
+<p>The hall is square. On one side is the entrance. In the centre of each
+of the other sides is a lofty arched recess. Those to the north and
+south are windows, shuttered with genuine musharabiyehs bought in Cairo
+and having deep cushioned divans. The recess to the<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> west has only a
+small pierced window high up. It has a raised step, and in it used to
+stand certain bronze reproductions from Pompeii, with pots, vases, etc.,
+now gone. Some of the tiles were bought in Damascus in 1873. The price
+paid was &pound;200 for the complete tile surface of one room. What would they
+be worth now? Others, particularly the great inscription spoken of
+below, were bought later in Cairo, and the rest at odd times. Here and
+there are single tiles, but most of them are in sets forming fine
+panels. An interesting one, in the south-east corner, represents hawks
+clutching their prey, cheetahs and deer, a hunter, etc., and another has
+herons, fish, tortoises, deer, etc. Set into the woodwork in the western
+recess are four tiles with female figures. These are either Persian or
+come from the neighbourhood of Persia, for the Anatolian or Egyptian
+Mahommedan tolerated no representations of life. The rest repeat in
+pleasing variety the usual motives of oriental design, viz., vines,
+cypresses, pinks and vases, doorways (? the entrances of mosques), with
+hanging lamps, and conventional floral designs. Above the entrance runs
+the chief treasure, the grand series of tiles bearing the great
+inscription. It is about sixteen feet long. According to Mr. Harding
+Smith it may be translated thus:</p>
+
+<p>"In the name of the merciful and long-suffering God. The Merciful hath
+taught the Koran. He hath created man and taught him speech. He hath set
+the sun and moon in a certain course. Both the trees and the grass are
+in subjection to him."</p>
+
+<p>It cannot be said that there is anything very new in that. There rarely
+is in such inscriptions. There are three others, but so far as they have
+been deciphered they appear to be incomplete, and in two cases, at any
+rate, to much the same effect as the big one. Just pious<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> reminders. The
+real interest of them lies in the decorative effect of the imposing
+procession of letters across the wall, and the splendour of their
+colours. For beauty and condition this great inscription is said to be
+without a rival in any collection in Europe.</p>
+
+<p>Let into the woodwork panelling in the west bay there are two small
+lustred Persian tiles of the thirteenth century. They have been
+mutilated as to the faces of the figures by true believers. The rest
+belong to the sixteenth or early seventeenth centuries, a time when
+artistic production was stimulated by the commercial wealth brought by
+the trade of Venice and Genoa with the East through Anatolia, Damascus
+and Cairo.</p>
+
+<p>Round three sides above the tiles runs a decorative mosaic frieze, by
+Walter Crane, of an arabesque design on a gold ground. It is a beautiful
+and fanciful piece of work in itself, and it serves moreover to blend
+the prevailing colour of the tiles with the gilding of the upper
+regions. But it does not continue round the fourth side, because over
+the entrance, above the great inscription, an oriel window of
+musharabiyeh work looks down into the hall from the first floor of the
+house.</p>
+
+<p>The pierced windows, or at least eight of them, were brought from Cairo,
+and when bought had the original glass in them; but in the east the
+glass is stuck in with white of egg, and as they were, as usual,
+ill-packed, the glass all came out and was ground to fragments in the
+jolting of the journey. Only enough could be saved to fill the window in
+the upper part of the west recess opposite the entrance. The remainder
+had to be filled with English imitations.</p>
+
+<p>Returning now to the staircase, we find it ends on the first floor in a
+landing leading to the great studio. On the left it is open to the
+little studio; so-called because,<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span> having a skylight, Lord Leighton used
+it for painting out-of-door effects until he had the glass studio built.
+Adjoining it, or forming an extension of it, is another room, built only
+a year or two before the late owner's death. After the addition of the
+glass studio the two were only used as an antechamber, and were hung
+with the pictures presented by brother artists, and with a few old
+masters. The mouldings round the skylights are very pretty. The latticed
+window before mentioned looks down from the little studio into the Arab
+Hall.</p>
+
+<p>The great studio is a large room about sixty feet by twenty-five and
+about seventeen in height. In the centre of the north side is the lofty
+window forming a bay and extending into a skylight in the top. High up
+on either side of it are the three small openings mentioned when
+speaking of the exterior. A curtain hangs in front of them, and in point
+of fact they were never used. In the west wall is an apse with a gilt
+semi-dome, which appears in some of Lord Leighton's pictures. Across the
+east end runs a gallery at about eight feet from the floor with
+bookshelves under it on either side, and in the middle a broad passage
+leads into the glass studio, and still outside this is a wide balcony
+looking into the garden. Casts of a portion of the Panathenaic frieze of
+the Parthenon run along the upper part of <ins class="correction" title="Not in the original.">the</ins> wall of the great studio, fit
+emblem of the lifelong devotion of the President to classic art. Such
+then is the workshop. Even now, comparatively bare as it is at the
+present moment of writing, this is one of the most picturesque suites of
+rooms in existence; but to see it on one of the grand occasions of
+Leighton's musical receptions was a very different sight and one not
+easily to be forgotten. Then when walls and easels were covered with
+pictures, when rare carpets hung from the gallery, flowers and palms<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span>
+filled the bay window, beautiful women and men of every form of
+distinction crowded the floor to listen to Joachim and Piatti, nothing
+was wanting which could give beauty or interest to the spectacle.</p>
+
+<p>It will be seen that the house is still rich in artistic beauty and
+still has objects of value. But the most precious of its contents are
+after all its associations. Its floors have been trodden by all that was
+most notable in the society of its owner's day, people whose names alone
+would be an epitome of our times. It was also the workshop of a great
+artist. But, above all, it was the centre of a great influence which
+profoundly modified English art.</p>
+
+<p>Whatever judgment the future may pass upon his own productions, the fact
+must never be lost sight of that even without them Leighton was a great
+man. Intellectually, spiritually, and socially he was the most brilliant
+leader and stimulator of artists we have ever seen in England. His
+earnest example and lifelong persistence fanned the flame of enthusiasm
+among all branches of art workers. He taught Englishmen to study form,
+and it was under his encouragement that sculpture, which was fallen so
+low, has now risen into so good a place. Finally he did more than anyone
+else has done to raise the status of the artist in society.</p>
+
+<p>The house which he built himself was his hobby, and in the refinement
+and catholicity of taste it shows, there is so just a reflex of his
+characteristics that an account of it is indispensable to any book which
+claims to describe the man.</p>
+
+<p class="right"><span class="smcap">S. Pepys Cockerell.</span></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span></p>
+<h3><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI</h3>
+
+<h4><span class="smcap">The Artist and his Critics</span></h4>
+
+
+<p class='dropcap'><span class="caps">Before</span> closing our record it will be well to quote, as we promised
+earlier, some of the contemporary criticism that Sir Frederic's work has
+encountered from time to time; and especially the criticism of his
+earlier performances, while he was still in the years of his
+pre-Academic probation.</p>
+
+<p>As a provocation to criticism, most interesting of all is his picture,
+the <i>Cimabue's Madonna carried in Procession through the Streets of
+Florence</i>, upon which we have already commented. As we may here remind
+our readers, it was painted at Rome chiefly, in 1853-4, and was
+exhibited at the Academy of 1855. In that year, as good fortune would
+have it, Mr. Ruskin issued for the first time, "Notes on some of the
+Principal Pictures Exhibited in the Rooms of the Royal Academy." Some
+pages of this famous pronouncement are devoted to this very picture, and
+we cannot do better than quote freely from a criticism so remarkable.</p>
+
+<p>"This is a very important and very beautiful picture," says Mr. Ruskin.
+"It has both sincerity and grace, and is painted on the purest
+principles of Venetian art&mdash;that is to say, on the calm acceptance of
+the whole of nature, small and great, as, in its place, deserving of
+faithful rendering. The great secret of the Venetians was their
+simplicity. They were great colourists, not because they<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span> had peculiar
+secrets about oil and colour, but because when they saw a thing red,
+they painted it red; and ... when they saw it distinctly, they painted
+it distinctly. In all Paul Veronese's pictures, the lace borders of the
+table cloths or fringes of the dresses are painted with just as much
+care as the faces of the principal figures; and the reader may rest
+assured that in all great art it is so. Everything in it is done as well
+as it <i>can</i> be done. Thus in the picture before us, in the background is
+the Church of San Miniato, strictly accurate in every detail; on the top
+of the wall are oleanders and pinks, as carefully painted as the church;
+the architecture of the shrine on the wall is well studied from
+thirteenth-century Gothic, and painted with as much care as the pinks;
+the dresses of the figures, very beautifully designed, are painted with
+as much care as the faces: that is to say, all things throughout with as
+much care as the painter could bestow. It necessarily follows that what
+is most difficult (<i>i.e.</i> the faces) should be comparatively the worst
+done. But if they are done as well as the painter could do them, it is
+all we have to ask; and modern artists are under a wonderful mistake in
+thinking that when they have painted faces ill, they make their pictures
+more valuable by painting the dresses worse.</p>
+
+<p>"The painting before us has been objected to because it seems broken up
+in bits. Precisely the same objection would hold, and in very nearly the
+same degree, against the best works of the Venetians. All faithful
+colourists' work, in figure-painting, has a look of sharp separation
+between part and part.... Although, however, in common with all other
+works of its class, it is marked by these sharp divisions, there is no
+confusion in its arrangement. The principal figure is nobly principal,
+not by extraordinary light, but by its own pure whiteness; and<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span> both the
+Master and the young Giotto attract full regard by distinction of form
+and face. The features of the boy are carefully studied, and are indeed
+what, from the existing portraits of him, we know those of Giotto must
+have been in his youth. The head of the young girl who wears the garland
+of blue flowers is also very sweetly conceived.</p>
+
+<p>"Such are the chief merits of the picture. Its defect is that the equal
+care given to the whole of it is not yet <i>care enough</i>. I am aware of no
+instance of a young painter, who was to be really great, who did not in
+his youth paint with intense effort and delicacy of finish. The handling
+here is much too broad; and the faces are, in many instances, out of
+drawing, and very opaque and feeble in colour. Nor have they in general
+the dignity of the countenance of the thirteenth century. The Dante
+especially is ill-conceived&mdash;far too haughty, and in no wise noble or
+thoughtful. It seems to me probable that Mr. Leighton has greatness in
+him, but there is no absolute proof of it in this picture; and if he
+does not, in succeeding years, paint far better, he will soon lose the
+power of painting so well."</p>
+
+<p>To Mr. Ruskin's account, which is sufficient to enable one to realize
+the picture in some detail, we may add further the criticism of the
+"Athen&aelig;um" of May 12th, 1855, which is interesting as showing how the
+work affected a contemporary critic of another order. It speaks of Mr.
+Leighton as "a young artist who, we believe, has studied in Italy," and
+goes on to say: "There can be no question that the picture is one of
+great power, although the composition is quaint even to sectarianism;
+and though the touch, in parts broad and masterly, is in the lesser
+parts of the roughest character." The last clause of the sentence bears
+out, it may be perceived, a significant<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span> indictment in Mr. Ruskin's
+deliverance, which lays stress on a defect that the artist, in his
+maturer brush-work, does not show.</p>
+
+<p>Rossetti, writing to his friend William Allingham, May 11th, 1855, says:
+"There is a big picture of <i>Cimabue</i>, one of his works in procession, by
+a new man, living abroad, named Leighton&mdash;a huge thing, which the Queen
+has bought, which everyone talks of. The R.A.'s have been gasping for
+years for someone to back against Hunt and Millais, and here they have
+him, a fact that makes some people do the picture injustice in return.
+It was <i>very</i> uninteresting to me at first sight; but on looking more at
+it, I think there is great richness of arrangement, a quality which,
+when <i>really</i> existing, as it does in the best old masters, and perhaps
+hitherto in no living man&mdash;at any rate English&mdash;ranks among the great
+qualities.</p>
+
+<p>"But I am not quite sure yet either of this or of the faculty for
+colour, which I suspect exists very strongly, but is certainly at
+present under a thick veil of paint, owing, I fancy, to too much
+continental study. One undoubted excellence it has&mdash;facility, without
+much neatness or ultra-cleverness in the execution, which is greatly
+like that of Paul Veronese; and the colour may mature in future works to
+the same resemblance, I fancy. There is much feeling for beauty, too, in
+the women. As for purely intellectual qualities, expression, intention,
+etc., there is little as yet of them; but I think that in art richness
+of arrangement is so nearly allied to these, that where it exists (in an
+earnest man) they will probably supervene. However, the choice of
+subject, though interesting in a certain way, leaves one quite in the
+dark as to what faculty the man may have for representing incident or
+passionate emotion. But I believe, as far as this showing goes, that he
+possesses qualities which the mass<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> of our artists aim at chiefly, and
+only seem to possess. Whether he have those of which neither they nor he
+give sign, I cannot tell; but he is said to be only twenty-four years
+old. There is something very French in his work, at present, which is
+the most disagreeable thing about it; but this I dare say would leave
+him if he came to England."<small><a name="f12.1" id="f12.1" href="#f12">[12]</a></small></p>
+
+<p>In the year following Leighton's academical <i>d&eacute;but</i>, he exhibited a
+picture entitled <i>The Triumph of Music</i>, which the "Athen&aelig;um," hereafter
+so sympathetic towards his work, described as "anything but a triumph of
+art."</p>
+
+<p>Partly, perhaps, because of the general tone of discouragement in all
+the criticisms of this year, the artist did not send in anything to the
+Academy of 1857. In 1858 his two pictures&mdash;<i>The Fisherman and the
+Syren</i>, and <i>Count Paris</i>, although admirably conceived, and extremely
+interesting to us now, received no word of friendly criticism that is
+worth recording.</p>
+
+<p>At the Academy of 1859 were exhibited two pictures by him, which served
+to reassure at last those critics who had been shaking their heads over
+his supposed inability to follow up his first success. We turn to the
+"Athen&aelig;um" again, to study its gradual conversion from an attitude of
+critical distrust to one of critical sympathy:</p>
+
+<p>"Mr. Leighton," says the "Athen&aelig;um," "after a temporary eclipse,
+struggles again to light. His heads of Italian women this year are
+worthy of a young old master: anything more feeling, commanding, or
+coldly beautiful, we have not seen for many a day.... This is<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> real painting, and we cannot but think that a painter who can paint so
+powerfully will soon be able to surpass that processional picture of
+his,..." <i>i.e.</i>, the <i>Cimabue</i>.</p>
+
+<p>In 1860, the artist, who then entered upon his thirtieth year, exhibited
+a small picture, <i>Capri, Sunrise</i>, which won great praise for its
+successful treatment of Italian landscape under the Scirocco, whose
+sulphurous light is cast with evil suggestion upon the white houses and
+green vegetation. In paying his tribute to the quality of the picture,
+the critic of the "Athen&aelig;um" cannot resist, however, the old cry of
+great expectations. For the effect of the <i>Cimabue's Madonna</i> had
+aroused critics to regard the painter as one who would continue the
+legend of the great historical schools, and carry on the traditions of
+the so-called grand style. But the critic proposes, the creator
+disposes: the artist went his own way, following still his own ideals.</p>
+
+<p>In 1861, some rather warm discussion raged over two of the artist's
+contributions to the Royal Academy, which appeared in its catalogue as
+Nos. 399 and 550, and which, it was said, had been deliberately slighted
+by the hanging committee. In later years, Leighton must sometimes have
+smiled when he heard (as from his position he must needs have,) the
+annual plaint of the "skied." It is to the "Art Journal," whose
+criticisms, when they had to do with the new and rising schools, used to
+be always entertaining, if often provoking, in those days, that we turn
+for a contemporary account of these things, rather than to any other
+source. The critic having premised, with a delightful and convincing air
+of "I told you so!" that his first effort (the inevitable <i>Cimabue's
+Madonna</i>) having exhausted the poor artist, "he has been coming down the
+ladder of fame ever since," continues in characteristic tones: "Instead
+of<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> being hung too high, the <i>Dream</i>, had it been properly hung, would
+have been displayed upon the ceiling." The picture, according to this
+authority, consisted only of a questionable combination of the "lower
+forms of mere decorative ornamentation," and was in fact, "not so much a
+picture as a very clever treatment for the centre of a ceiling." So much
+for what was really the first clear sign of the artist's delightful
+decorative faculty.</p>
+
+<p>It is clear from various evidences of the feeling of the critics about
+Leighton at this time, that they had begun to look upon him as one whose
+ideals were frivolous, and not seriously minded, or weighted with the
+true British substantiality of the old Academy tradition. In the very
+next year, the artist, by the chances of his own temperamental
+many-sided delight in life and art, did something to reassure his
+admonitors once more. No. 217 at the Royal Academy of 1862 was his
+picture, <i>The Star of Bethlehem</i>, which, with some natural and not
+unfair deductions, won considerable praise from the critic last quoted.
+In this painting, which shows curiously the mingled academic and natural
+quality of the artist, the critic found profound incompatibilities of
+conception and technique; and next year, the same critic was stirred to
+exclaim,&mdash;"The pictures which of all others give most trouble and
+anxiety to the critic are perhaps those of Mr. Millais and Mr.
+Leighton,"&mdash;a very suggestive conjunction of names, let us add.</p>
+
+<p>It was probably the same critic, who speaking of the <i>Dante at Verona</i>,
+in 1864, said gravely, "The promise given by the <i>Cimabue</i> here reaches
+fruition."</p>
+
+<p>Writing in 1863, Mr. W. M. Rossetti, a critic whom it is interesting to
+be able to cite, said of two of the artist's pictures of that year, the
+<i>Girl feeding Peacocks</i> and the <i>Girl with a Basket of Fruit</i>, they
+belong "to that class<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> of art in which Mr. Leighton shines&mdash;the art of
+luxurious exquisiteness; beauty, for beauty's sake; colour, light, form,
+choice details, for their own sake, or for beauty's."</p>
+
+<p>In the same year, Mr. Rossetti spoke of the young artist as the one
+"British painter of special faculty who has come forward with the most
+decided novelty of aim"&mdash;since, that is, the new development of art
+under the little band of Pre-Raphaelites,&mdash;with which Mr. W. M. Rossetti
+was himself so closely associated.</p>
+
+<p>By way of contrast, we may cite the "Art Journal" of 1865, which
+provides a most extraordinary criticism of <i>David</i>, of that year. "We
+would venture to ask," says this ingenious critic, "why the divine
+psalmist has so small a brain? Within this skull there is not compass
+for the poet's thoughts to range. We state as a physiological fact, that
+a head so small, with a brow so receding, could not have belonged to any
+man who has made himself conspicuous in the world's history. Again,
+descending to mere matter of costume, there cannot be a doubt that the
+purple mantle flung on the psalmist's shoulders is wholly wanting in
+study of detail, and constitutes a blot on the landscape. Barring these
+oversights, the picture possesses merits."</p>
+
+<p>At this period we hear the first critical murmurs against the artist's
+very deliberately chosen method of flesh-painting. In 1867, speaking of
+the <i>Venus Disrobing</i>, the "Art Journal" critic says: "According to the
+manner, not to say the mannerism, of the artist, it has a pale silvery
+hue, not as white as marble, not so life-glowing as flesh." With this we
+may compare, for the comparison is instructive, the "Athen&aelig;um," whose
+notice is more sympathetic. The figure of the goddess it describes as
+"all rosy white, ... admirably drawn, and modelled with extreme care."</p>
+
+<p><span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span>Again, in 1868, the "Art Journal" says of Sir Frederic's <i>Act&aelig;a</i>: "The
+artist has made some attempt to paint flesh in its freshness and
+transparency, and indeed the more he renounces the opacity of the German
+school, and the more he can realize the brilliance of the old Venetian
+painters, the better."</p>
+
+<p>In 1869, the "Athen&aelig;um" praised the <i>Sister's Kiss</i>, as "a lovely
+group," but complained that the execution was a "little too smooth,"&mdash;a
+complaint not infrequently echoed from time to time by the artist's
+critics. Some years later we find Mr. W. M. Rossetti making the same
+complaint in criticising <i>Winding the Skein</i>.</p>
+
+<p>In 1875 the picture, <i>Portions of the Interior of the Grand Mosque at
+Damascus</i>, won great praise, as "a remarkably delicate piece of work, in
+which the beautiful colouring of the tiled walls and mosaic pavement are
+skilfully rendered."</p>
+
+<p>In 1876, the quondam hostile "Art Journal" is completely converted by
+the <i>Daphnephoria</i>: "To project such a scene upon canvas presupposes a
+man of high poetic imagination, and when it is accompanied by such
+delicacy and yet such precision of drawing and such sincerity of
+modelling, the poet is merged in the painter and we speak of such a one
+as a master. There is, indeed, nothing more consolatory to those who
+take an interest in British art than the knowledge that we have among us
+a man of such pure devotion and lofty aim."</p>
+
+<p>It was in 1875, that Mr. Ruskin, resuming his <i>r&ocirc;le</i> of an Academy
+critic, claimed Leighton as "a kindred Goth," and confessed, "I
+determined on writing this number of 'Academy Notes,' simply because I
+was so much delighted with Mr. Leslie's <i>School</i>, Mr. Leighton's <i>Little
+Fatima</i>, Mr. Hook's <i>Hearts of Oak</i>, and Mr. Couldery's <i>Kittens</i>."</p>
+
+<p><span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span>In his lectures on the Art of England, the same critic, speaking of
+Leighton's children, says: "It is with extreme gratitude, and
+unqualified admiration, that I find Sir Frederic condescending from the
+majesties of Olympus to the worship of those unappalling powers, which,
+heaven be thanked, are as brightly Anglo-Saxon as Hellenic; and painting
+for us, with a soft charm peculiarly his own, the witchcraft and the
+wonderfulness of childhood."</p>
+
+<p>Upon the <i>Egyptian Slinger</i> of the same year, which Mr. Ruskin terms the
+"study of man in his Oriental function of scarecrow (symmetrically
+antithetic to his British one of game preserver)," his criticism is
+interesting, but adverse. The critic who elsewhere acknowledged fully
+the artist's acutely observant and enthusiastic study of the organism of
+the human body, confesses himself unable to recognize his skill, or to
+feel sympathy with the subjects that admit of its display. It is, he
+goes on to say further of the <i>Slinger</i>, "it is, I do not doubt,
+anatomically correct, and with the addition of the corn, the poppies,
+and the moon, becomes semi-artistic; so that I feel much compunction in
+depressing it into the Natural History class; and the more, because it
+partly forfeits its claim even to such position, by obscuring in
+twilight and disturbing our minds, in the process of scientific
+investigation, by sensational effects of afterglow and lunar effulgence,
+which are disadvantageous, not to the scientific observer only, but to
+less learned spectators; for when simple persons like myself, greatly
+susceptible to the influence of the stage lamps and pink side-lights,
+first catch sight of this striding figure from the other side of the
+room, and take it, perhaps, for the angel with his right foot on the sea
+and the left on the earth, swearing there shall be Time no longer; or
+for Achilles alighting from one of<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> his lance-cast-long leaps on the
+shore of Scamander, and find on near approach that all this grand
+straddling and turning down of the gas mean practically only a lad
+shying stones at sparrows, we are only too likely to pass it petulantly
+without taking note of what is really interesting in this eastern custom
+and skill."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="slinger" id="slinger"></a></p>
+<div class="figcenter"><img src="images/image82.jpg" alt="Egyptian Slinger" /></div>
+<p class="center">EGYPTIAN SLINGER (1875)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>The most recent criticism of importance on the art of Leighton is
+contained in an admirable volume by M. de la Sizeranne.<small><a name="f13.1" id="f13.1" href="#f13">[13]</a></small> We take this
+opportunity of quoting a few sentences from an appreciation which opens
+with the significant remark that Sir Frederic Leighton is officially the
+representative of English painting on the Continent, and, in reality,
+the representative of Continental painting in England, and concludes by
+tracing the definitely English ideal that underlies the artist's work.
+Elsewhere the critic says, "Ce qui est britannique en M. Leighton,
+quoique bien voil&eacute; par son &eacute;clectisme, transpara&icirc;tra encore." Apart from
+Leighton's distinctively native predilection for certain subjects, M. de
+la Sizeranne finds him very English in his treatment of draperies, for
+instance, a treatment which he traces ingeniously to the much study
+given to the Greek drapery of the Elgin marbles by the English School,
+since the days of the Pre-Raphaelites. Elsewhere, taking as his text the
+picture <i>The Spirit of the Summit</i>, he says: "Des sujets qui &eacute;l&egrave;vent la
+pens&eacute;e vers les sommets de la vie ou de l'histoire, de sorte qu'on ne
+puisse se rappeler un nez ou une jambe sans se souvenir de quelque haute
+le&ccedil;on &eacute;vang&eacute;lique, ou de moins de quelque grande n&eacute;cessit&eacute; sociale,
+voil&agrave; ce que M. Leighton a trait&eacute;. Et un style beaucoup plus sobre que
+celui d'Overbeck, beaucoup plus viril que celui de M. Bouguereau, voil&agrave;
+comment il les<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> a trait&eacute;s." Again: "La grandeur de la communion humaine,
+la noblesse de la paix, tel est le th&egrave;me qui a le plus souvent et le
+mieux inspir&eacute; M. Leighton. Et cela il ne l'a pas trouv&eacute; en France, ni
+ailleurs. C'est bien une id&eacute;e anglaise." No better summing up of the
+chronicle of the life work of the artist could well be found.</p>
+
+<p>But we have pursued far enough this study of an artist's progress
+through the thorny, devious ways of art criticism. We have reached the
+point, in fact, where the comparative uncertainties of an artist's
+career make way for the certainties. With one quotation more, in which
+we have a tribute from another critic, Mr. Comyns Carr, we may fitly
+close: "No painter of our time," said Mr. Carr, "maintains a firmer or
+more constant adherence to those severe principles of design which have
+received the sanction of great example in the past. Sir Frederic
+Leighton has never lowered the standard of his work in deference to any
+popular demand, and for this persistent devotion to his own highest
+ideals he deserves well of all who share his faith in the power of
+beauty."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="elisha" id="elisha"></a></p>
+<div class="figcenter"><img src="images/image83.jpg" alt="Elisha and the Shunamite's Son" /></div>
+<p class="center">ELISHA AND THE SHUNAMITE'S SON (1881)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+<h3><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII</h3>
+
+<h4><span class="smcap">Conclusion</span></h4>
+
+
+<p class='dropcap'><span class="caps">In</span> now bringing this record to a close, we will of set purpose remain
+true to the chronicler's function, pure and simple; attempting no
+profounder or more critical summing up of our subject, than consists
+with the plain record of a remarkable career.</p>
+
+<p>After a year of indifferent health, during part of which time he was
+ordered abroad for rest and change, being thus unable to preside at the
+annual banquet in May, Leighton returned to England apparently
+convalescent. Although unable to deliver the biennial presidential
+address, which fell due in December, 1895, he met the students on that
+occasion, and apologized for not delivering the Discourse which was due,
+in these words: "The cloud which has hung over me hangs over me
+still."<small><a name="f14.1" id="f14.1" href="#f14">[14]</a></small></p>
+
+<p>Early in 1896 a peerage was bestowed upon him, and all the world
+applauded the honour conferred on Art in his name. On January 13th,
+1896, the news of his death came as a terrible surprise. The new peer,
+Baron Leighton of Stretton, was buried with much state at St. Paul's
+Cathedral, before men in general had wholly recognized that Lord
+Leighton was the popular "Sir Frederic," the President of the Royal
+Academy, and one of the most familiar figures at any important
+function&mdash;at court or elsewhere.</p>
+
+<p><span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span>Except perhaps in the case of politicians, who live in some degree by
+the public recognition of their personal qualities, it is difficult to
+render tribute gracefully and well to a contemporary. But we cannot
+close these pages, now, without pausing to recall how fortunate it has
+been that English Art, for seventeen years, had as its titular head an
+artist whose affluent artistic faculty was but the open sign of a
+crowded life, loyal throughout to the great causes, high ideals, and,
+let us add, the early friendships, chosen long ago in the mid century.
+We are now at that century's end,&mdash;an end not without its reproach, as
+expressed by a decadence more self-conscious than dignified, more
+critical than creative; but in Lord Leighton's Art there was little
+diminution in his active energy, and of that finer health and spirit of
+life, which is behind all beauty! Like his distinguished friend and
+colleague, Mr. G. F. Watts (whose tribute to him as a man and as an
+artist has been expressed again and again in eloquent terms), Leighton
+remained, in his later period as in his youth, generously alive to all
+the things that count, devoted still to the Art, the current life, and
+the great national traditions, of his own country.</p>
+
+<p>From another famous colleague, Sir E. J. Poynter, P.R.A., one may fitly
+add here the following further sentences of contemporary tribute, which
+were written by way of dedication to his "Ten Lectures on Art,"
+published some years ago:&mdash;"I came to-day from the 'Varnishing Day' at
+the Royal Academy Exhibition with a pleasant conviction that there is on
+all sides a more decided tendency towards a higher standard in Art, both
+as regards treatment of subject and execution, than I have before
+noticed; and I have no hesitation in attributing this sudden improvement
+in the main to the stimulus given to us all by the election of our new<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span>
+President, and to the influence of the energy, thoroughness and nobility
+of aim which he displays in everything he undertakes. I was probably the
+first, when we were both young and in Rome together, to whom he had the
+opportunity of showing the disinterested kindness which he has
+invariably extended to beginners, and to him, as the friend and master
+who first directed my ambition, and whose precepts I never fail to
+recall when at work (as many another will recall them), I venture to
+dedicate this book with affection and respect."</p>
+
+<p>"As we are, so our work is!" said Leighton in one of the most memorable
+of his Discourses; "and the moral effect of what we are will control the
+artist's work from the first touch of the brush or chisel to the last."
+"Believe me," he concludes, in a striking passage that may very fitly
+serve us, too, with a conclusion to these passages, "believe me,
+whatever of dignity, whatever of strength we have within us, will
+dignify and will make strong the labours of our hands; whatever
+littleness degrades our spirit will lessen them and drag them down.
+Whatever noble fire is in our hearts will burn also in our work,
+whatever purity is ours will also chasten and exalt it; for as we are,
+so our work is, and what we sow in our lives, that, beyond a doubt, we
+shall reap for good or for ill in the strengthening or defacing of
+whatever gifts have fallen to our lot."</p>
+
+<p>It would be superfluous to quote from the elegiac tributes which
+appeared in the public press after Lord Leighton's death, and invidious
+to repeat certain unkind and unjust strictures which marred the
+otherwise unanimous note of appreciation. It is obvious that an artist
+with so strongly marked a personality must needs have been fettered by
+the very limits he himself had set. At one time, when a painter of
+eminence openly expressed<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> his preference for Lord Leighton's unfinished
+work, and begged him to keep a certain picture as "a beautiful sketch,"
+he replied: "No, I shall finish it, and probably, as you suggest, spoil
+it. To complete satisfactorily is what we painters live for. I am not a
+great painter, but I am always striving to finish my work up to my first
+conception."</p>
+
+<p>There are many mansions in the city of Art, and if the one of Lord
+Leighton's building was not to the taste of all his contemporaries, the
+edifice can be left to await the final test of years. Fashions in taste
+change rapidly, and much of his finish that finds disfavour to-day may
+in time charm once again. A career overburdened by official honour was
+destined to provoke a certain amount of envious protest; but as a man,
+no voice has urged a word against his ideally perfect performance, not
+merely of his official duties, but of others which indeed were laid upon
+him by his position. These he obeyed without ostentation&mdash;almost without
+men's knowledge. His kindly help, by commendation or by commission given
+to young artists; his broad and tolerant view of work conceived in
+direct opposition to all he valued himself, was not hidden from his
+friends. "It is with a sense of amazement," a critic writes in a private
+letter, "that one afternoon after a protest that nothing he said was to
+be published, I heard him discuss the prospects and the works of our
+ultra-modern painters. Even in fields beyond his sympathy he picked out
+the chaff from the wheat, and was judicially accurate in his verdicts of
+the difference between 'tweedle-dum' and 'tweedle-dee,' both one would
+have said, entirely unknown to him."</p>
+
+<p>In Lord Leighton British artists lost a truer friend than many of them
+suspected, one who wielded his power justly to all, and was more often
+on the side of<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span> progress than not, a power for reform that can never be
+estimated at its actual value, working within a highly conservative
+body, full of vested interests and prejudice&mdash;as is the habit of
+academies of Art and Literature abroad no less than at home. That
+Leighton, who controlled its destinies so long, was loyal to its true
+interests, and never forgot the institution with which he was associated
+so many years is evident from his last words: "Give my love to all at
+the Academy."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="bookplate" id="bookplate"></a></p>
+<p><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span></p>
+<div class="figcenter"><img src="images/image84.jpg" alt="Bookplate of Lord Leighton" /></div>
+<p class="center"><span class="smcap">Bookplate of Lord Leighton. Designed by R. Anning Bell.</span></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span></p>
+<h3><a name="APPENDIX_I" id="APPENDIX_I"></a>APPENDIX I</h3>
+
+<h4><span class="smcap">List of Principal Works</span></h4>
+
+<p class="center"><i>With date and place of exhibition</i></p>
+
+<table border="0" cellpadding="5" cellspacing="5" summary="Principal Works">
+<tr><td>1850 (<i>circa</i>).</td><td>*<span class="smcap">Cimabue finding Giotto in the Fields of Florence.</span><small><a name="f15.1" id="f15.1" href="#f15">[15]</a></small> (49&#189; &#215; 37 in.)</td><td>Steinle Institute (Frankfort).</td></tr>
+<tr><td>1850.</td><td><span class="smcap">The Duel between Romeo and Tybalt.</span> (37 &#215; 50 in.)</td></tr>
+<tr><td>1851 (<i>circa</i>).</td><td><span class="smcap">The Death of Brunelleschi.</span></td><td>Steinle Institute.</td></tr>
+<tr><td>1851.</td><td>[<span class="smcap">Early Portrait of Leighton by himself.</span>]</td></tr>
+<tr><td>1852.</td><td>*<span class="smcap">A Persian Pedlar.</span></td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>[<span class="smcap">Buffalmacco, the Painter.</span> A humorous subject, taken from Vasari, was undertaken about this date.]</td></tr>
+<tr><td>1853.</td><td><span class="smcap">Portrait of Miss Laing</span> (Lady Nias).</td></tr>
+<tr><td valign="top">1855.</td><td>*<span class="smcap">Cimabue's Celebrated Madonna is carried in procession through the streets of Florence.</span><br />
+In front of the Madonna, and crowned with laurels, walks Cimabue himself, with his pupil Giotto; behind it,<br />
+Arnolfo di Lapo, Gaddo Gaddi, Andrea Tafi, Nicola Pisano, Buffalmacco and Simone Memmi; in the corner, Dante. (87&#189; &#215; 205 in.)</td><td valign="bottom">R.A.<small><a name="f16.1" id="f16.1" href="#f16">[16]</a></small></td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Reconciliation of the Montagues and Capulets</span>
+over the dead bodies of Romeo and Juliet.</td><td valign="bottom">Paris International Exhibition.<small><a name="f17.1" id="f17.1" href="#f17">[17]</a></small></td></tr>
+<tr><td valign="top">1856.</td><td><span class="smcap">The Triumph of Music.</span> (80 &#215; 110 in.)<br />
+"Orpheus, by the power of his art, redeems his wife from Hades."</td><td valign="bottom">R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span>1857.</td><td>*<span class="smcap">Salome</span>, the daughter of Herodias. (44&#189; &#215; 25 in.)</td></tr>
+<tr><td valign="top">1858.</td><td>*<span class="smcap">The Mermaid</span> (<span class="smcap">The Fisherman and the Syren</span>).<br />
+(From a ballad by Goethe.) (26&#189; &#215; 18&#189; in.)</td><td valign="bottom">R.A.</td></tr>
+<tr><td>&nbsp;</td><td><span style="margin-left: 4em;">"Half drew she him,</span><br /><span style="margin-left: 4em;">Half sunk he in,</span><br />
+<span style="margin-left: 4em;">And never more was seen."</span></td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>"<span class="smcap">Count Paris</span>, accompanied by Friar Lawrence and a
+band of musicians, comes to the house of the<br />Capulets, to claim his bride: he finds Juliet stretched apparently lifeless on her bed."&mdash;<i>Romeo and Juliet</i>,<br />
+act IV., sc. 5. (26&#189; &#215; 18&#189; in.)</td><td valign="bottom">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Reminiscence of Algiers</span>.</td><td>S.S.</td></tr>
+<tr><td>&nbsp;</td><td><span style="margin-left: 2em;"><i>These were</i>,</span></td></tr>
+<tr><td>&nbsp;</td><td>[<span class="smcap">A Subject from Keats's Hymn to Pan</span>,] <i>in the first book of "Endymion," a figure of Pan</i><br /><i>under a fig-tree, with the inscription</i>,<br /><br />
+<span style="margin-left: 10em;">"<i>O thou, to whom</i></span><br />
+<span style="margin-left: 2em;"><i>Broad-leaved fig-trees even now foredoom</i></span><br />
+<span style="margin-left: 2em;"><i>Their ripen'd fruitage;</i>"</span></td></tr>
+<tr><td>&nbsp;</td><td><span style="margin-left: 2em;"><i>and the other</i>,</span></td></tr>
+<tr><td>&nbsp;</td><td>[<span class="smcap">A Pendant to the "Pan,"</span>] <i>the figure of a nude nymph about to bathe, with a little Cupid loosening her sandal.</i></td></tr>
+<tr><td>1859.</td><td><span class="smcap">Sunny Hours</span>.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Roman Lady</span> (La Nanna).</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Nanna</span> (Pavonia).</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Samson and Delilah</span>.</td><td>S.S.</td></tr>
+<tr><td>1860.</td><td><span class="smcap">Capri&mdash;Sunrise</span>.</td><td>R.A.</td></tr>
+<tr><td>1861.</td><td>*<span class="smcap">Portrait of Mrs. Sutherland Orr</span>. [Mrs. S. O., a portrait.] (28 &#215; 18 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of John Hanson Walker, Esq</span>. (23 &#215; 17 in.)</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Paolo e Francesca</span>.<br />
+<span style="margin-left: 2em;">"Ma solo un punto fu quel che ci vinse</span><br />
+<span style="margin-left: 2em;">Quando legemmo il disiato riso</span><br />
+<span style="margin-left: 2em;">Esser baciato da cotanto amante,</span><br />
+<span style="margin-left: 2em;">Questi, che mai da me non fia diviso,</span><br />
+<span style="margin-left: 2em;">La bocca mi baci&ograve; tutto tremante:</span><br />
+<span style="margin-left: 2em;">Galeotto fu'l libro e chi lo scrisse:</span><br />
+<span style="margin-left: 2em;">Quel giorno pi&ugrave; non vi legemmo avante."</span></td><td valign="top">R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Dream</span>.<br />
+<span style="margin-left: 2em;">... "Not yet&mdash;not yet&mdash;</span><br />
+<span style="margin-left: 2em;">Still there is trial for thee, still the lot</span><br />
+<span style="margin-left: 2em;">To bear (the Father wills it) strife and care;</span><br />
+<span style="margin-left: 2em;">With this sweet consciousness in balance set</span><br />
+<span style="margin-left: 2em;">Against the world, to soothe thy suffering there</span><br />
+<span style="margin-left: 4em;">Thy Lord rejects thee not.</span><br />
+<span style="margin-left: 2em;">Such tender words awoke me hopeful, shriven</span><br />
+<span style="margin-left: 2em;">To life on earth again from dream of heaven."</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Lieder ohne Worte.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">J. A. A Study.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Capri&mdash;Paganos.</span></td><td>R.A.</td></tr>
+<tr><td>1862.</td><td><span class="smcap">Odalisque.</span></td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Star of Bethlehem.</span> (60 &#215; 23&#189; in.)<br />
+One of the Magi, from the terrace of his house, stands looking at the star in the East; the lower part of the<br />
+picture indicates a road, which he may be supposed just to have left.</td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sisters.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Michael Angelo Nursing His Dying Servant.</span> (43 &#215; 36 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Duett.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sea Echoes.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rustic Music.</span></td></tr>
+<tr><td valign="top">1863.</td><td><span class="smcap">Jezebel and Ahab</span>, having caused Naboth to be put to death, go down to take possession of his<br />vineyard;
+they are met at the entrance by Elijah the Tishbite:<br /><br />"Hast thou killed, and also taken possession?"</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Eucharis.</span> (A Girl with a Basket of Fruit.) (32&#189; &#215; 22 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Girl Feeding Peacocks.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">An Italian Crossbow-man.</span> (15 &#215; 24&#189; in.)</td><td>R.A.</td></tr>
+<tr><td>1864.</td><td><span class="smcap">Dante at Verona.</span></td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Orpheus and Eurydice.</span> (49 &#215; 42 in.)<br />
+<span style="margin-left: 2em;">"But give them me&mdash;the mouth, the eyes,&mdash;the brow&mdash;</span><br />
+<span style="margin-left: 2em;">Let them once more absorb me! One look now</span><br />
+<span style="margin-left: 2em;">Will lap me round for ever, not to pass</span><br />
+<span style="margin-left: 2em;">Out of its light, though darkness lie beyond!</span><br />
+<span style="margin-left: 2em;">Hold me but safe again within the bond</span><br />
+<span style="margin-left: 2em;">Of one immortal look! All woe that was,</span><br />
+<span style="margin-left: 2em;">Forgotten, and all terror that may be,</span><br />
+<span style="margin-left: 2em;">Defied&mdash;no past is mine, no future! look at me!"</span><br />
+<span style="margin-left: 6em;"><span class="smcap">Robert Browning</span>: <i>A Fragment</i>.</span></td><td valign="bottom">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Golden Hours.</span> (36 &#215; 48 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of the Late Miss Lavinia I'Anson.</span> (Circular, 12&#189; in.)</td></tr>
+<tr><td valign="top">1865.</td><td>*<span class="smcap">David.</span> (37 &#215; 47 in.)<br />
+<span style="margin-left: 2em;">"Oh that I had wings like a dove! for then would I fly away and be at rest." <i>Psalm</i> lv.</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Mother and Child.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Widow's Prayer.</span></td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Helen of Troy.</span><br />
+<span style="margin-left: 2em;">"Thus as she spoke, in Helen's breast arose</span><br />
+<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span><span style="margin-left: 2em;">Fond recollections of her former lord,</span><br />
+<span style="margin-left: 2em;">Her home, and parents; o'er her head she threw</span><br />
+<span style="margin-left: 2em;">A snowy veil; and shedding tender tears</span><br />
+<span style="margin-left: 2em;">She issued forth not unaccompanied;</span><br />
+<span style="margin-left: 2em;">For with her went fair &AElig;thra, Pittheus' child.</span><br />
+<span style="margin-left: 2em;">And stag-eyed Clymene, her maidens twain.</span><br />
+<span style="margin-left: 2em;">They quickly at the Sc&aelig;an gate arrived."</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">In St. Mark's.</span></td><td>R.A.</td></tr>
+<tr><td>1866.</td><td><span class="smcap">Painter's Honeymoon.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of Mrs. James Guthrie.</span></td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Syracusan Bride Leading Wild Beasts in Procession to the Temple of Diana.</span><br />
+<span style="margin-left: 2em;">(Suggested by a passage in the second Idyll of Theocritus.)</span><br />
+"And for her, then, many other wild beasts were going in procession round about, and among them a lioness."</td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Wise and Foolish Virgins.</span> (Fresco in Lyndhurst Church.)</td></tr>
+<tr><td>1867.</td><td>*<span class="smcap">Pastoral.</span> (51&#189; &#215; 26 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Greek Girl Dancing.</span> (Spanish Dancing Girl: Cadiz in the old times.) (34 &#215; 45 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Knuckle-bone Player.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Roman Mother.</span> (24 &#215; 19 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Venus Disrobing for the Bath.</span> (79 &#215; 35&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. John Hanson Walker.</span> (18 &#215; 16 in.)</td></tr>
+<tr><td valign="top">1868.</td><td><span class="smcap">Jonathan's Token To David.</span><br />
+"And it came to pass in the morning, that Jonathan went out into the field at the time appointed by David, and a little lad with him."</td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. Frederick P. Cockerell.</span> (23&#189; &#215; 19&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of John Martineau, Esq.</span> (23&#189; &#215; 19&#189; in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Ariadne Abandoned by Theseus</span>; Ariadne watches for his return; Artemis releases her by death. (45 &#215; 62 in.)</td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Acme and Septimius.</span> (Circular, 37&#189; in.)<br />
+<span style="margin-left: 2em;">"Then bending gently back her head</span><br />
+<span style="margin-left: 2em;">With that sweet mouth, so rosy red,</span><br />
+<span style="margin-left: 2em;">Upon his eyes she dropped a kiss,</span><br />
+<span style="margin-left: 2em;">Intoxicating him with bliss."</span><br />
+<span style="margin-left: 6em;"><span class="smcap">Catullus</span> (Theodore Martin's translation).</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Act&aelig;a, the Nymph of the Shore.</span> (22 &#215; 40 in.)</td><td>R.A.</td></tr>
+<tr><td>1869.</td><td>*<span class="smcap">St. Jerome.</span> (Diploma work, deposited in the Academy on his election as an Academician.) (72 &#215; 55 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">D&aelig;dalus and Icarus.</span> (53&#189; &#215; 40&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Electra at the Tomb of Agamemnon.</span> (59&#189; &#215; 29 in.)</td><td>R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Helios and Rhodos.</span> (65&#189; &#215; 42 in.)</td><td>R.A.</td></tr>
+<tr><td>1870.</td><td><span class="smcap">A Nile Woman.</span> (21&#189; &#215; 11&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study.</span></td><td>S.S.</td></tr>
+<tr><td>1871.</td><td>*<span class="smcap">Hercules Wrestling with Death for the Body of Alcestis.</span> (54 &#215; 104&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Greek Girls Picking up Pebbles by the Shore of the Sea.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Cleoboulos instructing his daughter Cleobouline.</span> (24 &#215; 37&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">View of Assiout</span>(?) (<i>A sketch.</i>)</td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sunrise at Longsor.</span> (<i>A sketch.</i>)</td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">View of the Red Mountains near Cairo.</span> (<i>A sketch.</i>)</td><td>S.S.</td></tr>
+<tr><td>1872.</td><td>*<span class="smcap">After Vespers.</span> (43 &#215; 27&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Summer Moon.</span> (Guildhall, 1890.) (39&#189; &#215; 50&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of the Right Hon. Edward Ryan</span>, Secretary of the Dilettanti Society, for which the picture was painted. (S.P.P., 1893.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Condottiere.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Industrial Arts of War</span> at the International Exhibition at South Kensington. (Monochrome, 76 &#215; 177 in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Captive.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">An Arab Caf&eacute;, Algiers.</span></td><td>S.S.</td></tr>
+<tr><td>1873.</td><td>*<span class="smcap">Weaving the Wreath.</span> (Guildhall, 1895.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Moretta.</span> (Guildhall, 1894.) (20&#189; &#215; 14&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Industrial Arts of Peace.</span> (Monochrome, 76 &#215; 177 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Roman.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Vittoria.</span></td><td>S.S.</td></tr>
+<tr><td>1874.</td><td>*<span class="smcap">Moorish Garden</span>: a dream of Granada. (41 &#215; 40 in.) (Guildhall, 1895.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Old Damascus</span>: Jews' Quarter.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Antique Juggling Girl.</span> (Guildhall, 1892.) (41&#189; &#215; 24 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Clytemnestra</span> from the battlements of Argos watches for the beacon fires which are to announce the return of Agamemnon.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Annarella, Ana Capri.</span></td><td>D.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rubinella, Capri.</span></td><td>D.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Lemon Tree, Capri.</span></td><td>D.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">West Court of Palazzo, Venice.</span></td><td>D.G.</td></tr>
+<tr><td>1875.</td><td>*<span class="smcap">Portion of the Interior of the Grand Mosque Of Damascus.</span> (62 &#215; 47 in.)</td><td>R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. H. E. Gordon</span> (35&#189; &#215; 37 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Little Fatima.</span> (15&#189; &#215; 9&#188; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Venetian Girl. </span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Egyptian Slinger.</span> (Eastern Slinger Scaring Birds in Harvest-time: Moonrise.) (Guildhall, 1890.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Florentine Youth.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Ruined Mosque in Damascus.</span></td><td>S.S.</td></tr>
+<tr><td>1876.</td><td>*<span class="smcap">Portrait of Sir Richard Francis Burton, K.C.M.G.</span><br />
+(Portrait of Capt. Richard Burton, H.M. Consul at Trieste). (23&#189; &#215; 19&#189; in.) (Paris, 1878; Melbourne, 1888;<br />S.P.P., 1892.)</td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Daphnephoria.</span> (89 &#215; 204 in.)<br />
+A triumphal procession held every ninth year at Thebes, in honour of Apollo and to commemorate a<br />
+victory of the Thebans over the &AElig;olians of Arne. (See Proclus, "Chrestomath," p. 11.)</td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Teresina.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Paolo.</span></td><td>R.A.</td></tr>
+<tr><td>1877.</td><td>*<span class="smcap">Music Lesson.</span> (36&#189; &#215; 37&#8539; in.) (Paris, 1878.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Miss Mabel Mills</span> (The Hon. Mrs. Grenfell). (23 &#215; 19 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">An Athlete strangling a Python.</span><small><a name="f18.1" id="f18.1" href="#f18">[18]</a></small> Bronze. (Paris, 1878.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of H. E. Gordon.</span> (23&#189; &#215; 19 in.)</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">An Italian Girl.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Study.</span> (A little girl with fair hair, in a pink robe.) (24 &#215; 28 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>G.G.</td></tr>
+<tr><td>1878.</td><td>*<span class="smcap">Nausicaa.</span> (57&#189; &#215; 25&#189; in.) (Guildhall, 1896.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Serafina.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Winding the Skein.</span> (39&#189; &#215; 63&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Miss Ruth Stewart Hodgson.</span> (50&#189; &#215; 35&#189; in.)</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study of a Girl's Head.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sierra: Elviza in the distance, Granada.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Sierra Alhama, Granada.</span></td><td>S.S.</td></tr>
+<tr><td>1879.</td><td><span class="smcap">Biondina.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Catarina.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Elijah in the Wilderness.</span> (91 &#215; 81&#189; in.) (Paris, 1878.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of Signor G. Costa.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Amarilla.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of the Countess Brownlow.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Neruccia.</span> (19 &#215; 16 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Carraca Hills.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Street in Lerici.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Via Bianca, Capri.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Archway in Algiers.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Ruins of a Mosque, Damascus.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study of a Donkey.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">On the Terrace, Capri.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sketch Near Damascus.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">View in Granada.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study of a Donkey, Egypt.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study of a Head.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Nicandra.</span></td><td>G.G.</td></tr>
+<tr><td>1880.</td><td>*<span class="smcap">Sister's Kiss.</span> (48 &#215; 21&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Iostephane.</span> (37 &#215; 19 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Light of the Harem.</span> (60 &#215; 33 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Psamathe.</span> (36 &#215; 24 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Nymph of the Dargle</span> (Crenaia). (29&#189; &#215; 10 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rubinella.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Pozzo Corner, Venice.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Jack and his Cider Can.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Painter's Honeymoon.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Winding of the Skein</span> (with sketch). Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Head of Urbino.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Steps of the Bargello,</span> Florence. Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Contrast.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Garden at Capri.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Twenty-Nine Studies of Heads, Flowers, and Draperies.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td>1881.</td><td><span class="smcap">Elisha Raising the Son of the Shunamite.</span> (32 &#215; 54 in.) (Guildhall, 1895.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of the Painter.</span><small><a name="f19.1" id="f19.1" href="#f19">[19]</a></small></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Idyll.</span> (41&#189; &#215; 84 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. Stephen Ralli.</span> (48 &#215; 33 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Whispers.</span> (48 &#215; 30 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Viola.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Bianca.</span> (18 &#215; 12&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of Mrs. Algernon Sartoris.</span></td><td>G.G.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span>1882.</td><td>*<span class="smcap">Day-dreams.</span> (47&#189; &#215; 35&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Wedded.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Phryne at Eleusis.</span> (86 &#215; 48 in.) (Melbourne, 1888.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Antigone.</span>           R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">"And the sea gave up the dead which were in it."</span> <i>Rev.</i> xx. 13.<br />(Design for a portion of a decoration in St. Paul's.)</td><td valign="bottom">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Melittion.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. Mocatta.</span> (23&#189; &#215; 19&#189; in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Zeyra.</span></td><td>G.G.</td></tr>
+<tr><td>1883.</td><td><span class="smcap">The Dance</span>: decorative frieze for a drawing-room in a private house.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Vestal.</span> (24&#189; &#215; 17 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Kittens.</span> (48 &#215; 31&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Memories.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Miss Nina Joachim.</span> (16 &#215; 13 in.)</td></tr>
+<tr><td>1884.</td><td>*<span class="smcap">Letty.</span> (18 &#215; 15&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Cymon and Iphigenia.</span> (64 &#215; 129 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Nap.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sun Gleams.</span></td><td>R.A.</td></tr>
+<tr><td>1885.</td><td><span class="smcap">"... Serenely wandering in a trance Of sober Thought."</span> (46 &#215; 27 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of the Lady Sybil Primrose.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. A. Hichens.</span> (26&#189; &#215; 20&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Music</span>: a frieze.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Ph&oelig;be.</span> (Manchester, 1887.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Tombs of Muslim Saints.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Mountains near Ronda Puerta de los Vientos.</span></td><td>S.S.</td></tr>
+<tr><td>1886.</td><td><span class="smcap">Painted Decoration for the Ceiling of a Music-room.</span><small><a name="f20.1" id="f20.1" href="#f20">[20]</a></small> (7 ft. &#215; 20 ft.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Gulnihal.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Sluggard.</span> Statue, bronze.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Needless Alarms.</span> Statuette.</td><td>R.A.</td></tr>
+<tr><td>1887.</td><td>*<span class="smcap">The Jealousy of Sim&aelig;tha, the Sorceress.</span> (35&#189; &#215; 55&#189; in.)</td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Last Watch of Hero.</span> (62&#189; &#215; 35&#189; in., with predella 12&#189; &#215; 29&#189; in.)<br />
+<span style="margin-left: 2em;">"With aching heart she scanned the sea-face dim.</span><br />
+<span style="margin-left: 2em;"><span class="spacer2">&#183;</span><span class="spacer2">&#183;</span><span class="spacer2">&#183;</span><span class="spacer2">&#183;</span></span><br />
+<span style="margin-left: 2em;">Lo! at the turret's foot his body lay,</span><br />
+<span style="margin-left: 2em;">Rolled on the stones, and washed with breaking spray."</span><br />
+<span style="margin-left: 6em;"><i>Hero and Leander: Mus&aelig;us</i></span> (translated by Edwin Arnold).</td><td valign="top">R.A.</td></tr>
+<tr><td valign="top"><span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span><span style="margin-left: 1em;">"</span></td><td>[Picture of <span class="smcap">A Little Girl with golden hair and pale blue eyes</span>.]<br />
+<span style="margin-left: 3em;">"Yellow and pale as ripened corn</span><br />
+<span style="margin-left: 3em;">Which Autumn's kiss frees&mdash;grain from sheath&mdash;</span><br />
+<span style="margin-left: 3em;">Such was her hair, while her eyes beneath,</span><br />
+<span style="margin-left: 2em;">Showed Spring's faint violets freshly born."</span><br />
+<span style="margin-left: 16em;"><span class="smcap">Robert Browning.</span></span></td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*Design for the reverse of <span class="smcap">the Jubilee Medallion</span>. (<i>Executed for Her Majesty's Government.</i>)<br />
+<span style="margin-left: 2em;"><i>Empire, enthroned in the centre, rests her right hand on the sword of Justice, and holds in her</i></span><br />
+<span style="margin-left: 2em;"><i>left the symbol of victorious rule. At her feet, on one side, Commerce proffers wealth, on the</i></span><br />
+<span style="margin-left: 2em;"><i>other a winged figure holds emblems of Electricity and Steam-power. Flanking the throne to the</i></span><br />
+<span style="margin-left: 2em;"><i>right of the spectator are Agriculture and Industry&mdash;on the opposite side, Science,</i></span><br />
+<span style="margin-left: 2em;"><i>Literature, and the Arts. Above, interlocking wreaths, held by winged genii representing</i></span><br />
+<span style="margin-left: 2em;"><i>respectively the years 1837 and 1887, inclose the initials,</i> V.R.I.</span></td><td valign="top">R.A.</td></tr>
+<tr><td valign="top">1888.</td><td>*<span class="smcap">Captive Andromache</span>. (77 &#215; 160 in.)<br />
+<span style="margin-left: 8.5em;">".... Some standing by,</span><br />
+<span style="margin-left: 2em;">Marking thy tears fall, shall say, 'This is she,</span><br />
+<span style="margin-left: 2em;">The wife of that same Hector that fought best</span><br />
+<span style="margin-left: 2em;">Of all the Trojans, when all fought for Troy.'"</span><br />
+<span style="margin-left: 16em;"><i>Iliad</i>, VI. (E. B. Browning's translation.)</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Amy, Lady Coleridge.</span> (42 &#215; 39&#189; in.) (S.P.P., 1891.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portraits of the Misses Stewart Hodgson.</span> (47 &#215; 39&#189; in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Four Studies.</span></td><td>R.W.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Five Studies.</span></td><td>S.S.</td></tr>
+<tr><td>1889.</td><td>*<span class="smcap">Sibyl.</span> (59 &#215; 34 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Invocation.</span> (54 &#215; 33&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Elegy.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Greek Girls playing at Ball.</span> (45 &#215; 78 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. Francis A. Lucas.</span> (23&#189; &#215; 19&#189; in.)</td><td>R.A.</td></tr>
+<tr><td>1890.</td><td><span class="smcap">Solitude.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Bath of Psyche.</span><small><a name="f21.1" id="f21.1" href="#f21">[21]</a></small> (75 &#215; 24&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Tragic Poetess.</span> (63 &#215; 34 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Arab Hall.</span> (33 &#215; 16 in.) (Guildhall, 1890.)</td><td>R.A.</td></tr>
+<tr><td>1891.</td><td>*<span class="smcap">Perseus and Andromeda.</span> (91&#189; &#215; 50 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of A. B. Freeman-Mitford, Esq.</span>, C.B. (46&#189; &#215; 38&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Return of Persephone.</span> (79 &#215; 59&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Athlete Struggling with a Python</span>&mdash;group, marble.</td><td>R.A.</td></tr>
+<tr><td>1892.</td><td>*"<span class="smcap">And the sea gave up the dead which were in it.</span>" (Circular, 93 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">At the Fountain.</span> (49 &#215; 37 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Garden of the Hesperides.</span> (Circular, 66 in.) (Chicago, 1893; Guildhall, 1895.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Bacchante.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Clytie.</span> (32&#189; &#215; 53&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Phryne at the Bath.</span> (24 &#215; 12 in.)</td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Malin Head, Donegal.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">St. Mark's, Venice.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Interior of St. Mark's, Venice.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Doorway, North Aisle, Venice.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rizpah</span> (the small study in oils). (7 &#215; 7 in.)</td><td>S.S.</td></tr>
+<tr><td>1893.</td><td>*<span class="smcap">Farewell!</span> (63 &#215; 26&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Hit!</span> (29 &#215; 22 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Atalanta.</span> (26&#189; &#215; 19 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rizpah.</span> (36 &#215; 52 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Corinna of Tanagra.</span> (47&#189; &#215; 21 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Frigidarium.</span></td><td>R.A.</td></tr>
+<tr><td>1894.</td><td>*<span class="smcap">The Spirit of the Summit.</span> (77&#189; &#215; 39&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Bracelet.</span> (59&#189; &#215; 23 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Fatidica.</span> (59&#189; &#215; 23 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Summer Slumber.</span> (45&#189; &#215; 62 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">At the Window.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Wide Wondering Eyes.</span> (20 &#215; 15&#189; in.)</td><td>Manchester.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Roman Campagna, Monte Soracte in the Distance.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Acropolis of Lindos.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Fiume Morto, Gombo, Pisa.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Gibraltar from San Rocque.</span></td><td>S.S.</td></tr>
+<tr><td>1895.</td><td><span class="smcap">Lachrym&aelig;.</span> (60 &#215; 24 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Maid with the Yellow Hair.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">"'Twixt Hope and Fear."</span> (43&#189; &#215; 38&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Flaming June.</span> (46 &#215; 46 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Listener.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Ph&oelig;nicians Bartering With Britons.</span></td><td>Royal Exchange.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Boy with Pomegranate.</span></td><td>Grafton Gallery.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Miss Dene.</span></td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Aqua Certosa, Rome.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Chain of Hills seen from Ronda.</span></td><td>S.S.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rocks, Malin Head, Donegal.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Tlem&ccedil;en, Algeria.</span></td><td>S.S.</td></tr>
+<tr><td>1896.</td><td>*<span class="smcap">Clytie.</span> (61&#189; &#215; 53&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Candida.</span> (21 &#215; 41&#189; in.)</td><td>Antwerp, 1896.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Vestal.</span> (27 &#215; 20&#189; in.) Unfinished.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">A Bacchante.</span> (26&#189; &#215; 21 in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Fair Persian.</span> (25&#189; &#215; 19&#189; in.) Unfinished.</td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;<a name="serene" id="serene"></a></p>
+<div class="figcenter"><img src="images/image85.jpg" alt="'...Serenely Wandering in a Trance of Sober Thought'" /></div>
+<p class="center">"... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT" (1885)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="medallion" id="medallion"></a></p>
+<div class="figcenter"><img src="images/image86.jpg" alt="Design for the Reverse of the Jubilee Medallion" /></div>
+<p class="center">DESIGN FOR THE REVERSE OF THE JUBILEE MEDALLION (1887)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span></p>
+<h3><a name="APPENDIX_II" id="APPENDIX_II"></a>APPENDIX II</h3>
+
+
+<p>The studies in oil, chiefly landscape, of quite small size, few of which
+had been exhibited, were sold, with the remaining works of the artist,
+by Messrs. Christie, Manson and Woods on July 11th, 13th, and 14th,
+1896, when the prices realized, from 50 to 100 guineas each for the
+best, were in excess of those the most sympathetic admirer of Lord
+Leighton's singular power as a landscape-painter had dared to expect.
+For convenience of future reference, the list of these as they appear in
+the sale catalogue may be worth the space it occupies; the numbers
+denote the "lot."</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="Appendix II">
+<tr><td align="right">1.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Head of a Girl.</span><br /><span class="smcap">Head of a Boy.</span></td></tr>
+<tr><td align="right">2.</td><td>&nbsp;</td><td><span class="smcap">A Study of Houses, Venice.</span></td></tr>
+<tr><td align="right">3.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor, from Rhodes.</span></td></tr>
+<tr><td align="right">4.</td><td>&nbsp;</td><td><span class="smcap">A Street Scene.</span></td></tr>
+<tr><td align="right">5.</td><td>&nbsp;</td><td><span class="smcap">Houses at Capri.</span></td></tr>
+<tr><td align="right">6.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor, from Rhodes.</span></td></tr>
+<tr><td align="right">7.</td><td>&nbsp;</td><td><span class="smcap">A Garden Scene.</span></td></tr>
+<tr><td align="right">8.</td><td>&nbsp;</td><td><span class="smcap">A Fortress, Egypt.</span></td></tr>
+<tr><td align="right">9.</td><td>&nbsp;</td><td><span class="smcap">Tombs of Muslim Saints at Assouan, First Cataract.</span> R.S.B.A., 1895.</td></tr>
+<tr><td align="right">10.</td><td>&nbsp;</td><td><span class="smcap">A Bay, Asia Minor, from Rhodes.</span></td></tr>
+<tr><td align="right">11.</td><td>&nbsp;</td><td><span class="smcap">The Bay of Lindos.</span></td></tr>
+<tr><td align="right">12.</td><td>&nbsp;</td><td><span class="smcap">In the Campagna, Italy.</span></td></tr>
+<tr><td align="right">13.</td><td>&nbsp;</td><td><span class="smcap">A Town, Capri.</span></td></tr>
+<tr><td align="right">14.</td><td>&nbsp;</td><td><span class="smcap">Mountains near Ronda Puerta de los Vientos.</span> R.S.B.A., 1895.</td></tr>
+<tr><td align="right">15.</td><td>&nbsp;</td><td><span class="smcap">A View in the Campagna.</span></td></tr>
+<tr><td align="right">16.</td><td>&nbsp;</td><td><span class="smcap">A Covered Street in Algiers.</span></td></tr>
+<tr><td align="right">17.</td><td>&nbsp;</td><td><span class="smcap">A Doorway, Algiers.</span></td></tr>
+<tr><td align="right">18.</td><td>&nbsp;</td><td><span class="smcap">Head of a Girl.</span></td></tr>
+<tr><td align="right">19.</td><td>&nbsp;</td><td><span class="smcap">Head of a Man.</span></td></tr>
+<tr><td align="right">20.</td><td>&nbsp;</td><td><span class="smcap">Head of a Girl.</span></td></tr>
+<tr><td align="right">21.</td><td>&nbsp;</td><td><span class="smcap">Head of a Girl.</span></td></tr>
+<tr><td align="right">22.</td><td>&nbsp;</td><td><span class="smcap">Street in Algiers.</span></td></tr>
+<tr><td align="right">23.</td><td>&nbsp;</td><td><span class="smcap">St. Mark's, Venice.</span> R.S.B.A., 1892.</td></tr>
+<tr><td align="right">24.</td><td>&nbsp;</td><td><span class="smcap">Interior of St. Mark's, Venice.</span> R.S.B.A., 1892.</td></tr>
+<tr><td align="right">25.</td><td>&nbsp;</td><td><span class="smcap">The Doorway, North Aisle, St. Mark's, Venice.</span> R.S.B.A., 1892.</td></tr>
+<tr><td align="right"><span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span>26.</td><td>&nbsp;</td><td><span class="smcap">A Bay Scene, Isle of Rhodes.</span></td></tr>
+<tr><td align="right">27.</td><td>&nbsp;</td><td> <span class="smcap">A View on the Coast, Lindos.</span></td></tr>
+<tr><td align="right">28.</td><td>&nbsp;</td><td><span class="smcap">Denderah.</span></td></tr>
+<tr><td align="right">29.</td><td>&nbsp;</td><td><span class="smcap">The Roman Campagna, Monte Soracte in the Distance.</span> R.S.B.A., 1894.</td></tr>
+<tr><td align="right">30.</td><td>&nbsp;</td><td><span class="smcap">A Study in the Campagna.</span></td></tr>
+<tr><td align="right">31.</td><td>&nbsp;</td><td><span class="smcap">Aqua Certosa, Rome.</span></td></tr>
+<tr><td align="right">32.</td><td>&nbsp;</td><td><span class="smcap">A View of the Town of Lindos.</span></td></tr>
+<tr><td align="right">33.</td><td>&nbsp;</td><td><span class="smcap">The Acropolis of Lindos</span>, where stood the Temple of Athena Pallas. R.S.B.A., 1894.</td></tr>
+<tr><td align="right">34.</td><td>&nbsp;</td><td><span class="smcap">A Study in the Campagna, with Monte Soracte.</span></td></tr>
+<tr><td align="right">35.</td><td>&nbsp;</td><td><span class="smcap">Study of a Man's Head.</span></td></tr>
+<tr><td align="right">36.</td><td>&nbsp;</td><td><span class="smcap">An Arab's Head.</span></td></tr>
+<tr><td align="right">37.</td><td>&nbsp;</td><td><span class="smcap">A Sheik.</span></td></tr>
+<tr><td align="right">38.</td><td>&nbsp;</td><td><span class="smcap">An Arab.</span></td></tr>
+<tr><td align="right">39.</td><td>&nbsp;</td><td><span class="smcap">Head of an Old Lady.</span></td></tr>
+<tr><td align="right">40.</td><td>&nbsp;</td><td><span class="smcap">A Turkish Boatman.</span></td></tr>
+<tr><td align="right">41.</td><td>&nbsp;</td><td><span class="smcap">Fiume Morto, Gombo, Pisa.</span> R.S.B.A., 1894.</td></tr>
+<tr><td align="right">42.</td><td>&nbsp;</td><td><span class="smcap">The Citadel, Cairo.</span></td></tr>
+<tr><td align="right">43.</td><td>&nbsp;</td><td><span class="smcap">A View in Damascus.</span></td></tr>
+<tr><td align="right">44.</td><td>&nbsp;</td><td><span class="smcap">A View in Capri.</span></td></tr>
+<tr><td align="right">45.</td><td>&nbsp;</td><td><span class="smcap">Bocca d'Arno.</span></td></tr>
+<tr><td align="right">46.</td><td>&nbsp;</td><td><span class="smcap">The City of Tombs, Assiout, Egypt.</span> R.S.B.A. [1871?].</td></tr>
+<tr><td align="right">47.</td><td>&nbsp;</td><td><span class="smcap">Buildings, Siout, Egypt.</span></td></tr>
+<tr><td align="right">48.</td><td>&nbsp;</td><td><span class="smcap">A Mountainous Landscape, Spain.</span></td></tr>
+<tr><td align="right">49.</td><td>&nbsp;</td><td><span class="smcap">A Street Scene, Capri.</span></td></tr>
+<tr><td align="right">50.</td><td>&nbsp;</td><td><span class="smcap">A Coast Scene, Isle of Wight.</span></td></tr>
+<tr><td align="right">51.</td><td>&nbsp;</td><td><span class="smcap">Barren Land.</span></td></tr>
+<tr><td align="right">52.</td><td>&nbsp;</td><td><span class="smcap">A Town in Spain.</span></td></tr>
+<tr><td align="right">53.</td><td>&nbsp;</td><td><span class="smcap">Bosco Sacro, Campagna.</span></td></tr>
+<tr><td align="right">54.</td><td>&nbsp;</td><td><span class="smcap">Villa Malta, Rome.</span></td></tr>
+<tr><td align="right">55.</td><td>&nbsp;</td><td><span class="smcap">The Rocks of the Sirens, Capri.</span></td></tr>
+<tr><td align="right">56.</td><td>&nbsp;</td><td><span class="smcap">A View in Spain.</span></td></tr>
+<tr><td align="right">57.</td><td>&nbsp;</td><td><span class="smcap">A Valley, Spain.</span></td></tr>
+<tr><td align="right">58.</td><td>&nbsp;</td><td><span class="smcap">On the Coast, Isle of Wight.</span></td></tr>
+<tr><td align="right">59.</td><td>&nbsp;</td><td><span class="smcap">Garden at Generalife, Granada.</span></td></tr>
+<tr><td align="right">60.</td><td>&nbsp;</td><td><span class="smcap">The Baths at Caracalla.</span></td></tr>
+<tr><td align="right">61.</td><td>&nbsp;</td><td><span class="smcap">A House, Capri.</span></td></tr>
+<tr><td align="right">62.</td><td>&nbsp;</td><td><span class="smcap">In St. Mark's, Venice.</span></td></tr>
+<tr><td align="right">63.</td><td>&nbsp;</td><td><span class="smcap">The Staircase of a House, Capri.</span></td></tr>
+<tr><td align="right">64.</td><td>&nbsp;</td><td><span class="smcap">The Garden of a House, Capri.</span></td></tr>
+<tr><td align="right">65.</td><td>&nbsp;</td><td><span class="smcap">Study of a Male Figure carrying a Pitcher.</span></td></tr>
+<tr><td align="right">66.</td><td>&nbsp;</td><td><span class="smcap">Head of a Girl.</span></td></tr>
+<tr><td align="right">67.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor, from Rhodes.</span></td></tr>
+<tr><td align="right">68.</td><td>&nbsp;</td><td><span class="smcap">Chain of Hills seen from Ronda.</span> R.S.B.A., 1893.</td></tr>
+<tr><td align="right">69.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor.</span> (Study for the background of <i>Perseus</i>.)</td></tr>
+<tr><td align="right">70.</td><td>&nbsp;</td><td><span class="smcap">A Pool, Findhorn River, N.B.</span> (Study for the background of <i>Solitude</i>.)</td></tr>
+<tr><td align="right">71.</td><td>&nbsp;</td><td><span class="smcap">A Lane.</span> (Study of rocks for <i>Solitude</i>.)</td></tr>
+<tr><td align="right">72.</td><td>&nbsp;</td><td><span class="smcap">A Woman seated, in a landscape.</span> (Study for <i>Sim&aelig;tha the Sorceress</i>.)</td></tr>
+<tr><td align="right">73.</td><td>&nbsp;</td><td><span class="smcap">Taormina, Sicily.</span> (Sketch for background of <i>Wedded</i>.)</td></tr>
+<tr><td align="right">74.</td><td>&nbsp;</td><td><span class="smcap">A Pool on the Findhorn River, Forres, N.B.</span> (Study for the background of <i>Solitude</i>.)</td></tr>
+<tr><td align="right">75.</td><td>&nbsp;</td><td><span class="smcap">Taormina, Sicily.</span> (Study for the background of <i>Wedded</i>.)</td></tr>
+<tr><td align="right"><span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span>76.</td><td>&nbsp;</td><td><span class="smcap">Interior of a House at Lindos.</span> (Study for the picture of <i>Cleoboulos</i>.)</td></tr>
+<tr><td align="right">77.</td><td>&nbsp;</td><td><span class="smcap">Study of a Woman's Head.</span> Capri, moonlight. (Study for the effect in <i>Clytemnestra</i>.)</td></tr>
+<tr><td align="right">78.</td><td>&nbsp;</td><td><span class="smcap">Buildings, Capri, Moonlight.</span> (A study for the same.)</td></tr>
+<tr><td align="right">79.</td><td>&nbsp;</td><td><span class="smcap">An Allegorical Design for a Mural Decoration.</span></td></tr>
+<tr><td align="right">80.</td><td>&nbsp;</td><td><span class="smcap">Head of a Lady and Gentleman of the Fifteenth Century.</span> (16 &#215; 14&#188; in.) (Painted in 1853.)</td></tr>
+<tr><td align="right">81.</td><td>&nbsp;</td><td><span class="smcap">Head of a Lady.</span> White on brown ground.</td></tr>
+<tr><td align="right">82.</td><td>&nbsp;</td><td><span class="smcap">A Study from Velasquez.</span></td></tr>
+<tr><td colspan="3">&nbsp;</td></tr>
+<tr><td colspan="3">[83 to 117 <i>were larger works, mainly studies for completed pictures or the pictures themselves</i>.]</td></tr>
+<tr><td colspan="3">&nbsp;</td></tr>
+<tr><td align="right">118.</td><td><span class="bracket3">{</span></td><td valign="top"><span class="smcap">A Landscape.</span><br /><span class="smcap">Study of Sky at Malinmore.</span><br /><span class="smcap">Study.</span></td></tr>
+<tr><td align="right">119.</td><td>&nbsp;</td><td><span class="smcap">A Rocky Coast, Malinmore, Donegal.</span></td></tr>
+<tr><td align="right">120.</td><td>&nbsp;</td><td><span class="smcap">A Mountainous Landscape.</span></td></tr>
+<tr><td align="right">121.</td><td>&nbsp;</td><td><span class="smcap">A View in Scotland.</span></td></tr>
+<tr><td align="right">122.</td><td>&nbsp;</td><td><span class="smcap">A Landscape, Italy.</span></td></tr>
+<tr><td align="right">123.</td><td>&nbsp;</td><td><span class="smcap">Fishing Boats on the Coast, Capri.</span></td></tr>
+<tr><td align="right">124.</td><td>&nbsp;</td><td><span class="smcap">A Village on a Hill, Capri.</span></td></tr>
+<tr><td align="right">125.</td><td>&nbsp;</td><td><span class="smcap">A Scene in the Desert.</span></td></tr>
+<tr><td align="right">126.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Greece.</span></td></tr>
+<tr><td align="right">127.</td><td>&nbsp;</td><td><span class="smcap">Head of a Man.</span></td></tr>
+<tr><td align="right">128.</td><td>&nbsp;</td><td><span class="smcap">A Scotch Lake.</span></td></tr>
+<tr><td align="right">129.</td><td>&nbsp;</td><td><span class="smcap">Near Kynance Cove.</span></td></tr>
+<tr><td align="right">130.</td><td>&nbsp;</td><td><span class="smcap">Carrara Mountains.</span></td></tr>
+<tr><td align="right">131.</td><td>&nbsp;</td><td><span class="smcap">A View in Algiers.</span></td></tr>
+<tr><td align="right">132.</td><td>&nbsp;</td><td><span class="smcap">Tlem&ccedil;en, Algeria.</span> R.S.B.A., 1895.</td></tr>
+<tr><td align="right">133.</td><td>&nbsp;</td><td><span class="smcap">The Damascus Gate, Jerusalem.</span></td></tr>
+<tr><td align="right">134.</td><td>&nbsp;</td><td><span class="smcap">The Erictheum</span> (<i>sic</i>).</td></tr>
+<tr><td align="right">135.</td><td>&nbsp;</td><td><span class="smcap">A Street in Lerici</span>, near where Shelley was drowned.</td></tr>
+<tr><td align="right">136.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Study of Trees.</span><br /><span class="smcap">A Landscape.</span></td></tr>
+<tr><td align="right">137.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Head of a Gondolier.</span><br /><span class="smcap">Irish Peasant Girl.</span></td></tr>
+<tr><td align="right">138.</td><td>&nbsp;</td><td><span class="smcap">Head of an Italian Peasant.</span></td></tr>
+<tr><td align="right">139.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">A Common.</span><br /><span class="smcap">Landscape, with Cottages.</span></td></tr>
+<tr><td align="right">140.</td><td>&nbsp;</td><td><span class="smcap">A Rocky Coast, Kynance.</span></td></tr>
+<tr><td align="right">141.</td><td>&nbsp;</td><td><span class="smcap">Granite Boulders, Forres, N.B.</span></td></tr>
+<tr><td align="right">142.</td><td>&nbsp;</td><td><span class="smcap">A Sunny Cornfield.</span></td></tr>
+<tr><td align="right">143.</td><td>&nbsp;</td><td><span class="smcap">A Courtyard, Tangiers.</span></td></tr>
+<tr><td align="right">144.</td><td>&nbsp;</td><td><span class="smcap">A Courtyard, Tangiers.</span></td></tr>
+<tr><td align="right">145.</td><td>&nbsp;</td><td><span class="smcap">A Sketch of Albano.</span></td></tr>
+<tr><td align="right">146.</td><td>&nbsp;</td><td><span class="smcap">A Coast Scene, Ireland.</span></td></tr>
+<tr><td align="right">147.</td><td>&nbsp;</td><td><span class="smcap">A Scotch Scene.</span></td></tr>
+<tr><td align="right">148.</td><td>&nbsp;</td><td><span class="smcap">A Study of Rocks.</span></td></tr>
+<tr><td align="right">149.</td><td>&nbsp;</td><td><span class="smcap">The Steeple Rock, Kynance Cove.</span></td></tr>
+<tr><td align="right">150.</td><td>&nbsp;</td><td><span class="smcap">A Sandy Bay, Ireland.</span></td></tr>
+<tr><td align="right">151.</td><td>&nbsp;</td><td><span class="smcap">Kynance Cove.</span></td></tr>
+<tr><td align="right">152.</td><td>&nbsp;</td><td><span class="smcap">Holy Island.</span> Bamborough in the distance.</td></tr>
+<tr><td align="right">153.</td><td>&nbsp;</td><td><span class="smcap">A Coast Scene, Ischia.</span></td></tr>
+<tr><td align="right">154.</td><td>&nbsp;</td><td><span class="smcap">Glen Columbkill, Ireland.</span></td></tr>
+<tr><td align="right">155.</td><td>&nbsp;</td><td><span class="smcap">A Moorish Archway, Tangiers.</span></td></tr>
+<tr><td align="right">156.</td><td>&nbsp;</td><td><span class="smcap">Perugia.</span></td></tr>
+<tr><td align="right">157.</td><td>&nbsp;</td><td><span class="smcap">A Rocky Coast, Malinmore.</span></td></tr>
+<tr><td align="right">158.</td><td>&nbsp;</td><td><span class="smcap">Malin Head, Donegal.</span> R.S.B.A., 1894.</td></tr>
+<tr><td align="right">159.</td><td>&nbsp;</td><td><span class="smcap">Gibraltar, from San Rocque.</span> R.S.B.A., 1895.</td></tr>
+<tr><td align="right">160.</td><td>&nbsp;</td><td><span class="smcap">A Bay Scene, Spain.</span></td></tr>
+<tr><td align="right"><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span>161.</td><td>&nbsp;</td><td><span class="smcap">A Sketch in Bedfordshire.</span></td></tr>
+<tr><td align="right">162.</td><td>&nbsp;</td><td><span class="smcap">A Landscape, Ronda.</span></td></tr>
+<tr><td align="right">163.</td><td>&nbsp;</td><td><span class="smcap">A Spanish Town.</span></td></tr>
+<tr><td align="right">164.</td><td>&nbsp;</td><td><span class="smcap">The Baths of Caracalla.</span></td></tr>
+<tr><td align="right">165.</td><td>&nbsp;</td><td><span class="smcap">The Street of the Knights, Rhodes.</span></td></tr>
+<tr><td align="right">166.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor, seen from Rhodes.</span></td></tr>
+<tr><td align="right">167.</td><td>&nbsp;</td><td><span class="smcap">Longsor.</span></td></tr>
+<tr><td align="right">168.</td><td>&nbsp;</td><td><span class="smcap">A Mountain Scene, with Temple and Figure, Egypt.</span></td></tr>
+<tr><td align="right">169.</td><td>&nbsp;</td><td><span class="smcap">A Study on the Coast of Ireland.</span></td></tr>
+<tr><td align="right">170.</td><td>&nbsp;</td><td><span class="smcap">A River Scene, Scotland.</span></td></tr>
+<tr><td align="right">171.</td><td>&nbsp;</td><td><span class="smcap">Mickleour, Scotland.</span></td></tr>
+<tr><td align="right">172.</td><td>&nbsp;</td><td><span class="smcap">A Sea Piece.</span></td></tr>
+<tr><td align="right">173.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor.</span></td></tr>
+<tr><td align="right">174.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">On the Nile.</span><br /><span class="smcap">A View in Spain.</span></td></tr>
+<tr><td align="right">175.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">A Temple on the Nile.</span><br /><span class="smcap">Spanish View.</span></td></tr>
+<tr><td align="right">176.</td><td>&nbsp;</td><td><span class="smcap">Malinmore, Donegal.</span></td></tr>
+<tr><td align="right">177.</td><td>&nbsp;</td><td><span class="smcap">The Bay of Cadiz, Moonlight, and Palazzo Rezzonico.</span></td></tr>
+<tr><td align="right">178.</td><td>&nbsp;</td><td><span class="smcap">A View of Athens.</span></td></tr>
+<tr><td align="right">179.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Scotch Mountains: Sunset.</span><br /><span class="smcap">A Coast Scene, Rhodes.</span></td></tr>
+<tr><td align="right">180.</td><td>&nbsp;</td><td><span class="smcap">Vittoria.</span> R.S.B.A., 1873.</td></tr>
+<tr><td align="right">181.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">A Classical Head.</span> (Monochrome.)<br /><span class="smcap">Head of a Man.</span></td></tr>
+<tr><td align="right">182.</td><td>&nbsp;</td><td><span class="smcap">A Study of Pine Trees.</span></td></tr>
+<tr><td align="right">183.</td><td>&nbsp;</td><td><span class="smcap">A Village on a Hill.</span></td></tr>
+<tr><td align="right">184.</td><td>&nbsp;</td><td><span class="smcap">A Ruined Mosque at Broussa.</span></td></tr>
+<tr><td align="right">185.</td><td>&nbsp;</td><td><span class="smcap">A Woody Bank.</span></td></tr>
+<tr><td align="right">186.</td><td>&nbsp;</td><td><span class="smcap">Ruins of a Moorish Arch, Spain.</span></td></tr>
+<tr><td align="right">187.</td><td>&nbsp;</td><td><span class="smcap">A View in Italy, with a Cornfield.</span></td></tr>
+<tr><td align="right">188.</td><td>&nbsp;</td><td>(This number is omitted in the sale catalogue.)</td></tr>
+<tr><td align="right">189.</td><td>&nbsp;</td><td><span class="smcap">Mimbar of the Great Mosque at Damascus.</span></td></tr>
+<tr><td align="right">190.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Rocks, Capri.</span><br /><span class="smcap">A Fortress, Spain.</span></td></tr>
+<tr><td align="right">191.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Landscape, Scotland.</span><br /><span class="smcap">Landscape, Scotland.</span></td></tr>
+<tr><td align="right">192.</td><td>&nbsp;</td><td><span class="smcap">The Red Mountains, Desert, Egypt.</span></td></tr>
+<tr><td align="right">193.</td><td>&nbsp;</td><td><span class="smcap">Sketch near Cairo.</span></td></tr>
+<tr><td align="right">194.</td><td>&nbsp;</td><td><span class="smcap">A Fountain in the Court-yard of a Jew's House, Spain.</span></td></tr>
+<tr><td align="right">195.</td><td>&nbsp;</td><td><span class="smcap">A House in Tangiers.</span> Mansion House, 1882.</td></tr>
+<tr><td align="right">196.</td><td>&nbsp;</td><td><span class="smcap">A Street Scene, Cairo.</span></td></tr>
+<tr><td align="right">197.</td><td>&nbsp;</td><td><span class="smcap">A Moorish Street.</span></td></tr>
+<tr><td align="right">198.</td><td>&nbsp;</td><td><span class="smcap">A Study of Rocks, Scotland.</span></td></tr>
+<tr><td align="right">199.</td><td>&nbsp;</td><td><span class="smcap">The Garden of the House of the Man who built the Alhambra.</span></td></tr>
+<tr><td align="right">200.</td><td>&nbsp;</td><td><span class="smcap">A Spanish Donkey.</span></td></tr>
+<tr><td align="right">201.</td><td>&nbsp;</td><td><span class="smcap">A Donkey and Arab Driver.</span></td></tr>
+<tr><td align="right">202.</td><td>&nbsp;</td><td><span class="smcap">Mena Donkey.</span></td></tr>
+<tr><td align="right">203.</td><td>&nbsp;</td><td><span class="smcap">A Study of Hills.</span></td></tr>
+<tr><td align="right">204.</td><td>&nbsp;</td><td><span class="smcap">The Temple of Phyl&aelig;.</span></td></tr>
+<tr><td align="right">205.</td><td>&nbsp;</td><td><span class="smcap">Damascus: Night.</span></td></tr>
+<tr><td align="right">206.</td><td>&nbsp;</td><td><span class="smcap">A Mountainous Landscape, with a Cavern.</span></td></tr>
+<tr><td align="right">207.</td><td>&nbsp;</td><td><span class="smcap">A Wood Scene.</span></td></tr>
+<tr><td align="right">208.</td><td>&nbsp;</td><td><span class="smcap">Head of an Italian Girl.</span></td></tr>
+<tr><td align="right">209.</td><td>&nbsp;</td><td><span class="smcap">The Dungeons of a Castle.</span></td></tr>
+<tr><td align="right">210.</td><td>&nbsp;</td><td><span class="smcap">A Castle Keep.</span></td></tr>
+<tr><td align="right">211.</td><td>&nbsp;</td><td><span class="smcap">Entrance to a House, Capri.</span></td></tr>
+<tr><td align="right">212.</td><td>&nbsp;</td><td><span class="smcap">A Coast Scene, Ireland: Storm effort</span> (<i>sic</i>).</td></tr>
+<tr><td align="right">213.</td><td>&nbsp;</td><td><span class="smcap">Longsor.</span></td></tr>
+<tr><td align="right">214.</td><td>&nbsp;</td><td><span class="smcap">The Nile at Thebes.</span></td></tr>
+<tr><td align="right"><span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span>215.</td><td>&nbsp;</td><td><span class="smcap">A View on the Campagna.</span></td></tr>
+<tr><td align="right">216.</td><td>&nbsp;</td><td><span class="smcap">A Mountainous Landscape, Scotland.</span></td></tr>
+<tr><td align="right">217.</td><td>&nbsp;</td><td><span class="smcap">Capri by Night.</span></td></tr>
+<tr><td align="right">218.</td><td>&nbsp;</td><td><span class="smcap">A Fortress on the Campagna.</span></td></tr>
+<tr><td align="right">219.</td><td>&nbsp;</td><td><span class="smcap">A Landscape, with Sand Hills.</span></td></tr>
+<tr><td align="right">220.</td><td>&nbsp;</td><td><span class="smcap">A Wood Scene.</span></td></tr>
+<tr><td align="right">221.</td><td>&nbsp;</td><td><span class="smcap">Near Denderah.</span></td></tr>
+<tr><td align="right">222.</td><td>&nbsp;</td><td><span class="smcap">A Landscape.</span></td></tr>
+<tr><td align="right">223.</td><td>&nbsp;</td><td><span class="smcap">Athens, with the Genoese Tower, Pnyx in the foreground.</span></td></tr>
+<tr><td align="right">224.</td><td>&nbsp;</td><td><span class="smcap">A Landscape, Cairo.</span></td></tr>
+<tr><td align="right">225.</td><td>&nbsp;</td><td><span class="smcap">On the Nile.</span></td></tr>
+<tr><td align="right">226.</td><td>&nbsp;</td><td><span class="smcap">Pasture, Egypt.</span></td></tr>
+<tr><td align="right">227.</td><td>&nbsp;</td><td><span class="smcap">Red Mountains Desert, Egypt.</span></td></tr>
+<tr><td align="right">228.</td><td>&nbsp;</td><td><span class="smcap">An Egyptian Village.</span></td></tr>
+<tr><td align="right">229.</td><td>&nbsp;</td><td><span class="smcap">The Island of &AElig;gina.</span></td></tr>
+<tr><td align="right">230.</td><td>&nbsp;</td><td><span class="smcap">Thebes.</span></td></tr>
+<tr><td align="right">231.</td><td>&nbsp;</td><td><span class="smcap">The Coast of &AElig;gina, Pnyx in the foreground.</span></td></tr>
+<tr><td align="right">232.</td><td>&nbsp;</td><td><span class="smcap">Buildings on the Coast, Island of Rhodes.</span></td></tr>
+<tr><td align="right">233.</td><td>&nbsp;</td><td><span class="smcap">Assouan, Egypt.</span></td></tr>
+<tr><td align="right">234.</td><td>&nbsp;</td><td><span class="smcap">A Vineyard, Capri.</span></td></tr>
+<tr><td align="right">235.</td><td>&nbsp;</td><td><span class="smcap">The Temple of Phyl&aelig;, looking up the Nile.</span></td></tr>
+<tr><td align="right">236.</td><td>&nbsp;</td><td><span class="smcap">The Nile at Esueh.</span></td></tr>
+<tr><td align="right">237.</td><td>&nbsp;</td><td><span class="smcap">The Cathedral, Capri.</span></td></tr>
+<tr><td align="right">238.</td><td>&nbsp;</td><td><span class="smcap">A Square in Cadiz.</span></td></tr>
+<tr><td align="right">239.</td><td>&nbsp;</td><td><span class="smcap">On the Nile.</span></td></tr>
+<tr><td align="right">240.</td><td>&nbsp;</td><td><span class="smcap">In the Nile Valley.</span></td></tr>
+<tr><td align="right">241.</td><td>&nbsp;</td><td><span class="smcap">A View across the Nile.</span></td></tr>
+<tr><td align="right">242.</td><td>&nbsp;</td><td><span class="smcap">A Woody Hill Side.</span></td></tr>
+<tr><td align="right">243.</td><td>&nbsp;</td><td><span class="smcap">Rocks of the Sirens Capri.</span></td></tr>
+<tr><td align="right">244.</td><td>&nbsp;</td><td><span class="smcap">A Farm.</span></td></tr></table>
+
+<p>&nbsp;</p>
+<p>There were also copies made by Leighton himself of <i>Peace and War</i> after
+Rubens, the <i>Massacre of the Innocents</i>, after Bonifazio, <i>A Martyrdom</i>,
+and the <i>Last Supper</i>, after Veronese.</p>
+
+<p>The huge collection of studies, mainly in chalk upon brown paper, made
+by Lord Leighton, were nearly all preserved; two hundred and forty of
+these were exhibited by the Fine Art Society, who bought the whole
+collection, and afterwards published a volume containing forty
+reproduced in facsimile.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="damascus" id="damascus"></a></p>
+<div class="figcenter"><img src="images/image87.jpg" alt="Fountain in Court at Damascus" /></div>
+<p class="center">FOUNTAIN IN COURT AT DAMASCUS</p>
+<p>&nbsp;</p><p>&nbsp;<a name="island" id="island"></a></p>
+<div class="figcenter"><img src="images/image88top.jpg" alt="The Island of Aegina" /></div>
+<p class="center">THE ISLAND OF &AElig;GINA: PNYX IN FOREGROUND</p>
+<p>&nbsp;</p><p>&nbsp;<a name="reddesert" id="reddesert"></a></p>
+<div class="figcenter"><img src="images/image88bot.jpg" alt="Red Mountains Desert" /></div>
+<p class="center">RED MOUNTAINS DESERT, CAIRO</p>
+<p>&nbsp;</p><p>&nbsp;<a name="broussa" id="broussa"></a></p>
+<div class="figcenter"><img src="images/image89.jpg" alt="Ruined Mosque Broussa" /></div>
+<p class="center">RUINED MOSQUE, BROUSSA</p>
+<p>&nbsp;</p><p>&nbsp;<a name="tombs" id="tombs"></a></p>
+<div class="figcenter"><img src="images/image90.jpg" alt="City of Tombs" /></div>
+<p class="center">CITY OF TOMBS, ASSIOUT, EGYPT</p>
+<p>&nbsp;</p><p>&nbsp;<a name="athens" id="athens"></a></p>
+<div class="figcenter"><img src="images/image91.jpg" alt="Athens" /></div>
+<p class="center">ATHENS WITH THE GENOESE TOWER: PNYX IN FOREGROUND</p>
+<p>&nbsp;</p><p>&nbsp;<a name="rhodes" id="rhodes"></a></p>
+<div class="figcenter"><img src="images/image92.jpg" alt="Coast of Asia Minor" /></div>
+<p class="center">COAST OF ASIA MINOR SEEN FROM RHODES</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span></p>
+<h3><a name="INDEX" id="INDEX"></a>INDEX.</h3>
+
+<p class="center"><i>Titles of Pictures are printed in italics.</i></p>
+
+
+<p>
+<i>Abram and the Angel</i>, <a href="#Page_69">69</a>.<br />
+<br />
+<i>Acme and Septimius</i>, <a href="#Page_25">25</a>.<br />
+<br />
+<i>Act&aelig;a</i>, <a href="#Page_26">26</a>, <a href="#Page_111">111</a>.<br />
+<br />
+<i>&AElig;gina, The Island of</i>, illus., <a href="#island">132</a>.<br />
+<br />
+<i>After Vespers</i>, <a href="#Page_31">31</a>.<br />
+<br />
+Aitchison, George, R.A., <a href="#Page_88">88</a>.<br />
+<br />
+Allingham, William, <a href="#Page_106">106</a>.<br />
+<br />
+Alma-Tadema, Sir L., <a href="#Page_37">37</a>, <a href="#Page_48">48</a>, <a href="#Page_91">91</a>.<br />
+<br />
+<i>Amarilla</i>, <a href="#Page_39">39</a>.<br />
+<br />
+<i>And the Sea gave up its Dead</i>, <a href="#Page_49">49</a>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#thesea">50</a>.</span><br />
+<br />
+<i>Andromeda</i> (study in clay), <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#andromeda">68</a>.</span><br />
+<br />
+<i>Antigone</i>, <a href="#Page_43">43</a>.<br />
+<br />
+<i>Antique Juggling Girl</i>, <a href="#Page_33">33</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#juggling">32</a>.</span><br />
+<br />
+Arab Hall, The, <a href="#Page_29">29</a>, <a href="#Page_49">49</a>, <a href="#Page_88">88</a>, <a href="#Page_94">94</a>, <a href="#Page_96">96-100</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#arabhall">96</a>.</span><br />
+<br />
+<i>Ariadne abandoned by Theseus</i>, <a href="#Page_25">25</a>.<br />
+<br />
+Arnold, Sir Edwin, translation of Mus&aelig;us, <a href="#Page_47">47</a>.<br />
+<br />
+Art and Morals, Leighton on, <a href="#Page_74">74</a>.<br />
+<br />
+"Art Journal," criticisms of the, <a href="#Page_108">108</a>, <i>et seq.</i><br />
+<br />
+Artistic Production in relation to Time and Place, Leighton on, <a href="#Page_75">75</a>.<br />
+<br />
+<i>Arts of Peace, The</i>, <a href="#Page_32">32</a>, <a href="#Page_42">42</a>, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#artsofpeace">64</a>.</span><br />
+<br />
+<i>Arts of War, The</i>, <a href="#Page_32">32</a>, <a href="#Page_63">63</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#artsofwar">64</a>.</span><br />
+<br />
+<i>Asia Minor, The Coast of</i>, illus., <a href="#rhodes">136</a>.<br />
+<br />
+Assyria, the Art of, Leighton on, <a href="#Page_76">76</a>.<br />
+<br />
+<i>At the Fountain</i>, <a href="#Page_50">50</a>.<br />
+<br />
+<i>At the Window</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Atalanta</i>, <a href="#Page_50">50</a>, <a href="#Page_59">59</a>.<br />
+<br />
+"Athen&aelig;um," criticisms of the, <a href="#Page_32">32</a>, <a href="#Page_105">105</a>, <i>et seq.</i><br />
+<br />
+<i>Athens, with the Genoese Tower</i>, illus., <a href="#athens">136</a>.<br />
+<br />
+<i>Athlete struggling with a Python</i>, <a href="#Page_36">36</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>, <a href="#Page_126">126</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#Page_36">36</a>, <a href="#Page_49">49</a>;</span><br />
+<span style="margin-left: 1em;">(marble version), <a href="#Page_68">68</a>.</span><br />
+<br />
+<br />
+<i>Bacchante</i> (1892), <a href="#Page_50">50</a>, (1896) <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#bacchante">54</a>.</span><br />
+<br />
+<i>Bath of Psyche, The</i>, <a href="#Page_48">48</a>, <a href="#Page_59">59</a>, <a href="#Page_129">129</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#psyche">48</a>.</span><br />
+<br />
+Bezzuoli, <a href="#Page_5">5</a>.<br />
+<br />
+<i>Bianca</i>, <a href="#Page_43">43</a>.<br />
+<br />
+"Bible Gallery," Dalziel's, <a href="#Page_23">23</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>.<br />
+<br />
+<i>Biondina</i>, <a href="#Page_39">39</a>.<br />
+<br />
+Black and white, Leighton's work in, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>.<br />
+<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span><br />
+Boccaccio, Leighton inspired by, <a href="#Page_8">8</a>, <a href="#Page_45">45</a>.<br />
+<br />
+Book illustration, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>.<br />
+<br />
+Bookplate, Leighton's, illus., <a href="#Page_120">120</a>.<br />
+<br />
+Bouguereau, Leighton and, <a href="#Page_10">10</a>.<br />
+<br />
+<i>Bracelet, The</i>, <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#bracelet">52</a>.</span><br />
+<br />
+Bronzes, <a href="#Page_36">36</a>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>.<br />
+<br />
+<i>Broussa, Ruined Mosque at</i>, illus., <a href="#broussa">134</a>.<br />
+<br />
+<i>Brownlow, Countess of</i>, <a href="#Page_39">39</a>.<br />
+<br />
+Browning, E. B., <a href="#Page_47">47</a>;<br />
+<span style="margin-left: 1em;">medallion of a monument to, <a href="#Page_67">67</a>;</span><br />
+<span style="margin-left: 1em;">illustration by Leighton to her "Great God Pan," <a href="#Page_69">69</a>.</span><br />
+<br />
+Browning, Robert, <a href="#Page_10">10</a>;<br />
+<span style="margin-left: 1em;">subjects from, <a href="#Page_22">22</a>, <a href="#Page_47">47</a>;</span><br />
+<span style="margin-left: 1em;">on <i>Hercules wrestling with Death</i>, <a href="#Page_30">30</a>.</span><br />
+<br />
+Brussels, Leighton at, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>.<br />
+<br />
+Burne-Jones, Sir E., <a href="#Page_17">17</a>, <a href="#Page_91">91</a>.<br />
+<br />
+<i>Burton, Capt. Richard</i>, <a href="#Page_35">35</a>, <a href="#Page_90">90</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#burton">36</a>.</span><br />
+<br />
+<i>Byzantine Well-head, A</i>, <a href="#Page_18">18</a>, <a href="#Page_62">62</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#byzantine">18</a>.</span><br />
+<br />
+<br />
+<i>Cain and Abel</i>, illus., <a href="#cain">70</a>.<br />
+<br />
+<i>Cairo, Red Mountains Desert</i>, illus., <a href="#reddesert">136</a>.<br />
+<br />
+<i>Capri&mdash;Paganos</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<i>Capri at Sunrise</i>, <a href="#Page_18">18</a>, <a href="#Page_108">108</a>.<br />
+<br />
+Capri, Leighton at, <a href="#Page_18">18</a>, <a href="#Page_61">61</a>.<br />
+<br />
+<i>Captive Andromache</i>, <a href="#Page_47">47</a>, <a href="#Page_58">58</a>;<br />
+<span style="margin-left: 1em;"><i>Studies</i> for, illus., <a href="#andronude">56</a>.</span><br />
+<br />
+Carr, Mr. Comyns, on Leighton, <a href="#Page_114">114</a>.<br />
+<br />
+<i>Catarina</i>, <a href="#Page_39">39</a>.<br />
+<br />
+Ceiling, design for a, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_128">128</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#ceiling">62</a>.</span><br />
+<br />
+Chesneau, Ernest, on English Art, <a href="#Page_14">14</a>.<br />
+<br />
+Cimabue, influence of, <a href="#Page_9">9</a>.<br />
+<br />
+<i>Cimabue</i> (mosaic figure), <a href="#Page_67">67</a>.<br />
+<br />
+<i>Cimabue finding Giotto</i>, <a href="#Page_7">7</a>.<br />
+<br />
+<i>Cimabue's Madonna</i>, <a href="#Page_3">3</a>, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>, <a href="#Page_11">11</a>, <a href="#Page_23">23</a>, <a href="#Page_34">34</a>, <a href="#Page_47">47</a>;<br />
+<span style="margin-left: 1em;">criticisms of, <a href="#Page_103">103-107</a>, <a href="#Page_108">108</a>;</span><br />
+<span style="margin-left: 1em;">illus., <a href="#madonna">10</a>.</span><br />
+<br />
+<i>City of Tombs, Assiout</i>, illus., <a href="#tombs">134</a>.<br />
+<br />
+<i>Cleoboulos instructing his daughter Cleobouline</i>, <a href="#Page_30">30</a>.<br />
+<br />
+<i>Clytemnestra</i>, <a href="#Page_32">32</a>.<br />
+<br />
+<i>Clytie</i> (1892), <a href="#Page_50">50</a>, <a href="#Page_59">59</a>.<br />
+<br />
+<i>Clytie</i> (his last picture), <a href="#Page_51">51</a>, <a href="#Page_52">52</a>.<br />
+<br />
+Cockerell, S. Pepys, on Leighton's drawings, <a href="#Page_62">62</a>.<br />
+<br />
+<i>Cockerell, Mrs. <ins class="correction" title="original reads 'Frederic'">Frederick</ins> P.</i>, <a href="#Page_25">25</a>.<br />
+<br />
+<i>Coleridge, Lady</i>, <a href="#Page_48">48</a>.<br />
+<br />
+Cologne Cathedral, Leighton on, <a href="#Page_86">86</a>.<br />
+<br />
+Colour: Leighton's mode of procedure, <a href="#Page_55">55-58</a>.<br />
+<br />
+<i>Condottiere, A</i>, <a href="#Page_31">31</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#condot">32</a>.</span><br />
+<br />
+<i>Contrast, A</i>, <a href="#Page_70">70</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#contrast">72</a>.</span><br />
+<br />
+<i>Corinna of Tanagra</i>, <a href="#Page_50">50</a>.<br />
+<br />
+Cornelius, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>.<br />
+<br />
+"Cornhill Gallery, The," <a href="#Page_69">69</a>.<br />
+<br />
+Correggio, Leighton and, <a href="#Page_10">10</a>, <a href="#Page_18">18</a>.<br />
+<br />
+<i>Costa, Signor</i>, <a href="#Page_39">39</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#costa">40</a>.</span><br />
+<br />
+<i>Count Paris</i>, <a href="#Page_16">16</a>, <a href="#Page_107">107</a>, <a href="#Page_122">122</a>.<br />
+<br />
+Cousin, Jean, <a href="#Page_84">84</a>.<br />
+<br />
+<i>Crenaia</i>, <a href="#Page_42">42</a>.<br />
+<br />
+<i>Cross-bow Man, A</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<i>Cupid with Doves</i>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#cupid">66</a>.</span><br />
+<br />
+<i>Cymon</i> (clay model), <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#cymonstudy">68</a>.</span><br />
+<br />
+<i>Cymon and Iphigenia</i>, <a href="#Page_42">42</a>, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">photogravure, <a href="#cymon">44</a>.</span><br />
+<br />
+<br />
+<i>D&aelig;dalus and Icarus</i>, <a href="#Page_26">26</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#icarus">26</a>.</span><br />
+<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span><br />
+Dalou and <i>The Athlete</i>, <a href="#Page_68">68</a>.<br />
+<br />
+Dalziel's "Bible Gallery," <a href="#Page_23">23</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#cain">70</a>.</span><br />
+<br />
+<i>Damascus, Grand Mosque at</i>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#mimbar">28</a>.</span><br />
+<br />
+Damascus, sketches of, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#mimbar">28</a>, <a href="#damascus">132</a>.</span><br />
+<br />
+<i>Dance, The</i>, <a href="#Page_44">44</a>, <a href="#Page_67">67</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#friezes">44</a>.</span><br />
+<br />
+Dante, Leighton on, <a href="#Page_81">81</a>.<br />
+<br />
+<i>Dante at Verona</i>, <a href="#Page_21">21</a>, <a href="#Page_109">109</a>.<br />
+<br />
+<i>Daphnephoria</i>, <a href="#Page_24">24</a>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>, <a href="#Page_47">47</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">clay models for, <a href="#Page_68">68</a>;</span><br />
+<span style="margin-left: 1em;">illus., <a href="#daphne">34</a>;</span><br />
+<span style="margin-left: 1em;"><i>Study for</i> (illus.), <a href="#daphnestudy">34</a>.</span><br />
+<br />
+Darmstadt, Leighton at, <a href="#Page_8">8</a>.<br />
+<br />
+<i>David</i>, <a href="#Page_23">23</a>, <a href="#Page_110">110</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#Page_24">24</a>.</span><br />
+<br />
+<i>Day Dreams</i>, <a href="#Page_43">43</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#daydreams">42</a>.</span><br />
+<br />
+<i>Death of the First Born</i>, <a href="#Page_69">69</a>.<br />
+<br />
+Decorative work, Leighton's, <a href="#Page_63">63-67</a>.<br />
+<br />
+<i>Departure for the War, The</i>, <a href="#Page_67">67</a>.<br />
+<br />
+Discourses on Art, Leighton's, <a href="#Page_71">71-87</a>.<br />
+<br />
+Drapery, Leighton's treatment of, <a href="#Page_48">48</a>, <a href="#Page_55">55-58</a>.<br />
+<br />
+<i>Dream, A</i>, <a href="#Page_19">19</a>, <a href="#Page_109">109</a>.<br />
+<br />
+<i>Duett</i>, <a href="#Page_20">20</a>.<br />
+<br />
+D&uuml;rer, Albert, Leighton on, <a href="#Page_86">86</a>.<br />
+<br />
+<br />
+Eastlake, Sir Charles, <a href="#Page_10">10-12</a>.<br />
+<br />
+Egypt, Leighton's visit to, <a href="#Page_28">28</a>;<br />
+<span style="margin-left: 1em;">on the Art of, <a href="#Page_75">75</a>.</span><br />
+<br />
+<i>Egyptian Slinger</i>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_112">112</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#slinger">112</a>.</span><br />
+<br />
+<i>Electra at the Tomb of Agamemnon</i>, <a href="#Page_26">26</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#electra">26</a>.</span><br />
+<br />
+<i>Elegy</i>, <a href="#Page_48">48</a>.<br />
+<br />
+<i>Eliezer and Rebekah</i>, <a href="#Page_69">69</a>.<br />
+<br />
+<i>Elijah in the Wilderness</i>, <a href="#Page_39">39</a>;<br />
+<span style="margin-left: 1em;"><i>Study for</i>, illus., <a href="#elijahstudy">38</a>.</span><br />
+<br />
+<i>Elisha and the Shunamite's Son</i>, illus., <a href="#elisha">114</a>.<br />
+<br />
+English Art, Leighton on, <a href="#Page_73">73</a>.<br />
+<br />
+Etruscan Art, Leighton on, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>.<br />
+<br />
+<i>Eucharis</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<br />
+<i>Fair Persian, The</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Farewell</i>, <a href="#Page_50">50</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#farewell">50</a>.</span><br />
+<br />
+<i>Fatidica</i>, <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#fatidica">52</a>.</span><br />
+<br />
+<i>Fisherman and Syren, The</i>, <a href="#Page_16">16</a>, <a href="#Page_107">107</a>.<br />
+<br />
+<i>Flaming June</i>, <a href="#Page_51">51</a>.<br />
+<br />
+Fleury, Robert, <a href="#Page_10">10</a>, <a href="#Page_15">15</a>.<br />
+<br />
+<i>Florence, The Plague at</i>, <a href="#Page_8">8</a>, <a href="#Page_90">90</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#plague">8</a>.</span><br />
+<br />
+Florence, Leighton at, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>.<br />
+<br />
+<i>Fountain, At the</i>, <a href="#Page_50">50</a>.<br />
+<br />
+<i>Fountain in Court at Damascus</i>, illus., <a href="#damascus">132</a>.<br />
+<br />
+France, Evolution of Art in, Leighton on, <a href="#Page_83">83</a>.<br />
+<br />
+Frankfort, Leighton at, <a href="#Page_6">6-8</a>.<br />
+<br />
+Frescoes, <a href="#Page_32">32</a>, <a href="#Page_63">63-66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#artsofwar">64-66</a>.</span><br />
+<br />
+Friezes, <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#friezes">44</a>.</span><br />
+<br />
+<i>Frigidarium, The</i>, <a href="#Page_50">50</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#frigid">50</a>.</span><br />
+<br />
+<br />
+Gamba, Signor, <a href="#Page_8">8</a>.<br />
+<br />
+<i>Garden of the Hesperides, The</i>, <a href="#Page_49">49</a>.<br />
+<br />
+Generalife, Study of a Garden at, <a href="#Page_33">33</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#granada">28</a>.</span><br />
+<br />
+German Architecture, Leighton on, <a href="#Page_85">85-86</a>.<br />
+<br />
+Gerome, <a href="#Page_10">10</a>.<br />
+<br />
+Gibson, the sculptor, <a href="#Page_11">11</a>.<br />
+<br />
+Gilbert, Alfred, <a href="#Page_88">88</a>.<br />
+<br />
+Giotto, <a href="#Page_9">9</a>.<br />
+<br />
+Girl, A little (1887), <a href="#Page_47">47</a>.<br />
+<br />
+---- in Eastern garb (1877), <a href="#Page_37">37</a>.<br />
+<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span><br />
+<i>Girl Feeding Peacocks, A</i>, <a href="#Page_20">20</a>, <a href="#Page_109">109</a>.<br />
+<br />
+<i>Girl with a Basket of Fruit</i>, <a href="#Page_109">109</a>.<br />
+<br />
+<i>Girls' Heads, Studies of</i>, <a href="#Page_38">38</a>, <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#head1">74</a>, <a href="#head2">76</a>, <a href="#head3">78</a>, <a href="#head4">80</a>.</span><br />
+<br />
+Goethe: subject from, <a href="#Page_16">16</a>;<br />
+<span style="margin-left: 1em;">on Gothic architecture, <a href="#Page_84">84</a>.</span><br />
+<br />
+<i>Golden Hours</i>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#goldenhours">21</a>.</span><br />
+<br />
+<i>Gordon, H. E.</i>, <a href="#Page_37">37</a>.<br />
+<br />
+Gothic architecture, Leighton on, <a href="#Page_84">84</a>.<br />
+<br />
+Greek Art, Leighton on, <a href="#Page_76">76</a>.<br />
+<br />
+<i>Greek Girls picking up Pebbles by the Sea</i>, <a href="#Page_30">30</a>.<br />
+<br />
+<i>Greek Girls playing at Ball</i>, <a href="#Page_48">48</a>, <a href="#Page_59">59</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#greekgirls">48</a>.</span><br />
+<br />
+Grenfell, the Hon. Mrs. (<i>Miss Mabel Mills</i>), <a href="#Page_37">37</a>.<br />
+<br />
+Greville, Lady Charlotte, monument to, <a href="#Page_67">67</a>.<br />
+<br />
+<i>Gulnihal</i>, <a href="#Page_46">46</a>.<br />
+<br />
+<i>Guthrie, Portrait of Mrs. James</i>, <a href="#Page_24">24</a>.<br />
+<br />
+<br />
+Hart, Professor, <a href="#Page_12">12</a>.<br />
+<br />
+<i>Helen of Troy</i>, <a href="#Page_23">23</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#helen">22</a>.</span><br />
+<br />
+<i>Helios and Rhodos</i>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>.<br />
+<br />
+<i>Hercules wrestling with Death</i>, <a href="#Page_30">30</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#hercules">30</a>.</span><br />
+<br />
+<i>Hesperides, Garden of the</i>, <a href="#Page_49">49</a>.<br />
+<br />
+<i>Hichens, Mrs. A.</i>, <a href="#Page_46">46</a>.<br />
+<br />
+<i>Hit</i>, <a href="#Page_50">50</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#hit">54</a>.</span><br />
+<br />
+<i>Hodgson, Miss Ruth</i>, <a href="#Page_38">38</a>.<br />
+<br />
+<i>Hodgson, Misses Stewart</i>, <a href="#Page_48">48</a>.<br />
+<br />
+Hogarth Club, the, <a href="#Page_17">17</a>.<br />
+<br />
+Hunt, Holman, <a href="#Page_13">13</a>, <a href="#Page_17">17</a>.<br />
+<br />
+<br />
+<i>I'Anson, the late Mrs. Lavinia</i>, <a href="#Page_23">23</a>.<br />
+<br />
+<i>Idyll</i>, <a href="#Page_42">42</a>.<br />
+<br />
+<i>In St. Mark's</i>, <a href="#Page_23">23</a>.<br />
+<br />
+<i>Invocation</i>, <a href="#Page_48">48</a>.<br />
+<br />
+<i>Iostephane</i>, <a href="#Page_42">42</a>.<br />
+<br />
+<i>Italian Girl, An</i>, <a href="#Page_37">37</a>.<br />
+<br />
+Italy, Evolution of Painting in, Leighton on the, <a href="#Page_72">72</a>.<br />
+<br />
+<br />
+<i>J. A.&mdash;a Study</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<i>Jezebel and Ahab</i>, <a href="#Page_20">20</a>, <a href="#Page_123">123</a>.<br />
+<br />
+<i>Joachim, Miss Nina</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<i>Jonathan's Token to David</i>, <a href="#Page_25">25</a>, <a href="#Page_124">124</a>.<br />
+<br />
+Jubilee medal, <a href="#Page_46">46</a>, <a href="#Page_69">69</a>, <a href="#Page_129">129</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#medallion">130</a>.</span><br />
+<br />
+<i>Juggling Girl</i>, <a href="#Page_33">33</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#juggling">32</a>.</span><br />
+<br />
+<br />
+Keats's "Endymion," subject from, <a href="#Page_15">15</a>, <a href="#Page_122">122</a>.<br />
+<br />
+Kemble, Mrs., <a href="#Page_11">11</a>.<br />
+<br />
+<i>Kittens</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<br />
+<i>Lachrym&aelig;</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Lady with Pomegranates, A</i>, <a href="#Page_53">53</a>.<br />
+<br />
+<i>Laing, Miss, Portrait of</i>, <a href="#Page_9">9</a>.<br />
+<br />
+Landscape studies, Leighton's, <a href="#Page_16">16</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_39">39</a>, <a href="#Page_62">62</a>, <a href="#Page_132">132</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#granada">28</a>, <a href="#damascus">132</a>, <a href="#broussa">134</a>, <a href="#athens">136</a>.</span><br />
+<br />
+Landseer, Sir Edwin, <a href="#Page_10">10</a>, <a href="#Page_13">13</a>.<br />
+<br />
+Lang's, Mrs. Andrew, monograph on Leighton, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, <a href="#Page_63">63</a>.<br />
+<br />
+<i>Last Watch of Hero</i>, <a href="#Page_47">47</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#lastwatch">46</a>.</span><br />
+<br />
+Leighton, Frederic, Lord;<br />
+<span style="margin-left: 1em;">list of dignities and titles, <a href="#Page_2">2</a>;</span><br />
+<span style="margin-left: 1em;">ancestors and birth, <a href="#Page_4">4</a>;</span><br />
+<span style="margin-left: 1em;">first picture, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">portrait (1848), <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">first picture for the Academy, <a href="#Page_11">11</a>;</span><br />
+<span style="margin-left: 1em;">A.R.A., <a href="#Page_21">21</a>;</span><br />
+<span style="margin-left: 1em;">R.A., <a href="#Page_24">24</a>;</span><br />
+<span style="margin-left: 1em;">first appearance as a sculptor, <a href="#Page_36">36</a>;</span><br />
+<span style="margin-left: 1em;">P.R.A., <a href="#Page_39">39</a>;</span><br />
+<span style="margin-left: 1em;"><i>Portrait</i>, by himself, <a href="#Page_42">42</a>;</span><br />
+<span style="margin-left: 1em;">illus., <a href="#leighton">3</a>;</span><br />
+<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span><span style="margin-left: 1em;">portraits by Watts, <a href="#Page_42">42</a>, <a href="#Page_90">90</a>;</span><br />
+<span style="margin-left: 1em;">his method of painting, <a href="#Page_54">54-60</a>;</span><br />
+<span style="margin-left: 1em;">drawings, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>;</span><br />
+<span style="margin-left: 1em;">decorative works, <a href="#Page_63">63-67</a>;</span><br />
+<span style="margin-left: 1em;">sculpture, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>;</span><br />
+<span style="margin-left: 1em;">book illustration, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>;</span><br />
+<span style="margin-left: 1em;">Discourses on Art, <a href="#Page_71">71-87</a>;</span><br />
+<span style="margin-left: 1em;">house, <a href="#Page_88">88-102</a>;</span><br />
+<span style="margin-left: 1em;">criticisms on his work, <a href="#Page_103">103</a>, <a href="#Page_114">114</a>;</span><br />
+<span style="margin-left: 1em;">death, <a href="#Page_115">115</a>.</span><br />
+<br />
+<i>Lemon Tree, Study of a</i>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_61">61</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#lemon">18</a>.</span><br />
+<br />
+Lesseps, F. de, <a href="#Page_28">28</a>.<br />
+<br />
+<i>Letty</i>, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>.<br />
+<br />
+<i>Lieder ohne Worte</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<i>Light of the Harem, The</i>, <a href="#Page_42">42</a>.<br />
+<br />
+Lionardo da Vinci, Leighton on, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>.<br />
+<br />
+<i>Listener</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Little Fatima</i>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_111">111</a>.<br />
+<br />
+<i>Lucas, Mrs. F.</i>, <a href="#Page_48">48</a>.<br />
+<br />
+Lyndhurst, altarpiece at, <a href="#Page_24">24</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>.<br />
+<br />
+Lyons, Lord, <a href="#Page_11">11</a>.<br />
+<br />
+<br />
+<i>Maid with her Yellow Hair, The</i>, <a href="#Page_51">51</a>.<br />
+<br />
+Martin's, Sir Theodore, "Catullus," <a href="#Page_25">25</a>.<br />
+<br />
+Mason, George, <a href="#Page_11">11</a>, <a href="#Page_89">89</a>.<br />
+<br />
+Meli, Signor F., <a href="#Page_5">5</a>.<br />
+<br />
+<i>Melittion</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<i>Memories</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<i>Mermaid, The</i>, <a href="#Page_16">16</a>.<br />
+<br />
+Michael Angelo, Leighton on, <a href="#Page_82">82</a>.<br />
+<br />
+<i>Michael Angelo nursing his dying Servant</i>, <a href="#Page_19">19</a>.<br />
+<br />
+Millais, Sir J. E., <a href="#Page_9">9</a>, <a href="#Page_13">13</a>, <a href="#Page_46">46</a>, <a href="#Page_68">68</a>, <a href="#Page_73">73</a>.<br />
+<br />
+<i>Mills, Miss Mabel</i>, <a href="#Page_37">37</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#mabelmills">36</a>.</span><br />
+<br />
+<i>Mitford, A. B.</i>, <a href="#Page_49">49</a>.<br />
+<br />
+<i>Mocatta, Mrs.</i>, <a href="#Page_44">44</a>.<br />
+<br />
+Modelling and models (clay), <a href="#Page_67">67</a>, <a href="#Page_68">68</a>.<br />
+<br />
+<i>Moorish Garden</i>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>.<br />
+<br />
+Morals, Art and, Leighton on, <a href="#Page_74">74</a>.<br />
+<br />
+<i>Moretta</i>, <a href="#Page_31">31</a>.<br />
+<br />
+Morris, William, and Rossetti, <a href="#Page_17">17</a>.<br />
+<br />
+Mosaics, <a href="#Page_67">67</a>.<br />
+<br />
+<i>Moses views the Promised Land</i>, illus., <a href="#moses">70</a>.<br />
+<br />
+<i>Mosque, Ruined, at Broussa</i>, illus., <a href="#broussa">134</a>.<br />
+<br />
+<i>Mother and Child</i>, <a href="#Page_23">23</a>.<br />
+<br />
+Murger, Henri, <a href="#Page_7">7</a>.<br />
+<br />
+<i>Music</i> (a frieze), <a href="#Page_46">46</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#friezes">44</a>.</span><br />
+<br />
+<i>Music, The Triumph of</i>, <a href="#Page_15">15</a>, <a href="#Page_107">107</a>.<br />
+<br />
+<i>Music Lesson</i>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>.<br />
+<br />
+<i>Music Room, Decoration for a</i>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_128">128</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#ceiling">62</a>.</span><br />
+<br />
+<br />
+<i>Nanna</i>, <a href="#Page_17">17</a>.<br />
+<br />
+<i>Nap, A</i>, <a href="#Page_44">44</a>.<br />
+<br />
+Nature in Leighton's compositions, <a href="#Page_58">58</a>.<br />
+<br />
+<i>Nausicaa</i>, <a href="#Page_37">37</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#nausicaa">38</a>.</span><br />
+<br />
+<i>Needless Alarms</i>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>.<br />
+<br />
+<i>Neruccia</i>, <a href="#Page_39">39</a>.<br />
+<br />
+Nias, Lady (<i>Miss Laing</i>), <a href="#Page_9">9</a>.<br />
+<br />
+Nile, voyage up the, <a href="#Page_28">28</a>.<br />
+<br />
+<i>Nile Woman, A</i>, <a href="#Page_29">29</a>.<br />
+<br />
+<i>Noble Lady of Venice, A</i>, <a href="#Page_52">52</a>.<br />
+<br />
+<i>Nymph and Cupid, A</i>, <a href="#Page_15">15</a>, <a href="#Page_84">84</a>.<br />
+<br />
+Nymph of the Dargle, The, <a href="#Page_42">42</a>.<br />
+<br />
+<br />
+<i>Odalisque</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<i>Old Damascus</i> (the Jews' quarter), <a href="#Page_29">29</a>, <a href="#Page_33">33</a>.<br />
+<br />
+Orchardson, Mr., on <i>Clytie</i>, <a href="#Page_52">52</a>.<br />
+<br />
+Orkney, Lady, <a href="#Page_37">37</a>.<br />
+<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span><br />
+<i>Orpheus and Eurydice</i>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#orpheus">22</a>.</span><br />
+<br />
+Orr, Major Sutherland, monument to, <a href="#Page_67">67</a>.<br />
+<br />
+<i>Orr, Mrs. Sutherland</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<br />
+Pacheco, Francisco, on drawing, <a href="#Page_60">60</a>.<br />
+<br />
+<i>Painter's Honeymoon, The</i>, <a href="#Page_24">24</a>.<br />
+<br />
+<i>Pan</i>, <a href="#Page_15">15</a>, <a href="#Page_122">122</a>.<br />
+<br />
+<i>Paolo</i>, <a href="#Page_35">35</a>.<br />
+<br />
+<i>Paolo e Francesca</i>, <a href="#Page_19">19</a>, <a href="#Page_122">122</a>.<br />
+<br />
+<i>Paris, Count</i>, <a href="#Page_16">16</a>, <a href="#Page_107">107</a>, <a href="#Page_122">122</a>.<br />
+<br />
+Paris, Leighton at, <a href="#Page_7">7</a>, <a href="#Page_15">15</a>;<br />
+<span style="margin-left: 1em;">exhibition at, <a href="#Page_13">13</a>.</span><br />
+<br />
+Parry, Gambier, and Ely Cathedral, <a href="#Page_65">65</a>.<br />
+<br />
+<i>Pastoral</i>, <a href="#Page_24">24</a>.<br />
+<br />
+<i>Pavonia</i>, <a href="#Page_17">17</a>.<br />
+<br />
+<i>Pencil Drawings, Two Early</i>, illus., <a href="#twoearly">6</a>.<br />
+<br />
+<i>Pencil Study, A</i>, illus., <a href="#pencil">16</a>.<br />
+<br />
+<i>Persephone, Return of</i>, <a href="#Page_49">49</a>, <a href="#Page_59">59</a>;<br />
+<span style="margin-left: 1em;"><i>Studies for</i>, illus., <a href="#persestudy">60</a>.</span><br />
+<br />
+<i>Perseus</i> (clay model), <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#perseus">68</a>.</span><br />
+<br />
+<i>Perseus and Andromeda</i>, <a href="#Page_49">49</a>, <a href="#Page_59">59</a>, <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;"><i>Study for</i>, illus., <a href="#perseusstudy">58</a>.</span><br />
+<br />
+<i>Persian Pedlar</i>, A, <a href="#Page_9">9</a>.<br />
+<br />
+Petrarch, Leighton on, <a href="#Page_81">81</a>.<br />
+<br />
+<i>Ph&oelig;be</i>, <a href="#Page_46">46</a>.<br />
+<br />
+<i>Ph&oelig;nicians bartering with Britons</i>, <a href="#Page_51">51</a>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#britons">66</a>.</span><br />
+<br />
+<i>Phryne at Eleusis</i>, <a href="#Page_44">44</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#phryne">42</a>.</span><br />
+<br />
+<i>Pisano, Niccol&ograve;</i> (mosaic), <a href="#Page_67">67</a>.<br />
+<br />
+<i>Plague at Florence, The</i>, <a href="#Page_8">8</a>, <a href="#Page_90">90</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#plague">8</a>.</span><br />
+<br />
+Powers, Hiram, <a href="#Page_5">5</a>.<br />
+<br />
+Poynter, Sir E. J., and Leighton, <a href="#Page_66">66</a>, <a href="#Page_116">116</a>.<br />
+<br />
+Pre-Raphaelites, the, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>.<br />
+<br />
+<i>Primrose, The Lady Sybil</i>, <a href="#Page_46">46</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#primrose">46</a>.</span><br />
+<br />
+<i>Psamathe</i>, <a href="#Page_41">41</a>.<br />
+<br />
+<br />
+<i>Ralli, Mrs. Augustus</i>, <a href="#Page_43">43</a>.<br />
+<br />
+Raphael, Leighton on, <a href="#Page_81">81</a>.<br />
+<br />
+<i>Red Mountains Desert, Cairo</i>, illus., <a href="#reddesert">136</a>.<br />
+<br />
+<i>Return of Persephone, The</i>, <a href="#Page_49">49</a>, <a href="#Page_59">59</a>;<br />
+<span style="margin-left: 1em;"><i>Studies for</i>, illus., <a href="#persestudy">60</a>.</span><br />
+<br />
+<i>Rizpah</i>, <a href="#Page_50">50</a>, <a href="#Page_59">59</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#rizpah">52</a>.</span><br />
+<br />
+Roman Art, Leighton on, <a href="#Page_78">78</a>.<br />
+<br />
+<i>Roman Lady, A</i>, <a href="#Page_17">17</a>.<br />
+<br />
+Romano Giulio, Leighton on, <a href="#Page_79">79</a>.<br />
+<br />
+Rome, Leighton at, <a href="#Page_3">3</a>, <a href="#Page_9">9-11</a>.<br />
+<br />
+<i>Romeo, The Dead</i>, illus., <a href="#romeo">14</a>.<br />
+<br />
+<i>Romeo and Juliet</i>, <a href="#Page_90">90</a>.<br />
+<br />
+"Romola" illustrations, <a href="#Page_69">69</a>.<br />
+<br />
+Rossetti, D. G., <a href="#Page_10">10</a>, <a href="#Page_13">13</a>;<br />
+<span style="margin-left: 1em;">works by, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>;</span><br />
+<span style="margin-left: 1em;">on Leighton, <a href="#Page_11">11</a>, <a href="#Page_19">19</a>, <a href="#Page_106">106</a>.</span><br />
+<br />
+Rossetti, W. M., on Leighton, <a href="#Page_109">109</a>, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>.<br />
+<br />
+Royal Exchange, decoration at, <a href="#Page_51">51</a>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#cupid">66</a>.</span><br />
+<br />
+<i>Rubinella</i>, <a href="#Page_42">42</a>.<br />
+<br />
+Ruskin on Leighton, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_17">17</a>, <a href="#Page_33">33</a>, <a href="#Page_103">103</a>, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>.<br />
+<br />
+<i>Rustic Music</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<i>Ryan, Edward</i>, <a href="#Page_31">31</a>.<br />
+<br />
+<br />
+<i>St. Jerome</i>, <a href="#Page_26">26</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#jerome">26</a>.</span><br />
+<br />
+<i>St. Marks, In</i>, <a href="#Page_23">23</a>.<br />
+<br />
+St. Paul's, Design for proposed decoration of, <a href="#Page_44">44</a>, <a href="#Page_49">49</a>, <a href="#Page_66">66</a>.<br />
+<br />
+<i>Salome</i>, <a href="#Page_15">15</a>.<br />
+<br />
+<i>Samson and Delilah</i>, <a href="#Page_18">18</a>.<br />
+<br />
+<i>Samson and the Lion</i>, illus., <a href="#samsonlion">70</a>.<br />
+<br />
+<i>Samson at the Mill</i>, <a href="#Page_69">69</a>.<br />
+<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span><br />
+<i>Samson carrying the Gates</i>, illus., <a href="#samsongate">70</a>.<br />
+<br />
+Sand, George, <a href="#Page_11">11</a>.<br />
+<br />
+Sartoris, Mrs. Algernon, <i>Portrait of</i>, <a href="#Page_43">43</a>;<br />
+<span style="margin-left: 1em;">illustration by Leighton to her "Week in a French Country House," <a href="#Page_69">69</a>.</span><br />
+<br />
+Sculpture, <a href="#Page_36">36</a>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#athlete">68</a>, <a href="#medallion">130</a>.</span><br />
+<br />
+<i>Sea Echoes</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<i>Sea gave up the Dead, And the</i>, <a href="#Page_49">49</a>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#thesea">50</a>.</span><br />
+<br />
+<i>Serafina</i>, <a href="#Page_38">38</a>.<br />
+<br />
+"<i>Serenely Wandering</i>," illus., <a href="#serene">128</a>.<br />
+<br />
+Servolini, <a href="#Page_5">5</a>.<br />
+<br />
+<i>Sibyl</i>, <a href="#Page_48">48</a>, <a href="#Page_54">54</a>, <a href="#Page_58">58</a>.<br />
+<br />
+<i>Sim&aelig;tha the Sorceress</i>, <a href="#Page_47">47</a>.<br />
+<br />
+<i>Sisters</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<i>Sister's Kiss</i>, <a href="#Page_41">41</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#sister">40</a>.</span><br />
+<br />
+Sizeranne, M. de la, on Leighton, <a href="#Page_113">113</a>.<br />
+<br />
+<i>Sluggard, The</i>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;"><i>Study for</i>, illus., <a href="#sluggard">68</a>.</span><br />
+<br />
+<i>Solitude</i>, <a href="#Page_49">49</a>;<br />
+<span style="margin-left: 1em;"><i>Study for</i>, illus., <a href="#solitude">58</a>.</span><br />
+<br />
+South Kensington, drawings on wood at, <a href="#Page_69">69</a>;<br />
+<span style="margin-left: 1em;">frescoes, <a href="#Page_32">32</a>, <a href="#Page_63">63-66</a>;</span><br />
+<span style="margin-left: 1em;">mosaic, <a href="#Page_67">67</a>.</span><br />
+<br />
+Spain, Leighton on the Art of, <a href="#Page_82">82</a>, <a href="#Page_83">83</a>.<br />
+<br />
+Spielmann, Mr. M. H., on Leighton, <a href="#Page_46">46</a>, <a href="#Page_48">48</a>, <a href="#Page_54">54-58</a>.<br />
+<br />
+<i>Spies' Escape, The</i>, <a href="#Page_69">69</a>.<br />
+<br />
+<i>Spirit of the Summit, The</i>, <a href="#Page_51">51</a>, <a href="#Page_60">60</a>, <a href="#Page_113">113</a>.<br />
+<br />
+<i>Star of Bethlehem, The</i>, <a href="#Page_20">20</a>, <a href="#Page_109">109</a>, <a href="#Page_123">123</a>.<br />
+<br />
+Steinle, Johann Eduard, <a href="#Page_6">6</a>, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>.<br />
+<br />
+Stephens, F. G., on the Hogarth Club, <a href="#Page_17">17</a>.<br />
+<br />
+Studies, collection of Leighton's, <a href="#Page_62">62</a>.<br />
+<br />
+Studies in oil, list of, <a href="#Page_132">132-136</a>.<br />
+<br />
+<i>Studies of Heads</i>, <a href="#Page_38">38</a>, <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#romeo">14</a>, <a href="#head1">74</a>, <a href="#head2">76</a>, <a href="#head3">78</a>, <a href="#head4">80</a>, <a href="#head5">82</a>.</span><br />
+<br />
+<i>Study</i> (little girl in Eastern Garb), <a href="#Page_37">37</a>.<br />
+<br />
+<i>Study A</i> (Grosvenor Gallery, 1877), <a href="#Page_37">37</a>;<br />
+<span style="margin-left: 1em;">(Academy, 1878), <a href="#Page_38">38</a>;</span><br />
+<span style="margin-left: 1em;">(Grosvenor Gallery, 1885), <a href="#Page_46">46</a>.</span><br />
+<br />
+<i>Summer Moon</i>, <a href="#Page_31">31</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#summer">30</a>.</span><br />
+<br />
+<i>Summer Slumber</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Sun Gleams</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<i>Sunny Hours</i>, <a href="#Page_17">17</a>.<br />
+<br />
+<i>Syracusan Bride</i>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_34">34</a>, <a href="#Page_47">47</a>.<br />
+<br />
+<br />
+Tate Gallery, The, <a href="#Page_36">36</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>.<br />
+<br />
+<i>Teresina</i>, <a href="#Page_35">35</a>.<br />
+<br />
+Thackeray on Leighton, <a href="#Page_9">9</a>.<br />
+<br />
+<i>Tragic Poetess</i>, <a href="#Page_49">49</a>.<br />
+<br />
+<i>Triumph of Music, The</i>, <a href="#Page_15">15</a>, <a href="#Page_107">107</a>.<br />
+<br />
+<i>'Twixt Hope and Fear</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<br />
+Velasquez, Diego, Leighton on, <a href="#Page_83">83</a>.<br />
+<br />
+<i>Venus Disrobing</i>, <a href="#Page_25">25</a>, <a href="#Page_110"><ins class="correction" title="original reads '160'">110</ins></a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#disrobing">24</a>.</span><br />
+<br />
+<i>Vestal</i>, <a href="#Page_44">44</a>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Viola</i>, <a href="#Page_43">43</a>.<br />
+<br />
+Volumnus Violens, tomb of, Leighton on, <a href="#Page_77">77</a>.<br />
+<br />
+<br />
+<i>Walker, John Hanson</i>, <a href="#Page_19">19</a>.<br />
+<br />
+Watteau, Leighton on, <a href="#Page_84">84</a>.<br />
+<br />
+Watts, G. F., <a href="#Page_14">14</a>;<br />
+<span style="margin-left: 1em;">pictures by, <a href="#Page_91">91</a>;</span><br />
+<span style="margin-left: 1em;">portraits of Leighton, <a href="#Page_42">42</a>, <a href="#Page_90">90</a>;</span><br />
+<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span><span style="margin-left: 1em;">method compared with Leighton's, <a href="#Page_55">55</a>;</span><br />
+<span style="margin-left: 1em;">on Leighton, <a href="#Page_116">116</a>.</span><br />
+<br />
+<i>Weaving the Wreath</i>, <a href="#Page_32">32</a>.<br />
+<br />
+<i>Wedded</i>, <a href="#Page_43">43</a>.<br />
+<br />
+<i>Whispers</i>, <a href="#Page_43">43</a>.<br />
+<br />
+<i>Widow's Prayer, The</i>, <a href="#Page_23">23</a>.<br />
+<br />
+<i>Winding the Skein</i>, <a href="#Page_37">37</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">photogravure, <a href="#skein"><i>Front</i></a>.</span><br />
+<br />
+<i>Wise and Foolish Virgins, The</i>, <a href="#Page_24">24</a>, <a href="#Page_64">64</a>.<br />
+<br />
+<br />
+<i>Zeyra</i>, <a href="#Page_43">43</a>.</p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<h4>CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.<br />
+TOOKS COURT, CHANCERY LANE, LONDON.</h4>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><b>Footnotes:</b></p>
+
+<p><a name="f1" id="f1" href="#f1.1">[1]</a> See pages <a href="#Page_103">103-114</a>.</p>
+
+<p><a name="f2" id="f2" href="#f2.1">[2]</a> Letter to William Allingham, May 10th, 1861.</p>
+
+<p><a name="f3" id="f3" href="#f3.1">[3]</a> "Athen&aelig;um," April, 1864.</p>
+
+<p><a name="f4" id="f4" href="#f4.1">[4]</a> The original title of this picture was <i>Eastern Slinger scaring Birds in Harvest-time: Moonrise</i>. See Illustration at p. <a href="#Page_113">112</a>.</p>
+
+<p><a name="f5" id="f5" href="#f5.1">[5]</a> This picture was re-sold at Christie's in 1892 for 3,750 guineas.</p>
+
+<p><a name="f6" id="f6" href="#f6.1">[6]</a> Sometimes entitled <i>An Athlete strangling a Python</i>.</p>
+
+<p><a name="f7" id="f7" href="#f7.1">[7]</a> At page <a href="#Page_63">62</a>.</p>
+
+<p><a name="f8" id="f8" href="#f8.1">[8]</a> Engraved in the "Magazine of Art," March, 1896.</p>
+
+<p><a name="f9" id="f9" href="#f9.1">[9]</a> "Current Art" ("Magazine of Art," May, 1889).</p>
+
+<p><a name="f10" id="f10" href="#f10.1">[10]</a> "The Studio," vol. iii.</p>
+
+<p><a name="f11" id="f11" href="#f11.1">[11]</a> Reproductions of both of these drawings are given at p. <a href="#Page_18">18</a>.</p>
+
+<p><a name="f12" id="f12" href="#f12.1">[12]</a> "Letters of Dante Gabriel Rossetti to William Allingham," by George Birkbeck Hill, D.C.L., LL.D. London, T. Fisher Unwin, 1897.</p>
+
+<p><a name="f13" id="f13" href="#f13.1">[13]</a> "La Peinture Anglaise Contemporaine" (Paris, Hachette, 1895).</p>
+
+<p><a name="f14" id="f14" href="#f14.1">[14]</a> "Magazine of Art," March, 1896, p. 197.</p>
+
+<p><a name="f15" id="f15" href="#f15.1">[15]</a> The asterisk denotes works exhibited at the Winter Exhibition of the Royal Academy of Arts, 1897.</p>
+
+<p><a name="f16" id="f16" href="#f16.1">[16]</a> R.A., Royal Academy; G.G., Grosvenor Gallery; R.W.S., Royal Society
+of Painters in Water-Colours; S.S., Royal Society of British Artists, Suffolk Street; D.G., Dudley Gallery; S.P.P., Society of Portrait Painters.</p>
+
+<p><a name="f17" id="f17" href="#f17.1">[17]</a> Exhibited in the Roman Section, by some blunder of the Committee; the picture having been painted in Rome.</p>
+
+<p><a name="f18" id="f18" href="#f18.1">[18]</a> Purchased for &pound;2,000 by the President and Council of the Royal Academy, under the terms of the Chantrey Bequest.</p>
+
+<p><a name="f19" id="f19" href="#f19.1">[19]</a> Painted by invitation for the Collection of Portraits of Artists painted by themselves in the Uffizi Gallery, Florence.</p>
+
+<p><a name="f20" id="f20" href="#f20.1">[20]</a> Painted for the house of Mr. Murquand, New York.</p>
+
+<p><a name="f21" id="f21" href="#f21.1">[21]</a> Purchased for 1,000 guineas by the President and Council of the Royal Academy, under the terms of the Chantrey Bequest.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><b>Transcriber's note:</b></p>
+<p>Additional spacing after some of the quotes is intentional to indicate both the end of a quotation and the beginning of a new paragraph as presented in the original text.</p>
+<p>In the original text, the images are not on numbered pages. For this e-text. the images have been moved to the end of the nearest paragraph, and the links are to the images, not to the page references.</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 30262 ***</div>
+</body>
+</html>
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #30262 (https://www.gutenberg.org/ebooks/30262)
diff --git a/old/30262-8.txt b/old/30262-8.txt
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+The Project Gutenberg eBook, Frederic Lord Leighton , by Ernest Rhys
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Frederic Lord Leighton 
+       An Illustrated Record of His Life and Work
+
+
+Author: Ernest Rhys
+
+
+
+Release Date: October 15, 2009  [eBook #30262]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK FREDERIC LORD LEIGHTON ***
+
+
+E-text prepared by Suzanne Lybarger, Jonathan Ingram, Stephanie Eason, and
+the Project Gutenberg Online Distributed Proofreading Team
+(http://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 30262-h.htm or 30262-h.zip:
+      (http://www.gutenberg.org/files/30262/30262-h/30262-h.htm)
+      or
+      (http://www.gutenberg.org/files/30262/30262-h.zip)
+
+
+
+
+
+FREDERIC LORD LEIGHTON
+
+Late President of the Royal Academy of Arts
+
+An Illustrated Record of His Life and Work
+
+by
+
+ERNEST RHYS
+
+
+
+
+
+
+
+[Illustration: _Winding the Skein._
+               _By permission of the Fine Art Society._
+               _F. Leighton. pinxt._
+               _Swan Electric Engraving Co. Sc._]
+
+
+George Bell & Sons
+
+London: George Bell & Sons
+1900
+
+First Published, super-royal, 4to, 1895.
+Second Edition, revised, colombier 8vo, 1898.
+Third Edition, revised, crown 8vo, 1900.
+
+
+
+
+Publishers' Note to Third Edition
+
+
+The reception given to previous editions of this work encourages the
+publishers to hope that a re-issue in a smaller form may be appreciated.
+The present volume is reprinted with a few alterations and corrections
+from the second edition published in 1898. A chapter on "Lord Leighton's
+House in 1900," by Mr. S. Pepys Cockerell, has been added.
+
+The publishers take the opportunity to repeat their acknowledgments of
+assistance most kindly given by numerous owners and admirers of the
+artist's work. By the gracious consent of H.M. the Queen, the _Cimabue_
+in the Buckingham Palace collection, is here reproduced. Especial thanks
+are also due to Lord Davey, Lord Hillingdon, Lord Rosebery, Mrs.
+Dyson-Perrins, the late Mr. Alfred Morrison, Sir Bernhard Samuelson, Lady
+Hallé, Mr. Alex. Henderson, Mr. Francis Reckitts, the late Sir Henry
+Tate, the Birmingham and Manchester Corporations, and the President and
+Council of the Royal Academy, who have kindly permitted the reproduction
+of pictures in their possession. To the late Lord Leighton himself the
+author and publishers have to acknowledge their indebtedness for a
+large number of studies and sketches, hitherto unpublished, as well as
+for his kind co-operation in the preparation of the volume. The author
+wishes also to record his thanks to Mr. M. H. Spielmann for permission
+to use his admirable account of the President's method of painting.
+
+By arrangement with the holders of several important copyrights,
+including Messrs. Thos. Agnew and Sons, P. and D. Colnaghi and Co.,
+H. Graves and Co., Arthur Tooth and Sons, the Society for Promoting
+Christian Knowledge, the proprietors of the Art Journal, the Berlin
+Photographic Company, and the Fine Art Society (whose courtesies in the
+matter are duly credited in the list of illustrations), the publishers
+have been enabled to represent many of the most popular paintings by the
+artist, and a selection of his famous designs for Dalziel's Bible
+Gallery.
+
+
+
+
+Contents
+
+                                                                   PAGE
+
+   CHAPTER I. HIS EARLY YEARS                                         3
+
+          II. YEAR BY YEAR--1855 TO 1864                             12
+
+         III. YEAR BY YEAR--1864 TO 1869                             21
+
+          IV. YEAR BY YEAR--1870 TO 1878                             28
+
+           V. YEAR BY YEAR--1878 TO 1896                             39
+
+          VI. HIS METHOD OF PAINTING                                 54
+
+         VII. MURAL DECORATION, SCULPTURE, AND ILLUSTRATION          61
+
+        VIII. DISCOURSES ON ART                                      71
+
+          IX. LORD LEIGHTON'S HOME                                   88
+
+           X. LORD LEIGHTON'S HOUSE IN 1900. BY S. PEPYS COCKERELL   92
+
+          XI. THE ARTIST AND HIS CRITICS                            103
+
+         XII. CONCLUSION                                            115
+
+  APPENDIX I. CHRONOLOGICAL LIST OF WORKS                           121
+
+          II. LIST OF LANDSCAPES AND STUDIES SOLD AT CHRISTIE'S
+              (JULY, 1896)                                          132
+
+        INDEX                                                       137
+
+
+
+
+List of Illustrations
+
+
+I. FIGURE SUBJECTS.
+
+                                                                   PAGE
+
+  WINDING THE SKEIN                                      _Frontispiece_
+    _By permission of the Fine Art Society._
+    (_Photogravure plate._)
+
+  CIMABUE'S MADONNA                                                  10
+    _By the gracious permission of Her Majesty the Queen._
+
+  GOLDEN HOURS                                                       21
+    _By the kind permission of Lord Davey._
+
+  HELEN OF TROY                                                      22
+    _By permission of Messrs. H. Graves and Co._
+
+  ORPHEUS AND EURYDICE                                               22
+    _By the kind permission of Francis Reckitts, Esq._
+
+  VENUS DISROBING FOR THE BATH                                       24
+    _By the kind permission of Alexander Henderson, Esq._
+
+  ELECTRA AT THE TOMB OF AGAMEMNON                                   24
+
+  DÆDALUS AND ICARUS                                                 26
+    _By the kind permission of Alexander Henderson, Esq._
+
+  ST. JEROME                                                         26
+    _By the kind permission of the President and Council of
+    the Royal Academy of Arts._
+
+  HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS             30
+    _By the kind permission of Sir Bernhard Samuelson._
+
+  SUMMER MOON                                                        30
+    _By the kind permission of the late Alfred Morrison, Esq.,
+    from the photogravure published by Messrs. P. and D.
+    Colnaghi and Co._
+
+  THE JUGGLING GIRL                                                  32
+    _By the kind permission of Lord Hillingdon._
+
+  A CONDOTTIERE                                                      32
+    _By permission of the Corporation of Birmingham._
+
+  THE DAPHNEPHORIA                                                   34
+    _By permission of the Fine Art Society._
+
+  NAUSICAA                                                           38
+
+  SISTER'S KISS                                                      40
+    _By permission of the Fine Art Society._
+
+  PHRYNE AT ELEUSIS                                                  42
+    _By permission of the late Lord Leighton._
+
+  DAY DREAMS                                                         42
+    _By permission of the Fine Art Society._
+
+  CYMON AND IPHIGENIA                                                44
+    _By permission of the Fine Art Society._
+    (_Photogravure plate._)
+
+  THE LAST WATCH OF HERO                                             46
+    _By permission of the Corporation of Manchester._
+
+  GREEK GIRLS PLAYING AT BALL                                        48
+    _By permission of the Berlin Photographic Company._
+
+  THE BATH OF PSYCHE                                                 48
+    _By permission of the Berlin Photographic Company._
+
+  FAREWELL                                                           50
+    _By permission of Messrs. A. Tooth and Sons._
+
+  "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT"                    50
+    _By the kind permission of Sir Henry Tate._
+
+  THE FRIGIDARIUM                                                    50
+    _By permission of Messrs. H. Graves and Co._
+
+  RIZPAH                                                             52
+    _By permission of Messrs. Cassell and Co._
+
+  THE BRACELET                                                       52
+    _By permission of Messrs. T. Agnew and Sons._
+
+  FATIDICA                                                           52
+    _By permission of Messrs. T. Agnew and Sons._
+
+  A BACCHANTE                                                        54
+    _By permission of Messrs. H. Graves and Co._
+
+  HIT                                                                54
+    _By permission of the proprietors of the "Art Journal."_
+
+  EGYPTIAN SLINGER                                                  112
+    _By the kind permission of Lord Davey._
+
+  ELISHA AND THE SHUNAMITE'S SON                                    114
+    _By the kind permission of Mrs. Dyson-Perrins._
+
+  "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT"             128
+
+
+II. LANDSCAPES, ETC.
+
+  GARDEN AT GENERALIFE, GRANADA                                      28
+
+  MIMBAR OF THE GREAT MOSQUE AT DAMASCUS                             28
+
+  FOUNTAIN IN COURT AT DAMASCUS                                     132
+
+  THE ISLAND OF ÆGINA, PNYX IN THE FOREGROUND                       132
+
+  RUINED MOSQUE, BROUSSA                                            134
+
+  CITY OF TOMBS, ASSIOUT, EGYPT                                     134
+
+  ATHENS, WITH THE GENOESE TOWER, PNYX IN FOREGROUND                136
+
+  COAST OF ASIA MINOR SEEN FROM RHODES                              136
+
+  RED MOUNTAINS DESERT, CAIRO                                       136
+
+
+III. PORTRAITS.
+
+  PORTRAIT OF THE ARTIST. (In the Uffizi Gallery, Florence)           3
+
+  PORTRAIT OF THE HON. MABEL MILLS                                   36
+    _By the kind permission of Lady Hillingdon._
+
+  PORTRAIT OF CAPTAIN (SIR) RICHARD BURTON                           36
+
+  PORTRAIT OF SIGNOR COSTA                                           40
+
+  PORTRAIT OF THE LADY SYBIL PRIMROSE                                46
+    _By the kind permission of Lord Rosebery._
+
+
+IV. STUDIES AND SKETCHES.
+
+  TWO EARLY PENCIL STUDIES                                            6
+
+  SCHEME FOR A PICTURE, "THE PLAGUE IN FLORENCE"                      8
+
+  STUDY FOR A HEAD--"THE DEAD ROMEO"                                 14
+
+  A PENCIL STUDY                                                     16
+
+  A LEMON TREE. (A pencil study)                                     18
+
+  BYZANTINE WELL-HEAD. (A pencil study)                              18
+
+  STUDY FOR "THE DAPHNEPHORIA"                                       34
+
+  STUDY FOR "ELIJAH IN THE WILDERNESS"                               38
+
+  STUDY FOR "CAPTIVE ANDROMACHE" (nude)                              56
+
+  STUDY FOR A FIGURE IN "CAPTIVE ANDROMACHE"                         56
+
+  STUDY FOR "ANDROMACHE"                                             56
+
+  STUDY FOR "PERSEUS AND ANDROMEDA"                                  58
+
+  STUDY FOR A FIGURE IN "THE BATH OF PSYCHE"                         58
+
+  STUDY FOR "SOLITUDE"                                               58
+
+  STUDY FOR A FIGURE IN "THE RETURN OF PERSEPHONE"                   60
+
+  STUDY FOR "PERSEPHONE"                                             60
+
+  STUDIES FOR THE DECORATION OF THE CEILING OF A MUSIC ROOM          62
+
+  CAIN AND ABEL                  {                 }
+  MOSES VIEWS THE PROMISED LAND  { From Dalziel's  }
+  SAMSON AND THE LION            { "Bible Gallery" }                 70
+  SAMSON CARRYING OFF THE GATES  {                 }
+    _By permission of Messrs. J. S. Virtue and Co. and the
+    Society for Promoting Christian Knowledge._
+
+  "A CONTRAST"                                                       72
+
+  A STUDY IN OILS. (Head of a girl, back view)                       74
+
+  HEAD OF A YOUNG GIRL. (A Study in oils)                            76
+    _By the kind permission of Lady Hallé._
+
+  STUDY OF A HEAD                                                    78
+
+  STUDY OF A HEAD                                                    80
+
+  A STUDY IN OILS. (Head of a girl)                                  82
+
+
+V. FRESCOES, WALL PAINTINGS, ETC.
+
+  TWO FRIEZES--MUSIC, THE DANCE                                      44
+
+  DECORATION FOR THE CEILING OF A MUSIC ROOM                         62
+
+  THE INDUSTRIAL ARTS OF WAR. (From the fresco at South
+    Kensington Museum)                                               64
+
+  THE INDUSTRIAL ARTS OF PEACE. (From the fresco at South
+    Kensington Museum)                                               64
+
+  CUPID. (From a fresco)                                             66
+
+  PHOENICIANS BARTERING WITH BRITONS. (Panel in the Royal
+    Exchange)                                                        66
+
+
+VI. SCULPTURE.
+
+  AN ATHLETE STRUGGLING WITH A PYTHON. (Bronze statue, from
+    two points of view)                                              68
+
+  STUDY IN CLAY FOR "CYMON"                                          68
+
+  STUDY IN CLAY FOR "THE SLUGGARD"                                   68
+
+  STUDY IN CLAY FOR "PERSEUS"                                        68
+
+  STUDY IN CLAY FOR "ANDROMEDA"                                      68
+
+  DESIGN FOR REVERSE OF THE JUBILEE MEDALLION (1887)                130
+
+
+VII. LORD LEIGHTON'S HOUSE.
+
+  IN THE INNER HALL. (From a photograph taken specially
+    by Mr. James Hyatt)                                              88
+
+  IN THE ARAB HALL. (From a photograph by Messrs. Bedford,
+    Lemere, and Co.)                                                 96
+
+
+  BOOKPLATE OF LORD LEIGHTON. (Designed by R. Anning Bell)          120
+
+_With four exceptions all the reproductions are by the Swan
+Electric Engraving Company._
+
+
+
+
+FREDERIC LORD LEIGHTON, P.R.A.
+
+
+LIST OF DIGNITIES AND HONOURS CONFERRED
+ON FREDERIC LEIGHTON.
+
+Knighted, 1878; created a Baronet, 1886; created Baron Leighton of
+Stretton, 1896; elected Associate of the Royal Academy, 1864; Royal
+Academician, 1869; President of the Royal Academy, 1878; Hon. Mem. Royal
+Scottish Academy, and Royal Hibernian Academy, Associate of the
+Institute of France, President of the International Jury of Painting,
+Paris Exhibition, 1878; Hon. Member, Berlin Academy, 1886; also Member
+of the Royal Academy of Vienna, 1888, Belgium, 1886, of the Academy of
+St. Luke, Rome, and the Academies of Florence (1882), Turin, Genoa,
+Perugia, and Antwerp (1885); Hon. D.C.L., Oxford, 1879; Hon. LL.D.,
+Cambridge, 1879; Hon. LL.D., Edinburgh, 1884; Hon. D.Lit., Dublin, 1892;
+Hon. D.C.L., Durham, 1894; Hon. Fellow of Trinity College, London, 1876;
+Lieut.-Colonel of the 20th Middlesex (Artists') Rifle Volunteers, 1876
+to 1883 (resigned); then Hon. Colonel and holder of the Volunteer
+Decoration; Commander of the Legion of Honour, 1889; Commander of the
+Order of Leopold; Knight of the Prussian Order "pour le Mérite," and of
+the Coburg Order Dem Verdienste.
+
+
+
+
+[Illustration: PORTRAIT OF THE ARTIST (1881)
+              _Painted for the Uffizi Gallery_]
+
+
+
+
+FREDERIC LORD LEIGHTON, P.R.A.
+
+AN ILLUSTRATED CHRONICLE
+
+
+
+
+CHAPTER I
+
+HIS EARLY YEARS
+
+
+To Italy, at whose liberal well-head English Art has so often renewed
+itself, we turn naturally for an opening to this chronicle of a great
+English artist's career. Frederic Leighton was the painter of our time
+who strove hardest to keep alive an Italian ideal of beauty in London;
+therefore it is in Italy, the Italy of Raphael and Angelo and his
+favourite Giotteschi, that we must seek the true beginnings of his art.
+
+London made its first acquaintance with him and his painting in 1855,
+when the picture, _Cimabue's Madonna carried in Procession through the
+Streets of Florence_, startled the Royal Academy, and proved that a
+'prentice work could be in its way something of a masterpiece. This
+picture, the work of an unknown young artist of twenty-five, painted
+chiefly in Rome, showed at once a new force and a new quality, and in
+its singular feeling for certain of the archaic Italian schools, showed,
+too, where for the moment the sympathies of the painter really lay. How
+far the potentiality disclosed in it was developed during the forty
+years following, how far the ideals in art, which it seemed to declare,
+were pursued or departed from, the Royal Academy year by year is
+witness. Here, before we turn to consider the history of those later
+years, we shall find it interesting to use this first picture as an
+index to that period of probation, which is so often the most
+interesting part of an artist's history. In accounting for it, and
+finding out the determining experiences of the artist's pupilage, we
+shall account, also, for much that came after. Although Frankfort and
+Paris play their part, the formative influences of that early period, we
+shall find, carry us chiefly, and again and again, into Italy.
+
+Frederic Leighton was born on the 3rd of December, 1830, at Scarborough,
+the son of a medical practitioner. His father, Dr. Frederic Leighton,
+was also the son of a physician who was knighted for eminence in his
+profession. Thus we have two generations of medicine and culture in the
+family; but there is no sign of art, or love for art, before the third.
+This generation produced three children, all devoted to the graphic arts
+and to music, of whom the boy, Frederic was the eldest.
+
+A word or two more must be given to his forbears, on grounds of
+character and heredity, before we pass. Sir James Leighton, the
+grandfather, was Physician to the Court at St. Petersburg, where he
+served in succession Alexander the First, and Nicholas, with whom he was
+on terms of considerable intimacy. His son, Dr. Frederic Leighton, who
+promised to be a still more brilliant practioner, was educated at
+Stonyhurst, but after taking his M.D. degree at Edinburgh, just as he
+was rapidly acquiring the highest professional reputation, contracted a
+cold that led to a partial deafness. This made it impossible for him to
+go on practising with safety, and retiring to his study he turned from
+physical to metaphysical pursuits. In spite of his deafness, as severe
+an embargo on social reputation as can well be laid, Dr. Leighton is
+said to have been equally noted among his friends for his keen
+intellectual quality and his urbanity.
+
+To be the son of his father, then, counted for something in our hero's
+career. Even in art, which Dr. Leighton did not care for particularly,
+the boy had very great opportunities. Before he was ten years old, he
+went abroad with his mother, who was in ill health; and already he had
+shown such decided signs of the _furor pingendi_ during a chance visit
+to Mr. Lance's studio in Paris, that it is without surprise that we hear
+of him in 1840 as taking drawing lessons from Signor F. Meli, at Rome.
+During these early travels the boy's sketch books were full (we are
+told) of precociously clever things. The climacteric moment came early
+in his career. At Florence, in 1844, when he was fourteen, he delivered
+himself of a sort of boyish ultimatum to his father, who, after taking
+counsel of Hiram Powers, the American sculptor, wisely gave the boy his
+wish, and decided to let him be an artist. Powers when asked, "Shall I
+make him an artist?" exclaimed in no uncertain terms, "Sir, you have no
+choice in the matter, he is one already;" and on further question, the
+father being anxious about the boy's possibilities, said, "He may become
+as eminent as he pleases."
+
+Few art students of our time appear to have encountered more fortunate
+conditions, on the whole, than did Frederic Leighton in the years
+immediately following. The Florentine school of fifty years ago,
+however, was not the best for a beginner. It was full of mannerisms,
+which a boy of that age was sure to pick up, and exaggerate on his own
+account. At that time Bezzuoli and Servolini were the great lights and
+directors of the Academy of the Fine Arts, and they delighted,
+naturally, in so able and so apt a pupil; that he found it hard to shake
+off their teaching becomes evident later.
+
+Those who had the good fortune at any time to have heard Lord Leighton
+describe his early wanderings in Europe, must have been struck by the
+warmth of his tribute to Johann Eduard Steinle, the Frankfort master,
+who did more than any other to correct his style, and to decide the
+whole future bent of his art.
+
+Steinle, whose name is barely known to us in England, was one of that
+remarkable school of painters, called familiarly "the Nazarenes,"
+because of their religious range of subjects, who were inspired
+originally by Overbeck and Pfühler. Leighton in recent years described
+him as "an intensely fervent Catholic;" a man of most striking
+personality, and of most courtly manners, whose influence upon younger
+men was fairly magnetic. In the case of this particular pupil,
+certainly, his intervention was of most powerful effect. Religious in
+his methods, as well as in his sentiment of art, the florid
+insincerities and mannerisms of the Florentine Academy, as they were
+still to be seen in the young Leighton's work, found in him an admirable
+chastener, but it took many years of painfully hard work, lasting until
+1852, to undo the evil wrought by decadent Florence.
+
+Prior to this fortunate intercourse with Steinle, the student had an old
+acquaintance with Frankfort, which, like Florence, seemed destined to
+play a great part in his history. Before going to Florence, and deciding
+on his artistic career, in 1844, he had been sent to school in
+Frankfort. He returned there from Florence to resume his general
+education, and on leaving at seventeen, went for a year to the
+Städtelsches Institut.
+
+
+[Illustration: TWO EARLY PENCIL STUDIES]
+
+
+In 1848 he went to Brussels, and worked there for a time without any
+master, painting the first picture that deserves to be remembered.
+Characteristically enough, this depicted _Cimabue finding Giotto in the
+fields of Florence_. The shepherd boy is engaged in drawing the figure
+of a lamb upon a smooth rock, using a piece of coal for pencil; an
+admirable and precocious piece of work. At the time it was first shown
+it was considered especially good in its harmonious and original
+colouring, nor did a sight of it in 1896 at the Winter Exhibition of the
+Royal Academy contradict the generous verdict of contemporary critics.
+At Brussels he painted a portrait of himself, a notable thing of its
+kind, wherein we see a slight, dark youth, with a face of much charm and
+distinction, whose features one easily sees to be like those of later
+portraits. Then, immediately before the return to Frankfort, and the
+studying there, under Steinle, Leighton spent some months in Paris,
+working in an atelier in the Rue Richer.
+
+The conditions of this most informal of life-schools were such as Henri
+Murger, who was alive and writing at the time, might have approved, but
+were hardly to be called educative in any higher sense. The only master
+that these Bohemians could boast was a very invertebrate old artist, who
+seems to have been the soul of politeness and irresponsibility, and who
+accompanied every weak criticism with the deprecatory conclusion, "Voilà
+mon opinion!"
+
+"M. Voilà mon opinion!" is a type not unknown otherwhere than in that
+Paris atelier. A fine alterative the student must have found the severe
+and stringent tonics that Steinle prescribed immediately afterwards in
+Frankfort.
+
+In the admirable monograph on "Sir Frederic Leighton" by Mrs. Andrew
+Lang, from which we have drawn on occasion in these pages, an
+interesting account is given of an exploit at Darmstadt, in which the
+young artist took a chief part. An artists' festival was to be held
+there, and Sir Frederic and one of his fellow-students, Signor Gamba,
+took it into their heads to paint a picture for the occasion on the
+walls of an old ruined castle near the town. The design was speedily
+sketched after the most approved mediæval fashion, and no time was lost
+in executing the work. "The subject was a knight standing on the
+threshold of the castle, welcoming the guests, while in the centre of
+the picture was Spring, receiving the representatives of the three arts,
+all of them caricatures of well-known figures. In one corner were the
+two young artists themselves, surveying the pageant. The Schloss where
+this piece was painted is still in existence, and the Grand Duke has
+lately erected a wooden roof over the painting, to preserve it from
+destruction."
+
+Before leaving Frankfort, Leighton had already interested Steinle in his
+projected picture of _Cimabue's Madonna_, and the design for it was made
+under Steinle's direction. Under his direct influence, too, and inspired
+by Boccaccio, another Florentine picture--a cartoon of its great
+plague--was painted. In speaking of the dramatic treatment of its
+subject, Mrs. Lang describes "the contrast between the merry revellers
+on one side of the picture and the death-cart and its pile of corpses on
+the other, while in the centre is the link between the two--a
+terror-stricken woman attempting to escape with her baby from the
+pestilence-stricken city. We shall look in vain among the President's
+later works for any picture with a similar _motif_. In general he shared
+Plato's opinion--that violent passions are unsuitable subjects for art;
+not so much because the sight of them is degrading, as because what is
+at once hideous and transitory in its nature should not be
+perpetuated."
+
+
+[Illustration: SCHEME FOR A PICTURE: THE PLAGUE IN FLORENCE]
+
+
+We have seen how the spirit and sentiment of Italy continually remained
+by the artist in his German studio, and how in Frankfort his artistic
+imagination returned again and again to Florence, and to the early
+Florentines of his particular adoration--Cimabue and Giotto. The recall
+to Italy came inevitably, as Steinle's teaching at last had fully worked
+its purpose. Steinle himself counselled the move, and gave his favourite
+pupil an introduction to Cornelius in Rome. It was to Rome, therefore,
+and not to Florence, that the young artist went--to Rome where sooner or
+later the steps of all men who work for art or for religion tend, and
+where so few stay. This was in 1852, the year which was represented in
+the Commemorative Exhibition at Burlington House by _A Persian Pedlar_,
+a small full-length figure of a man in Oriental costume, seated
+cross-legged on a divan, with a long pipe in his hand. To 1853 belongs a
+_Portrait of Miss Laing_ (Lady Nias), which was shown again at the same
+time.
+
+The Rome of the mid-century was Rome at its best, with much artistic
+stimulus of the present, as well as of the past. The English colony was
+particularly strong. Thackeray was there, moving about after his wont in
+the studios and salons; the Brownings were there, and in their prime.
+The young painter and his work, including the _Cimabue's Madonna_ in its
+earlier stages, made a great impression on Thackeray, who turned prophet
+for once on the strength of it. On returning to London and meeting
+Millais, he prophesied gaily to that ardent Pre-Raphaelite, then
+marching on from success to success: "Millais! my boy, I have met in
+Rome a versatile young dog called Leighton, who will one of these days
+run you hard for the presidentship!" This was early days for such a
+rumour to reach the Academy, who knew an older school, represented by
+Landseer and Eastlake, and a younger school, represented by Millais and
+Rossetti, but as yet knew not Leighton.
+
+Among the leading artists in Rome at this time, beside Cornelius, were
+the two French painters, Bouguereau and Gerome. To these, especially to
+Bouguereau, who was a great believer in "scientific composition,"
+Leighton was, on his own testimony, largely indebted for his fine sense
+of form. Yet another famous Frenchman, Robert Fleury, whom he afterwards
+met in Paris, may be mentioned here, since from him he learnt much in
+the way of colouring, and the technique of his art.
+
+Turning from the painters to the poets, it was at Rome that Robert
+Browning, who was at this time writing his "Men and Women," formed close
+acquaintance with the young artist. Something of the atmosphere which
+permeates such poems as "Bishop Blougram's Apology," "Andrea del Sarto,"
+and others of the same series, seems to linger yet in the record of
+those early meetings of poets and painters, with all their associations:
+
+                            "The Vatican,
+  Greek busts, Venetian paintings, Roman walls,
+  And English books."
+
+
+One easily supposes Browning speaking through his Bishop Blougram, as,
+it is said, he was heard to speak in those days in praise of Correggio,
+to whose qualities, Ruskin tells us, Sir Frederic Leighton curiously
+approximates:
+
+  "'Twere pleasant could Correggio's fleeting glow
+  Hang full in face of one where'er one roams,
+  Since he more than the others brings with him
+  Italy's self--the marvellous Modenese!"
+
+Italy's self, in truth, Frederic Leighton, like Browning in poetry,
+did not fail to bring with him, and revived for us for many years, by
+his art and southern glow of colour, in the gray heart of London.
+
+
+[Illustration: CIMABUE'S MADONNA CARRIED IN PROCESSION THROUGH THE STREETS
+OF FLORENCE (1855)]
+
+
+Among other people whom Leighton met in Rome were George Sand, Mrs.
+Kemble, George Mason the painter, of _Harvest Moon_ fame, Gibson the
+sculptor, and Lord Lyons. Like Robert Browning, let us add, he was
+readily responsive to the quickening of his contemporaries, and
+vigorously studied the present in order that he might the better paint
+the past, and put live souls into the archaic raiment of Cimabue and old
+Florence.
+
+He was working hard all this while, with a devotion and concentration
+that impressed other friends beside Thackeray, upon his picture of
+_Cimabue's Madonna_, which was exhibited in the Academy of 1855, and as
+the work of an unknown hand made a distinct sensation. It was discussed,
+angrily by some, delightedly by others. The criticism which Rossetti,
+Mr. Ruskin, and other critics bestowed upon it in the press or in
+private correspondence[1] will come more fitly into our later pages,
+when we turn to deal with contemporary opinions upon Leighton's work.
+Enough to say here that it won fame for the artist at a stroke. The
+Queen bought it for £600, having bespoken it, I believe, before it left
+his studio, and hung it eventually in Buckingham Palace. With this
+encouraging first great success, the probationary stage of our artist's
+history may be said to close.
+
+
+
+
+CHAPTER II
+
+YEAR BY YEAR--1855 TO 1864
+
+
+The Academy of forty years ago was very different from that we know
+to-day. It was held in the left wing of the National Gallery, and had
+not nearly so much space at its disposal as it has in its present
+quarters at Burlington House. The exhibition of 1855 contained few
+pictures, compared with the multitudinous items of the present shows.
+
+Generally speaking, the exhibition was of a heavier, more Georgian
+aspect, in spite of certain Pre-Raphaelite experiments and other signs
+of the coming of a younger generation. Sir Charles Eastlake was
+President. Professor Hart was delivering lectures to its students, full
+of academic, respectable intelligence, if little more; lectures which
+those who are curious may find reported in full in the "Athenæum" of
+that time.
+
+More interesting was the appearance of Mr. Ruskin as commentator on the
+pictures of the Academy in this year, the first in which he issued his
+characteristic "Academy Notes." His long, and, all things considered,
+remarkably appreciative criticism of the _Cimabue's Madonna_ we discuss
+elsewhere (p. 103). Of another picture of Italy by a very different
+painter, which was considered a masterpiece by some critics, we find him
+speaking in terms of monition: "Is it altogether too late to warn him
+that he is fast becoming nothing more than an Academician?" The one
+picture of the year, according to Mr. Ruskin, was the _Rescue_, by
+Millais. "It is the only great picture exhibited this year," he writes,
+"but this is very great." For the rest, _A Scene from As You Like It_,
+by Maclise; another Shakespearean subject, the inevitable _Lear and
+Cordelia_, by Herbert; and a _Beatrice_ by the then President, and we
+have recalled everything that served to give the Academy of that year
+its distinction in the eyes of contemporary critics. Sir Edwin Landseer,
+who to the outer world was the one great fact in the art of the time,
+does not appear to have exhibited in 1855.
+
+Looking back now to that date, what one discerns chiefly is the
+emergence of the Pre-Raphaelites from the more conventional multitude
+that were taking up the artistic traditions of the first half of the
+century. Millais, Rossetti, Holman Hunt, and their associates, count to
+us, to-day, as the representatives of an earlier generation; in 1855
+they still stood for all that was daring, unprecedented, and adventurous
+in their art.
+
+This newcomer, with his _Cimabue's Madonna_ in a new style, puzzled the
+critics considerably. They did not know quite how to allot him in their
+casual division of contemporary schools. "Landseer and Maclise we know;
+and Millais and Holman Hunt; but who is Leighton?" was the tenor of
+their commentary.
+
+Meanwhile an event of great significance to English Art in this year was
+happening--an exhibition of English pictures in Paris, the first of its
+kind. This beginning of such international exchanges was important; it
+has led up to many striking modifications of both English and French
+schools since that date. It is curious that it should coincide with the
+awakening to certain other foreign influences: that of the early Italian
+school upon the Pre-Raphaelites, and that of the later Italian,
+popularly known as "the classic school," upon Leighton and Mr. G. F.
+Watts.
+
+Of this exhibition of English pictures, which was held in the Avenue
+Montaigne, M. Ernest Chesneau, a critic very sympathetic to English art,
+tells us, in his admirable book on the "English School of Painting,"
+that "for the French it was a revelation of a style and a school of the
+very existence of which they had hitherto had no idea; and whether owing
+to its novelty, or the surprise it occasioned, or, indeed, to its real
+merit, whatever may have been the true cause, most certain it is that
+the English, until then little thought of and almost unknown abroad,
+obtained in France a great success."
+
+M. Chesneau, in going on to account further for the great impression
+made by the English painters in Paris, attributes it largely to the
+_singularity_ which, for foreign eyes, marks their work. It is curious,
+indeed, that French critics, and M. Chesneau among them, really admire
+this singularity, which they count distinctively British. They look for
+it in our pictures, and if they do not find it--as in the work of
+Leighton--they feel aggrieved.
+
+British eccentricity, whether thinking its way with the aid of genius
+into "Pre-Raphaelitism," or now again, with the aid of extreme
+cleverness and talent, into certain cruder forms of "impressionism," is
+sure of its effect. But an art like Leighton's, whose aim is beauty and
+not eccentricity, is apt to be slighted by both French and English
+critics, with some notable exceptions. Not all its grace, its classic
+quality, its beauty of line and distinction of treatment, avail it, when
+it comes into conflict with doctrinaire theories on the one hand, and a
+love for mere sensationalism on the other.
+
+
+[Illustration: THE DEAD ROMEO
+               A PENCIL STUDY]
+
+
+The success of his picture at the Academy, and the incidental
+lionizing of a season, did not tempt the artist to stay long in London,
+and he went to Paris, where he settled himself in a studio and proceeded
+to complete his _Triumph of Music_, and other pictures begun in Rome.
+
+By this time the painter's method might seem assured, but Paris was
+still able to add something to his style, with the aid of such masters
+as Fleury. English critics, who expected _The Triumph of Music_ to
+sustain the reputation won by _Cimabue's Madonna_, were
+disappointed--partly because Orpheus was represented as playing a
+violin, in place of the traditional lyre. To those who will examine and
+compare them more carefully, there is no such discrepancy. _The Triumph
+of Music: Orpheus by the power of his Art redeems his wife from Hades_,
+which is every whit as distinctive a performance as the _Cimabue's
+Madonna_ (as indeed it was conceived and painted largely under the same
+conditions), was nevertheless not a popular success. Certainly, it
+marks, as clearly as anything can, the sense of colour, the sense of
+form, the draughtsmanship, the immensely cultured eye and hand, first
+discovered to the English critics by its predecessor. It was sold after
+the painter's death.
+
+Of certain other works painted in 1856, 1857, and 1858, some of which
+never found their way to the Academy, little need be said. To this
+period belong two pictures painted in Paris, the one, _Pan_ under a
+fig-tree, with a quotation from Keats's "Endymion":
+
+                       "O thou, to whom
+  Broad-leaved fig-trees even now foredoom
+  Their ripened heritage,"
+
+and the other, a pendant to it, _A Nymph and Cupid_.
+
+_Salome, the Daughter of Herodias_, painted in 1857, but apparently not
+exhibited at the Academy, represents a small full-length figure in white
+drapery, with her arms above her head, which is crowned with flowers;
+behind her stands a female musician. Another, shown in 1858 at the Royal
+Academy, and again in the 1897 retrospective exhibition, was first
+entitled _The Fisherman and Syren_, and afterwards _The Mermaid_; it is
+a composition of two small full-length figures, a mermaid clasping a
+fisherman round the neck. The subject is taken from a ballad by Goethe:
+
+  "Half drew she him,
+  Half sunk he in,
+  And never more was seen."
+
+In the same year was a painting inspired by "Romeo and Juliet," entitled
+_Count Paris, accompanied by Friar Laurence, comes to the house of the
+Capulets to claim his bride; he finds Juliet stretched, apparently
+lifeless, on the bed_. The picture shows, in addition to the figures
+named in its former title, the father and mother of Juliet bending over
+their daughter's body, and through an opening beyond numerous figures at
+the foot of the staircase.
+
+The latter year marked the painter's return to London, where he entered
+more actively into its artistic life than he had done hitherto, and made
+closer acquaintance with the Pre-Raphaelites, who were already entering
+upon their second and maturer stage. To take Rossetti: it was in 1856
+that he made those five notable designs to illustrate "Poems by Alfred
+Tennyson," which Moxon and Co. published in the following year; an event
+that, for the first time, really introduced him to the public at large.
+To 1857, again, belongs Rossetti's _Blue Closet_ and _Damsel of the
+Sangrael_, both painted for Mr. W. Morris. And in 1857 and 1858, the
+famous and hapless distemper pictures on the walls of the Union Debating
+Society's room at Oxford, were engaging Rossetti and his associates,
+including Burne-Jones, William Morris, Mr. Val. Prinsep, Mr. Arthur
+Hughes, and Mr. Spencer Stanhope.
+
+
+[Illustration: A PENCIL STUDY]
+
+
+It was in the summer of 1858, Mr. F. G. Stephens tells us, that the
+original Hogarth Club was founded, of which the two Rossettis were
+prominent instigators,--one of the most notable of the many protestant
+societies that have sprung up at different times from a slightly
+anti-Academic bias. It is interesting to find that Leighton's famous
+_Lemon Tree_ drawing in silverpoint was exhibited here. The Hogarth Club
+held its meetings at 178, Piccadilly, in the first instance; removed
+afterwards to 6, Waterloo Place, Pall Mall, and finally dissolved, in
+1861, after existing for four seasons.
+
+To speak of other painters more or less associated with Rossetti and his
+school, Mr. Holman Hunt, whose _Light of the World_ had greatly struck
+Paris in 1855, exhibited his _Scapegoat_ at the Academy of 1856, a
+picture which called from Mr. Ruskin immense praise, and a
+characteristic protest: "I pray him to paint a few pictures with less
+feeling in them, and more handling." Of Millais we have already spoken.
+In 1856 he exhibited _The Child of the Regiment_, _Peace Concluded_, and
+_Autumn Leaves_.
+
+In 1859 Leighton showed three pictures at the Academy. One, _A Roman
+Lady_ (then called _La Nanna_), a half-length black-haired figure,
+facing the spectator, in Italian costume; another, now called _Nanna_,
+then entitled _Pavonia_, a half-length figure of a girl in Italian
+costume, with peacock's feathers in the background; and _Sunny Hours_,
+which seems to have escaped record so far. The same year saw another of
+his pictures, _Samson and Delilah_, exhibited at Suffolk Street.
+
+We must not pass by the famous _Study of a Lemon Tree_ (now at Oxford),
+mentioned above, without quoting the praise by Mr. Ruskin, which made it
+famous. Mr. Ruskin couples it with another drawing, both of which we
+have been fortunately able to reproduce in our pages. These "two perfect
+early drawings," he writes, "are of _A Lemon Tree_, and another of the
+same date, of _A Byzantine Well_, which determine for you without
+appeal, the question respecting necessity of delineation as the first
+skill of a painter. Of all our present masters Sir Frederic Leighton
+delights most in softly-blended colours, and his ideal of beauty is more
+nearly that of Correggio than any seen since Correggio's time. But you
+see by what precision of terminal outline he at first restrained, and
+exalted, his gift of beautiful _vaghezza_." The _Lemon Tree_ study, let
+us add, was drawn at Capri in the spring of 1859. Here, and elsewhere in
+the South of Europe, whither the artist returned, escaping from London
+at every opportunity, many other notable studies and drawings were made
+during this period. Some of these were employed long since for the
+backgrounds of pictures familiar to us all. Others, faithful studies of
+nature, small oil and water-colour drawings, chiefly landscape, were
+scarce known to the general public during the painter's life, but were
+eagerly competed for at the sale of his pictures in July, 1896.
+
+The little picture of _Capri at Sunrise_ was hung in the Academy of
+1860, the painter's only contribution of that year. In the year
+following, we find another small picture of Capri, together with five
+others, some of which played their part in winning for the artist his
+wider recognition.
+
+
+[Illustration: A LEMON TREE
+               A PENCIL STUDY]
+
+
+[Illustration: BYZANTINE WELL HEAD
+               A PENCIL STUDY]
+
+
+Meanwhile, the artist was drawing his London ties closer. In 1860 he
+took up his abode at 2, Orme Square, where he continued to reside until
+he built his famous house in Holland Park Road, some years later. His
+art did not for this reason become more like London, or more infected
+with that British singularity which some critics would seem to demand.
+On the contrary, Italy and the South, the glow of colour, the perfection
+of form, the plastic exquisiteness, which mark for us his mature
+performances, and which follow after classic ideals, were more and more
+clearly to be discerned in the remarkable cycle of pictures associated
+with this part of his career.
+
+In 1861 he painted portraits of his sister, _Mrs. Sutherland Orr_, and
+of _Mr. John Hanson Walker_, the former shown at the Academy, where also
+hung _Paolo e Francesca_, _A Dream_, _Lieder ohne Worte_, _J. A.--a
+Study_, and _Capri--Paganos_. Rossetti, writing of this exhibition,
+says: "Leighton might, as you say, have made a burst had not his
+pictures been ill-placed mostly--indeed, one of them (the only very good
+one, _Lieder ohne Worte_) is the only instance of very striking
+unfairness in the place."[2] In 1862 there were no fewer than six of the
+artist's pictures at the May exhibition of the Academy: the _Odalisque_,
+a very popular work, shows a draped female figure, in a very
+Leightonesque pose, with her arm above her head, leaning against a wall
+by the water. She holds a peacock's feather screen in her left hand,
+while a swan in the water at her feet cranes its head upwards towards
+her; _Michael Angelo nursing his dying Servant_, a group of two
+three-quarter length figures; the servant reclining in an armchair with
+his head resting against the shoulder of Michael Angelo--a fairly
+powerful but somewhat academic version of the incident--which looks at
+first glance like the work of a not very important "old master;" _The
+Star of Bethlehem_, showing one of the Magi on the terrace of his house
+looking at the strange star in the East, while below are indications of
+a revel he has just left. _Duett_, _Sisters_, _Sea Echoes_, and _Rustic
+Music_, also belong to this year.
+
+In 1863 he showed _Eucharis_, a half-length figure of a white-robed
+girl, with a basket of fruit on her head; _Jezebel and Ahab_; _A
+Cross-bow Man_; and _A Girl Feeding Peacocks_; with these we complete
+the list of his work as an outsider.
+
+
+
+
+[Illustration: GOLDEN HOURS (1864)]
+
+
+CHAPTER III
+
+YEAR BY YEAR--1864 TO 1869
+
+
+In 1864 Leighton was made an Associate of the Royal Academy. To its
+summer exhibition he contributed three pictures, showing great and
+various power in their composition. _Dante at Verona_, _Orpheus and
+Eurydice_, and _Golden Hours_. The first of these, one of the most
+remarkable pictures of our modern English school, in which "Dante"
+appears, is a large work, with figures something less than life-size. It
+illustrates the verses in the "Paradiso":
+
+                       "Thou shalt prove
+  How salt the savour is of others' bread;
+  How hard the passage, to descend and climb
+  By others' stairs. But that shall gall thee most
+  Will be the worthless and vile company
+  With whom thou must be thrown into the straits,
+  For all ungrateful, impious all and mad
+  Shall turn against thee."
+
+
+"Dante, in fulfilment of this prophecy, is seen descending the palace
+stairs of the Can Grande, at Verona, during his exile. He is dressed in
+sober grey and drab clothes, and contrasts strongly in his ascetic and
+suffering aspect with the gay revellers about him. The people are
+preparing for a festival, and splendidly and fantastically robed, some
+bringing wreaths of flowers. Bowing with mock reverence, a jester gibes
+at Dante. An indolent sentinel is seated at the porch, and looks on
+unconcernedly, his spear lying across his breast. A young man, probably
+acquainted with the writing of Dante, sympathises with him. In the
+centre and just before the feet of Dante, is a beautiful child,
+brilliantly dressed and crowned with flowers, and dragging along the
+floor a garland of bay leaves and flowers, while looking earnestly and
+innocently in the poet's face. Next come a pair of lovers, the lady
+looking at Dante with attention, the man heedless. The last wears a vest
+embroidered with eyes like those in a peacock's tail. A priest and a
+noble descend the stairs behind, jeering at Dante."[3]
+
+It was the _Golden Hours_ which, though perhaps less memorable and
+imaginative than the others, won the greatest popular success of the
+three, a success beyond anything that the artist had so far painted. As
+this picture is here reproduced, description is needless, except so far
+as regards the colour of the background, which is literally golden. The
+dress of the lady who leans upon the spinet is white, embroidered with
+flowers. The _Orpheus and Eurydice_ showed that the old friendship,
+formed originally in Rome, between the painter and Robert Browning, was
+maintained. Some of the poet's lines served as a text for the picture;
+and as they are little known we repeat them here:
+
+  "But give them me--the mouth, the eyes, the brow--
+  Let them once more absorb me! One look now
+  Will lap me round for ever, not to pass
+  Out of its light, though darkness lie beyond.
+  Hold me but safe again within the bond
+  Of one immortal look! All woe that was,
+  Forgotten, and all terror that may be,
+  Defied,--no past is mine, no future! look at me!"
+
+
+[Illustration: HELEN OF TROY (1865)
+               _By permission of Messrs. Henry Graves and Co._]
+
+
+[Illustration: ORPHEUS AND EURYDICE (1864)]
+
+
+To this year, also, belongs a portrait of _The late Miss Lavinia
+I'Anson_, a circular panel showing the sky for background. This was
+exhibited again in the winter Academy of 1897.
+
+In 1865 the artist showed once again his eclectic sympathies, by the
+variety of the subject-pictures that he sent to the Academy, ranging
+from _David_ to _Helen of Troy_.
+
+In his tenderly conceived _David_, the Psalmist is seen gazing at two
+doves in the sky above; he, sunk in a profound reverie, is seated upon a
+house-top overlooking some neighbouring hills. The whole is large in its
+handling and treatment, and in the simplicity of its drapery recalls
+several of the famous illustrations the artist contributed to Dalziel's
+Bible Gallery. It was exhibited with the quotation, "Oh, that I had
+wings like a dove! for then would I fly away and be at rest." With the
+delightful _Helen of Troy_ we are recalled to the third book of the
+Iliad, when Iris bids Helen go and see the general truce made pending
+the duel between Paris and Menelaus, of which she is to be the prize. So
+Helen, having summoned her maids and "shadowed her graces with white
+veils," rose and passed along the ramparts of Troy. In the picture the
+light falls on her shoulders and her hair, while her face and the whole
+of the front of her form are shadowed over, with somewhat mystical
+effect.
+
+To the same year belongs _In St. Mark's_, a picture of a lady with a
+child in her arms leaving the church, a lovely and finished study of
+colour; _The Widow's Prayer_; and _Mother and Child_, a graceful
+reminder of a gentler world than Helen's.
+
+In 1866 the critics had at last a work which seemed to them to follow
+the lines of the _Cimabue's Madonna_. This was the radiant and lovely
+picture of the _Syracusan Bride leading Wild Beasts in Procession to
+the Temple of Diana_. The composition of this remarkable painting
+deserves to be closely studied, for it is very characteristic of Sir
+Frederic Leighton's theories of art, and his conviction of the
+necessarily decorative effect of such works. A terrace of white marble,
+whose line is reflected and repeated by the line of white clouds in the
+sky painting above, affords the figures of the procession a delightful
+setting. The Syracusan bride leads a lioness, and these are followed by
+a train of maidens and wild beasts, the last reduced to a pictorial
+seemliness and decorative calm, very fortunate under the circumstances.
+The procession is seen approaching the door of the temple, and a statue
+of Diana serves as a last note in the ideal harmonies of form and colour
+to which the whole is attuned. As compared with the _Cimabue's Madonna_,
+it is a more finished piece of work, and the handling throughout is more
+assured. It was as much an advance, technically, upon that, as the
+_Daphnephoria_, which crowned the artist's third decade, was upon this.
+According to popular report, it was this picture of the _Syracusan
+Bride_ which decided his future election as a full member of the
+Academy; but as a matter of fact, it was in 1869 that this election took
+place. The picture, let us add, was suggested to the painter by a
+passage in the second Idyll of Theocritus: "And for her then many other
+wild beasts were going in procession round about, and among them a
+lioness." _The Painter's Honeymoon_ and a _Portrait of Mrs. James
+Guthrie_ were also exhibited this year; and the wall-painting of _The
+Wise and Foolish Virgins_, at Lyndhurst, in the New Forest, was executed
+during the summer.
+
+
+[Illustration: VENUS DISROBING FOR THE BATH (1867)]
+
+
+[Illustration: ELECTRA AT THE TOMB OF AGAMEMNON (1869)]
+
+
+In its next exhibition, that of 1867, the Academy held five pictures by
+the artist, including the delightful _Pastoral_, two small
+full-length figures standing in a landscape of a shepherd and a
+girl--whom he is teaching to play the pipes. This again might be
+considered a painter's translation from Theocritus, and the _Venus
+Disrobing for the Bath_, one of the most debated of all the artist's
+paintings of the nude. The paleness of the flesh-tint of this Venus
+aroused a criticism which has often been urged against his
+pictures--that such a hue was not in nature. In imparting an ideal
+effect to an ideal subject, Leighton always, however, followed his own
+conviction--that art has a law of its own, and a harmony of colour and
+form, derived and selected no doubt from natural loveliness, but not to
+be referred too closely to the natural, or to the average, in these
+things.
+
+To the 1868 Academy Leighton contributed another biblical theme,
+_Jonathan's Token to David_. With this were four others, as widely
+varying in subject and conception as need be desired. One was a very
+charming portrait of a very pretty woman, _Mrs. Frederick P. Cockerell_.
+Then follow three more in that cycle of classic subjects, of which the
+painter never tired. The full title of the first runs, _Ariadne abandoned
+by Theseus: Ariadne watches for his return: Artemis releases her by death_.
+In it the figure of Ariadne, clothed in white drapery, is seen lying on a
+rocky promontory overlooking the sea. _Acme and Septimius_ is a circular
+picture, with two small full-length figures reclining on a marble bench.
+This extract from Sir Theodore Martin's translation of Catullus was
+appended to its title in the catalogue:
+
+  "Then bending gently back her head,
+  With that sweet mouth so rosy red,
+  Upon his eyes she dropped a kiss,
+  Intoxicating him with bliss."
+
+A love song on canvas, a pictorial transcript from Catullus, it was
+perhaps the most popular picture of the year. The last of the three was
+_Actæa, the Nymph of the Shore_. It represents a small full-length nude
+figure lying on white drapery by the sea-shore. Actæa is a lovely
+figure, full of that grace which Leighton so well knew how to impart to
+his idealized figures.
+
+After this year, at any rate, there could be no longer any doubt but
+that the artist's power really lay in the creation of ideal forms;
+whether presented in monomime or combined in poetic and decorative
+groups, called up from the wonderful limbo of classic myth and history.
+
+With 1869 came _Electra at the Tomb of Agamemnon_, a memorable picture,
+full of characteristic effects of colour and composition, and a notable
+exercise in the grand style. This work, considered from any side, must
+be seen to be the outcome of a unique faculty, so unprecedented in
+English art as to run every risk of misconception that native
+predilections could impose upon those who stopped to criticise it. The
+figure of Electra clad in black drapery offered a problem of peculiar
+difficulty.
+
+Another painting shown this year was _Dædalus and Icarus_, a strikingly
+conceived picture. The two figures are singularly noble conceptions of
+the idealized nude; the drapery at the back of Icarus is typical of the
+painter in every fold, while the landscape seen far below the stone
+platform on which the figures stand, shows a bay of the blue Ægean sea
+in full sidelight, with a lovely glimpse of the white walls of a distant
+town.
+
+The same exhibition of 1869 saw, also, the vigorously painted diploma
+picture, _St. Jerome_, which marked his election as R.A. In it the
+saint, nude to the waist, kneels with uplifted arms at the foot of a
+crucifix, his lion seen in the background. _Helios and Rhodos_,
+another painting exhibited at the same time, shows Helios descending
+from his chariot, which is in a cloud above, to embrace the nymph
+Rhodos, who has risen from the sea.
+
+
+[Illustration: DÆDALUS AND ICARUS (1869)]
+
+
+[Illustration: ST. JEROME (1869)]
+
+
+
+
+CHAPTER IV
+
+YEAR BY YEAR--1870 TO 1878
+
+
+Sundry journeys into the East during this period of Leighton's career,
+gave him new subject-matter, new tints to his palette, and added
+something of an oriental fantasy to the classic sentiment of his art.
+The sketches of Damascus and other time-honoured eastern cities,
+mosques, gardens, and courtyards, which figured largely among Sir
+Frederic's studies, were made for the most part in the autumn of 1873.
+
+Previously, as early as 1867, the East had cast its spell upon him. In
+1868, he went into Egypt, and made a voyage up the Nile with M. de
+Lesseps, then at the flood of good-fortune. The Khedive himself provided
+the steamer for this adventure. "It was during this voyage," we are
+told, "that Sir Frederic came across a small child with the strangest
+and most limited idea of full dress that probably ever occurred to
+mortal--a tiny coin strung on to one of her strong coarse hairs." Of the
+studies made during the journey, one is a woman's head, draped so as to
+have a singularly archaic and Sphinx-like effect. Another is the fine
+profile of a young peasant; and yet another, the head of an old man,
+simple-minded and philosophical.
+
+
+[Illustration: GARDEN AT GENERALIFE, GRANADA]
+
+
+[Illustration: MIMBAR OF THE GREAT MOSQUE AT DAMASCUS
+               (Since destroyed by fire)]
+
+
+In 1869 the _Helios and Rhodos_, already mentioned, served as the first
+sign to the public of the new R.A.'s interest in things oriental. To the
+1870 exhibition, his only contribution was the picture, _A Nile Woman_,
+which is now owned by the Princess of Wales. It is a small
+full-length figure of a girl, balancing an empty pitcher upon her head,
+at the time of moonrise. Anticipating the Eastern subjects which future
+years produced, we may note a picture of _Old Damascus_, showing the
+Jews' quarter in that fabled city, in all its motley picturesqueness,
+and the delightful _Moorish Garden,--A Dream of Granada_, which were
+exhibited in 1874. A powerful picture, shown in 1875, of the _Egyptian
+Slinger_,[4] is illustrated later in this volume, but no reproduction
+can quite suggest the striking colouring of the original, and the
+masterly treatment of its light and shade, in the presentment of this
+lonely figure posed high on its platform against the clear evening sky.
+The delightful _Little Fatima_, and the _Grand Mosque, Damascus_,
+enlarged from the sketch previously alluded to, were also exhibited in
+1875.
+
+But perhaps the most picturesque memorial of the East due to the
+artist's wanderings of these years, is an architectural, and not a
+pictorial one. The fame of the Arab Hall in Lord Leighton's house has
+reached even further than that of _Little Fatima_, or his painting of
+the _Grand Mosque at Damascus_. Built originally to provide a setting
+for some exquisite blue tiles, brought by the owner from Damascus
+itself, it remains the most perfect representation of an oriental
+interior to be found in London; but this again belongs to a later
+period, and we must return to the date whence this chronicle was
+interrupted. Before doing so, however, it may be noted that in 1870
+began the famous Winter Exhibitions of Old Masters and Deceased British
+Artists, of which Leighton was one of the most active supporters.
+
+In the May exhibition of the Royal Academy, 1871, was hung a notable
+canvas, _Greek Girls picking up Pebbles by the Sea_, described at the
+time as "a delightful composition, comprising figures of almost
+exhaustless grace, and wealth of beauty in design and colour."
+
+Another painting, also shown there, _Cleoboulos instructing his daughter
+Cleobouline_, is a charming example of its kind. The philosopher, with a
+scroll on his lap, sits on a cushioned bench with his young daughter by
+his side, his earnest action in delightful contrast with her girlish
+grace.
+
+But his great work in 1871 was _Hercules wrestling with Death for the
+body of Alcestis_. The scene of this profound tragedy is on the
+sea-shore, where the body of Alcestis, robed in white, lies under the
+branches of trees in the centre of the picture. On the left is a group
+of mourners, a seated girl and a woman prostrate in grief. On the right
+are the two struggling figures; Hercules' superb form and tossing
+lion-skin contrasting finely, both in action and colouring, with the
+tall and coldly grey-robed spectre of Death, who presses forward to the
+bed where Alcestis lies, whence he is thrust back by the mighty
+Hercules. The exquisite figure of Alcestis with her statuesquely draped
+robes and their pure and delicate colouring, forms a wonderful contrast
+to the two strenuous figures on the right, while the figures of the
+mourners on the left are delightfully posed and full of grace.
+
+In July of this year, it is interesting to remember, appeared Browning's
+"Balaustion's Adventure," which contained the following tribute to the
+above picture and its painter:
+
+  "I know, too, a great Kaunian painter, strong
+  As Herakles, though rosy with a robe
+  Of grace that softens down the sinewy strength:
+  And he has made a picture of it all.
+  There lies Alkestis dead, beneath the sun,
+  She longed to look her last upon, beside
+  The sea, which somehow tempts the life in us
+  To come trip over its white waste of waves,
+  And try escape from earth, and fleet as free.
+  Behind the body I suppose there bends
+  Old Pheres in his hoary impotence;
+  And women-wailers, in a corner crouch
+  --Four, beautiful as you four,--yes, indeed!
+  Close, each to other, agonizing all,
+  As fastened, in fear's rhythmic sympathy,
+  To two contending opposite. There strains
+  The might o' the hero 'gainst his more than match,
+  --Death, dreadful not in thew and bone, but like
+  The envenomed substance that exudes some dew,
+  Whereby the merely honest flesh and blood
+  Will fester up and run to ruin straight,
+  Ere they can close with, clasp and overcome,
+  The poisonous impalpability
+  That simulates a form beneath the flow
+  Of those grey garments; I pronounce that piece
+  Worthy to set up in our Poikilé!"
+
+
+[Illustration: HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS
+(1871)]
+
+
+[Illustration: SUMMER MOON (1872)
+               _By permission of Messrs. P. and D. Colnaghi and Co._]
+
+
+To 1872 belongs the _Summer Moon_, one of the loveliest things ever
+shown at the Academy, a picture full of that rarer feeling for light and
+colour, which the artist achieved again and again in his treatment of
+sunset, twilight, and night effects. _After Vespers_, exhibited the same
+year, is a three-quarter length figure of a girl in a green robe
+standing in front of a bench, holding in her right hand a string of
+beads. This year's Academy held also _A Condottiere_, the noble figure
+of a man in armour, now in the Birmingham Municipal Gallery, and a
+portrait of the _Right Hon. Edward Ryan_. Hardly less memorable was
+_Moretta_, exhibited in the Academy of 1873, in the words of a critic of
+the day, "one of the most subtle and fortunate productions of the
+painter." _Moretta_ is robed in green, with masses of loosely arranged
+hair, and a tender and delicate face. _Weaving the Wreath_, shown the
+same year (and again in the Guildhall, 1895), is a very charming figure
+of quite a young girl seated on a carpet upon a raised step at the foot
+of a building. Behind her is a bas-relief, against which her head,
+crowned by a chaplet of flowers, tells out with sculpturesque effect;
+the sharp, vertical line of thread strained between her hands, and
+thence in diagonal line to the ball at her feet, is curiously rigid, and
+by contrast makes the draperies across which it is silhouetted appear
+still more mobile.
+
+We are passing over, deliberately, the artist's decorative masterpieces
+of this period,--the South Kensington frescoes to wit; of which the
+_Arts of War_ belongs to the year 1872, and its companion, _Arts of
+Peace_, to 1873. These works will be found treated at length in a later
+chapter on the artist's decorative work (pp. 63, 64).
+
+In the Academy of 1874 appeared four pictures, the most important being
+the heroic painting,--_Clytemnestra from the Battlements of Argos
+watches for the Beacon-fires which are to announce the Return of
+Agamemnon_. In this picture, the figure of Clytemnestra is seen standing
+erect, with hands folded, supporting the drapery that clothes a majestic
+form. For further description, we may be content to quote that given at
+the time in the appreciative art columns of the "Athenæum:"
+
+"There is the grandeur of Greek tragedy in Mr. Leighton's _Clytemnestra_
+watching for the signal of her husband's return from Troy. The time is
+deep in the fateful night, while the city sleeps; moonlight floods the
+walls, the roofs, the gates, and the towers with a ghastly glare, which
+seems presageful, and casts shadows as dark as they are mysterious and
+terrible. The dense blue of the sky is dim, sad, and ominous. But the
+most ominous and impressive element of the picture is a grim figure,
+the tall woman on the palace roof before us, who looks Titanic in her
+stateliness, and huge beyond humanity in the voluminous white drapery
+that wraps her limbs and bosom. Her hands are clenched and her arms
+thrust down straight and rigidly, each finger locked as in a struggle to
+strangle its fellow; the muscles swell on the bulky limbs. Drawn erect
+and with set features, which are so pale that the moonlight could not
+make them paler, the queen stares fixedly and yet eagerly into the
+distance, as if she had the will to look over the very edge of the world
+for the light to come."
+
+
+[Illustration: THE JUGGLING GIRL (1874)]
+
+
+[Illustration: A CONDOTTIERE (1872)
+               _By permission of the Corporation of Birmingham_]
+
+
+Another picture this year was the _Moorish Garden--a dream of Granada_,
+a delightful little canvas, almost square. In the foreground is a young
+girl carrying copper vessels, and followed by two peacocks; the
+background is obviously taken from the study of a garden at Generalife
+(reproduced at p. 28); the _Antique Juggling Girl_ and _Old Damascus:
+the Jews' Quarter_, were also in the Academy of 1874.
+
+To 1875 belongs the _Egyptian Slinger_, a picture which, as we shall see
+later, provoked severe censure from Mr. Ruskin. As exhibited it differed
+much from its present state. Not only was the sky of deeper violet, but
+almost in silhouette against the moon, on another raised platform, stood
+a draped female figure, afterwards painted out entirely. Other works
+shown this year were _Little Fatima_, a small half-length figure of a
+little girl in Eastern costume, seen against a dark background; and a
+_Portion of the Interior of the Grand Mosque at Damascus_ (reproduced at
+p. 28). As the building it depicts has since been burnt down, the fine
+transcript has an added interest. We are come now to a year which, even
+beyond other years of activity, displayed the artist's characteristic
+energy: 1876. In the Academy of that year, with the _Daphnephoria_,
+Leighton once more chose a great classic theme, for a painting which, by
+its composition, reminded the critics and lovers of art of the artist's
+early triumph with the _Cimabue's Madonna_, and of his other great
+processional picture, the _Syracusan Bride_.
+
+Of all his works in this class, there is no doubt that the
+_Daphnephoria_ is the most technically complete. The procession is seen
+defiling along a terrace backed by trees through which the clear
+southern sky gleams. A youth carrying the symbolic olive bough, called
+the Kopo, adorned with its curious emblems, leads the procession. He is
+clad in purple robes and crowned with leaves. The youthful priest, known
+as the Daphnephoros (the laurel-bearer) follows, clothed in white
+raiment. He is similarly crowned, and carries a slim laurel stem. Then
+come three boys, in scanty red and green draperies, which serve only to
+emphasize the beauty of their almost naked forms, the middle and tallest
+one bearing aloft a draped trophy of golden armour. These are seen to be
+pausing while the leader of the chorus, a tall, finely modelled man,
+whose back is turned, is giving directions to the chorus with uplifted
+right hand; in his left hand is a lyre, and the left arm from the elbow
+is characteristically draped. The first row of the chorus is composed of
+five children, clothed in purple, crowned with flowers; two rows of
+maidens, in blue and white, come next; and these in turn are succeeded
+by some boys with cymbals. The interest of the passing procession is
+very much enhanced by the effect produced on two lovely bystanders,--a
+girl and child in blue, beautifully designed, who are drawing water in
+the left foreground. In the valley below is seen the town of Thebes.
+
+
+[Illustration: THE DAPHNEPHORIA (1876)
+               _By permission of The Fine Art Society._]
+
+
+[Illustration: STUDY FOR "THE DAPHNEPHORIA"]
+
+
+With the painter's reading of the _Daphnephoria_ it may be
+interesting to compare another account of this splendid religious
+function. At this festival in honour of Apollo, celebrated every ninth
+year by the Boeotians, it was usual, says pleasant Lempriere, "to
+adorn an olive bough with garlands of laurel and other flowers, and
+place on the top a brazen globe, from which were suspended smaller ones.
+In the middle was placed a number of crowns, and a globe of inferior
+size, and the bottom was adorned with a saffron-coloured garment. The
+globe on the top represented the Sun, or Apollo; that in the middle was
+an emblem of the moon, and the others of the stars. The crowns, which
+were 365 in number, represented the sun's annual revolution. This bough
+was carried in solemn procession by a beautiful youth of an illustrious
+family, whose parents were both living. He was dressed in rich garments
+which reached to the ground, his hair hung loose and dishevelled, his
+head was covered with a golden crown, and he wore on his feet shoes
+called _Iphricatidæ_, from Iphricates, an Athenian who first invented
+them. He was called Daphnêphoros, 'laurel-bearer,' and at that
+time he executed the office of priest of Apollo. He was preceded by one
+of his nearest relations, bearing a rod adorned with garlands, and
+behind him followed a train of virgins with branches in their hands. In
+this order the procession advanced as far as the temple of Apollo,
+surnamed Ismenius, where supplicatory hymns were sung to the god."[5]
+
+In the 1876 Academy hung also the striking portrait, _Captain Richard
+Burton, H.M.'s Consul at Trieste_; and two very characteristic single
+figures, _Teresina_ and _Paolo_. The portrait of Captain Burton has been
+fairly described as masterly. "There is no attempt," said one critic,
+"at posing or picturesqueness in the portrait. It is the head of a man
+who is lean and rugged and brown, but the face is full of character, and
+every line tells. It is painted in the same strong and bold, and yet
+careful, way that distinguishes the head of Signor Costa, painted three
+years later."
+
+The next year saw Leighton's first appearance as a sculptor. It was at
+the Academy of 1877 that he exhibited the well-known, vigorously
+designed and wrought _Athlete Struggling with a Python_.[6] This
+adventure of the R.A. into a new field proved so successful, that the
+_Athlete_ took rank as the most striking piece of sculpture of that
+year. "In this work," said a friendly critic, "Mr. Leighton has
+attempted to succeed in a truly antique way. We are bound to admit that
+he has done wisely, bravely, and successfully." The statue was bought,
+we may add, for £2,000, as the first purchase made by the trustees of
+the Chantrey Fund, and is now in the Tate Gallery at Millbank. It was
+afterwards repeated in marble, by the artist's own hand, for the Danish
+Museum at Copenhagen.
+
+Still more popular was his _Music Lesson_, another work in the same
+exhibition. To realize the full charm of this picture, one must see the
+original; for much depends upon the beauty of its colouring. Imagine a
+classical marble hall, marble floor, marble walls, in black and white,
+and red--deep red--marble pillars; and sitting there, sumptuously
+attired, but bare-footed, two fair-haired girls, who serve for pupil and
+music-mistress. The elder is showing the younger how to finger a lyre,
+of exquisite design and finish; and the expression on their faces is
+charmingly true, while the colours that they contribute to the
+composition,--the pale blue of the child's dress, the pale flesh tints,
+the pale yellow hair, and the white and gold of the elder girl's loose
+robe, and the rich auburn of her hair,--are most harmonious. A bit of
+scarlet pomegranate blossom, lying on the marble ground, gives the last
+high note of colour to the picture. Two other pictures of 1877 must not
+be omitted. _Study_ shows us a little girl (the present Lady Orkney), in
+Eastern garb, diligently reading a sheet of music which lies before her
+on a little desk. There is great charm in the simple grace of the
+picture and in the softly brilliant colouring of the child's costume.
+Very delightful, too, is the portrait of _Miss Mabel Mills_ (now the
+Hon. Mrs. Grenfell), habited in black velvet, and a large dark hat with
+coloured feathers, set against a grey background, a picture here
+reproduced. _A Study_, _An Italian Girl_, and a _Portrait of H. E.
+Gordon_, were all three shown at the Grosvenor Gallery the same year.
+
+
+[Illustration: PORTRAIT OF THE HON. MABEL MILLS (1877)]
+
+
+[Illustration: PORTRAIT OF CAPTAIN RICHARD BURTON (1876)]
+
+
+Another picture, in which a simple theme is treated in a classic
+fashion--not dissimilar to that employed for the _Music Lesson_--is
+_Winding the Skein_, a lovely painting exhibited at the Academy in 1878.
+In this we see two Greek maidens as naturally employed as we often see
+English girls in other surroundings. This idealization of a familiar
+occupation--so that it is lifted out of a local and casual sphere, into
+the permanent sphere of classic art, is characteristic of the whole of
+Leighton's work. He, like Sir L. Alma-Tadema and Albert Moore, contrived
+also to preserve a certain modern contemporary feeling in the classic
+presentment of his themes. He was never archaic; so that the classic
+scenarium of his subjects, in his hands, appears as little antiquarian
+as a mediæval environment, shall we say, in the hands of Browning.
+_Nausicaa_, a full-length girlish figure, in green and white draperies,
+standing in a doorway, and _Serafina_, another single figure, and _A
+Study_, were also shown the same year. At the Grosvenor Gallery were a
+_Portrait of Miss Ruth Stewart Hodgson_, a demure little damsel in
+outdoor attire, and a _Study of a Girl's Head_, full face.
+
+
+[Illustration: NAUSICAA (1878)]
+
+
+
+
+[Illustration: STUDY FOR "ELIJAH AND THE ANGEL"]
+
+
+CHAPTER V
+
+YEAR BY YEAR--1878 TO 1896
+
+
+On November 13th, 1878, Frederic Leighton was elected President of the
+Royal Academy, in succession to Sir Francis Grant, and immediately
+received the honour of knighthood.
+
+In 1879 Leighton sent eight contributions to the Academy, not one of
+which, with the possible exception of the _Elijah_, perhaps, has been
+counted among his masterpieces. Four of them belong to that group of
+ideal figure paintings which almost constitute a _genre_ in themselves:
+_Biondina_, _Catarina_, _Amarilla_, and _Neruccia_, a girl with a red
+flower in her hair, in white dress, against a dark background. The
+finely austere _Elijah in the Wilderness_ was an addition to the notable
+group of Scriptural paintings. In this picture the nude figure of the
+prophet is seen reclining on a rock, with head and arms thrown back,
+while beside him stands an angel holding bread and water. The striking
+and powerful _Portrait of Professor Costa_, the _Portrait of the
+Countess Brownlow_, and a portrait study, completed the list of the
+year's contributions, the largest number ever sent in by Leighton,
+before his election or afterward. This year ten of his landscape-studies
+in oil were exhibited at the Grosvenor Gallery.
+
+It may be thought by the outsider that the coveted office of the
+President of the Royal Academy of Arts is, in a way, an ornamental
+one,--some such golden sinecure as that of the old High Chamberlains.
+Nothing could be more mistaken. "Not everybody," wrote the late Mr.
+Underhill, who for some time, as private secretary to Sir Frederic
+Leighton, had special opportunities of knowing, "is aware of the tax
+upon a man's time and energy that is involved in the acceptance of the
+office in question. The post is a peculiar one, and requires a
+combination of talents not frequently to be found, inasmuch as it
+demands an established standing as a painter, together with great
+urbanity and considerable social position. The inroads which the
+occupancy of the office makes upon an artist's time are very
+considerable. There is, on the average, at least one Council meeting for
+every three weeks throughout the whole of the year. There are from time
+to time general assemblies for the election of new members and for other
+purposes, over which the President is bound, of course, to preside. For
+ten days or a fortnight in every April he has to be in attendance with
+the Council daily at Burlington House, for the purpose of selecting the
+pictures which are to be hung in the Spring Exhibition. He has to
+preside over the banquet which yearly precedes the opening of the
+Academy, and he has to act as host at the annual conversazione. Finally,
+it is his duty every other year to deliver a long, elaborate, and
+carefully prepared 'Discourse' upon matters connected with art, to the
+students who are for that purpose assembled. It is a post of much honour
+and small profit."
+
+
+[Illustration: SISTER'S KISS (1880)
+               _By permission of the Fine Art Society_]
+
+
+[Illustration: PORTRAIT OF SIGNOR COSTA (1879)]
+
+
+In filling this post, and neglecting no one of its smallest offices and
+endless small courtesies, an artist had needs be without the
+characteristic artist's defects of hesitation and delay; and in fact,
+Lord Leighton mastered, as much as any statesman of our time, the
+indispensable secret of despatch. We quote from Mr. Underhill again:
+"To administer the affairs of the Academy, to fulfil a round of social
+semi-public and public engagements, and to paint pictures which
+invariably reach a high level of excellence, would of course be
+impossible--even to Sir Frederic Leighton--were it not for the fact that
+he makes the very most of the time at his disposal. 'That's the secret,'
+remarked a distinguished member of the Academy to the present writer
+some little time before the President's death; 'Sir Frederic knows
+exactly how long it will take to do a certain thing, and he apportions
+his time accordingly.' This being the case, no one will be surprised to
+learn that he attached the greatest importance to punctuality. He
+himself never failed to keep an appointment at the exact moment fixed
+upon, and he expected, of course, similar punctuality on the part of
+others. The stroke of eight from the Academy clock was the signal for
+Sir Frederic to enter the Council Room at Burlington House, and to open
+the deliberations of the body over which he presided. 'They will never
+again get a man to devote so much time and energy to the business of the
+Academy,' said Sir Frederic Leighton's most distinguished colleague
+shortly before his death; 'never again.'" And since that time the same
+tribute has been paid ungrudgingly in public and private often enough.
+
+In 1880, we are tempted by five canvases; of which the _Sister's Kiss_
+and _Psamathe_, are perhaps the most important. The former turns a
+garden wall to delightful account, in its picture of a child, who is
+seated upon it, and of her charmingly drawn elder sister, who gives the
+kiss. The composition of this picture may be seen in our reproduction,
+but the colour of the bronze green robe--of singular beauty--is of
+course not even suggested. More classic, perhaps, and not less
+picturesque, is the Greek maiden, Psamathe, who was, if we remember
+aright, one of the Nereides. The artist has painted her sitting by the
+seashore, gazing over the Ægean, with her back turned to the spectator.
+Filmy garments, which have slipped from her shoulders on to the sand;
+arms folded about her knees; every detail of the picture carries out the
+effect of dreamy loveliness that pervades Psamathe and her surroundings.
+_Iostephane_ is a three-quarter length figure, less than life size, of a
+girl in light yellow drapery, with violets in her fair hair, who stands
+facing the spectator and arranging her draperies over her right arm;
+there are marble columns and a fountain in the background. _The Light of
+the Harem_ is a version of one of the groups in the fresco of _The
+Industrial Arts of Peace_ at South Kensington. The picture now known as
+the _Nymph of the Dargle_ was also exhibited this year under the title
+of _Crenaia_. It represents a small full-length figure facing the
+spectator; the river Dargle flows through Powerscourt, and forms the
+waterfall here represented in the background, hence its name.
+_Rubinella_, a girl with red gold hair was shown at the Summer
+Exhibition and a large number of sketches and studies at the Winter
+Exhibition of the Grosvenor Gallery this year.
+
+In 1881, the portrait of the Painter, painted by invitation in 1880 for
+the collection of autograph portraits of artists in the Uffizi Gallery,
+Florence, deserves particular mention. Not even Mr. Watts' best portrait
+of Leighton is quite so like as this, which shows the striking head of
+the artist to great effect, assisted by the decorative President's robe
+and insignia. The _Idyll_, shown the same year, has been compared by
+some critics with the _Cymon and Iphigenia_, the scene and circumstance
+of both being to a certain degree similar, while there are similar
+effects in both of colour and of composition. In the _Idyll_, we have a
+lovely female figure, lying at full length, attended by a second nymph,
+and by a piping man, all grouped beneath an arm of a beech tree, that
+extends overhead and shadows the upland ridge on which they have come to
+rest, while they gaze on a river winding among sunlit meads. The water
+reflects the blue and white of sky and clouds; the land is dashed by
+shadows. The nymphs' robes are red, blue, and pale yellow.
+
+
+[Illustration: PHRYNE AT ELEUSIS (1882)]
+
+
+[Illustration: DAY DREAMS (1882)
+               _By permission of the Fine Art Society_]
+
+
+We ought not to overlook another idyllic picture in the same exhibition,
+_Whispers_, an illustration of Horace's well-known line, "Lenesque sub
+noctem susurri." In this charming work, amid masses of crimson flowers
+and green leaves, two lovers are seen seated upon a marble bench, while
+he whispers tenderly in her ear, and she listens with dreamy eyes and
+maidenly mien. The noble picture of _Elisha and the Shunamite's Son_
+(reproduced at p. 114) was also shown this year, as well as _Bianca_, a
+fair-haired girl in a white dress, standing with folded arms, _Viola_,
+and two portraits, _Mrs. Augustus Ralli_, exhibited at the Royal
+Academy, and _Mrs. Algernon Sartoris_, at the Grosvenor Gallery.
+
+In the 1882 Academy appeared two of the most popular of Sir Frederic's
+pictures, _Wedded_ and _Day Dreams_. In the latter, a fair Sybarite is
+pressing her cheek against her hands, as she stands near a tapestry,
+with eyes gazing far away, the images of love-dreams in them; her purple
+mantle, embroidered with silver, produces a charming effect of colour.
+Still more famous is _Wedded_,--"one of the happiest of Sir Frederic's
+designs," said a critic at the time, "and as a composition of lines,
+difficult, subtle, and original, may be called one of the most
+remarkable productions of this decade." Other pictures shown this year
+were _Antigone_ and the much-debated _Phryne at Eleusis_--a notable
+study of the famous hetaira, who is seen standing, and holding out with
+one hand the mass of her deep auburn hair. Her skin is of a ruddy golden
+hue, as if seen under a glow of sunlight. Red tissue, which falls from
+her shoulders and extended arms, and an olive-coloured mantle that has
+fallen at the foot of the marble columns behind her, backed by a sky,
+very characteristic of the painter, in which snowlike masses of cloud
+float in a southern azure, produce a total effect of a certain
+super-womanly order of beauty. A _Design for a portion of a Proposed
+Decoration in St. Paul's_, a picture entitled _Melittion_, and a
+_Portrait of Mrs. Mocatta_, were also hung at the Academy in 1882;
+_Zeyra_, a little Eastern child in plum coloured headdress, a rich bit
+of colour elaborately painted, was shown at the Grosvenor Gallery.
+
+In 1883, _Memories_, though not one of the most typical of Leighton's
+pictures, decidedly pleased the general public. It shows the half-length
+figure of a blonde, in a black and gold dress. More interesting
+artistically was a decorative frieze, _The Dance_, for a drawing-room,
+the design for which we reproduce, and which may, in so far, answer for
+itself. Other pictures of 1883 are _Kittens_, a full-length figure of a
+fair-haired child in purple and embroidered drapery, seated on a bench
+covered with a leopard skin, holding a rose in hand and looking down at
+a kitten sitting beside her; and the _Vestal_, a bust of a girl with her
+head and shoulders swathed with white gold-embroidered draperies. To
+this year also belongs a _Portrait of Miss Nina Joachim_, a child in a
+blue frock with crimson sash.
+
+
+[Illustration: _Cymon and Iphigenia._
+               _By permission of the Fine Art Society._
+               _F. Leighton. pinxt._
+               _Swan Electric Engraving Co. Sc._]
+
+
+[Illustration: STUDIES FOR TWO FRIEZES "MUSIC" AND "THE DANCE"]
+
+
+The next year, 1884, brought _Letty_, that most delightful of English
+maidens, _A Nap_, _Sun Gleams_, and the imaginative and admirably
+romantic _Cymon and Iphigenia_. _Letty_ was one of Leighton's pictures
+which particularly excited Mr. Ruskin's admiration. It shows a simply
+pretty child, with soft brown hair under a black hat, a saffron kerchief
+about her neck. The _Letty_ and the _Cymon and Iphigenia_, with a few
+other notable pictures, did much to leave a pleasant recollection of the
+exceptional Academy of 1884. "A more original effect of light and
+colour, used in the broad, true, and ideal treatment of lovely forms,"
+said a French critic, "we do not remember to have seen at the Academy,
+than that produced by the _Cymon and Iphigenia_." Engravings and other
+reproductions of the picture have made its design, at any rate, almost
+as familiar now as Boccaccio's tale itself. There are some divergences,
+however, in the two versions. Boccaccio's tale is a tale of spring; Sir
+Frederic, the better to carry out his conception of the drowsy desuetude
+of sleep, and of that sense of pleasant but absolute weariness which one
+associates with the season of hot days and short nights, has changed the
+spring into that riper summer-time which is on the verge of autumn; and
+that hour of late sunset which is on the verge of night. Under its rich
+glow lies the sleeping Iphigenia, draped in folds upon folds of white,
+and her attendants; while Cymon, who is as unlike the boor of tradition
+as Spenser's Colin Clout is unlike an ordinary Cumbrian herdsman, stands
+hard-by, wondering, pensively wrapt in so exquisite a vision.
+Altogether, a great presentment of an immortal idyll; so treated,
+indeed, that it becomes much more than a mere reading of Boccaccio, and
+gives an ideal picture of Sleep itself,--that Sleep which so many
+artists and poets have tried at one time or another to render.
+
+In 1885, among the five contributions of the President to the Academy,
+appeared the vivacious portrait of Lord Rosebery's little daughter, _The
+Lady Sybil Primrose_, who appears in white with a blue sash, carrying a
+doll. _A Portrait of Mrs. A. Hichens_ and _Phoebe_ were the only other
+pictures this year. A frieze, _Music_, was shown, and at the Grosvenor
+Gallery _A Study_ of a fair-haired girl, in green velvet dress. 1886 was
+chiefly notable for the statue in bronze of _The Sluggard_, in which
+Leighton again furnished us with a plastic characterization of Sleep,
+which he designed by way of contrast to his statue of the struggling
+Athlete. It was suggested, Mr. Spielmann says, by accidental
+circumstances. The model who had been sitting to him fell a-yawning in
+his interval of rest, and charmed the artist, not only with his
+exceptional beauty of line and play of muscle, but also with the
+artistic contrast of energy and languor. But that he might not lay
+himself open to the charge that the work was a glorification of
+indolence, the sculptor made concession to what after all was an
+artistic suggestion, and placed under the yawner's foot
+
+  "The glorious wreath of laurel leaves
+  Heel trodden and despised."
+
+The graceful statuette of a little girl who is alarmed by a toad on the
+edge of a pool or stream of water, called _Needless Alarms_, appeared at
+the same time; and was so much admired by the President's colleague, Sir
+John Everett Millais, that he wished to purchase it, whereupon Sir
+Frederic presented it to him, and received, in return, the charming
+picture of _Shelling Peas_, which Sir John painted specially for this
+pleasant exchange. In 1886 also appeared the _Decoration in Painting for
+a Music Room_, destined for New York, which is illustrated[7] by
+the completed work, and its preliminary studies from life for it.
+_Gulnihal_, a single figure, is the only other painting exhibited at the
+Academy in this year.
+
+
+[Illustration: THE LAST WATCH OF HERO (1887)
+               _By permission of the Manchester Corporation_]
+
+
+[Illustration: PORTRAIT OF THE LADY SYBIL PRIMROSE (1885)]
+
+
+In 1887 appeared a picture which seems scarcely to have received its due
+appreciation, _The Jealousy of Simætha the Sorceress_. This is a
+seated figure in yellow and white drapery, with a purple mantle wrapped
+around her shoulders; a well-wrought, finely-rendered work. _The Last
+Watch of Hero_, also first seen this year, is now in the Manchester
+Corporation Gallery. It is in two compartments; in the upper, and
+larger, Hero, clad in pink drapery, is seen drawing aside a curtain and
+gazing out over the sea. Below, in the smaller panel, is the body of the
+dead Leander, on a rock washed by the waves. A quotation from Sir Edwin
+Arnold's translation of Musæus was appended to its title:
+
+  "With aching heart she scanned the sea-face dim.
+       *       *       *       *       *
+  Lo! at the turret's foot his body lay,
+  Rolled on the stones and washed with breaking spray."
+
+A picture of a little girl with yellow hair and pale blue eyes, entitled
+with a verse by Robert Browning:
+
+    "Yellow and pale as ripened corn
+    Which Autumn's kiss frees,--grain from sheath,--
+    Such was her hair, while her eyes beneath
+  Showed Spring's faint violets freshly born,"
+
+was in the same exhibition, and also a design for the reverse of the
+Jubilee medallion, executed for her Majesty's Government.
+
+In 1888 appeared another large work, which, although not absolutely a
+procession, has much in common with the _Cimabue_, the _Syracusan
+Bride_, and _The Daphnephoria_. It was entitled _Captive Andromache_,
+and accompanied by a fragment of the "Iliad," translated by E. B.
+Browning:
+
+                          ... "Some standing by
+  Marking thy tears fall, shall say, 'This is she,
+  The wife of that same Hector that fought best
+  Of all the Trojans when all fought for Troy.'"
+
+This, and a _Portrait of Amy, Lady Coleridge_, were the artist's only
+contributions to the Royal Academy of 1888. The _Portraits of the Misses
+Stewart Hodgson_ is also of this year, which saw four landscape studies
+exhibited at the Royal Society of Painters in Water Colours, and five at
+the Royal Society of British Artists, Suffolk Street.
+
+The _Sibyl_, exhibited in 1889, is a full-length figure swathed in lilac
+drapery, seated with her legs crossed, on a chair, her chin supported by
+her left hand, and gazing out of the picture. Beside her are scrolls,
+and a sombre sky is behind the figure. _Invocation_, a girl in white
+robes with arms raised above her head, and a _Portrait of Mrs. F.
+Lucas_, were also shown; but _Greek Girls playing at Ball_ is not only
+the most important, but is also a picture that shows the mannerism of
+Lord Leighton's treatment of drapery at its finest. Elsewhere the
+undulating snaky coils may be somewhat distressing, here they float in
+the air and help the suggestion of movement. The landscape at the back
+is also both typical and beautiful. An _Elegy_ was the fifth of the
+artist's contributions to the Academy of 1889.
+
+In 1890 _The Bath of Psyche_ appeared at the Academy. This at once
+established its position as a popular favourite, and has probably been
+more widely reproduced than any other. It was purchased under the terms
+of the Chantrey Bequest, and is now in the Tate Gallery. It was
+suggested, so Mr. M. H. Spielmann tells us, by the "paper-knife"
+picture, as Lord Leighton called it, which he had painted for Sir L.
+Alma-Tadema's wall screen. _Solitude_ was also shown this year, and the
+_Tragic Poetess_, a full-length figure, clad in blue and purple drapery,
+on a terrace, with the sea beyond. The fourth picture at the Academy was
+a very faithfully painted transcript of _The Arab Hall_, at No. 2,
+Holland Park Road.
+
+
+[Illustration: GREEK GIRLS PLAYING AT BALL (1889)
+               _By permission of the Berlin Photographic Co._]
+
+
+[Illustration: THE BATH OF PSYCHE (1890)
+               _By permission of the Berlin Photographic Co._]
+
+
+In 1891 appeared _Perseus and Andromeda_, a very original version of a
+theme which it seems the destiny of every painter and sculptor of
+classical subjects to attempt at some time. In this Andromeda is bound
+to a rock, the monster stands over her with outstretched wings, while
+from the clouds above, Perseus, on his winged steed, is discharging
+arrows. The clay models for Perseus are reproduced elsewhere (at p. 68).
+The _Return of Persephone_ was another important work shown this year.
+It represents Persephone, supported by Hermes, being brought back to the
+upper world, where she is awaited with outstretched arms by Demeter. A
+_Portrait of A. B. Mitford, Esq._, and a marble version of the _Athlete
+Struggling with a Python_, were also shown in the same exhibition.
+
+In 1892 a version of a panel of the proposed decoration for the dome of
+St. Paul's appeared with the title, _And the Sea gave up the Dead which
+were in it_; this, purchased by Mr. Henry Tate, is now among the
+pictures he gave to the Gallery at Millbank. The most important of
+Leighton's later works, _The Garden of the Hesperides_, in many respects
+the most sumptuous piece of decoration he ever achieved, was shown this
+year. It is a large circular picture, the centre occupied by a tree
+bearing golden apples; under its branches recline the three Hesperides,
+caressing the dragon who assists them to guard the treasure. A superbly
+brilliant sea is in the distance. The charm of this picture is mainly in
+its colour, but as an example of elaborately artificial composition it
+is hardly less noteworthy. Unfortunately, despite every effort of Lord
+Leighton, most kindly exerted on behalf of the editor of this volume,
+the owners of the copyright refused under any condition to allow it to
+be illustrated herein. _A Bacchante_, and _At the Fountain_, a girl in
+fawn-coloured and violet draperies, with a bunch of lemons overhanging
+the marble wall behind her, were shown this year; and also a _Clytie_,
+which must not be confused with another known by the same title, the
+last picture on which the artist was at work before his death. The 1892
+version, shown in the retrospective exhibition, is thus described in its
+catalogue: "A small figure of Clytie is seen on the right, kneeling on a
+stone building with arms outstretched towards the sun, which is setting
+behind a range of moorland hills."
+
+In 1893 _Hit_, _The Frigidarium_, _Farewell_, _Corinna of Tanagra_, and
+_Rizpah_ were exhibited at the Academy. Of these the most important is
+the last named. It illustrates the story of the two sons of Rizpah, by
+Saul, Armoni and Mephibosheth, who were slain by the Gideonites. Rizpah,
+robed in dark blue, is seen in the act of fetching away their bodies,
+which are shrouded by dull lilac and blue draperies. Vultures circle
+above, and two leopards approach stealthily. _Farewell_ is a single
+figure in olive green and plum-coloured peplis under a portico above the
+sea, where she pauses to take a last look at an outward-bound ship.
+
+_Atalanta_ depicts the bust only of a dark-haired girl in purple and
+white drapery, with a snake-like ornament twisted round her arm, which
+is bare to the shoulder. _Corinna of Tanagra_ is a half-length figure
+crowned with leaves, in coloured drapery, resting her clasped hands upon
+her lyre. _The Frigidarium_ is an upright figure in semi-transparent red
+drapery, which with the background of gold is reflected in the water
+beneath her feet.
+
+
+[Illustration: FAREWELL (1893)
+               _By permission of Messrs. Arthur Tooth and Sons_]
+
+
+[Illustration: "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."--REV.
+XX. 13 (1892)]
+
+
+[Illustration: THE FRIGIDARIUM (1893)
+               _By permission of Messrs. H. Graves and Co._]
+
+
+In 1894 were shown _The Spirit of the Summit_, a white-robed figure with
+upturned face, sitting on a snowy peak, with starlit sky beyond; _The
+Bracelet_; _Fatidica_, a figure in green-white robes; _At the Window_, a
+dark-haired boy in blue, looking over the ledge of a window; and _Summer
+Slumber_. This last is a somewhat elaborate composition; a girl in
+salmon colour draperies is lying asleep on the broad rim of a marble
+fountain, masses of flowers are in the mid distance, and a vista of
+sunny landscape through the open window beyond.
+
+In 1895, the last year of the artist's working life, he sent six
+pictures to the Academy, and completed the wall decoration at the Royal
+Exchange (here illustrated), _Phoenicians Bartering with Britons_. The
+paintings were entitled, _Flaming June_ (a picture reproduced in colours
+for a Christmas number of the "Graphic"), in which the "broad" painting
+of the sea beyond was a notable exception to the artist's usual
+handling; _Lachrymæ_, a standing figure in robes of black and blue
+green, resting her arm upon a Doric column; _'Twixt Hope and Fear_, a
+seated figure of a black-haired Greek girl, robed in white and olive,
+with a sheep-skin thrown around her; _The Maid with her Yellow Hair_, a
+girlish figure in lemon-coloured drapery, reading from a red-backed
+book; _Listener_, a child seated with crossed legs on a fur rug; and a
+_Study of a Girl's Head_, with auburn, wavy hair.
+
+In the 1896 Academy _Clytie_ was the only picture. In Lord Leighton's
+studio in various stages of completion were a _Bacchante_, a half-length
+figure of a fair-haired girl crowned with leaves, and a leopard skin
+over her shoulder; _The Fair Persian_, a bust of a girl with flowing
+dark hair, crowned by a jewelled circlet; and _The Vestal_, a
+half-length figure of a girl in white drapery, these were all exhibited
+at the Winter Exhibition of 1897.
+
+To _Clytie_, his last picture, a small monograph has been devoted by the
+Fine Art Society. In this we read: "'Thank goodness my ailment has not
+interfered with my capacity for work, for I have never had a better
+appetite for it, nor I believe done better. I was idle for five months
+in the summer, but since my return I have been working hard and have
+produced the pictures you see.' Thus he spoke to the present writer [of
+the monograph in question] as he led the way across his studio....
+Turning to the _Clytie_ he continued: 'This I have been at work upon all
+the morning. Orchardson has been so good as to say I have never done
+anything finer than the sky. You know the story. I have shown the
+goddess in adoration before the setting sun, whose last rays are
+permeating her whole being. With upraised arms she is entreating her
+beloved one not to forsake her. A flood of golden light saturates the
+scene, and to carry out my intention, I have changed my model's hair
+from black to auburn. To the right is a small altar, upon which is an
+offering of fruit, and upon a pillar beyond I shall show the feet of a
+statue of Apollo.'
+
+"But a few days after this occurrence the dead President lay in
+semi-state in his coffin, before the picture. A drawing in the 'Graphic'
+(January 26th, 1896) shows the interior of the studio, with the figure
+of Clytie, in her attitude of despair, stretching her arms above the
+body of her creator."
+
+Here the record, year by year, is closed. A few pictures seem to have
+escaped the honours of exhibition. One,[8] _A Noble Lady of Venice_, in
+possession of Lord Armstrong, does not appear to have been
+exhibited. It is probably the picture which was sold at Christie's in
+1875 for 950 guineas. A _Lady with Pomegranates_, which sold for 765
+guineas at the sale of Baron Grant's pictures in 1877, does not appear
+in our list of exhibited works; nor, it may be, are all the early
+pictures included therein. But the official catalogues of the Royal
+Academy May Exhibitions, and of the special Winter Exhibition devoted to
+the artist's works, have been freely drawn upon for description, and to
+the list of his life's work, as it appeared in the first edition of this
+work, many additions have been made.
+
+
+[Illustration: RIZPAH (1893)]
+
+
+[Illustration: THE BRACELET (1894)
+               _By permission of Messrs. T. Agnew and Sons_]
+
+
+[Illustration: FATIDICA (1894)
+               _By permission of Messrs. T Agnew and Sons_]
+
+
+
+
+CHAPTER VI
+
+HIS METHOD OF PAINTING
+
+
+For particulars of the wonderfully thorough "method," which Leighton
+used in preparing his pictures, we cannot do better than quote the
+following admirable account by Mr. M. H. Spielmann (published during the
+painter's life), which he has allowed us to reprint here.[9]
+
+"I have said that the sense of line in composition, in figure and
+drapery, is one of the chief qualities of the artist; and the conviction
+that the method in which he places them upon canvas with such unerring
+success--for it may be said that the President rarely, if ever, produces
+an ugly form in a picture--would be both interesting and instructive,
+prompted me to learn in what manner his effects are produced. This I
+have done, having special regard to one of his Academy pictures, _The
+Sibyl_, which, being a single figure, simplifies greatly the explanation
+of the mode of procedure. This explanation holds good in every case, be
+the composition great or small, elaborate or simple; the _modus
+operandi_ is always the same.
+
+
+[Illustration: A BACCHANTE (1896)
+               _By permission of Messrs. Henry Graves and Co._]
+
+
+[Illustration: "HIT" (1893)
+               _By permission of "The Art Journal"_]
+
+
+"Having by good fortune observed in a model an extraordinarily fine and
+'Michelangelesque' formation of the hand and wrist--an articulation as
+rare to find as it is anatomically beautiful and desirable--he bethought
+him of a subject that would enable him to introduce his
+_trouvaille_. As but one attitude could display the special
+formation to advantage, the idea of a Sibyl, sitting brooding beside her
+oracular tripod, was soon evolved, but not so soon was its form
+determined and fixed. Like Mr. Watts, Sir Frederic Leighton thinks out
+the whole picture before he puts brush to canvas, or chalk to paper;
+but, unlike Mr. Watts, once he is decided upon his scheme of colour, the
+arrangement of line, the disposition of the folds, down to the minutest
+details, he seldom, if ever, alters a single line. And the reason is
+evident. In Sir Frederic's pictures--which are, above all, decorations
+in the real sense of the word--the design is a pattern in which every
+line has its place and its proper relation to other lines, so that the
+disturbing of one of them, outside of certain limits, would throw the
+whole out of gear. Having thus determined his picture in his mind's eye,
+he in the majority of cases makes a sketch in black and white chalk upon
+brown paper to fix it. In the first sketch, the care with which the
+folds have been broadly arranged will be evident, and, if it be compared
+with the finished picture, the very slight degree in which the general
+scheme has been departed from will convince the reader of the almost
+scientific precision of the artist's line of action. But there is a good
+reason for this determining of the draperies before the model is called
+in; and it is this. The nude model, no matter how practised he or she
+may be, never moves or stands or sits, in these degenerate days, with
+exactly the same freedom as when draped; action or pose is always
+different--not so much from a sense of mental constraint as from the
+unusual liberty experienced by the limbs, to which the muscular action
+invariably responds when the body is released from the discipline and
+confinement of clothing.
+
+"The picture having been thus determined, the model is called in, and is
+posed as nearly as possible in the attitude desired. As nearly as
+possible I say, for, as no two faces are exactly alike, no two models
+ever entirely resemble one another in body or muscular action, and
+cannot, therefore, pose in such a manner as exactly to correspond with
+either another model or another figure--no matter how correctly the
+latter may be drawn. From the model the artist makes the careful
+outline, in brown paper, a true transcript from life, which may entail
+some slight corrections of the original design in the direction of
+modifying the attitude and general appearance of the figure. This would
+be rendered necessary, probably by the bulk and material of the drapery.
+So far, of course, the artist's attention is engaged exclusively by
+'form,' 'colour' being always treated more or less ideally. The figure
+is now placed in its surroundings, and established in exact relation to
+the canvas. The result is the first true sketch of the entire design,
+figure and background, and is built up of the two previous ones. It must
+be absolutely accurate in the distribution of spaces, for it has
+subsequently to be 'squared off' on to the canvas, which is ordered to
+the exact scale of the sketch. At this moment, the design being finally
+determined, the sketch in oil colours is made. It has been deferred till
+now, because the placing of the colours is, of course, of as much
+importance as the harmony. This done, the canvas is for the first time
+produced, and thereon is enlarged the design, the painter re-drawing the
+outline--never departing a hair's breadth from the outlines and forms
+already obtained--and then highly finishing the whole figure in warm
+monochrome from the life. Every muscle, every joint, every crease is
+there, although all this careful painting is shortly to be hidden with
+the draperies; such, however, is the only method of insuring absolute
+correctness of drawing. The fourth stage completed, the artist
+returns once more to his brown paper, re-copies the outline accurately
+from the picture, on a larger scale than before, and resumes his studies
+of draperies in greater detail and with still greater precision, dealing
+with them in sections, as parts of a homogeneous whole. The draperies
+are now laid with infinite care on to the living model, and are made to
+approximate as closely as possible to the arrangement given in the first
+sketch, which, as it was not haphazard, but most carefully worked out,
+must of necessity be adhered to. They have often to be drawn piecemeal,
+as a model cannot by any means always retain the attitude sufficiently
+long for the design to be wholly carried out at one cast. This
+arrangement is effected with special reference to painting--that is to
+say, giving not only form and light and shade, but also the relation and
+'values' of tones. The draperies are drawn over, and are made to conform
+exactly to the forms copied from the nudes of the underpainted picture.
+This is a cardinal point, because in carrying out the picture the folds
+are found fitting mathematically on to the nude, or nudes, first
+established on the canvas. The next step then is to transfer these
+draperies to the canvas on which the design has been squared off, and
+this is done with flowing colour in the same monochrome as before over
+the nudes, to which they are intelligently applied, and which nudes must
+never--mentally at least--be lost sight of. The canvas has been prepared
+with a grey tone, lighter or darker, according to the subject in hand,
+and the effect to be produced. The background and accessories being now
+added, the whole picture presents a more or less completed
+aspect--resembling that, say, of a print of any warm tone. In the case
+of draperies of very vigorous tone, a rich flat local colour is probably
+rubbed over them, the modelling underneath being, though thin, so sharp
+and definite as to assert itself through this wash. Certain portions of
+the picture might probably be prepared with a wash or flat tinting of a
+colour the _opposite_ of that which it is eventually to receive. A blue
+sky, for instance, would possibly have a soft, ruddy tone spread over
+the canvas--the sky, which is a very definite and important part of the
+President's compositions, being as completely drawn in monochrome as any
+other portion of the design; or for rich blue mountains a strong orange
+wash or tint might be used as a bed. The structure of the picture being
+thus absolutely complete, and the effect distinctly determined by a
+sketch which it is the painter's aim to equal in the big work, he has
+nothing to think of but colour, and with that he now proceeds
+deliberately, but rapidly.
+
+
+[Illustration: NUDE STUDY FOR "CAPTIVE ANDROMACHE"]
+
+
+[Illustration: STUDY FOR A FIGURE IN "CAPTIVE ANDROMACHE"]
+
+
+[Illustration: STUDY FOR "ANDROMACHE"]
+
+
+"Such is the method by which Sir Frederic Leighton finds it convenient
+to build up his pictures. The labour entailed by such a system as this
+is, of course, enormous, more especially when the composition to be
+worked out is of so complex a character as the _Captive Andromache_ of
+last year, every figure and group of which were treated with the same
+completeness and detail as we have seen to attend the production of so
+simple a picture as _The Sibyl_. Deliberateness of workmanship and
+calculation of effect, into which inspiration of the moment is never
+allowed to enter, are the chief characteristics of the painter's
+craftsmanship. The inspiration stage was practically passed when he took
+the crayon in his hand; and to this circumstance probably is to be
+assigned the absence of realism which arrests the attention of the
+beholder."
+
+Mr. Spielmann has instanced, in the above account, the tragic and lovely
+_Captive Andromache_, exhibited in 1888; and we may further add
+that exquisite painting of _Greek Girls playing at Ball_, of 1889; or
+the still more exquisite _Bath of Psyche_, of the year following. All
+three are full of technical delicacy and finesse. For other qualities
+take that radiantly pictured myth, the _Perseus and Andromeda_, or the
+_Return of Persephone_ (both of 1891); or the lovely _Clytie_ of 1892,
+whose sunset background was painted at Malinmore, on the west coast of
+Donegal; or the _Atalanta_ or the _Rizpah_ of 1893.
+
+
+[Illustration: STUDY FOR "PERSEUS AND ANDROMEDA"]
+
+
+[Illustration: STUDY FOR "THE BATH OF PSYCHE"]
+
+
+[Illustration: STUDY FOR "SOLITUDE"]
+
+
+The memorable picture, first named of these, which shows Andromache at
+the Well, is in particular a most characteristic example of the artist's
+larger style. In it, true to his classic predilections, he gives a new
+setting to the touching old story of Andromache's captivity. Following
+up the earlier scene in the "Iliad," where Andromache begs her husband
+Hector not to sally forth to battle, but to stay and defend the city,
+and where, finding her prayers in vain, and weeping, she bids Hector
+farewell, the picture shows the fulfilment of Andromache's fears and the
+dire prophecy which Hector had recalled to his wife.
+
+By way of contrast to this sombre canvas, take the glowing and brilliant
+colours of the _Perseus and Andromeda_, one of the three pictures shown
+at the Academy in 1891. The painting of the surroundings of Andromeda,
+the deep blue water in the sea lagoon beneath, and these radiant
+elemental people of air and light, provides such a glow of colour, as
+haunts the eye for long after one has gazed one's fill upon it.
+Something of the same feeling for the spirit that is in the forces of
+the earth, lurks behind many of Leighton's representments of the classic
+myths. It is certainly to be found, with a difference, in the _Return of
+Persephone_, exhibited with the _Perseus_, which becomes in the
+artist's hands a profound allegory of the return of Spring, with all
+kind of symbolical meanings in the three figures of Proserpine, Ceres,
+and Hermes, that are seen meeting before the mouth of Hades. _The Spirit
+of the Summit_, one of the latest of these embodiments of the relation
+of Man to Nature, may be read to mean Man's finer spirit of aspiration,
+and the mountainous imagination of Art itself. It is characteristic of
+the artist that, in the later years of his career, at a time when most
+artists and men are apt to give up something of their earlier pursuit of
+ideals, he retained undiminished a feeling for the unaccomplished
+heights of the imagination. _The Spirit of the Summit_ may serve, then,
+as the symbol, not so much of things attained, and Art victorious, as of
+things that are always to be attained, and of Art striving and
+undeterred. In this way it may serve, too, as in some sort the emblem of
+Leighton's own ideals, and of his whole career. His artistic temper was
+throughout, one of endless energy, endless determination; with a dash of
+that finer dissatisfaction which is always seeking out new embodiments,
+under all difficulties, of Man's pursuit, in a difficult, and often an
+unbeautiful world, of Truth and Beauty. Above all, he was a consummate
+draughtsman, and as Francisco Pacheco, the father-in-law of Velasquez,
+wrote in his "Arte de la Pintura" (1649): "Drawing is the life and soul
+of painting; drawing, especially outline, is the hardest; nay, the Art
+has, strictly speaking, no other difficulty. Without drawing painting is
+nothing but a vulgar craft; those who neglect it are bastards of the
+Art, mere daubers and blotchers."
+
+
+[Illustration: STUDY FOR "THE RETURN OF PERSEPHONE"]
+
+
+[Illustration: STUDY FOR "PERSEPHONE"]
+
+
+
+
+CHAPTER VII
+
+MURAL DECORATION, SCULPTURE, AND ILLUSTRATION
+
+
+The drawings of Lord Leighton deserve special consideration. The famous
+_Lemon Tree_ was made at Capri in the Spring of 1859; it is work that no
+Pre-Raphaelite could have finished more minutely, yet it has nothing
+"niggling" in its treatment. In a conversation[10] Lord Leighton is said
+to have referred to the many days spent upon the production of this
+study--dwelling specially on the difficulty he experienced in finding
+again and again each separate leaf in the perspective of the confused
+branches, as morning after morning he returned at sunrise to continue
+the work. The drawing of each leaf reveals the close observation which
+ultimately recorded its particular individuality. You feel that as a
+shepherd knows his sheep to call each by its name, so the artist must
+have become familiar with every separate leaf and twig before he had
+completed his task. The whole is broad and simple, and scarcely suggests
+the enormous patience which must have been needed to carry out the
+self-imposed toil. Nothing is shirked, nothing is scamped; from the stem
+to the outermost leaf, every part in succession reveals equal interest,
+and yet the whole is not without that larger quality which brings it
+together in a harmonious whole, so that it is as much the study of a
+tree as the study of each separate item that composes it.
+
+The _Byzantine Well-head_ is another notable instance of similar labour
+devoted to an architectural subject; this was evidently a favourite with
+its author; for during his life it hung close by his bed in the simple
+chamber of his otherwise sumptuous home, a room devoid of luxury and
+almost ascetic in its appointments.[11]
+
+The great mass of studies, on brown paper chiefly, which he had
+carefully preserved, were purchased by the Fine Art Society, and some
+two hundred and fifty were exhibited at their gallery in December, 1896,
+and a selection in facsimile has been published in sumptuous form. In a
+prefatory note to the catalogue of these studies Mr. S. Pepys Cockerell
+says: "It is seldom that we are privileged to watch at ease the workings
+of another's mind, but these drawings, the intimate record of a long
+life-time, offer an unusually good opportunity. One might call them the
+confessions of an artist; and anyone who wants to know what Leighton was
+really like, has only to use his eyes. One thing, at any rate, no one
+can fail to see, viz., that he had the qualities which result in
+industry. Whatever success he achieved was only gained after desperate
+labour. It is curious that while he had the reputation for working with
+ease, he considered himself to have no facility for anything, whether
+for art, for writing, or for speaking. I recollect his once saying:
+'Thank Heaven, I was never clever at anything,' for he believed with Sir
+Joshua, that everything is granted to well-deserved labour."
+
+The landscape studies in oil (of which a list almost complete will be
+found in Appendix II.), show equal observation and sympathetic
+perception of the beauty of colour, as well as of the beauty of
+form. The truth of these carefully recorded impressions of scenery was
+no less patent than the masterly "selection" which had set itself to
+depict all that seemed of value, and escaped at once the photographic
+imitation of one school, and the evasion of detail of another. They all
+preserve a certain classic repose, without violence to topographical
+accuracy, or painter-like intention.
+
+
+[Illustration: STUDY FOR THE CEILING OF A MUSIC-ROOM]
+
+
+[Illustration: STUDY FOR THE CEILING OF A MUSIC-ROOM]
+
+
+[Illustration]
+
+
+[Illustrations: DECORATION FOR THE CEILING OF A MUSIC-ROOM]
+
+
+We have had occasion to refer frequently, in passing, to Leighton's
+decorative works, but we have purposely deferred any description of
+them, preferring to treat them separately. To know how present was his
+feeling for decorative effect at all times, it is sufficient to glance
+never so casually at his own house, about which we hope presently to say
+something,--genuine expression as it is of his Art. Now we wish rather
+to touch on his more public performances. Of these, the famous frescoes
+which fill large lunettes in the central court at South Kensington, _The
+Industrial Arts of War_ and _The Industrial Arts of Peace_, are the best
+known, as they are among the most characteristic of all the artist's
+productions.
+
+The fresco of _The Arts of War_ is a very complex piece of work. It is
+crowded with figures, full of that orderly disorder which one must
+expect to find, on the hurried morning of a day of battle, in these
+delightfully decorative warriors. "In the centre"--we quote here Mrs.
+Lang's description--"is a white marble staircase, leading from the
+quadrangle to an archway, beyond which is another courtyard. Seen
+through the archway, knights are riding by.... The busy scene in the
+courtyard suggests an immediate departure to the seat of war. In the
+corner to the right crossbows are being chosen and tested; a man is
+kneeling by a pile of swords, and descanting on their various merits to
+an undecided customer, while those weapons that he has already disposed
+of are having their blades tried and felt. A little way off, to the left
+of the archway, some men-at-arms are trying on the armour of a youth who
+has still to win his spurs.... The whole is distinguished by the extreme
+naturalness and simplicity of all the actions, and by soft, glowing
+colours, chiefly dark olive green and splendid saffrons."
+
+In _The Arts of Peace_, its companion, the central portion of the fresco
+is devised as the interior of a Greek house, where within a semicircular
+alcove we see a number of Greek maidens and older women, delightfully
+grouped, mainly occupied in the art of personal adornment. Before this
+house is the waterside, with a very decorative boat, confined by a
+gracefully-looped chain, whose curve, as it hangs, is very subtly
+designed to complete the salient lines of the whole composition. On
+either side of this interior we have groups of men, more vigorously
+treated,--drawing water, bearing burdens, pushing a boat from land. The
+total effect of these finely posed contrasted groups, of the admirably
+architectured walls, piers, and pavements, and of the striking
+background, as of another hill-crowned Athens, is most complete and
+satisfying. The colouring throughout, diversified with extreme art as it
+is, is full of that southern radiance, and clear, sunlit glamour, so
+often found in the artist's pictures. To realize this fully, South
+Kensington must be visited, for word-painting at its best but poorly
+reproduces the art that it doubtfully imitates.
+
+
+[Illustration: FRESCO: THE INDUSTRIAL ARTS OF WAR (1872)]
+
+
+[Illustration: FRESCO: THE INDUSTRIAL ARTS OF PEACE (1873)]
+
+
+But these were by no means the first attempts of the artist to
+acclimatize the noblest form of mural decoration, which cannot even at
+this date be regarded as fully naturalized amongst us. In 1866 he
+commenced work on a fresco of _The Wise and Foolish Virgins_, which
+forms the altarpiece of the beautiful modern church at Lyndhurst,
+erected on the site of the older building commemorated in Charles
+Kingsley's ballad. This painting still remains a lasting attraction to
+visitors in the New Forest village. In the centre, the Bridegroom, clad
+in white, bearing lilies in His left hand, extends His right to the
+foremost of the five wise virgins. Angels at each side of the central
+figure welcome the one group, and repel the other. On the extreme right
+is a kneeling figure, "Ora;" on the left, "Vigila," a figure trimming a
+lamp. The scale of the figures is over life-size, and the unfortunate
+position of the work, immediately under a large east window, so that the
+figures appear standing on the altar, has provoked adverse criticism;
+but the painting itself, as a triumphant accomplishment of a peculiarly
+difficult undertaking, and a superb scheme of line and colour, has won
+favourable comments at all times. It was painted in the medium, a
+mixture of copal, wax, resin, and oil, previously employed with success
+by Mr. Gambier Parry in his decorations for Ely Cathedral.
+
+It is interesting to read the account of the execution of this work,
+which is said to have been carried out chiefly on Saturday afternoons,
+the artist catching a mid-day train from town, and working on it from
+the moment of his arrival until dusk. Experience of the London and South
+Western Railway Company thirty years ago makes one doubt whether leaving
+town at mid-day should not be taken as arriving at Lyndhurst Road at
+that time, for otherwise it would have been a miracle to accomplish the
+task by daylight. It is, however, exhilarating to find that the
+sustained enthusiasm of the young artist was equal to the effort
+involved in mastering so many obstacles; for the result, despite the
+increased attention given to decoration in these later years, may even
+now be considered, so far as modern ecclesiastical painting is
+concerned, to be without a rival in England.
+
+The beautiful _Cupid with Doves_, is also said to be from a fresco;
+whether a genuine painting on the wall itself (after the true fresco
+manner) or not, it has the larger qualities peculiar to the method which
+distinguishes several other works that were certainly not executed in
+this medium,--the latest of Leighton's mural decorations, for example, a
+painting of _Phoenicians Bartering with Britons_, which the President
+of the Royal Academy in 1895 presented as the first of a series of
+panels in the Royal Exchange. Although, as this was painted on canvas,
+it cannot be ranked as a legitimate successor in the direct line of the
+Lyndhurst and South Kensington frescoes, it is marked by many of the
+architectural qualities which distinguish a painting designed to be in
+true relation to the planes of its surroundings, and employs a
+convention which makes it appear an integral part of the wall surface,
+not a mere panel accidentally placed within a frame supplied by the
+features of the building itself.
+
+The South Kensington frescoes, as we have before stated, were painted in
+1872-3. Some ten years later Sir Frederic collaborated with Sir Edward
+(then Mr.) Poynter in the decoration of the dome of St. Paul's. His
+share was to have filled eight _medallions_, so called, in the
+compartments into which his colleague divided the dome. The design for
+one of these, _The Sea gave up the Dead which were in it_, was exhibited
+at the Academy of 1892, and is now among the works presented by Mr. Tate
+to the National Gallery of British Art. This is another treatment of a
+great subject, in which the problem of reconciling the dramatic with
+the decorative has been seriously attempted. The dome of St. Paul's, had
+it been completed according to this scheme, might have been a worthy if
+a somewhat academic presentation of the tremendous visions of the
+Apocalypse.
+
+
+[Illustration: CUPID: FROM A FRESCO]
+
+
+[Illustration: PHOENICIANS BARTERING WITH BRITONS
+               PANEL IN THE ROYAL EXCHANGE (1895)]
+
+
+Certain others of Leighton's decorative works we have already mentioned,
+such as the design for a ceiling, now in New York. Not so well known is
+his frieze delineating a dance, for an English drawing-room; or the
+small frieze with a design of Dolphins, also in England. A scheme in
+water-colours for a mural decoration, entitled _The Departure for the
+War_, was never carried out; the sketch for it was sold with the
+remaining works at Christie's, July, 1896. The single figures in mosaic
+of _Cimabue_ and _Pisano_, at the South Kensington Museum, must not be
+forgotten.
+
+To the public--or at least that portion which limits its art to the
+exhibitions of the Royal Academy--Leighton, as we have seen, made his
+_début_ as a sculptor with the group, _An Athlete struggling with a
+Python_ (known also as _An Athlete strangling a Python_), which in the
+bronze version is now among works purchased under the terms of the
+Chantrey bequest in the Tate Gallery. But long before that date he had
+successfully essayed plastic art; his first effort being for the
+medallion of a monument to Mrs. Browning in the Protestant cemetery at
+Florence. Two other monuments, to the memory of Major Sutherland Orr
+(his sister's husband), and Lady Charlotte Greville, must also be
+mentioned. We have already spoken of _The Athlete_, _The Sluggard_, and
+_Needless Alarms_. But it would be unfair to omit mention of many small
+works--small, that is to say, in scale, for they are distinguished by
+great breadth of handling--which were prepared as auxiliary studies for
+his paintings. Visitors to the studio in Holland Park Road, were always
+impressed by several of these models, which stood on a large chest in
+the bay of a great studio window. Especially noteworthy was a group of
+three singing maidens, who figure in _The Daphnephoria_, and another of
+the "choragus" for the same picture; for later works, the mounted
+Perseus, and Andromeda with the monster, both designed for the picture
+of that legend. Others belonging to a slightly earlier period
+included--the sleeping Iphigenia, a crouching figure of her attendant,
+and a nude figure of Cymon, all, of course, for _Cymon and Iphigenia_.
+These models were made to be clad in wet drapery of exquisitely fine
+texture, and were prepared only for ten minutes' drawing of the first
+idea of the figures; all serious study being made from the draped model,
+or the lay figure. Such help as they have rendered must all be referred
+to the period before the finished cartoon was ready to be traced on the
+canvas. Since Lord Leighton's decease most of these have been
+successfully cast in bronze, and are the property of the Royal Academy.
+In the studio were also the first sketches in clay for _The Sluggard_,
+and also for _The Athlete_, which was not originally intended to be
+carried further. Indeed, several people mistook it for a genuine
+antique, and admired it accordingly; Dalou, the great French sculptor,
+was especially so struck by it, that he advised its author to work out
+the idea in full size. The three years' labour devoted to the task, the
+failures by the way, and its ultimate triumphant success, both here and
+in Paris, are too well known to need recapitulation. A replica was
+commissioned for the Copenhagen Gallery, and probably no work of its
+accomplished author did more to win him the appreciation of French and
+German artists.
+
+
+[Illustration: BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)]
+
+
+[Illustration: BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)]
+
+
+[Illustration: STUDY IN CLAY FOR "CYMON"]
+
+
+[Illustration: STUDY IN CLAY FOR "THE SLUGGARD"]
+
+
+[Illustration: STUDY IN CLAY FOR "PERSEUS"]
+
+
+[Illustration: STUDY IN CLAY FOR "ANDROMEDA"]
+
+
+In this brief mention of Lord Leighton's achievements in sculpture, the
+medal commemorating the Jubilee of Queen Victoria, a study for which is
+reproduced at p. 130, must not be overlooked.
+
+Although to those who have not followed closely the splendid period of
+English illustration which may be said to have reached its zenith at the
+time when Dalziel's "Bible Gallery" was published, it may be a surprise
+to find "Frederic Leighton" figuring as an illustrator, yet the nine
+compositions in that book are by no means his sole contribution to the
+art of black and white.
+
+For each instalment of "Romola," as it ran through the pages of the
+"Cornhill Magazine," the artist contributed a full page drawing, and an
+initial letter. The twenty-four full pages were afterwards reprinted in
+"The Cornhill Gallery" (Smith and Elder, 1865). These are most notable
+works, even when measured by the standard of their contemporaries. The
+same magazine contains two other works from his pen, one illustrating a
+poem, "The great God Pan," by Mrs. Browning, and another illustrating a
+story by Mrs. Sartoris, entitled "A Week in a French Country House."
+These, and the nine compositions in the "Bible Gallery" (the pictures
+from which have lately been re-issued in a popular form by the Society
+for Promoting Christian Knowledge) exhaust the list of those which can
+be traced. As four of the magnificent designs are reproduced here, it
+would be superfluous to describe them; the titles of the five others
+are: _Abram and the Angel_, _Eliezer and Rebekah_, _Death of the First
+Born_, _The Spies' Escape_, and _Samson at the Mill_.
+
+One of the original drawings on wood is now on view at the South
+Kensington Museum, and, by comparison with impressions from the engraved
+blocks, we see how small has been the loss in translation, so admirably
+has the artist mastered the limitation of the technique that was to
+represent his work in another medium. The reproductions here given are
+considerably reduced, and necessarily lose something, but they retain
+enough to prove that had the artist cared to rest his reputation upon
+such works, he might have done so with a light heart, for whenever the
+golden period of English illustration is recalled, these comparatively
+few drawings will inevitably be recalled with it.
+
+A photographic silver-print from a drawing which forms the frontispiece
+to a little book of fairy tales is of hardly sufficient
+importance--charming though its original must have been--to be included
+among the book illustrations. The drawing, _A Contrast_, reproduced at
+p. 72, is undated; the idea it is intended to suggest, a model who once
+stood for some youthful god, revisiting the adolescent portrait of
+himself when old age has him gripped fast with rheumatism and failing
+vigour.
+
+To-day, when one has heard sculptors claim that Lord Leighton's finest
+work was in their own craft, one has also heard many illustrators not
+merely extol these drawings--notably the Bible subjects--as his
+masterpieces, but jealously refuse to consider him entitled to serious
+regard as an artist in any other medium. This attitude, so curiously
+unlike the usual welcome from experts which awaits an artist who
+ventures into fresh mediums for expressing himself, should be put on
+record as a unique tribute; the more worthy of attention, because in
+each instance it was advanced not wholly as praise, but to some extent
+as a reproach on Leighton's painting. No intended compliment could carry
+more genuine appreciation than this warm approval from fellow experts in
+the special subjects of which they are masters.
+
+
+[Illustration: CAIN AND ABEL]
+
+
+[Illustration: MOSES VIEWS THE PROMISED LAND]
+
+
+[Illustration: SAMSON AND THE LION]
+
+
+[Illustration: SAMSON CARRYING THE GATES]
+
+
+
+
+CHAPTER VIII
+
+DISCOURSES ON ART
+
+
+We must next speak of the late President's Addresses and Discourses on
+Art, and of that other art of oratory, which, we shall find, as he
+conceived it, had something of the same monumental quality he imparted
+to his painting. His presidential speeches at the annual banquet of the
+Academy would alone be sufficient to show this; but it is of course to
+his Addresses and Discourses that we must turn if we would understand
+his feeling for the two unallied arts.
+
+His success in the one is to be explained, we shall find, in very much
+the same way as his success in the other. Like most speakers of any
+distinction, Lord Leighton left nothing to chance. In his speeches and
+Discourses, as in his pictures, the most careful and exact preparation
+was made for every effect, however apparently casual it may have seemed.
+His Discourses were obviously based upon classic models; for their full
+periods, sonorously and deliberately arranged, have a rhythm that
+attends to the whole period, and not merely, as is often the way with
+English speakers, to each sentence in turn.
+
+In quoting from these Discourses, we do so, however, with an eye to his
+own proper art as a painter, and to his whole theory and sentiment of
+that art and its functions, and its allied plastic arts, even more than
+to his art as a speaker. Indeed, the Discourses form a unique
+contribution to the art criticism of our time; they cover the most
+interesting and various periods in the history of the Art of Europe; and
+although the cycle he had mapped out was interrupted before he had
+completed it--first by illness which postponed the biennial discourse,
+and then by death--the portions already delivered touch incidentally on
+the theory and philosophy of all Art in a highly suggestive and eloquent
+way.
+
+In his first Discourse, delivered to the Academy students on the 10th of
+December, 1879, the new President took occasion to estimate the modern
+predicament and general position of Art, as a prelude to the
+consideration of its special developments, in later Discourses. "I wish
+in so doing," he said, "to seek the solution of certain perplexities and
+doubts which will often, in these days of restless self-questioning in
+which we live, arise in the minds and weigh on the hearts of students
+who think as well as work."
+
+In answering the question of questions in Art for us to-day--that is,
+what are its chances in the present, compared with the glory and
+splendour of its achievement in the past?--Leighton provides us with
+some memorable passages in his first Discourse. Speaking of the
+"Evolution of Painting in Italy," he turned it to notable account in his
+argument, as in this reference to the Florentine school:
+
+"It is, perhaps," he said, "in Tuscany, and notably in Florence, that we
+see the national temperament most clearly declared in its art, as indeed
+in all its intellectual productions; here we see that strange mixture of
+Attic subtlety and exquisiteness of taste, with a sombre fervour and a
+rude Pelasgic strength which marks the Tuscans, sending forth a Dante, a
+Brunelleschi, and a Michael Angelo,--a Fiesole, a Boccaccio, and a
+Botticelli, and we find that eagerness in the pursuit of the
+knowledge of men and things, which was so characteristic of them, summed
+up in a Macchiavelli and a Lionardi da Vinci."
+
+
+[Illustration: A CONTRAST]
+
+
+How different the conditions when we turn to consider English Art, as it
+stands to-day: "The whole current of human life setting resolutely in a
+direction opposed to artistic production; no love of beauty, no sense of
+the outward dignity and comeliness of things, calling on the part of the
+public for expression at the artist's hands; and, as a corollary, no
+dignity, no comeliness for the most part, in their outward aspect;
+everywhere a narrow utilitarianism which does not include the
+gratification of the artistic sense amongst things useful; the works of
+artists sought for indeed, but too often as a profitable merchandise, or
+a vehicle of speculation, too often on grounds wholly foreign to their
+intrinsic worth as productions of a distinctive form of human genius,
+with laws and conditions of its own."
+
+The modern student may well question, whether the great artists of the
+past, if they lived now under our different conditions, would achieve
+all that they did then. For further bewilderment, the differences to be
+seen in the past itself, between school and school, and one age and
+another, may lead him to doubt "whether Art be not indeed an ephemeral
+thing, a mere efflorescence of the human intelligence, an isolated
+development, incapable of organic growth." To such doubts, comes the
+reassuring answer: "That Art is fed by forces that lie in the depth of
+our nature, and which are as old as man himself; of which therefore we
+need not doubt the durability; and to the question whether Art with all
+its blossoms has but one root, the answer we shall see to be: Assuredly
+it has; for its outward modes of expression are many and various, but
+its underlying vital motives are the same."
+
+The new President concluded his first Discourse with an eloquent plea
+for sincerity in Art: "Without sincerity of emotion no gift, however
+facile and specious, will avail you to win the lasting sympathies of
+men"--a truth which perhaps needs more repeating to-day than ever it
+did!
+
+In the second Discourse (December 10th, 1881), we are called upon to
+consider that other question which has so often perplexed the artist,
+especially the English artist, in whom the moral sentiment is apt to
+take a threatening form on occasion: "What is the relation in which Art
+stands to Morals and to Religion?"
+
+For his reply, Leighton took in turn the two contentions: one, that the
+first duty of all artistic productions is the inculcation of a moral
+lesson, if not indeed of a Christian truth; the other, that Art is
+altogether independent of ethics. His conclusion is the only sagacious
+and sane one: that whilst Art in itself is indeed independent of ethics,
+yet is there no error so deadly as to deny that "the moral complexion,
+the ethos, of the artist does in truth tinge every work of his hand, and
+fashion, in silence, but with the certainty of fate, the course and
+current of his whole career." The steps that lead irresistibly to this
+conclusion, are very clearly indicated in the course of this Discourse;
+and the more convincingly, because the speaker is himself so sympathetic
+to the religious inspiration of Italian art, on the one hand, and to its
+merely natural æsthetic growth on the other.
+
+
+[Illustration: A STUDY IN OILS]
+
+
+"The language of Art," he said then, "is not the appointed vehicle of
+ethic truths;... On the other hand, there is a field in which she has no
+rival. We have within us the faculty for a range of emotion, of
+exquisite subtlety and of irresistible force, to which Art, and Art
+alone amongst human forms of expression, has a key; these then, and
+no others, are the chords which it is her appointed duty to strike; and
+form, colour, and the contrasts of light and shade are the agents
+through which it is given to her to set them in motion. Her duty is,
+therefore, to awaken those sensations directly emotional and indirectly
+intellectual, which can be communicated only through the sense of sight,
+to the delight of which she has primarily to minister. And the dignity
+of these sensations lies in this, that they are inseparably connected by
+association of ideas with a range of perception and feelings of infinite
+variety and scope. They come fraught with dim complex memories of all
+the evershifting spectacle of inanimate creation and of the more deeply
+stirring phenomena of life; of the storm and the lull, the splendour and
+the darkness of the outer world; of the storm and the lull, the
+splendour and the darkness of the changeful and the transitory lives of
+men."
+
+In his third Discourse, which was delivered on the 10th December, 1883,
+the President entered on his exhaustive discussion, continued in many
+subsequent Discourses, of "The relation of Artistic Production to the
+conditions of time and place under which it is evolved, and to the
+characteristics of the races to which it is due." In this Discourse he
+briefly and suggestively reviews the Art of Egypt, Assyria, and Greece,
+endeavouring to account for the main characteristics of each. In Egypt
+he shows how a nation securely established in a peace and pre-eminence
+lasting for ages, blessed beyond measure in a fertile and prospering
+climate, a nation beyond all things pious and occupied in reverential
+care of the dead, should give birth to an art serene, magnificent, and
+vast. "Those whose fortune it has been," he eloquently said, "to stand
+by the base of the Great Pyramid of Khoofoo, and look up at its far
+summit flaming in the violet sky, or to gaze on the wreck of that
+solemn watcher of the rising sun, the giant Sphinx of Gizeh, erect,
+still, after sixty centuries in the desert's slowly rising tide; or who
+have rested in the shade of the huge shafts which tell of the pomp and
+splendour of hundred-gated Thebes; must, I think, have received
+impressions of majesty and of enduring strength which will not fade
+within their memory."
+
+After old Egypt, and the account of Chaldæan and Assyrian Art, with its
+warlike expression, we are led on in turn to the consideration of Greek
+Art, and the causes of its development. "Nothing that I am aware of in
+the history of the human intelligence," he said, "is for a moment
+comparable to the dazzling swiftness of the ripening of Greek Art in the
+fifth century before Christ." After speaking of the fortunate balance
+and interaction of races which resulted in the Greek Art of that era, he
+goes on to speak of the exceptionally favouring circumstances of the
+people: "Here are no vast alluvial plains, such as those along which, in
+the East, whole empires surged to and fro in battle; no mighty flood of
+rivers, no towering mountain walls: instead, a tract of moderate size; a
+fretted promontory thrust out into the sea--far out, and flinging across
+the blue a multitude of purple isles and islets towards the Ionian,
+kindred, shores." Such a fortunate environment, joined to the
+extraordinarily high ideal formed by the Greeks of citizenship, had much
+to do with the fostering of Greek Art, in all "its nobility and its
+serenity, its exquisite balance, its searching after truth, and its
+thirst for the ideal."
+
+
+[Illustration: HEAD OF A YOUNG GIRL
+               A STUDY IN OILS]
+
+
+In his fourth Discourse Lord Leighton carried on his inquiry upon the
+origins and conditions of Art into the difficult region of the
+Etruscans; whose plastic work, like their speech, he considers, was at
+best an uncouth, vigorous imitation, or re-shaping, of Greek models.
+As examples of Etruscan Art, we are referred to "the two lovely bronze
+mirrors, preserved at Perugia and Berlin, representing,--one, Helen
+between Castor and Pollux,--the other, Bacchus, Semele, and Apollo....
+In either case, the design is distinctly Greek; nevertheless a certain
+ruggedness of form and handling is felt in both, betraying a temper less
+subtle than the Hellenic; and we read without surprise on the one
+'Pultuke,' and 'Phluphluus' on the other." Lest it should be thought
+that something less than justice is done to Etruscan Art, take this fine
+description of the tomb of Volumnus Violens:
+
+"The recumbent effigy of the Volumnian is, indeed, rude and of little
+merit; rude also in execution is the monument on which it rests, but in
+conception and design of a dignity almost Dantesque. Facing the visitor,
+as he enters the sepulchral chamber, this small sarcophagus--small in
+dimensions, but in impressiveness how great!--rivets him at once under
+the taper's fitful light. Raised on a rude basement, the body of the
+monument figures the entrance to a vault; in the centre, painted in
+colours that have nearly faded, appears a doorway, within the threshold
+of which four female figures gaze wistfully upon the outer world; on
+either side two winged genii, their brows girt with the never-failing
+Etruscan serpents, but wholly free from the quaintness of early Etruscan
+treatment, sit cross-legged, watching, torch in hand, the gate from
+which no living man returns. Roughly as they are hewn, it would be
+difficult to surpass the stateliness of their aspect or the art with
+which they are designed; Roman gravity, but quickened with Etruscan
+fire, invests them: ... and our thoughts are irresistibly carried
+forward to the supreme sculptor whom the Tuscan land was one day to
+bear."
+
+From Etruria, we pass naturally on to Rome; for, as we are significantly
+reminded, "The Romans lay, until the tide of Greek Art broke on them
+after the fall of Syracuse, wholly under the influence of the
+Etruscans.... Etruria gave them kings, augurs, doctors, mimes,
+musicians, boxers, runners; the royal purple, the royal sceptre, the
+fasces, the curule chair, the Lydian flute, the straight trumpet, and
+the curved trumpet. The education of a Roman youth received its
+finishing touches in Etruria: Tuscan engineers had girt Rome with walls;
+Tuscan engineers had built the great conduit through which the swamp,
+which was one day to be the Forum, was drained into the Tiber. What
+wonder, then, that in architecture, also in painting, in sculpture, in
+jewellery, and in all the things of taste, Etruscans gave the law to the
+ruder and less cultured race?"
+
+This influence lasted, until the counter-current of Greece found an
+inlet to Roman life, filtering "through Campania into Rome from the
+opposite end of the peninsula." And then, from the fall of Syracuse, and
+the bringing of its spoils to Rome, we find a perfect craze for Grecian
+marbles, bronzes, pictures, gems, inflaming the magnates, nobles, and
+_nouveaux riches_ of Rome. How fortunate that influence was in another
+field, that of literature, we know. In plastic art, by reason of the
+essentially inartistic spirit of the Roman race, the result was
+practically small; save indeed in one department, that of portraiture,
+to which the essential impulse was, as Leighton very suggestively shows,
+"ethic, not æsthetic." Even in Roman architecture, our critic finds
+little to weaken his view of the Roman æsthetic inefficiency. "It was
+not," he said, "the spontaneous utterance of an æsthetic instinct, but
+the outcome of material needs and of patriotic pride," and hence only an
+incomplete expression of Roman civilization. "To them, in brief, art
+was not vernacular: their purest taste, their brightest gifts of mind,
+found no utterance in it."
+
+
+[Illustration: STUDY OF A HEAD]
+
+
+"We have seen Art," he concluded, "such Art as it was given to Rome to
+achieve--rise and fall with the virtues of the Roman people. From the
+lips of the most seeing of its sons we know the solvent in which those
+virtues perished: that solvent was the greed, the insatiate greed, of
+gold--'auri sacra fames'--the rot of luxury. 'More deadly than arms,'
+Juvenal magnificently exclaims, 'luxury has swept down upon us, and
+avenges the conquered world.'
+
+                           ...... 'Sævior armis
+  Luxuria incubuit, victumque ulciscitur orbem.'"
+
+
+From Rome we are taken, in the fifth Discourse, delivered on the 10th
+December, 1887, to the making and the racial re-shaping of Italy, that
+began with the fifth century. All through these Discourses the speaker
+laid great stress upon the ethnological history of the European races,
+as he turned to one after another, and essayed to trace their artistic
+idiosyncracy and their artistic evolution. Italy is, to the ethnologist
+as well as to the art student, one of the most interesting countries in
+Europe. Rome almost alone, among the Italian provinces, retained her
+racial and æsthetic peculiarities, unaffected to the end of the chapter;
+and even when she wielded "the sceptre of the Christian world," still
+she produced no one flower of native genius, we are reminded, unless
+Giulio Romano, that "brawny and prolific plagiarist of Raphael," as
+Leighton well stigmatizes him, be thought a genius; which criticism
+forbid!
+
+It was different with Tuscany, where the introduction of new racial
+elements had a distinct effect. This "new amalgam" produced in the
+field of Art, we are told, an infinitely nobler and more exquisite
+result than had grown out of the old conditions. Still, however, the old
+Etruscan allied grace and harsh strength lingered on in the art of
+Christian Etruria. "Of the subtle graces which breathe in that art, from
+Giotto to Lionardo, it is needless to speak; and surely in the rugged
+angularities of a Verocchio, a Signorelli, or a Donatello, and in the
+shadow of sadness which broods over so much of the finest Florentine
+work, the more sombre phase of the Etruscan temper still lives on."
+
+In the end, if we try to account for the artistic power and mastery of
+one people in Italy, and the lack of that power in another, we are
+driven to the conclusion that the source of the artistic gift is hidden
+and obscure. One may cite the opposite examples of Venice and of
+Genoa,--the one so masterfully artistic; the other so impotent. And yet
+the same favouring conditions, _à priori_, might have seemed to exist
+for both.
+
+With the intermingling of the peoples, and the rejuvenescence of the
+physical life, came the spiritual outburst of Christianity. And the
+influence, again, of Christianity upon Italian Art was immense. In place
+of joy in the ideals of bodily perfection, "loathing of the body and its
+beauty, as of the vehicle of all temptation, a yearning for a life in
+which the flesh should be shaken off, a spirit of awe, of pity, and of
+love, became the moving forces that shaped its creations."
+
+After great religious periods, we often find that great scientific
+periods follow. The ethical impulse that religion gives, is converted
+into other forms of energy, by reason of man's awakened consciousness of
+the meaning of things, physical and material as well as spiritual.
+
+
+[Illustration: STUDY OF A HEAD]
+
+
+In Italy a reaction against the Christian doctrine of the degradation of
+the flesh led to a new recognition of the beauty of man and of his
+physical environment. Anatomy and perspective were studied, accordingly,
+with a new sense of their significance in Art. The spirit of science led
+to "such amazing studies of leaf and flower as Lionardo loved to draw.
+Thus to Tuscan artists the new movement brought the love of nature, and
+the light of science."
+
+We come upon Dante and Petrarch in this Discourse, in tracing the
+history of Italian Art during the centuries of transition: "With Dante
+we reach the threshold of the Renaissance. He stands on the verge of the
+middle ages; in him the old order ends. With Petrarch the new order
+begins." It is not so much as a poet, however, that Petrarch counts in
+this process from one period to another; but rather as an intellectual
+pioneer, leading the way into the great pagan world. Petrarch "was the
+first Humanist," in short.
+
+We cannot stay to dwell upon the effect of the Humanists and all they
+stood for, good and evil, in Italian Art and Letters. We pass on, now,
+from Petrarch and the influence the movement had on Italian literature,
+to its effect on Italian Art. The Renaissance did not affect Art in the
+same way, as Botticelli may serve to show. "But perhaps," said the
+lecturer, "the various operations in the province of Art of the two main
+motive forces of the Renaissance--the impulse towards the scientific
+study of nature, and the impulse to reinstate the classic spirit--may be
+best illustrated by reference to Lionardo da Vinci, Raphael, and Michael
+Angelo." The passages in which Leighton characterised these three
+masters are among the most striking of all those uttered by him within
+the walls of the Academy. Lionardo's scientific "avidity of research,"
+Raphael's "classic serenity," and Angelo's "mediæval ardour," are turned
+to admirable effect in the pages of this Discourse; and the tribute paid
+to them on the part of an English painter who has zealously sought to
+live and work in the light of their great examples, has indeed an
+interest that is personal, in a sense, as well as general and critical.
+
+Take this concluding sentence upon Raphael:
+
+"Whatever was best in the classic spirit was absorbed and eagerly
+assimilated by him, and imparted to the work of his best day that
+rhythm, that gentle gravity, and that noble plenitude of form, which are
+its stamp, and proclaim him the brother of Mozart and of Sophocles."
+
+Or this, again, on Michael Angelo, as distinguishing him from Raphael:
+
+"The type of human form which he lifted to the fullest expressional
+force is the last development of a purely indigenous conception of human
+beauty, whereas the type which we know as Raphaelesque is a classic
+ideal warmed with Christian feeling. Sublimely alone as Buonarotti's
+genius stands, towering and unapproached, ... it does but mark the
+highest summit reached in the magnificent continuity of its evolution,
+by the purely native genius of Tuscan Art."
+
+Having arrived at Tuscan Art, and at Michael Angelo, in whom it reaches
+its consummate development, we leave Italy, and turn now to the
+description of Art in Spain, given by Lord Leighton in his Discourse of
+December, 1889. And first we have some account of the extraordinarily
+various racial strains which were contributed to form the significant
+figure of the fifteenth-century Spaniard. On the ancient Iberian stock
+was grafted Celtic, Greek, Phoenician, and Carthaginian blood; and to
+these infusions succeeded the great invasion of the Visigoths of the
+fifth century.
+
+
+[Illustration: STUDY OF A HEAD]
+
+
+"The Art of Spain," he said, "was, at the outset, wholly borrowed, and
+from various sources; we shall see heterogeneous, imported elements,
+assimilated sometimes in a greater or less degree, frequently flung
+together in illogical confusion, seldom, if ever, fused into a new,
+harmonious whole by that inner welding fire which is genius; and we
+shall see in the sixteenth century a foreign influence received and
+borne as a yoke"--(that of the Italian Renaissance) "because no living
+generative force was there to throw it off--with results too often
+dreary beyond measure; and, finally, we shall meet this strange freak of
+nature, a soil without artistic initiative bringing forth the greatest
+initiator--observe, I do not say the greatest artist--the greatest
+initiator perhaps since Lionardo in modern art--except it be his
+contemporary Rembrandt--Diego Velasquez."
+
+In his Discourse of December, 1891, we have, rapidly sketched, the
+Evolution of Art in France. Touching again on the question of race, the
+lecturer adduced the great race of Gauls, submitting first to Roman, and
+afterwards to Frankish, or Teutonic, domination and admixture. The main
+characteristics of the Gaulish people he judges to be, "a love of
+fighting and a magnificent bravery, great impatience of control, a
+passion for new things, a swift, brilliant, logical intelligence, a gay
+and mocking spirit--for 'to laugh,' says Rabelais, 'is the proper mark
+of man,'--an inextinguishable self-confidence." With the reign of
+Charlemagne began the development of the architecture of France, but not
+until the tenth and eleventh centuries did the "movement reach its full
+force; and its development was due mainly to the great monastic
+community, which, founded by St. Benedict early in the sixth century,
+had poured from the heights of Monte Cassino its beneficent influence
+over Western Europe."
+
+Here we have it explained how the principle of Gothic architecture, "the
+substitution of a balance of active forces for the principle of inert
+resistance," was gradually evolved. This principle once found, Gothic
+architecture reached its most splendid period in a wonderfully short
+space of time; cathedrals and churches were built everywhere, and before
+the end of the thirteenth century, the most splendid Gothic buildings
+were begun or completed. With the end of the thirteenth century Gothic
+architecture began to decline, lured by the "fascination of the statical
+_tour de force_, the craving to bring down to an irreducible minimum the
+amount of material that would suffice to the stability of a building
+extravagantly lofty."
+
+Many more extracts we would gladly make, whether from the account of the
+French sculpture of this period, marked as it was by "sincerity and
+freshness, often by great beauty and stateliness;" or from the criticism
+of such artists as Jean Cousin, who painted windows which were "limpid
+with hues of amethyst, sapphire, and topaz, and fair as a May morning;"
+or again, of Watteau, of whom we are told that "in the vivacity and
+grace of his drawing, in the fascination of his harmonies, rich and
+suave at once, in the fidelity with which he reflected his times without
+hinting at their coarseness, this wizard of the brush remains one of the
+most interesting, as he is one of the most fascinating, masters of his
+country's art."
+
+In the Discourse of 1893 the History of Gothic Architecture was pursued,
+from its native France to its adopted home in Germany. At the end of
+last century Goethe declared that not only was the Gothic style native
+to Germany, but no other nation had a peculiar style of its own; "for,"
+he said, "the Italians have none, and still less the Frenchmen"!
+According to Leighton, "the Germans, as a race, were, speaking broadly,
+never at one in spirit with ogival architecture. The result was such as
+you would expect; in the use of a form of architecture which was not of
+spontaneous growth in their midst, and unrestrained, moreover, as they
+were, by a sound innate instinct of special fitness, German builders
+were often led into solecisms, incongruities, and excesses, from which
+in the practice of their native style they have been largely free." Of
+this style, which may be called the German-Romanesque, the best examples
+are to be found among the churches of the Rhineland. In the thirteenth
+century this style, admirably as it expressed the genius of the Teuton,
+succumbed to invading French influence. "I have often wondered," he
+continued, "at the strange contrast between the reticent and grave
+sobriety of the architecture of Germany before the fall of the
+Hohenstaufens, and its erratic self-indulgence in the Gothic period."
+There is much, however, to be said in praise of the Gothic churches of
+Germany, their fine colouring, suggestiveness, and variety. Take the
+description of the Church of St. Lorenz in Nuremberg. "Nothing could
+well be more delightful than the impression which you receive on
+entering it; the beauty of the dark brown stone, the rich hues of the
+stained glass, the right relation of tone value, to use a painter's
+term, between the structure and the lights--the sombre blazoned shields
+which cluster along the walls, the succession on pier beyond pier of
+pictures powerful in colour and enhanced by the gleaming gold of
+fantastic carven frames, above all the succession of picturesque objects
+in mid-air above you, a large chandelier, a stately rood-cross, and to
+crown all, Veit Stoss's masterpiece, the Annunciation, rich with gold
+and colour; all these things conspire to produce a whole, delightful and
+poetic, in spite of much that invites criticism in the architectural
+forms themselves." Still more interesting is the word-picture of the
+great Cathedral of Cologne, "a monument of indomitable will, of science,
+and of stylistic orthodoxy ... its beautiful rhythm, its noble
+consistency and unity, its soaring height, rivet the beholder's gaze";
+and yet, the building, in spite of all, does not entirely convince: "the
+kindling touch of genius" seems to be wanting.
+
+Take, finally, this description of Albert Dürer: "He was a man of a
+strong and upright nature, bent on pure and high ideals, a man ever
+seeking, if I may use his own characteristic expression, to make known
+through his work the mysterious treasure that was laid up in his heart;
+he was a thinker, a theorist, and as you know, a writer; like many of
+the great artists of the Renaissance, he was steeped also in the love of
+science.... Superbly inexhaustible as a designer, as a draughtsman he
+was powerful, thorough, and minute to a marvel, but never without a
+certain almost caligraphic mannerism of hand, wanting in spontaneous
+simplicity--never broadly serene. In his colour he was rich and vivid,
+not always unerring in his harmonies, not alluring in his
+execution--withal a giant."
+
+With this tribute to a great predecessor we must leave these Discourses,
+which need, to be properly appreciated, to be studied as a whole; as
+indeed they form Leighton's deliberate exposition of his whole
+principles of Aesthetics. In working this out, Discourse by Discourse,
+he was not content to rely upon convenient literary sources, or
+previously acquired knowledge of his subject; but undertook special
+journeys, and spent long periods, abroad, to procure his own evidence
+at first hand. This gives his Discourses all the value of original
+research, based on new materials, to add to their purely critical value.
+Had they been completed, they would have formed an invaluable
+contribution to the history and the philosophy of Art.
+
+
+
+
+CHAPTER IX
+
+LORD LEIGHTON'S HOME
+
+
+If we seek for practical expression of Leighton's sympathy for
+decorative art, we may find it most satisfactorily in his own home as it
+appeared during his life. Mr. George Aitchison, R.A., designed the whole
+house;--even the Arab Hall being largely built from drawings made
+specially by him in Moorish Spain. Although the exterior of No. 2,
+Holland Park Road has individuality, rather than distinction, it was
+within that its special charms were found. One of the first things seen
+on entering was a striking bronze statue, "Icarus," by Mr. Alfred
+Gilbert; a typical instance of Leighton's generous recognition of
+artistic contemporaries.
+
+In earlier pages we spoke of the Arab Hall and its Oriental enchantment.
+No attempt to paint the effects of such an interior in words can call it
+up half as clearly as the slightest actual drawing. There is a dim dome
+above, and a fountain falling into a great black marble basin below;
+there are eight little arched windows of stained glass in the dome; and
+there are white marble columns, whose bases are green, whose capitals
+are carved with rare and curious birds, supporting the arches of the
+alcoves. The Cairo lattice-work in the lower arched recesses lets in
+only so much of the hot light of midsummer (for it is in summer that one
+should see it to appreciate its last charm), as consists with the
+coolness, and the quiet, and the perfect Oriental repose, which give
+the chamber its spell.
+
+
+[Illustration: THE HOUSE: THE INNER HALL]
+
+
+More in what we may call the highway of the house, from entrance hall to
+studios, is the large hall, out of which the Arab Hall leads, and from
+which the dark oak staircase ascends with walls tiled in blue and white.
+Here, on every side, one saw all manner of lovely paintings and
+exquisite _bric-à-brac_: a drawing of _The Fontana della Tartarughe in
+Rome_ by Leighton's old mentor, Steinle; other bronzes and paintings,
+and in full view a huge stuffed peacock, which seemed to have shed some
+of its brilliant hues upon its surroundings.
+
+In the drawing-room hung many Corots and Constables, with a superb
+Daubigny, and a most tempting example of George Mason,--a picture of a
+girl driving calves on a windy hill, amid a perfect embarrassment of
+such artistic riches. The famous Corots, a sequence of panels,
+representing _Morning_, _Noon_, _Evening_, and _Night_, which cost Lord
+Leighton less than 1,000 francs each, were sold for 6,000 guineas for
+the four, at Christie's, in July, 1896. Still another small Corot, a
+picture of a boat afloat on a still lake, was also in this room. One of
+the Constables that hung there is literally historic--for it is the
+sketch for that famous _Hay Wain_ which, exhibited in Paris, at once
+upset the classical tradition, and gave impetus to the whole modern
+school of French landscape. Near it was one of Constable's many pictures
+of Hampstead Heath,--simply a bit of dark heath against a sympathetic
+sky; but so painted as to be a masterpiece of its kind. These pictures
+were but a few of the many artfully disposed things of beauty, born in
+older Italy, or newer France, or in our new-old London.
+
+Upon the staircase there were pictures at every turn to make one pause,
+step by step, on the way. Sir Joshua Reynolds was represented by an
+unfinished canvas of Lord Rockingham, in which the great Burke, in his
+minor function of secretary, also figures. Then came G. F. Watts's
+earlier portrait of Leighton himself; and here a genuine Tintoretto.
+There was the P.R.A.'s famous _Portrait of Captain Burton_; and over a
+doorway his early painting of _The Plague at Florence_, with another
+early work, _Romeo and Juliet_, one of his very few Shakespearean
+pictures.
+
+From the landing whence most of these things were visible, you entered
+at once the great studio. Round the upper wall ran a cast of the
+Parthenon frieze, and beneath this the wall on one side was riddled and
+windowed, as it were, with innumerable framed pictures, small studies of
+foreign scenes; so that one looked out in turn upon Italy and the South,
+Egypt and the East, or upon an Irish sunset, or a Scottish
+mountain-side.
+
+Opposite these, below the great window, were many of the artist's
+miniature wax models and studies. Else, the ordinary not unpicturesque
+lumber of an artist's studio was conspicuously absent. The secret of
+Leighton's despatch and careful ordering of his days, was to be read,
+indeed, in every detail of his work-a-day surroundings. Even in a dim
+antechamber, with a trellised niche most mysteriously overlooking the
+Arab Hall, at one end of the studio, in which the curious visitor might
+have expected to find dusty studies, discarded canvases, and other such
+æsthetic remnants,--even that was found to contain not lumber, but a
+Sebastian del Piombo, a sketch of Sappho by Delacroix, a landscape by
+Costa, a Madonna and Child of Sano di Pietro del Piombo.
+
+At the extreme other end of the main studio was the working studio of
+glass, built to combat the fogs by procuring whatever vestige of light
+Kensington may accord in its most November moods. The last addition to
+the building, not long before Lord Leighton's death, was a gallery,
+known as "The Music Room," expressly designed to receive his
+pictures--mostly gifts from contemporary artists; or, to speak more
+accurately, works that had been exchanged for others in a wholly
+non-commercial spirit. These included, _Shelling Peas_, by Sir J. E.
+Millais, _The Corner of the Studio_, by Sir L. Alma-Tadema, _The
+Haystacks_, and _Venus_, by G. F. Watts, and _Chaucer's Dream of Good
+Women_, by Sir E. Burne-Jones.
+
+Such was the daily environment of that hard, unceasing, indefatigable
+labour which, natural faculty taken for granted, is always the secret of
+an artist's extraordinary production. And it was an environment, as one
+felt on leaving it for the gray London without, that well accorded with
+the radiant painted procession of the figures, classic and other, that
+file through Lord Leighton's pictures.
+
+
+
+
+CHAPTER X
+
+LORD LEIGHTON'S HOUSE IN 1900
+
+
+In the preceding chapter a picture is drawn of the "House Beautiful," as
+it was in Lord Leighton's lifetime. It was then full to overflowing with
+all manner of treasures; but now all that were removable have been
+dispersed. Only the shell, the house itself, remains. Yet denuded as it
+is, that is still well worth looking at. The architectural features to
+which Mr. Rhys, dazzled by other things, hardly did justice, are now all
+the more apparent.
+
+One of the rarest of all accomplishments, at any rate in England, is a
+cultivated taste in architecture; but it so happened that amongst his
+many acquirements Lord Leighton possessed it in a remarkable degree. In
+fact he received, although a painter by profession, the gold medal of
+the Royal Institute of British Architects in virtue of the intimate
+knowledge of architecture he had displayed in some of his
+backgrounds--for instance, those of the frescoes at South Kensington. It
+is a great honour, and one by no means lightly bestowed. At any rate,
+when there was a question of building himself a house, though he might
+not have been able to build it himself, he was thoroughly qualified to
+choose an architect. His choice fell upon Professor Aitchison, now R.A.,
+and he probably hit upon the only man of his generation able to put his
+feeling into bricks and mortar, viz., the feeling for a beauty sedate,
+delicate, and dignified.
+
+We must remember the condition of things architectural in the sixties to
+do justice to the independence of employer and architect. It was a time
+when the Albert Memorial was possible, and when men tried to guide their
+steps by the light of "The Seven Lamps of Architecture." A sentimental
+fancy for Gothic based on irrational grounds was all but universal, and
+it needed courage to avow a preference for the classical. The compromise
+in favour of quaintness and capricious prettiness which began under the
+name of the "Queen Anne style," and has contributed so many picturesque
+and pleasing buildings to our modern London, had not yet budded. Nor
+would it ever at any time of his life have thoroughly responded to
+Leighton's taste. So long as he could detect a defect he was
+dissatisfied, and extreme nicety is not what the Dutch style pretends
+to. It depends upon a picturesque combination of forms of no great
+refinement in themselves, but which give a varied skyline and a pretty
+play of light and shade. It amuses at the first glance, and as it rarely
+demands a second, it is well suited to turbid atmospheres, which blur
+outlines, and a chilly climate in which people cannot loiter out of
+doors. Moreover, the old-world memories it evokes, although in a minor
+degree than was the case with the Gothic, contribute to its facile
+popularity. But the classical taste is a love for form and delicate
+beauty of line _as such_, quite irrespective of any associations which
+may accompany them, or lamps, be they seven or seventy times seven. And
+to build his house in this style was the natural thing for a sculptor
+and fastidious seeker after the ideal in form. He found the man he
+wanted in Professor Aitchison.
+
+We must go over the outside and inside of the house, but rapidly; for to
+do more than just indicate the points worth attention would be waste of
+effort. To convey an idea of the feelings produced by architecture is
+perhaps possible, but it is perfectly vain to hope to picture it or
+reproduce in words the actual beauties of proportion or of colour. Those
+who wish to verify them must see for themselves and examine the building
+carefully.
+
+The aspect of the house as seen from the street is, it must be admitted,
+hardly symmetrical; but it is evident also that the first design has
+been much altered and added to. At one end the Arab Hall, with its dome
+and "bearded" battlements, is an obvious afterthought, in great contrast
+with the serious simplicity of the rest. And at the other end the glass
+studio, which was added later still, is also clearly an excrescence. The
+centre part was the original house, and the studio was the chief feature
+of it, and very much as it is now. It is, of course, on the north side,
+and the street, the south side, is occupied by small rooms which, with
+their repeated small openings, offer no great scope for designing.
+Still, the whole has that look of dignity which always accompanies high
+finish; and the entrance, far from being commonplace, because it has
+nothing quaint or surprising about it, has a certain ample serenity
+which it is rare to find. The mouldings of stonework and woodwork, few
+and simple as they are, are not taken out of a pattern-book, as is
+usually the case, but are specially designed each for its own position.
+All the refinement of a building consists in its mouldings, and no one
+has designed mouldings better than Professor Aitchison. A vast
+improvement has been made in this respect in the last twenty years or
+so, and it is largely due to his influence. At any rate he was one of
+the first and he remains the best of modern designers of mouldings.
+There are some fine examples of his work in the house.
+
+On the north the house looks into a fair-sized garden, skilfully
+planted, so that it looks much larger than it is. In the mind of the
+writer this aspect is intimately bound up with the recollection of
+delightful Sunday mornings in summer, when he sat chatting on random
+subjects with the President, who, in slippers, a so-called "land and
+water hat," and a smock frock, leant back in a garden-chair and talked
+as no one else could. The quiet, the sun overhead, the grass under our
+feet, the green trees around us, and the house visible between them,
+form an ineffaceable picture of æsthetic contentment it is a delight to
+recall. It recurred every Sunday whenever the weather was fine and warm.
+Then it was that there was leisure to appreciate the admirable symmetry
+of the architecture; for in England it is so rare to sit out of doors
+where one may look at architecture that even if architects were to
+design exteriors with all the subtlety of a Brunelleschi or a Bramante,
+they would seldom get anyone to notice their work.
+
+The studio occupies the whole of the upper story, and the architect had
+a good opportunity, as there was no need to cut it up as is the case
+when several rooms have to be provided for, by numerous uniform lights.
+Here, in the centre, is one great light between wide spaces of wall
+judiciously divided by string courses, and in the upper part on either
+side of the great window is a row of three small windows. At the east
+end is a small door leading into a pretty little Venetian balcony with
+stone parapet. The whole makes a very beautiful building, and the
+details and proportions are all worth examining.
+
+This central part was what one saw through the trees as one sat in the
+garden. Less visible were the glass studio on its iron columns, an
+excellent piece of work, considering its few possibilities, and the Arab
+Hall at the other end. Of course the latter looks a little incongruous.
+It is a professed reproduction of Arab architecture, but carried out,
+like the rest of the house, with unstinted expense, care, and finish.
+
+We will now go inside by the front door. The cornice of the ceiling of
+the vestibule first entered is singularly fine. Like every other good
+artist Professor Aitchison improved as he went on, and this is one of
+his latest designs in mouldings. When the entrance was altered some
+years before the President's death, an opportunity occurred for putting
+in a new ceiling.
+
+Passing on into the hall one comes upon a very picturesque arrangement
+of staircase. It is lit from above by a broad skylight. The stairs begin
+to rise against the wall of the dining-room which is recessed; while on
+the first floor the wall of the studio is projected and carried on
+columns, beyond which the stairs rise. So that figures coming through
+the hall in the light, begin mounting the stairs in the shadow, and
+re-emerge into the light, as the stairs turn, with a very varied and
+striking effect. By the first short flight of steps, and between the two
+columns, is a seat made of a Persian chest or cassone, beautiful and
+unusual in shape, and richly inlaid. Lord Leighton bought it in Rhodes
+or Lindos, and was very proud of it. It could not be removed and sold
+with the rest of the treasures at Christie's as it was a "fixture." The
+floor of the hall is of marble mosaic, mostly black and white. Only one
+small piece by the dining-room door, a very agreeable design, is in
+pinkish marbles.
+
+
+[Illustration: THE HOUSE: THE ARAB HALL]
+
+
+On the left, down a short passage, is the Arab Hall. It is so unlike
+anything else in Europe that its reputation has withdrawn all
+attention from the rest of the house. It certainly is a most sumptuous
+piece of work. Elsewhere Leighton satisfied his love of chastened form;
+in this room and its approach he gave full scope to his delight in rich
+colours. The general scheme is a peacock blue, known technically as
+Egyptian green, and gold, with plentiful black and white. Here and there
+tiny spots of red occur, but they are rare. The harmony begins in the
+staircase hall. The walls, except in the recessed part, where there are
+genuine oriental tiles, are lined to the level of the first floor with
+tiles of a fine blue, from the kilns of Mr. De Morgan, and the soffitt
+of the stairs is coloured buff, with gold spots. In the passage the tone
+increases in richness. The ceiling is silver and the cornice gold, while
+the walls, except for a fine panel of oriental tiles over the
+drawing-room door, are lined with the same tiles as the staircase. Then
+between two grand columns of red Caserta marble, with gilt capitals
+modelled by Randolph Caldecott, we pass into the Arab Hall itself, and
+we come upon the full magnificence of the effect. It is made up of
+polished marbles of many colours, gilt and sculptured capitals,
+alabaster, shining tiles, glistening mosaic of gold and colours, brass
+and copper in the hanging corona, and coloured glass in the little
+pierced windows, in fact, of every form of enrichment yet devised by
+Eastern or Western Art. From the floor, which is black and white, the
+tone rises through blue to lose itself in the gloom of a golden dome,
+sparsely lit by jewel-like coloured lights.
+
+In the centre a jet of water springs up, to fall back into a basin of
+black marble. The form of the basin which deepens towards the centre in
+successive steps, is an adaptation of the pattern of a well-known
+oriental fountain. All is equally black in this pool, and the border
+unfortunately is barely distinguishable from the water. After a dinner
+party at which Sir E. Burne-Jones, Mr. Whistler, Mr. Albert Moore, and
+many others were present, I recollect how, when we were smoking and
+drinking coffee in this hall, somebody, excitedly discoursing, stepped
+unaware right into the fountain. Two large Japanese gold tench, whose
+somnolent existence was now for the first time made interesting, dashed
+about looking for an exit, and there was a general noise of splashing
+and laughter. The dark, apparently fathomless pool was rather a mistake.
+Mishaps like that just mentioned occurred, I believe, more than once.
+There had been at first a white marble basin, but it did not give
+satisfaction, because, being in several pieces, it leaked, whereas the
+black one is all cut out of one block, at great expense, of course. But
+the white had the advantage of lightness where light is none too
+plentiful. In our winter, when days are dark and cold, black pools, with
+marble columns and floors, tiled walls, and dim domes about them do not
+fall in with English notions of cosy woollen comfort. The season to do
+justice to this hall is when summer comes round. When the sun breaks
+through the lattice work of the musharabiyehs, and the light is thrown
+up on the storied tiles, and up the polished columns to the glinting
+mosaic, to die away in the golden cupola, the effect is indeed superb,
+and to sit on the divan, by the splash of the fountain, and look from
+the glories within to the green trees without, is to live not in London
+but in the veritable Arabian nights.
+
+The hall is square. On one side is the entrance. In the centre of each
+of the other sides is a lofty arched recess. Those to the north and
+south are windows, shuttered with genuine musharabiyehs bought in Cairo
+and having deep cushioned divans. The recess to the west has only a
+small pierced window high up. It has a raised step, and in it used to
+stand certain bronze reproductions from Pompeii, with pots, vases, etc.,
+now gone. Some of the tiles were bought in Damascus in 1873. The price
+paid was £200 for the complete tile surface of one room. What would they
+be worth now? Others, particularly the great inscription spoken of
+below, were bought later in Cairo, and the rest at odd times. Here and
+there are single tiles, but most of them are in sets forming fine
+panels. An interesting one, in the south-east corner, represents hawks
+clutching their prey, cheetahs and deer, a hunter, etc., and another has
+herons, fish, tortoises, deer, etc. Set into the woodwork in the western
+recess are four tiles with female figures. These are either Persian or
+come from the neighbourhood of Persia, for the Anatolian or Egyptian
+Mahommedan tolerated no representations of life. The rest repeat in
+pleasing variety the usual motives of oriental design, viz., vines,
+cypresses, pinks and vases, doorways (? the entrances of mosques), with
+hanging lamps, and conventional floral designs. Above the entrance runs
+the chief treasure, the grand series of tiles bearing the great
+inscription. It is about sixteen feet long. According to Mr. Harding
+Smith it may be translated thus:
+
+"In the name of the merciful and long-suffering God. The Merciful hath
+taught the Koran. He hath created man and taught him speech. He hath set
+the sun and moon in a certain course. Both the trees and the grass are
+in subjection to him."
+
+It cannot be said that there is anything very new in that. There rarely
+is in such inscriptions. There are three others, but so far as they have
+been deciphered they appear to be incomplete, and in two cases, at any
+rate, to much the same effect as the big one. Just pious reminders. The
+real interest of them lies in the decorative effect of the imposing
+procession of letters across the wall, and the splendour of their
+colours. For beauty and condition this great inscription is said to be
+without a rival in any collection in Europe.
+
+Let into the woodwork panelling in the west bay there are two small
+lustred Persian tiles of the thirteenth century. They have been
+mutilated as to the faces of the figures by true believers. The rest
+belong to the sixteenth or early seventeenth centuries, a time when
+artistic production was stimulated by the commercial wealth brought by
+the trade of Venice and Genoa with the East through Anatolia, Damascus
+and Cairo.
+
+Round three sides above the tiles runs a decorative mosaic frieze, by
+Walter Crane, of an arabesque design on a gold ground. It is a beautiful
+and fanciful piece of work in itself, and it serves moreover to blend
+the prevailing colour of the tiles with the gilding of the upper
+regions. But it does not continue round the fourth side, because over
+the entrance, above the great inscription, an oriel window of
+musharabiyeh work looks down into the hall from the first floor of the
+house.
+
+The pierced windows, or at least eight of them, were brought from Cairo,
+and when bought had the original glass in them; but in the east the
+glass is stuck in with white of egg, and as they were, as usual,
+ill-packed, the glass all came out and was ground to fragments in the
+jolting of the journey. Only enough could be saved to fill the window in
+the upper part of the west recess opposite the entrance. The remainder
+had to be filled with English imitations.
+
+Returning now to the staircase, we find it ends on the first floor in a
+landing leading to the great studio. On the left it is open to the
+little studio; so-called because, having a skylight, Lord Leighton used
+it for painting out-of-door effects until he had the glass studio built.
+Adjoining it, or forming an extension of it, is another room, built only
+a year or two before the late owner's death. After the addition of the
+glass studio the two were only used as an antechamber, and were hung
+with the pictures presented by brother artists, and with a few old
+masters. The mouldings round the skylights are very pretty. The latticed
+window before mentioned looks down from the little studio into the Arab
+Hall.
+
+The great studio is a large room about sixty feet by twenty-five and
+about seventeen in height. In the centre of the north side is the lofty
+window forming a bay and extending into a skylight in the top. High up
+on either side of it are the three small openings mentioned when
+speaking of the exterior. A curtain hangs in front of them, and in point
+of fact they were never used. In the west wall is an apse with a gilt
+semi-dome, which appears in some of Lord Leighton's pictures. Across the
+east end runs a gallery at about eight feet from the floor with
+bookshelves under it on either side, and in the middle a broad passage
+leads into the glass studio, and still outside this is a wide balcony
+looking into the garden. Casts of a portion of the Panathenaic frieze of
+the Parthenon run along the upper part of the wall of the great studio, fit
+emblem of the lifelong devotion of the President to classic art. Such
+then is the workshop. Even now, comparatively bare as it is at the
+present moment of writing, this is one of the most picturesque suites of
+rooms in existence; but to see it on one of the grand occasions of
+Leighton's musical receptions was a very different sight and one not
+easily to be forgotten. Then when walls and easels were covered with
+pictures, when rare carpets hung from the gallery, flowers and palms
+filled the bay window, beautiful women and men of every form of
+distinction crowded the floor to listen to Joachim and Piatti, nothing
+was wanting which could give beauty or interest to the spectacle.
+
+It will be seen that the house is still rich in artistic beauty and
+still has objects of value. But the most precious of its contents are
+after all its associations. Its floors have been trodden by all that was
+most notable in the society of its owner's day, people whose names alone
+would be an epitome of our times. It was also the workshop of a great
+artist. But, above all, it was the centre of a great influence which
+profoundly modified English art.
+
+Whatever judgment the future may pass upon his own productions, the fact
+must never be lost sight of that even without them Leighton was a great
+man. Intellectually, spiritually, and socially he was the most brilliant
+leader and stimulator of artists we have ever seen in England. His
+earnest example and lifelong persistence fanned the flame of enthusiasm
+among all branches of art workers. He taught Englishmen to study form,
+and it was under his encouragement that sculpture, which was fallen so
+low, has now risen into so good a place. Finally he did more than anyone
+else has done to raise the status of the artist in society.
+
+The house which he built himself was his hobby, and in the refinement
+and catholicity of taste it shows, there is so just a reflex of his
+characteristics that an account of it is indispensable to any book which
+claims to describe the man.
+
+S. PEPYS COCKERELL.
+
+
+
+
+CHAPTER XI
+
+THE ARTIST AND HIS CRITICS
+
+
+Before closing our record it will be well to quote, as we promised
+earlier, some of the contemporary criticism that Sir Frederic's work has
+encountered from time to time; and especially the criticism of his
+earlier performances, while he was still in the years of his
+pre-Academic probation.
+
+As a provocation to criticism, most interesting of all is his picture,
+the _Cimabue's Madonna carried in Procession through the Streets of
+Florence_, upon which we have already commented. As we may here remind
+our readers, it was painted at Rome chiefly, in 1853-4, and was
+exhibited at the Academy of 1855. In that year, as good fortune would
+have it, Mr. Ruskin issued for the first time, "Notes on some of the
+Principal Pictures Exhibited in the Rooms of the Royal Academy." Some
+pages of this famous pronouncement are devoted to this very picture, and
+we cannot do better than quote freely from a criticism so remarkable.
+
+"This is a very important and very beautiful picture," says Mr. Ruskin.
+"It has both sincerity and grace, and is painted on the purest
+principles of Venetian art--that is to say, on the calm acceptance of
+the whole of nature, small and great, as, in its place, deserving of
+faithful rendering. The great secret of the Venetians was their
+simplicity. They were great colourists, not because they had peculiar
+secrets about oil and colour, but because when they saw a thing red,
+they painted it red; and ... when they saw it distinctly, they painted
+it distinctly. In all Paul Veronese's pictures, the lace borders of the
+table cloths or fringes of the dresses are painted with just as much
+care as the faces of the principal figures; and the reader may rest
+assured that in all great art it is so. Everything in it is done as well
+as it _can_ be done. Thus in the picture before us, in the background is
+the Church of San Miniato, strictly accurate in every detail; on the top
+of the wall are oleanders and pinks, as carefully painted as the church;
+the architecture of the shrine on the wall is well studied from
+thirteenth-century Gothic, and painted with as much care as the pinks;
+the dresses of the figures, very beautifully designed, are painted with
+as much care as the faces: that is to say, all things throughout with as
+much care as the painter could bestow. It necessarily follows that what
+is most difficult (_i.e._ the faces) should be comparatively the worst
+done. But if they are done as well as the painter could do them, it is
+all we have to ask; and modern artists are under a wonderful mistake in
+thinking that when they have painted faces ill, they make their pictures
+more valuable by painting the dresses worse.
+
+"The painting before us has been objected to because it seems broken up
+in bits. Precisely the same objection would hold, and in very nearly the
+same degree, against the best works of the Venetians. All faithful
+colourists' work, in figure-painting, has a look of sharp separation
+between part and part.... Although, however, in common with all other
+works of its class, it is marked by these sharp divisions, there is no
+confusion in its arrangement. The principal figure is nobly principal,
+not by extraordinary light, but by its own pure whiteness; and both the
+Master and the young Giotto attract full regard by distinction of form
+and face. The features of the boy are carefully studied, and are indeed
+what, from the existing portraits of him, we know those of Giotto must
+have been in his youth. The head of the young girl who wears the garland
+of blue flowers is also very sweetly conceived.
+
+"Such are the chief merits of the picture. Its defect is that the equal
+care given to the whole of it is not yet _care enough_. I am aware of no
+instance of a young painter, who was to be really great, who did not in
+his youth paint with intense effort and delicacy of finish. The handling
+here is much too broad; and the faces are, in many instances, out of
+drawing, and very opaque and feeble in colour. Nor have they in general
+the dignity of the countenance of the thirteenth century. The Dante
+especially is ill-conceived--far too haughty, and in no wise noble or
+thoughtful. It seems to me probable that Mr. Leighton has greatness in
+him, but there is no absolute proof of it in this picture; and if he
+does not, in succeeding years, paint far better, he will soon lose the
+power of painting so well."
+
+To Mr. Ruskin's account, which is sufficient to enable one to realize
+the picture in some detail, we may add further the criticism of the
+"Athenæum" of May 12th, 1855, which is interesting as showing how the
+work affected a contemporary critic of another order. It speaks of Mr.
+Leighton as "a young artist who, we believe, has studied in Italy," and
+goes on to say: "There can be no question that the picture is one of
+great power, although the composition is quaint even to sectarianism;
+and though the touch, in parts broad and masterly, is in the lesser
+parts of the roughest character." The last clause of the sentence bears
+out, it may be perceived, a significant indictment in Mr. Ruskin's
+deliverance, which lays stress on a defect that the artist, in his
+maturer brush-work, does not show.
+
+Rossetti, writing to his friend William Allingham, May 11th, 1855, says:
+"There is a big picture of _Cimabue_, one of his works in procession, by
+a new man, living abroad, named Leighton--a huge thing, which the Queen
+has bought, which everyone talks of. The R.A.'s have been gasping for
+years for someone to back against Hunt and Millais, and here they have
+him, a fact that makes some people do the picture injustice in return.
+It was _very_ uninteresting to me at first sight; but on looking more at
+it, I think there is great richness of arrangement, a quality which,
+when _really_ existing, as it does in the best old masters, and perhaps
+hitherto in no living man--at any rate English--ranks among the great
+qualities.
+
+"But I am not quite sure yet either of this or of the faculty for
+colour, which I suspect exists very strongly, but is certainly at
+present under a thick veil of paint, owing, I fancy, to too much
+continental study. One undoubted excellence it has--facility, without
+much neatness or ultra-cleverness in the execution, which is greatly
+like that of Paul Veronese; and the colour may mature in future works to
+the same resemblance, I fancy. There is much feeling for beauty, too, in
+the women. As for purely intellectual qualities, expression, intention,
+etc., there is little as yet of them; but I think that in art richness
+of arrangement is so nearly allied to these, that where it exists (in an
+earnest man) they will probably supervene. However, the choice of
+subject, though interesting in a certain way, leaves one quite in the
+dark as to what faculty the man may have for representing incident or
+passionate emotion. But I believe, as far as this showing goes, that he
+possesses qualities which the mass of our artists aim at chiefly, and
+only seem to possess. Whether he have those of which neither they nor he
+give sign, I cannot tell; but he is said to be only twenty-four years
+old. There is something very French in his work, at present, which is
+the most disagreeable thing about it; but this I dare say would leave
+him if he came to England."[12]
+
+In the year following Leighton's academical _début_, he exhibited a
+picture entitled _The Triumph of Music_, which the "Athenæum," hereafter
+so sympathetic towards his work, described as "anything but a triumph of
+art."
+
+Partly, perhaps, because of the general tone of discouragement in all
+the criticisms of this year, the artist did not send in anything to the
+Academy of 1857. In 1858 his two pictures--_The Fisherman and the
+Syren_, and _Count Paris_, although admirably conceived, and extremely
+interesting to us now, received no word of friendly criticism that is
+worth recording.
+
+At the Academy of 1859 were exhibited two pictures by him, which served
+to reassure at last those critics who had been shaking their heads over
+his supposed inability to follow up his first success. We turn to the
+"Athenæum" again, to study its gradual conversion from an attitude of
+critical distrust to one of critical sympathy:
+
+"Mr. Leighton," says the "Athenæum," "after a temporary eclipse,
+struggles again to light. His heads of Italian women this year are
+worthy of a young old master: anything more feeling, commanding, or
+coldly beautiful, we have not seen for many a day.... This is real
+painting, and we cannot but think that a painter who can paint so
+powerfully will soon be able to surpass that processional picture of
+his,..." _i.e._, the _Cimabue_.
+
+In 1860, the artist, who then entered upon his thirtieth year, exhibited
+a small picture, _Capri, Sunrise_, which won great praise for its
+successful treatment of Italian landscape under the Scirocco, whose
+sulphurous light is cast with evil suggestion upon the white houses and
+green vegetation. In paying his tribute to the quality of the picture,
+the critic of the "Athenæum" cannot resist, however, the old cry of
+great expectations. For the effect of the _Cimabue's Madonna_ had
+aroused critics to regard the painter as one who would continue the
+legend of the great historical schools, and carry on the traditions of
+the so-called grand style. But the critic proposes, the creator
+disposes: the artist went his own way, following still his own ideals.
+
+In 1861, some rather warm discussion raged over two of the artist's
+contributions to the Royal Academy, which appeared in its catalogue as
+Nos. 399 and 550, and which, it was said, had been deliberately slighted
+by the hanging committee. In later years, Leighton must sometimes have
+smiled when he heard (as from his position he must needs have,) the
+annual plaint of the "skied." It is to the "Art Journal," whose
+criticisms, when they had to do with the new and rising schools, used to
+be always entertaining, if often provoking, in those days, that we turn
+for a contemporary account of these things, rather than to any other
+source. The critic having premised, with a delightful and convincing air
+of "I told you so!" that his first effort (the inevitable _Cimabue's
+Madonna_) having exhausted the poor artist, "he has been coming down the
+ladder of fame ever since," continues in characteristic tones: "Instead
+of being hung too high, the _Dream_, had it been properly hung, would
+have been displayed upon the ceiling." The picture, according to this
+authority, consisted only of a questionable combination of the "lower
+forms of mere decorative ornamentation," and was in fact, "not so much a
+picture as a very clever treatment for the centre of a ceiling." So much
+for what was really the first clear sign of the artist's delightful
+decorative faculty.
+
+It is clear from various evidences of the feeling of the critics about
+Leighton at this time, that they had begun to look upon him as one whose
+ideals were frivolous, and not seriously minded, or weighted with the
+true British substantiality of the old Academy tradition. In the very
+next year, the artist, by the chances of his own temperamental
+many-sided delight in life and art, did something to reassure his
+admonitors once more. No. 217 at the Royal Academy of 1862 was his
+picture, _The Star of Bethlehem_, which, with some natural and not
+unfair deductions, won considerable praise from the critic last quoted.
+In this painting, which shows curiously the mingled academic and natural
+quality of the artist, the critic found profound incompatibilities of
+conception and technique; and next year, the same critic was stirred to
+exclaim,--"The pictures which of all others give most trouble and
+anxiety to the critic are perhaps those of Mr. Millais and Mr.
+Leighton,"--a very suggestive conjunction of names, let us add.
+
+It was probably the same critic, who speaking of the _Dante at Verona_,
+in 1864, said gravely, "The promise given by the _Cimabue_ here reaches
+fruition."
+
+Writing in 1863, Mr. W. M. Rossetti, a critic whom it is interesting to
+be able to cite, said of two of the artist's pictures of that year, the
+_Girl feeding Peacocks_ and the _Girl with a Basket of Fruit_, they
+belong "to that class of art in which Mr. Leighton shines--the art of
+luxurious exquisiteness; beauty, for beauty's sake; colour, light, form,
+choice details, for their own sake, or for beauty's."
+
+In the same year, Mr. Rossetti spoke of the young artist as the one
+"British painter of special faculty who has come forward with the most
+decided novelty of aim"--since, that is, the new development of art
+under the little band of Pre-Raphaelites,--with which Mr. W. M. Rossetti
+was himself so closely associated.
+
+By way of contrast, we may cite the "Art Journal" of 1865, which
+provides a most extraordinary criticism of _David_, of that year. "We
+would venture to ask," says this ingenious critic, "why the divine
+psalmist has so small a brain? Within this skull there is not compass
+for the poet's thoughts to range. We state as a physiological fact, that
+a head so small, with a brow so receding, could not have belonged to any
+man who has made himself conspicuous in the world's history. Again,
+descending to mere matter of costume, there cannot be a doubt that the
+purple mantle flung on the psalmist's shoulders is wholly wanting in
+study of detail, and constitutes a blot on the landscape. Barring these
+oversights, the picture possesses merits."
+
+At this period we hear the first critical murmurs against the artist's
+very deliberately chosen method of flesh-painting. In 1867, speaking of
+the _Venus Disrobing_, the "Art Journal" critic says: "According to the
+manner, not to say the mannerism, of the artist, it has a pale silvery
+hue, not as white as marble, not so life-glowing as flesh." With this we
+may compare, for the comparison is instructive, the "Athenæum," whose
+notice is more sympathetic. The figure of the goddess it describes as
+"all rosy white, ... admirably drawn, and modelled with extreme care."
+
+Again, in 1868, the "Art Journal" says of Sir Frederic's _Actæa_: "The
+artist has made some attempt to paint flesh in its freshness and
+transparency, and indeed the more he renounces the opacity of the German
+school, and the more he can realize the brilliance of the old Venetian
+painters, the better."
+
+In 1869, the "Athenæum" praised the _Sister's Kiss_, as "a lovely
+group," but complained that the execution was a "little too smooth,"--a
+complaint not infrequently echoed from time to time by the artist's
+critics. Some years later we find Mr. W. M. Rossetti making the same
+complaint in criticising _Winding the Skein_.
+
+In 1875 the picture, _Portions of the Interior of the Grand Mosque at
+Damascus_, won great praise, as "a remarkably delicate piece of work, in
+which the beautiful colouring of the tiled walls and mosaic pavement are
+skilfully rendered."
+
+In 1876, the quondam hostile "Art Journal" is completely converted by
+the _Daphnephoria_: "To project such a scene upon canvas presupposes a
+man of high poetic imagination, and when it is accompanied by such
+delicacy and yet such precision of drawing and such sincerity of
+modelling, the poet is merged in the painter and we speak of such a one
+as a master. There is, indeed, nothing more consolatory to those who
+take an interest in British art than the knowledge that we have among us
+a man of such pure devotion and lofty aim."
+
+It was in 1875, that Mr. Ruskin, resuming his _rôle_ of an Academy
+critic, claimed Leighton as "a kindred Goth," and confessed, "I
+determined on writing this number of 'Academy Notes,' simply because I
+was so much delighted with Mr. Leslie's _School_, Mr. Leighton's _Little
+Fatima_, Mr. Hook's _Hearts of Oak_, and Mr. Couldery's _Kittens_."
+
+In his lectures on the Art of England, the same critic, speaking of
+Leighton's children, says: "It is with extreme gratitude, and
+unqualified admiration, that I find Sir Frederic condescending from the
+majesties of Olympus to the worship of those unappalling powers, which,
+heaven be thanked, are as brightly Anglo-Saxon as Hellenic; and painting
+for us, with a soft charm peculiarly his own, the witchcraft and the
+wonderfulness of childhood."
+
+Upon the _Egyptian Slinger_ of the same year, which Mr. Ruskin terms the
+"study of man in his Oriental function of scarecrow (symmetrically
+antithetic to his British one of game preserver)," his criticism is
+interesting, but adverse. The critic who elsewhere acknowledged fully
+the artist's acutely observant and enthusiastic study of the organism of
+the human body, confesses himself unable to recognize his skill, or to
+feel sympathy with the subjects that admit of its display. It is, he
+goes on to say further of the _Slinger_, "it is, I do not doubt,
+anatomically correct, and with the addition of the corn, the poppies,
+and the moon, becomes semi-artistic; so that I feel much compunction in
+depressing it into the Natural History class; and the more, because it
+partly forfeits its claim even to such position, by obscuring in
+twilight and disturbing our minds, in the process of scientific
+investigation, by sensational effects of afterglow and lunar effulgence,
+which are disadvantageous, not to the scientific observer only, but to
+less learned spectators; for when simple persons like myself, greatly
+susceptible to the influence of the stage lamps and pink side-lights,
+first catch sight of this striding figure from the other side of the
+room, and take it, perhaps, for the angel with his right foot on the sea
+and the left on the earth, swearing there shall be Time no longer; or
+for Achilles alighting from one of his lance-cast-long leaps on the
+shore of Scamander, and find on near approach that all this grand
+straddling and turning down of the gas mean practically only a lad
+shying stones at sparrows, we are only too likely to pass it petulantly
+without taking note of what is really interesting in this eastern custom
+and skill."
+
+
+[Illustration: EGYPTIAN SLINGER (1875)]
+
+
+The most recent criticism of importance on the art of Leighton is
+contained in an admirable volume by M. de la Sizeranne.[13] We take this
+opportunity of quoting a few sentences from an appreciation which opens
+with the significant remark that Sir Frederic Leighton is officially the
+representative of English painting on the Continent, and, in reality,
+the representative of Continental painting in England, and concludes by
+tracing the definitely English ideal that underlies the artist's work.
+Elsewhere the critic says, "Ce qui est britannique en M. Leighton,
+quoique bien voilé par son éclectisme, transparaîtra encore." Apart from
+Leighton's distinctively native predilection for certain subjects, M. de
+la Sizeranne finds him very English in his treatment of draperies, for
+instance, a treatment which he traces ingeniously to the much study
+given to the Greek drapery of the Elgin marbles by the English School,
+since the days of the Pre-Raphaelites. Elsewhere, taking as his text the
+picture _The Spirit of the Summit_, he says: "Des sujets qui élèvent la
+pensée vers les sommets de la vie ou de l'histoire, de sorte qu'on ne
+puisse se rappeler un nez ou une jambe sans se souvenir de quelque haute
+leçon évangélique, ou de moins de quelque grande nécessité sociale,
+voilà ce que M. Leighton a traité. Et un style beaucoup plus sobre que
+celui d'Overbeck, beaucoup plus viril que celui de M. Bouguereau, voilà
+comment il les a traités." Again: "La grandeur de la communion humaine,
+la noblesse de la paix, tel est le thème qui a le plus souvent et le
+mieux inspiré M. Leighton. Et cela il ne l'a pas trouvé en France, ni
+ailleurs. C'est bien une idée anglaise." No better summing up of the
+chronicle of the life work of the artist could well be found.
+
+But we have pursued far enough this study of an artist's progress
+through the thorny, devious ways of art criticism. We have reached the
+point, in fact, where the comparative uncertainties of an artist's
+career make way for the certainties. With one quotation more, in which
+we have a tribute from another critic, Mr. Comyns Carr, we may fitly
+close: "No painter of our time," said Mr. Carr, "maintains a firmer or
+more constant adherence to those severe principles of design which have
+received the sanction of great example in the past. Sir Frederic
+Leighton has never lowered the standard of his work in deference to any
+popular demand, and for this persistent devotion to his own highest
+ideals he deserves well of all who share his faith in the power of
+beauty."
+
+
+[Illustration: ELISHA AND THE SHUNAMITE'S SON (1881)]
+
+
+
+
+CHAPTER XII
+
+CONCLUSION
+
+
+In now bringing this record to a close, we will of set purpose remain
+true to the chronicler's function, pure and simple; attempting no
+profounder or more critical summing up of our subject, than consists
+with the plain record of a remarkable career.
+
+After a year of indifferent health, during part of which time he was
+ordered abroad for rest and change, being thus unable to preside at the
+annual banquet in May, Leighton returned to England apparently
+convalescent. Although unable to deliver the biennial presidential
+address, which fell due in December, 1895, he met the students on that
+occasion, and apologized for not delivering the Discourse which was due,
+in these words: "The cloud which has hung over me hangs over me
+still."[14]
+
+Early in 1896 a peerage was bestowed upon him, and all the world
+applauded the honour conferred on Art in his name. On January 13th,
+1896, the news of his death came as a terrible surprise. The new peer,
+Baron Leighton of Stretton, was buried with much state at St. Paul's
+Cathedral, before men in general had wholly recognized that Lord
+Leighton was the popular "Sir Frederic," the President of the Royal
+Academy, and one of the most familiar figures at any important
+function--at court or elsewhere.
+
+Except perhaps in the case of politicians, who live in some degree by
+the public recognition of their personal qualities, it is difficult to
+render tribute gracefully and well to a contemporary. But we cannot
+close these pages, now, without pausing to recall how fortunate it has
+been that English Art, for seventeen years, had as its titular head an
+artist whose affluent artistic faculty was but the open sign of a
+crowded life, loyal throughout to the great causes, high ideals, and,
+let us add, the early friendships, chosen long ago in the mid century.
+We are now at that century's end,--an end not without its reproach, as
+expressed by a decadence more self-conscious than dignified, more
+critical than creative; but in Lord Leighton's Art there was little
+diminution in his active energy, and of that finer health and spirit of
+life, which is behind all beauty! Like his distinguished friend and
+colleague, Mr. G. F. Watts (whose tribute to him as a man and as an
+artist has been expressed again and again in eloquent terms), Leighton
+remained, in his later period as in his youth, generously alive to all
+the things that count, devoted still to the Art, the current life, and
+the great national traditions, of his own country.
+
+From another famous colleague, Sir E. J. Poynter, P.R.A., one may fitly
+add here the following further sentences of contemporary tribute, which
+were written by way of dedication to his "Ten Lectures on Art,"
+published some years ago:--"I came to-day from the 'Varnishing Day' at
+the Royal Academy Exhibition with a pleasant conviction that there is on
+all sides a more decided tendency towards a higher standard in Art, both
+as regards treatment of subject and execution, than I have before
+noticed; and I have no hesitation in attributing this sudden improvement
+in the main to the stimulus given to us all by the election of our new
+President, and to the influence of the energy, thoroughness and nobility
+of aim which he displays in everything he undertakes. I was probably the
+first, when we were both young and in Rome together, to whom he had the
+opportunity of showing the disinterested kindness which he has
+invariably extended to beginners, and to him, as the friend and master
+who first directed my ambition, and whose precepts I never fail to
+recall when at work (as many another will recall them), I venture to
+dedicate this book with affection and respect."
+
+"As we are, so our work is!" said Leighton in one of the most memorable
+of his Discourses; "and the moral effect of what we are will control the
+artist's work from the first touch of the brush or chisel to the last."
+"Believe me," he concludes, in a striking passage that may very fitly
+serve us, too, with a conclusion to these passages, "believe me,
+whatever of dignity, whatever of strength we have within us, will
+dignify and will make strong the labours of our hands; whatever
+littleness degrades our spirit will lessen them and drag them down.
+Whatever noble fire is in our hearts will burn also in our work,
+whatever purity is ours will also chasten and exalt it; for as we are,
+so our work is, and what we sow in our lives, that, beyond a doubt, we
+shall reap for good or for ill in the strengthening or defacing of
+whatever gifts have fallen to our lot."
+
+It would be superfluous to quote from the elegiac tributes which
+appeared in the public press after Lord Leighton's death, and invidious
+to repeat certain unkind and unjust strictures which marred the
+otherwise unanimous note of appreciation. It is obvious that an artist
+with so strongly marked a personality must needs have been fettered by
+the very limits he himself had set. At one time, when a painter of
+eminence openly expressed his preference for Lord Leighton's unfinished
+work, and begged him to keep a certain picture as "a beautiful sketch,"
+he replied: "No, I shall finish it, and probably, as you suggest, spoil
+it. To complete satisfactorily is what we painters live for. I am not a
+great painter, but I am always striving to finish my work up to my first
+conception."
+
+There are many mansions in the city of Art, and if the one of Lord
+Leighton's building was not to the taste of all his contemporaries, the
+edifice can be left to await the final test of years. Fashions in taste
+change rapidly, and much of his finish that finds disfavour to-day may
+in time charm once again. A career overburdened by official honour was
+destined to provoke a certain amount of envious protest; but as a man,
+no voice has urged a word against his ideally perfect performance, not
+merely of his official duties, but of others which indeed were laid upon
+him by his position. These he obeyed without ostentation--almost without
+men's knowledge. His kindly help, by commendation or by commission given
+to young artists; his broad and tolerant view of work conceived in
+direct opposition to all he valued himself, was not hidden from his
+friends. "It is with a sense of amazement," a critic writes in a private
+letter, "that one afternoon after a protest that nothing he said was to
+be published, I heard him discuss the prospects and the works of our
+ultra-modern painters. Even in fields beyond his sympathy he picked out
+the chaff from the wheat, and was judicially accurate in his verdicts of
+the difference between 'tweedle-dum' and 'tweedle-dee,' both one would
+have said, entirely unknown to him."
+
+In Lord Leighton British artists lost a truer friend than many of them
+suspected, one who wielded his power justly to all, and was more often
+on the side of progress than not, a power for reform that can never be
+estimated at its actual value, working within a highly conservative
+body, full of vested interests and prejudice--as is the habit of
+academies of Art and Literature abroad no less than at home. That
+Leighton, who controlled its destinies so long, was loyal to its true
+interests, and never forgot the institution with which he was associated
+so many years is evident from his last words: "Give my love to all at
+the Academy."
+
+
+[Illustration: BOOKPLATE OF LORD LEIGHTON. DESIGNED BY R. ANNING BELL.]
+
+
+
+
+APPENDIX I
+
+LIST OF PRINCIPAL WORKS
+
+_With date and place of exhibition_
+
+
+1850  (_circa_). *CIMABUE FINDING GIOTTO IN THE FIELDS OF FLORENCE.[15]
+      (49-1/2 × 37 in.) Steinle Institute (Frankfort).
+
+1850. THE DUEL BETWEEN ROMEO AND TYBALT. (37 × 50 in.)
+
+1851  (_circa_). THE DEATH OF BRUNELLESCHI. Steinle Institute.
+
+1851. [EARLY PORTRAIT OF LEIGHTON BY HIMSELF.]
+
+1852. *A PERSIAN PEDLAR.
+
+  "   [BUFFALMACCO, THE PAINTER. A humorous subject, taken from Vasari,
+      was undertaken about this date.]
+
+1853. PORTRAIT OF MISS LAING (Lady Nias).
+
+1855. *CIMABUE'S CELEBRATED MADONNA IS CARRIED IN PROCESSION THROUGH
+      THE STREETS OF FLORENCE. In front of the Madonna, and crowned with
+      laurels, walks Cimabue himself, with his pupil Giotto; behind it,
+      Arnolfo di Lapo, Gaddo Gaddi, Andrea Tafi, Nicola Pisano,
+      Buffalmacco and Simone Memmi; in the corner, Dante.
+      (87-1/2 × 205 in.)                                           R.A.[16]
+
+  "   THE RECONCILIATION OF THE MONTAGUES AND CAPULETS over the dead
+      bodies of Romeo and Juliet. Paris International Exhibition.[17]
+
+1856. THE TRIUMPH OF MUSIC. (80 × 110 in.)                             R.A.
+
+      "Orpheus, by the power of his art, redeems his wife from Hades."
+
+1857. *SALOME, the daughter of Herodias. (44-1/2 × 25 in.)
+
+1858. *THE MERMAID (THE FISHERMAN AND THE SYREN).
+      (From a ballad by Goethe.) (26-1/2 × 18-1/2 in.)                 R.A.
+
+          "Half drew she him,
+          Half sunk he in,
+          And never more was seen."
+
+  "   "COUNT PARIS, accompanied by Friar Lawrence and a band of
+      musicians, comes to the house of the Capulets, to claim his
+      bride: he finds Juliet stretched apparently lifeless on her
+      bed."--_Romeo and Juliet_, act IV., sc. 5. (26-1/2 × 18-1/2 in.) R.A.
+
+  "   REMINISCENCE OF ALGIERS.                                         S.S.
+
+        _These were_,
+
+          [A SUBJECT FROM KEATS'S HYMN TO PAN,] _in the first book of
+          "Endymion," a figure of Pan under a fig-tree, with the
+          inscription_,
+
+                                "_O thou, to whom
+              Broad-leaved fig-trees even now foredoom
+              Their ripen'd fruitage;_"
+
+        _and the other_,
+
+          [A PENDANT TO THE "PAN,"] _the figure of a nude nymph about
+          to bathe, with a little Cupid loosening her sandal._
+
+1859. SUNNY HOURS.                                                     R.A.
+
+  "   *ROMAN LADY (La Nanna).                                          R.A.
+
+  "   *NANNA (Pavonia).                                                R.A.
+
+  "   SAMSON AND DELILAH.                                              S.S.
+
+1860. CAPRI--SUNRISE.                                                  R.A.
+
+1861. *PORTRAIT OF MRS. SUTHERLAND ORR. [Mrs. S. O., a portrait.]
+      (28 × 18 in.)                                                    R.A.
+
+  "   *PORTRAIT OF JOHN HANSON WALKER, ESQ. (23 × 17 in.)
+
+  "   PAOLO E FRANCESCA.                                               R.A.
+
+          "Ma solo un punto fu quel che ci vinse
+          Quando legemmo il disiato riso
+          Esser baciato da cotanto amante,
+          Questi, che mai da me non fia diviso,
+          La bocca mi baciò tutto tremante:
+          Galeotto fu'l libro e chi lo scrisse:
+          Quel giorno più non vi legemmo avante."
+
+  "   A DREAM.                                                         R.A.
+
+          ... "Not yet--not yet--
+          Still there is trial for thee, still the lot
+          To bear (the Father wills it) strife and care;
+          With this sweet consciousness in balance set
+          Against the world, to soothe thy suffering there
+             Thy Lord rejects thee not.
+          Such tender words awoke me hopeful, shriven
+          To life on earth again from dream of heaven."
+
+  "   LIEDER OHNE WORTE.                                               R.A.
+
+  "   J. A. A STUDY.                                                   R.A.
+
+  "   CAPRI--PAGANOS.                                                  R.A.
+
+1862. ODALISQUE.                                                       R.A.
+
+  "   *THE STAR OF BETHLEHEM. (60 × 23-1/2 in.)                        R.A.
+
+          One of the Magi, from the terrace of his house, stands
+          looking at the star in the East; the lower part of the
+          picture indicates a road, which he may be supposed
+          just to have left.
+
+  "   SISTERS.                                                         R.A.
+
+  "   *MICHAEL ANGELO NURSING HIS DYING SERVANT. (43 × 36 in.)         R.A.
+
+  "   DUETT.                                                           R.A.
+
+  "   SEA ECHOES.                                                      R.A.
+
+  "   RUSTIC MUSIC.
+
+1863. JEZEBEL AND AHAB, having caused Naboth to be put to death,
+      go down to take possession of his vineyard; they are met at
+      the entrance by Elijah the Tishbite:                             R.A.
+
+          "Hast thou killed, and also taken possession?"
+
+  "   *EUCHARIS. (A Girl with a Basket of Fruit.) (32-1/2 × 22 in.)    R.A.
+
+  "   A GIRL FEEDING PEACOCKS.                                         R.A.
+
+  "   AN ITALIAN CROSSBOW-MAN. (15 × 24-1/2 in.)                       R.A.
+
+1864. DANTE AT VERONA.                                                 R.A.
+
+  "   *ORPHEUS AND EURYDICE. (49 × 42 in.)                             R.A.
+
+          "But give them me--the mouth, the eyes,--the brow--
+          Let them once more absorb me! One look now
+          Will lap me round for ever, not to pass
+          Out of its light, though darkness lie beyond!
+          Hold me but safe again within the bond
+          Of one immortal look! All woe that was,
+          Forgotten, and all terror that may be,
+          Defied--no past is mine, no future! look at me!"
+                              ROBERT BROWNING: _A Fragment_.
+
+  "   *GOLDEN HOURS. (36 × 48 in.)                                     R.A.
+
+  "   *PORTRAIT OF THE LATE MISS LAVINIA I'ANSON. (Circular, 12-1/2 in.)
+
+1865. *DAVID. (37 × 47 in.)                                            R.A.
+
+          "Oh that I had wings like a dove! for then would I fly
+          away and be at rest." _Psalm_ lv.
+
+  "   MOTHER AND CHILD.                                                R.A.
+
+  "   WIDOW'S PRAYER.                                                  R.A.
+
+  "   HELEN OF TROY.                                                   R.A.
+
+          "Thus as she spoke, in Helen's breast arose
+          Fond recollections of her former lord,
+          Her home, and parents; o'er her head she threw
+          A snowy veil; and shedding tender tears
+          She issued forth not unaccompanied;
+          For with her went fair Æthra, Pittheus' child.
+          And stag-eyed Clymene, her maidens twain.
+          They quickly at the Scæan gate arrived."
+
+  "   IN ST. MARK'S.                                                   R.A.
+
+1866. PAINTER'S HONEYMOON.                                             R.A.
+
+  "   PORTRAIT OF MRS. JAMES GUTHRIE.                                  R.A.
+
+  "   SYRACUSAN BRIDE LEADING WILD BEASTS IN PROCESSION TO THE
+      TEMPLE OF DIANA.                                                 R.A.
+
+          (Suggested by a passage in the second Idyll of Theocritus.)
+
+          "And for her, then, many other wild beasts were going in
+          procession round about, and among them a lioness."
+
+  "   THE WISE AND FOOLISH VIRGINS. (Fresco in Lyndhurst Church.)
+
+1867. *PASTORAL. (51-1/2 × 26 in.)                                     R.A.
+
+  "   *GREEK GIRL DANCING. (Spanish Dancing Girl: Cadiz in the old
+      times.) (34 × 45 in.)                                            R.A.
+
+  "   KNUCKLE-BONE PLAYER.                                             R.A.
+
+  "   *ROMAN MOTHER. (24 × 19 in.)                                     R.A.
+
+  "   *VENUS DISROBING FOR THE BATH. (79 × 35-1/2 in.)                 R.A.
+
+  "   *PORTRAIT OF MRS. JOHN HANSON WALKER. (18 × 16 in.)
+
+1868. JONATHAN'S TOKEN TO DAVID.                                       R.A.
+
+          "And it came to pass in the morning, that Jonathan went
+          out into the field at the time appointed by David, and
+          a little lad with him."
+
+  "   *PORTRAIT OF MRS. FREDERICK P. COCKERELL. (23-1/2 × 19-1/2 in.)  R.A.
+
+  "   *PORTRAIT OF JOHN MARTINEAU, ESQ. (23-1/2 × 19-1/2 in.)
+
+  "   *ARIADNE ABANDONED BY THESEUS; Ariadne watches for his return;
+      Artemis releases her by death. (45 × 62 in.)                     R.A.
+
+  "   *ACME AND SEPTIMIUS. (Circular, 37-1/2 in.)                      R.A.
+
+          "Then bending gently back her head
+          With that sweet mouth, so rosy red,
+          Upon his eyes she dropped a kiss,
+          Intoxicating him with bliss."
+                              CATULLUS (Theodore Martin's translation).
+
+  "   *ACTÆA, THE NYMPH OF THE SHORE. (22 × 40 in.)                    R.A.
+
+1869. *ST. JEROME. (Diploma work, deposited in the Academy on his
+      election as an Academician.) (72 × 55 in.)                       R.A.
+
+  "   *DÆDALUS AND ICARUS. (53-1/2 × 40-1/2 in.)                       R.A.
+
+  "   *ELECTRA AT THE TOMB OF AGAMEMNON. (59-1/2 × 29 in.)             R.A.
+
+  "   *HELIOS AND RHODOS. (65-1/2 × 42 in.)                            R.A.
+
+1870. A NILE WOMAN. (21-1/2 × 11-1/2 in.)                              R.A.
+
+  "   STUDY.                                                           S.S.
+
+1871. *HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS.
+      (54 × 104-1/2 in.)                                               R.A.
+
+  "   GREEK GIRLS PICKING UP PEBBLES BY THE SHORE OF THE SEA.          R.A.
+
+  "   *CLEOBOULOS INSTRUCTING HIS DAUGHTER CLEOBOULINE.
+      (24 × 37-1/2 in.)                                                R.A.
+
+  "   VIEW OF ASSIOUT(?) (_A sketch._)                                 S.S.
+
+  "   SUNRISE AT LONGSOR. (_A sketch._)                                S.S.
+
+  "   VIEW OF THE RED MOUNTAINS NEAR CAIRO. (_A sketch._)              S.S.
+
+1872. *AFTER VESPERS. (43 × 27-1/2 in.)                                R.A.
+
+  "   *SUMMER MOON. (Guildhall, 1890.) (39-1/2 × 50-1/2 in.)           R.A.
+
+  "   PORTRAIT OF THE RIGHT HON. EDWARD RYAN, Secretary of the
+      Dilettanti Society, for which the picture was painted.
+      (S.P.P., 1893.)                                                  R.A.
+
+  "   A CONDOTTIERE.                                                   R.A.
+
+  "   *THE INDUSTRIAL ARTS OF WAR at the International Exhibition
+      at South Kensington. (Monochrome, 76 × 177 in.)
+
+  "   THE CAPTIVE.                                                     S.S.
+
+  "   AN ARAB CAFÉ, ALGIERS.                                           S.S.
+
+1873. *WEAVING THE WREATH. (Guildhall, 1895.)                          R.A.
+
+  "   MORETTA. (Guildhall, 1894.) (20-1/2 × 14-1/2 in.)                R.A.
+
+  "   *THE INDUSTRIAL ARTS OF PEACE. (Monochrome, 76 × 177 in.)        R.A.
+
+  "   A ROMAN.                                                         S.S.
+
+  "   VITTORIA.                                                        S.S.
+
+1874. *MOORISH GARDEN: a dream of Granada. (41 × 40 in.)
+      (Guildhall, 1895.)                                               R.A.
+
+  "   OLD DAMASCUS: Jews' Quarter.                                     R.A.
+
+  "   *ANTIQUE JUGGLING GIRL. (Guildhall, 1892.) (41-1/2 × 24 in.)     R.A.
+
+  "   CLYTEMNESTRA from the battlements of Argos watches for the
+      beacon fires which are to announce the return of Agamemnon.      R.A.
+
+  "   ANNARELLA, ANA CAPRI.                                            D.G.
+
+  "   RUBINELLA, CAPRI.                                                D.G.
+
+  "   LEMON TREE, CAPRI.                                               D.G.
+
+  "   WEST COURT OF PALAZZO, VENICE.                                   D.G.
+
+1875. *PORTION OF THE INTERIOR OF THE GRAND MOSQUE OF DAMASCUS.
+      (62 × 47 in.)                                                    R.A.
+
+  "   *PORTRAIT OF MRS. H. E. GORDON (35-1/2 × 37 in.)                 R.A.
+
+  "   *LITTLE FATIMA. (15-1/2 × 9-1/4 in.)                             R.A.
+
+  "   VENETIAN GIRL.                                                   R.A.
+
+  "   *EGYPTIAN SLINGER. (Eastern Slinger Scaring Birds in
+      Harvest-time: Moonrise.) (Guildhall, 1890.)                      R.A.
+
+  "   FLORENTINE YOUTH.                                                S.S.
+
+  "   RUINED MOSQUE IN DAMASCUS.                                       S.S.
+
+1876. *PORTRAIT OF SIR RICHARD FRANCIS BURTON, K.C.M.G. (Portrait
+      of Capt. Richard Burton, H.M. Consul at Trieste). (23-1/2 ×
+      19-1/2 in.) (Paris, 1878; Melbourne, 1888; S.P.P., 1892.)        R.A.
+
+  "   *THE DAPHNEPHORIA. (89 × 204 in.)                                R.A.
+
+          A triumphal procession held every ninth year at Thebes,
+          in honour of Apollo and to commemorate a victory of the
+          Thebans over the Æolians of Arne. (See Proclus,
+          "Chrestomath," p. 11.)
+
+  "   TERESINA.                                                        R.A.
+
+  "   PAOLO.                                                           R.A.
+
+1877. *MUSIC LESSON. (36-1/2 × 37-1/8 in.) (Paris, 1878.)              R.A.
+
+  "   *PORTRAIT OF MISS MABEL MILLS (The Hon. Mrs. Grenfell).
+      (23 × 19 in.)                                                    R.A.
+
+  "   *AN ATHLETE STRANGLING A PYTHON.[18] Bronze. (Paris, 1878.)      R.A.
+
+  "   *PORTRAIT OF H. E. GORDON. (23-1/2 × 19 in.)                     G.G.
+
+  "   AN ITALIAN GIRL.                                                 G.G.
+
+  "   *STUDY. (A little girl with fair hair, in a pink robe.)
+      (24 × 28 in.)                                                    R.A.
+
+  "   A STUDY.                                                         G.G.
+
+1878. *NAUSICAA. (57-1/2 × 25-1/2 in.) (Guildhall, 1896.)              R.A.
+
+  "   SERAFINA.                                                        R.A.
+
+  "   *WINDING THE SKEIN. (39-1/2 × 63-1/2 in.)                        R.A.
+
+  "   A STUDY.                                                         R.A.
+
+  "   *PORTRAIT OF MISS RUTH STEWART HODGSON. (50-1/2 × 35-1/2 in.)    G.G.
+
+  "   STUDY OF A GIRL'S HEAD.                                          G.G.
+
+  "   SIERRA: ELVIZA IN THE DISTANCE, GRANADA.                         S.S.
+
+  "   THE SIERRA ALHAMA, GRANADA.                                      S.S.
+
+1879. BIONDINA.                                                        R.A.
+
+  "   CATARINA.                                                        R.A.
+
+  "   *ELIJAH IN THE WILDERNESS. (91 × 81-1/2 in.) (Paris, 1878.)      R.A.
+
+  "   PORTRAIT OF SIGNOR G. COSTA.                                     R.A.
+
+  "   AMARILLA.                                                        R.A.
+
+  "   A STUDY.                                                         R.A.
+
+  "   PORTRAIT OF THE COUNTESS BROWNLOW.                               R.A.
+
+  "   *NERUCCIA. (19 × 16 in.)                                         R.A.
+
+  "   A STUDY.                                                         S.S.
+
+  "   THE CARRACA HILLS.                                               S.S.
+
+  "   A STREET IN LERICI.                                              S.S.
+
+  "   VIA BIANCA, CAPRI.                                               G.G.
+
+  "   ARCHWAY IN ALGIERS.                                              G.G.
+
+  "   RUINS OF A MOSQUE, DAMASCUS.                                     G.G.
+
+  "   STUDY OF A DONKEY.                                               G.G.
+
+  "   ON THE TERRACE, CAPRI.                                           G.G.
+
+  "   SKETCH NEAR DAMASCUS.                                            G.G.
+
+  "   VIEW IN GRANADA.                                                 G.G.
+
+  "   STUDY OF A DONKEY, EGYPT.                                        G.G.
+
+  "   STUDY OF A HEAD.                                                 G.G.
+
+  "   NICANDRA.                                                        G.G.
+
+1880. *SISTER'S KISS. (48 × 21-1/2 in.)                                R.A.
+
+  "   *IOSTEPHANE. (37 × 19 in.)                                       R.A.
+
+  "   THE LIGHT OF THE HAREM. (60 × 33 in.)                            R.A.
+
+  "   PSAMATHE. (36 × 24 in.)                                          R.A.
+
+  "   *THE NYMPH OF THE DARGLE (Crenaia). (29-1/2 × 10 in.)            R.A.
+
+  "   RUBINELLA.                                                       G.G.
+
+  "   THE POZZO CORNER, VENICE.           Winter Exhibition.           G.G.
+
+  "   JACK AND HIS CIDER CAN.               "        "                 G.G.
+
+  "   THE PAINTER'S HONEYMOON.              "        "                 G.G.
+
+  "   WINDING OF THE SKEIN (with sketch).   "        "                 G.G.
+
+  "   HEAD OF URBINO.                       "        "                 G.G.
+
+  "   STEPS OF THE BARGELLO, FLORENCE.      "        "                 G.G.
+
+  "   A CONTRAST.                           "        "                 G.G.
+
+  "   GARDEN AT CAPRI.                      "        "                 G.G.
+
+  "   TWENTY-NINE STUDIES OF HEADS,
+      FLOWERS, AND DRAPERIES.               "        "                 G.G.
+
+1881. ELISHA RAISING THE SON OF THE SHUNAMITE. (32 x 54 in.)
+      (Guildhall, 1895.)                                               R.A.
+
+  "   PORTRAIT OF THE PAINTER.[19]                                     R.A.
+
+  "   *IDYLL. (41-1/2 × 84 in.)                                        R.A.
+
+  "   *PORTRAIT OF MRS. STEPHEN RALLI. (48 × 33 in.)                   R.A.
+
+  "   *WHISPERS. (48 × 30 in.)                                         R.A.
+
+  "   VIOLA.                                                           R.A.
+
+  "   *BIANCA. (18 × 12-1/2 in.)                                       R.A.
+
+  "   PORTRAIT OF MRS. ALGERNON SARTORIS.                              G.G.
+
+1882. *DAY-DREAMS. (47-1/2 × 35-1/2 in.)                               R.A.
+
+  "   WEDDED.                                                          R.A.
+
+  "   PHRYNE AT ELEUSIS. (86 × 48 in.) (Melbourne, 1888.)              R.A.
+
+  "   ANTIGONE.                                                        R.A.
+
+  "   "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."
+      _Rev._ xx. 13. (Design for a portion of a decoration in
+      St. Paul's.)                                                     R.A.
+
+  "   MELITTION.                                                       R.A.
+
+  "   *PORTRAIT OF MRS. MOCATTA. (23-1/2 × 19-1/2 in.)
+
+  "   ZEYRA.                                                           G.G.
+
+1883. THE DANCE: decorative frieze for a drawing-room in a
+      private house.                                                   R.A.
+
+  "   *VESTAL. (24-1/2 × 17 in.)                                       R.A.
+
+  "   *KITTENS. (48 × 31-1/2 in.)                                      R.A.
+
+  "   MEMORIES.                                                        R.A.
+
+  "   *PORTRAIT OF MISS NINA JOACHIM. (16 × 13 in.)
+
+1884. *LETTY. (18 × 15-1/2 in.)                                        R.A.
+
+  "   *CYMON AND IPHIGENIA. (64 × 129 in.)                             R.A.
+
+  "   A NAP.                                                           R.A.
+
+  "   SUN GLEAMS.                                                      R.A.
+
+1885. "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT."
+      (46 × 27 in.)                                                    R.A.
+
+  "   PORTRAIT OF THE LADY SYBIL PRIMROSE.                             R.A.
+
+  "   *PORTRAIT OF MRS. A. HICHENS. (26-1/2 × 20-1/2 in.)              R.A.
+
+  "   MUSIC: a frieze.                                                 R.A.
+
+  "   PHOEBE. (Manchester, 1887.)                                      R.A.
+
+  "   A STUDY.                                                         G.G.
+
+  "   TOMBS OF MUSLIM SAINTS.                                          S.S.
+
+  "   MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS.                      S.S.
+
+1886. PAINTED DECORATION FOR THE CEILING OF A MUSIC-ROOM.[20]
+      (7 ft. × 20 ft.)                                                 R.A.
+
+  "   GULNIHAL.                                                        R.A.
+
+  "   *THE SLUGGARD. Statue, bronze.                                   R.A.
+
+  "   *NEEDLESS ALARMS. Statuette.                                     R.A.
+
+1887. *THE JEALOUSY OF SIMÆTHA, THE SORCERESS. (35-1/2 × 55-1/2 in.)   R.A.
+
+  "   *THE LAST WATCH OF HERO. (62-1/2 × 35-1/2 in., with predella
+      12-1/2 × 29-1/2 in.)                                             R.A.
+
+          "With aching heart she scanned the sea-face dim.
+          .    .    .    .    .    .    .    .    .    .
+          Lo! at the turret's foot his body lay,
+          Rolled on the stones, and washed with breaking spray."
+
+              _Hero and Leander: Musæus_ (translated by Edwin Arnold).
+
+  "   [Picture of A LITTLE GIRL WITH GOLDEN HAIR AND PALE BLUE EYES.]
+
+            "Yellow and pale as ripened corn
+            Which Autumn's kiss frees--grain from sheath--
+            Such was her hair, while her eyes beneath,
+          Showed Spring's faint violets freshly born."
+                              ROBERT BROWNING.
+
+  "   *Design for the reverse of THE JUBILEE MEDALLION. (_Executed
+      for Her Majesty's Government._)                                  R.A.
+
+          _Empire, enthroned in the centre, rests her right hand on
+          the sword of Justice, and holds in her left the symbol of
+          victorious rule. At her feet, on one side, Commerce
+          proffers wealth, on the other a winged figure holds
+          emblems of Electricity and Steam-power. Flanking the
+          throne to the right of the spectator are Agriculture and
+          Industry--on the opposite side, Science, Literature, and
+          the Arts. Above, interlocking wreaths, held by winged
+          genii representing respectively the years 1837 and 1887,
+          inclose the initials,_ V.R.I.
+
+1888. *CAPTIVE ANDROMACHE. (77 × 160 in.)                              R.A.
+
+                                    ".... Some standing by,
+           Marking thy tears fall, shall say, 'This is she,
+           The wife of that same Hector that fought best
+           Of all the Trojans, when all fought for Troy.'"
+                          _Iliad_, VI. (E. B. Browning's translation.)
+
+  "   *PORTRAIT OF AMY, LADY COLERIDGE. (42 × 39-1/2 in.)
+      (S.P.P., 1891.)                                                  R.A.
+
+  "   *PORTRAITS OF THE MISSES STEWART HODGSON. (47 × 39-1/2 in.)
+
+  "   FOUR STUDIES.                                                  R.W.S.
+
+  "   FIVE STUDIES.                                                    S.S.
+
+1889. *SIBYL. (59 × 34 in.)                                            R.A.
+
+  "   *INVOCATION. (54 × 33-1/2 in.)                                   R.A.
+
+  "   ELEGY.                                                           R.A.
+
+  "   GREEK GIRLS PLAYING AT BALL. (45 × 78 in.)                       R.A.
+
+  "   *PORTRAIT OF MRS. FRANCIS A. LUCAS. (23-1/2 × 19-1/2 in.)        R.A.
+
+1890. SOLITUDE.                                                        R.A.
+
+  "   *THE BATH OF PSYCHE.[21] (75 × 24-1/2 in.)                       R.A.
+
+  "   *TRAGIC POETESS. (63 × 34 in.)                                   R.A.
+
+  "   *THE ARAB HALL. (33 × 16 in.) (Guildhall, 1890.)                 R.A.
+
+1891. *PERSEUS AND ANDROMEDA. (91-1/2 × 50 in.)                        R.A.
+
+  "   *PORTRAIT OF A. B. FREEMAN-MITFORD, ESQ., C.B.
+      (46-1/2 × 38-1/2 in.)                                            R.A.
+
+  "   *RETURN OF PERSEPHONE. (79 × 59-1/2 in.)                         R.A.
+
+  "   ATHLETE STRUGGLING WITH A PYTHON--group, marble.                 R.A.
+
+1892. *"AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."
+      (Circular, 93 in.)                                               R.A.
+
+  "   AT THE FOUNTAIN. (49 × 37 in.)                                   R.A.
+
+  "   *THE GARDEN OF THE HESPERIDES. (Circular, 66 in.)
+      (Chicago, 1893; Guildhall, 1895.)                                R.A.
+
+  "   BACCHANTE.                                                       R.A.
+
+  "   *CLYTIE. (32-1/2 × 53-1/2 in.)                                   R.A.
+
+  "   PHRYNE AT THE BATH. (24 × 12 in.)                                S.S.
+
+  "   MALIN HEAD, DONEGAL.                                             S.S.
+
+  "   ST. MARK'S, VENICE.                                              S.S.
+
+  "   INTERIOR OF ST. MARK'S, VENICE.                                  S.S.
+
+  "   THE DOORWAY, NORTH AISLE, VENICE.                                S.S.
+
+  "   RIZPAH (the small study in oils). (7 × 7 in.)                    S.S.
+
+1893. *FAREWELL! (63 × 26-1/2 in.)                                     R.A.
+
+  "   *HIT! (29 × 22 in.)                                              R.A.
+
+  "   *ATALANTA. (26-1/2 × 19 in.)                                     R.A.
+
+  "   RIZPAH. (36 × 52 in.)                                            R.A.
+
+  "   *CORINNA OF TANAGRA. (47-1/2 × 21 in.)                           R.A.
+
+  "   THE FRIGIDARIUM.                                                 R.A.
+
+1894. *THE SPIRIT OF THE SUMMIT. (77-1/2 × 39-1/2 in.)                 R.A.
+
+  "   *THE BRACELET. (59-1/2 × 23 in.)                                 R.A.
+
+  "   *FATIDICA. (59-1/2 × 23 in.)                                     R.A.
+
+  "   *SUMMER SLUMBER. (45-1/2 × 62 in.)                               R.A.
+
+  "   AT THE WINDOW.                                                   R.A.
+
+  "   WIDE WONDERING EYES. (20 × 15-1/2 in.)                    Manchester.
+
+  "   THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE.               S.S.
+
+  "   THE ACROPOLIS OF LINDOS.                                         S.S.
+
+  "   FIUME MORTO, GOMBO, PISA.                                        S.S.
+
+  "   GIBRALTAR FROM SAN ROCQUE.                                       S.S.
+
+1895. LACHRYMÆ. (60 × 24 in.)                                          R.A.
+
+  "   THE MAID WITH THE YELLOW HAIR.                                   R.A.
+
+  "   *"'TWIXT HOPE AND FEAR." (43-1/2 × 38-1/2 in.)                   R.A.
+
+  "   *FLAMING JUNE. (46 × 46 in.)                                     R.A.
+
+  "   LISTENER.                                                        R.A.
+
+  "   A STUDY.                                                         R.A.
+
+  "   PHOENICIANS BARTERING WITH BRITONS.                   Royal Exchange.
+
+  "   BOY WITH POMEGRANATE.                                Grafton Gallery.
+
+  "   MISS DENE.
+
+  "   AQUA CERTOSA, ROME.                                              S.S.
+
+  "   CHAIN OF HILLS SEEN FROM RONDA.                                  S.S.
+
+  "   ROCKS, MALIN HEAD, DONEGAL.                                      S.S.
+
+  "   TLEMÇEN, ALGERIA.                                                S.S.
+
+1896. *CLYTIE. (61-1/2 × 53-1/2 in.)                                   R.A.
+
+  "   CANDIDA. (21 × 41-1/2 in.)                             Antwerp, 1896.
+
+  "   *THE VESTAL. (27 × 20-1/2 in.) Unfinished.
+
+  "   *A BACCHANTE. (26-1/2 × 21 in.)
+
+  "   *THE FAIR PERSIAN. (25-1/2 × 19-1/2 in.) Unfinished.
+
+
+[Illustration: "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT"
+(1885)]
+
+
+[Illustration: DESIGN FOR THE REVERSE OF THE JUBILEE MEDALLION (1887)]
+
+
+
+
+APPENDIX II
+
+
+The studies in oil, chiefly landscape, of quite small size, few of which
+had been exhibited, were sold, with the remaining works of the artist,
+by Messrs. Christie, Manson and Woods on July 11th, 13th, and 14th,
+1896, when the prices realized, from 50 to 100 guineas each for the
+best, were in excess of those the most sympathetic admirer of Lord
+Leighton's singular power as a landscape-painter had dared to expect.
+For convenience of future reference, the list of these as they appear in
+the sale catalogue may be worth the space it occupies; the numbers
+denote the "lot."
+
+   1. {HEAD OF A GIRL.
+      {HEAD OF A BOY.
+   2. A STUDY OF HOUSES, VENICE.
+   3. THE COAST OF ASIA MINOR, FROM RHODES.
+   4. A STREET SCENE.
+   5. HOUSES AT CAPRI.
+   6. THE COAST OF ASIA MINOR, FROM RHODES.
+   7. A GARDEN SCENE.
+   8. A FORTRESS, EGYPT.
+   9. TOMBS OF MUSLIM SAINTS AT ASSOUAN, FIRST CATARACT. R.S.B.A., 1895.
+  10. A BAY, ASIA MINOR, FROM RHODES.
+  11. THE BAY OF LINDOS.
+  12. IN THE CAMPAGNA, ITALY.
+  13. A TOWN, CAPRI.
+  14. MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS. R.S.B.A., 1895.
+  15. A VIEW IN THE CAMPAGNA.
+  16. A COVERED STREET IN ALGIERS.
+  17. A DOORWAY, ALGIERS.
+  18. HEAD OF A GIRL.
+  19. HEAD OF A MAN.
+  20. HEAD OF A GIRL.
+  21. HEAD OF A GIRL.
+  22. STREET IN ALGIERS.
+  23. ST. MARK'S, VENICE. R.S.B.A., 1892.
+  24. INTERIOR OF ST. MARK'S, VENICE. R.S.B.A., 1892.
+  25. THE DOORWAY, NORTH AISLE, ST. MARK'S, VENICE. R.S.B.A., 1892.
+  26. A BAY SCENE, ISLE OF RHODES.
+  27. A VIEW ON THE COAST, LINDOS.
+  28. DENDERAH.
+  29. THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE. R.S.B.A., 1894.
+  30. A STUDY IN THE CAMPAGNA.
+  31. AQUA CERTOSA, ROME.
+  32. A VIEW OF THE TOWN OF LINDOS.
+  33. THE ACROPOLIS OF LINDOS, where stood the Temple of Athena Pallas.
+      R.S.B.A., 1894.
+  34. A STUDY IN THE CAMPAGNA, WITH MONTE SORACTE.
+  35. STUDY OF A MAN'S HEAD.
+  36. AN ARAB'S HEAD.
+  37. A SHEIK.
+  38. AN ARAB.
+  39. HEAD OF AN OLD LADY.
+  40. A TURKISH BOATMAN.
+  41. FIUME MORTO, GOMBO, PISA. R.S.B.A., 1894.
+  42. THE CITADEL, CAIRO.
+  43. A VIEW IN DAMASCUS.
+  44. A VIEW IN CAPRI.
+  45. BOCCA D'ARNO.
+  46. THE CITY OF TOMBS, ASSIOUT, EGYPT. R.S.B.A. [1871?].
+  47. BUILDINGS, SIOUT, EGYPT.
+  48. A MOUNTAINOUS LANDSCAPE, SPAIN.
+  49. A STREET SCENE, CAPRI.
+  50. A COAST SCENE, ISLE OF WIGHT.
+  51. BARREN LAND.
+  52. A TOWN IN SPAIN.
+  53. BOSCO SACRO, CAMPAGNA.
+  54. VILLA MALTA, ROME.
+  55. THE ROCKS OF THE SIRENS, CAPRI.
+  56. A VIEW IN SPAIN.
+  57. A VALLEY, SPAIN.
+  58. ON THE COAST, ISLE OF WIGHT.
+  59. GARDEN AT GENERALIFE, GRANADA.
+  60. THE BATHS AT CARACALLA.
+  61. A HOUSE, CAPRI.
+  62. IN ST. MARK'S, VENICE.
+  63. THE STAIRCASE OF A HOUSE, CAPRI.
+  64. THE GARDEN OF A HOUSE, CAPRI.
+  65. STUDY OF A MALE FIGURE CARRYING A PITCHER.
+  66. HEAD OF A GIRL.
+  67. THE COAST OF ASIA MINOR, FROM RHODES.
+  68. CHAIN OF HILLS SEEN FROM RONDA. R.S.B.A., 1893.
+  69. THE COAST OF ASIA MINOR. (Study for the background of _Perseus_.)
+  70. A POOL, FINDHORN RIVER, N.B. (Study for the background of
+      _Solitude_.)
+  71. A LANE. (Study of rocks for _Solitude_.)
+  72. A WOMAN SEATED, IN A LANDSCAPE. (Study for _Simætha the Sorceress_.)
+  73. TAORMINA, SICILY. (Sketch for background of _Wedded_.)
+  74. A POOL ON THE FINDHORN RIVER, FORRES, N.B. (Study for the background
+      of _Solitude_.)
+  75. TAORMINA, SICILY. (Study for the background of _Wedded_.)
+  76. INTERIOR OF A HOUSE AT LINDOS. (Study for the picture of
+      _Cleoboulos_.)
+  77. STUDY OF A WOMAN'S HEAD. Capri, moonlight. (Study for the effect in
+      _Clytemnestra_.)
+  78. BUILDINGS, CAPRI, MOONLIGHT. (A study for the same.)
+  79. AN ALLEGORICAL DESIGN FOR A MURAL DECORATION.
+  80. HEAD OF A LADY AND GENTLEMAN OF THE FIFTEENTH CENTURY.
+      (16 × 14-1/4 in.) (Painted in 1853.)
+  81. HEAD OF A LADY. White on brown ground.
+  82. A STUDY FROM VELASQUEZ.
+
+[83 to 117 _were larger works, mainly studies for completed pictures or
+the pictures themselves_.]
+
+       {A LANDSCAPE.
+  118. {STUDY OF SKY AT MALINMORE.
+       {STUDY.
+  119. A ROCKY COAST, MALINMORE, DONEGAL.
+  120. A MOUNTAINOUS LANDSCAPE.
+  121. A VIEW IN SCOTLAND.
+  122. A LANDSCAPE, ITALY.
+  123. FISHING BOATS ON THE COAST, CAPRI.
+  124. A VILLAGE ON A HILL, CAPRI.
+  125. A SCENE IN THE DESERT.
+  126. THE COAST OF GREECE.
+  127. HEAD OF A MAN.
+  128. A SCOTCH LAKE.
+  129. NEAR KYNANCE COVE.
+  130. CARRARA MOUNTAINS.
+  131. A VIEW IN ALGIERS.
+  132. TLEMÇEN, ALGERIA. R.S.B.A., 1895.
+  133. THE DAMASCUS GATE, JERUSALEM.
+  134. THE ERICTHEUM (_sic_).
+  135. A STREET IN LERICI, near where Shelley was drowned.
+  136. {STUDY OF TREES.
+       {A LANDSCAPE.
+  137. {HEAD OF A GONDOLIER.
+       {IRISH PEASANT GIRL.
+  138. HEAD OF AN ITALIAN PEASANT.
+  139. {A COMMON.
+       {LANDSCAPE, WITH COTTAGES.
+  140. A ROCKY COAST, KYNANCE.
+  141. GRANITE BOULDERS, FORRES, N.B.
+  142. A SUNNY CORNFIELD.
+  143. A COURTYARD, TANGIERS.
+  144. A COURTYARD, TANGIERS.
+  145. A SKETCH OF ALBANO.
+  146. A COAST SCENE, IRELAND.
+  147. A SCOTCH SCENE.
+  148. A STUDY OF ROCKS.
+  149. THE STEEPLE ROCK, KYNANCE COVE.
+  150. A SANDY BAY, IRELAND.
+  151. KYNANCE COVE.
+  152. HOLY ISLAND. Bamborough in the distance.
+  153. A COAST SCENE, ISCHIA.
+  154. GLEN COLUMBKILL, IRELAND.
+  155. A MOORISH ARCHWAY, TANGIERS.
+  156. PERUGIA.
+  157. A ROCKY COAST, MALINMORE.
+  158. MALIN HEAD, DONEGAL. R.S.B.A., 1894.
+  159. GIBRALTAR, FROM SAN ROCQUE. R.S.B.A., 1895.
+  160. A BAY SCENE, SPAIN.
+  161. A SKETCH IN BEDFORDSHIRE.
+  162. A LANDSCAPE, RONDA.
+  163. A SPANISH TOWN.
+  164. THE BATHS OF CARACALLA.
+  165. THE STREET OF THE KNIGHTS, RHODES.
+  166. THE COAST OF ASIA MINOR, SEEN FROM RHODES.
+  167. LONGSOR.
+  168. A MOUNTAIN SCENE, WITH TEMPLE AND FIGURE, EGYPT.
+  169. A STUDY ON THE COAST OF IRELAND.
+  170. A RIVER SCENE, SCOTLAND.
+  171. MICKLEOUR, SCOTLAND.
+  172. A SEA PIECE.
+  173. THE COAST OF ASIA MINOR.
+  174. {ON THE NILE.
+       {A VIEW IN SPAIN.
+  175. {A TEMPLE ON THE NILE.
+       {SPANISH VIEW.
+  176. MALINMORE, DONEGAL.
+  177. THE BAY OF CADIZ, MOONLIGHT, AND PALAZZO REZZONICO.
+  178. A VIEW OF ATHENS.
+  179. {SCOTCH MOUNTAINS: SUNSET.
+       {A COAST SCENE, RHODES.
+  180. VITTORIA. R.S.B.A., 1873.
+  181. {A CLASSICAL HEAD. (Monochrome.)
+       {HEAD OF A MAN.
+  182. A STUDY OF PINE TREES.
+  183. A VILLAGE ON A HILL.
+  184. A RUINED MOSQUE AT BROUSSA.
+  185. A WOODY BANK.
+  186. RUINS OF A MOORISH ARCH, SPAIN.
+  187. A VIEW IN ITALY, WITH A CORNFIELD.
+  188. (This number is omitted in the sale catalogue.)
+  189. MIMBAR OF THE GREAT MOSQUE AT DAMASCUS.
+  190. {ROCKS, CAPRI.
+       {A FORTRESS, SPAIN.
+  191. {LANDSCAPE, SCOTLAND.
+       {LANDSCAPE, SCOTLAND.
+  192. THE RED MOUNTAINS, DESERT, EGYPT.
+  193. SKETCH NEAR CAIRO.
+  194. A FOUNTAIN IN THE COURT-YARD OF A JEW'S HOUSE, SPAIN.
+  195. A HOUSE IN TANGIERS. Mansion House, 1882.
+  196. A STREET SCENE, CAIRO.
+  197. A MOORISH STREET.
+  198. A STUDY OF ROCKS, SCOTLAND.
+  199. THE GARDEN OF THE HOUSE OF THE MAN WHO BUILT THE ALHAMBRA.
+  200. A SPANISH DONKEY.
+  201. A DONKEY AND ARAB DRIVER.
+  202. MENA DONKEY.
+  203. A STUDY OF HILLS.
+  204. THE TEMPLE OF PHYLÆ.
+  205. DAMASCUS: NIGHT.
+  206. A MOUNTAINOUS LANDSCAPE, WITH A CAVERN.
+  207. A WOOD SCENE.
+  208. HEAD OF AN ITALIAN GIRL.
+  209. THE DUNGEONS OF A CASTLE.
+  210. A CASTLE KEEP.
+  211. ENTRANCE TO A HOUSE, CAPRI.
+  212. A COAST SCENE, IRELAND: STORM EFFORT (_sic_).
+  213. LONGSOR.
+  214. THE NILE AT THEBES.
+  215. A VIEW ON THE CAMPAGNA.
+  216. A MOUNTAINOUS LANDSCAPE, SCOTLAND.
+  217. CAPRI BY NIGHT.
+  218. A FORTRESS ON THE CAMPAGNA.
+  219. A LANDSCAPE, WITH SAND HILLS.
+  220. A WOOD SCENE.
+  221. NEAR DENDERAH.
+  222. A LANDSCAPE.
+  223. ATHENS, WITH THE GENOESE TOWER, PNYX IN THE FOREGROUND.
+  224. A LANDSCAPE, CAIRO.
+  225. ON THE NILE.
+  226. PASTURE, EGYPT.
+  227. RED MOUNTAINS DESERT, EGYPT.
+  228. AN EGYPTIAN VILLAGE.
+  229. THE ISLAND OF ÆGINA.
+  230. THEBES.
+  231. THE COAST OF ÆGINA, PNYX IN THE FOREGROUND.
+  232. BUILDINGS ON THE COAST, ISLAND OF RHODES.
+  233. ASSOUAN, EGYPT.
+  234. A VINEYARD, CAPRI.
+  235. THE TEMPLE OF PHYLÆ, LOOKING UP THE NILE.
+  236. THE NILE AT ESUEH.
+  237. THE CATHEDRAL, CAPRI.
+  238. A SQUARE IN CADIZ.
+  239. ON THE NILE.
+  240. IN THE NILE VALLEY.
+  241. A VIEW ACROSS THE NILE.
+  242. A WOODY HILL SIDE.
+  243. ROCKS OF THE SIRENS CAPRI.
+  244. A FARM.
+
+
+There were also copies made by Leighton himself of _Peace and War_ after
+Rubens, the _Massacre of the Innocents_, after Bonifazio, _A Martyrdom_,
+and the _Last Supper_, after Veronese.
+
+The huge collection of studies, mainly in chalk upon brown paper, made
+by Lord Leighton, were nearly all preserved; two hundred and forty of
+these were exhibited by the Fine Art Society, who bought the whole
+collection, and afterwards published a volume containing forty
+reproduced in facsimile.
+
+
+[Illustration: FOUNTAIN IN COURT AT DAMASCUS]
+
+
+[Illustration: THE ISLAND OF ÆGINA: PNYX IN FOREGROUND]
+
+
+[Illustration: RED MOUNTAINS DESERT, CAIRO]
+
+
+[Illustration: RUINED MOSQUE, BROUSSA]
+
+
+[Illustration: CITY OF TOMBS, ASSIOUT, EGYPT]
+
+
+[Illustration: ATHENS WITH THE GENOESE TOWER: PNYX IN FOREGROUND]
+
+
+[Illustration: COAST OF ASIA MINOR SEEN FROM RHODES]
+
+
+
+
+INDEX.
+
+_Titles of Pictures are printed in italics._
+
+
+  _Abram and the Angel_, 69.
+
+  _Acme and Septimius_, 25.
+
+  _Actæa_, 26, 111.
+
+  _Ægina, The Island of_, illus., 132.
+
+  _After Vespers_, 31.
+
+  Aitchison, George, R.A., 88.
+
+  Allingham, William, 106.
+
+  Alma-Tadema, Sir L., 37, 48, 91.
+
+  _Amarilla_, 39.
+
+  _And the Sea gave up its Dead_, 49, 66;
+    illus., 50.
+
+  _Andromeda_ (study in clay), 68;
+    illus., 68.
+
+  _Antigone_, 43.
+
+  _Antique Juggling Girl_, 33;
+    illus., 32.
+
+  Arab Hall, The, 29, 49, 88, 94, 96-100;
+    illus., 96.
+
+  _Ariadne abandoned by Theseus_, 25.
+
+  Arnold, Sir Edwin, translation of Musæus, 47.
+
+  Art and Morals, Leighton on, 74.
+
+  "Art Journal," criticisms of the, 108, _et seq._
+
+  Artistic Production in relation to Time and Place, Leighton on, 75.
+
+  _Arts of Peace, The_, 32, 42, 63, 64;
+    illus., 64.
+
+  _Arts of War, The_, 32, 63;
+    illus., 64.
+
+  _Asia Minor, The Coast of_, illus., 136.
+
+  Assyria, the Art of, Leighton on, 76.
+
+  _At the Fountain_, 50.
+
+  _At the Window_, 51.
+
+  _Atalanta_, 50, 59.
+
+  "Athenæum," criticisms of the, 32, 105, _et seq._
+
+  _Athens, with the Genoese Tower_, illus., 136.
+
+  _Athlete struggling with a Python_, 36, 67, 68, 126;
+    illus., 36, 49;
+    (marble version), 68.
+
+
+  _Bacchante_ (1892), 50, (1896) 51;
+    illus., 54.
+
+  _Bath of Psyche, The_, 48, 59, 129;
+    illus., 48.
+
+  Bezzuoli, 5.
+
+  _Bianca_, 43.
+
+  "Bible Gallery," Dalziel's, 23, 69, 70.
+
+  _Biondina_, 39.
+
+  Black and white, Leighton's work in, 69, 70.
+
+  Boccaccio, Leighton inspired by, 8, 45.
+
+  Book illustration, 69, 70.
+
+  Bookplate, Leighton's, illus., 120.
+
+  Bouguereau, Leighton and, 10.
+
+  _Bracelet, The_, 51;
+    illus., 52.
+
+  Bronzes, 36, 46, 67, 68.
+
+  _Broussa, Ruined Mosque at_, illus., 134.
+
+  _Brownlow, Countess of_, 39.
+
+  Browning, E. B., 47;
+    medallion of a monument to, 67;
+    illustration by Leighton to her "Great God Pan," 69.
+
+  Browning, Robert, 10;
+    subjects from, 22, 47;
+    on _Hercules wrestling with Death_, 30.
+
+  Brussels, Leighton at, 6, 7.
+
+  Burne-Jones, Sir E., 17, 91.
+
+  _Burton, Capt. Richard_, 35, 90;
+    illus., 36.
+
+  _Byzantine Well-head, A_, 18, 62;
+    illus., 18.
+
+
+  _Cain and Abel_, illus., 70.
+
+  _Cairo, Red Mountains Desert_, illus., 136.
+
+  _Capri--Paganos_, 19.
+
+  _Capri at Sunrise_, 18, 108.
+
+  Capri, Leighton at, 18, 61.
+
+  _Captive Andromache_, 47, 58;
+    _Studies_ for, illus., 56.
+
+  Carr, Mr. Comyns, on Leighton, 114.
+
+  _Catarina_, 39.
+
+  Ceiling, design for a, 46, 67, 128;
+    illus., 62.
+
+  Chesneau, Ernest, on English Art, 14.
+
+  Cimabue, influence of, 9.
+
+  _Cimabue_ (mosaic figure), 67.
+
+  _Cimabue finding Giotto_, 7.
+
+  _Cimabue's Madonna_, 3, 8, 9, 11, 23, 34, 47;
+    criticisms of, 103-107, 108;
+    illus., 10.
+
+  _City of Tombs, Assiout_, illus., 134.
+
+  _Cleoboulos instructing his daughter Cleobouline_, 30.
+
+  _Clytemnestra_, 32.
+
+  _Clytie_ (1892), 50, 59.
+
+  _Clytie_ (his last picture), 51, 52.
+
+  Cockerell, S. Pepys, on Leighton's drawings, 62.
+
+  _Cockerell, Mrs. Frederick P._, 25.
+
+  _Coleridge, Lady_, 48.
+
+  Cologne Cathedral, Leighton on, 86.
+
+  Colour: Leighton's mode of procedure, 55-58.
+
+  _Condottiere, A_, 31;
+    illus., 32.
+
+  _Contrast, A_, 70;
+    illus., 72.
+
+  _Corinna of Tanagra_, 50.
+
+  Cornelius, 9, 10.
+
+  "Cornhill Gallery, The," 69.
+
+  Correggio, Leighton and, 10, 18.
+
+  _Costa, Signor_, 39;
+    illus., 40.
+
+  _Count Paris_, 16, 107, 122.
+
+  Cousin, Jean, 84.
+
+  _Crenaia_, 42.
+
+  _Cross-bow Man, A_, 20.
+
+  _Cupid with Doves_, 66;
+    illus., 66.
+
+  _Cymon_ (clay model), 68;
+    illus., 68.
+
+  _Cymon and Iphigenia_, 42, 44, 45, 68;
+    photogravure, 44.
+
+
+  _Dædalus and Icarus_, 26;
+    illus., 26.
+
+  Dalou and _The Athlete_, 68.
+
+  Dalziel's "Bible Gallery," 23, 69, 70;
+    illus., 70.
+
+  _Damascus, Grand Mosque at_, 29, 33, 111;
+    illus., 28.
+
+  Damascus, sketches of, 28, 29, 33, 111;
+    illus., 28, 132.
+
+  _Dance, The_, 44, 67;
+    illus., 44.
+
+  Dante, Leighton on, 81.
+
+  _Dante at Verona_, 21, 109.
+
+  _Daphnephoria_, 24, 34, 35, 47, 111;
+    clay models for, 68;
+    illus., 34;
+    _Study for_ (illus.), 34.
+
+  Darmstadt, Leighton at, 8.
+
+  _David_, 23, 110;
+    illus., 24.
+
+  _Day Dreams_, 43;
+    illus., 42.
+
+  _Death of the First Born_, 69.
+
+  Decorative work, Leighton's, 63-67.
+
+  _Departure for the War, The_, 67.
+
+  Discourses on Art, Leighton's, 71-87.
+
+  Drapery, Leighton's treatment of, 48, 55-58.
+
+  _Dream, A_, 19, 109.
+
+  _Duett_, 20.
+
+  Dürer, Albert, Leighton on, 86.
+
+
+  Eastlake, Sir Charles, 10-12.
+
+  Egypt, Leighton's visit to, 28;
+    on the Art of, 75.
+
+  _Egyptian Slinger_, 29, 33, 112;
+    illus., 112.
+
+  _Electra at the Tomb of Agamemnon_, 26;
+    illus., 26.
+
+  _Elegy_, 48.
+
+  _Eliezer and Rebekah_, 69.
+
+  _Elijah in the Wilderness_, 39;
+    _Study for_, illus., 38.
+
+  _Elisha and the Shunamite's Son_, illus., 114.
+
+  English Art, Leighton on, 73.
+
+  Etruscan Art, Leighton on, 76, 77.
+
+  _Eucharis_, 20.
+
+
+  _Fair Persian, The_, 51.
+
+  _Farewell_, 50;
+    illus., 50.
+
+  _Fatidica_, 51;
+    illus., 52.
+
+  _Fisherman and Syren, The_, 16, 107.
+
+  _Flaming June_, 51.
+
+  Fleury, Robert, 10, 15.
+
+  _Florence, The Plague at_, 8, 90;
+    illus., 8.
+
+  Florence, Leighton at, 5, 6.
+
+  _Fountain, At the_, 50.
+
+  _Fountain in Court at Damascus_, illus., 132.
+
+  France, Evolution of Art in, Leighton on, 83.
+
+  Frankfort, Leighton at, 6-8.
+
+  Frescoes, 32, 63-66;
+    illus., 64-66.
+
+  Friezes, 44, 46, 67;
+    illus., 44.
+
+  _Frigidarium, The_, 50;
+    illus., 50.
+
+
+  Gamba, Signor, 8.
+
+  _Garden of the Hesperides, The_, 49.
+
+  Generalife, Study of a Garden at, 33;
+    illus., 28.
+
+  German Architecture, Leighton on, 85-86.
+
+  Gerome, 10.
+
+  Gibson, the sculptor, 11.
+
+  Gilbert, Alfred, 88.
+
+  Giotto, 9.
+
+  Girl, A little (1887), 47.
+
+  ---- in Eastern garb (1877), 37.
+
+  _Girl Feeding Peacocks, A_, 20, 109.
+
+  _Girl with a Basket of Fruit_, 109.
+
+  _Girls' Heads, Studies of_, 38, 51;
+    illus., 74, 76, 78, 80.
+
+  Goethe: subject from, 16;
+    on Gothic architecture, 84.
+
+  _Golden Hours_, 21, 22;
+    illus., 21.
+
+  _Gordon, H. E._, 37.
+
+  Gothic architecture, Leighton on, 84.
+
+  Greek Art, Leighton on, 76.
+
+  _Greek Girls picking up Pebbles by the Sea_, 30.
+
+  _Greek Girls playing at Ball_, 48, 59;
+    illus., 48.
+
+  Grenfell, the Hon. Mrs. (_Miss Mabel Mills_), 37.
+
+  Greville, Lady Charlotte, monument to, 67.
+
+  _Gulnihal_, 46.
+
+  _Guthrie, Portrait of Mrs. James_, 24.
+
+
+  Hart, Professor, 12.
+
+  _Helen of Troy_, 23;
+    illus., 22.
+
+  _Helios and Rhodos_, 27, 28.
+
+  _Hercules wrestling with Death_, 30;
+    illus., 30.
+
+  _Hesperides, Garden of the_, 49.
+
+  _Hichens, Mrs. A._, 46.
+
+  _Hit_, 50;
+    illus., 54.
+
+  _Hodgson, Miss Ruth_, 38.
+
+  _Hodgson, Misses Stewart_, 48.
+
+  Hogarth Club, the, 17.
+
+  Hunt, Holman, 13, 17.
+
+
+  _I'Anson, the late Mrs. Lavinia_, 23.
+
+  _Idyll_, 42.
+
+  _In St. Mark's_, 23.
+
+  _Invocation_, 48.
+
+  _Iostephane_, 42.
+
+  _Italian Girl, An_, 37.
+
+  Italy, Evolution of Painting in, Leighton on the, 72.
+
+
+  _J. A.--a Study_, 19.
+
+  _Jezebel and Ahab_, 20, 123.
+
+  _Joachim, Miss Nina_, 44.
+
+  _Jonathan's Token to David_, 25, 124.
+
+  Jubilee medal, 46, 69, 129;
+    illus., 130.
+
+  _Juggling Girl_, 33;
+    illus., 32.
+
+
+  Keats's "Endymion," subject from, 15, 122.
+
+  Kemble, Mrs., 11.
+
+  _Kittens_, 44.
+
+
+  _Lachrymæ_, 51.
+
+  _Lady with Pomegranates, A_, 53.
+
+  _Laing, Miss, Portrait of_, 9.
+
+  Landscape studies, Leighton's, 16, 28, 29, 33, 39, 62, 132;
+    illus., 28, 132, 134, 136.
+
+  Landseer, Sir Edwin, 10, 13.
+
+  Lang's, Mrs. Andrew, monograph on Leighton, 7, 8, 63.
+
+  _Last Watch of Hero_, 47;
+    illus., 46.
+
+  Leighton, Frederic, Lord;
+    list of dignities and titles, 2;
+    ancestors and birth, 4;
+    first picture, 7;
+    portrait (1848), 7;
+    first picture for the Academy, 11;
+    A.R.A., 21;
+    R.A., 24;
+    first appearance as a sculptor, 36;
+    P.R.A., 39;
+    _Portrait_, by himself, 42;
+    illus., 3;
+    portraits by Watts, 42, 90;
+    his method of painting, 54-60;
+    drawings, 60, 61;
+    decorative works, 63-67;
+    sculpture, 67, 68;
+    book illustration, 69, 70;
+    Discourses on Art, 71-87;
+    house, 88-102;
+    criticisms on his work, 103, 114;
+    death, 115.
+
+  _Lemon Tree, Study of a_, 17, 18, 61;
+    illus., 18.
+
+  Lesseps, F. de, 28.
+
+  _Letty_, 44, 45.
+
+  _Lieder ohne Worte_, 19.
+
+  _Light of the Harem, The_, 42.
+
+  Lionardo da Vinci, Leighton on, 80, 81, 82.
+
+  _Listener_, 51.
+
+  _Little Fatima_, 29, 33, 111.
+
+  _Lucas, Mrs. F._, 48.
+
+  Lyndhurst, altarpiece at, 24, 64, 65.
+
+  Lyons, Lord, 11.
+
+
+  _Maid with her Yellow Hair, The_, 51.
+
+  Martin's, Sir Theodore, "Catullus," 25.
+
+  Mason, George, 11, 89.
+
+  Meli, Signor F., 5.
+
+  _Melittion_, 44.
+
+  _Memories_, 44.
+
+  _Mermaid, The_, 16.
+
+  Michael Angelo, Leighton on, 82.
+
+  _Michael Angelo nursing his dying Servant_, 19.
+
+  Millais, Sir J. E., 9, 13, 46, 68, 73.
+
+  _Mills, Miss Mabel_, 37;
+    illus., 36.
+
+  _Mitford, A. B._, 49.
+
+  _Mocatta, Mrs._, 44.
+
+  Modelling and models (clay), 67, 68.
+
+  _Moorish Garden_, 29, 33.
+
+  Morals, Art and, Leighton on, 74.
+
+  _Moretta_, 31.
+
+  Morris, William, and Rossetti, 17.
+
+  Mosaics, 67.
+
+  _Moses views the Promised Land_, illus., 70.
+
+  _Mosque, Ruined, at Broussa_, illus., 134.
+
+  _Mother and Child_, 23.
+
+  Murger, Henri, 7.
+
+  _Music_ (a frieze), 46;
+    illus., 44.
+
+  _Music, The Triumph of_, 15, 107.
+
+  _Music Lesson_, 36, 37.
+
+  _Music Room, Decoration for a_, 46, 67, 128;
+    illus., 62.
+
+
+  _Nanna_, 17.
+
+  _Nap, A_, 44.
+
+  Nature in Leighton's compositions, 58.
+
+  _Nausicaa_, 37;
+    illus., 38.
+
+  _Needless Alarms_, 46, 67.
+
+  _Neruccia_, 39.
+
+  Nias, Lady (_Miss Laing_), 9.
+
+  Nile, voyage up the, 28.
+
+  _Nile Woman, A_, 29.
+
+  _Noble Lady of Venice, A_, 52.
+
+  _Nymph and Cupid, A_, 15, 84.
+
+  Nymph of the Dargle, The, 42.
+
+
+  _Odalisque_, 19.
+
+  _Old Damascus_ (the Jews' quarter), 29, 33.
+
+  Orchardson, Mr., on _Clytie_, 52.
+
+  Orkney, Lady, 37.
+
+  _Orpheus and Eurydice_, 21, 22;
+    illus., 22.
+
+  Orr, Major Sutherland, monument to, 67.
+
+  _Orr, Mrs. Sutherland_, 19.
+
+
+  Pacheco, Francisco, on drawing, 60.
+
+  _Painter's Honeymoon, The_, 24.
+
+  _Pan_, 15, 122.
+
+  _Paolo_, 35.
+
+  _Paolo e Francesca_, 19, 122.
+
+  _Paris, Count_, 16, 107, 122.
+
+  Paris, Leighton at, 7, 15;
+    exhibition at, 13.
+
+  Parry, Gambier, and Ely Cathedral, 65.
+
+  _Pastoral_, 24.
+
+  _Pavonia_, 17.
+
+  _Pencil Drawings, Two Early_, illus., 6.
+
+  _Pencil Study, A_, illus., 16.
+
+  _Persephone, Return of_, 49, 59;
+    _Studies for_, illus., 60.
+
+  _Perseus_ (clay model), 68;
+    illus., 68.
+
+  _Perseus and Andromeda_, 49, 59, 68;
+    _Study for_, illus., 58.
+
+  _Persian Pedlar_, A, 9.
+
+  Petrarch, Leighton on, 81.
+
+  _Phoebe_, 46.
+
+  _Phoenicians bartering with Britons_, 51, 66;
+    illus., 66.
+
+  _Phryne at Eleusis_, 44;
+    illus., 42.
+
+  _Pisano, Niccolò_ (mosaic), 67.
+
+  _Plague at Florence, The_, 8, 90;
+    illus., 8.
+
+  Powers, Hiram, 5.
+
+  Poynter, Sir E. J., and Leighton, 66, 116.
+
+  Pre-Raphaelites, the, 16, 17.
+
+  _Primrose, The Lady Sybil_, 46;
+    illus., 46.
+
+  _Psamathe_, 41.
+
+
+  _Ralli, Mrs. Augustus_, 43.
+
+  Raphael, Leighton on, 81.
+
+  _Red Mountains Desert, Cairo_, illus., 136.
+
+  _Return of Persephone, The_, 49, 59;
+    _Studies for_, illus., 60.
+
+  _Rizpah_, 50, 59;
+    illus., 52.
+
+  Roman Art, Leighton on, 78.
+
+  _Roman Lady, A_, 17.
+
+  Romano Giulio, Leighton on, 79.
+
+  Rome, Leighton at, 3, 9-11.
+
+  _Romeo, The Dead_, illus., 14.
+
+  _Romeo and Juliet_, 90.
+
+  "Romola" illustrations, 69.
+
+  Rossetti, D. G., 10, 13;
+    works by, 16, 17;
+    on Leighton, 11, 19, 106.
+
+  Rossetti, W. M., on Leighton, 109, 110, 111.
+
+  Royal Exchange, decoration at, 51, 66;
+    illus., 66.
+
+  _Rubinella_, 42.
+
+  Ruskin on Leighton, 11, 12, 17, 33, 103, 111, 112.
+
+  _Rustic Music_, 20.
+
+  _Ryan, Edward_, 31.
+
+
+  _St. Jerome_, 26;
+    illus., 26.
+
+  _St. Marks, In_, 23.
+
+  St. Paul's, Design for proposed decoration of, 44, 49, 66.
+
+  _Salome_, 15.
+
+  _Samson and Delilah_, 18.
+
+  _Samson and the Lion_, illus., 70.
+
+  _Samson at the Mill_, 69.
+
+  _Samson carrying the Gates_, illus., 70.
+
+  Sand, George, 11.
+
+  Sartoris, Mrs. Algernon, _Portrait of_, 43;
+    illustration by Leighton to her "Week in a French Country House," 69.
+
+  Sculpture, 36, 46, 67, 68;
+    illus., 68, 130.
+
+  _Sea Echoes_, 20.
+
+  _Sea gave up the Dead, And the_, 49, 66;
+    illus., 50.
+
+  _Serafina_, 38.
+
+  "_Serenely Wandering_," illus., 128.
+
+  Servolini, 5.
+
+  _Sibyl_, 48, 54, 58.
+
+  _Simætha the Sorceress_, 47.
+
+  _Sisters_, 20.
+
+  _Sister's Kiss_, 41, 111;
+    illus., 40.
+
+  Sizeranne, M. de la, on Leighton, 113.
+
+  _Sluggard, The_, 46, 67, 68;
+    _Study for_, illus., 68.
+
+  _Solitude_, 49;
+    _Study for_, illus., 58.
+
+  South Kensington, drawings on wood at, 69;
+    frescoes, 32, 63-66;
+    mosaic, 67.
+
+  Spain, Leighton on the Art of, 82, 83.
+
+  Spielmann, Mr. M. H., on Leighton, 46, 48, 54-58.
+
+  _Spies' Escape, The_, 69.
+
+  _Spirit of the Summit, The_, 51, 60, 113.
+
+  _Star of Bethlehem, The_, 20, 109, 123.
+
+  Steinle, Johann Eduard, 6, 8, 9.
+
+  Stephens, F. G., on the Hogarth Club, 17.
+
+  Studies, collection of Leighton's, 62.
+
+  Studies in oil, list of, 132-136.
+
+  _Studies of Heads_, 38, 51;
+    illus., 14, 74, 76, 78, 80, 82.
+
+  _Study_ (little girl in Eastern Garb), 37.
+
+  _Study A_ (Grosvenor Gallery, 1877), 37;
+    (Academy, 1878), 38;
+    (Grosvenor Gallery, 1885), 46.
+
+  _Summer Moon_, 31;
+    illus., 30.
+
+  _Summer Slumber_, 51.
+
+  _Sun Gleams_, 44.
+
+  _Sunny Hours_, 17.
+
+  _Syracusan Bride_, 23, 24, 34, 47.
+
+
+  Tate Gallery, The, 36, 48, 49.
+
+  _Teresina_, 35.
+
+  Thackeray on Leighton, 9.
+
+  _Tragic Poetess_, 49.
+
+  _Triumph of Music, The_, 15, 107.
+
+  _'Twixt Hope and Fear_, 51.
+
+
+  Velasquez, Diego, Leighton on, 83.
+
+  _Venus Disrobing_, 25, 160;
+    illus., 24.
+
+  _Vestal_, 44, 51.
+
+  _Viola_, 43.
+
+  Volumnus Violens, tomb of, Leighton on, 77.
+
+
+  _Walker, John Hanson_, 19.
+
+  Watteau, Leighton on, 84.
+
+  Watts, G. F., 14;
+    pictures by, 91;
+    portraits of Leighton, 42, 90;
+    method compared with Leighton's, 55;
+    on Leighton, 116.
+
+  _Weaving the Wreath_, 32.
+
+  _Wedded_, 43.
+
+  _Whispers_, 43.
+
+  _Widow's Prayer, The_, 23.
+
+  _Winding the Skein_, 37, 111;
+    photogravure, _Front_.
+
+  _Wise and Foolish Virgins, The_, 24, 64.
+
+
+  _Zeyra_, 43.
+
+
+
+CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.
+
+TOOKS COURT, CHANCERY LANE, LONDON.
+
+
+
+
+Footnotes:
+
+[1] See pages 103-114.
+
+[2] Letter to William Allingham, May 10th, 1861.
+
+[3] "Athenæum," April, 1864.
+
+[4] The original title of this picture was _Eastern Slinger scaring
+Birds in Harvest-time: Moonrise_. See Illustration at p. 112.
+
+[5] This picture was re-sold at Christie's in 1892 for 3,750 guineas.
+
+[6] Sometimes entitled _An Athlete strangling a Python_.
+
+[7] At page 62.
+
+[8] Engraved in the "Magazine of Art," March, 1896.
+
+[9] "Current Art" ("Magazine of Art," May, 1889).
+
+[10] "The Studio," vol. iii.
+
+[11] Reproductions of both of these drawings are given at p. 18.
+
+[12] "Letters of Dante Gabriel Rossetti to William Allingham," by George
+Birkbeck Hill, D.C.L., LL.D. London, T. Fisher Unwin, 1897.
+
+[13] "La Peinture Anglaise Contemporaine" (Paris, Hachette, 1895).
+
+[14] "Magazine of Art," March, 1896, p. 197.
+
+[15] The asterisk denotes works exhibited at the Winter Exhibition of
+the Royal Academy of Arts, 1897.
+
+[16] R.A., Royal Academy; G.G., Grosvenor Gallery; R.W.S., Royal Society
+of Painters in Water-Colours; S.S., Royal Society of British Artists,
+Suffolk Street; D.G., Dudley Gallery; S.P.P., Society of Portrait
+Painters.
+
+[17] Exhibited in the Roman Section, by some blunder of the Committee;
+the picture having been painted in Rome.
+
+[18] Purchased for £2,000 by the President and Council of the Royal
+Academy, under the terms of the Chantrey Bequest.
+
+[19] Painted by invitation for the Collection of Portraits of Artists
+painted by themselves in the Uffizi Gallery, Florence.
+
+[20] Painted for the house of Mr. Murquand, New York.
+
+[21] Purchased for 1,000 guineas by the President and Council of the
+Royal Academy, under the terms of the Chantrey Bequest.
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+Passages in italics are indicated by _underscore_.
+
+Images have been moved from the middle of a paragraph to the closest
+paragraph break or to the end of a long quote.
+
+The following misprints have been corrected:
+  "Dyson-Perrin" corrected to "Dyson-Perrins" (page v)
+  "Frederic" corrected to "Frederick" (page 25 and index)
+  Missing word added on page 101 (assumed "the").
+
+Additional spacing after some of the quotes is intentional to indicate
+both the end of a quotation and the beginning of a new paragraph as
+presented in the original text.
+
+The original text includes Greek characters. For this text version
+these letters have been replaced with transliterations.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK FREDERIC LORD LEIGHTON ***
+
+
+******* This file should be named 30262-8.txt or 30262-8.zip *******
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+<h1>The Project Gutenberg eBook, Frederic Lord Leighton , by Ernest Rhys</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Frederic Lord Leighton </p>
+<p>       An Illustrated Record of His Life and Work</p>
+<p>Author: Ernest Rhys</p>
+<p>Release Date: October 15, 2009  [eBook #30262]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK FREDERIC LORD LEIGHTON ***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by<br />
+    Suzanne Lybarger, Jonathan Ingram, Stephanie Eason,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+
+<div class="figcenter"><a name="skein" id="skein"></a><img src="images/image01.jpg" alt="Winding the Skein" /></div>
+<table border="0" cellpadding="0" cellspacing="0" summary="info">
+<tr><td><i>F. Leighton. pinx<sup>t</sup>.</i></td><td><span class="spacer">&nbsp;</span></td><td align="right"><i>Swan Electric Engraving C<sup>o</sup>. Sc.</i></td></tr></table>
+<p class="center"><big><i>Winding the Skein</i></big><br /><i>By permission of the Fine Art Society.</i></p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<h2>Frederic Lord Leighton</h2>
+<h5>Late President of the Royal Academy of Arts</h5>
+
+<h3>An Illustrated Record of</h3>
+<h3>His Life and Work</h3>
+<h3>By Ernest Rhys</h3>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/image02.jpg" alt="George Bell &amp; Sons" /></div>
+<p>&nbsp;</p>
+
+<h4>London: George Bell &amp; Sons</h4>
+<h4>1900</h4>
+
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+<p class="center"><span class="smcap">First Published</span>, super-royal, 4to, 1895.</p>
+<p class="center"><span class="smcap">Second Edition</span>, revised, colombier 8vo, 1898.</p>
+<p class="center"><span class="smcap">Third Edition</span>, revised, crown 8vo, 1900.</p>
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2>Publishers' Note to Third Edition</h2>
+
+<p class='dropcap'><span class="caps">The</span> reception given to previous editions of this work encourages the
+publishers to hope that a re-issue in a smaller form may be appreciated.
+The present volume is reprinted with a few alterations and corrections
+from the second edition published in 1898. A chapter on "Lord Leighton's
+House in 1900," by Mr. S. Pepys Cockerell, has been added.</p>
+
+<p>The publishers take the opportunity to repeat their acknowledgments of
+assistance most kindly given by numerous owners and admirers of the
+artist's work. By the gracious consent of H.M. the Queen, the <i>Cimabue</i>
+in the Buckingham Palace collection, is here reproduced. Especial thanks
+are also due to Lord Davey, Lord Hillingdon, Lord Rosebery, Mrs.
+Dyson-<ins class="correction" title="original reads 'Perrin'">Perrins</ins>, the late Mr. Alfred Morrison, Sir Bernhard Samuelson, Lady
+Hall&eacute;, Mr. Alex. Henderson, Mr. Francis Reckitts, the late Sir Henry
+Tate, the Birmingham and Manchester Corporations, and the President and
+Council of the Royal Academy, who have kindly permitted the reproduction
+of pictures in their possession. To the late Lord Leighton himself the
+author and publishers have to acknowledge their<span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> indebtedness for a
+large number of studies and sketches, hitherto unpublished, as well as
+for his kind co-operation in the preparation of the volume. The author
+wishes also to record his thanks to Mr. M. H. Spielmann for permission
+to use his admirable account of the President's method of painting.</p>
+
+<p>By arrangement with the holders of several important copyrights,
+including Messrs. Thos. Agnew and Sons, P. and D. Colnaghi and Co.,
+H. Graves and Co., Arthur Tooth and Sons, the Society for Promoting
+Christian Knowledge, the proprietors of the Art Journal, the Berlin
+Photographic Company, and the Fine Art Society (whose courtesies in the
+matter are duly credited in the list of illustrations), the publishers
+have been enabled to represent many of the most popular paintings by the
+artist, and a selection of his famous designs for Dalziel's Bible
+Gallery.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2><a name="Contents" id="Contents"></a>Contents</h2>
+
+<table border="0" cellpadding="5" cellspacing="0" summary="Table of Contents">
+<tr><td>&nbsp;</td><td>&nbsp;</td><td align="right"><small>PAGE</small></td></tr>
+<tr><td><span class="smcap">Chapter</span></td><td align="right"><a href="#CHAPTER_I">I.</a></td><td><span class="smcap">His Early Years</span></td><td align="right"><a href="#Page_3">3</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_II">II.</a></td><td><span class="smcap">Year by Year&mdash;1855 to 1864</span></td><td align="right"><a href="#Page_12">12</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_III">III.</a></td><td><span class="smcap">Year by Year&mdash;1864 to 1869</span></td><td align="right"><a href="#Page_21">21</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_IV">IV.</a></td><td><span class="smcap">Year by Year&mdash;1870 to 1878</span></td><td align="right"><a href="#Page_28">28</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_V">V.</a></td><td><span class="smcap">Year by Year&mdash;1878 to 1896</span></td><td align="right"><a href="#Page_39">39</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_VI">VI.</a></td><td><span class="smcap">His Method of Painting</span></td><td align="right"><a href="#Page_54">54</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_VII">VII.</a></td><td><span class="smcap">Mural Decoration, Sculpture, and Illustration</span></td><td align="right"><a href="#Page_61">61</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_VIII">VIII.</a></td><td><span class="smcap">Discourses on Art</span></td><td align="right"><a href="#Page_71">71</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_IX">IX.</a></td><td><span class="smcap">Lord Leighton's Home</span></td><td align="right"><a href="#Page_88">88</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_X">X.</a></td><td><span class="smcap">Lord Leighton's House in 1900. By S. Pepys Cockerell</span></td><td align="right"><a href="#Page_92">92</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_XI">XI.</a></td><td><span class="smcap">The Artist and His Critics</span></td><td align="right"><a href="#Page_103">103</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#CHAPTER_XII">XII.</a></td><td><span class="smcap">Conclusion</span></td><td align="right"><a href="#Page_115">115</a></td></tr>
+<tr><td><span class="smcap">Appendix</span></td><td  align="right"><a href="#APPENDIX_I">I.</a></td><td><span class="smcap">Chronological List of Works</span></td><td align="right"><a href="#Page_121">121</a></td></tr>
+<tr><td>&nbsp;</td><td align="right"><a href="#APPENDIX_II">II.</a></td><td><span class="smcap">List of Landscapes and Studies Sold at Christie's (July, 1896)</span></td><td align="right"><a href="#Page_132">132</a></td></tr>
+<tr><td colspan="2" align="right"><span class="smcap"><a href="#INDEX">Index</a></span></td><td>&nbsp;</td><td align="right"><a href="#Page_137">137</a></td></tr></table>
+<p>&nbsp;</p>
+<p><span class='pagenum'>[Pg viii]</span></p>
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2>List of Illustrations</h2>
+
+<p class="center"><big>I. FIGURE SUBJECTS.</big></p>
+<table border="0" cellpadding="5" cellspacing="0" summary="Figure Subjects">
+<tr><td>&nbsp;</td><td align="right"><small>PAGE</small></td></tr>
+<tr><td><span class="smcap">Winding the Skein</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i> (<i>Photogravure plate.</i>)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#skein"><i>Frontispiece</i></a></td></tr>
+<tr><td><span class="smcap">Cimabue's Madonna</span><br />
+<span style="margin-left: 1em;"><i>By the gracious permission of Her Majesty the Queen.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#madonna">10</a></td></tr>
+<tr><td><span class="smcap">Golden Hours</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lord Davey.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#goldenhours">21</a></td></tr>
+<tr><td><span class="smcap">Helen of Troy</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. H. Graves and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#helen">22</a></td></tr>
+<tr><td><span class="smcap">Orpheus and Eurydice</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Francis Reckitts, Esq.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#orpheus">22</a></td></tr>
+<tr><td><span class="smcap">Venus Disrobing for the Bath</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Alexander Henderson, Esq.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#disrobing">24</a></td></tr>
+<tr><td><span class="smcap">Electra at the Tomb of Agamemnon</span></td><td>&nbsp;</td><td align="right"><a href="#electra">24</a></td></tr>
+<tr><td><span class="smcap">D&aelig;dalus and Icarus</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Alexander Henderson, Esq.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#icarus">26</a></td></tr>
+<tr><td><span class="smcap">St. Jerome</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of the President and Council of the</i></span><br /><span style="margin-left: 1em;"><i>Royal Academy of Arts.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#jerome">26</a></td></tr>
+<tr><td><span class="smcap">Hercules Wrestling With Death for the Body Of Alcestis</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Sir Bernhard Samuelson.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#hercules">30</a></td></tr>
+<tr><td><span class="smcap">Summer Moon</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of the late Alfred Morrison, Esq., from the</i></span><br /><span style="margin-left: 1em;"><i>photogravure published by Messrs. P. and D. Colnaghi and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#summer">30</a></td></tr>
+<tr><td><span class="smcap">The Juggling Girl</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lord Hillingdon.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#juggling">32</a></td></tr>
+<tr><td><span class="smcap">A Condottiere</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Corporation of Birmingham.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#condot">32</a></td></tr>
+<tr><td><span class='pagenum'><a name="Page_x" id="Page_x">[Pg x]</a></span><span class="smcap">The Daphnephoria</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#daphne">34</a></td></tr>
+<tr><td><span class="smcap">Nausicaa</span></td><td>&nbsp;</td><td align="right"><a href="#nausicaa">38</a></td></tr>
+<tr><td><span class="smcap">Sister's Kiss</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#sister">40</a></td></tr>
+<tr><td><span class="smcap">Phryne at Eleusis</span><br />
+<span style="margin-left: 1em;"><i>By permission of the late Lord Leighton.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#phryne">42</a></td></tr>
+<tr><td><span class="smcap">Day Dreams</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#daydreams">42</a></td></tr>
+<tr><td><span class="smcap">Cymon and Iphigenia</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Fine Art Society.</i> (<i>Photogravure plate.</i>)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#cymon">44</a></td></tr>
+<tr><td><span class="smcap">The Last Watch of Hero</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Corporation of Manchester.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#lastwatch">46</a></td></tr>
+<tr><td><span class="smcap">Greek Girls playing at Ball</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Berlin Photographic Company.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#greekgirls">48</a></td></tr>
+<tr><td><span class="smcap">The Bath of Psyche</span><br />
+<span style="margin-left: 1em;"><i>By permission of the Berlin Photographic Company.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#psyche">48</a></td></tr>
+<tr><td><span class="smcap">Farewell</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. A. Tooth and Sons.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#farewell">50</a></td></tr>
+<tr><td><span class="smcap">"And the Sea gave up the dead which were in it"</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Sir Henry Tate.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#thesea">50</a></td></tr>
+<tr><td><span class="smcap">The Frigidarium</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. H. Graves and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#frigid">50</a></td></tr>
+<tr><td><span class="smcap">Rizpah</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. Cassell and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#rizpah">52</a></td></tr>
+<tr><td><span class="smcap">The Bracelet</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. T. Agnew and Sons.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#bracelet">52</a></td></tr>
+<tr><td><span class="smcap">Fatidica</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. T. Agnew and Sons.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#fatidica">52</a></td></tr>
+<tr><td><span class="smcap">A Bacchante</span><br />
+<span style="margin-left: 1em;"><i>By permission of Messrs. H. Graves and Co.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#bacchante">54</a></td></tr>
+<tr><td><span class="smcap">Hit</span><br />
+<span style="margin-left: 1em;"><i>By permission of the proprietors of the "Art Journal."</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#hit">54</a></td></tr>
+<tr><td><span class="smcap">Egyptian Slinger</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lord Davey.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#slinger">112</a></td></tr>
+<tr><td><span class="smcap">Elisha and the Shunamite's Son</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Mrs. Dyson-Perrins.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#elisha">114</a></td></tr>
+<tr><td><span class="smcap">"... Serenely Wandering in a trance of sober thought"</span></td><td>&nbsp;</td><td align="right"><a href="#serene">128</a></td></tr>
+<tr><td><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="32" align="center"><big>II. LANDSCAPES, ETC.</big></td></tr>
+<tr><td><span class="smcap">Garden at Generalife, Granada</span></td><td>&nbsp;</td><td align="right"><a href="#granada">28</a></td></tr>
+<tr><td><span class="smcap">Mimbar of the Great Mosque at Damascus</span></td><td>&nbsp;</td><td align="right"><a href="#mimbar">28</a></td></tr>
+<tr><td><span class="smcap">Fountain in Court at Damascus</span></td><td>&nbsp;</td><td align="right"><a href="#damascus">132</a></td></tr>
+<tr><td><span class="smcap">The Island of &AElig;gina, Pnyx in the Foreground</span></td><td>&nbsp;</td><td align="right"><a href="#island">132</a></td></tr>
+<tr><td><span class="smcap">Ruined Mosque, Broussa</span></td><td>&nbsp;</td><td align="right"><a href="#broussa">134</a></td></tr>
+<tr><td><span class="smcap">City of Tombs, Assiout, Egypt</span></td><td>&nbsp;</td><td align="right"><a href="#tombs">134</a></td></tr>
+<tr><td><span class="smcap">Athens, With the Genoese Tower, Pnyx in Foreground</span></td><td>&nbsp;</td><td align="right"><a href="#athens">136</a></td></tr>
+<tr><td><span class="smcap">Coast of Asia Minor Seen From Rhodes</span></td><td>&nbsp;</td><td align="right"><a href="#rhodes">136</a></td></tr>
+<tr><td><span class="smcap">Red Mountains Desert, Cairo</span></td><td>&nbsp;</td><td align="right"><a href="#reddesert">136</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>III. PORTRAITS.</big></td></tr>
+<tr><td><span class="smcap">Portrait of the Artist.</span> (In the Uffizi Gallery, Florence)</td><td>&nbsp;</td><td align="right"><a href="#leighton">3</a></td></tr>
+<tr><td><span class="smcap">Portrait of the Hon. Mabel Mills</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lady Hillingdon.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#mabelmills">36</a></td></tr>
+<tr><td><span class="smcap">Portrait of Captain (Sir) Richard Burton</span></td><td>&nbsp;</td><td align="right"><a href="#burton">36</a></td></tr>
+<tr><td><span class="smcap">Portrait of Signor Costa</span></td><td>&nbsp;</td><td align="right"><a href="#costa">40</a></td></tr>
+<tr><td><span class="smcap">Portrait of the Lady Sybil Primrose</span><br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lord Rosebery.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#primrose">46</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>IV. STUDIES AND SKETCHES.</big></td></tr>
+<tr><td><span class="smcap">Two Early Pencil Studies</span></td><td>&nbsp;</td><td align="right"><a href="#twoearly">6</a></td></tr>
+<tr><td><span class="smcap">Scheme for a Picture, "The Plague in Florence"</span></td><td>&nbsp;</td><td align="right"><a href="#plague">8</a></td></tr>
+<tr><td><span class="smcap">Study for a Head&mdash;"The Dead Romeo"</span></td><td>&nbsp;</td><td align="right"><a href="#romeo">14</a></td></tr>
+<tr><td><span class="smcap">A Pencil Study</span></td><td>&nbsp;</td><td align="right"><a href="#pencil">16</a></td></tr>
+<tr><td><span class="smcap">A Lemon Tree.</span> (A pencil study)</td><td>&nbsp;</td><td align="right"><a href="#lemon">18</a></td></tr>
+<tr><td><span class="smcap">Byzantine Well-Head.</span> (A pencil study)</td><td>&nbsp;</td><td align="right"><a href="#byzantine">18</a></td></tr>
+<tr><td><span class="smcap">Study for "The Daphnephoria"</span></td><td>&nbsp;</td><td align="right"><a href="#daphnestudy">34</a></td></tr>
+<tr><td><span class="smcap">Study for "Elijah in the Wilderness"</span></td><td>&nbsp;</td><td align="right"><a href="#elijahstudy">38</a></td></tr>
+<tr><td><span class="smcap">Study for "Captive Andromache"</span> (nude)</td><td>&nbsp;</td><td align="right"><a href="#andronude">56</a></td></tr>
+<tr><td><span class="smcap">Study for a Figure in "Captive Andromache"</span></td><td>&nbsp;</td><td align="right"><a href="#androcap">56</a></td></tr>
+<tr><td><span class="smcap">Study for "Andromache"</span></td><td>&nbsp;</td><td align="right"><a href="#andro">56</a></td></tr>
+<tr><td><span class="smcap">Study for "Perseus and Andromeda"</span></td><td>&nbsp;</td><td align="right"><a href="#perseusstudy">58</a></td></tr>
+<tr><td><span class="smcap">Study for a Figure in "The Bath of Psyche"</span></td><td>&nbsp;</td><td align="right"><a href="#psychestudy">58</a></td></tr>
+<tr><td><span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg xii]</a></span><span class="smcap">Study for "Solitude"</span></td><td>&nbsp;</td><td align="right"><a href="#solitude">58</a></td></tr>
+<tr><td><span class="smcap">Study for a Figure in "The Return of Persephone"</span></td><td>&nbsp;</td><td align="right"><a href="#persestudy">60</a></td></tr>
+<tr><td><span class="smcap">Study for "Persephone"</span></td><td>&nbsp;</td><td align="right"><a href="#perse">60</a></td></tr>
+<tr><td><span class="smcap">Studies for the Decoration of the Ceiling of a Music Room</span></td><td>&nbsp;</td><td align="right"><a href="#ceilingstudy">62</a></td></tr>
+<tr><td><span class="smcap">Cain and Abel</span></td><td rowspan="4"><span class="bracket4">{</span></td><td rowspan="4" align="left">From Dalziel's<br />"Bible Gallery"</td></tr>
+<tr><td><span class="smcap">Moses Views the Promised Land</span></td></tr>
+<tr><td><span class="smcap">Samson and the Lion</span></td></tr>
+<tr><td><span class="smcap">Samson Carrying Off the Gates</span></td></tr>
+<tr><td><span style="margin-left: 1em;"><i>By permission of Messrs. J. S. Virtue and Co. and the</i></span><br /><span style="margin-left: 1em;"><i>Society for Promoting Christian Knowledge.</i></span></td><td>&nbsp;</td><td valign="top" align="right"><a href="#cain">70</a></td></tr>
+<tr><td><span class="smcap">"A Contrast"</span></td><td>&nbsp;</td><td align="right"><a href="#contrast">72</a></td></tr>
+<tr><td><span class="smcap">A Study in Oils.</span> (Head of a girl, back view)</td><td>&nbsp;</td><td align="right"><a href="#head1">74</a></td></tr>
+<tr><td><span class="smcap">Head of a Young Girl.</span> (A Study in oils)<br />
+<span style="margin-left: 1em;"><i>By the kind permission of Lady Hall&eacute;.</i></span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#head2">76</a></td></tr>
+<tr><td><span class="smcap">Study of a Head</span></td><td>&nbsp;</td><td align="right"><a href="#head3">78</a></td></tr>
+<tr><td><span class="smcap">Study of a Head</span></td><td>&nbsp;</td><td align="right"><a href="#head4">80</a></td></tr>
+<tr><td><span class="smcap">A Study in Oils.</span> (Head of a girl)</td><td>&nbsp;</td><td align="right"><a href="#head5">82</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>V. FRESCOES, WALL PAINTINGS, ETC.</big></td></tr>
+<tr><td><span class="smcap">Two Friezes&mdash;Music, the Dance</span></td><td>&nbsp;</td><td align="right"><a href="#friezes">44</a></td></tr>
+<tr><td><span class="smcap">Decoration for the Ceiling of a Music Room</span></td><td>&nbsp;</td><td align="right"><a href="#ceiling">62</a></td></tr>
+<tr><td><span class="smcap">The Industrial Arts of War.</span><br /><span style="margin-left: 1em;">(From the fresco at South Kensington Museum)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#artsofwar">64</a></td></tr>
+<tr><td><span class="smcap">The Industrial Arts of Peace.</span><br /><span style="margin-left: 1em;">(From the fresco at South Kensington Museum)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#artsofpeace">64</a></td></tr>
+<tr><td><span class="smcap">Cupid.</span> (From a fresco)</td><td>&nbsp;</td><td align="right"><a href="#cupid">66</a></td></tr>
+<tr><td><span class="smcap">Ph&oelig;nicians bartering with Britons.</span><br /><span style="margin-left: 1em;">(Panel in the Royal Exchange)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#britons">66</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>VI. SCULPTURE.</big></td></tr>
+<tr><td><span class="smcap">An Athlete Struggling with a Python.</span><br /><span style="margin-left: 1em;">(Bronze statue, from two points of view)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#athlete">68</a></td></tr>
+<tr><td><span class="smcap">Study in Clay for "Cymon"</span></td><td>&nbsp;</td><td align="right"><a href="#cymonstudy">68</a></td></tr>
+<tr><td><span class="smcap">Study in Clay for "The Sluggard"</span></td><td>&nbsp;</td><td align="right"><a href="#sluggard">68</a></td></tr>
+<tr><td><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span><span class="smcap">Study in Clay for "Perseus"</span></td><td>&nbsp;</td><td align="right"><a href="#perseus">68</a></td></tr>
+<tr><td><span class="smcap">Study in Clay for "Andromeda"</span></td><td>&nbsp;</td><td align="right"><a href="#andromeda">68</a></td></tr>
+<tr><td><span class="smcap">Design for Reverse of the Jubilee Medallion</span> (1887)</td><td>&nbsp;</td><td align="right"><a href="#medallion">130</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><big>VII. LORD LEIGHTON'S HOUSE.</big></td></tr>
+<tr><td><span class="smcap">In the Inner Hall.</span><br /><span style="margin-left: 1em;">(From a photograph taken specially by Mr. James Hyatt)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#innerhall">88</a></td></tr>
+<tr><td><span class="smcap">In the Arab Hall.</span><br /><span style="margin-left: 1em;">(From a photograph by Messrs. Bedford, Lemere, and Co.)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#arabhall">96</a></td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td><span class="smcap">Bookplate of Lord Leighton.</span><br />
+<span style="margin-left: 1em;">(Designed by R. Anning Bell)</span></td><td>&nbsp;</td><td align="right" valign="top"><a href="#bookplate">120</a></td></tr></table>
+
+<p class="center"><i>With four exceptions all the reproductions are by the Swan Electric Engraving Company.</i></p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2>FREDERIC LORD LEIGHTON, P.R.A.</h2>
+
+<p class="center">
+LIST OF DIGNITIES AND HONOURS CONFERRED<br />
+ON FREDERIC LEIGHTON.<br />
+<br />
+Knighted, 1878; created a Baronet, 1886; created Baron Leighton of Stretton,<br />
+1896; elected Associate of the Royal Academy, 1864; Royal Academician, 1869;<br />
+President of the Royal Academy, 1878; Hon. Mem. Royal Scottish Academy,<br />
+and Royal Hibernian Academy, Associate of the Institute of France, President<br />
+of the International Jury of Painting, Paris Exhibition, 1878; Hon. Member,<br />
+Berlin Academy, 1886; also Member of the Royal Academy of Vienna,<br />
+1888, Belgium, 1886, of the Academy of St. Luke, Rome, and the Aca-<br />
+demies of Florence (1882), Turin, Genoa, Perugia, and Antwerp (1885);<br />
+Hon. D.C.L., Oxford, 1879; Hon. LL.D., Cambridge, 1879; Hon.<br />
+LL.D., Edinburgh, 1884; Hon. D.Lit., Dublin, 1892; Hon.<br />
+D.C.L., Durham, 1894; Hon. Fellow of Trinity College,<br />
+London, 1876; Lieut.-Colonel of the 20th Middlesex<br />
+(Artists') Rifle Volunteers, 1876 to 1883 (resigned);<br />
+then Hon. Colonel and holder of the Volunteer<br />
+Decoration; Commander of the Legion of<br />
+Honour, 1889; Commander of the<br />
+Order of Leopold; Knight of the<br />
+Prussian Order "pour le<br />
+M&eacute;rite," and of the<br />
+Coburg Order Dem<br />
+Verdienste.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="leighton" id="leighton"></a><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+
+<div class="figcenter"><img src="images/image03.jpg" alt="Portrait of the Artist" /></div>
+<p class="center">PORTRAIT OF THE ARTIST (1881)<br />
+<i>Painted for the Uffizi Gallery</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<h2>FREDERIC LORD LEIGHTON, P.R.A.</h2>
+
+<h2>AN ILLUSTRATED CHRONICLE</h2>
+
+
+<h3><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h3>
+
+<h4><span class="smcap">His Early Years</span></h4>
+
+
+<p class='dropcap'><span class="caps">To</span> Italy, at whose liberal well-head English Art has so often renewed
+itself, we turn naturally for an opening to this chronicle of a great
+English artist's career. Frederic Leighton was the painter of our time
+who strove hardest to keep alive an Italian ideal of beauty in London;
+therefore it is in Italy, the Italy of Raphael and Angelo and his
+favourite Giotteschi, that we must seek the true beginnings of his art.</p>
+
+<p>London made its first acquaintance with him and his painting in 1855,
+when the picture, <i>Cimabue's Madonna carried in Procession through the
+Streets of Florence</i>, startled the Royal Academy, and proved that a
+'prentice work could be in its way something of a masterpiece. This
+picture, the work of an unknown young artist of twenty-five, painted
+chiefly in Rome, showed at once a new force and a new quality, and in
+its singular feeling for certain of the archaic Italian schools, showed,
+too, where for the moment the sympathies of the painter really lay. How
+far the potentiality disclosed in it was developed during the forty
+years following, how far the<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> ideals in art, which it seemed to declare,
+were pursued or departed from, the Royal Academy year by year is
+witness. Here, before we turn to consider the history of those later
+years, we shall find it interesting to use this first picture as an
+index to that period of probation, which is so often the most
+interesting part of an artist's history. In accounting for it, and
+finding out the determining experiences of the artist's pupilage, we
+shall account, also, for much that came after. Although Frankfort and
+Paris play their part, the formative influences of that early period, we
+shall find, carry us chiefly, and again and again, into Italy.</p>
+
+<p>Frederic Leighton was born on the 3rd of December, 1830, at Scarborough,
+the son of a medical practitioner. His father, Dr. Frederic Leighton,
+was also the son of a physician who was knighted for eminence in his
+profession. Thus we have two generations of medicine and culture in the
+family; but there is no sign of art, or love for art, before the third.
+This generation produced three children, all devoted to the graphic arts
+and to music, of whom the boy, Frederic was the eldest.</p>
+
+<p>A word or two more must be given to his forbears, on grounds of
+character and heredity, before we pass. Sir James Leighton, the
+grandfather, was Physician to the Court at St. Petersburg, where he
+served in succession Alexander the First, and Nicholas, with whom he was
+on terms of considerable intimacy. His son, Dr. Frederic Leighton, who
+promised to be a still more brilliant practioner, was educated at
+Stonyhurst, but after taking his M.D. degree at Edinburgh, just as he
+was rapidly acquiring the highest professional reputation, contracted a
+cold that led to a partial deafness. This made it impossible for him to
+go on practising with safety, and retiring to his study he turned from
+physical to metaphysical<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> pursuits. In spite of his deafness, as severe
+an embargo on social reputation as can well be laid, Dr. Leighton is
+said to have been equally noted among his friends for his keen
+intellectual quality and his urbanity.</p>
+
+<p>To be the son of his father, then, counted for something in our hero's
+career. Even in art, which Dr. Leighton did not care for particularly,
+the boy had very great opportunities. Before he was ten years old, he
+went abroad with his mother, who was in ill health; and already he had
+shown such decided signs of the <i>furor pingendi</i> during a chance visit
+to Mr. Lance's studio in Paris, that it is without surprise that we hear
+of him in 1840 as taking drawing lessons from Signor F. Meli, at Rome.
+During these early travels the boy's sketch books were full (we are
+told) of precociously clever things. The climacteric moment came early
+in his career. At Florence, in 1844, when he was fourteen, he delivered
+himself of a sort of boyish ultimatum to his father, who, after taking
+counsel of Hiram Powers, the American sculptor, wisely gave the boy his
+wish, and decided to let him be an artist. Powers when asked, "Shall I
+make him an artist?" exclaimed in no uncertain terms, "Sir, you have no
+choice in the matter, he is one already;" and on further question, the
+father being anxious about the boy's possibilities, said, "He may become
+as eminent as he pleases."</p>
+
+<p>Few art students of our time appear to have encountered more fortunate
+conditions, on the whole, than did Frederic Leighton in the years
+immediately following. The Florentine school of fifty years ago,
+however, was not the best for a beginner. It was full of mannerisms,
+which a boy of that age was sure to pick up, and exaggerate on his own
+account. At that time Bezzuoli and Servolini were the great lights and
+directors of the<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> Academy of the Fine Arts, and they delighted,
+naturally, in so able and so apt a pupil; that he found it hard to shake
+off their teaching becomes evident later.</p>
+
+<p>Those who had the good fortune at any time to have heard Lord Leighton
+describe his early wanderings in Europe, must have been struck by the
+warmth of his tribute to Johann Eduard Steinle, the Frankfort master,
+who did more than any other to correct his style, and to decide the
+whole future bent of his art.</p>
+
+<p>Steinle, whose name is barely known to us in England, was one of that
+remarkable school of painters, called familiarly "the Nazarenes,"
+because of their religious range of subjects, who were inspired
+originally by Overbeck and Pf&uuml;hler. Leighton in recent years described
+him as "an intensely fervent Catholic;" a man of most striking
+personality, and of most courtly manners, whose influence upon younger
+men was fairly magnetic. In the case of this particular pupil,
+certainly, his intervention was of most powerful effect. Religious in
+his methods, as well as in his sentiment of art, the florid
+insincerities and mannerisms of the Florentine Academy, as they were
+still to be seen in the young Leighton's work, found in him an admirable
+chastener, but it took many years of painfully hard work, lasting until
+1852, to undo the evil wrought by decadent Florence.</p>
+
+<p>Prior to this fortunate intercourse with Steinle, the student had an old
+acquaintance with Frankfort, which, like Florence, seemed destined to
+play a great part in his history. Before going to Florence, and deciding
+on his artistic career, in 1844, he had been sent to school in
+Frankfort. He returned there from Florence to resume his general
+education, and on leaving at seventeen, went for a year to the
+St&auml;dtelsches Institut.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="twoearly" id="twoearly"></a></p>
+<div class="figcenter"><img src="images/image04top.png" alt="Early Pencil Study" /></div>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/image04bot.png" alt="Early Pencil Study" /></div>
+<p class="center">TWO EARLY PENCIL STUDIES</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1848 he went to Brussels, and worked there for a<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> time without any
+master, painting the first picture that deserves to be remembered.
+Characteristically enough, this depicted <i>Cimabue finding Giotto in the
+fields of Florence</i>. The shepherd boy is engaged in drawing the figure
+of a lamb upon a smooth rock, using a piece of coal for pencil; an
+admirable and precocious piece of work. At the time it was first shown
+it was considered especially good in its harmonious and original
+colouring, nor did a sight of it in 1896 at the Winter Exhibition of the
+Royal Academy contradict the generous verdict of contemporary critics.
+At Brussels he painted a portrait of himself, a notable thing of its
+kind, wherein we see a slight, dark youth, with a face of much charm and
+distinction, whose features one easily sees to be like those of later
+portraits. Then, immediately before the return to Frankfort, and the
+studying there, under Steinle, Leighton spent some months in Paris,
+working in an atelier in the Rue Richer.</p>
+
+<p>The conditions of this most informal of life-schools were such as Henri
+Murger, who was alive and writing at the time, might have approved, but
+were hardly to be called educative in any higher sense. The only master
+that these Bohemians could boast was a very invertebrate old artist, who
+seems to have been the soul of politeness and irresponsibility, and who
+accompanied every weak criticism with the deprecatory conclusion, "Voil&agrave;
+mon opinion!"</p>
+
+<p>"M. Voil&agrave; mon opinion!" is a type not unknown otherwhere than in that
+Paris atelier. A fine alterative the student must have found the severe
+and stringent tonics that Steinle prescribed immediately afterwards in
+Frankfort.</p>
+
+<p>In the admirable monograph on "Sir Frederic Leighton" by Mrs. Andrew
+Lang, from which we have drawn on occasion in these pages, an
+interesting account<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> is given of an exploit at Darmstadt, in which the
+young artist took a chief part. An artists' festival was to be held
+there, and Sir Frederic and one of his fellow-students, Signor Gamba,
+took it into their heads to paint a picture for the occasion on the
+walls of an old ruined castle near the town. The design was speedily
+sketched after the most approved medi&aelig;val fashion, and no time was lost
+in executing the work. "The subject was a knight standing on the
+threshold of the castle, welcoming the guests, while in the centre of
+the picture was Spring, receiving the representatives of the three arts,
+all of them caricatures of well-known figures. In one corner were the
+two young artists themselves, surveying the pageant. The Schloss where
+this piece was painted is still in existence, and the Grand Duke has
+lately erected a wooden roof over the painting, to preserve it from
+destruction."</p>
+
+<p>Before leaving Frankfort, Leighton had already interested Steinle in his
+projected picture of <i>Cimabue's Madonna</i>, and the design for it was made
+under Steinle's direction. Under his direct influence, too, and inspired
+by Boccaccio, another Florentine picture&mdash;a cartoon of its great
+plague&mdash;was painted. In speaking of the dramatic treatment of its
+subject, Mrs. Lang describes "the contrast between the merry revellers
+on one side of the picture and the death-cart and its pile of corpses on
+the other, while in the centre is the link between the two&mdash;a
+terror-stricken woman attempting to escape with her baby from the
+pestilence-stricken city. We shall look in vain among the President's
+later works for any picture with a similar <i>motif</i>. In general he shared
+Plato's opinion&mdash;that violent passions are unsuitable subjects for art;
+not so much because the sight of them is degrading, as because what is
+at once hideous and transitory in its nature should not be
+perpetuated."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="plague" id="plague"></a></p>
+<div class="figcenter"><img src="images/image05.jpg" alt="The Plague in Florence" /></div>
+<p class="center">SCHEME FOR A PICTURE: THE PLAGUE IN FLORENCE</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span>We have seen how the spirit and sentiment of Italy continually remained
+by the artist in his German studio, and how in Frankfort his artistic
+imagination returned again and again to Florence, and to the early
+Florentines of his particular adoration&mdash;Cimabue and Giotto. The recall
+to Italy came inevitably, as Steinle's teaching at last had fully worked
+its purpose. Steinle himself counselled the move, and gave his favourite
+pupil an introduction to Cornelius in Rome. It was to Rome, therefore,
+and not to Florence, that the young artist went&mdash;to Rome where sooner or
+later the steps of all men who work for art or for religion tend, and
+where so few stay. This was in 1852, the year which was represented in
+the Commemorative Exhibition at Burlington House by <i>A Persian Pedlar</i>,
+a small full-length figure of a man in Oriental costume, seated
+cross-legged on a divan, with a long pipe in his hand. To 1853 belongs a
+<i>Portrait of Miss Laing</i> (Lady Nias), which was shown again at the same
+time.</p>
+
+<p>The Rome of the mid-century was Rome at its best, with much artistic
+stimulus of the present, as well as of the past. The English colony was
+particularly strong. Thackeray was there, moving about after his wont in
+the studios and salons; the Brownings were there, and in their prime.
+The young painter and his work, including the <i>Cimabue's Madonna</i> in its
+earlier stages, made a great impression on Thackeray, who turned prophet
+for once on the strength of it. On returning to London and meeting
+Millais, he prophesied gaily to that ardent Pre-Raphaelite, then
+marching on from success to success: "Millais! my boy, I have met in
+Rome a versatile young dog called Leighton, who will one of these days
+run you hard for the presidentship!" This was early days for such a
+rumour to reach the Academy, who knew an older<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> school, represented by
+Landseer and Eastlake, and a younger school, represented by Millais and
+Rossetti, but as yet knew not Leighton.</p>
+
+<p>Among the leading artists in Rome at this time, beside Cornelius, were
+the two French painters, Bouguereau and Gerome. To these, especially to
+Bouguereau, who was a great believer in "scientific composition,"
+Leighton was, on his own testimony, largely indebted for his fine sense
+of form. Yet another famous Frenchman, Robert Fleury, whom he afterwards
+met in Paris, may be mentioned here, since from him he learnt much in
+the way of colouring, and the technique of his art.</p>
+
+<p>Turning from the painters to the poets, it was at Rome that Robert
+Browning, who was at this time writing his "Men and Women," formed close
+acquaintance with the young artist. Something of the atmosphere which
+permeates such poems as "Bishop Blougram's Apology," "Andrea del Sarto,"
+and others of the same series, seems to linger yet in the record of
+those early meetings of poets and painters, with all their associations:</p>
+
+<div class="poem">
+<span style="margin-left: 13.5em;">"The Vatican,</span><br />
+Greek busts, Venetian paintings, Roman walls,<br />
+And English books."</div>
+
+<p>&nbsp;</p>
+<p>One easily supposes Browning speaking through his Bishop Blougram, as,
+it is said, he was heard to speak in those days in praise of Correggio,
+to whose qualities, Ruskin tells us, Sir Frederic Leighton curiously
+approximates:</p>
+
+<div class="poem">
+"'Twere pleasant could Correggio's fleeting glow<br />
+Hang full in face of one where'er one roams,<br />
+Since he more than the others brings with him<br />
+Italy's self&mdash;the marvellous Modenese!"</div>
+
+<p>Italy's self, in truth, Frederic Leighton, like Browning in<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> poetry,
+did not fail to bring with him, and revived for us for many years, by
+his art and southern glow of colour, in the gray heart of London.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="madonna" id="madonna"></a></p>
+<div class="figcenter"><img src="images/image06.jpg" alt="Madonna Carried in Procession" /></div>
+<p class="center">CIMABUE'S MADONNA CARRIED IN PROCESSION THROUGH THE STREETS OF FLORENCE (1855)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>Among other people whom Leighton met in Rome were George Sand, Mrs.
+Kemble, George Mason the painter, of <i>Harvest Moon</i> fame, Gibson the
+sculptor, and Lord Lyons. Like Robert Browning, let us add, he was
+readily responsive to the quickening of his contemporaries, and
+vigorously studied the present in order that he might the better paint
+the past, and put live souls into the archaic raiment of Cimabue and old
+Florence.</p>
+
+<p>He was working hard all this while, with a devotion and concentration
+that impressed other friends beside Thackeray, upon his picture of
+<i>Cimabue's Madonna</i>, which was exhibited in the Academy of 1855, and as
+the work of an unknown hand made a distinct sensation. It was discussed,
+angrily by some, delightedly by others. The criticism which Rossetti,
+Mr. Ruskin, and other critics bestowed upon it in the press or in
+private correspondence<small><a name="f1.1" id="f1.1" href="#f1">[1]</a></small> will come more fitly into our later pages,
+when we turn to deal with contemporary opinions upon Leighton's work.
+Enough to say here that it won fame for the artist at a stroke. The
+Queen bought it for &pound;600, having bespoken it, I believe, before it left
+his studio, and hung it eventually in Buckingham Palace. With this
+encouraging first great success, the probationary stage of our artist's
+history may be said to close.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
+<h3><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h3>
+
+<h4><span class="smcap">Year by Year&mdash;1855 to 1864</span></h4>
+
+
+<p class='dropcap'><span class="caps">The</span> Academy of forty years ago was very different from that we know
+to-day. It was held in the left wing of the National Gallery, and had
+not nearly so much space at its disposal as it has in its present
+quarters at Burlington House. The exhibition of 1855 contained few
+pictures, compared with the multitudinous items of the present shows.</p>
+
+<p>Generally speaking, the exhibition was of a heavier, more Georgian
+aspect, in spite of certain Pre-Raphaelite experiments and other signs
+of the coming of a younger generation. Sir Charles Eastlake was
+President. Professor Hart was delivering lectures to its students, full
+of academic, respectable intelligence, if little more; lectures which
+those who are curious may find reported in full in the "Athen&aelig;um" of
+that time.</p>
+
+<p>More interesting was the appearance of Mr. Ruskin as commentator on the
+pictures of the Academy in this year, the first in which he issued his
+characteristic "Academy Notes." His long, and, all things considered,
+remarkably appreciative criticism of the <i>Cimabue's Madonna</i> we discuss
+elsewhere (p. <a href="#Page_103">103</a>). Of another picture of Italy by a very different
+painter, which was considered a masterpiece by some critics, we find him
+speaking in terms of monition: "Is it altogether too late to warn him
+that he is fast becoming nothing more than an Academician?"<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span> The one
+picture of the year, according to Mr. Ruskin, was the <i>Rescue</i>, by
+Millais. "It is the only great picture exhibited this year," he writes,
+"but this is very great." For the rest, <i>A Scene from As You Like It</i>,
+by Maclise; another Shakespearean subject, the inevitable <i>Lear and
+Cordelia</i>, by Herbert; and a <i>Beatrice</i> by the then President, and we
+have recalled everything that served to give the Academy of that year
+its distinction in the eyes of contemporary critics. Sir Edwin Landseer,
+who to the outer world was the one great fact in the art of the time,
+does not appear to have exhibited in 1855.</p>
+
+<p>Looking back now to that date, what one discerns chiefly is the
+emergence of the Pre-Raphaelites from the more conventional multitude
+that were taking up the artistic traditions of the first half of the
+century. Millais, Rossetti, Holman Hunt, and their associates, count to
+us, to-day, as the representatives of an earlier generation; in 1855
+they still stood for all that was daring, unprecedented, and adventurous
+in their art.</p>
+
+<p>This newcomer, with his <i>Cimabue's Madonna</i> in a new style, puzzled the
+critics considerably. They did not know quite how to allot him in their
+casual division of contemporary schools. "Landseer and Maclise we know;
+and Millais and Holman Hunt; but who is Leighton?" was the tenor of
+their commentary.</p>
+
+<p>Meanwhile an event of great significance to English Art in this year was
+happening&mdash;an exhibition of English pictures in Paris, the first of its
+kind. This beginning of such international exchanges was important; it
+has led up to many striking modifications of both English and French
+schools since that date. It is curious that it should coincide with the
+awakening to certain other foreign influences: that of the early Italian
+school upon the Pre-Raphaelites, and that of the later Italian,
+popularly<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> known as "the classic school," upon Leighton and Mr. G. F.
+Watts.</p>
+
+<p>Of this exhibition of English pictures, which was held in the Avenue
+Montaigne, M. Ernest Chesneau, a critic very sympathetic to English art,
+tells us, in his admirable book on the "English School of Painting,"
+that "for the French it was a revelation of a style and a school of the
+very existence of which they had hitherto had no idea; and whether owing
+to its novelty, or the surprise it occasioned, or, indeed, to its real
+merit, whatever may have been the true cause, most certain it is that
+the English, until then little thought of and almost unknown abroad,
+obtained in France a great success."</p>
+
+<p>M. Chesneau, in going on to account further for the great impression
+made by the English painters in Paris, attributes it largely to the
+<i>singularity</i> which, for foreign eyes, marks their work. It is curious,
+indeed, that French critics, and M. Chesneau among them, really admire
+this singularity, which they count distinctively British. They look for
+it in our pictures, and if they do not find it&mdash;as in the work of
+Leighton&mdash;they feel aggrieved.</p>
+
+<p>British eccentricity, whether thinking its way with the aid of genius
+into "Pre-Raphaelitism," or now again, with the aid of extreme
+cleverness and talent, into certain cruder forms of "impressionism," is
+sure of its effect. But an art like Leighton's, whose aim is beauty and
+not eccentricity, is apt to be slighted by both French and English
+critics, with some notable exceptions. Not all its grace, its classic
+quality, its beauty of line and distinction of treatment, avail it, when
+it comes into conflict with doctrinaire theories on the one hand, and a
+love for mere sensationalism on the other.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="romeo" id="romeo"></a></p>
+<div class="figcenter"><img src="images/image07.jpg" alt="The Dead Romeo" /></div>
+<p class="center">THE DEAD ROMEO<br />A PENCIL STUDY</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>The success of his picture at the Academy, and the<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> incidental
+lionizing of a season, did not tempt the artist to stay long in London,
+and he went to Paris, where he settled himself in a studio and proceeded
+to complete his <i>Triumph of Music</i>, and other pictures begun in Rome.</p>
+
+<p>By this time the painter's method might seem assured, but Paris was
+still able to add something to his style, with the aid of such masters
+as Fleury. English critics, who expected <i>The Triumph of Music</i> to
+sustain the reputation won by <i>Cimabue's Madonna</i>, were
+disappointed&mdash;partly because Orpheus was represented as playing a
+violin, in place of the traditional lyre. To those who will examine and
+compare them more carefully, there is no such discrepancy. <i>The Triumph
+of Music: Orpheus by the power of his Art redeems his wife from Hades</i>,
+which is every whit as distinctive a performance as the <i>Cimabue's
+Madonna</i> (as indeed it was conceived and painted largely under the same
+conditions), was nevertheless not a popular success. Certainly, it
+marks, as clearly as anything can, the sense of colour, the sense of
+form, the draughtsmanship, the immensely cultured eye and hand, first
+discovered to the English critics by its predecessor. It was sold after
+the painter's death.</p>
+
+<p>Of certain other works painted in 1856, 1857, and 1858, some of which
+never found their way to the Academy, little need be said. To this
+period belong two pictures painted in Paris, the one, <i>Pan</i> under a
+fig-tree, with a quotation from Keats's "Endymion":</p>
+
+<div class="poem">
+<span style="margin-left: 10em;">"O thou, to whom</span><br />
+Broad-leaved fig-trees even now foredoom<br />
+Their ripened heritage,"</div>
+
+<p>and the other, a pendant to it, <i>A Nymph and Cupid</i>.</p>
+
+<p><i>Salome, the Daughter of Herodias</i>, painted in 1857,<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> but apparently not
+exhibited at the Academy, represents a small full-length figure in white
+drapery, with her arms above her head, which is crowned with flowers;
+behind her stands a female musician. Another, shown in 1858 at the Royal
+Academy, and again in the 1897 retrospective exhibition, was first
+entitled <i>The Fisherman and Syren</i>, and afterwards <i>The Mermaid</i>; it is
+a composition of two small full-length figures, a mermaid clasping a
+fisherman round the neck. The subject is taken from a ballad by Goethe:</p>
+
+<div class="poem">
+"Half drew she him,<br />
+Half sunk he in,<br />
+And never more was seen."</div>
+
+<p>In the same year was a painting inspired by "Romeo and Juliet," entitled
+<i>Count Paris, accompanied by Friar Laurence, comes to the house of the
+Capulets to claim his bride; he finds Juliet stretched, apparently
+lifeless, on the bed</i>. The picture shows, in addition to the figures
+named in its former title, the father and mother of Juliet bending over
+their daughter's body, and through an opening beyond numerous figures at
+the foot of the staircase.</p>
+
+<p>The latter year marked the painter's return to London, where he entered
+more actively into its artistic life than he had done hitherto, and made
+closer acquaintance with the Pre-Raphaelites, who were already entering
+upon their second and maturer stage. To take Rossetti: it was in 1856
+that he made those five notable designs to illustrate "Poems by Alfred
+Tennyson," which Moxon and Co. published in the following year; an event
+that, for the first time, really introduced him to the public at large.
+To 1857, again, belongs Rossetti's <i>Blue Closet</i> and <i>Damsel of the
+Sangrael</i>, both painted for Mr. W.<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> Morris. And in 1857 and 1858, the
+famous and hapless distemper pictures on the walls of the Union Debating
+Society's room at Oxford, were engaging Rossetti and his associates,
+including Burne-Jones, William Morris, Mr. Val. Prinsep, Mr. Arthur
+Hughes, and Mr. Spencer Stanhope.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="pencil" id="pencil"></a></p>
+<div class="figcenter"><img src="images/image08.jpg" alt="A Pencil Study" /></div>
+<p class="center">A PENCIL STUDY</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>It was in the summer of 1858, Mr. F. G. Stephens tells us, that the
+original Hogarth Club was founded, of which the two Rossettis were
+prominent instigators,&mdash;one of the most notable of the many protestant
+societies that have sprung up at different times from a slightly
+anti-Academic bias. It is interesting to find that Leighton's famous
+<i>Lemon Tree</i> drawing in silverpoint was exhibited here. The Hogarth Club
+held its meetings at 178, Piccadilly, in the first instance; removed
+afterwards to 6, Waterloo Place, Pall Mall, and finally dissolved, in
+1861, after existing for four seasons.</p>
+
+<p>To speak of other painters more or less associated with Rossetti and his
+school, Mr. Holman Hunt, whose <i>Light of the World</i> had greatly struck
+Paris in 1855, exhibited his <i>Scapegoat</i> at the Academy of 1856, a
+picture which called from Mr. Ruskin immense praise, and a
+characteristic protest: "I pray him to paint a few pictures with less
+feeling in them, and more handling." Of Millais we have already spoken.
+In 1856 he exhibited <i>The Child of the Regiment</i>, <i>Peace Concluded</i>, and
+<i>Autumn Leaves</i>.</p>
+
+<p>In 1859 Leighton showed three pictures at the Academy. One, <i>A Roman
+Lady</i> (then called <i>La Nanna</i>), a half-length black-haired figure,
+facing the spectator, in Italian costume; another, now called <i>Nanna</i>,
+then entitled <i>Pavonia</i>, a half-length figure of a girl in Italian
+costume, with peacock's feathers in the background; and <i>Sunny Hours</i>,
+which seems to have escaped record so far. The<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> same year saw another of
+his pictures, <i>Samson and Delilah</i>, exhibited at Suffolk Street.</p>
+
+<p>We must not pass by the famous <i>Study of a Lemon Tree</i> (now at Oxford),
+mentioned above, without quoting the praise by Mr. Ruskin, which made it
+famous. Mr. Ruskin couples it with another drawing, both of which we
+have been fortunately able to reproduce in our pages. These "two perfect
+early drawings," he writes, "are of <i>A Lemon Tree</i>, and another of the
+same date, of <i>A Byzantine Well</i>, which determine for you without
+appeal, the question respecting necessity of delineation as the first
+skill of a painter. Of all our present masters Sir Frederic Leighton
+delights most in softly-blended colours, and his ideal of beauty is more
+nearly that of Correggio than any seen since Correggio's time. But you
+see by what precision of terminal outline he at first restrained, and
+exalted, his gift of beautiful <i>vaghezza</i>." The <i>Lemon Tree</i> study, let
+us add, was drawn at Capri in the spring of 1859. Here, and elsewhere in
+the South of Europe, whither the artist returned, escaping from London
+at every opportunity, many other notable studies and drawings were made
+during this period. Some of these were employed long since for the
+backgrounds of pictures familiar to us all. Others, faithful studies of
+nature, small oil and water-colour drawings, chiefly landscape, were
+scarce known to the general public during the painter's life, but were
+eagerly competed for at the sale of his pictures in July, 1896.</p>
+
+<p>The little picture of <i>Capri at Sunrise</i> was hung in the Academy of
+1860, the painter's only contribution of that year. In the year
+following, we find another small picture of Capri, together with five
+others, some of which played their part in winning for the artist his
+wider recognition.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="lemon" id="lemon"></a></p>
+<div class="figcenter"><img src="images/image09.jpg" alt="A Lemon Tree" /></div>
+<p class="center">A LEMON TREE<br />A PENCIL STUDY</p>
+<p>&nbsp;</p><p>&nbsp;<a name="byzantine" id="byzantine"></a></p>
+<div class="figcenter"><img src="images/image10.jpg" alt="Byzantine Well Head" /></div>
+<p class="center">BYZANTINE WELL HEAD<br />A PENCIL STUDY</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span>Meanwhile, the artist was drawing his London ties closer. In 1860 he
+took up his abode at 2, Orme Square, where he continued to reside until
+he built his famous house in Holland Park Road, some years later. His
+art did not for this reason become more like London, or more infected
+with that British singularity which some critics would seem to demand.
+On the contrary, Italy and the South, the glow of colour, the perfection
+of form, the plastic exquisiteness, which mark for us his mature
+performances, and which follow after classic ideals, were more and more
+clearly to be discerned in the remarkable cycle of pictures associated
+with this part of his career.</p>
+
+<p>In 1861 he painted portraits of his sister, <i>Mrs. Sutherland Orr</i>, and
+of <i>Mr. John Hanson Walker</i>, the former shown at the Academy, where also
+hung <i>Paolo e Francesca</i>, <i>A Dream</i>, <i>Lieder ohne Worte</i>, <i>J. A.&mdash;a
+Study</i>, and <i>Capri&mdash;Paganos</i>. Rossetti, writing of this exhibition,
+says: "Leighton might, as you say, have made a burst had not his
+pictures been ill-placed mostly&mdash;indeed, one of them (the only very good
+one, <i>Lieder ohne Worte</i>) is the only instance of very striking
+unfairness in the place."<small><a name="f2.1" id="f2.1" href="#f2">[2]</a></small> In 1862 there were no fewer than six of the
+artist's pictures at the May exhibition of the Academy: the <i>Odalisque</i>,
+a very popular work, shows a draped female figure, in a very
+Leightonesque pose, with her arm above her head, leaning against a wall
+by the water. She holds a peacock's feather screen in her left hand,
+while a swan in the water at her feet cranes its head upwards towards
+her; <i>Michael Angelo nursing his dying Servant</i>, a group of two
+three-quarter length figures; the servant reclining in an armchair with
+his head resting against the shoulder of Michael Angelo&mdash;a fairly
+powerful but somewhat<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> academic version of the incident&mdash;which looks at
+first glance like the work of a not very important "old master;" <i>The
+Star of Bethlehem</i>, showing one of the Magi on the terrace of his house
+looking at the strange star in the East, while below are indications of
+a revel he has just left. <i>Duett</i>, <i>Sisters</i>, <i>Sea Echoes</i>, and <i>Rustic
+Music</i>, also belong to this year.</p>
+
+<p>In 1863 he showed <i>Eucharis</i>, a half-length figure of a white-robed
+girl, with a basket of fruit on her head; <i>Jezebel and Ahab</i>; <i>A
+Cross-bow Man</i>; and <i>A Girl Feeding Peacocks</i>; with these we complete
+the list of his work as an outsider.</p>
+
+
+<hr style="width: 65%;" />
+<p>&nbsp;</p><p>&nbsp;<a name="goldenhours" id="goldenhours"></a></p>
+<div class="figcenter"><img src="images/image11.jpg" alt="Golden Hours" /></div>
+<p class="center">GOLDEN HOURS (1864)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+<h3><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h3>
+
+<h4><span class="smcap">Year by Year&mdash;1864 to 1869</span></h4>
+
+
+<p class='dropcap'><span class="caps">In</span> 1864 Leighton was made an Associate of the Royal Academy. To its
+summer exhibition he contributed three pictures, showing great and
+various power in their composition. <i>Dante at Verona</i>, <i>Orpheus and
+Eurydice</i>, and <i>Golden Hours</i>. The first of these, one of the most
+remarkable pictures of our modern English school, in which "Dante"
+appears, is a large work, with figures something less than life-size. It
+illustrates the verses in the "Paradiso":</p>
+
+<div class="poem">
+<span style="margin-left: 10.5em;">"Thou shalt prove</span><br />
+How salt the savour is of others' bread;<br />
+How hard the passage, to descend and climb<br />
+By others' stairs. But that shall gall thee most<br />
+Will be the worthless and vile company<br />
+With whom thou must be thrown into the straits,<br />
+For all ungrateful, impious all and mad<br />
+Shall turn against thee."</div>
+
+<p>&nbsp;</p>
+<p>"Dante, in fulfilment of this prophecy, is seen descending the palace
+stairs of the Can Grande, at Verona, during his exile. He is dressed in
+sober grey and drab clothes, and contrasts strongly in his ascetic and
+suffering aspect with the gay revellers about him. The people are
+preparing for a festival, and splendidly and fantastically robed, some
+bringing wreaths of flowers. Bowing with mock reverence, a jester gibes
+at Dante. An indolent<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> sentinel is seated at the porch, and looks on
+unconcernedly, his spear lying across his breast. A young man, probably
+acquainted with the writing of Dante, sympathises with him. In the
+centre and just before the feet of Dante, is a beautiful child,
+brilliantly dressed and crowned with flowers, and dragging along the
+floor a garland of bay leaves and flowers, while looking earnestly and
+innocently in the poet's face. Next come a pair of lovers, the lady
+looking at Dante with attention, the man heedless. The last wears a vest
+embroidered with eyes like those in a peacock's tail. A priest and a
+noble descend the stairs behind, jeering at Dante."<small><a name="f3.1" id="f3.1" href="#f3">[3]</a></small></p>
+
+<p>It was the <i>Golden Hours</i> which, though perhaps less memorable and
+imaginative than the others, won the greatest popular success of the
+three, a success beyond anything that the artist had so far painted. As
+this picture is here reproduced, description is needless, except so far
+as regards the colour of the background, which is literally golden. The
+dress of the lady who leans upon the spinet is white, embroidered with
+flowers. The <i>Orpheus and Eurydice</i> showed that the old friendship,
+formed originally in Rome, between the painter and Robert Browning, was
+maintained. Some of the poet's lines served as a text for the picture;
+and as they are little known we repeat them here:</p>
+
+<div class="poem">
+"But give them me&mdash;the mouth, the eyes, the brow&mdash;<br />
+Let them once more absorb me! One look now<br />
+Will lap me round for ever, not to pass<br />
+Out of its light, though darkness lie beyond.<br />
+Hold me but safe again within the bond<br />
+Of one immortal look! All woe that was,<br />
+Forgotten, and all terror that may be,<br />
+Defied,&mdash;no past is mine, no future! look at me!"</div>
+
+<p>&nbsp;</p><p>&nbsp;<a name="helen" id="helen"></a></p>
+<div class="figcenter"><img src="images/image12.jpg" alt="Helen of Troy" /></div>
+<p class="center">HELEN OF TROY (1865)<br /><i>By permission of Messrs. Henry Graves and Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="orpheus" id="orpheus"></a></p>
+<div class="figcenter"><img src="images/image13.jpg" alt="Orpheus and Eurydice" /></div>
+<p class="center">ORPHEUS AND EURYDICE (1864)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>To this year, also, belongs a portrait of <i>The late Miss Lavinia
+I'Anson</i>, a circular panel showing the sky for background. This was
+exhibited again in the winter Academy of 1897.</p>
+
+<p>In 1865 the artist showed once again his eclectic sympathies, by the
+variety of the subject-pictures that he sent to the Academy, ranging
+from <i>David</i> to <i>Helen of Troy</i>.</p>
+
+<p>In his tenderly conceived <i>David</i>, the Psalmist is seen gazing at two
+doves in the sky above; he, sunk in a profound reverie, is seated upon a
+house-top overlooking some neighbouring hills. The whole is large in its
+handling and treatment, and in the simplicity of its drapery recalls
+several of the famous illustrations the artist contributed to Dalziel's
+Bible Gallery. It was exhibited with the quotation, "Oh, that I had
+wings like a dove! for then would I fly away and be at rest." With the
+delightful <i>Helen of Troy</i> we are recalled to the third book of the
+Iliad, when Iris bids Helen go and see the general truce made pending
+the duel between Paris and Menelaus, of which she is to be the prize. So
+Helen, having summoned her maids and "shadowed her graces with white
+veils," rose and passed along the ramparts of Troy. In the picture the
+light falls on her shoulders and her hair, while her face and the whole
+of the front of her form are shadowed over, with somewhat mystical
+effect.</p>
+
+<p>To the same year belongs <i>In St. Mark's</i>, a picture of a lady with a
+child in her arms leaving the church, a lovely and finished study of
+colour; <i>The Widow's Prayer</i>; and <i>Mother and Child</i>, a graceful
+reminder of a gentler world than Helen's.</p>
+
+<p>In 1866 the critics had at last a work which seemed to them to follow
+the lines of the <i>Cimabue's Madonna</i>. This was the radiant and lovely
+picture of the <i>Syracusan</i><span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> <i>Bride leading Wild Beasts in Procession to
+the Temple of Diana</i>. The composition of this remarkable painting
+deserves to be closely studied, for it is very characteristic of Sir
+Frederic Leighton's theories of art, and his conviction of the
+necessarily decorative effect of such works. A terrace of white marble,
+whose line is reflected and repeated by the line of white clouds in the
+sky painting above, affords the figures of the procession a delightful
+setting. The Syracusan bride leads a lioness, and these are followed by
+a train of maidens and wild beasts, the last reduced to a pictorial
+seemliness and decorative calm, very fortunate under the circumstances.
+The procession is seen approaching the door of the temple, and a statue
+of Diana serves as a last note in the ideal harmonies of form and colour
+to which the whole is attuned. As compared with the <i>Cimabue's Madonna</i>,
+it is a more finished piece of work, and the handling throughout is more
+assured. It was as much an advance, technically, upon that, as the
+<i>Daphnephoria</i>, which crowned the artist's third decade, was upon this.
+According to popular report, it was this picture of the <i>Syracusan
+Bride</i> which decided his future election as a full member of the
+Academy; but as a matter of fact, it was in 1869 that this election took
+place. The picture, let us add, was suggested to the painter by a
+passage in the second Idyll of Theocritus: "And for her then many other
+wild beasts were going in procession round about, and among them a
+lioness." <i>The Painter's Honeymoon</i> and a <i>Portrait of Mrs. James
+Guthrie</i> were also exhibited this year; and the wall-painting of <i>The
+Wise and Foolish Virgins</i>, at Lyndhurst, in the New Forest, was executed
+during the summer.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="disrobing" id="disrobing"></a></p>
+<div class="figcenter"><img src="images/image14.jpg" alt="Venus Disrobing for the Bath" /></div>
+<p class="center">VENUS DISROBING FOR THE BATH (1867)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="electra" id="electra"></a></p>
+<div class="figcenter"><img src="images/image15.jpg" alt="Electra at the Tomb of Agamemnon" /></div>
+<p class="center">ELECTRA AT THE TOMB OF AGAMEMNON (1869)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In its next exhibition, that of 1867, the Academy held five pictures by
+the artist, including the delightful<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> <i>Pastoral</i>, two small
+full-length figures standing in a landscape of a shepherd and a
+girl&mdash;whom he is teaching to play the pipes. This again might be
+considered a painter's translation from Theocritus, and the <i>Venus
+Disrobing for the Bath</i>, one of the most debated of all the artist's
+paintings of the nude. The paleness of the flesh-tint of this Venus
+aroused a criticism which has often been urged against his
+pictures&mdash;that such a hue was not in nature. In imparting an ideal
+effect to an ideal subject, Leighton always, however, followed his own
+conviction&mdash;that art has a law of its own, and a harmony of colour and
+form, derived and selected no doubt from natural loveliness, but not to
+be referred too closely to the natural, or to the average, in these things.</p>
+
+<p>To the 1868 Academy Leighton contributed another biblical theme,
+<i>Jonathan's Token to David</i>. With this were four others, as widely
+varying in subject and conception as need be desired. One was a very
+charming portrait of a very pretty woman, <i>Mrs. <ins class="correction" title="original reads 'Frederic'">Frederick</ins> P. Cockerell</i>.
+Then follow three more in that cycle of classic subjects, of which the
+painter never tired. The full title of the first runs, <i>Ariadne
+abandoned by Theseus: Ariadne watches for his return: Artemis
+releases her by death</i>. In it the figure of Ariadne, clothed in white
+drapery, is seen lying on a rocky promontory overlooking the sea. <i>Acme
+and Septimius</i> is a circular picture, with two small full-length figures
+reclining on a marble bench. This extract from Sir Theodore Martin's
+translation of Catullus was appended to its title in the catalogue:</p>
+
+<div class="poem">
+"Then bending gently back her head,<br />
+With that sweet mouth so rosy red,<br />
+Upon his eyes she dropped a kiss,<br />
+Intoxicating him with bliss."</div>
+
+<p><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span>A love song on canvas, a pictorial transcript from Catullus, it was
+perhaps the most popular picture of the year. The last of the three was
+<i>Act&aelig;a, the Nymph of the Shore</i>. It represents a small full-length nude
+figure lying on white drapery by the sea-shore. Act&aelig;a is a lovely
+figure, full of that grace which Leighton so well knew how to impart to
+his idealized figures.</p>
+
+<p>After this year, at any rate, there could be no longer any doubt but
+that the artist's power really lay in the creation of ideal forms;
+whether presented in monomime or combined in poetic and decorative
+groups, called up from the wonderful limbo of classic myth and history.</p>
+
+<p>With 1869 came <i>Electra at the Tomb of Agamemnon</i>, a memorable picture,
+full of characteristic effects of colour and composition, and a notable
+exercise in the grand style. This work, considered from any side, must
+be seen to be the outcome of a unique faculty, so unprecedented in
+English art as to run every risk of misconception that native
+predilections could impose upon those who stopped to criticise it. The
+figure of Electra clad in black drapery offered a problem of peculiar
+difficulty.</p>
+
+<p>Another painting shown this year was <i>D&aelig;dalus and Icarus</i>, a strikingly
+conceived picture. The two figures are singularly noble conceptions of
+the idealized nude; the drapery at the back of Icarus is typical of the
+painter in every fold, while the landscape seen far below the stone
+platform on which the figures stand, shows a bay of the blue &AElig;gean sea
+in full sidelight, with a lovely glimpse of the white walls of a distant
+town.</p>
+
+<p>The same exhibition of 1869 saw, also, the vigorously painted diploma
+picture, <i>St. Jerome</i>, which marked his election as R.A. In it the
+saint, nude to the waist, kneels with uplifted arms at the foot of a
+crucifix, his<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> lion seen in the background. <i>Helios and Rhodos</i>,
+another painting exhibited at the same time, shows Helios descending
+from his chariot, which is in a cloud above, to embrace the nymph
+Rhodos, who has risen from the sea.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="icarus" id="icarus"></a></p>
+<div class="figcenter"><img src="images/image16.jpg" alt="Daedalus and Icarus" /></div>
+<p class="center">D&AElig;DALUS AND ICARUS (1869)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="jerome" id="jerome"></a></p>
+<div class="figcenter"><img src="images/image17.jpg" alt="St. Jerome" /></div>
+<p class="center">ST. JEROME (1869)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+<h3><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h3>
+
+<h4><span class="smcap">Year by Year&mdash;1870 to 1878</span></h4>
+
+
+<p class='dropcap'><span class="caps">Sundry</span> journeys into the East during this period of Leighton's career,
+gave him new subject-matter, new tints to his palette, and added
+something of an oriental fantasy to the classic sentiment of his art.
+The sketches of Damascus and other time-honoured eastern cities,
+mosques, gardens, and courtyards, which figured largely among Sir
+Frederic's studies, were made for the most part in the autumn of 1873.</p>
+
+<p>Previously, as early as 1867, the East had cast its spell upon him. In
+1868, he went into Egypt, and made a voyage up the Nile with M. de
+Lesseps, then at the flood of good-fortune. The Khedive himself provided
+the steamer for this adventure. "It was during this voyage," we are
+told, "that Sir Frederic came across a small child with the strangest
+and most limited idea of full dress that probably ever occurred to
+mortal&mdash;a tiny coin strung on to one of her strong coarse hairs." Of the
+studies made during the journey, one is a woman's head, draped so as to
+have a singularly archaic and Sphinx-like effect, Another is the fine
+profile of a young peasant; and yet another, the head of an old man,
+simple-minded and philosophical.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="granada" id="granada"></a></p>
+<div class="figcenter"><img src="images/image18.jpg" alt="Garden at Generalife" /></div>
+<p class="center">GARDEN AT GENERALIFE, GRANADA</p>
+<p>&nbsp;</p><p>&nbsp;<a name="mimbar" id="mimbar"></a></p>
+<div class="figcenter"><img src="images/image19.jpg" alt="Mimbar of the Great Mosque at Damascus" /></div>
+<p class="center">MIMBAR OF THE GREAT MOSQUE AT DAMASCUS<br />(Since destroyed by fire)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1869 the <i>Helios and Rhodos</i>, already mentioned, served as the first
+sign to the public of the new R.A.'s interest in things oriental. To the
+1870 exhibition, his only contribution was the picture, <i>A Nile Woman</i>,
+which<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> is now owned by the Princess of Wales. It is a small
+full-length figure of a girl, balancing an empty pitcher upon her head,
+at the time of moonrise. Anticipating the Eastern subjects which future
+years produced, we may note a picture of <i>Old Damascus</i>, showing the
+Jews' quarter in that fabled city, in all its motley picturesqueness,
+and the delightful <i>Moorish Garden,&mdash;A Dream of Granada</i>, which were
+exhibited in 1874. A powerful picture, shown in 1875, of the <i>Egyptian
+Slinger</i>,<small><a name="f4.1" id="f4.1" href="#f4">[4]</a></small> is illustrated later in this volume, but no reproduction
+can quite suggest the striking colouring of the original, and the
+masterly treatment of its light and shade, in the presentment of this
+lonely figure posed high on its platform against the clear evening sky.
+The delightful <i>Little Fatima</i>, and the <i>Grand Mosque, Damascus</i>,
+enlarged from the sketch previously alluded to, were also exhibited in
+1875.</p>
+
+<p>But perhaps the most picturesque memorial of the East due to the
+artist's wanderings of these years, is an architectural, and not a
+pictorial one. The fame of the Arab Hall in Lord Leighton's house has
+reached even further than that of <i>Little Fatima</i>, or his painting of
+the <i>Grand Mosque at Damascus</i>. Built originally to provide a setting
+for some exquisite blue tiles, brought by the owner from Damascus
+itself, it remains the most perfect representation of an oriental
+interior to be found in London; but this again belongs to a later
+period, and we must return to the date whence this chronicle was
+interrupted. Before doing so, however, it may be noted that in 1870
+began the famous Winter Exhibitions of Old Masters and Deceased British
+Artists, of which Leighton was one of the most active supporters.</p>
+
+<p><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span>In the May exhibition of the Royal Academy, 1871, was hung a notable
+canvas, <i>Greek Girls picking up Pebbles by the Sea</i>, described at the
+time as "a delightful composition, comprising figures of almost
+exhaustless grace, and wealth of beauty in design and colour."</p>
+
+<p>Another painting, also shown there, <i>Cleoboulos instructing his daughter
+Cleobouline</i>, is a charming example of its kind. The philosopher, with a
+scroll on his lap, sits on a cushioned bench with his young daughter by
+his side, his earnest action in delightful contrast with her girlish
+grace.</p>
+
+<p>But his great work in 1871 was <i>Hercules wrestling with Death for the
+body of Alcestis</i>. The scene of this profound tragedy is on the
+sea-shore, where the body of Alcestis, robed in white, lies under the
+branches of trees in the centre of the picture. On the left is a group
+of mourners, a seated girl and a woman prostrate in grief. On the right
+are the two struggling figures; Hercules' superb form and tossing
+lion-skin contrasting finely, both in action and colouring, with the
+tall and coldly grey-robed spectre of Death, who presses forward to the
+bed where Alcestis lies, whence he is thrust back by the mighty
+Hercules. The exquisite figure of Alcestis with her statuesquely draped
+robes and their pure and delicate colouring, forms a wonderful contrast
+to the two strenuous figures on the right, while the figures of the
+mourners on the left are delightfully posed and full of grace.</p>
+
+<p>In July of this year, it is interesting to remember, appeared Browning's
+"Balaustion's Adventure," which contained the following tribute to the
+above picture and its painter:</p>
+
+<div class="poem">
+"I know, too, a great Kaunian painter, strong<br />
+As Herakles, though rosy with a robe<br />
+Of grace that softens down the sinewy strength:<br />
+<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span>And he has made a picture of it all.<br />
+There lies Alkestis dead, beneath the sun,<br />
+She longed to look her last upon, beside<br />
+The sea, which somehow tempts the life in us<br />
+To come trip over its white waste of waves,<br />
+And try escape from earth, and fleet as free.<br />
+Behind the body I suppose there bends<br />
+Old Pheres in his hoary impotence;<br />
+And women-wailers, in a corner crouch<br />
+&mdash;Four, beautiful as you four,&mdash;yes, indeed!<br />
+Close, each to other, agonizing all,<br />
+As fastened, in fear's rhythmic sympathy,<br />
+To two contending opposite. There strains<br />
+The might o' the hero 'gainst his more than match,<br />
+&mdash;Death, dreadful not in thew and bone, but like<br />
+The envenomed substance that exudes some dew,<br />
+Whereby the merely honest flesh and blood<br />
+Will fester up and run to ruin straight,<br />
+Ere they can close with, clasp and overcome,<br />
+The poisonous impalpability<br />
+That simulates a form beneath the flow<br />
+Of those grey garments; I pronounce that piece<br />
+Worthy to set up in our Poikil&eacute;!"</div>
+
+<p>&nbsp;</p><p>&nbsp;<a name="hercules" id="hercules"></a></p>
+<div class="figcenter"><img src="images/image20.jpg" alt="Hercules Wrestling with Death" /></div>
+<p class="center">HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS (1871)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="summer" id="summer"></a></p>
+<div class="figcenter"><img src="images/image21.jpg" alt="Summer Moon" /></div>
+<p class="center">SUMMER MOON (1872)<br /><i>By permission of Messrs. P. and D. Colnaghi and Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>To 1872 belongs the <i>Summer Moon</i>, one of the loveliest things ever
+shown at the Academy, a picture full of that rarer feeling for light and
+colour, which the artist achieved again and again in his treatment of
+sunset, twilight, and night effects. <i>After Vespers</i>, exhibited the same
+year, is a three-quarter length figure of a girl in a green robe
+standing in front of a bench, holding in her right hand a string of
+beads. This year's Academy held also <i>A Condottiere</i>, the noble figure
+of a man in armour, now in the Birmingham Municipal Gallery, and a
+portrait of the <i>Right Hon. Edward Ryan</i>. Hardly less memorable was
+<i>Moretta</i>, exhibited in the Academy of 1873, in the words of a critic of
+the day, "one of the most subtle and fortunate productions of the
+painter." <i>Moretta</i> is robed in green, with masses of loosely arranged
+hair, and<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> a tender and delicate face. <i>Weaving the Wreath</i>, shown the
+same year (and again in the Guildhall, 1895), is a very charming figure
+of quite a young girl seated on a carpet upon a raised step at the foot
+of a building. Behind her is a bas-relief, against which her head,
+crowned by a chaplet of flowers, tells out with sculpturesque effect;
+the sharp, vertical line of thread strained between her hands, and
+thence in diagonal line to the ball at her feet, is curiously rigid, and
+by contrast makes the draperies across which it is silhouetted appear
+still more mobile.</p>
+
+<p>We are passing over, deliberately, the artist's decorative masterpieces
+of this period,&mdash;the South Kensington frescoes to wit; of which the
+<i>Arts of War</i> belongs to the year 1872, and its companion, <i>Arts of
+Peace</i>, to 1873. These works will be found treated at length in a later
+chapter on the artist's decorative work (pp. <a href="#Page_63">63</a>, <a href="#Page_64">64</a>).</p>
+
+<p>In the Academy of 1874 appeared four pictures, the most important being
+the heroic painting,&mdash;<i>Clytemnestra from the Battlements of Argos
+watches for the Beacon-fires which are to announce the Return of
+Agamemnon</i>. In this picture, the figure of Clytemnestra is seen standing
+erect, with hands folded, supporting the drapery that clothes a majestic
+form. For further description, we may be content to quote that given at
+the time in the appreciative art columns of the "Athen&aelig;um:"</p>
+
+<p>"There is the grandeur of Greek tragedy in Mr. Leighton's <i>Clytemnestra</i>
+watching for the signal of her husband's return from Troy. The time is
+deep in the fateful night, while the city sleeps; moonlight floods the
+walls, the roofs, the gates, and the towers with a ghastly glare, which
+seems presageful, and casts shadows as dark as they are mysterious and
+terrible. The dense blue of the sky is dim, sad, and ominous. But the
+most ominous<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> and impressive element of the picture is a grim figure,
+the tall woman on the palace roof before us, who looks Titanic in her
+stateliness, and huge beyond humanity in the voluminous white drapery
+that wraps her limbs and bosom. Her hands are clenched and her arms
+thrust down straight and rigidly, each finger locked as in a struggle to
+strangle its fellow; the muscles swell on the bulky limbs. Drawn erect
+and with set features, which are so pale that the moonlight could not
+make them paler, the queen stares fixedly and yet eagerly into the
+distance, as if she had the will to look over the very edge of the world
+for the light to come."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="juggling" id="juggling"></a></p>
+<div class="figcenter"><img src="images/image22.jpg" alt="The Juggling Girl" /></div>
+<p class="center">THE JUGGLING GIRL (1874)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="condot" id="condot"></a></p>
+<div class="figcenter"><img src="images/image23.jpg" alt="A Condottiere" /></div>
+<p class="center">A CONDOTTIERE (1872)<br /><i>By permission of the Corporation of Birmingham</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>Another picture this year was the <i>Moorish Garden&mdash;a dream of Granada</i>,
+a delightful little canvas, almost square. In the foreground is a young
+girl carrying copper vessels, and followed by two peacocks; the
+background is obviously taken from the study of a garden at Generalife
+(reproduced at p. <a href="#Page_28">28</a>); the <i>Antique Juggling Girl</i> and <i>Old Damascus:
+the Jews' Quarter</i>, were also in the Academy of 1874.</p>
+
+<p>To 1875 belongs the <i>Egyptian Slinger</i>, a picture which, as we shall see
+later, provoked severe censure from Mr. Ruskin. As exhibited it differed
+much from its present state. Not only was the sky of deeper violet, but
+almost in silhouette against the moon, on another raised platform, stood
+a draped female figure, afterwards painted out entirely. Other works
+shown this year were <i>Little Fatima</i>, a small half-length figure of a
+little girl in Eastern costume, seen against a dark background; and a
+<i>Portion of the Interior of the Grand Mosque at Damascus</i> (reproduced at
+p. <a href="#Page_28">28</a>). As the building it depicts has since been burnt down, the fine
+transcript has an added interest. We are come now to a year which, even
+beyond other years of activity, displayed the artist's characteristic<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+energy: 1876. In the Academy of that year, with the <i>Daphnephoria</i>,
+Leighton once more chose a great classic theme, for a painting which, by
+its composition, reminded the critics and lovers of art of the artist's
+early triumph with the <i>Cimabue's Madonna</i>, and of his other great
+processional picture, the <i>Syracusan Bride</i>.</p>
+
+<p>Of all his works in this class, there is no doubt that the
+<i>Daphnephoria</i> is the most technically complete. The procession is seen
+defiling along a terrace backed by trees through which the clear
+southern sky gleams. A youth carrying the symbolic olive bough, called
+the Kopo, adorned with its curious emblems, leads the procession. He is
+clad in purple robes and crowned with leaves. The youthful priest, known
+as the Daphnephoros (the laurel-bearer) follows, clothed in white
+raiment. He is similarly crowned, and carries a slim laurel stem. Then
+come three boys, in scanty red and green draperies, which serve only to
+emphasize the beauty of their almost naked forms, the middle and tallest
+one bearing aloft a draped trophy of golden armour. These are seen to be
+pausing while the leader of the chorus, a tall, finely modelled man,
+whose back is turned, is giving directions to the chorus with uplifted
+right hand; in his left hand is a lyre, and the left arm from the elbow
+is characteristically draped. The first row of the chorus is composed of
+five children, clothed in purple, crowned with flowers; two rows of
+maidens, in blue and white, come next; and these in turn are succeeded
+by some boys with cymbals. The interest of the passing procession is
+very much enhanced by the effect produced on two lovely bystanders,&mdash;a
+girl and child in blue, beautifully designed, who are drawing water in
+the left foreground. In the valley below is seen the town of Thebes.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="daphne" id="daphne"></a></p>
+<div class="figcenter"><img src="images/image24.jpg" alt="The Daphnephoria" /></div>
+<p class="center">THE DAPHNEPHORIA (1876)<br /><i>By permission of The Fine Art Society.</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="daphnestudy" id="daphnestudy"></a></p>
+<div class="figcenter"><img src="images/image25.jpg" alt="Study for 'The Daphnephoria'" /></div>
+<p class="center">STUDY FOR "THE DAPHNEPHORIA"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>With the painter's reading of the <i>Daphnephoria</i> it may<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> be
+interesting to compare another account of this splendid religious
+function. At this festival in honour of Apollo, celebrated every ninth
+year by the B&oelig;otians, it was usual, says pleasant Lempriere, "to
+adorn an olive bough with garlands of laurel and other flowers, and
+place on the top a brazen globe, from which were suspended smaller ones.
+In the middle was placed a number of crowns, and a globe of inferior
+size, and the bottom was adorned with a saffron-coloured garment. The
+globe on the top represented the Sun, or Apollo; that in the middle was
+an emblem of the moon, and the others of the stars. The crowns, which
+were 365 in number, represented the sun's annual revolution. This bough
+was carried in solemn procession by a beautiful youth of an illustrious
+family, whose parents were both living. He was dressed in rich garments
+which reached to the ground, his hair hung loose and dishevelled, his
+head was covered with a golden crown, and he wore on his feet shoes
+called <i>Iphricatid&aelig;</i>, from Iphricates, an Athenian who first invented
+them. He was called <ins class="correction" title="Daphn&ecirc;phoros">&#916;&#945;&#966;&#957;&#951;&#966;&#972;&#961;&#959;&#962;</ins>, 'laurel-bearer,' and at that
+time he executed the office of priest of Apollo. He was preceded by one
+of his nearest relations, bearing a rod adorned with garlands, and
+behind him followed a train of virgins with branches in their hands. In
+this order the procession advanced as far as the temple of Apollo,
+surnamed Ismenius, where supplicatory hymns were sung to the god."<small><a name="f5.1" id="f5.1" href="#f5">[5]</a></small></p>
+
+<p>In the 1876 Academy hung also the striking portrait, <i>Captain Richard
+Burton, H.M.'s Consul at Trieste</i>; and two very characteristic single
+figures, <i>Teresina</i> and <i>Paolo</i>. The portrait of Captain Burton has been
+fairly described as masterly. "There is no attempt," said one critic,
+"at<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> posing or picturesqueness in the portrait. It is the head of a man
+who is lean and rugged and brown, but the face is full of character, and
+every line tells. It is painted in the same strong and bold, and yet
+careful, way that distinguishes the head of Signor Costa, painted three
+years later."</p>
+
+<p>The next year saw Leighton's first appearance as a sculptor. It was at
+the Academy of 1877 that he exhibited the well-known, vigorously
+designed and wrought <i>Athlete Struggling with a Python</i>.<small><a name="f6.1" id="f6.1" href="#f6">[6]</a></small> This
+adventure of the R.A. into a new field proved so successful, that the
+<i>Athlete</i> took rank as the most striking piece of sculpture of that
+year. "In this work," said a friendly critic, "Mr. Leighton has
+attempted to succeed in a truly antique way. We are bound to admit that
+he has done wisely, bravely, and successfully." The statue was bought,
+we may add, for &pound;2,000, as the first purchase made by the trustees of
+the Chantrey Fund, and is now in the Tate Gallery at Millbank. It was
+afterwards repeated in marble, by the artist's own hand, for the Danish
+Museum at Copenhagen.</p>
+
+<p>Still more popular was his <i>Music Lesson</i>, another work in the same
+exhibition. To realize the full charm of this picture, one must see the
+original; for much depends upon the beauty of its colouring. Imagine a
+classical marble hall, marble floor, marble walls, in black and white,
+and red&mdash;deep red&mdash;marble pillars; and sitting there, sumptuously
+attired, but bare-footed, two fair-haired girls, who serve for pupil and
+music-mistress. The elder is showing the younger how to finger a lyre,
+of exquisite design and finish; and the expression on their faces is
+charmingly true, while the colours that they contribute<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> to the
+composition,&mdash;the pale blue of the child's dress, the pale flesh tints,
+the pale yellow hair, and the white and gold of the elder girl's loose
+robe, and the rich auburn of her hair,&mdash;are most harmonious. A bit of
+scarlet pomegranate blossom, lying on the marble ground, gives the last
+high note of colour to the picture. Two other pictures of 1877 must not
+be omitted. <i>Study</i> shows us a little girl (the present Lady Orkney), in
+Eastern garb, diligently reading a sheet of music which lies before her
+on a little desk. There is great charm in the simple grace of the
+picture and in the softly brilliant colouring of the child's costume.
+Very delightful, too, is the portrait of <i>Miss Mabel Mills</i> (now the
+Hon. Mrs. Grenfell), habited in black velvet, and a large dark hat with
+coloured feathers, set against a grey background, a picture here
+reproduced. <i>A Study</i>, <i>An Italian Girl</i>, and a <i>Portrait of H. E.
+Gordon</i>, were all three shown at the Grosvenor Gallery the same year.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="mabelmills" id="mabelmills"></a></p>
+<div class="figcenter"><img src="images/image26.jpg" alt="Portrait of Mabel Mills" /></div>
+<p class="center">PORTRAIT OF THE HON. MABEL MILLS (1877)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="burton" id="burton"></a></p>
+<div class="figcenter"><img src="images/image27.jpg" alt="Portrait of Richard Burton" /></div>
+<p class="center">PORTRAIT OF CAPTAIN RICHARD BURTON (1876)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>Another picture, in which a simple theme is treated in a classic
+fashion&mdash;not dissimilar to that employed for the <i>Music Lesson</i>&mdash;is
+<i>Winding the Skein</i>, a lovely painting exhibited at the Academy in 1878.
+In this we see two Greek maidens as naturally employed as we often see
+English girls in other surroundings. This idealization of a familiar
+occupation&mdash;so that it is lifted out of a local and casual sphere, into
+the permanent sphere of classic art, is characteristic of the whole of
+Leighton's work. He, like Sir L. Alma-Tadema and Albert Moore, contrived
+also to preserve a certain modern contemporary feeling in the classic
+presentment of his themes. He was never archaic; so that the classic
+scenarium of his subjects, in his hands, appears as little antiquarian
+as a medi&aelig;val environment, shall we say, in the hands of Browning.
+<i>Nausicaa</i>, a full-length girlish figure, in green and white<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> draperies,
+standing in a doorway, and <i>Serafina</i>, another single figure, and <i>A
+Study</i>, were also shown the same year. At the Grosvenor Gallery were a
+<i>Portrait of Miss Ruth Stewart Hodgson</i>, a demure little damsel in
+outdoor attire, and a <i>Study of a Girl's Head</i>, full face.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="nausicaa" id="nausicaa"></a></p>
+<div class="figcenter"><img src="images/image28.jpg" alt="Nausicaa" /></div>
+<p class="center">NAUSICAA (1878)</p>
+
+<hr style="width: 65%;" />
+<p>&nbsp;</p><p>&nbsp;<a name="elijahstudy" id="elijahstudy"></a></p>
+<div class="figcenter"><img src="images/image29.jpg" alt="Study for 'Elijah and the Angel'" /></div>
+<p class="center">STUDY FOR "ELIJAH AND THE ANGEL"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+<h3><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h3>
+
+<h4><span class="smcap">Year by Year&mdash;1878 to 1896</span></h4>
+
+
+<p class='dropcap'><span class="caps">On</span> November 13th, 1878, Frederic Leighton was elected President of the
+Royal Academy, in succession to Sir Francis Grant, and immediately
+received the honour of knighthood.</p>
+
+<p>In 1879 Leighton sent eight contributions to the Academy, not one of
+which, with the possible exception of the <i>Elijah</i>, perhaps, has been
+counted among his masterpieces. Four of them belong to that group of
+ideal figure paintings which almost constitute a <i>genre</i> in themselves:
+<i>Biondina</i>, <i>Catarina</i>, <i>Amarilla</i>, and <i>Neruccia</i>, a girl with a red
+flower in her hair, in white dress, against a dark background. The
+finely austere <i>Elijah in the Wilderness</i> was an addition to the notable
+group of Scriptural paintings. In this picture the nude figure of the
+prophet is seen reclining on a rock, with head and arms thrown back,
+while beside him stands an angel holding bread and water. The striking
+and powerful <i>Portrait of Professor Costa</i>, the <i>Portrait of the
+Countess Brownlow</i>, and a portrait study, completed the list of the
+year's contributions, the largest number ever sent in by Leighton,
+before his election or afterward. This year ten of his landscape-studies
+in oil were exhibited at the Grosvenor Gallery.</p>
+
+<p>It may be thought by the outsider that the coveted office of the
+President of the Royal Academy of Arts is,<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> in a way, an ornamental
+one,&mdash;some such golden sinecure as that of the old High Chamberlains.
+Nothing could be more mistaken. "Not everybody," wrote the late Mr.
+Underhill, who for some time, as private secretary to Sir Frederic
+Leighton, had special opportunities of knowing, "is aware of the tax
+upon a man's time and energy that is involved in the acceptance of the
+office in question. The post is a peculiar one, and requires a
+combination of talents not frequently to be found, inasmuch as it
+demands an established standing as a painter, together with great
+urbanity and considerable social position. The inroads which the
+occupancy of the office makes upon an artist's time are very
+considerable. There is, on the average, at least one Council meeting for
+every three weeks throughout the whole of the year. There are from time
+to time general assemblies for the election of new members and for other
+purposes, over which the President is bound, of course, to preside. For
+ten days or a fortnight in every April he has to be in attendance with
+the Council daily at Burlington House, for the purpose of selecting the
+pictures which are to be hung in the Spring Exhibition. He has to
+preside over the banquet which yearly precedes the opening of the
+Academy, and he has to act as host at the annual conversazione. Finally,
+it is his duty every other year to deliver a long, elaborate, and
+carefully prepared 'Discourse' upon matters connected with art, to the
+students who are for that purpose assembled. It is a post of much honour
+and small profit."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="sister" id="sister"></a></p>
+<div class="figcenter"><img src="images/image30.jpg" alt="Sister's Kiss" /></div>
+<p class="center">SISTER'S KISS (1880)<br /><i>By permission of the Fine Art Society</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="costa" id="costa"></a></p>
+<div class="figcenter"><img src="images/image31.jpg" alt="Portrait of Signor Costa" /></div>
+<p class="center">PORTRAIT OF SIGNOR COSTA (1879)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In filling this post, and neglecting no one of its smallest offices and
+endless small courtesies, an artist had needs be without the
+characteristic artist's defects of hesitation and delay; and in fact,
+Lord Leighton mastered, as much as any statesman of our time, the
+indispensable secret of despatch. We quote from Mr.<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> Underhill again:
+"To administer the affairs of the Academy, to fulfil a round of social
+semi-public and public engagements, and to paint pictures which
+invariably reach a high level of excellence, would of course be
+impossible&mdash;even to Sir Frederic Leighton&mdash;were it not for the fact that
+he makes the very most of the time at his disposal. 'That's the secret,'
+remarked a distinguished member of the Academy to the present writer
+some little time before the President's death; 'Sir Frederic knows
+exactly how long it will take to do a certain thing, and he apportions
+his time accordingly.' This being the case, no one will be surprised to
+learn that he attached the greatest importance to punctuality. He
+himself never failed to keep an appointment at the exact moment fixed
+upon, and he expected, of course, similar punctuality on the part of
+others. The stroke of eight from the Academy clock was the signal for
+Sir Frederic to enter the Council Room at Burlington House, and to open
+the deliberations of the body over which he presided. 'They will never
+again get a man to devote so much time and energy to the business of the
+Academy,' said Sir Frederic Leighton's most distinguished colleague
+shortly before his death; 'never again.'" And since that time the same
+tribute has been paid ungrudgingly in public and private often enough.</p>
+
+<p>In 1880, we are tempted by five canvases; of which the <i>Sister's Kiss</i>
+and <i>Psamathe</i>, are perhaps the most important. The former turns a
+garden wall to delightful account, in its picture of a child, who is
+seated upon it, and of her charmingly drawn elder sister, who gives the
+kiss. The composition of this picture may be seen in our reproduction,
+but the colour of the bronze green robe&mdash;of singular beauty&mdash;is of
+course not even suggested. More classic, perhaps, and not less
+picturesque,<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> is the Greek maiden, Psamathe, who was, if we remember
+aright, one of the Nereides. The artist has painted her sitting by the
+seashore, gazing over the &AElig;gean, with her back turned to the spectator.
+Filmy garments, which have slipped from her shoulders on to the sand;
+arms folded about her knees; every detail of the picture carries out the
+effect of dreamy loveliness that pervades Psamathe and her surroundings.
+<i>Iostephane</i> is a three-quarter length figure, less than life size, of a
+girl in light yellow drapery, with violets in her fair hair, who stands
+facing the spectator and arranging her draperies over her right arm;
+there are marble columns and a fountain in the background. <i>The Light of
+the Harem</i> is a version of one of the groups in the fresco of <i>The
+Industrial Arts of Peace</i> at South Kensington. The picture now known as
+the <i>Nymph of the Dargle</i> was also exhibited this year under the title
+of <i>Crenaia</i>. It represents a small full-length figure facing the
+spectator; the river Dargle flows through Powerscourt, and forms the
+waterfall here represented in the background, hence its name.
+<i>Rubinella</i>, a girl with red gold hair was shown at the Summer
+Exhibition and a large number of sketches and studies at the Winter
+Exhibition of the Grosvenor Gallery this year.</p>
+
+<p>In 1881, the portrait of the Painter, painted by invitation in 1880 for
+the collection of autograph portraits of artists in the Uffizi Gallery,
+Florence, deserves particular mention. Not even Mr. Watts' best portrait
+of Leighton is quite so like as this, which shows the striking head of
+the artist to great effect, assisted by the decorative President's robe
+and insignia. The <i>Idyll</i>, shown the same year, has been compared by
+some critics with the <i>Cymon and Iphigenia</i>, the scene and circumstance
+of both being to a certain degree similar, while there are<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> similar
+effects in both of colour and of composition. In the <i>Idyll</i>, we have a
+lovely female figure, lying at full length, attended by a second nymph,
+and by a piping man, all grouped beneath an arm of a beech tree, that
+extends overhead and shadows the upland ridge on which they have come to
+rest, while they gaze on a river winding among sunlit meads. The water
+reflects the blue and white of sky and clouds; the land is dashed by
+shadows. The nymphs' robes are red, blue, and pale yellow.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="phryne" id="phryne"></a></p>
+<div class="figcenter"><img src="images/image32.jpg" alt="Phryne at Eleusis" /></div>
+<p class="center">PHRYNE AT ELEUSIS (1882)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="daydreams" id="daydreams"></a></p>
+<div class="figcenter"><img src="images/image33.jpg" alt="Day Dreams" /></div>
+<p class="center">DAY DREAMS (1882)<br /><i>By permission of the Fine Art Society</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>We ought not to overlook another idyllic picture in the same exhibition,
+<i>Whispers</i>, an illustration of Horace's well-known line, "Lenesque sub
+noctem susurri." In this charming work, amid masses of crimson flowers
+and green leaves, two lovers are seen seated upon a marble bench, while
+he whispers tenderly in her ear, and she listens with dreamy eyes and
+maidenly mien. The noble picture of <i>Elisha and the Shunamite's Son</i>
+(reproduced at p. <a href="#Page_114">114</a>) was also shown this year, as well as <i>Bianca</i>, a
+fair-haired girl in a white dress, standing with folded arms, <i>Viola</i>,
+and two portraits, <i>Mrs. Augustus Ralli</i>, exhibited at the Royal
+Academy, and <i>Mrs. Algernon Sartoris</i>, at the Grosvenor Gallery.</p>
+
+<p>In the 1882 Academy appeared two of the most popular of Sir Frederic's
+pictures, <i>Wedded</i> and <i>Day Dreams</i>. In the latter, a fair Sybarite is
+pressing her cheek against her hands, as she stands near a tapestry,
+with eyes gazing far away, the images of love-dreams in them; her purple
+mantle, embroidered with silver, produces a charming effect of colour.
+Still more famous is <i>Wedded</i>,&mdash;"one of the happiest of Sir Frederic's
+designs," said a critic at the time, "and as a composition of lines,
+difficult, subtle, and original, may be called one of the most
+remarkable productions of this decade."<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> Other pictures shown this year
+were <i>Antigone</i> and the much-debated <i>Phryne at Eleusis</i>&mdash;a notable
+study of the famous hetaira, who is seen standing, and holding out with
+one hand the mass of her deep auburn hair. Her skin is of a ruddy golden
+hue, as if seen under a glow of sunlight. Red tissue, which falls from
+her shoulders and extended arms, and an olive-coloured mantle that has
+fallen at the foot of the marble columns behind her, backed by a sky,
+very characteristic of the painter, in which snowlike masses of cloud
+float in a southern azure, produce a total effect of a certain
+super-womanly order of beauty. A <i>Design for a portion of a Proposed
+Decoration in St. Paul's</i>, a picture entitled <i>Melittion</i>, and a
+<i>Portrait of Mrs. Mocatta</i>, were also hung at the Academy in 1882;
+<i>Zeyra</i>, a little Eastern child in plum coloured headdress, a rich bit
+of colour elaborately painted, was shown at the Grosvenor Gallery.</p>
+
+<p>In 1883, <i>Memories</i>, though not one of the most typical of Leighton's
+pictures, decidedly pleased the general public. It shows the half-length
+figure of a blonde, in a black and gold dress. More interesting
+artistically was a decorative frieze, <i>The Dance</i>, for a drawing-room,
+the design for which we reproduce, and which may, in so far, answer for
+itself. Other pictures of 1883 are <i>Kittens</i>, a full-length figure of a
+fair-haired child in purple and embroidered drapery, seated on a bench
+covered with a leopard skin, holding a rose in hand and looking down at
+a kitten sitting beside her; and the <i>Vestal</i>, a bust of a girl with her
+head and shoulders swathed with white gold-embroidered draperies. To
+this year also belongs a <i>Portrait of Miss Nina Joachim</i>, a child in a
+blue frock with crimson sash.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="cymon" id="cymon"></a></p>
+<div class="figcenter"><img src="images/image34.jpg" alt="Cymon and Iphigenia" /></div>
+<table border="0" cellpadding="0" cellspacing="0" summary="info">
+<tr><td><i>F. Leighton. pinx<sup>t</sup>.</i></td><td><span class="spacer">&nbsp;</span></td><td align="right"><i>Swan Electric Engraving C<sup>o</sup>. Sc.</i></td></tr></table>
+<p class="center"><big><i>Cymon and Iphigenia.</i></big><br /><i>By permission of the Fine Art Society</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="friezes" id="friezes"></a></p>
+<div class="figcenter"><img src="images/image35top.jpg" alt="Study for Frieze" /></div>
+<div class="figcenter"><img src="images/image35bot.jpg" alt="Study for Frieze" /></div>
+<p class="center">STUDIES FOR TWO FRIEZES "MUSIC" AND "THE DANCE"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>The next year, 1884, brought <i>Letty</i>, that most delightful of English
+maidens, <i>A Nap</i>, <i>Sun Gleams</i>, and<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> the imaginative and admirably
+romantic <i>Cymon and Iphigenia</i>. <i>Letty</i> was one of Leighton's pictures
+which particularly excited Mr. Ruskin's admiration. It shows a simply
+pretty child, with soft brown hair under a black hat, a saffron kerchief
+about her neck. The <i>Letty</i> and the <i>Cymon and Iphigenia</i>, with a few
+other notable pictures, did much to leave a pleasant recollection of the
+exceptional Academy of 1884. "A more original effect of light and
+colour, used in the broad, true, and ideal treatment of lovely forms,"
+said a French critic, "we do not remember to have seen at the Academy,
+than that produced by the <i>Cymon and Iphigenia</i>." Engravings and other
+reproductions of the picture have made its design, at any rate, almost
+as familiar now as Boccaccio's tale itself. There are some divergences,
+however, in the two versions. Boccaccio's tale is a tale of spring; Sir
+Frederic, the better to carry out his conception of the drowsy desuetude
+of sleep, and of that sense of pleasant but absolute weariness which one
+associates with the season of hot days and short nights, has changed the
+spring into that riper summer-time which is on the verge of autumn; and
+that hour of late sunset which is on the verge of night. Under its rich
+glow lies the sleeping Iphigenia, draped in folds upon folds of white,
+and her attendants; while Cymon, who is as unlike the boor of tradition
+as Spenser's Colin Clout is unlike an ordinary Cumbrian herdsman, stands
+hard-by, wondering, pensively wrapt in so exquisite a vision.
+Altogether, a great presentment of an immortal idyll; so treated,
+indeed, that it becomes much more than a mere reading of Boccaccio, and
+gives an ideal picture of Sleep itself,&mdash;that Sleep which so many
+artists and poets have tried at one time or another to render.</p>
+
+<p>In 1885, among the five contributions of the President<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> to the Academy,
+appeared the vivacious portrait of Lord Rosebery's little daughter, <i>The
+Lady Sybil Primrose</i>, who appears in white with a blue sash, carrying a
+doll. <i>A Portrait of Mrs. A. Hichens</i> and <i>Ph&oelig;be</i> were the only other
+pictures this year. A frieze, <i>Music</i>, was shown, and at the Grosvenor
+Gallery <i>A Study</i> of a fair-haired girl, in green velvet dress. 1886 was
+chiefly notable for the statue in bronze of <i>The Sluggard</i>, in which
+Leighton again furnished us with a plastic characterization of Sleep,
+which he designed by way of contrast to his statue of the struggling
+Athlete. It was suggested, Mr. Spielmann says, by accidental
+circumstances. The model who had been sitting to him fell a-yawning in
+his interval of rest, and charmed the artist, not only with his
+exceptional beauty of line and play of muscle, but also with the
+artistic contrast of energy and languor. But that he might not lay
+himself open to the charge that the work was a glorification of
+indolence, the sculptor made concession to what after all was an
+artistic suggestion, and placed under the yawner's foot</p>
+
+<div class="poem">
+"The glorious wreath of laurel leaves<br />
+Heel trodden and despised."</div>
+
+<p>The graceful statuette of a little girl who is alarmed by a toad on the
+edge of a pool or stream of water, called <i>Needless Alarms</i>, appeared at
+the same time; and was so much admired by the President's colleague, Sir
+John Everett Millais, that he wished to purchase it, whereupon Sir
+Frederic presented it to him, and received, in return, the charming
+picture of <i>Shelling Peas</i>, which Sir John painted specially for this
+pleasant exchange. In 1886 also appeared the <i>Decoration in Painting for
+a Music Room</i>, destined for New York, which is illustrated<small><a name="f7.1" id="f7.1" href="#f7">[7]</a></small>
+<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> by
+the completed work, and its preliminary studies from life for it.
+<i>Gulnihal</i>, a single figure, is the only other painting exhibited at the
+Academy in this year.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="lastwatch" id="lastwatch"></a></p>
+<div class="figcenter"><img src="images/image36.jpg" alt="The Last Watch of Hero" /></div>
+<p class="center">THE LAST WATCH OF HERO (1887)<br /><i>By permission of the Manchester Corporation</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="primrose" id="primrose"></a></p>
+<div class="figcenter"><img src="images/image37.jpg" alt="Portrait of Sybil Primrose" /></div>
+<p class="center">PORTRAIT OF THE LADY SYBIL PRIMROSE (1885)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1887 appeared a picture which seems scarcely to have received its due
+appreciation, <i>The Jealousy of Sim&aelig;tha the Sorceress</i>. This is a
+seated figure in yellow and white drapery, with a purple mantle wrapped
+around her shoulders; a well-wrought, finely-rendered work. <i>The Last
+Watch of Hero</i>, also first seen this year, is now in the Manchester
+Corporation Gallery. It is in two compartments; in the upper, and
+larger, Hero, clad in pink drapery, is seen drawing aside a curtain and
+gazing out over the sea. Below, in the smaller panel, is the body of the
+dead Leander, on a rock washed by the waves. A quotation from Sir Edwin
+Arnold's translation of Mus&aelig;us was appended to its title:</p>
+
+<div class="poem">
+"With aching heart she scanned the sea-face dim.<br />
+<span class="spacer2">*</span><span class="spacer2">*</span><span class="spacer2">*</span><span class="spacer2">*</span><br />
+Lo! at the turret's foot his body lay,<br />
+Rolled on the stones and washed with breaking spray."</div>
+
+<p>A picture of a little girl with yellow hair and pale blue eyes, entitled
+with a verse by Robert Browning:</p>
+
+<div class="poem">
+<span style="margin-left: 1em;">"Yellow and pale as ripened corn</span><br />
+<span style="margin-left: 1em;">Which Autumn's kiss frees,&mdash;grain from sheath,&mdash;</span><br />
+<span style="margin-left: 1em;">Such was her hair, while her eyes beneath</span><br />
+Showed Spring's faint violets freshly born,"</div>
+
+<p>was in the same exhibition, and also a design for the reverse of the
+Jubilee medallion, executed for her Majesty's Government.</p>
+
+<p>In 1888 appeared another large work, which, although not absolutely a
+procession, has much in common with the <i>Cimabue</i>, the <i>Syracusan
+Bride</i>, and <i>The Daphnephoria</i>.<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> It was entitled <i>Captive Andromache</i>,
+and accompanied by a fragment of the "Iliad," translated by E. B.
+Browning:</p>
+
+<div class="poem">
+<span style="margin-left: 12em;">... "Some standing by</span><br />
+Marking thy tears fall, shall say, 'This is she,<br />
+The wife of that same Hector that fought best<br />
+Of all the Trojans when all fought for Troy.'"</div>
+
+<p>This, and a <i>Portrait of Amy, Lady Coleridge</i>, were the artist's only
+contributions to the Royal Academy of 1888. The <i>Portraits of the Misses
+Stewart Hodgson</i> is also of this year, which saw four landscape studies
+exhibited at the Royal Society of Painters in Water Colours, and five at
+the Royal Society of British Artists, Suffolk Street.</p>
+
+<p>The <i>Sibyl</i>, exhibited in 1889, is a full-length figure swathed in lilac
+drapery, seated with her legs crossed, on a chair, her chin supported by
+her left hand, and gazing out of the picture. Beside her are scrolls,
+and a sombre sky is behind the figure. <i>Invocation</i>, a girl in white
+robes with arms raised above her head, and a <i>Portrait of Mrs. F.
+Lucas</i>, were also shown; but <i>Greek Girls playing at Ball</i> is not only
+the most important, but is also a picture that shows the mannerism of
+Lord Leighton's treatment of drapery at its finest. Elsewhere the
+undulating snaky coils may be somewhat distressing, here they float in
+the air and help the suggestion of movement. The landscape at the back
+is also both typical and beautiful. An <i>Elegy</i> was the fifth of the
+artist's contributions to the Academy of 1889.</p>
+
+<p>In 1890 <i>The Bath of Psyche</i> appeared at the Academy. This at once
+established its position as a popular favourite, and has probably been
+more widely reproduced than any other. It was purchased under the terms
+of the Chantrey Bequest, and is now in the Tate Gallery. It was
+suggested, so Mr. M. H. Spielmann tells us, by the<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> "paper-knife"
+picture, as Lord Leighton called it, which he had painted for Sir L.
+Alma-Tadema's wall screen. <i>Solitude</i> was also shown this year, and the
+<i>Tragic Poetess</i>, a full-length figure, clad in blue and purple drapery,
+on a terrace, with the sea beyond. The fourth picture at the Academy was
+a very faithfully painted transcript of <i>The Arab Hall</i>, at No. 2,
+Holland Park Road.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="greekgirls" id="greekgirls"></a></p>
+<div class="figcenter"><img src="images/image38.jpg" alt="Greek Girls Playing at Ball" /></div>
+<p class="center">GREEK GIRLS PLAYING AT BALL (1889)<br /><i>By permission of the Berlin Photographic Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="psyche" id="psyche"></a></p>
+<div class="figcenter"><img src="images/image39.jpg" alt="The Bath of Psyche" /></div>
+<p class="center">THE BATH OF PSYCHE (1890)<br /><i>By permission of the Berlin Photographic Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1891 appeared <i>Perseus and Andromeda</i>, a very original version of a
+theme which it seems the destiny of every painter and sculptor of
+classical subjects to attempt at some time. In this Andromeda is bound
+to a rock, the monster stands over her with outstretched wings, while
+from the clouds above, Perseus, on his winged steed, is discharging
+arrows. The clay models for Perseus are reproduced elsewhere (at p. <a href="#Page_68">68</a>).
+The <i>Return of Persephone</i> was another important work shown this year.
+It represents Persephone, supported by Hermes, being brought back to the
+upper world, where she is awaited with outstretched arms by Demeter. A
+<i>Portrait of A. B. Mitford, Esq.</i>, and a marble version of the <i>Athlete
+Struggling with a Python</i>, were also shown in the same exhibition.</p>
+
+<p>In 1892 a version of a panel of the proposed decoration for the dome of
+St. Paul's appeared with the title, <i>And the Sea gave up the Dead which
+were in it</i>; this, purchased by Mr. Henry Tate, is now among the
+pictures he gave to the Gallery at Millbank. The most important of
+Leighton's later works, <i>The Garden of the Hesperides</i>, in many respects
+the most sumptuous piece of decoration he ever achieved, was shown this
+year. It is a large circular picture, the centre occupied by a tree
+bearing golden apples; under its branches recline the three Hesperides,
+caressing the dragon who assists them to guard the treasure. A superbly
+brilliant sea is in the distance. The charm of this picture is mainly in
+its colour, but as<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> an example of elaborately artificial composition it
+is hardly less noteworthy. Unfortunately, despite every effort of Lord
+Leighton, most kindly exerted on behalf of the editor of this volume,
+the owners of the copyright refused under any condition to allow it to
+be illustrated herein. <i>A Bacchante</i>, and <i>At the Fountain</i>, a girl in
+fawn-coloured and violet draperies, with a bunch of lemons overhanging
+the marble wall behind her, were shown this year; and also a <i>Clytie</i>,
+which must not be confused with another known by the same title, the
+last picture on which the artist was at work before his death. The 1892
+version, shown in the retrospective exhibition, is thus described in its
+catalogue: "A small figure of Clytie is seen on the right, kneeling on a
+stone building with arms outstretched towards the sun, which is setting
+behind a range of moorland hills."</p>
+
+<p>In 1893 <i>Hit</i>, <i>The Frigidarium</i>, <i>Farewell</i>, <i>Corinna of Tanagra</i>, and
+<i>Rizpah</i> were exhibited at the Academy. Of these the most important is
+the last named. It illustrates the story of the two sons of Rizpah, by
+Saul, Armoni and Mephibosheth, who were slain by the Gideonites. Rizpah,
+robed in dark blue, is seen in the act of fetching away their bodies,
+which are shrouded by dull lilac and blue draperies. Vultures circle
+above, and two leopards approach stealthily. <i>Farewell</i> is a single
+figure in olive green and plum-coloured peplis under a portico above the
+sea, where she pauses to take a last look at an outward-bound ship.</p>
+
+<p><i>Atalanta</i> depicts the bust only of a dark-haired girl in purple and
+white drapery, with a snake-like ornament twisted round her arm, which
+is bare to the shoulder. <i>Corinna of Tanagra</i> is a half-length figure
+crowned with leaves, in coloured drapery, resting her clasped hands upon
+her lyre. <i>The Frigidarium</i> is an upright figure in<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>
+semi-transparent red drapery, which with the background of gold is reflected in the water beneath her feet.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="farewell" id="farewell"></a></p>
+<div class="figcenter"><img src="images/image40.jpg" alt="Farewell" /></div>
+<p class="center">FAREWELL (1893)<br /><i>By permission of Messrs. Arthur Tooth and Sons</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="thesea" id="thesea"></a></p>
+<div class="figcenter"><img src="images/image41.jpg" alt="'And the Sea Gave Up the Dead" /></div>
+<p class="center">"AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."&mdash;<span class="smcap">Rev.</span> XX. 13 (1892)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="frigid" id="frigid"></a></p>
+<div class="figcenter"><img src="images/image42.jpg" alt="The Frigidarium" /></div>
+<p class="center">THE FRIGIDARIUM (1893)<br /><i>By permission of Messrs. H. Graves and Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In 1894 were shown <i>The Spirit of the Summit</i>, a white-robed figure with
+upturned face, sitting on a snowy peak, with starlit sky beyond; <i>The
+Bracelet</i>; <i>Fatidica</i>, a figure in green-white robes; <i>At the Window</i>, a
+dark-haired boy in blue, looking over the ledge of a window; and <i>Summer
+Slumber</i>. This last is a somewhat elaborate composition; a girl in
+salmon colour draperies is lying asleep on the broad rim of a marble
+fountain, masses of flowers are in the mid distance, and a vista of
+sunny landscape through the open window beyond.</p>
+
+<p>In 1895, the last year of the artist's working life, he sent six
+pictures to the Academy, and completed the wall decoration at the Royal
+Exchange (here illustrated), <i>Ph&oelig;nicians Bartering with Britons</i>. The
+paintings were entitled, <i>Flaming June</i> (a picture reproduced in colours
+for a Christmas number of the "Graphic"), in which the "broad" painting
+of the sea beyond was a notable exception to the artist's usual
+handling; <i>Lachrym&aelig;</i>, a standing figure in robes of black and blue
+green, resting her arm upon a Doric column; <i>'Twixt Hope and Fear</i>, a
+seated figure of a black-haired Greek girl, robed in white and olive,
+with a sheep-skin thrown around her; <i>The Maid with her Yellow Hair</i>, a
+girlish figure in lemon-coloured drapery, reading from a red-backed
+book; <i>Listener</i>, a child seated with crossed legs on a fur rug; and a
+<i>Study of a Girl's Head</i>, with auburn, wavy hair.</p>
+
+<p>In the 1896 Academy <i>Clytie</i> was the only picture. In Lord Leighton's
+studio in various stages of completion were a <i>Bacchante</i>, a half-length
+figure of a fair-haired girl crowned with leaves, and a leopard skin
+over her shoulder; <i>The Fair Persian</i>, a bust of a girl with flowing
+dark hair, crowned by a jewelled circlet; and <i>The Vestal</i>, a
+half-length<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> figure of a girl in white drapery, these were all exhibited
+at the Winter Exhibition of 1897.</p>
+
+<p>To <i>Clytie</i>, his last picture, a small monograph has been devoted by the
+Fine Art Society. In this we read: "'Thank goodness my ailment has not
+interfered with my capacity for work, for I have never had a better
+appetite for it, nor I believe done better. I was idle for five months
+in the summer, but since my return I have been working hard and have
+produced the pictures you see.' Thus he spoke to the present writer [of
+the monograph in question] as he led the way across his studio....
+Turning to the <i>Clytie</i> he continued: 'This I have been at work upon all
+the morning. Orchardson has been so good as to say I have never done
+anything finer than the sky. You know the story. I have shown the
+goddess in adoration before the setting sun, whose last rays are
+permeating her whole being. With upraised arms she is entreating her
+beloved one not to forsake her. A flood of golden light saturates the
+scene, and to carry out my intention, I have changed my model's hair
+from black to auburn. To the right is a small altar, upon which is an
+offering of fruit, and upon a pillar beyond I shall show the feet of a
+statue of Apollo.'</p>
+
+<p>"But a few days after this occurrence the dead President lay in
+semi-state in his coffin, before the picture. A drawing in the 'Graphic'
+(January 26th, 1896) shows the interior of the studio, with the figure
+of Clytie, in her attitude of despair, stretching her arms above the
+body of her creator."</p>
+
+<p>Here the record, year by year, is closed. A few pictures seem to have
+escaped the honours of exhibition. One,<small><a name="f8.1" id="f8.1" href="#f8">[8]</a></small> <i>A Noble Lady of Venice</i>, in
+possession of Lord Armstrong,<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span> does not appear to have been
+exhibited. It is probably the picture which was sold at Christie's in
+1875 for 950 guineas. A <i>Lady with Pomegranates</i>, which sold for 765
+guineas at the sale of Baron Grant's pictures in 1877, does not appear
+in our list of exhibited works; nor, it may be, are all the early
+pictures included therein. But the official catalogues of the Royal
+Academy May Exhibitions, and of the special Winter Exhibition devoted to
+the artist's works, have been freely drawn upon for description, and to
+the list of his life's work, as it appeared in the first edition of this
+work, many additions have been made.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="rizpah" id="rizpah"></a></p>
+<div class="figcenter"><img src="images/image43.jpg" alt="Rizpah" /></div>
+<p class="center">RIZPAH (1893)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="bracelet" id="bracelet"></a></p>
+<div class="figcenter"><img src="images/image44.jpg" alt="The Bracelet" /></div>
+<p class="center">THE BRACELET (1894)<br /><i>By permission of Messrs. T. Agnew and Sons</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="fatidica" id="fatidica"></a></p>
+<div class="figcenter"><img src="images/image45.jpg" alt="Fatidica" /></div>
+<p class="center">FATIDICA (1894)<br /><i>By permission of Messrs. T Agnew and Sons</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span></p>
+<h3><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h3>
+
+<h4><span class="smcap">His Method of Painting</span></h4>
+
+
+<p class='dropcap'><span class="caps">For</span> particulars of the wonderfully thorough "method," which Leighton
+used in preparing his pictures, we cannot do better than quote the
+following admirable account by Mr. M. H. Spielmann (published during the
+painter's life), which he has allowed us to reprint here.<small><a name="f9.1" id="f9.1" href="#f9">[9]</a></small></p>
+
+<p>"I have said that the sense of line in composition, in figure and
+drapery, is one of the chief qualities of the artist; and the conviction
+that the method in which he places them upon canvas with such unerring
+success&mdash;for it may be said that the President rarely, if ever, produces
+an ugly form in a picture&mdash;would be both interesting and instructive,
+prompted me to learn in what manner his effects are produced. This I
+have done, having special regard to one of his Academy pictures, <i>The
+Sibyl</i>, which, being a single figure, simplifies greatly the explanation
+of the mode of procedure. This explanation holds good in every case, be
+the composition great or small, elaborate or simple; the <i>modus
+operandi</i> is always the same.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="bacchante" id="bacchante"></a></p>
+<div class="figcenter"><img src="images/image46.jpg" alt="A Bacchante" /></div>
+<p class="center">A BACCHANTE (1896)<br /><i>By permission of Messrs. Henry Graves and Co.</i></p>
+<p>&nbsp;</p><p>&nbsp;<a name="hit" id="hit"></a></p>
+<div class="figcenter"><img src="images/image47.jpg" alt="'Hit'" /></div>
+<p class="center">"HIT" (1893)<br /><i>By permission of "The Art Journal"</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"Having by good fortune observed in a model an extraordinarily fine and
+'Michelangelesque' formation of the hand and wrist&mdash;an articulation as
+rare to find as it is anatomically beautiful and desirable&mdash;he bethought
+him of a subject that would enable him to introduce his<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>
+<i>trouvaille</i>. As but one attitude could display the special
+formation to advantage, the idea of a Sibyl, sitting brooding beside her
+oracular tripod, was soon evolved, but not so soon was its form
+determined and fixed. Like Mr. Watts, Sir Frederic Leighton thinks out
+the whole picture before he puts brush to canvas, or chalk to paper;
+but, unlike Mr. Watts, once he is decided upon his scheme of colour, the
+arrangement of line, the disposition of the folds, down to the minutest
+details, he seldom, if ever, alters a single line. And the reason is
+evident. In Sir Frederic's pictures&mdash;which are, above all, decorations
+in the real sense of the word&mdash;the design is a pattern in which every
+line has its place and its proper relation to other lines, so that the
+disturbing of one of them, outside of certain limits, would throw the
+whole out of gear. Having thus determined his picture in his mind's eye,
+he in the majority of cases makes a sketch in black and white chalk upon
+brown paper to fix it. In the first sketch, the care with which the
+folds have been broadly arranged will be evident, and, if it be compared
+with the finished picture, the very slight degree in which the general
+scheme has been departed from will convince the reader of the almost
+scientific precision of the artist's line of action. But there is a good
+reason for this determining of the draperies before the model is called
+in; and it is this. The nude model, no matter how practised he or she
+may be, never moves or stands or sits, in these degenerate days, with
+exactly the same freedom as when draped; action or pose is always
+different&mdash;not so much from a sense of mental constraint as from the
+unusual liberty experienced by the limbs, to which the muscular action
+invariably responds when the body is released from the discipline and
+confinement of clothing.</p>
+
+<p>"The picture having been thus determined, the model is called in, and is
+posed as nearly as possible in the attitude<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> desired. As nearly as
+possible I say, for, as no two faces are exactly alike, no two models
+ever entirely resemble one another in body or muscular action, and
+cannot, therefore, pose in such a manner as exactly to correspond with
+either another model or another figure&mdash;no matter how correctly the
+latter may be drawn. From the model the artist makes the careful
+outline, in brown paper, a true transcript from life, which may entail
+some slight corrections of the original design in the direction of
+modifying the attitude and general appearance of the figure. This would
+be rendered necessary, probably by the bulk and material of the drapery.
+So far, of course, the artist's attention is engaged exclusively by
+'form,' 'colour' being always treated more or less ideally. The figure
+is now placed in its surroundings, and established in exact relation to
+the canvas. The result is the first true sketch of the entire design,
+figure and background, and is built up of the two previous ones. It must
+be absolutely accurate in the distribution of spaces, for it has
+subsequently to be 'squared off' on to the canvas, which is ordered to
+the exact scale of the sketch. At this moment, the design being finally
+determined, the sketch in oil colours is made. It has been deferred till
+now, because the placing of the colours is, of course, of as much
+importance as the harmony. This done, the canvas is for the first time
+produced, and thereon is enlarged the design, the painter re-drawing the
+outline&mdash;never departing a hair's breadth from the outlines and forms
+already obtained&mdash;and then highly finishing the whole figure in warm
+monochrome from the life. Every muscle, every joint, every crease is
+there, although all this careful painting is shortly to be hidden with
+the draperies; such, however, is the only method of insuring absolute
+correctness of drawing. The fourth stage completed,<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> the artist
+returns once more to his brown paper, re-copies the outline accurately
+from the picture, on a larger scale than before, and resumes his studies
+of draperies in greater detail and with still greater precision, dealing
+with them in sections, as parts of a homogeneous whole. The draperies
+are now laid with infinite care on to the living model, and are made to
+approximate as closely as possible to the arrangement given in the first
+sketch, which, as it was not haphazard, but most carefully worked out,
+must of necessity be adhered to. They have often to be drawn piecemeal,
+as a model cannot by any means always retain the attitude sufficiently
+long for the design to be wholly carried out at one cast. This
+arrangement is effected with special reference to painting&mdash;that is to
+say, giving not only form and light and shade, but also the relation and
+'values' of tones. The draperies are drawn over, and are made to conform
+exactly to the forms copied from the nudes of the underpainted picture.
+This is a cardinal point, because in carrying out the picture the folds
+are found fitting mathematically on to the nude, or nudes, first
+established on the canvas. The next step then is to transfer these
+draperies to the canvas on which the design has been squared off, and
+this is done with flowing colour in the same monochrome as before over
+the nudes, to which they are intelligently applied, and which nudes must
+never&mdash;mentally at least&mdash;be lost sight of. The canvas has been prepared
+with a grey tone, lighter or darker, according to the subject in hand,
+and the effect to be produced. The background and accessories being now
+added, the whole picture presents a more or less completed
+aspect&mdash;resembling that, say, of a print of any warm tone. In the case
+of draperies of very vigorous tone, a rich flat local colour is probably
+rubbed over them, the modelling<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> underneath being, though thin, so sharp
+and definite as to assert itself through this wash. Certain portions of
+the picture might probably be prepared with a wash or flat tinting of a
+colour the <i>opposite</i> of that which it is eventually to receive. A blue
+sky, for instance, would possibly have a soft, ruddy tone spread over
+the canvas&mdash;the sky, which is a very definite and important part of the
+President's compositions, being as completely drawn in monochrome as any
+other portion of the design; or for rich blue mountains a strong orange
+wash or tint might be used as a bed. The structure of the picture being
+thus absolutely complete, and the effect distinctly determined by a
+sketch which it is the painter's aim to equal in the big work, he has
+nothing to think of but colour, and with that he now proceeds
+deliberately, but rapidly.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="andronude" id="andronude"></a></p>
+<div class="figcenter"><img src="images/image48.jpg" alt="Nude Study for 'Captive Andromache'" /></div>
+<p class="center">NUDE STUDY FOR "CAPTIVE ANDROMACHE"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="androcap" id="androcap"></a></p>
+<div class="figcenter"><img src="images/image49.jpg" alt="Study for a Figure in 'Captive Andromache'" /></div>
+<p class="center">STUDY FOR A FIGURE IN "CAPTIVE ANDROMACHE"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="andro" id="andro"></a></p>
+<div class="figcenter"><img src="images/image50.jpg" alt="Study for 'Andromache'" /></div>
+<p class="center">STUDY FOR "ANDROMACHE"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"Such is the method by which Sir Frederic Leighton finds it convenient
+to build up his pictures. The labour entailed by such a system as this
+is, of course, enormous, more especially when the composition to be
+worked out is of so complex a character as the <i>Captive Andromache</i> of
+last year, every figure and group of which were treated with the same
+completeness and detail as we have seen to attend the production of so
+simple a picture as <i>The Sibyl</i>. Deliberateness of workmanship and
+calculation of effect, into which inspiration of the moment is never
+allowed to enter, are the chief characteristics of the painter's
+craftsmanship. The inspiration stage was practically passed when he took
+the crayon in his hand; and to this circumstance probably is to be
+assigned the absence of realism which arrests the attention of the
+beholder."</p>
+
+<p>Mr. Spielmann has instanced, in the above account, the tragic and lovely
+<i>Captive Andromache</i>, exhibited in<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> 1888; and we may further add
+that exquisite painting of <i>Greek Girls playing at Ball</i>, of 1889; or
+the still more exquisite <i>Bath of Psyche</i>, of the year following. All
+three are full of technical delicacy and finesse. For other qualities
+take that radiantly pictured myth, the <i>Perseus and Andromeda</i>, or the
+<i>Return of Persephone</i> (both of 1891); or the lovely <i>Clytie</i> of 1892,
+whose sunset background was painted at Malinmore, on the west coast of
+Donegal; or the <i>Atalanta</i> or the <i>Rizpah</i> of 1893.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="perseusstudy" id="perseusstudy"></a></p>
+<div class="figcenter"><img src="images/image51.jpg" alt="Study for 'Perseus and Andromeda'" /></div>
+<p class="center">STUDY FOR "PERSEUS AND ANDROMEDA"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="psychestudy" id="psychestudy"></a></p>
+<div class="figcenter"><img src="images/image52.jpg" alt="Study for 'The Bath of Psyche'" /></div>
+<p class="center">STUDY FOR "THE BATH OF PSYCHE"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="solitude" id="solitude"></a></p>
+<div class="figcenter"><img src="images/image53.jpg" alt="Study for 'Solitude'" /></div>
+<p class="center">STUDY FOR "SOLITUDE"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>The memorable picture, first named of these, which shows Andromache at
+the Well, is in particular a most characteristic example of the artist's
+larger style. In it, true to his classic predilections, he gives a new
+setting to the touching old story of Andromache's captivity. Following
+up the earlier scene in the "Iliad," where Andromache begs her husband
+Hector not to sally forth to battle, but to stay and defend the city,
+and where, finding her prayers in vain, and weeping, she bids Hector
+farewell, the picture shows the fulfilment of Andromache's fears and the
+dire prophecy which Hector had recalled to his wife.</p>
+
+<p>By way of contrast to this sombre canvas, take the glowing and brilliant
+colours of the <i>Perseus and Andromeda</i>, one of the three pictures shown
+at the Academy in 1891. The painting of the surroundings of Andromeda,
+the deep blue water in the sea lagoon beneath, and these radiant
+elemental people of air and light, provides such a glow of colour, as
+haunts the eye for long after one has gazed one's fill upon it.
+Something of the same feeling for the spirit that is in the forces of
+the earth, lurks behind many of Leighton's representments of the classic
+myths. It is certainly to be found, with a difference, in the <i>Return of
+Persephone</i>, exhibited with<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> the <i>Perseus</i>, which becomes in the
+artist's hands a profound allegory of the return of Spring, with all
+kind of symbolical meanings in the three figures of Proserpine, Ceres,
+and Hermes, that are seen meeting before the mouth of Hades. <i>The Spirit
+of the Summit</i>, one of the latest of these embodiments of the relation
+of Man to Nature, may be read to mean Man's finer spirit of aspiration,
+and the mountainous imagination of Art itself. It is characteristic of
+the artist that, in the later years of his career, at a time when most
+artists and men are apt to give up something of their earlier pursuit of
+ideals, he retained undiminished a feeling for the unaccomplished
+heights of the imagination. <i>The Spirit of the Summit</i> may serve, then,
+as the symbol, not so much of things attained, and Art victorious, as of
+things that are always to be attained, and of Art striving and
+undeterred. In this way it may serve, too, as in some sort the emblem of
+Leighton's own ideals, and of his whole career. His artistic temper was
+throughout, one of endless energy, endless determination; with a dash of
+that finer dissatisfaction which is always seeking out new embodiments,
+under all difficulties, of Man's pursuit, in a difficult, and often an
+unbeautiful world, of Truth and Beauty. Above all, he was a consummate
+draughtsman, and as Francisco Pacheco, the father-in-law of Velasquez,
+wrote in his "Arte de la Pintura" (1649): "Drawing is the life and soul
+of painting; drawing, especially outline, is the hardest; nay, the Art
+has, strictly speaking, no other difficulty. Without drawing painting is
+nothing but a vulgar craft; those who neglect it are bastards of the
+Art, mere daubers and blotchers."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="persestudy" id="persestudy"></a></p>
+<div class="figcenter"><img src="images/image54.jpg" alt="Study for 'The Return of Persephone'" /></div>
+<p class="center">STUDY FOR "THE RETURN OF PERSEPHONE"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="perse" id="perse"></a></p>
+<div class="figcenter"><img src="images/image55.jpg" alt="Study for 'Persephone'" /></div>
+<p class="center">STUDY FOR "PERSEPHONE"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span></p>
+<h3><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h3>
+
+<h4>MURAL DECORATION, SCULPTURE, AND ILLUSTRATION</h4>
+
+
+<p class='dropcap'><span class="caps">The</span> drawings of Lord Leighton deserve special consideration. The famous
+<i>Lemon Tree</i> was made at Capri in the Spring of 1859; it is work that no
+Pre-Raphaelite could have finished more minutely, yet it has nothing
+"niggling" in its treatment. In a conversation<small><a name="f10.1" id="f10.1" href="#f10">[10]</a></small> Lord Leighton is said
+to have referred to the many days spent upon the production of this
+study&mdash;dwelling specially on the difficulty he experienced in finding
+again and again each separate leaf in the perspective of the confused
+branches, as morning after morning he returned at sunrise to continue
+the work. The drawing of each leaf reveals the close observation which
+ultimately recorded its particular individuality. You feel that as a
+shepherd knows his sheep to call each by its name, so the artist must
+have become familiar with every separate leaf and twig before he had
+completed his task. The whole is broad and simple, and scarcely suggests
+the enormous patience which must have been needed to carry out the
+self-imposed toil. Nothing is shirked, nothing is scamped; from the stem
+to the outermost leaf, every part in succession reveals equal interest,
+and yet the whole is not without that larger quality which brings it
+together in a harmonious whole, so that it is as<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> much the study of a
+tree as the study of each separate item that composes it.</p>
+
+<p>The <i>Byzantine Well-head</i> is another notable instance of similar labour
+devoted to an architectural subject; this was evidently a favourite with
+its author; for during his life it hung close by his bed in the simple
+chamber of his otherwise sumptuous home, a room devoid of luxury and
+almost ascetic in its appointments.<small><a name="f11.1" id="f11.1" href="#f11">[11]</a></small></p>
+
+<p>The great mass of studies, on brown paper chiefly, which he had
+carefully preserved, were purchased by the Fine Art Society, and some
+two hundred and fifty were exhibited at their gallery in December, 1896,
+and a selection in facsimile has been published in sumptuous form. In a
+prefatory note to the catalogue of these studies Mr. S. Pepys Cockerell
+says: "It is seldom that we are privileged to watch at ease the workings
+of another's mind, but these drawings, the intimate record of a long
+life-time, offer an unusually good opportunity. One might call them the
+confessions of an artist; and anyone who wants to know what Leighton was
+really like, has only to use his eyes. One thing, at any rate, no one
+can fail to see, viz., that he had the qualities which result in
+industry. Whatever success he achieved was only gained after desperate
+labour. It is curious that while he had the reputation for working with
+ease, he considered himself to have no facility for anything, whether
+for art, for writing, or for speaking. I recollect his once saying:
+'Thank Heaven, I was never clever at anything,' for he believed with Sir
+Joshua, that everything is granted to well-deserved labour."</p>
+
+<p>The landscape studies in oil (of which a list almost complete will be
+found in Appendix II.), show equal observation and sympathetic
+perception of the beauty of<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> colour, as well as of the beauty of
+form. The truth of these carefully recorded impressions of scenery was
+no less patent than the masterly "selection" which had set itself to
+depict all that seemed of value, and escaped at once the photographic
+imitation of one school, and the evasion of detail of another. They all
+preserve a certain classic repose, without violence to topographical
+accuracy, or painter-like intention.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="ceilingstudy" id="ceilingstudy"></a></p>
+<div class="figcenter"><img src="images/image56.jpg" alt="Study for the Ceiling of a Music-Room" /></div>
+<p class="center">STUDY FOR THE CEILING OF A MUSIC-ROOM</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+<div class="figcenter"><img src="images/image57.jpg" alt="Study for the Ceiling of a Music-Room" /></div>
+<p class="center">STUDY FOR THE CEILING OF A MUSIC-ROOM</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+<div class="figcenter"><img src="images/image58.jpg" alt="" /></div>
+<p>&nbsp;</p><p>&nbsp;<a name="ceiling" id="ceiling"></a></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="Decoration for the Ceiling of a Music-Room">
+<tr><td><img src="images/image59left.jpg" alt="" /></td><td><span class="spacer2">&nbsp;</span></td><td><img src="images/image59right.jpg" alt="" /></td></tr></table>
+<p class="center">DECORATION FOR THE CEILING OF A MUSIC-ROOM</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>We have had occasion to refer frequently, in passing, to Leighton's
+decorative works, but we have purposely deferred any description of
+them, preferring to treat them separately. To know how present was his
+feeling for decorative effect at all times, it is sufficient to glance
+never so casually at his own house, about which we hope presently to say
+something,&mdash;genuine expression as it is of his Art. Now we wish rather
+to touch on his more public performances. Of these, the famous frescoes
+which fill large lunettes in the central court at South Kensington, <i>The
+Industrial Arts of War</i> and <i>The Industrial Arts of Peace</i>, are the best
+known, as they are among the most characteristic of all the artist's
+productions.</p>
+
+<p>The fresco of <i>The Arts of War</i> is a very complex piece of work. It is
+crowded with figures, full of that orderly disorder which one must
+expect to find, on the hurried morning of a day of battle, in these
+delightfully decorative warriors. "In the centre"&mdash;we quote here Mrs.
+Lang's description&mdash;"is a white marble staircase, leading from the
+quadrangle to an archway, beyond which is another courtyard. Seen
+through the archway, knights are riding by.... The busy scene in the
+courtyard suggests an immediate departure to the seat of war. In the
+corner to the right crossbows are being chosen and tested; a man is
+kneeling by a pile of swords, and descanting on their various merits to
+an undecided customer,<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> while those weapons that he has already disposed
+of are having their blades tried and felt. A little way off, to the left
+of the archway, some men-at-arms are trying on the armour of a youth who
+has still to win his spurs.... The whole is distinguished by the extreme
+naturalness and simplicity of all the actions, and by soft, glowing
+colours, chiefly dark olive green and splendid saffrons."</p>
+
+<p>In <i>The Arts of Peace</i>, its companion, the central portion of the fresco
+is devised as the interior of a Greek house, where within a semicircular
+alcove we see a number of Greek maidens and older women, delightfully
+grouped, mainly occupied in the art of personal adornment. Before this
+house is the waterside, with a very decorative boat, confined by a
+gracefully-looped chain, whose curve, as it hangs, is very subtly
+designed to complete the salient lines of the whole composition. On
+either side of this interior we have groups of men, more vigorously
+treated,&mdash;drawing water, bearing burdens, pushing a boat from land. The
+total effect of these finely posed contrasted groups, of the admirably
+architectured walls, piers, and pavements, and of the striking
+background, as of another hill-crowned Athens, is most complete and
+satisfying. The colouring throughout, diversified with extreme art as it
+is, is full of that southern radiance, and clear, sunlit glamour, so
+often found in the artist's pictures. To realize this fully, South
+Kensington must be visited, for word-painting at its best but poorly
+reproduces the art that it doubtfully imitates.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="artsofwar" id="artsofwar"></a></p>
+<div class="figcenter"><img src="images/image60.jpg" alt="Fresco: The Industrial Arts of War" /></div>
+<p class="center">FRESCO: THE INDUSTRIAL ARTS OF WAR (1872)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="artsofpeace" id="artsofpeace"></a></p>
+<div class="figcenter"><img src="images/image61.jpg" alt="Fresco: The Industrial Arts of Peace" /></div>
+<p class="center">FRESCO: THE INDUSTRIAL ARTS OF PEACE (1873)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>But these were by no means the first attempts of the artist to
+acclimatize the noblest form of mural decoration, which cannot even at
+this date be regarded as fully naturalized amongst us. In 1866 he
+commenced work on a fresco of <i>The Wise and Foolish Virgins</i>, which<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span>
+forms the altarpiece of the beautiful modern church at Lyndhurst,
+erected on the site of the older building commemorated in Charles
+Kingsley's ballad. This painting still remains a lasting attraction to
+visitors in the New Forest village. In the centre, the Bridegroom, clad
+in white, bearing lilies in His left hand, extends His right to the
+foremost of the five wise virgins. Angels at each side of the central
+figure welcome the one group, and repel the other. On the extreme right
+is a kneeling figure, "Ora;" on the left, "Vigila," a figure trimming a
+lamp. The scale of the figures is over life-size, and the unfortunate
+position of the work, immediately under a large east window, so that the
+figures appear standing on the altar, has provoked adverse criticism;
+but the painting itself, as a triumphant accomplishment of a peculiarly
+difficult undertaking, and a superb scheme of line and colour, has won
+favourable comments at all times. It was painted in the medium, a
+mixture of copal, wax, resin, and oil, previously employed with success
+by Mr. Gambier Parry in his decorations for Ely Cathedral.</p>
+
+<p>It is interesting to read the account of the execution of this work,
+which is said to have been carried out chiefly on Saturday afternoons,
+the artist catching a mid-day train from town, and working on it from
+the moment of his arrival until dusk. Experience of the London and South
+Western Railway Company thirty years ago makes one doubt whether leaving
+town at mid-day should not be taken as arriving at Lyndhurst Road at
+that time, for otherwise it would have been a miracle to accomplish the
+task by daylight. It is, however, exhilarating to find that the
+sustained enthusiasm of the young artist was equal to the effort
+involved in mastering so many obstacles; for the result, despite the<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+increased attention given to decoration in these later years, may even
+now be considered, so far as modern ecclesiastical painting is
+concerned, to be without a rival in England.</p>
+
+<p>The beautiful <i>Cupid with Doves</i>, is also said to be from a fresco;
+whether a genuine painting on the wall itself (after the true fresco
+manner) or not, it has the larger qualities peculiar to the method which
+distinguishes several other works that were certainly not executed in
+this medium,&mdash;the latest of Leighton's mural decorations, for example, a
+painting of <i>Ph&oelig;nicians Bartering with Britons</i>, which the President
+of the Royal Academy in 1895 presented as the first of a series of
+panels in the Royal Exchange. Although, as this was painted on canvas,
+it cannot be ranked as a legitimate successor in the direct line of the
+Lyndhurst and South Kensington frescoes, it is marked by many of the
+architectural qualities which distinguish a painting designed to be in
+true relation to the planes of its surroundings, and employs a
+convention which makes it appear an integral part of the wall surface,
+not a mere panel accidentally placed within a frame supplied by the
+features of the building itself.</p>
+
+<p>The South Kensington frescoes, as we have before stated, were painted in
+1872-3. Some ten years later Sir Frederic collaborated with Sir Edward
+(then Mr.) Poynter in the decoration of the dome of St. Paul's. His
+share was to have filled eight <i>medallions</i>, so called, in the
+compartments into which his colleague divided the dome. The design for
+one of these, <i>The Sea gave up the Dead which were in it</i>, was exhibited
+at the Academy of 1892, and is now among the works presented by Mr. Tate
+to the National Gallery of British Art. This is another treatment of a
+great subject, in which the<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> problem of reconciling the dramatic with
+the decorative has been seriously attempted. The dome of St. Paul's, had
+it been completed according to this scheme, might have been a worthy if
+a somewhat academic presentation of the tremendous visions of the
+Apocalypse.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="cupid" id="cupid"></a></p>
+<div class="figcenter"><img src="images/image62.jpg" alt="Cupid: From a Fresco" /></div>
+<p class="center">CUPID: FROM A FRESCO</p>
+<p>&nbsp;</p><p>&nbsp;<a name="britons" id="britons"></a></p>
+<div class="figcenter"><img src="images/image63.jpg" alt="Ph&oelig;nicians Bartering with Britons" /></div>
+<p class="center">PH&OElig;NICIANS BARTERING WITH BRITONS<br />PANEL IN THE ROYAL EXCHANGE (1895)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>Certain others of Leighton's decorative works we have already mentioned,
+such as the design for a ceiling, now in New York. Not so well known is
+his frieze delineating a dance, for an English drawing-room; or the
+small frieze with a design of Dolphins, also in England. A scheme in
+water-colours for a mural decoration, entitled <i>The Departure for the
+War</i>, was never carried out; the sketch for it was sold with the
+remaining works at Christie's, July, 1896. The single figures in mosaic
+of <i>Cimabue</i> and <i>Pisano</i>, at the South Kensington Museum, must not be
+forgotten.</p>
+
+<p>To the public&mdash;or at least that portion which limits its art to the
+exhibitions of the Royal Academy&mdash;Leighton, as we have seen, made his
+<i>d&eacute;but</i> as a sculptor with the group, <i>An Athlete struggling with a
+Python</i> (known also as <i>An Athlete strangling a Python</i>), which in the
+bronze version is now among works purchased under the terms of the
+Chantrey bequest in the Tate Gallery. But long before that date he had
+successfully essayed plastic art; his first effort being for the
+medallion of a monument to Mrs. Browning in the Protestant cemetery at
+Florence. Two other monuments, to the memory of Major Sutherland Orr
+(his sister's husband), and Lady Charlotte Greville, must also be
+mentioned. We have already spoken of <i>The Athlete</i>, <i>The Sluggard</i>, and
+<i>Needless Alarms</i>. But it would be unfair to omit mention of many small
+works&mdash;small, that is to say, in scale, for they are distinguished by
+great breadth of handling&mdash;which were prepared as auxiliary studies for
+his paintings. Visitors<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> to the studio in Holland Park Road, were always
+impressed by several of these models, which stood on a large chest in
+the bay of a great studio window. Especially noteworthy was a group of
+three singing maidens, who figure in <i>The Daphnephoria</i>, and another of
+the "choragus" for the same picture; for later works, the mounted
+Perseus, and Andromeda with the monster, both designed for the picture
+of that legend. Others belonging to a slightly earlier period
+included&mdash;the sleeping Iphigenia, a crouching figure of her attendant,
+and a nude figure of Cymon, all, of course, for <i>Cymon and Iphigenia</i>.
+These models were made to be clad in wet drapery of exquisitely fine
+texture, and were prepared only for ten minutes' drawing of the first
+idea of the figures; all serious study being made from the draped model,
+or the lay figure. Such help as they have rendered must all be referred
+to the period before the finished cartoon was ready to be traced on the
+canvas. Since Lord Leighton's decease most of these have been
+successfully cast in bronze, and are the property of the Royal Academy.
+In the studio were also the first sketches in clay for <i>The Sluggard</i>,
+and also for <i>The Athlete</i>, which was not originally intended to be
+carried further. Indeed, several people mistook it for a genuine
+antique, and admired it accordingly; Dalou, the great French sculptor,
+was especially so struck by it, that he advised its author to work out
+the idea in full size. The three years' labour devoted to the task, the
+failures by the way, and its ultimate triumphant success, both here and
+in Paris, are too well known to need recapitulation. A replica was
+commissioned for the Copenhagen Gallery, and probably no work of its
+accomplished author did more to win him the appreciation of French and
+German artists.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="athlete" id="athlete"></a></p>
+<div class="figcenter"><img src="images/image64.jpg" alt="An Athlete Struggling with a Python" /></div>
+<p class="center">BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+<div class="figcenter"><img src="images/image65.jpg" alt="An Athlete Struggling with a Python" /></div>
+<p class="center">BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="cymonstudy" id="cymonstudy"></a></p>
+<div class="figcenter"><img src="images/image66.jpg" alt="Study in Clay for 'Cymon'" /></div>
+<p class="center">STUDY IN CLAY FOR "CYMON"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="sluggard" id="sluggard"></a></p>
+<div class="figcenter"><img src="images/image67.jpg" alt="Study in Clay for 'The Sluggard'" /></div>
+<p class="center">STUDY IN CLAY FOR "THE SLUGGARD"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="perseus" id="perseus"></a></p>
+<div class="figcenter"><img src="images/image68.jpg" alt="Study in Clay for 'Perseus'" /></div>
+<p class="center">STUDY IN CLAY FOR "PERSEUS"</p>
+<p>&nbsp;</p><p>&nbsp;<a name="andromeda" id="andromeda"></a></p>
+<div class="figcenter"><img src="images/image69.jpg" alt="Study in Clay for 'Andromeda'" /></div>
+<p class="center">STUDY IN CLAY FOR "ANDROMEDA"</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In this brief mention of Lord Leighton's achievements<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+in sculpture, the medal commemorating the Jubilee of Queen Victoria, a
+study for which is reproduced at p. 130, must not be
+overlooked.</p>
+
+<p>Although to those who have not followed closely the splendid period of
+English illustration which may be said to have reached its zenith at the
+time when Dalziel's "Bible Gallery" was published, it may be a surprise
+to find "Frederic Leighton" figuring as an illustrator, yet the nine
+compositions in that book are by no means his sole contribution to the
+art of black and white.</p>
+
+<p>For each instalment of "Romola," as it ran through the pages of the
+"Cornhill Magazine," the artist contributed a full page drawing, and an
+initial letter. The twenty-four full pages were afterwards reprinted in
+"The Cornhill Gallery" (Smith and Elder, 1865). These are most notable
+works, even when measured by the standard of their contemporaries. The
+same magazine contains two other works from his pen, one illustrating a
+poem, "The great God Pan," by Mrs. Browning, and another illustrating a
+story by Mrs. Sartoris, entitled "A Week in a French Country House."
+These, and the nine compositions in the "Bible Gallery" (the pictures
+from which have lately been re-issued in a popular form by the Society
+for Promoting Christian Knowledge) exhaust the list of those which can
+be traced. As four of the magnificent designs are reproduced here, it
+would be superfluous to describe them; the titles of the five others
+are: <i>Abram and the Angel</i>, <i>Eliezer and Rebekah</i>, <i>Death of the First
+Born</i>, <i>The Spies' Escape</i>, and <i>Samson at the Mill</i>.</p>
+
+<p>One of the original drawings on wood is now on view at the South
+Kensington Museum, and, by comparison with impressions from the engraved
+blocks, we see how small<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> has been the loss in translation, so admirably
+has the artist mastered the limitation of the technique that was to
+represent his work in another medium. The reproductions here given are
+considerably reduced, and necessarily lose something, but they retain
+enough to prove that had the artist cared to rest his reputation upon
+such works, he might have done so with a light heart, for whenever the
+golden period of English illustration is recalled, these comparatively
+few drawings will inevitably be recalled with it.</p>
+
+<p>A photographic silver-print from a drawing which forms the frontispiece
+to a little book of fairy tales is of hardly sufficient
+importance&mdash;charming though its original must have been&mdash;to be included
+among the book illustrations. The drawing, <i>A Contrast</i>, reproduced at
+p. <a href="#contrast">72</a>, is undated; the idea it is intended to suggest, a model who once
+stood for some youthful god, revisiting the adolescent portrait of
+himself when old age has him gripped fast with rheumatism and failing
+vigour.</p>
+
+<p>To-day, when one has heard sculptors claim that Lord Leighton's finest
+work was in their own craft, one has also heard many illustrators not
+merely extol these drawings&mdash;notably the Bible subjects&mdash;as his
+masterpieces, but jealously refuse to consider him entitled to serious
+regard as an artist in any other medium. This attitude, so curiously
+unlike the usual welcome from experts which awaits an artist who
+ventures into fresh mediums for expressing himself, should be put on
+record as a unique tribute; the more worthy of attention, because in
+each instance it was advanced not wholly as praise, but to some extent
+as a reproach on Leighton's painting. No intended compliment could carry
+more genuine appreciation than this warm approval from fellow experts in
+the special subjects of which they are masters.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="cain" id="cain"></a></p>
+<div class="figcenter"><img src="images/image70.jpg" alt="Cain and Abel" /></div>
+<p class="center">CAIN AND ABEL</p>
+<p>&nbsp;</p><p>&nbsp;<a name="moses" id="moses"></a></p>
+<div class="figcenter"><img src="images/image71.jpg" alt="Moses Views the Promised Land" /></div>
+<p class="center">MOSES VIEWS THE PROMISED LAND</p>
+<p>&nbsp;</p><p>&nbsp;<a name="samsonlion" id="samsonlion"></a></p>
+<div class="figcenter"><img src="images/image72.jpg" alt="Samson and the Lion" /></div>
+<p class="center">SAMSON AND THE LION</p>
+<p>&nbsp;</p><p>&nbsp;<a name="samsongate" id="samsongate"></a></p>
+<div class="figcenter"><img src="images/image73.jpg" alt="Samson Carrying the Gates" /></div>
+<p class="center">SAMSON CARRYING THE GATES</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
+<h3><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h3>
+
+<h4><span class="smcap">Discourses on Art</span></h4>
+
+
+<p class='dropcap'><span class="caps">We</span> must next speak of the late President's Addresses and Discourses on
+Art, and of that other art of oratory, which, we shall find, as he
+conceived it, had something of the same monumental quality he imparted
+to his painting. His presidential speeches at the annual banquet of the
+Academy would alone be sufficient to show this; but it is of course to
+his Addresses and Discourses that we must turn if we would understand
+his feeling for the two unallied arts.</p>
+
+<p>His success in the one is to be explained, we shall find, in very much
+the same way as his success in the other. Like most speakers of any
+distinction, Lord Leighton left nothing to chance. In his speeches and
+Discourses, as in his pictures, the most careful and exact preparation
+was made for every effect, however apparently casual it may have seemed.
+His Discourses were obviously based upon classic models; for their full
+periods, sonorously and deliberately arranged, have a rhythm that
+attends to the whole period, and not merely, as is often the way with
+English speakers, to each sentence in turn.</p>
+
+<p>In quoting from these Discourses, we do so, however, with an eye to his
+own proper art as a painter, and to his whole theory and sentiment of
+that art and its functions, and its allied plastic arts, even more than
+to his art as a<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> speaker. Indeed, the Discourses form a unique
+contribution to the art criticism of our time; they cover the most
+interesting and various periods in the history of the Art of Europe; and
+although the cycle he had mapped out was interrupted before he had
+completed it&mdash;first by illness which postponed the biennial discourse,
+and then by death&mdash;the portions already delivered touch incidentally on
+the theory and philosophy of all Art in a highly suggestive and eloquent
+way.</p>
+
+<p>In his first Discourse, delivered to the Academy students on the 10th of
+December, 1879, the new President took occasion to estimate the modern
+predicament and general position of Art, as a prelude to the
+consideration of its special developments, in later Discourses. "I wish
+in so doing," he said, "to seek the solution of certain perplexities and
+doubts which will often, in these days of restless self-questioning in
+which we live, arise in the minds and weigh on the hearts of students
+who think as well as work."</p>
+
+<p>In answering the question of questions in Art for us to-day&mdash;that is,
+what are its chances in the present, compared with the glory and
+splendour of its achievement in the past?&mdash;Leighton provides us with
+some memorable passages in his first Discourse. Speaking of the
+"Evolution of Painting in Italy," he turned it to notable account in his
+argument, as in this reference to the Florentine school:</p>
+
+<p>"It is, perhaps," he said, "in Tuscany, and notably in Florence, that we
+see the national temperament most clearly declared in its art, as indeed
+in all its intellectual productions; here we see that strange mixture of
+Attic subtlety and exquisiteness of taste, with a sombre fervour and a
+rude Pelasgic strength which marks the Tuscans, sending forth a Dante, a
+Brunelleschi, and a Michael Angelo,&mdash;a Fiesole, a Boccaccio, and a
+Botticelli, and we<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span> find that eagerness in the pursuit of the
+knowledge of men and things, which was so characteristic of them, summed
+up in a Macchiavelli and a Lionardi da Vinci."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="contrast" id="contrast"></a></p>
+<div class="figcenter"><img src="images/image74.jpg" alt="A Contrast" /></div>
+<p class="center">A CONTRAST</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>How different the conditions when we turn to consider English Art, as it
+stands to-day: "The whole current of human life setting resolutely in a
+direction opposed to artistic production; no love of beauty, no sense of
+the outward dignity and comeliness of things, calling on the part of the
+public for expression at the artist's hands; and, as a corollary, no
+dignity, no comeliness for the most part, in their outward aspect;
+everywhere a narrow utilitarianism which does not include the
+gratification of the artistic sense amongst things useful; the works of
+artists sought for indeed, but too often as a profitable merchandise, or
+a vehicle of speculation, too often on grounds wholly foreign to their
+intrinsic worth as productions of a distinctive form of human genius,
+with laws and conditions of its own."</p>
+
+<p>The modern student may well question, whether the great artists of the
+past, if they lived now under our different conditions, would achieve
+all that they did then. For further bewilderment, the differences to be
+seen in the past itself, between school and school, and one age and
+another, may lead him to doubt "whether Art be not indeed an ephemeral
+thing, a mere efflorescence of the human intelligence, an isolated
+development, incapable of organic growth." To such doubts, comes the
+reassuring answer: "That Art is fed by forces that lie in the depth of
+our nature, and which are as old as man himself; of which therefore we
+need not doubt the durability; and to the question whether Art with all
+its blossoms has but one root, the answer we shall see to be: Assuredly
+it has; for its outward modes of expression are many and various, but
+its underlying vital motives are the same."</p>
+
+<p><span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span>The new President concluded his first Discourse with an eloquent plea
+for sincerity in Art: "Without sincerity of emotion no gift, however
+facile and specious, will avail you to win the lasting sympathies of
+men"&mdash;a truth which perhaps needs more repeating to-day than ever it
+did!</p>
+
+<p>In the second Discourse (December 10th, 1881), we are called upon to
+consider that other question which has so often perplexed the artist,
+especially the English artist, in whom the moral sentiment is apt to
+take a threatening form on occasion: "What is the relation in which Art
+stands to Morals and to Religion?"</p>
+
+<p>For his reply, Leighton took in turn the two contentions: one, that the
+first duty of all artistic productions is the inculcation of a moral
+lesson, if not indeed of a Christian truth; the other, that Art is
+altogether independent of ethics. His conclusion is the only sagacious
+and sane one: that whilst Art in itself is indeed independent of ethics,
+yet is there no error so deadly as to deny that "the moral complexion,
+the ethos, of the artist does in truth tinge every work of his hand, and
+fashion, in silence, but with the certainty of fate, the course and
+current of his whole career." The steps that lead irresistibly to this
+conclusion, are very clearly indicated in the course of this Discourse;
+and the more convincingly, because the speaker is himself so sympathetic
+to the religious inspiration of Italian art, on the one hand, and to its
+merely natural &aelig;sthetic growth on the other.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head1" id="head1"></a></p>
+<div class="figcenter"><img src="images/image75.jpg" alt="A Study in Oils" /></div>
+<p class="center">A STUDY IN OILS</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"The language of Art," he said then, "is not the appointed vehicle of
+ethic truths;... On the other hand, there is a field in which she has no
+rival. We have within us the faculty for a range of emotion, of
+exquisite subtlety and of irresistible force, to which Art, and Art
+alone amongst human forms of expression, has a key; these<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span>
+then, and no others, are the chords which it is her appointed duty to strike; and
+form, colour, and the contrasts of light and shade are the agents
+through which it is given to her to set them in motion. Her duty is,
+therefore, to awaken those sensations directly emotional and indirectly
+intellectual, which can be communicated only through the sense of sight,
+to the delight of which she has primarily to minister. And the dignity
+of these sensations lies in this, that they are inseparably connected by
+association of ideas with a range of perception and feelings of infinite
+variety and scope. They come fraught with dim complex memories of all
+the evershifting spectacle of inanimate creation and of the more deeply
+stirring phenomena of life; of the storm and the lull, the splendour and
+the darkness of the outer world; of the storm and the lull, the
+splendour and the darkness of the changeful and the transitory lives of
+men."</p>
+
+<p>In his third Discourse, which was delivered on the 10th December, 1883,
+the President entered on his exhaustive discussion, continued in many
+subsequent Discourses, of "The relation of Artistic Production to the
+conditions of time and place under which it is evolved, and to the
+characteristics of the races to which it is due." In this Discourse he
+briefly and suggestively reviews the Art of Egypt, Assyria, and Greece,
+endeavouring to account for the main characteristics of each. In Egypt
+he shows how a nation securely established in a peace and pre-eminence
+lasting for ages, blessed beyond measure in a fertile and prospering
+climate, a nation beyond all things pious and occupied in reverential
+care of the dead, should give birth to an art serene, magnificent, and
+vast. "Those whose fortune it has been," he eloquently said, "to stand
+by the base of the Great Pyramid of Khoofoo, and look up at its far
+summit flaming in the violet sky, or to gaze on the<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> wreck of that
+solemn watcher of the rising sun, the giant Sphinx of Gizeh, erect,
+still, after sixty centuries in the desert's slowly rising tide; or who
+have rested in the shade of the huge shafts which tell of the pomp and
+splendour of hundred-gated Thebes; must, I think, have received
+impressions of majesty and of enduring strength which will not fade
+within their memory."</p>
+
+<p>After old Egypt, and the account of Chald&aelig;an and Assyrian Art, with its
+warlike expression, we are led on in turn to the consideration of Greek
+Art, and the causes of its development. "Nothing that I am aware of in
+the history of the human intelligence," he said, "is for a moment
+comparable to the dazzling swiftness of the ripening of Greek Art in the
+fifth century before Christ." After speaking of the fortunate balance
+and interaction of races which resulted in the Greek Art of that era, he
+goes on to speak of the exceptionally favouring circumstances of the
+people: "Here are no vast alluvial plains, such as those along which, in
+the East, whole empires surged to and fro in battle; no mighty flood of
+rivers, no towering mountain walls: instead, a tract of moderate size; a
+fretted promontory thrust out into the sea&mdash;far out, and flinging across
+the blue a multitude of purple isles and islets towards the Ionian,
+kindred, shores." Such a fortunate environment, joined to the
+extraordinarily high ideal formed by the Greeks of citizenship, had much
+to do with the fostering of Greek Art, in all "its nobility and its
+serenity, its exquisite balance, its searching after truth, and its
+thirst for the ideal."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head2" id="head2"></a></p>
+<div class="figcenter"><img src="images/image76.jpg" alt="Head of a Yound Girl" /></div>
+<p class="center">HEAD OF A YOUNG GIRL<br />A STUDY IN OILS</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>In his fourth Discourse Lord Leighton carried on his inquiry upon the
+origins and conditions of Art into the difficult region of the
+Etruscans; whose plastic work, like their speech, he considers, was at
+best an uncouth,<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span> vigorous imitation, or re-shaping, of Greek models.
+As examples of Etruscan Art, we are referred to "the two lovely bronze
+mirrors, preserved at Perugia and Berlin, representing,&mdash;one, Helen
+between Castor and Pollux,&mdash;the other, Bacchus, Semele, and Apollo....
+In either case, the design is distinctly Greek; nevertheless a certain
+ruggedness of form and handling is felt in both, betraying a temper less
+subtle than the Hellenic; and we read without surprise on the one
+'Pultuke,' and 'Phluphluus' on the other." Lest it should be thought
+that something less than justice is done to Etruscan Art, take this fine
+description of the tomb of Volumnus Violens:</p>
+
+<p>"The recumbent effigy of the Volumnian is, indeed, rude and of little
+merit; rude also in execution is the monument on which it rests, but in
+conception and design of a dignity almost Dantesque. Facing the visitor,
+as he enters the sepulchral chamber, this small sarcophagus&mdash;small in
+dimensions, but in impressiveness how great!&mdash;rivets him at once under
+the taper's fitful light. Raised on a rude basement, the body of the
+monument figures the entrance to a vault; in the centre, painted in
+colours that have nearly faded, appears a doorway, within the threshold
+of which four female figures gaze wistfully upon the outer world; on
+either side two winged genii, their brows girt with the never-failing
+Etruscan serpents, but wholly free from the quaintness of early Etruscan
+treatment, sit cross-legged, watching, torch in hand, the gate from
+which no living man returns. Roughly as they are hewn, it would be
+difficult to surpass the stateliness of their aspect or the art with
+which they are designed; Roman gravity, but quickened with Etruscan
+fire, invests them: ... and our thoughts are irresistibly carried
+forward to the supreme sculptor whom the Tuscan land was one day to
+bear."</p>
+
+<p><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span>From Etruria, we pass naturally on to Rome; for, as we are significantly
+reminded, "The Romans lay, until the tide of Greek Art broke on them
+after the fall of Syracuse, wholly under the influence of the
+Etruscans.... Etruria gave them kings, augurs, doctors, mimes,
+musicians, boxers, runners; the royal purple, the royal sceptre, the
+fasces, the curule chair, the Lydian flute, the straight trumpet, and
+the curved trumpet. The education of a Roman youth received its
+finishing touches in Etruria: Tuscan engineers had girt Rome with walls;
+Tuscan engineers had built the great conduit through which the swamp,
+which was one day to be the Forum, was drained into the Tiber. What
+wonder, then, that in architecture, also in painting, in sculpture, in
+jewellery, and in all the things of taste, Etruscans gave the law to the
+ruder and less cultured race?"</p>
+
+<p>This influence lasted, until the counter-current of Greece found an
+inlet to Roman life, filtering "through Campania into Rome from the
+opposite end of the peninsula." And then, from the fall of Syracuse, and
+the bringing of its spoils to Rome, we find a perfect craze for Grecian
+marbles, bronzes, pictures, gems, inflaming the magnates, nobles, and
+<i>nouveaux riches</i> of Rome. How fortunate that influence was in another
+field, that of literature, we know. In plastic art, by reason of the
+essentially inartistic spirit of the Roman race, the result was
+practically small; save indeed in one department, that of portraiture,
+to which the essential impulse was, as Leighton very suggestively shows,
+"ethic, not &aelig;sthetic." Even in Roman architecture, our critic finds
+little to weaken his view of the Roman &aelig;sthetic inefficiency. "It was
+not," he said, "the spontaneous utterance of an &aelig;sthetic instinct, but
+the outcome of material needs and of patriotic pride," and hence only an
+incomplete<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span> expression of Roman civilization. "To them, in brief, art
+was not vernacular: their purest taste, their brightest gifts of mind,
+found no utterance in it."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head3" id="head3"></a></p>
+<div class="figcenter"><img src="images/image77.jpg" alt="Study of a Head" /></div>
+<p class="center">STUDY OF A HEAD</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"We have seen Art," he concluded, "such Art as it was given to Rome to
+achieve&mdash;rise and fall with the virtues of the Roman people. From the
+lips of the most seeing of its sons we know the solvent in which those
+virtues perished: that solvent was the greed, the insatiate greed, of
+gold&mdash;'auri sacra fames'&mdash;the rot of luxury. 'More deadly than arms,'
+Juvenal magnificently exclaims, 'luxury has swept down upon us, and
+avenges the conquered world.'</p>
+
+<div class="poem">
+<span style="margin-left: 12em;">...... 'S&aelig;vior armis</span><br />
+Luxuria incubuit, victumque ulciscitur orbem.'"</div>
+
+<p>&nbsp;</p>
+<p>From Rome we are taken, in the fifth Discourse, delivered on the 10th
+December, 1887, to the making and the racial re-shaping of Italy, that
+began with the fifth century. All through these Discourses the speaker
+laid great stress upon the ethnological history of the European races,
+as he turned to one after another, and essayed to trace their artistic
+idiosyncracy and their artistic evolution. Italy is, to the ethnologist
+as well as to the art student, one of the most interesting countries in
+Europe. Rome almost alone, among the Italian provinces, retained her
+racial and &aelig;sthetic peculiarities, unaffected to the end of the chapter;
+and even when she wielded "the sceptre of the Christian world," still
+she produced no one flower of native genius, we are reminded, unless
+Giulio Romano, that "brawny and prolific plagiarist of Raphael," as
+Leighton well stigmatizes him, be thought a genius; which criticism
+forbid!</p>
+
+<p>It was different with Tuscany, where the introduction of new racial
+elements had a distinct effect. This "new<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> amalgam" produced in the
+field of Art, we are told, an infinitely nobler and more exquisite
+result than had grown out of the old conditions. Still, however, the old
+Etruscan allied grace and harsh strength lingered on in the art of
+Christian Etruria. "Of the subtle graces which breathe in that art, from
+Giotto to Lionardo, it is needless to speak; and surely in the rugged
+angularities of a Verocchio, a Signorelli, or a Donatello, and in the
+shadow of sadness which broods over so much of the finest Florentine
+work, the more sombre phase of the Etruscan temper still lives on."</p>
+
+<p>In the end, if we try to account for the artistic power and mastery of
+one people in Italy, and the lack of that power in another, we are
+driven to the conclusion that the source of the artistic gift is hidden
+and obscure. One may cite the opposite examples of Venice and of
+Genoa,&mdash;the one so masterfully artistic; the other so impotent. And yet
+the same favouring conditions, <i>&agrave; priori</i>, might have seemed to exist
+for both.</p>
+
+<p>With the intermingling of the peoples, and the rejuvenescence of the
+physical life, came the spiritual outburst of Christianity. And the
+influence, again, of Christianity upon Italian Art was immense. In place
+of joy in the ideals of bodily perfection, "loathing of the body and its
+beauty, as of the vehicle of all temptation, a yearning for a life in
+which the flesh should be shaken off, a spirit of awe, of pity, and of
+love, became the moving forces that shaped its creations."</p>
+
+<p>After great religious periods, we often find that great scientific
+periods follow. The ethical impulse that religion gives, is converted
+into other forms of energy, by reason of man's awakened consciousness of
+the meaning of things, physical and material as well as spiritual.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head4" id="head4"></a></p>
+<div class="figcenter"><img src="images/image78.jpg" alt="Study of a Head" /></div>
+<p class="center">STUDY OF A HEAD</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span>In Italy a reaction against the Christian doctrine of the degradation of
+the flesh led to a new recognition of the beauty of man and of his
+physical environment. Anatomy and perspective were studied, accordingly,
+with a new sense of their significance in Art. The spirit of science led
+to "such amazing studies of leaf and flower as Lionardo loved to draw.
+Thus to Tuscan artists the new movement brought the love of nature, and
+the light of science."</p>
+
+<p>We come upon Dante and Petrarch in this Discourse, in tracing the
+history of Italian Art during the centuries of transition: "With Dante
+we reach the threshold of the Renaissance. He stands on the verge of the
+middle ages; in him the old order ends. With Petrarch the new order
+begins." It is not so much as a poet, however, that Petrarch counts in
+this process from one period to another; but rather as an intellectual
+pioneer, leading the way into the great pagan world. Petrarch "was the
+first Humanist," in short.</p>
+
+<p>We cannot stay to dwell upon the effect of the Humanists and all they
+stood for, good and evil, in Italian Art and Letters. We pass on, now,
+from Petrarch and the influence the movement had on Italian literature,
+to its effect on Italian Art. The Renaissance did not affect Art in the
+same way, as Botticelli may serve to show. "But perhaps," said the
+lecturer, "the various operations in the province of Art of the two main
+motive forces of the Renaissance&mdash;the impulse towards the scientific
+study of nature, and the impulse to reinstate the classic spirit&mdash;may be
+best illustrated by reference to Lionardo da Vinci, Raphael, and Michael
+Angelo." The passages in which Leighton characterised these three
+masters are among the most striking of all those uttered by him within
+the walls of the Academy.<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> Lionardo's scientific "avidity of research,"
+Raphael's "classic serenity," and Angelo's "medi&aelig;val ardour," are turned
+to admirable effect in the pages of this Discourse; and the tribute paid
+to them on the part of an English painter who has zealously sought to
+live and work in the light of their great examples, has indeed an
+interest that is personal, in a sense, as well as general and critical.</p>
+
+<p>Take this concluding sentence upon Raphael:</p>
+
+<p>"Whatever was best in the classic spirit was absorbed and eagerly
+assimilated by him, and imparted to the work of his best day that
+rhythm, that gentle gravity, and that noble plenitude of form, which are
+its stamp, and proclaim him the brother of Mozart and of Sophocles."</p>
+
+<p>Or this, again, on Michael Angelo, as distinguishing him from Raphael:</p>
+
+<p>"The type of human form which he lifted to the fullest expressional
+force is the last development of a purely indigenous conception of human
+beauty, whereas the type which we know as Raphaelesque is a classic
+ideal warmed with Christian feeling. Sublimely alone as Buonarotti's
+genius stands, towering and unapproached, ... it does but mark the
+highest summit reached in the magnificent continuity of its evolution,
+by the purely native genius of Tuscan Art."</p>
+
+<p>Having arrived at Tuscan Art, and at Michael Angelo, in whom it reaches
+its consummate development, we leave Italy, and turn now to the
+description of Art in Spain, given by Lord Leighton in his Discourse of
+December, 1889. And first we have some account of the extraordinarily
+various racial strains which were contributed to form the significant
+figure of the fifteenth-century Spaniard. On the ancient Iberian stock
+was grafted Celtic, Greek, Ph&oelig;nician, and Carthaginian blood; and to
+these<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> infusions succeeded the great invasion of the Visigoths of the
+fifth century.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="head5" id="head5"></a></p>
+<div class="figcenter"><img src="images/image79.jpg" alt="Study of a Head" /></div>
+<p class="center">STUDY OF A HEAD</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>"The Art of Spain," he said, "was, at the outset, wholly borrowed, and
+from various sources; we shall see heterogeneous, imported elements,
+assimilated sometimes in a greater or less degree, frequently flung
+together in illogical confusion, seldom, if ever, fused into a new,
+harmonious whole by that inner welding fire which is genius; and we
+shall see in the sixteenth century a foreign influence received and
+borne as a yoke"&mdash;(that of the Italian Renaissance) "because no living
+generative force was there to throw it off&mdash;with results too often
+dreary beyond measure; and, finally, we shall meet this strange freak of
+nature, a soil without artistic initiative bringing forth the greatest
+initiator&mdash;observe, I do not say the greatest artist&mdash;the greatest
+initiator perhaps since Lionardo in modern art&mdash;except it be his
+contemporary Rembrandt&mdash;Diego Velasquez."</p>
+
+<p>In his Discourse of December, 1891, we have, rapidly sketched, the
+Evolution of Art in France. Touching again on the question of race, the
+lecturer adduced the great race of Gauls, submitting first to Roman, and
+afterwards to Frankish, or Teutonic, domination and admixture. The main
+characteristics of the Gaulish people he judges to be, "a love of
+fighting and a magnificent bravery, great impatience of control, a
+passion for new things, a swift, brilliant, logical intelligence, a gay
+and mocking spirit&mdash;for 'to laugh,' says Rabelais, 'is the proper mark
+of man,'&mdash;an inextinguishable self-confidence." With the reign of
+Charlemagne began the development of the architecture of France, but not
+until the tenth and eleventh centuries did the "movement reach its full
+force; and its development was due mainly to the great monastic
+community, which, founded by St.<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> Benedict early in the sixth century,
+had poured from the heights of Monte Cassino its beneficent influence
+over Western Europe."</p>
+
+<p>Here we have it explained how the principle of Gothic architecture, "the
+substitution of a balance of active forces for the principle of inert
+resistance," was gradually evolved. This principle once found, Gothic
+architecture reached its most splendid period in a wonderfully short
+space of time; cathedrals and churches were built everywhere, and before
+the end of the thirteenth century, the most splendid Gothic buildings
+were begun or completed. With the end of the thirteenth century Gothic
+architecture began to decline, lured by the "fascination of the statical
+<i>tour de force</i>, the craving to bring down to an irreducible minimum the
+amount of material that would suffice to the stability of a building
+extravagantly lofty."</p>
+
+<p>Many more extracts we would gladly make, whether from the account of the
+French sculpture of this period, marked as it was by "sincerity and
+freshness, often by great beauty and stateliness;" or from the criticism
+of such artists as Jean Cousin, who painted windows which were "limpid
+with hues of amethyst, sapphire, and topaz, and fair as a May morning;"
+or again, of Watteau, of whom we are told that "in the vivacity and
+grace of his drawing, in the fascination of his harmonies, rich and
+suave at once, in the fidelity with which he reflected his times without
+hinting at their coarseness, this wizard of the brush remains one of the
+most interesting, as he is one of the most fascinating, masters of his
+country's art."</p>
+
+<p>In the Discourse of 1893 the History of Gothic Architecture was pursued,
+from its native France to its adopted home in Germany. At the end of
+last century Goethe declared that not only was the Gothic style native
+to<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> Germany, but no other nation had a peculiar style of its own; "for,"
+he said, "the Italians have none, and still less the Frenchmen"!
+According to Leighton, "the Germans, as a race, were, speaking broadly,
+never at one in spirit with ogival architecture. The result was such as
+you would expect; in the use of a form of architecture which was not of
+spontaneous growth in their midst, and unrestrained, moreover, as they
+were, by a sound innate instinct of special fitness, German builders
+were often led into solecisms, incongruities, and excesses, from which
+in the practice of their native style they have been largely free." Of
+this style, which may be called the German-Romanesque, the best examples
+are to be found among the churches of the Rhineland. In the thirteenth
+century this style, admirably as it expressed the genius of the Teuton,
+succumbed to invading French influence. "I have often wondered," he
+continued, "at the strange contrast between the reticent and grave
+sobriety of the architecture of Germany before the fall of the
+Hohenstaufens, and its erratic self-indulgence in the Gothic period."
+There is much, however, to be said in praise of the Gothic churches of
+Germany, their fine colouring, suggestiveness, and variety. Take the
+description of the Church of St. Lorenz in Nuremberg. "Nothing could
+well be more delightful than the impression which you receive on
+entering it; the beauty of the dark brown stone, the rich hues of the
+stained glass, the right relation of tone value, to use a painter's
+term, between the structure and the lights&mdash;the sombre blazoned shields
+which cluster along the walls, the succession on pier beyond pier of
+pictures powerful in colour and enhanced by the gleaming gold of
+fantastic carven frames, above all the succession of picturesque objects
+in mid-air above you, a large chandelier, a stately rood-cross, and to
+crown all,<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> Veit Stoss's masterpiece, the Annunciation, rich with gold
+and colour; all these things conspire to produce a whole, delightful and
+poetic, in spite of much that invites criticism in the architectural
+forms themselves." Still more interesting is the word-picture of the
+great Cathedral of Cologne, "a monument of indomitable will, of science,
+and of stylistic orthodoxy ... its beautiful rhythm, its noble
+consistency and unity, its soaring height, rivet the beholder's gaze";
+and yet, the building, in spite of all, does not entirely convince: "the
+kindling touch of genius" seems to be wanting.</p>
+
+<p>Take, finally, this description of Albert D&uuml;rer: "He was a man of a
+strong and upright nature, bent on pure and high ideals, a man ever
+seeking, if I may use his own characteristic expression, to make known
+through his work the mysterious treasure that was laid up in his heart;
+he was a thinker, a theorist, and as you know, a writer; like many of
+the great artists of the Renaissance, he was steeped also in the love of
+science.... Superbly inexhaustible as a designer, as a draughtsman he
+was powerful, thorough, and minute to a marvel, but never without a
+certain almost caligraphic mannerism of hand, wanting in spontaneous
+simplicity&mdash;never broadly serene. In his colour he was rich and vivid,
+not always unerring in his harmonies, not alluring in his
+execution&mdash;withal a giant."</p>
+
+<p>With this tribute to a great predecessor we must leave these Discourses,
+which need, to be properly appreciated, to be studied as a whole; as
+indeed they form Leighton's deliberate exposition of his whole
+principles of Aesthetics. In working this out, Discourse by Discourse,
+he was not content to rely upon convenient literary sources, or
+previously acquired knowledge of his subject; but undertook special
+journeys, and spent long periods, abroad, to pro<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span>cure his own evidence
+at first hand. This gives his Discourses all the value of original
+research, based on new materials, to add to their purely critical value.
+Had they been completed, they would have formed an invaluable
+contribution to the history and the philosophy of Art.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+<h3><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX</h3>
+
+<h4><span class="smcap">Lord Leighton's Home</span></h4>
+
+
+<p class='dropcap'><span class="caps">If</span> we seek for practical expression of Leighton's sympathy for
+decorative art, we may find it most satisfactorily in his own home as it
+appeared during his life. Mr. George Aitchison, R.A., designed the whole
+house;&mdash;even the Arab Hall being largely built from drawings made
+specially by him in Moorish Spain. Although the exterior of No. 2,
+Holland Park Road has individuality, rather than distinction, it was
+within that its special charms were found. One of the first things seen
+on entering was a striking bronze statue, "Icarus," by Mr. Alfred
+Gilbert; a typical instance of Leighton's generous recognition of
+artistic contemporaries.</p>
+
+<p>In earlier pages we spoke of the Arab Hall and its Oriental enchantment.
+No attempt to paint the effects of such an interior in words can call it
+up half as clearly as the slightest actual drawing. There is a dim dome
+above, and a fountain falling into a great black marble basin below;
+there are eight little arched windows of stained glass in the dome; and
+there are white marble columns, whose bases are green, whose capitals
+are carved with rare and curious birds, supporting the arches of the
+alcoves. The Cairo lattice-work in the lower arched recesses lets in
+only so much of the hot light of midsummer (for it is in summer that one
+should see it to appreciate its last charm), as consists with the
+coolness, and the<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> quiet, and the perfect Oriental repose, which give
+the chamber its spell.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="innerhall" id="innerhall"></a></p>
+<div class="figcenter"><img src="images/image80.jpg" alt="The House: The Inner Hall" /></div>
+<p class="center">THE HOUSE: THE INNER HALL</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>More in what we may call the highway of the house, from entrance hall to
+studios, is the large hall, out of which the Arab Hall leads, and from
+which the dark oak staircase ascends with walls tiled in blue and white.
+Here, on every side, one saw all manner of lovely paintings and
+exquisite <i>bric-&agrave;-brac</i>: a drawing of <i>The Fontana della Tartarughe in
+Rome</i> by Leighton's old mentor, Steinle; other bronzes and paintings,
+and in full view a huge stuffed peacock, which seemed to have shed some
+of its brilliant hues upon its surroundings.</p>
+
+<p>In the drawing-room hung many Corots and Constables, with a superb
+Daubigny, and a most tempting example of George Mason,&mdash;a picture of a
+girl driving calves on a windy hill, amid a perfect embarrassment of
+such artistic riches. The famous Corots, a sequence of panels,
+representing <i>Morning</i>, <i>Noon</i>, <i>Evening</i>, and <i>Night</i>, which cost Lord
+Leighton less than 1,000 francs each, were sold for 6,000 guineas for
+the four, at Christie's, in July, 1896. Still another small Corot, a
+picture of a boat afloat on a still lake, was also in this room. One of
+the Constables that hung there is literally historic&mdash;for it is the
+sketch for that famous <i>Hay Wain</i> which, exhibited in Paris, at once
+upset the classical tradition, and gave impetus to the whole modern
+school of French landscape. Near it was one of Constable's many pictures
+of Hampstead Heath,&mdash;simply a bit of dark heath against a sympathetic
+sky; but so painted as to be a masterpiece of its kind. These pictures
+were but a few of the many artfully disposed things of beauty, born in
+older Italy, or newer France, or in our new-old London.</p>
+
+<p>Upon the staircase there were pictures at every turn to make one pause,
+step by step, on the way. Sir Joshua<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span> Reynolds was represented by an
+unfinished canvas of Lord Rockingham, in which the great Burke, in his
+minor function of secretary, also figures. Then came G. F. Watts's
+earlier portrait of Leighton himself; and here a genuine Tintoretto.
+There was the P.R.A.'s famous <i>Portrait of Captain Burton</i>; and over a
+doorway his early painting of <i>The Plague at Florence</i>, with another
+early work, <i>Romeo and Juliet</i>, one of his very few Shakespearean
+pictures.</p>
+
+<p>From the landing whence most of these things were visible, you entered
+at once the great studio. Round the upper wall ran a cast of the
+Parthenon frieze, and beneath this the wall on one side was riddled and
+windowed, as it were, with innumerable framed pictures, small studies of
+foreign scenes; so that one looked out in turn upon Italy and the South,
+Egypt and the East, or upon an Irish sunset, or a Scottish
+mountain-side.</p>
+
+<p>Opposite these, below the great window, were many of the artist's
+miniature wax models and studies. Else, the ordinary not unpicturesque
+lumber of an artist's studio was conspicuously absent. The secret of
+Leighton's despatch and careful ordering of his days, was to be read,
+indeed, in every detail of his work-a-day surroundings. Even in a dim
+antechamber, with a trellised niche most mysteriously overlooking the
+Arab Hall, at one end of the studio, in which the curious visitor might
+have expected to find dusty studies, discarded canvases, and other such
+&aelig;sthetic remnants,&mdash;even that was found to contain not lumber, but a
+Sebastian del Piombo, a sketch of Sappho by Delacroix, a landscape by
+Costa, a Madonna and Child of Sano di Pietro del Piombo.</p>
+
+<p>At the extreme other end of the main studio was the working studio of
+glass, built to combat the fogs by procuring whatever vestige of light
+Kensington may accord<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> in its most November moods. The last addition to
+the building, not long before Lord Leighton's death, was a gallery,
+known as "The Music Room," expressly designed to receive his
+pictures&mdash;mostly gifts from contemporary artists; or, to speak more
+accurately, works that had been exchanged for others in a wholly
+non-commercial spirit. These included, <i>Shelling Peas</i>, by Sir J. E.
+Millais, <i>The Corner of the Studio</i>, by Sir L. Alma-Tadema, <i>The
+Haystacks</i>, and <i>Venus</i>, by G. F. Watts, and <i>Chaucer's Dream of Good
+Women</i>, by Sir E. Burne-Jones.</p>
+
+<p>Such was the daily environment of that hard, unceasing, indefatigable
+labour which, natural faculty taken for granted, is always the secret of
+an artist's extraordinary production. And it was an environment, as one
+felt on leaving it for the gray London without, that well accorded with
+the radiant painted procession of the figures, classic and other, that
+file through Lord Leighton's pictures.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>
+<h3><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X</h3>
+
+<h4><span class="smcap">Lord Leighton's House in 1900</span></h4>
+
+
+<p class='dropcap'><span class="caps">In</span> the preceding chapter a picture is drawn of the "House Beautiful," as
+it was in Lord Leighton's lifetime. It was then full to overflowing with
+all manner of treasures; but now all that were removable have been
+dispersed. Only the shell, the house itself, remains. Yet denuded as it
+is, that is still well worth looking at. The architectural features to
+which Mr. Rhys, dazzled by other things, hardly did justice, are now all
+the more apparent.</p>
+
+<p>One of the rarest of all accomplishments, at any rate in England, is a
+cultivated taste in architecture; but it so happened that amongst his
+many acquirements Lord Leighton possessed it in a remarkable degree. In
+fact he received, although a painter by profession, the gold medal of
+the Royal Institute of British Architects in virtue of the intimate
+knowledge of architecture he had displayed in some of his
+backgrounds&mdash;for instance, those of the frescoes at South Kensington. It
+is a great honour, and one by no means lightly bestowed. At any rate,
+when there was a question of building himself a house, though he might
+not have been able to build it himself, he was thoroughly qualified to
+choose an architect. His choice fell upon Professor Aitchison, now R.A.,
+and he probably hit upon the only man of his generation able to put his<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>
+feeling into bricks and mortar, viz., the feeling for a beauty sedate,
+delicate, and dignified.</p>
+
+<p>We must remember the condition of things architectural in the sixties to
+do justice to the independence of employer and architect. It was a time
+when the Albert Memorial was possible, and when men tried to guide their
+steps by the light of "The Seven Lamps of Architecture." A sentimental
+fancy for Gothic based on irrational grounds was all but universal, and
+it needed courage to avow a preference for the classical. The compromise
+in favour of quaintness and capricious prettiness which began under the
+name of the "Queen Anne style," and has contributed so many picturesque
+and pleasing buildings to our modern London, had not yet budded. Nor
+would it ever at any time of his life have thoroughly responded to
+Leighton's taste. So long as he could detect a defect he was
+dissatisfied, and extreme nicety is not what the Dutch style pretends
+to. It depends upon a picturesque combination of forms of no great
+refinement in themselves, but which give a varied skyline and a pretty
+play of light and shade. It amuses at the first glance, and as it rarely
+demands a second, it is well suited to turbid atmospheres, which blur
+outlines, and a chilly climate in which people cannot loiter out of
+doors. Moreover, the old-world memories it evokes, although in a minor
+degree than was the case with the Gothic, contribute to its facile
+popularity. But the classical taste is a love for form and delicate
+beauty of line <i>as such</i>, quite irrespective of any associations which
+may accompany them, or lamps, be they seven or seventy times seven. And
+to build his house in this style was the natural thing for a sculptor
+and fastidious seeker after the ideal in form. He found the man he
+wanted in Professor Aitchison.</p>
+
+<p><span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span>We must go over the outside and inside of the house, but rapidly; for to
+do more than just indicate the points worth attention would be waste of
+effort. To convey an idea of the feelings produced by architecture is
+perhaps possible, but it is perfectly vain to hope to picture it or
+reproduce in words the actual beauties of proportion or of colour. Those
+who wish to verify them must see for themselves and examine the building
+carefully.</p>
+
+<p>The aspect of the house as seen from the street is, it must be admitted,
+hardly symmetrical; but it is evident also that the first design has
+been much altered and added to. At one end the Arab Hall, with its dome
+and "bearded" battlements, is an obvious afterthought, in great contrast
+with the serious simplicity of the rest. And at the other end the glass
+studio, which was added later still, is also clearly an excrescence. The
+centre part was the original house, and the studio was the chief feature
+of it, and very much as it is now. It is, of course, on the north side,
+and the street, the south side, is occupied by small rooms which, with
+their repeated small openings, offer no great scope for designing.
+Still, the whole has that look of dignity which always accompanies high
+finish; and the entrance, far from being commonplace, because it has
+nothing quaint or surprising about it, has a certain ample serenity
+which it is rare to find. The mouldings of stonework and woodwork, few
+and simple as they are, are not taken out of a pattern-book, as is
+usually the case, but are specially designed each for its own position.
+All the refinement of a building consists in its mouldings, and no one
+has designed mouldings better than Professor Aitchison. A vast
+improvement has been made in this respect in the last twenty years or
+so, and it is largely due to his influence. At any rate he was one of
+the first<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> and he remains the best of modern designers of mouldings.
+There are some fine examples of his work in the house.</p>
+
+<p>On the north the house looks into a fair-sized garden, skilfully
+planted, so that it looks much larger than it is. In the mind of the
+writer this aspect is intimately bound up with the recollection of
+delightful Sunday mornings in summer, when he sat chatting on random
+subjects with the President, who, in slippers, a so-called "land and
+water hat," and a smock frock, leant back in a garden-chair and talked
+as no one else could. The quiet, the sun overhead, the grass under our
+feet, the green trees around us, and the house visible between them,
+form an ineffaceable picture of &aelig;sthetic contentment it is a delight to
+recall. It recurred every Sunday whenever the weather was fine and warm.
+Then it was that there was leisure to appreciate the admirable symmetry
+of the architecture; for in England it is so rare to sit out of doors
+where one may look at architecture that even if architects were to
+design exteriors with all the subtlety of a Brunelleschi or a Bramante,
+they would seldom get anyone to notice their work.</p>
+
+<p>The studio occupies the whole of the upper story, and the architect had
+a good opportunity, as there was no need to cut it up as is the case
+when several rooms have to be provided for, by numerous uniform lights.
+Here, in the centre, is one great light between wide spaces of wall
+judiciously divided by string courses, and in the upper part on either
+side of the great window is a row of three small windows. At the east
+end is a small door leading into a pretty little Venetian balcony with
+stone parapet. The whole makes a very beautiful building, and the
+details and proportions are all worth examining.</p>
+
+<p>This central part was what one saw through the trees<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> as one sat in the
+garden. Less visible were the glass studio on its iron columns, an
+excellent piece of work, considering its few possibilities, and the Arab
+Hall at the other end. Of course the latter looks a little incongruous.
+It is a professed reproduction of Arab architecture, but carried out,
+like the rest of the house, with unstinted expense, care, and finish.</p>
+
+<p>We will now go inside by the front door. The cornice of the ceiling of
+the vestibule first entered is singularly fine. Like every other good
+artist Professor Aitchison improved as he went on, and this is one of
+his latest designs in mouldings. When the entrance was altered some
+years before the President's death, an opportunity occurred for putting
+in a new ceiling.</p>
+
+<p>Passing on into the hall one comes upon a very picturesque arrangement
+of staircase. It is lit from above by a broad skylight. The stairs begin
+to rise against the wall of the dining-room which is recessed; while on
+the first floor the wall of the studio is projected and carried on
+columns, beyond which the stairs rise. So that figures coming through
+the hall in the light, begin mounting the stairs in the shadow, and
+re-emerge into the light, as the stairs turn, with a very varied and
+striking effect. By the first short flight of steps, and between the two
+columns, is a seat made of a Persian chest or cassone, beautiful and
+unusual in shape, and richly inlaid. Lord Leighton bought it in Rhodes
+or Lindos, and was very proud of it. It could not be removed and sold
+with the rest of the treasures at Christie's as it was a "fixture." The
+floor of the hall is of marble mosaic, mostly black and white. Only one
+small piece by the dining-room door, a very agreeable design, is in
+pinkish marbles.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="arabhall" id="arabhall"></a></p>
+<div class="figcenter"><img src="images/image81.jpg" alt="The House: The Arab Hall" /></div>
+<p class="center">THE HOUSE: THE ARAB HALL</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>On the left, down a short passage, is the Arab Hall. It is so unlike
+anything else in Europe that its reputation<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span> has withdrawn all
+attention from the rest of the house. It certainly is a most sumptuous
+piece of work. Elsewhere Leighton satisfied his love of chastened form;
+in this room and its approach he gave full scope to his delight in rich
+colours. The general scheme is a peacock blue, known technically as
+Egyptian green, and gold, with plentiful black and white. Here and there
+tiny spots of red occur, but they are rare. The harmony begins in the
+staircase hall. The walls, except in the recessed part, where there are
+genuine oriental tiles, are lined to the level of the first floor with
+tiles of a fine blue, from the kilns of Mr. De Morgan, and the soffitt
+of the stairs is coloured buff, with gold spots. In the passage the tone
+increases in richness. The ceiling is silver and the cornice gold, while
+the walls, except for a fine panel of oriental tiles over the
+drawing-room door, are lined with the same tiles as the staircase. Then
+between two grand columns of red Caserta marble, with gilt capitals
+modelled by Randolph Caldecott, we pass into the Arab Hall itself, and
+we come upon the full magnificence of the effect. It is made up of
+polished marbles of many colours, gilt and sculptured capitals,
+alabaster, shining tiles, glistening mosaic of gold and colours, brass
+and copper in the hanging corona, and coloured glass in the little
+pierced windows, in fact, of every form of enrichment yet devised by
+Eastern or Western Art. From the floor, which is black and white, the
+tone rises through blue to lose itself in the gloom of a golden dome,
+sparsely lit by jewel-like coloured lights.</p>
+
+<p>In the centre a jet of water springs up, to fall back into a basin of
+black marble. The form of the basin which deepens towards the centre in
+successive steps, is an adaptation of the pattern of a well-known
+oriental fountain. All is equally black in this pool, and the border<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span>
+unfortunately is barely distinguishable from the water. After a dinner
+party at which Sir E. Burne-Jones, Mr. Whistler, Mr. Albert Moore, and
+many others were present, I recollect how, when we were smoking and
+drinking coffee in this hall, somebody, excitedly discoursing, stepped
+unaware right into the fountain. Two large Japanese gold tench, whose
+somnolent existence was now for the first time made interesting, dashed
+about looking for an exit, and there was a general noise of splashing
+and laughter. The dark, apparently fathomless pool was rather a mistake.
+Mishaps like that just mentioned occurred, I believe, more than once.
+There had been at first a white marble basin, but it did not give
+satisfaction, because, being in several pieces, it leaked, whereas the
+black one is all cut out of one block, at great expense, of course. But
+the white had the advantage of lightness where light is none too
+plentiful. In our winter, when days are dark and cold, black pools, with
+marble columns and floors, tiled walls, and dim domes about them do not
+fall in with English notions of cosy woollen comfort. The season to do
+justice to this hall is when summer comes round. When the sun breaks
+through the lattice work of the musharabiyehs, and the light is thrown
+up on the storied tiles, and up the polished columns to the glinting
+mosaic, to die away in the golden cupola, the effect is indeed superb,
+and to sit on the divan, by the splash of the fountain, and look from
+the glories within to the green trees without, is to live not in London
+but in the veritable Arabian nights.</p>
+
+<p>The hall is square. On one side is the entrance. In the centre of each
+of the other sides is a lofty arched recess. Those to the north and
+south are windows, shuttered with genuine musharabiyehs bought in Cairo
+and having deep cushioned divans. The recess to the<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> west has only a
+small pierced window high up. It has a raised step, and in it used to
+stand certain bronze reproductions from Pompeii, with pots, vases, etc.,
+now gone. Some of the tiles were bought in Damascus in 1873. The price
+paid was &pound;200 for the complete tile surface of one room. What would they
+be worth now? Others, particularly the great inscription spoken of
+below, were bought later in Cairo, and the rest at odd times. Here and
+there are single tiles, but most of them are in sets forming fine
+panels. An interesting one, in the south-east corner, represents hawks
+clutching their prey, cheetahs and deer, a hunter, etc., and another has
+herons, fish, tortoises, deer, etc. Set into the woodwork in the western
+recess are four tiles with female figures. These are either Persian or
+come from the neighbourhood of Persia, for the Anatolian or Egyptian
+Mahommedan tolerated no representations of life. The rest repeat in
+pleasing variety the usual motives of oriental design, viz., vines,
+cypresses, pinks and vases, doorways (? the entrances of mosques), with
+hanging lamps, and conventional floral designs. Above the entrance runs
+the chief treasure, the grand series of tiles bearing the great
+inscription. It is about sixteen feet long. According to Mr. Harding
+Smith it may be translated thus:</p>
+
+<p>"In the name of the merciful and long-suffering God. The Merciful hath
+taught the Koran. He hath created man and taught him speech. He hath set
+the sun and moon in a certain course. Both the trees and the grass are
+in subjection to him."</p>
+
+<p>It cannot be said that there is anything very new in that. There rarely
+is in such inscriptions. There are three others, but so far as they have
+been deciphered they appear to be incomplete, and in two cases, at any
+rate, to much the same effect as the big one. Just pious<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> reminders. The
+real interest of them lies in the decorative effect of the imposing
+procession of letters across the wall, and the splendour of their
+colours. For beauty and condition this great inscription is said to be
+without a rival in any collection in Europe.</p>
+
+<p>Let into the woodwork panelling in the west bay there are two small
+lustred Persian tiles of the thirteenth century. They have been
+mutilated as to the faces of the figures by true believers. The rest
+belong to the sixteenth or early seventeenth centuries, a time when
+artistic production was stimulated by the commercial wealth brought by
+the trade of Venice and Genoa with the East through Anatolia, Damascus
+and Cairo.</p>
+
+<p>Round three sides above the tiles runs a decorative mosaic frieze, by
+Walter Crane, of an arabesque design on a gold ground. It is a beautiful
+and fanciful piece of work in itself, and it serves moreover to blend
+the prevailing colour of the tiles with the gilding of the upper
+regions. But it does not continue round the fourth side, because over
+the entrance, above the great inscription, an oriel window of
+musharabiyeh work looks down into the hall from the first floor of the
+house.</p>
+
+<p>The pierced windows, or at least eight of them, were brought from Cairo,
+and when bought had the original glass in them; but in the east the
+glass is stuck in with white of egg, and as they were, as usual,
+ill-packed, the glass all came out and was ground to fragments in the
+jolting of the journey. Only enough could be saved to fill the window in
+the upper part of the west recess opposite the entrance. The remainder
+had to be filled with English imitations.</p>
+
+<p>Returning now to the staircase, we find it ends on the first floor in a
+landing leading to the great studio. On the left it is open to the
+little studio; so-called because,<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span> having a skylight, Lord Leighton used
+it for painting out-of-door effects until he had the glass studio built.
+Adjoining it, or forming an extension of it, is another room, built only
+a year or two before the late owner's death. After the addition of the
+glass studio the two were only used as an antechamber, and were hung
+with the pictures presented by brother artists, and with a few old
+masters. The mouldings round the skylights are very pretty. The latticed
+window before mentioned looks down from the little studio into the Arab
+Hall.</p>
+
+<p>The great studio is a large room about sixty feet by twenty-five and
+about seventeen in height. In the centre of the north side is the lofty
+window forming a bay and extending into a skylight in the top. High up
+on either side of it are the three small openings mentioned when
+speaking of the exterior. A curtain hangs in front of them, and in point
+of fact they were never used. In the west wall is an apse with a gilt
+semi-dome, which appears in some of Lord Leighton's pictures. Across the
+east end runs a gallery at about eight feet from the floor with
+bookshelves under it on either side, and in the middle a broad passage
+leads into the glass studio, and still outside this is a wide balcony
+looking into the garden. Casts of a portion of the Panathenaic frieze of
+the Parthenon run along the upper part of <ins class="correction" title="Not in the original.">the</ins> wall of the great studio, fit
+emblem of the lifelong devotion of the President to classic art. Such
+then is the workshop. Even now, comparatively bare as it is at the
+present moment of writing, this is one of the most picturesque suites of
+rooms in existence; but to see it on one of the grand occasions of
+Leighton's musical receptions was a very different sight and one not
+easily to be forgotten. Then when walls and easels were covered with
+pictures, when rare carpets hung from the gallery, flowers and palms<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span>
+filled the bay window, beautiful women and men of every form of
+distinction crowded the floor to listen to Joachim and Piatti, nothing
+was wanting which could give beauty or interest to the spectacle.</p>
+
+<p>It will be seen that the house is still rich in artistic beauty and
+still has objects of value. But the most precious of its contents are
+after all its associations. Its floors have been trodden by all that was
+most notable in the society of its owner's day, people whose names alone
+would be an epitome of our times. It was also the workshop of a great
+artist. But, above all, it was the centre of a great influence which
+profoundly modified English art.</p>
+
+<p>Whatever judgment the future may pass upon his own productions, the fact
+must never be lost sight of that even without them Leighton was a great
+man. Intellectually, spiritually, and socially he was the most brilliant
+leader and stimulator of artists we have ever seen in England. His
+earnest example and lifelong persistence fanned the flame of enthusiasm
+among all branches of art workers. He taught Englishmen to study form,
+and it was under his encouragement that sculpture, which was fallen so
+low, has now risen into so good a place. Finally he did more than anyone
+else has done to raise the status of the artist in society.</p>
+
+<p>The house which he built himself was his hobby, and in the refinement
+and catholicity of taste it shows, there is so just a reflex of his
+characteristics that an account of it is indispensable to any book which
+claims to describe the man.</p>
+
+<p class="right"><span class="smcap">S. Pepys Cockerell.</span></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span></p>
+<h3><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI</h3>
+
+<h4><span class="smcap">The Artist and his Critics</span></h4>
+
+
+<p class='dropcap'><span class="caps">Before</span> closing our record it will be well to quote, as we promised
+earlier, some of the contemporary criticism that Sir Frederic's work has
+encountered from time to time; and especially the criticism of his
+earlier performances, while he was still in the years of his
+pre-Academic probation.</p>
+
+<p>As a provocation to criticism, most interesting of all is his picture,
+the <i>Cimabue's Madonna carried in Procession through the Streets of
+Florence</i>, upon which we have already commented. As we may here remind
+our readers, it was painted at Rome chiefly, in 1853-4, and was
+exhibited at the Academy of 1855. In that year, as good fortune would
+have it, Mr. Ruskin issued for the first time, "Notes on some of the
+Principal Pictures Exhibited in the Rooms of the Royal Academy." Some
+pages of this famous pronouncement are devoted to this very picture, and
+we cannot do better than quote freely from a criticism so remarkable.</p>
+
+<p>"This is a very important and very beautiful picture," says Mr. Ruskin.
+"It has both sincerity and grace, and is painted on the purest
+principles of Venetian art&mdash;that is to say, on the calm acceptance of
+the whole of nature, small and great, as, in its place, deserving of
+faithful rendering. The great secret of the Venetians was their
+simplicity. They were great colourists, not because they<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span> had peculiar
+secrets about oil and colour, but because when they saw a thing red,
+they painted it red; and ... when they saw it distinctly, they painted
+it distinctly. In all Paul Veronese's pictures, the lace borders of the
+table cloths or fringes of the dresses are painted with just as much
+care as the faces of the principal figures; and the reader may rest
+assured that in all great art it is so. Everything in it is done as well
+as it <i>can</i> be done. Thus in the picture before us, in the background is
+the Church of San Miniato, strictly accurate in every detail; on the top
+of the wall are oleanders and pinks, as carefully painted as the church;
+the architecture of the shrine on the wall is well studied from
+thirteenth-century Gothic, and painted with as much care as the pinks;
+the dresses of the figures, very beautifully designed, are painted with
+as much care as the faces: that is to say, all things throughout with as
+much care as the painter could bestow. It necessarily follows that what
+is most difficult (<i>i.e.</i> the faces) should be comparatively the worst
+done. But if they are done as well as the painter could do them, it is
+all we have to ask; and modern artists are under a wonderful mistake in
+thinking that when they have painted faces ill, they make their pictures
+more valuable by painting the dresses worse.</p>
+
+<p>"The painting before us has been objected to because it seems broken up
+in bits. Precisely the same objection would hold, and in very nearly the
+same degree, against the best works of the Venetians. All faithful
+colourists' work, in figure-painting, has a look of sharp separation
+between part and part.... Although, however, in common with all other
+works of its class, it is marked by these sharp divisions, there is no
+confusion in its arrangement. The principal figure is nobly principal,
+not by extraordinary light, but by its own pure whiteness; and<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span> both the
+Master and the young Giotto attract full regard by distinction of form
+and face. The features of the boy are carefully studied, and are indeed
+what, from the existing portraits of him, we know those of Giotto must
+have been in his youth. The head of the young girl who wears the garland
+of blue flowers is also very sweetly conceived.</p>
+
+<p>"Such are the chief merits of the picture. Its defect is that the equal
+care given to the whole of it is not yet <i>care enough</i>. I am aware of no
+instance of a young painter, who was to be really great, who did not in
+his youth paint with intense effort and delicacy of finish. The handling
+here is much too broad; and the faces are, in many instances, out of
+drawing, and very opaque and feeble in colour. Nor have they in general
+the dignity of the countenance of the thirteenth century. The Dante
+especially is ill-conceived&mdash;far too haughty, and in no wise noble or
+thoughtful. It seems to me probable that Mr. Leighton has greatness in
+him, but there is no absolute proof of it in this picture; and if he
+does not, in succeeding years, paint far better, he will soon lose the
+power of painting so well."</p>
+
+<p>To Mr. Ruskin's account, which is sufficient to enable one to realize
+the picture in some detail, we may add further the criticism of the
+"Athen&aelig;um" of May 12th, 1855, which is interesting as showing how the
+work affected a contemporary critic of another order. It speaks of Mr.
+Leighton as "a young artist who, we believe, has studied in Italy," and
+goes on to say: "There can be no question that the picture is one of
+great power, although the composition is quaint even to sectarianism;
+and though the touch, in parts broad and masterly, is in the lesser
+parts of the roughest character." The last clause of the sentence bears
+out, it may be perceived, a significant<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span> indictment in Mr. Ruskin's
+deliverance, which lays stress on a defect that the artist, in his
+maturer brush-work, does not show.</p>
+
+<p>Rossetti, writing to his friend William Allingham, May 11th, 1855, says:
+"There is a big picture of <i>Cimabue</i>, one of his works in procession, by
+a new man, living abroad, named Leighton&mdash;a huge thing, which the Queen
+has bought, which everyone talks of. The R.A.'s have been gasping for
+years for someone to back against Hunt and Millais, and here they have
+him, a fact that makes some people do the picture injustice in return.
+It was <i>very</i> uninteresting to me at first sight; but on looking more at
+it, I think there is great richness of arrangement, a quality which,
+when <i>really</i> existing, as it does in the best old masters, and perhaps
+hitherto in no living man&mdash;at any rate English&mdash;ranks among the great
+qualities.</p>
+
+<p>"But I am not quite sure yet either of this or of the faculty for
+colour, which I suspect exists very strongly, but is certainly at
+present under a thick veil of paint, owing, I fancy, to too much
+continental study. One undoubted excellence it has&mdash;facility, without
+much neatness or ultra-cleverness in the execution, which is greatly
+like that of Paul Veronese; and the colour may mature in future works to
+the same resemblance, I fancy. There is much feeling for beauty, too, in
+the women. As for purely intellectual qualities, expression, intention,
+etc., there is little as yet of them; but I think that in art richness
+of arrangement is so nearly allied to these, that where it exists (in an
+earnest man) they will probably supervene. However, the choice of
+subject, though interesting in a certain way, leaves one quite in the
+dark as to what faculty the man may have for representing incident or
+passionate emotion. But I believe, as far as this showing goes, that he
+possesses qualities which the mass<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> of our artists aim at chiefly, and
+only seem to possess. Whether he have those of which neither they nor he
+give sign, I cannot tell; but he is said to be only twenty-four years
+old. There is something very French in his work, at present, which is
+the most disagreeable thing about it; but this I dare say would leave
+him if he came to England."<small><a name="f12.1" id="f12.1" href="#f12">[12]</a></small></p>
+
+<p>In the year following Leighton's academical <i>d&eacute;but</i>, he exhibited a
+picture entitled <i>The Triumph of Music</i>, which the "Athen&aelig;um," hereafter
+so sympathetic towards his work, described as "anything but a triumph of
+art."</p>
+
+<p>Partly, perhaps, because of the general tone of discouragement in all
+the criticisms of this year, the artist did not send in anything to the
+Academy of 1857. In 1858 his two pictures&mdash;<i>The Fisherman and the
+Syren</i>, and <i>Count Paris</i>, although admirably conceived, and extremely
+interesting to us now, received no word of friendly criticism that is
+worth recording.</p>
+
+<p>At the Academy of 1859 were exhibited two pictures by him, which served
+to reassure at last those critics who had been shaking their heads over
+his supposed inability to follow up his first success. We turn to the
+"Athen&aelig;um" again, to study its gradual conversion from an attitude of
+critical distrust to one of critical sympathy:</p>
+
+<p>"Mr. Leighton," says the "Athen&aelig;um," "after a temporary eclipse,
+struggles again to light. His heads of Italian women this year are
+worthy of a young old master: anything more feeling, commanding, or
+coldly beautiful, we have not seen for many a day.... This is<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> real painting, and we cannot but think that a painter who can paint so
+powerfully will soon be able to surpass that processional picture of
+his,..." <i>i.e.</i>, the <i>Cimabue</i>.</p>
+
+<p>In 1860, the artist, who then entered upon his thirtieth year, exhibited
+a small picture, <i>Capri, Sunrise</i>, which won great praise for its
+successful treatment of Italian landscape under the Scirocco, whose
+sulphurous light is cast with evil suggestion upon the white houses and
+green vegetation. In paying his tribute to the quality of the picture,
+the critic of the "Athen&aelig;um" cannot resist, however, the old cry of
+great expectations. For the effect of the <i>Cimabue's Madonna</i> had
+aroused critics to regard the painter as one who would continue the
+legend of the great historical schools, and carry on the traditions of
+the so-called grand style. But the critic proposes, the creator
+disposes: the artist went his own way, following still his own ideals.</p>
+
+<p>In 1861, some rather warm discussion raged over two of the artist's
+contributions to the Royal Academy, which appeared in its catalogue as
+Nos. 399 and 550, and which, it was said, had been deliberately slighted
+by the hanging committee. In later years, Leighton must sometimes have
+smiled when he heard (as from his position he must needs have,) the
+annual plaint of the "skied." It is to the "Art Journal," whose
+criticisms, when they had to do with the new and rising schools, used to
+be always entertaining, if often provoking, in those days, that we turn
+for a contemporary account of these things, rather than to any other
+source. The critic having premised, with a delightful and convincing air
+of "I told you so!" that his first effort (the inevitable <i>Cimabue's
+Madonna</i>) having exhausted the poor artist, "he has been coming down the
+ladder of fame ever since," continues in characteristic tones: "Instead
+of<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> being hung too high, the <i>Dream</i>, had it been properly hung, would
+have been displayed upon the ceiling." The picture, according to this
+authority, consisted only of a questionable combination of the "lower
+forms of mere decorative ornamentation," and was in fact, "not so much a
+picture as a very clever treatment for the centre of a ceiling." So much
+for what was really the first clear sign of the artist's delightful
+decorative faculty.</p>
+
+<p>It is clear from various evidences of the feeling of the critics about
+Leighton at this time, that they had begun to look upon him as one whose
+ideals were frivolous, and not seriously minded, or weighted with the
+true British substantiality of the old Academy tradition. In the very
+next year, the artist, by the chances of his own temperamental
+many-sided delight in life and art, did something to reassure his
+admonitors once more. No. 217 at the Royal Academy of 1862 was his
+picture, <i>The Star of Bethlehem</i>, which, with some natural and not
+unfair deductions, won considerable praise from the critic last quoted.
+In this painting, which shows curiously the mingled academic and natural
+quality of the artist, the critic found profound incompatibilities of
+conception and technique; and next year, the same critic was stirred to
+exclaim,&mdash;"The pictures which of all others give most trouble and
+anxiety to the critic are perhaps those of Mr. Millais and Mr.
+Leighton,"&mdash;a very suggestive conjunction of names, let us add.</p>
+
+<p>It was probably the same critic, who speaking of the <i>Dante at Verona</i>,
+in 1864, said gravely, "The promise given by the <i>Cimabue</i> here reaches
+fruition."</p>
+
+<p>Writing in 1863, Mr. W. M. Rossetti, a critic whom it is interesting to
+be able to cite, said of two of the artist's pictures of that year, the
+<i>Girl feeding Peacocks</i> and the <i>Girl with a Basket of Fruit</i>, they
+belong "to that class<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> of art in which Mr. Leighton shines&mdash;the art of
+luxurious exquisiteness; beauty, for beauty's sake; colour, light, form,
+choice details, for their own sake, or for beauty's."</p>
+
+<p>In the same year, Mr. Rossetti spoke of the young artist as the one
+"British painter of special faculty who has come forward with the most
+decided novelty of aim"&mdash;since, that is, the new development of art
+under the little band of Pre-Raphaelites,&mdash;with which Mr. W. M. Rossetti
+was himself so closely associated.</p>
+
+<p>By way of contrast, we may cite the "Art Journal" of 1865, which
+provides a most extraordinary criticism of <i>David</i>, of that year. "We
+would venture to ask," says this ingenious critic, "why the divine
+psalmist has so small a brain? Within this skull there is not compass
+for the poet's thoughts to range. We state as a physiological fact, that
+a head so small, with a brow so receding, could not have belonged to any
+man who has made himself conspicuous in the world's history. Again,
+descending to mere matter of costume, there cannot be a doubt that the
+purple mantle flung on the psalmist's shoulders is wholly wanting in
+study of detail, and constitutes a blot on the landscape. Barring these
+oversights, the picture possesses merits."</p>
+
+<p>At this period we hear the first critical murmurs against the artist's
+very deliberately chosen method of flesh-painting. In 1867, speaking of
+the <i>Venus Disrobing</i>, the "Art Journal" critic says: "According to the
+manner, not to say the mannerism, of the artist, it has a pale silvery
+hue, not as white as marble, not so life-glowing as flesh." With this we
+may compare, for the comparison is instructive, the "Athen&aelig;um," whose
+notice is more sympathetic. The figure of the goddess it describes as
+"all rosy white, ... admirably drawn, and modelled with extreme care."</p>
+
+<p><span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span>Again, in 1868, the "Art Journal" says of Sir Frederic's <i>Act&aelig;a</i>: "The
+artist has made some attempt to paint flesh in its freshness and
+transparency, and indeed the more he renounces the opacity of the German
+school, and the more he can realize the brilliance of the old Venetian
+painters, the better."</p>
+
+<p>In 1869, the "Athen&aelig;um" praised the <i>Sister's Kiss</i>, as "a lovely
+group," but complained that the execution was a "little too smooth,"&mdash;a
+complaint not infrequently echoed from time to time by the artist's
+critics. Some years later we find Mr. W. M. Rossetti making the same
+complaint in criticising <i>Winding the Skein</i>.</p>
+
+<p>In 1875 the picture, <i>Portions of the Interior of the Grand Mosque at
+Damascus</i>, won great praise, as "a remarkably delicate piece of work, in
+which the beautiful colouring of the tiled walls and mosaic pavement are
+skilfully rendered."</p>
+
+<p>In 1876, the quondam hostile "Art Journal" is completely converted by
+the <i>Daphnephoria</i>: "To project such a scene upon canvas presupposes a
+man of high poetic imagination, and when it is accompanied by such
+delicacy and yet such precision of drawing and such sincerity of
+modelling, the poet is merged in the painter and we speak of such a one
+as a master. There is, indeed, nothing more consolatory to those who
+take an interest in British art than the knowledge that we have among us
+a man of such pure devotion and lofty aim."</p>
+
+<p>It was in 1875, that Mr. Ruskin, resuming his <i>r&ocirc;le</i> of an Academy
+critic, claimed Leighton as "a kindred Goth," and confessed, "I
+determined on writing this number of 'Academy Notes,' simply because I
+was so much delighted with Mr. Leslie's <i>School</i>, Mr. Leighton's <i>Little
+Fatima</i>, Mr. Hook's <i>Hearts of Oak</i>, and Mr. Couldery's <i>Kittens</i>."</p>
+
+<p><span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span>In his lectures on the Art of England, the same critic, speaking of
+Leighton's children, says: "It is with extreme gratitude, and
+unqualified admiration, that I find Sir Frederic condescending from the
+majesties of Olympus to the worship of those unappalling powers, which,
+heaven be thanked, are as brightly Anglo-Saxon as Hellenic; and painting
+for us, with a soft charm peculiarly his own, the witchcraft and the
+wonderfulness of childhood."</p>
+
+<p>Upon the <i>Egyptian Slinger</i> of the same year, which Mr. Ruskin terms the
+"study of man in his Oriental function of scarecrow (symmetrically
+antithetic to his British one of game preserver)," his criticism is
+interesting, but adverse. The critic who elsewhere acknowledged fully
+the artist's acutely observant and enthusiastic study of the organism of
+the human body, confesses himself unable to recognize his skill, or to
+feel sympathy with the subjects that admit of its display. It is, he
+goes on to say further of the <i>Slinger</i>, "it is, I do not doubt,
+anatomically correct, and with the addition of the corn, the poppies,
+and the moon, becomes semi-artistic; so that I feel much compunction in
+depressing it into the Natural History class; and the more, because it
+partly forfeits its claim even to such position, by obscuring in
+twilight and disturbing our minds, in the process of scientific
+investigation, by sensational effects of afterglow and lunar effulgence,
+which are disadvantageous, not to the scientific observer only, but to
+less learned spectators; for when simple persons like myself, greatly
+susceptible to the influence of the stage lamps and pink side-lights,
+first catch sight of this striding figure from the other side of the
+room, and take it, perhaps, for the angel with his right foot on the sea
+and the left on the earth, swearing there shall be Time no longer; or
+for Achilles alighting from one of<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> his lance-cast-long leaps on the
+shore of Scamander, and find on near approach that all this grand
+straddling and turning down of the gas mean practically only a lad
+shying stones at sparrows, we are only too likely to pass it petulantly
+without taking note of what is really interesting in this eastern custom
+and skill."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="slinger" id="slinger"></a></p>
+<div class="figcenter"><img src="images/image82.jpg" alt="Egyptian Slinger" /></div>
+<p class="center">EGYPTIAN SLINGER (1875)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>The most recent criticism of importance on the art of Leighton is
+contained in an admirable volume by M. de la Sizeranne.<small><a name="f13.1" id="f13.1" href="#f13">[13]</a></small> We take this
+opportunity of quoting a few sentences from an appreciation which opens
+with the significant remark that Sir Frederic Leighton is officially the
+representative of English painting on the Continent, and, in reality,
+the representative of Continental painting in England, and concludes by
+tracing the definitely English ideal that underlies the artist's work.
+Elsewhere the critic says, "Ce qui est britannique en M. Leighton,
+quoique bien voil&eacute; par son &eacute;clectisme, transpara&icirc;tra encore." Apart from
+Leighton's distinctively native predilection for certain subjects, M. de
+la Sizeranne finds him very English in his treatment of draperies, for
+instance, a treatment which he traces ingeniously to the much study
+given to the Greek drapery of the Elgin marbles by the English School,
+since the days of the Pre-Raphaelites. Elsewhere, taking as his text the
+picture <i>The Spirit of the Summit</i>, he says: "Des sujets qui &eacute;l&egrave;vent la
+pens&eacute;e vers les sommets de la vie ou de l'histoire, de sorte qu'on ne
+puisse se rappeler un nez ou une jambe sans se souvenir de quelque haute
+le&ccedil;on &eacute;vang&eacute;lique, ou de moins de quelque grande n&eacute;cessit&eacute; sociale,
+voil&agrave; ce que M. Leighton a trait&eacute;. Et un style beaucoup plus sobre que
+celui d'Overbeck, beaucoup plus viril que celui de M. Bouguereau, voil&agrave;
+comment il les<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> a trait&eacute;s." Again: "La grandeur de la communion humaine,
+la noblesse de la paix, tel est le th&egrave;me qui a le plus souvent et le
+mieux inspir&eacute; M. Leighton. Et cela il ne l'a pas trouv&eacute; en France, ni
+ailleurs. C'est bien une id&eacute;e anglaise." No better summing up of the
+chronicle of the life work of the artist could well be found.</p>
+
+<p>But we have pursued far enough this study of an artist's progress
+through the thorny, devious ways of art criticism. We have reached the
+point, in fact, where the comparative uncertainties of an artist's
+career make way for the certainties. With one quotation more, in which
+we have a tribute from another critic, Mr. Comyns Carr, we may fitly
+close: "No painter of our time," said Mr. Carr, "maintains a firmer or
+more constant adherence to those severe principles of design which have
+received the sanction of great example in the past. Sir Frederic
+Leighton has never lowered the standard of his work in deference to any
+popular demand, and for this persistent devotion to his own highest
+ideals he deserves well of all who share his faith in the power of
+beauty."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="elisha" id="elisha"></a></p>
+<div class="figcenter"><img src="images/image83.jpg" alt="Elisha and the Shunamite's Son" /></div>
+<p class="center">ELISHA AND THE SHUNAMITE'S SON (1881)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+<h3><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII</h3>
+
+<h4><span class="smcap">Conclusion</span></h4>
+
+
+<p class='dropcap'><span class="caps">In</span> now bringing this record to a close, we will of set purpose remain
+true to the chronicler's function, pure and simple; attempting no
+profounder or more critical summing up of our subject, than consists
+with the plain record of a remarkable career.</p>
+
+<p>After a year of indifferent health, during part of which time he was
+ordered abroad for rest and change, being thus unable to preside at the
+annual banquet in May, Leighton returned to England apparently
+convalescent. Although unable to deliver the biennial presidential
+address, which fell due in December, 1895, he met the students on that
+occasion, and apologized for not delivering the Discourse which was due,
+in these words: "The cloud which has hung over me hangs over me
+still."<small><a name="f14.1" id="f14.1" href="#f14">[14]</a></small></p>
+
+<p>Early in 1896 a peerage was bestowed upon him, and all the world
+applauded the honour conferred on Art in his name. On January 13th,
+1896, the news of his death came as a terrible surprise. The new peer,
+Baron Leighton of Stretton, was buried with much state at St. Paul's
+Cathedral, before men in general had wholly recognized that Lord
+Leighton was the popular "Sir Frederic," the President of the Royal
+Academy, and one of the most familiar figures at any important
+function&mdash;at court or elsewhere.</p>
+
+<p><span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span>Except perhaps in the case of politicians, who live in some degree by
+the public recognition of their personal qualities, it is difficult to
+render tribute gracefully and well to a contemporary. But we cannot
+close these pages, now, without pausing to recall how fortunate it has
+been that English Art, for seventeen years, had as its titular head an
+artist whose affluent artistic faculty was but the open sign of a
+crowded life, loyal throughout to the great causes, high ideals, and,
+let us add, the early friendships, chosen long ago in the mid century.
+We are now at that century's end,&mdash;an end not without its reproach, as
+expressed by a decadence more self-conscious than dignified, more
+critical than creative; but in Lord Leighton's Art there was little
+diminution in his active energy, and of that finer health and spirit of
+life, which is behind all beauty! Like his distinguished friend and
+colleague, Mr. G. F. Watts (whose tribute to him as a man and as an
+artist has been expressed again and again in eloquent terms), Leighton
+remained, in his later period as in his youth, generously alive to all
+the things that count, devoted still to the Art, the current life, and
+the great national traditions, of his own country.</p>
+
+<p>From another famous colleague, Sir E. J. Poynter, P.R.A., one may fitly
+add here the following further sentences of contemporary tribute, which
+were written by way of dedication to his "Ten Lectures on Art,"
+published some years ago:&mdash;"I came to-day from the 'Varnishing Day' at
+the Royal Academy Exhibition with a pleasant conviction that there is on
+all sides a more decided tendency towards a higher standard in Art, both
+as regards treatment of subject and execution, than I have before
+noticed; and I have no hesitation in attributing this sudden improvement
+in the main to the stimulus given to us all by the election of our new<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span>
+President, and to the influence of the energy, thoroughness and nobility
+of aim which he displays in everything he undertakes. I was probably the
+first, when we were both young and in Rome together, to whom he had the
+opportunity of showing the disinterested kindness which he has
+invariably extended to beginners, and to him, as the friend and master
+who first directed my ambition, and whose precepts I never fail to
+recall when at work (as many another will recall them), I venture to
+dedicate this book with affection and respect."</p>
+
+<p>"As we are, so our work is!" said Leighton in one of the most memorable
+of his Discourses; "and the moral effect of what we are will control the
+artist's work from the first touch of the brush or chisel to the last."
+"Believe me," he concludes, in a striking passage that may very fitly
+serve us, too, with a conclusion to these passages, "believe me,
+whatever of dignity, whatever of strength we have within us, will
+dignify and will make strong the labours of our hands; whatever
+littleness degrades our spirit will lessen them and drag them down.
+Whatever noble fire is in our hearts will burn also in our work,
+whatever purity is ours will also chasten and exalt it; for as we are,
+so our work is, and what we sow in our lives, that, beyond a doubt, we
+shall reap for good or for ill in the strengthening or defacing of
+whatever gifts have fallen to our lot."</p>
+
+<p>It would be superfluous to quote from the elegiac tributes which
+appeared in the public press after Lord Leighton's death, and invidious
+to repeat certain unkind and unjust strictures which marred the
+otherwise unanimous note of appreciation. It is obvious that an artist
+with so strongly marked a personality must needs have been fettered by
+the very limits he himself had set. At one time, when a painter of
+eminence openly expressed<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> his preference for Lord Leighton's unfinished
+work, and begged him to keep a certain picture as "a beautiful sketch,"
+he replied: "No, I shall finish it, and probably, as you suggest, spoil
+it. To complete satisfactorily is what we painters live for. I am not a
+great painter, but I am always striving to finish my work up to my first
+conception."</p>
+
+<p>There are many mansions in the city of Art, and if the one of Lord
+Leighton's building was not to the taste of all his contemporaries, the
+edifice can be left to await the final test of years. Fashions in taste
+change rapidly, and much of his finish that finds disfavour to-day may
+in time charm once again. A career overburdened by official honour was
+destined to provoke a certain amount of envious protest; but as a man,
+no voice has urged a word against his ideally perfect performance, not
+merely of his official duties, but of others which indeed were laid upon
+him by his position. These he obeyed without ostentation&mdash;almost without
+men's knowledge. His kindly help, by commendation or by commission given
+to young artists; his broad and tolerant view of work conceived in
+direct opposition to all he valued himself, was not hidden from his
+friends. "It is with a sense of amazement," a critic writes in a private
+letter, "that one afternoon after a protest that nothing he said was to
+be published, I heard him discuss the prospects and the works of our
+ultra-modern painters. Even in fields beyond his sympathy he picked out
+the chaff from the wheat, and was judicially accurate in his verdicts of
+the difference between 'tweedle-dum' and 'tweedle-dee,' both one would
+have said, entirely unknown to him."</p>
+
+<p>In Lord Leighton British artists lost a truer friend than many of them
+suspected, one who wielded his power justly to all, and was more often
+on the side of<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span> progress than not, a power for reform that can never be
+estimated at its actual value, working within a highly conservative
+body, full of vested interests and prejudice&mdash;as is the habit of
+academies of Art and Literature abroad no less than at home. That
+Leighton, who controlled its destinies so long, was loyal to its true
+interests, and never forgot the institution with which he was associated
+so many years is evident from his last words: "Give my love to all at
+the Academy."</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="bookplate" id="bookplate"></a></p>
+<p><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span></p>
+<div class="figcenter"><img src="images/image84.jpg" alt="Bookplate of Lord Leighton" /></div>
+<p class="center"><span class="smcap">Bookplate of Lord Leighton. Designed by R. Anning Bell.</span></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span></p>
+<h3><a name="APPENDIX_I" id="APPENDIX_I"></a>APPENDIX I</h3>
+
+<h4><span class="smcap">List of Principal Works</span></h4>
+
+<p class="center"><i>With date and place of exhibition</i></p>
+
+<table border="0" cellpadding="5" cellspacing="5" summary="Principal Works">
+<tr><td>1850 (<i>circa</i>).</td><td>*<span class="smcap">Cimabue finding Giotto in the Fields of Florence.</span><small><a name="f15.1" id="f15.1" href="#f15">[15]</a></small> (49&#189; &#215; 37 in.)</td><td>Steinle Institute (Frankfort).</td></tr>
+<tr><td>1850.</td><td><span class="smcap">The Duel between Romeo and Tybalt.</span> (37 &#215; 50 in.)</td></tr>
+<tr><td>1851 (<i>circa</i>).</td><td><span class="smcap">The Death of Brunelleschi.</span></td><td>Steinle Institute.</td></tr>
+<tr><td>1851.</td><td>[<span class="smcap">Early Portrait of Leighton by himself.</span>]</td></tr>
+<tr><td>1852.</td><td>*<span class="smcap">A Persian Pedlar.</span></td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>[<span class="smcap">Buffalmacco, the Painter.</span> A humorous subject, taken from Vasari, was undertaken about this date.]</td></tr>
+<tr><td>1853.</td><td><span class="smcap">Portrait of Miss Laing</span> (Lady Nias).</td></tr>
+<tr><td valign="top">1855.</td><td>*<span class="smcap">Cimabue's Celebrated Madonna is carried in procession through the streets of Florence.</span><br />
+In front of the Madonna, and crowned with laurels, walks Cimabue himself, with his pupil Giotto; behind it,<br />
+Arnolfo di Lapo, Gaddo Gaddi, Andrea Tafi, Nicola Pisano, Buffalmacco and Simone Memmi; in the corner, Dante. (87&#189; &#215; 205 in.)</td><td valign="bottom">R.A.<small><a name="f16.1" id="f16.1" href="#f16">[16]</a></small></td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Reconciliation of the Montagues and Capulets</span>
+over the dead bodies of Romeo and Juliet.</td><td valign="bottom">Paris International Exhibition.<small><a name="f17.1" id="f17.1" href="#f17">[17]</a></small></td></tr>
+<tr><td valign="top">1856.</td><td><span class="smcap">The Triumph of Music.</span> (80 &#215; 110 in.)<br />
+"Orpheus, by the power of his art, redeems his wife from Hades."</td><td valign="bottom">R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span>1857.</td><td>*<span class="smcap">Salome</span>, the daughter of Herodias. (44&#189; &#215; 25 in.)</td></tr>
+<tr><td valign="top">1858.</td><td>*<span class="smcap">The Mermaid</span> (<span class="smcap">The Fisherman and the Syren</span>).<br />
+(From a ballad by Goethe.) (26&#189; &#215; 18&#189; in.)</td><td valign="bottom">R.A.</td></tr>
+<tr><td>&nbsp;</td><td><span style="margin-left: 4em;">"Half drew she him,</span><br /><span style="margin-left: 4em;">Half sunk he in,</span><br />
+<span style="margin-left: 4em;">And never more was seen."</span></td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>"<span class="smcap">Count Paris</span>, accompanied by Friar Lawrence and a
+band of musicians, comes to the house of the<br />Capulets, to claim his bride: he finds Juliet stretched apparently lifeless on her bed."&mdash;<i>Romeo and Juliet</i>,<br />
+act IV., sc. 5. (26&#189; &#215; 18&#189; in.)</td><td valign="bottom">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Reminiscence of Algiers</span>.</td><td>S.S.</td></tr>
+<tr><td>&nbsp;</td><td><span style="margin-left: 2em;"><i>These were</i>,</span></td></tr>
+<tr><td>&nbsp;</td><td>[<span class="smcap">A Subject from Keats's Hymn to Pan</span>,] <i>in the first book of "Endymion," a figure of Pan</i><br /><i>under a fig-tree, with the inscription</i>,<br /><br />
+<span style="margin-left: 10em;">"<i>O thou, to whom</i></span><br />
+<span style="margin-left: 2em;"><i>Broad-leaved fig-trees even now foredoom</i></span><br />
+<span style="margin-left: 2em;"><i>Their ripen'd fruitage;</i>"</span></td></tr>
+<tr><td>&nbsp;</td><td><span style="margin-left: 2em;"><i>and the other</i>,</span></td></tr>
+<tr><td>&nbsp;</td><td>[<span class="smcap">A Pendant to the "Pan,"</span>] <i>the figure of a nude nymph about to bathe, with a little Cupid loosening her sandal.</i></td></tr>
+<tr><td>1859.</td><td><span class="smcap">Sunny Hours</span>.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Roman Lady</span> (La Nanna).</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Nanna</span> (Pavonia).</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Samson and Delilah</span>.</td><td>S.S.</td></tr>
+<tr><td>1860.</td><td><span class="smcap">Capri&mdash;Sunrise</span>.</td><td>R.A.</td></tr>
+<tr><td>1861.</td><td>*<span class="smcap">Portrait of Mrs. Sutherland Orr</span>. [Mrs. S. O., a portrait.] (28 &#215; 18 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of John Hanson Walker, Esq</span>. (23 &#215; 17 in.)</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Paolo e Francesca</span>.<br />
+<span style="margin-left: 2em;">"Ma solo un punto fu quel che ci vinse</span><br />
+<span style="margin-left: 2em;">Quando legemmo il disiato riso</span><br />
+<span style="margin-left: 2em;">Esser baciato da cotanto amante,</span><br />
+<span style="margin-left: 2em;">Questi, che mai da me non fia diviso,</span><br />
+<span style="margin-left: 2em;">La bocca mi baci&ograve; tutto tremante:</span><br />
+<span style="margin-left: 2em;">Galeotto fu'l libro e chi lo scrisse:</span><br />
+<span style="margin-left: 2em;">Quel giorno pi&ugrave; non vi legemmo avante."</span></td><td valign="top">R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Dream</span>.<br />
+<span style="margin-left: 2em;">... "Not yet&mdash;not yet&mdash;</span><br />
+<span style="margin-left: 2em;">Still there is trial for thee, still the lot</span><br />
+<span style="margin-left: 2em;">To bear (the Father wills it) strife and care;</span><br />
+<span style="margin-left: 2em;">With this sweet consciousness in balance set</span><br />
+<span style="margin-left: 2em;">Against the world, to soothe thy suffering there</span><br />
+<span style="margin-left: 4em;">Thy Lord rejects thee not.</span><br />
+<span style="margin-left: 2em;">Such tender words awoke me hopeful, shriven</span><br />
+<span style="margin-left: 2em;">To life on earth again from dream of heaven."</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Lieder ohne Worte.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">J. A. A Study.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Capri&mdash;Paganos.</span></td><td>R.A.</td></tr>
+<tr><td>1862.</td><td><span class="smcap">Odalisque.</span></td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Star of Bethlehem.</span> (60 &#215; 23&#189; in.)<br />
+One of the Magi, from the terrace of his house, stands looking at the star in the East; the lower part of the<br />
+picture indicates a road, which he may be supposed just to have left.</td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sisters.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Michael Angelo Nursing His Dying Servant.</span> (43 &#215; 36 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Duett.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sea Echoes.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rustic Music.</span></td></tr>
+<tr><td valign="top">1863.</td><td><span class="smcap">Jezebel and Ahab</span>, having caused Naboth to be put to death, go down to take possession of his<br />vineyard;
+they are met at the entrance by Elijah the Tishbite:<br /><br />"Hast thou killed, and also taken possession?"</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Eucharis.</span> (A Girl with a Basket of Fruit.) (32&#189; &#215; 22 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Girl Feeding Peacocks.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">An Italian Crossbow-man.</span> (15 &#215; 24&#189; in.)</td><td>R.A.</td></tr>
+<tr><td>1864.</td><td><span class="smcap">Dante at Verona.</span></td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Orpheus and Eurydice.</span> (49 &#215; 42 in.)<br />
+<span style="margin-left: 2em;">"But give them me&mdash;the mouth, the eyes,&mdash;the brow&mdash;</span><br />
+<span style="margin-left: 2em;">Let them once more absorb me! One look now</span><br />
+<span style="margin-left: 2em;">Will lap me round for ever, not to pass</span><br />
+<span style="margin-left: 2em;">Out of its light, though darkness lie beyond!</span><br />
+<span style="margin-left: 2em;">Hold me but safe again within the bond</span><br />
+<span style="margin-left: 2em;">Of one immortal look! All woe that was,</span><br />
+<span style="margin-left: 2em;">Forgotten, and all terror that may be,</span><br />
+<span style="margin-left: 2em;">Defied&mdash;no past is mine, no future! look at me!"</span><br />
+<span style="margin-left: 6em;"><span class="smcap">Robert Browning</span>: <i>A Fragment</i>.</span></td><td valign="bottom">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Golden Hours.</span> (36 &#215; 48 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of the Late Miss Lavinia I'Anson.</span> (Circular, 12&#189; in.)</td></tr>
+<tr><td valign="top">1865.</td><td>*<span class="smcap">David.</span> (37 &#215; 47 in.)<br />
+<span style="margin-left: 2em;">"Oh that I had wings like a dove! for then would I fly away and be at rest." <i>Psalm</i> lv.</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Mother and Child.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Widow's Prayer.</span></td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Helen of Troy.</span><br />
+<span style="margin-left: 2em;">"Thus as she spoke, in Helen's breast arose</span><br />
+<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span><span style="margin-left: 2em;">Fond recollections of her former lord,</span><br />
+<span style="margin-left: 2em;">Her home, and parents; o'er her head she threw</span><br />
+<span style="margin-left: 2em;">A snowy veil; and shedding tender tears</span><br />
+<span style="margin-left: 2em;">She issued forth not unaccompanied;</span><br />
+<span style="margin-left: 2em;">For with her went fair &AElig;thra, Pittheus' child.</span><br />
+<span style="margin-left: 2em;">And stag-eyed Clymene, her maidens twain.</span><br />
+<span style="margin-left: 2em;">They quickly at the Sc&aelig;an gate arrived."</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">In St. Mark's.</span></td><td>R.A.</td></tr>
+<tr><td>1866.</td><td><span class="smcap">Painter's Honeymoon.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of Mrs. James Guthrie.</span></td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Syracusan Bride Leading Wild Beasts in Procession to the Temple of Diana.</span><br />
+<span style="margin-left: 2em;">(Suggested by a passage in the second Idyll of Theocritus.)</span><br />
+"And for her, then, many other wild beasts were going in procession round about, and among them a lioness."</td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Wise and Foolish Virgins.</span> (Fresco in Lyndhurst Church.)</td></tr>
+<tr><td>1867.</td><td>*<span class="smcap">Pastoral.</span> (51&#189; &#215; 26 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Greek Girl Dancing.</span> (Spanish Dancing Girl: Cadiz in the old times.) (34 &#215; 45 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Knuckle-bone Player.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Roman Mother.</span> (24 &#215; 19 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Venus Disrobing for the Bath.</span> (79 &#215; 35&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. John Hanson Walker.</span> (18 &#215; 16 in.)</td></tr>
+<tr><td valign="top">1868.</td><td><span class="smcap">Jonathan's Token To David.</span><br />
+"And it came to pass in the morning, that Jonathan went out into the field at the time appointed by David, and a little lad with him."</td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. Frederick P. Cockerell.</span> (23&#189; &#215; 19&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of John Martineau, Esq.</span> (23&#189; &#215; 19&#189; in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Ariadne Abandoned by Theseus</span>; Ariadne watches for his return; Artemis releases her by death. (45 &#215; 62 in.)</td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Acme and Septimius.</span> (Circular, 37&#189; in.)<br />
+<span style="margin-left: 2em;">"Then bending gently back her head</span><br />
+<span style="margin-left: 2em;">With that sweet mouth, so rosy red,</span><br />
+<span style="margin-left: 2em;">Upon his eyes she dropped a kiss,</span><br />
+<span style="margin-left: 2em;">Intoxicating him with bliss."</span><br />
+<span style="margin-left: 6em;"><span class="smcap">Catullus</span> (Theodore Martin's translation).</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Act&aelig;a, the Nymph of the Shore.</span> (22 &#215; 40 in.)</td><td>R.A.</td></tr>
+<tr><td>1869.</td><td>*<span class="smcap">St. Jerome.</span> (Diploma work, deposited in the Academy on his election as an Academician.) (72 &#215; 55 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">D&aelig;dalus and Icarus.</span> (53&#189; &#215; 40&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Electra at the Tomb of Agamemnon.</span> (59&#189; &#215; 29 in.)</td><td>R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Helios and Rhodos.</span> (65&#189; &#215; 42 in.)</td><td>R.A.</td></tr>
+<tr><td>1870.</td><td><span class="smcap">A Nile Woman.</span> (21&#189; &#215; 11&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study.</span></td><td>S.S.</td></tr>
+<tr><td>1871.</td><td>*<span class="smcap">Hercules Wrestling with Death for the Body of Alcestis.</span> (54 &#215; 104&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Greek Girls Picking up Pebbles by the Shore of the Sea.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Cleoboulos instructing his daughter Cleobouline.</span> (24 &#215; 37&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">View of Assiout</span>(?) (<i>A sketch.</i>)</td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sunrise at Longsor.</span> (<i>A sketch.</i>)</td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">View of the Red Mountains near Cairo.</span> (<i>A sketch.</i>)</td><td>S.S.</td></tr>
+<tr><td>1872.</td><td>*<span class="smcap">After Vespers.</span> (43 &#215; 27&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Summer Moon.</span> (Guildhall, 1890.) (39&#189; &#215; 50&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of the Right Hon. Edward Ryan</span>, Secretary of the Dilettanti Society, for which the picture was painted. (S.P.P., 1893.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Condottiere.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Industrial Arts of War</span> at the International Exhibition at South Kensington. (Monochrome, 76 &#215; 177 in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Captive.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">An Arab Caf&eacute;, Algiers.</span></td><td>S.S.</td></tr>
+<tr><td>1873.</td><td>*<span class="smcap">Weaving the Wreath.</span> (Guildhall, 1895.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Moretta.</span> (Guildhall, 1894.) (20&#189; &#215; 14&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Industrial Arts of Peace.</span> (Monochrome, 76 &#215; 177 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Roman.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Vittoria.</span></td><td>S.S.</td></tr>
+<tr><td>1874.</td><td>*<span class="smcap">Moorish Garden</span>: a dream of Granada. (41 &#215; 40 in.) (Guildhall, 1895.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Old Damascus</span>: Jews' Quarter.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Antique Juggling Girl.</span> (Guildhall, 1892.) (41&#189; &#215; 24 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Clytemnestra</span> from the battlements of Argos watches for the beacon fires which are to announce the return of Agamemnon.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Annarella, Ana Capri.</span></td><td>D.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rubinella, Capri.</span></td><td>D.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Lemon Tree, Capri.</span></td><td>D.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">West Court of Palazzo, Venice.</span></td><td>D.G.</td></tr>
+<tr><td>1875.</td><td>*<span class="smcap">Portion of the Interior of the Grand Mosque Of Damascus.</span> (62 &#215; 47 in.)</td><td>R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. H. E. Gordon</span> (35&#189; &#215; 37 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Little Fatima.</span> (15&#189; &#215; 9&#188; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Venetian Girl. </span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Egyptian Slinger.</span> (Eastern Slinger Scaring Birds in Harvest-time: Moonrise.) (Guildhall, 1890.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Florentine Youth.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Ruined Mosque in Damascus.</span></td><td>S.S.</td></tr>
+<tr><td>1876.</td><td>*<span class="smcap">Portrait of Sir Richard Francis Burton, K.C.M.G.</span><br />
+(Portrait of Capt. Richard Burton, H.M. Consul at Trieste). (23&#189; &#215; 19&#189; in.) (Paris, 1878; Melbourne, 1888;<br />S.P.P., 1892.)</td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Daphnephoria.</span> (89 &#215; 204 in.)<br />
+A triumphal procession held every ninth year at Thebes, in honour of Apollo and to commemorate a<br />
+victory of the Thebans over the &AElig;olians of Arne. (See Proclus, "Chrestomath," p. 11.)</td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Teresina.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Paolo.</span></td><td>R.A.</td></tr>
+<tr><td>1877.</td><td>*<span class="smcap">Music Lesson.</span> (36&#189; &#215; 37&#8539; in.) (Paris, 1878.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Miss Mabel Mills</span> (The Hon. Mrs. Grenfell). (23 &#215; 19 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">An Athlete strangling a Python.</span><small><a name="f18.1" id="f18.1" href="#f18">[18]</a></small> Bronze. (Paris, 1878.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of H. E. Gordon.</span> (23&#189; &#215; 19 in.)</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">An Italian Girl.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Study.</span> (A little girl with fair hair, in a pink robe.) (24 &#215; 28 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>G.G.</td></tr>
+<tr><td>1878.</td><td>*<span class="smcap">Nausicaa.</span> (57&#189; &#215; 25&#189; in.) (Guildhall, 1896.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Serafina.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Winding the Skein.</span> (39&#189; &#215; 63&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Miss Ruth Stewart Hodgson.</span> (50&#189; &#215; 35&#189; in.)</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study of a Girl's Head.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sierra: Elviza in the distance, Granada.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Sierra Alhama, Granada.</span></td><td>S.S.</td></tr>
+<tr><td>1879.</td><td><span class="smcap">Biondina.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Catarina.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Elijah in the Wilderness.</span> (91 &#215; 81&#189; in.) (Paris, 1878.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of Signor G. Costa.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Amarilla.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of the Countess Brownlow.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Neruccia.</span> (19 &#215; 16 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Carraca Hills.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Street in Lerici.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Via Bianca, Capri.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Archway in Algiers.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Ruins of a Mosque, Damascus.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study of a Donkey.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">On the Terrace, Capri.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sketch Near Damascus.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">View in Granada.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study of a Donkey, Egypt.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Study of a Head.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Nicandra.</span></td><td>G.G.</td></tr>
+<tr><td>1880.</td><td>*<span class="smcap">Sister's Kiss.</span> (48 &#215; 21&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Iostephane.</span> (37 &#215; 19 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Light of the Harem.</span> (60 &#215; 33 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Psamathe.</span> (36 &#215; 24 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Nymph of the Dargle</span> (Crenaia). (29&#189; &#215; 10 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rubinella.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Pozzo Corner, Venice.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Jack and his Cider Can.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Painter's Honeymoon.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Winding of the Skein</span> (with sketch). Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Head of Urbino.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Steps of the Bargello,</span> Florence. Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Contrast.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Garden at Capri.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Twenty-Nine Studies of Heads, Flowers, and Draperies.</span> Winter Exhibition.</td><td>G.G.</td></tr>
+<tr><td>1881.</td><td><span class="smcap">Elisha Raising the Son of the Shunamite.</span> (32 &#215; 54 in.) (Guildhall, 1895.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of the Painter.</span><small><a name="f19.1" id="f19.1" href="#f19">[19]</a></small></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Idyll.</span> (41&#189; &#215; 84 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. Stephen Ralli.</span> (48 &#215; 33 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Whispers.</span> (48 &#215; 30 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Viola.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Bianca.</span> (18 &#215; 12&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of Mrs. Algernon Sartoris.</span></td><td>G.G.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span>1882.</td><td>*<span class="smcap">Day-dreams.</span> (47&#189; &#215; 35&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Wedded.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Phryne at Eleusis.</span> (86 &#215; 48 in.) (Melbourne, 1888.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Antigone.</span>           R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">"And the sea gave up the dead which were in it."</span> <i>Rev.</i> xx. 13.<br />(Design for a portion of a decoration in St. Paul's.)</td><td valign="bottom">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Melittion.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. Mocatta.</span> (23&#189; &#215; 19&#189; in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Zeyra.</span></td><td>G.G.</td></tr>
+<tr><td>1883.</td><td><span class="smcap">The Dance</span>: decorative frieze for a drawing-room in a private house.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Vestal.</span> (24&#189; &#215; 17 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Kittens.</span> (48 &#215; 31&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Memories.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Miss Nina Joachim.</span> (16 &#215; 13 in.)</td></tr>
+<tr><td>1884.</td><td>*<span class="smcap">Letty.</span> (18 &#215; 15&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Cymon and Iphigenia.</span> (64 &#215; 129 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Nap.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Sun Gleams.</span></td><td>R.A.</td></tr>
+<tr><td>1885.</td><td><span class="smcap">"... Serenely wandering in a trance Of sober Thought."</span> (46 &#215; 27 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Portrait of the Lady Sybil Primrose.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. A. Hichens.</span> (26&#189; &#215; 20&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Music</span>: a frieze.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Ph&oelig;be.</span> (Manchester, 1887.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>G.G.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Tombs of Muslim Saints.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Mountains near Ronda Puerta de los Vientos.</span></td><td>S.S.</td></tr>
+<tr><td>1886.</td><td><span class="smcap">Painted Decoration for the Ceiling of a Music-room.</span><small><a name="f20.1" id="f20.1" href="#f20">[20]</a></small> (7 ft. &#215; 20 ft.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Gulnihal.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Sluggard.</span> Statue, bronze.</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Needless Alarms.</span> Statuette.</td><td>R.A.</td></tr>
+<tr><td>1887.</td><td>*<span class="smcap">The Jealousy of Sim&aelig;tha, the Sorceress.</span> (35&#189; &#215; 55&#189; in.)</td><td>R.A.</td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Last Watch of Hero.</span> (62&#189; &#215; 35&#189; in., with predella 12&#189; &#215; 29&#189; in.)<br />
+<span style="margin-left: 2em;">"With aching heart she scanned the sea-face dim.</span><br />
+<span style="margin-left: 2em;"><span class="spacer2">&#183;</span><span class="spacer2">&#183;</span><span class="spacer2">&#183;</span><span class="spacer2">&#183;</span></span><br />
+<span style="margin-left: 2em;">Lo! at the turret's foot his body lay,</span><br />
+<span style="margin-left: 2em;">Rolled on the stones, and washed with breaking spray."</span><br />
+<span style="margin-left: 6em;"><i>Hero and Leander: Mus&aelig;us</i></span> (translated by Edwin Arnold).</td><td valign="top">R.A.</td></tr>
+<tr><td valign="top"><span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span><span style="margin-left: 1em;">"</span></td><td>[Picture of <span class="smcap">A Little Girl with golden hair and pale blue eyes</span>.]<br />
+<span style="margin-left: 3em;">"Yellow and pale as ripened corn</span><br />
+<span style="margin-left: 3em;">Which Autumn's kiss frees&mdash;grain from sheath&mdash;</span><br />
+<span style="margin-left: 3em;">Such was her hair, while her eyes beneath,</span><br />
+<span style="margin-left: 2em;">Showed Spring's faint violets freshly born."</span><br />
+<span style="margin-left: 16em;"><span class="smcap">Robert Browning.</span></span></td></tr>
+<tr><td valign="top"><span style="margin-left: 1em;">"</span></td><td>*Design for the reverse of <span class="smcap">the Jubilee Medallion</span>. (<i>Executed for Her Majesty's Government.</i>)<br />
+<span style="margin-left: 2em;"><i>Empire, enthroned in the centre, rests her right hand on the sword of Justice, and holds in her</i></span><br />
+<span style="margin-left: 2em;"><i>left the symbol of victorious rule. At her feet, on one side, Commerce proffers wealth, on the</i></span><br />
+<span style="margin-left: 2em;"><i>other a winged figure holds emblems of Electricity and Steam-power. Flanking the throne to the</i></span><br />
+<span style="margin-left: 2em;"><i>right of the spectator are Agriculture and Industry&mdash;on the opposite side, Science,</i></span><br />
+<span style="margin-left: 2em;"><i>Literature, and the Arts. Above, interlocking wreaths, held by winged genii representing</i></span><br />
+<span style="margin-left: 2em;"><i>respectively the years 1837 and 1887, inclose the initials,</i> V.R.I.</span></td><td valign="top">R.A.</td></tr>
+<tr><td valign="top">1888.</td><td>*<span class="smcap">Captive Andromache</span>. (77 &#215; 160 in.)<br />
+<span style="margin-left: 8.5em;">".... Some standing by,</span><br />
+<span style="margin-left: 2em;">Marking thy tears fall, shall say, 'This is she,</span><br />
+<span style="margin-left: 2em;">The wife of that same Hector that fought best</span><br />
+<span style="margin-left: 2em;">Of all the Trojans, when all fought for Troy.'"</span><br />
+<span style="margin-left: 16em;"><i>Iliad</i>, VI. (E. B. Browning's translation.)</span></td><td valign="top">R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Amy, Lady Coleridge.</span> (42 &#215; 39&#189; in.) (S.P.P., 1891.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portraits of the Misses Stewart Hodgson.</span> (47 &#215; 39&#189; in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Four Studies.</span></td><td>R.W.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Five Studies.</span></td><td>S.S.</td></tr>
+<tr><td>1889.</td><td>*<span class="smcap">Sibyl.</span> (59 &#215; 34 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Invocation.</span> (54 &#215; 33&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Elegy.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Greek Girls playing at Ball.</span> (45 &#215; 78 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of Mrs. Francis A. Lucas.</span> (23&#189; &#215; 19&#189; in.)</td><td>R.A.</td></tr>
+<tr><td>1890.</td><td><span class="smcap">Solitude.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Bath of Psyche.</span><small><a name="f21.1" id="f21.1" href="#f21">[21]</a></small> (75 &#215; 24&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Tragic Poetess.</span> (63 &#215; 34 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Arab Hall.</span> (33 &#215; 16 in.) (Guildhall, 1890.)</td><td>R.A.</td></tr>
+<tr><td>1891.</td><td>*<span class="smcap">Perseus and Andromeda.</span> (91&#189; &#215; 50 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Portrait of A. B. Freeman-Mitford, Esq.</span>, C.B. (46&#189; &#215; 38&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Return of Persephone.</span> (79 &#215; 59&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Athlete Struggling with a Python</span>&mdash;group, marble.</td><td>R.A.</td></tr>
+<tr><td>1892.</td><td>*"<span class="smcap">And the sea gave up the dead which were in it.</span>" (Circular, 93 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">At the Fountain.</span> (49 &#215; 37 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Garden of the Hesperides.</span> (Circular, 66 in.) (Chicago, 1893; Guildhall, 1895.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Bacchante.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Clytie.</span> (32&#189; &#215; 53&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Phryne at the Bath.</span> (24 &#215; 12 in.)</td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Malin Head, Donegal.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">St. Mark's, Venice.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Interior of St. Mark's, Venice.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Doorway, North Aisle, Venice.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rizpah</span> (the small study in oils). (7 &#215; 7 in.)</td><td>S.S.</td></tr>
+<tr><td>1893.</td><td>*<span class="smcap">Farewell!</span> (63 &#215; 26&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Hit!</span> (29 &#215; 22 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Atalanta.</span> (26&#189; &#215; 19 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rizpah.</span> (36 &#215; 52 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Corinna of Tanagra.</span> (47&#189; &#215; 21 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Frigidarium.</span></td><td>R.A.</td></tr>
+<tr><td>1894.</td><td>*<span class="smcap">The Spirit of the Summit.</span> (77&#189; &#215; 39&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Bracelet.</span> (59&#189; &#215; 23 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Fatidica.</span> (59&#189; &#215; 23 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Summer Slumber.</span> (45&#189; &#215; 62 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">At the Window.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Wide Wondering Eyes.</span> (20 &#215; 15&#189; in.)</td><td>Manchester.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Roman Campagna, Monte Soracte in the Distance.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Acropolis of Lindos.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Fiume Morto, Gombo, Pisa.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Gibraltar from San Rocque.</span></td><td>S.S.</td></tr>
+<tr><td>1895.</td><td><span class="smcap">Lachrym&aelig;.</span> (60 &#215; 24 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">The Maid with the Yellow Hair.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">"'Twixt Hope and Fear."</span> (43&#189; &#215; 38&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">Flaming June.</span> (46 &#215; 46 in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Listener.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">A Study.</span></td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Ph&oelig;nicians Bartering With Britons.</span></td><td>Royal Exchange.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Boy with Pomegranate.</span></td><td>Grafton Gallery.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Miss Dene.</span></td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Aqua Certosa, Rome.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Chain of Hills seen from Ronda.</span></td><td>S.S.</td></tr>
+<tr><td><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Rocks, Malin Head, Donegal.</span></td><td>S.S.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Tlem&ccedil;en, Algeria.</span></td><td>S.S.</td></tr>
+<tr><td>1896.</td><td>*<span class="smcap">Clytie.</span> (61&#189; &#215; 53&#189; in.)</td><td>R.A.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td><span class="smcap">Candida.</span> (21 &#215; 41&#189; in.)</td><td>Antwerp, 1896.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Vestal.</span> (27 &#215; 20&#189; in.) Unfinished.</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">A Bacchante.</span> (26&#189; &#215; 21 in.)</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span></td><td>*<span class="smcap">The Fair Persian.</span> (25&#189; &#215; 19&#189; in.) Unfinished.</td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;<a name="serene" id="serene"></a></p>
+<div class="figcenter"><img src="images/image85.jpg" alt="'...Serenely Wandering in a Trance of Sober Thought'" /></div>
+<p class="center">"... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT" (1885)</p>
+<p>&nbsp;</p><p>&nbsp;<a name="medallion" id="medallion"></a></p>
+<div class="figcenter"><img src="images/image86.jpg" alt="Design for the Reverse of the Jubilee Medallion" /></div>
+<p class="center">DESIGN FOR THE REVERSE OF THE JUBILEE MEDALLION (1887)</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span></p>
+<h3><a name="APPENDIX_II" id="APPENDIX_II"></a>APPENDIX II</h3>
+
+
+<p>The studies in oil, chiefly landscape, of quite small size, few of which
+had been exhibited, were sold, with the remaining works of the artist,
+by Messrs. Christie, Manson and Woods on July 11th, 13th, and 14th,
+1896, when the prices realized, from 50 to 100 guineas each for the
+best, were in excess of those the most sympathetic admirer of Lord
+Leighton's singular power as a landscape-painter had dared to expect.
+For convenience of future reference, the list of these as they appear in
+the sale catalogue may be worth the space it occupies; the numbers
+denote the "lot."</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="Appendix II">
+<tr><td align="right">1.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Head of a Girl.</span><br /><span class="smcap">Head of a Boy.</span></td></tr>
+<tr><td align="right">2.</td><td>&nbsp;</td><td><span class="smcap">A Study of Houses, Venice.</span></td></tr>
+<tr><td align="right">3.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor, from Rhodes.</span></td></tr>
+<tr><td align="right">4.</td><td>&nbsp;</td><td><span class="smcap">A Street Scene.</span></td></tr>
+<tr><td align="right">5.</td><td>&nbsp;</td><td><span class="smcap">Houses at Capri.</span></td></tr>
+<tr><td align="right">6.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor, from Rhodes.</span></td></tr>
+<tr><td align="right">7.</td><td>&nbsp;</td><td><span class="smcap">A Garden Scene.</span></td></tr>
+<tr><td align="right">8.</td><td>&nbsp;</td><td><span class="smcap">A Fortress, Egypt.</span></td></tr>
+<tr><td align="right">9.</td><td>&nbsp;</td><td><span class="smcap">Tombs of Muslim Saints at Assouan, First Cataract.</span> R.S.B.A., 1895.</td></tr>
+<tr><td align="right">10.</td><td>&nbsp;</td><td><span class="smcap">A Bay, Asia Minor, from Rhodes.</span></td></tr>
+<tr><td align="right">11.</td><td>&nbsp;</td><td><span class="smcap">The Bay of Lindos.</span></td></tr>
+<tr><td align="right">12.</td><td>&nbsp;</td><td><span class="smcap">In the Campagna, Italy.</span></td></tr>
+<tr><td align="right">13.</td><td>&nbsp;</td><td><span class="smcap">A Town, Capri.</span></td></tr>
+<tr><td align="right">14.</td><td>&nbsp;</td><td><span class="smcap">Mountains near Ronda Puerta de los Vientos.</span> R.S.B.A., 1895.</td></tr>
+<tr><td align="right">15.</td><td>&nbsp;</td><td><span class="smcap">A View in the Campagna.</span></td></tr>
+<tr><td align="right">16.</td><td>&nbsp;</td><td><span class="smcap">A Covered Street in Algiers.</span></td></tr>
+<tr><td align="right">17.</td><td>&nbsp;</td><td><span class="smcap">A Doorway, Algiers.</span></td></tr>
+<tr><td align="right">18.</td><td>&nbsp;</td><td><span class="smcap">Head of a Girl.</span></td></tr>
+<tr><td align="right">19.</td><td>&nbsp;</td><td><span class="smcap">Head of a Man.</span></td></tr>
+<tr><td align="right">20.</td><td>&nbsp;</td><td><span class="smcap">Head of a Girl.</span></td></tr>
+<tr><td align="right">21.</td><td>&nbsp;</td><td><span class="smcap">Head of a Girl.</span></td></tr>
+<tr><td align="right">22.</td><td>&nbsp;</td><td><span class="smcap">Street in Algiers.</span></td></tr>
+<tr><td align="right">23.</td><td>&nbsp;</td><td><span class="smcap">St. Mark's, Venice.</span> R.S.B.A., 1892.</td></tr>
+<tr><td align="right">24.</td><td>&nbsp;</td><td><span class="smcap">Interior of St. Mark's, Venice.</span> R.S.B.A., 1892.</td></tr>
+<tr><td align="right">25.</td><td>&nbsp;</td><td><span class="smcap">The Doorway, North Aisle, St. Mark's, Venice.</span> R.S.B.A., 1892.</td></tr>
+<tr><td align="right"><span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span>26.</td><td>&nbsp;</td><td><span class="smcap">A Bay Scene, Isle of Rhodes.</span></td></tr>
+<tr><td align="right">27.</td><td>&nbsp;</td><td> <span class="smcap">A View on the Coast, Lindos.</span></td></tr>
+<tr><td align="right">28.</td><td>&nbsp;</td><td><span class="smcap">Denderah.</span></td></tr>
+<tr><td align="right">29.</td><td>&nbsp;</td><td><span class="smcap">The Roman Campagna, Monte Soracte in the Distance.</span> R.S.B.A., 1894.</td></tr>
+<tr><td align="right">30.</td><td>&nbsp;</td><td><span class="smcap">A Study in the Campagna.</span></td></tr>
+<tr><td align="right">31.</td><td>&nbsp;</td><td><span class="smcap">Aqua Certosa, Rome.</span></td></tr>
+<tr><td align="right">32.</td><td>&nbsp;</td><td><span class="smcap">A View of the Town of Lindos.</span></td></tr>
+<tr><td align="right">33.</td><td>&nbsp;</td><td><span class="smcap">The Acropolis of Lindos</span>, where stood the Temple of Athena Pallas. R.S.B.A., 1894.</td></tr>
+<tr><td align="right">34.</td><td>&nbsp;</td><td><span class="smcap">A Study in the Campagna, with Monte Soracte.</span></td></tr>
+<tr><td align="right">35.</td><td>&nbsp;</td><td><span class="smcap">Study of a Man's Head.</span></td></tr>
+<tr><td align="right">36.</td><td>&nbsp;</td><td><span class="smcap">An Arab's Head.</span></td></tr>
+<tr><td align="right">37.</td><td>&nbsp;</td><td><span class="smcap">A Sheik.</span></td></tr>
+<tr><td align="right">38.</td><td>&nbsp;</td><td><span class="smcap">An Arab.</span></td></tr>
+<tr><td align="right">39.</td><td>&nbsp;</td><td><span class="smcap">Head of an Old Lady.</span></td></tr>
+<tr><td align="right">40.</td><td>&nbsp;</td><td><span class="smcap">A Turkish Boatman.</span></td></tr>
+<tr><td align="right">41.</td><td>&nbsp;</td><td><span class="smcap">Fiume Morto, Gombo, Pisa.</span> R.S.B.A., 1894.</td></tr>
+<tr><td align="right">42.</td><td>&nbsp;</td><td><span class="smcap">The Citadel, Cairo.</span></td></tr>
+<tr><td align="right">43.</td><td>&nbsp;</td><td><span class="smcap">A View in Damascus.</span></td></tr>
+<tr><td align="right">44.</td><td>&nbsp;</td><td><span class="smcap">A View in Capri.</span></td></tr>
+<tr><td align="right">45.</td><td>&nbsp;</td><td><span class="smcap">Bocca d'Arno.</span></td></tr>
+<tr><td align="right">46.</td><td>&nbsp;</td><td><span class="smcap">The City of Tombs, Assiout, Egypt.</span> R.S.B.A. [1871?].</td></tr>
+<tr><td align="right">47.</td><td>&nbsp;</td><td><span class="smcap">Buildings, Siout, Egypt.</span></td></tr>
+<tr><td align="right">48.</td><td>&nbsp;</td><td><span class="smcap">A Mountainous Landscape, Spain.</span></td></tr>
+<tr><td align="right">49.</td><td>&nbsp;</td><td><span class="smcap">A Street Scene, Capri.</span></td></tr>
+<tr><td align="right">50.</td><td>&nbsp;</td><td><span class="smcap">A Coast Scene, Isle of Wight.</span></td></tr>
+<tr><td align="right">51.</td><td>&nbsp;</td><td><span class="smcap">Barren Land.</span></td></tr>
+<tr><td align="right">52.</td><td>&nbsp;</td><td><span class="smcap">A Town in Spain.</span></td></tr>
+<tr><td align="right">53.</td><td>&nbsp;</td><td><span class="smcap">Bosco Sacro, Campagna.</span></td></tr>
+<tr><td align="right">54.</td><td>&nbsp;</td><td><span class="smcap">Villa Malta, Rome.</span></td></tr>
+<tr><td align="right">55.</td><td>&nbsp;</td><td><span class="smcap">The Rocks of the Sirens, Capri.</span></td></tr>
+<tr><td align="right">56.</td><td>&nbsp;</td><td><span class="smcap">A View in Spain.</span></td></tr>
+<tr><td align="right">57.</td><td>&nbsp;</td><td><span class="smcap">A Valley, Spain.</span></td></tr>
+<tr><td align="right">58.</td><td>&nbsp;</td><td><span class="smcap">On the Coast, Isle of Wight.</span></td></tr>
+<tr><td align="right">59.</td><td>&nbsp;</td><td><span class="smcap">Garden at Generalife, Granada.</span></td></tr>
+<tr><td align="right">60.</td><td>&nbsp;</td><td><span class="smcap">The Baths at Caracalla.</span></td></tr>
+<tr><td align="right">61.</td><td>&nbsp;</td><td><span class="smcap">A House, Capri.</span></td></tr>
+<tr><td align="right">62.</td><td>&nbsp;</td><td><span class="smcap">In St. Mark's, Venice.</span></td></tr>
+<tr><td align="right">63.</td><td>&nbsp;</td><td><span class="smcap">The Staircase of a House, Capri.</span></td></tr>
+<tr><td align="right">64.</td><td>&nbsp;</td><td><span class="smcap">The Garden of a House, Capri.</span></td></tr>
+<tr><td align="right">65.</td><td>&nbsp;</td><td><span class="smcap">Study of a Male Figure carrying a Pitcher.</span></td></tr>
+<tr><td align="right">66.</td><td>&nbsp;</td><td><span class="smcap">Head of a Girl.</span></td></tr>
+<tr><td align="right">67.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor, from Rhodes.</span></td></tr>
+<tr><td align="right">68.</td><td>&nbsp;</td><td><span class="smcap">Chain of Hills seen from Ronda.</span> R.S.B.A., 1893.</td></tr>
+<tr><td align="right">69.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor.</span> (Study for the background of <i>Perseus</i>.)</td></tr>
+<tr><td align="right">70.</td><td>&nbsp;</td><td><span class="smcap">A Pool, Findhorn River, N.B.</span> (Study for the background of <i>Solitude</i>.)</td></tr>
+<tr><td align="right">71.</td><td>&nbsp;</td><td><span class="smcap">A Lane.</span> (Study of rocks for <i>Solitude</i>.)</td></tr>
+<tr><td align="right">72.</td><td>&nbsp;</td><td><span class="smcap">A Woman seated, in a landscape.</span> (Study for <i>Sim&aelig;tha the Sorceress</i>.)</td></tr>
+<tr><td align="right">73.</td><td>&nbsp;</td><td><span class="smcap">Taormina, Sicily.</span> (Sketch for background of <i>Wedded</i>.)</td></tr>
+<tr><td align="right">74.</td><td>&nbsp;</td><td><span class="smcap">A Pool on the Findhorn River, Forres, N.B.</span> (Study for the background of <i>Solitude</i>.)</td></tr>
+<tr><td align="right">75.</td><td>&nbsp;</td><td><span class="smcap">Taormina, Sicily.</span> (Study for the background of <i>Wedded</i>.)</td></tr>
+<tr><td align="right"><span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span>76.</td><td>&nbsp;</td><td><span class="smcap">Interior of a House at Lindos.</span> (Study for the picture of <i>Cleoboulos</i>.)</td></tr>
+<tr><td align="right">77.</td><td>&nbsp;</td><td><span class="smcap">Study of a Woman's Head.</span> Capri, moonlight. (Study for the effect in <i>Clytemnestra</i>.)</td></tr>
+<tr><td align="right">78.</td><td>&nbsp;</td><td><span class="smcap">Buildings, Capri, Moonlight.</span> (A study for the same.)</td></tr>
+<tr><td align="right">79.</td><td>&nbsp;</td><td><span class="smcap">An Allegorical Design for a Mural Decoration.</span></td></tr>
+<tr><td align="right">80.</td><td>&nbsp;</td><td><span class="smcap">Head of a Lady and Gentleman of the Fifteenth Century.</span> (16 &#215; 14&#188; in.) (Painted in 1853.)</td></tr>
+<tr><td align="right">81.</td><td>&nbsp;</td><td><span class="smcap">Head of a Lady.</span> White on brown ground.</td></tr>
+<tr><td align="right">82.</td><td>&nbsp;</td><td><span class="smcap">A Study from Velasquez.</span></td></tr>
+<tr><td colspan="3">&nbsp;</td></tr>
+<tr><td colspan="3">[83 to 117 <i>were larger works, mainly studies for completed pictures or the pictures themselves</i>.]</td></tr>
+<tr><td colspan="3">&nbsp;</td></tr>
+<tr><td align="right">118.</td><td><span class="bracket3">{</span></td><td valign="top"><span class="smcap">A Landscape.</span><br /><span class="smcap">Study of Sky at Malinmore.</span><br /><span class="smcap">Study.</span></td></tr>
+<tr><td align="right">119.</td><td>&nbsp;</td><td><span class="smcap">A Rocky Coast, Malinmore, Donegal.</span></td></tr>
+<tr><td align="right">120.</td><td>&nbsp;</td><td><span class="smcap">A Mountainous Landscape.</span></td></tr>
+<tr><td align="right">121.</td><td>&nbsp;</td><td><span class="smcap">A View in Scotland.</span></td></tr>
+<tr><td align="right">122.</td><td>&nbsp;</td><td><span class="smcap">A Landscape, Italy.</span></td></tr>
+<tr><td align="right">123.</td><td>&nbsp;</td><td><span class="smcap">Fishing Boats on the Coast, Capri.</span></td></tr>
+<tr><td align="right">124.</td><td>&nbsp;</td><td><span class="smcap">A Village on a Hill, Capri.</span></td></tr>
+<tr><td align="right">125.</td><td>&nbsp;</td><td><span class="smcap">A Scene in the Desert.</span></td></tr>
+<tr><td align="right">126.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Greece.</span></td></tr>
+<tr><td align="right">127.</td><td>&nbsp;</td><td><span class="smcap">Head of a Man.</span></td></tr>
+<tr><td align="right">128.</td><td>&nbsp;</td><td><span class="smcap">A Scotch Lake.</span></td></tr>
+<tr><td align="right">129.</td><td>&nbsp;</td><td><span class="smcap">Near Kynance Cove.</span></td></tr>
+<tr><td align="right">130.</td><td>&nbsp;</td><td><span class="smcap">Carrara Mountains.</span></td></tr>
+<tr><td align="right">131.</td><td>&nbsp;</td><td><span class="smcap">A View in Algiers.</span></td></tr>
+<tr><td align="right">132.</td><td>&nbsp;</td><td><span class="smcap">Tlem&ccedil;en, Algeria.</span> R.S.B.A., 1895.</td></tr>
+<tr><td align="right">133.</td><td>&nbsp;</td><td><span class="smcap">The Damascus Gate, Jerusalem.</span></td></tr>
+<tr><td align="right">134.</td><td>&nbsp;</td><td><span class="smcap">The Erictheum</span> (<i>sic</i>).</td></tr>
+<tr><td align="right">135.</td><td>&nbsp;</td><td><span class="smcap">A Street in Lerici</span>, near where Shelley was drowned.</td></tr>
+<tr><td align="right">136.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Study of Trees.</span><br /><span class="smcap">A Landscape.</span></td></tr>
+<tr><td align="right">137.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Head of a Gondolier.</span><br /><span class="smcap">Irish Peasant Girl.</span></td></tr>
+<tr><td align="right">138.</td><td>&nbsp;</td><td><span class="smcap">Head of an Italian Peasant.</span></td></tr>
+<tr><td align="right">139.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">A Common.</span><br /><span class="smcap">Landscape, with Cottages.</span></td></tr>
+<tr><td align="right">140.</td><td>&nbsp;</td><td><span class="smcap">A Rocky Coast, Kynance.</span></td></tr>
+<tr><td align="right">141.</td><td>&nbsp;</td><td><span class="smcap">Granite Boulders, Forres, N.B.</span></td></tr>
+<tr><td align="right">142.</td><td>&nbsp;</td><td><span class="smcap">A Sunny Cornfield.</span></td></tr>
+<tr><td align="right">143.</td><td>&nbsp;</td><td><span class="smcap">A Courtyard, Tangiers.</span></td></tr>
+<tr><td align="right">144.</td><td>&nbsp;</td><td><span class="smcap">A Courtyard, Tangiers.</span></td></tr>
+<tr><td align="right">145.</td><td>&nbsp;</td><td><span class="smcap">A Sketch of Albano.</span></td></tr>
+<tr><td align="right">146.</td><td>&nbsp;</td><td><span class="smcap">A Coast Scene, Ireland.</span></td></tr>
+<tr><td align="right">147.</td><td>&nbsp;</td><td><span class="smcap">A Scotch Scene.</span></td></tr>
+<tr><td align="right">148.</td><td>&nbsp;</td><td><span class="smcap">A Study of Rocks.</span></td></tr>
+<tr><td align="right">149.</td><td>&nbsp;</td><td><span class="smcap">The Steeple Rock, Kynance Cove.</span></td></tr>
+<tr><td align="right">150.</td><td>&nbsp;</td><td><span class="smcap">A Sandy Bay, Ireland.</span></td></tr>
+<tr><td align="right">151.</td><td>&nbsp;</td><td><span class="smcap">Kynance Cove.</span></td></tr>
+<tr><td align="right">152.</td><td>&nbsp;</td><td><span class="smcap">Holy Island.</span> Bamborough in the distance.</td></tr>
+<tr><td align="right">153.</td><td>&nbsp;</td><td><span class="smcap">A Coast Scene, Ischia.</span></td></tr>
+<tr><td align="right">154.</td><td>&nbsp;</td><td><span class="smcap">Glen Columbkill, Ireland.</span></td></tr>
+<tr><td align="right">155.</td><td>&nbsp;</td><td><span class="smcap">A Moorish Archway, Tangiers.</span></td></tr>
+<tr><td align="right">156.</td><td>&nbsp;</td><td><span class="smcap">Perugia.</span></td></tr>
+<tr><td align="right">157.</td><td>&nbsp;</td><td><span class="smcap">A Rocky Coast, Malinmore.</span></td></tr>
+<tr><td align="right">158.</td><td>&nbsp;</td><td><span class="smcap">Malin Head, Donegal.</span> R.S.B.A., 1894.</td></tr>
+<tr><td align="right">159.</td><td>&nbsp;</td><td><span class="smcap">Gibraltar, from San Rocque.</span> R.S.B.A., 1895.</td></tr>
+<tr><td align="right">160.</td><td>&nbsp;</td><td><span class="smcap">A Bay Scene, Spain.</span></td></tr>
+<tr><td align="right"><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span>161.</td><td>&nbsp;</td><td><span class="smcap">A Sketch in Bedfordshire.</span></td></tr>
+<tr><td align="right">162.</td><td>&nbsp;</td><td><span class="smcap">A Landscape, Ronda.</span></td></tr>
+<tr><td align="right">163.</td><td>&nbsp;</td><td><span class="smcap">A Spanish Town.</span></td></tr>
+<tr><td align="right">164.</td><td>&nbsp;</td><td><span class="smcap">The Baths of Caracalla.</span></td></tr>
+<tr><td align="right">165.</td><td>&nbsp;</td><td><span class="smcap">The Street of the Knights, Rhodes.</span></td></tr>
+<tr><td align="right">166.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor, seen from Rhodes.</span></td></tr>
+<tr><td align="right">167.</td><td>&nbsp;</td><td><span class="smcap">Longsor.</span></td></tr>
+<tr><td align="right">168.</td><td>&nbsp;</td><td><span class="smcap">A Mountain Scene, with Temple and Figure, Egypt.</span></td></tr>
+<tr><td align="right">169.</td><td>&nbsp;</td><td><span class="smcap">A Study on the Coast of Ireland.</span></td></tr>
+<tr><td align="right">170.</td><td>&nbsp;</td><td><span class="smcap">A River Scene, Scotland.</span></td></tr>
+<tr><td align="right">171.</td><td>&nbsp;</td><td><span class="smcap">Mickleour, Scotland.</span></td></tr>
+<tr><td align="right">172.</td><td>&nbsp;</td><td><span class="smcap">A Sea Piece.</span></td></tr>
+<tr><td align="right">173.</td><td>&nbsp;</td><td><span class="smcap">The Coast of Asia Minor.</span></td></tr>
+<tr><td align="right">174.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">On the Nile.</span><br /><span class="smcap">A View in Spain.</span></td></tr>
+<tr><td align="right">175.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">A Temple on the Nile.</span><br /><span class="smcap">Spanish View.</span></td></tr>
+<tr><td align="right">176.</td><td>&nbsp;</td><td><span class="smcap">Malinmore, Donegal.</span></td></tr>
+<tr><td align="right">177.</td><td>&nbsp;</td><td><span class="smcap">The Bay of Cadiz, Moonlight, and Palazzo Rezzonico.</span></td></tr>
+<tr><td align="right">178.</td><td>&nbsp;</td><td><span class="smcap">A View of Athens.</span></td></tr>
+<tr><td align="right">179.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Scotch Mountains: Sunset.</span><br /><span class="smcap">A Coast Scene, Rhodes.</span></td></tr>
+<tr><td align="right">180.</td><td>&nbsp;</td><td><span class="smcap">Vittoria.</span> R.S.B.A., 1873.</td></tr>
+<tr><td align="right">181.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">A Classical Head.</span> (Monochrome.)<br /><span class="smcap">Head of a Man.</span></td></tr>
+<tr><td align="right">182.</td><td>&nbsp;</td><td><span class="smcap">A Study of Pine Trees.</span></td></tr>
+<tr><td align="right">183.</td><td>&nbsp;</td><td><span class="smcap">A Village on a Hill.</span></td></tr>
+<tr><td align="right">184.</td><td>&nbsp;</td><td><span class="smcap">A Ruined Mosque at Broussa.</span></td></tr>
+<tr><td align="right">185.</td><td>&nbsp;</td><td><span class="smcap">A Woody Bank.</span></td></tr>
+<tr><td align="right">186.</td><td>&nbsp;</td><td><span class="smcap">Ruins of a Moorish Arch, Spain.</span></td></tr>
+<tr><td align="right">187.</td><td>&nbsp;</td><td><span class="smcap">A View in Italy, with a Cornfield.</span></td></tr>
+<tr><td align="right">188.</td><td>&nbsp;</td><td>(This number is omitted in the sale catalogue.)</td></tr>
+<tr><td align="right">189.</td><td>&nbsp;</td><td><span class="smcap">Mimbar of the Great Mosque at Damascus.</span></td></tr>
+<tr><td align="right">190.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Rocks, Capri.</span><br /><span class="smcap">A Fortress, Spain.</span></td></tr>
+<tr><td align="right">191.</td><td><span class="bracket2">{</span></td><td valign="top"><span class="smcap">Landscape, Scotland.</span><br /><span class="smcap">Landscape, Scotland.</span></td></tr>
+<tr><td align="right">192.</td><td>&nbsp;</td><td><span class="smcap">The Red Mountains, Desert, Egypt.</span></td></tr>
+<tr><td align="right">193.</td><td>&nbsp;</td><td><span class="smcap">Sketch near Cairo.</span></td></tr>
+<tr><td align="right">194.</td><td>&nbsp;</td><td><span class="smcap">A Fountain in the Court-yard of a Jew's House, Spain.</span></td></tr>
+<tr><td align="right">195.</td><td>&nbsp;</td><td><span class="smcap">A House in Tangiers.</span> Mansion House, 1882.</td></tr>
+<tr><td align="right">196.</td><td>&nbsp;</td><td><span class="smcap">A Street Scene, Cairo.</span></td></tr>
+<tr><td align="right">197.</td><td>&nbsp;</td><td><span class="smcap">A Moorish Street.</span></td></tr>
+<tr><td align="right">198.</td><td>&nbsp;</td><td><span class="smcap">A Study of Rocks, Scotland.</span></td></tr>
+<tr><td align="right">199.</td><td>&nbsp;</td><td><span class="smcap">The Garden of the House of the Man who built the Alhambra.</span></td></tr>
+<tr><td align="right">200.</td><td>&nbsp;</td><td><span class="smcap">A Spanish Donkey.</span></td></tr>
+<tr><td align="right">201.</td><td>&nbsp;</td><td><span class="smcap">A Donkey and Arab Driver.</span></td></tr>
+<tr><td align="right">202.</td><td>&nbsp;</td><td><span class="smcap">Mena Donkey.</span></td></tr>
+<tr><td align="right">203.</td><td>&nbsp;</td><td><span class="smcap">A Study of Hills.</span></td></tr>
+<tr><td align="right">204.</td><td>&nbsp;</td><td><span class="smcap">The Temple of Phyl&aelig;.</span></td></tr>
+<tr><td align="right">205.</td><td>&nbsp;</td><td><span class="smcap">Damascus: Night.</span></td></tr>
+<tr><td align="right">206.</td><td>&nbsp;</td><td><span class="smcap">A Mountainous Landscape, with a Cavern.</span></td></tr>
+<tr><td align="right">207.</td><td>&nbsp;</td><td><span class="smcap">A Wood Scene.</span></td></tr>
+<tr><td align="right">208.</td><td>&nbsp;</td><td><span class="smcap">Head of an Italian Girl.</span></td></tr>
+<tr><td align="right">209.</td><td>&nbsp;</td><td><span class="smcap">The Dungeons of a Castle.</span></td></tr>
+<tr><td align="right">210.</td><td>&nbsp;</td><td><span class="smcap">A Castle Keep.</span></td></tr>
+<tr><td align="right">211.</td><td>&nbsp;</td><td><span class="smcap">Entrance to a House, Capri.</span></td></tr>
+<tr><td align="right">212.</td><td>&nbsp;</td><td><span class="smcap">A Coast Scene, Ireland: Storm effort</span> (<i>sic</i>).</td></tr>
+<tr><td align="right">213.</td><td>&nbsp;</td><td><span class="smcap">Longsor.</span></td></tr>
+<tr><td align="right">214.</td><td>&nbsp;</td><td><span class="smcap">The Nile at Thebes.</span></td></tr>
+<tr><td align="right"><span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span>215.</td><td>&nbsp;</td><td><span class="smcap">A View on the Campagna.</span></td></tr>
+<tr><td align="right">216.</td><td>&nbsp;</td><td><span class="smcap">A Mountainous Landscape, Scotland.</span></td></tr>
+<tr><td align="right">217.</td><td>&nbsp;</td><td><span class="smcap">Capri by Night.</span></td></tr>
+<tr><td align="right">218.</td><td>&nbsp;</td><td><span class="smcap">A Fortress on the Campagna.</span></td></tr>
+<tr><td align="right">219.</td><td>&nbsp;</td><td><span class="smcap">A Landscape, with Sand Hills.</span></td></tr>
+<tr><td align="right">220.</td><td>&nbsp;</td><td><span class="smcap">A Wood Scene.</span></td></tr>
+<tr><td align="right">221.</td><td>&nbsp;</td><td><span class="smcap">Near Denderah.</span></td></tr>
+<tr><td align="right">222.</td><td>&nbsp;</td><td><span class="smcap">A Landscape.</span></td></tr>
+<tr><td align="right">223.</td><td>&nbsp;</td><td><span class="smcap">Athens, with the Genoese Tower, Pnyx in the foreground.</span></td></tr>
+<tr><td align="right">224.</td><td>&nbsp;</td><td><span class="smcap">A Landscape, Cairo.</span></td></tr>
+<tr><td align="right">225.</td><td>&nbsp;</td><td><span class="smcap">On the Nile.</span></td></tr>
+<tr><td align="right">226.</td><td>&nbsp;</td><td><span class="smcap">Pasture, Egypt.</span></td></tr>
+<tr><td align="right">227.</td><td>&nbsp;</td><td><span class="smcap">Red Mountains Desert, Egypt.</span></td></tr>
+<tr><td align="right">228.</td><td>&nbsp;</td><td><span class="smcap">An Egyptian Village.</span></td></tr>
+<tr><td align="right">229.</td><td>&nbsp;</td><td><span class="smcap">The Island of &AElig;gina.</span></td></tr>
+<tr><td align="right">230.</td><td>&nbsp;</td><td><span class="smcap">Thebes.</span></td></tr>
+<tr><td align="right">231.</td><td>&nbsp;</td><td><span class="smcap">The Coast of &AElig;gina, Pnyx in the foreground.</span></td></tr>
+<tr><td align="right">232.</td><td>&nbsp;</td><td><span class="smcap">Buildings on the Coast, Island of Rhodes.</span></td></tr>
+<tr><td align="right">233.</td><td>&nbsp;</td><td><span class="smcap">Assouan, Egypt.</span></td></tr>
+<tr><td align="right">234.</td><td>&nbsp;</td><td><span class="smcap">A Vineyard, Capri.</span></td></tr>
+<tr><td align="right">235.</td><td>&nbsp;</td><td><span class="smcap">The Temple of Phyl&aelig;, looking up the Nile.</span></td></tr>
+<tr><td align="right">236.</td><td>&nbsp;</td><td><span class="smcap">The Nile at Esueh.</span></td></tr>
+<tr><td align="right">237.</td><td>&nbsp;</td><td><span class="smcap">The Cathedral, Capri.</span></td></tr>
+<tr><td align="right">238.</td><td>&nbsp;</td><td><span class="smcap">A Square in Cadiz.</span></td></tr>
+<tr><td align="right">239.</td><td>&nbsp;</td><td><span class="smcap">On the Nile.</span></td></tr>
+<tr><td align="right">240.</td><td>&nbsp;</td><td><span class="smcap">In the Nile Valley.</span></td></tr>
+<tr><td align="right">241.</td><td>&nbsp;</td><td><span class="smcap">A View across the Nile.</span></td></tr>
+<tr><td align="right">242.</td><td>&nbsp;</td><td><span class="smcap">A Woody Hill Side.</span></td></tr>
+<tr><td align="right">243.</td><td>&nbsp;</td><td><span class="smcap">Rocks of the Sirens Capri.</span></td></tr>
+<tr><td align="right">244.</td><td>&nbsp;</td><td><span class="smcap">A Farm.</span></td></tr></table>
+
+<p>&nbsp;</p>
+<p>There were also copies made by Leighton himself of <i>Peace and War</i> after
+Rubens, the <i>Massacre of the Innocents</i>, after Bonifazio, <i>A Martyrdom</i>,
+and the <i>Last Supper</i>, after Veronese.</p>
+
+<p>The huge collection of studies, mainly in chalk upon brown paper, made
+by Lord Leighton, were nearly all preserved; two hundred and forty of
+these were exhibited by the Fine Art Society, who bought the whole
+collection, and afterwards published a volume containing forty
+reproduced in facsimile.</p>
+
+<p>&nbsp;</p><p>&nbsp;<a name="damascus" id="damascus"></a></p>
+<div class="figcenter"><img src="images/image87.jpg" alt="Fountain in Court at Damascus" /></div>
+<p class="center">FOUNTAIN IN COURT AT DAMASCUS</p>
+<p>&nbsp;</p><p>&nbsp;<a name="island" id="island"></a></p>
+<div class="figcenter"><img src="images/image88top.jpg" alt="The Island of Aegina" /></div>
+<p class="center">THE ISLAND OF &AElig;GINA: PNYX IN FOREGROUND</p>
+<p>&nbsp;</p><p>&nbsp;<a name="reddesert" id="reddesert"></a></p>
+<div class="figcenter"><img src="images/image88bot.jpg" alt="Red Mountains Desert" /></div>
+<p class="center">RED MOUNTAINS DESERT, CAIRO</p>
+<p>&nbsp;</p><p>&nbsp;<a name="broussa" id="broussa"></a></p>
+<div class="figcenter"><img src="images/image89.jpg" alt="Ruined Mosque Broussa" /></div>
+<p class="center">RUINED MOSQUE, BROUSSA</p>
+<p>&nbsp;</p><p>&nbsp;<a name="tombs" id="tombs"></a></p>
+<div class="figcenter"><img src="images/image90.jpg" alt="City of Tombs" /></div>
+<p class="center">CITY OF TOMBS, ASSIOUT, EGYPT</p>
+<p>&nbsp;</p><p>&nbsp;<a name="athens" id="athens"></a></p>
+<div class="figcenter"><img src="images/image91.jpg" alt="Athens" /></div>
+<p class="center">ATHENS WITH THE GENOESE TOWER: PNYX IN FOREGROUND</p>
+<p>&nbsp;</p><p>&nbsp;<a name="rhodes" id="rhodes"></a></p>
+<div class="figcenter"><img src="images/image92.jpg" alt="Coast of Asia Minor" /></div>
+<p class="center">COAST OF ASIA MINOR SEEN FROM RHODES</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span></p>
+<h3><a name="INDEX" id="INDEX"></a>INDEX.</h3>
+
+<p class="center"><i>Titles of Pictures are printed in italics.</i></p>
+
+
+<p>
+<i>Abram and the Angel</i>, <a href="#Page_69">69</a>.<br />
+<br />
+<i>Acme and Septimius</i>, <a href="#Page_25">25</a>.<br />
+<br />
+<i>Act&aelig;a</i>, <a href="#Page_26">26</a>, <a href="#Page_111">111</a>.<br />
+<br />
+<i>&AElig;gina, The Island of</i>, illus., <a href="#island">132</a>.<br />
+<br />
+<i>After Vespers</i>, <a href="#Page_31">31</a>.<br />
+<br />
+Aitchison, George, R.A., <a href="#Page_88">88</a>.<br />
+<br />
+Allingham, William, <a href="#Page_106">106</a>.<br />
+<br />
+Alma-Tadema, Sir L., <a href="#Page_37">37</a>, <a href="#Page_48">48</a>, <a href="#Page_91">91</a>.<br />
+<br />
+<i>Amarilla</i>, <a href="#Page_39">39</a>.<br />
+<br />
+<i>And the Sea gave up its Dead</i>, <a href="#Page_49">49</a>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#thesea">50</a>.</span><br />
+<br />
+<i>Andromeda</i> (study in clay), <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#andromeda">68</a>.</span><br />
+<br />
+<i>Antigone</i>, <a href="#Page_43">43</a>.<br />
+<br />
+<i>Antique Juggling Girl</i>, <a href="#Page_33">33</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#juggling">32</a>.</span><br />
+<br />
+Arab Hall, The, <a href="#Page_29">29</a>, <a href="#Page_49">49</a>, <a href="#Page_88">88</a>, <a href="#Page_94">94</a>, <a href="#Page_96">96-100</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#arabhall">96</a>.</span><br />
+<br />
+<i>Ariadne abandoned by Theseus</i>, <a href="#Page_25">25</a>.<br />
+<br />
+Arnold, Sir Edwin, translation of Mus&aelig;us, <a href="#Page_47">47</a>.<br />
+<br />
+Art and Morals, Leighton on, <a href="#Page_74">74</a>.<br />
+<br />
+"Art Journal," criticisms of the, <a href="#Page_108">108</a>, <i>et seq.</i><br />
+<br />
+Artistic Production in relation to Time and Place, Leighton on, <a href="#Page_75">75</a>.<br />
+<br />
+<i>Arts of Peace, The</i>, <a href="#Page_32">32</a>, <a href="#Page_42">42</a>, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#artsofpeace">64</a>.</span><br />
+<br />
+<i>Arts of War, The</i>, <a href="#Page_32">32</a>, <a href="#Page_63">63</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#artsofwar">64</a>.</span><br />
+<br />
+<i>Asia Minor, The Coast of</i>, illus., <a href="#rhodes">136</a>.<br />
+<br />
+Assyria, the Art of, Leighton on, <a href="#Page_76">76</a>.<br />
+<br />
+<i>At the Fountain</i>, <a href="#Page_50">50</a>.<br />
+<br />
+<i>At the Window</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Atalanta</i>, <a href="#Page_50">50</a>, <a href="#Page_59">59</a>.<br />
+<br />
+"Athen&aelig;um," criticisms of the, <a href="#Page_32">32</a>, <a href="#Page_105">105</a>, <i>et seq.</i><br />
+<br />
+<i>Athens, with the Genoese Tower</i>, illus., <a href="#athens">136</a>.<br />
+<br />
+<i>Athlete struggling with a Python</i>, <a href="#Page_36">36</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>, <a href="#Page_126">126</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#Page_36">36</a>, <a href="#Page_49">49</a>;</span><br />
+<span style="margin-left: 1em;">(marble version), <a href="#Page_68">68</a>.</span><br />
+<br />
+<br />
+<i>Bacchante</i> (1892), <a href="#Page_50">50</a>, (1896) <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#bacchante">54</a>.</span><br />
+<br />
+<i>Bath of Psyche, The</i>, <a href="#Page_48">48</a>, <a href="#Page_59">59</a>, <a href="#Page_129">129</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#psyche">48</a>.</span><br />
+<br />
+Bezzuoli, <a href="#Page_5">5</a>.<br />
+<br />
+<i>Bianca</i>, <a href="#Page_43">43</a>.<br />
+<br />
+"Bible Gallery," Dalziel's, <a href="#Page_23">23</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>.<br />
+<br />
+<i>Biondina</i>, <a href="#Page_39">39</a>.<br />
+<br />
+Black and white, Leighton's work in, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>.<br />
+<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span><br />
+Boccaccio, Leighton inspired by, <a href="#Page_8">8</a>, <a href="#Page_45">45</a>.<br />
+<br />
+Book illustration, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>.<br />
+<br />
+Bookplate, Leighton's, illus., <a href="#Page_120">120</a>.<br />
+<br />
+Bouguereau, Leighton and, <a href="#Page_10">10</a>.<br />
+<br />
+<i>Bracelet, The</i>, <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#bracelet">52</a>.</span><br />
+<br />
+Bronzes, <a href="#Page_36">36</a>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>.<br />
+<br />
+<i>Broussa, Ruined Mosque at</i>, illus., <a href="#broussa">134</a>.<br />
+<br />
+<i>Brownlow, Countess of</i>, <a href="#Page_39">39</a>.<br />
+<br />
+Browning, E. B., <a href="#Page_47">47</a>;<br />
+<span style="margin-left: 1em;">medallion of a monument to, <a href="#Page_67">67</a>;</span><br />
+<span style="margin-left: 1em;">illustration by Leighton to her "Great God Pan," <a href="#Page_69">69</a>.</span><br />
+<br />
+Browning, Robert, <a href="#Page_10">10</a>;<br />
+<span style="margin-left: 1em;">subjects from, <a href="#Page_22">22</a>, <a href="#Page_47">47</a>;</span><br />
+<span style="margin-left: 1em;">on <i>Hercules wrestling with Death</i>, <a href="#Page_30">30</a>.</span><br />
+<br />
+Brussels, Leighton at, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>.<br />
+<br />
+Burne-Jones, Sir E., <a href="#Page_17">17</a>, <a href="#Page_91">91</a>.<br />
+<br />
+<i>Burton, Capt. Richard</i>, <a href="#Page_35">35</a>, <a href="#Page_90">90</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#burton">36</a>.</span><br />
+<br />
+<i>Byzantine Well-head, A</i>, <a href="#Page_18">18</a>, <a href="#Page_62">62</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#byzantine">18</a>.</span><br />
+<br />
+<br />
+<i>Cain and Abel</i>, illus., <a href="#cain">70</a>.<br />
+<br />
+<i>Cairo, Red Mountains Desert</i>, illus., <a href="#reddesert">136</a>.<br />
+<br />
+<i>Capri&mdash;Paganos</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<i>Capri at Sunrise</i>, <a href="#Page_18">18</a>, <a href="#Page_108">108</a>.<br />
+<br />
+Capri, Leighton at, <a href="#Page_18">18</a>, <a href="#Page_61">61</a>.<br />
+<br />
+<i>Captive Andromache</i>, <a href="#Page_47">47</a>, <a href="#Page_58">58</a>;<br />
+<span style="margin-left: 1em;"><i>Studies</i> for, illus., <a href="#andronude">56</a>.</span><br />
+<br />
+Carr, Mr. Comyns, on Leighton, <a href="#Page_114">114</a>.<br />
+<br />
+<i>Catarina</i>, <a href="#Page_39">39</a>.<br />
+<br />
+Ceiling, design for a, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_128">128</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#ceiling">62</a>.</span><br />
+<br />
+Chesneau, Ernest, on English Art, <a href="#Page_14">14</a>.<br />
+<br />
+Cimabue, influence of, <a href="#Page_9">9</a>.<br />
+<br />
+<i>Cimabue</i> (mosaic figure), <a href="#Page_67">67</a>.<br />
+<br />
+<i>Cimabue finding Giotto</i>, <a href="#Page_7">7</a>.<br />
+<br />
+<i>Cimabue's Madonna</i>, <a href="#Page_3">3</a>, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>, <a href="#Page_11">11</a>, <a href="#Page_23">23</a>, <a href="#Page_34">34</a>, <a href="#Page_47">47</a>;<br />
+<span style="margin-left: 1em;">criticisms of, <a href="#Page_103">103-107</a>, <a href="#Page_108">108</a>;</span><br />
+<span style="margin-left: 1em;">illus., <a href="#madonna">10</a>.</span><br />
+<br />
+<i>City of Tombs, Assiout</i>, illus., <a href="#tombs">134</a>.<br />
+<br />
+<i>Cleoboulos instructing his daughter Cleobouline</i>, <a href="#Page_30">30</a>.<br />
+<br />
+<i>Clytemnestra</i>, <a href="#Page_32">32</a>.<br />
+<br />
+<i>Clytie</i> (1892), <a href="#Page_50">50</a>, <a href="#Page_59">59</a>.<br />
+<br />
+<i>Clytie</i> (his last picture), <a href="#Page_51">51</a>, <a href="#Page_52">52</a>.<br />
+<br />
+Cockerell, S. Pepys, on Leighton's drawings, <a href="#Page_62">62</a>.<br />
+<br />
+<i>Cockerell, Mrs. <ins class="correction" title="original reads 'Frederic'">Frederick</ins> P.</i>, <a href="#Page_25">25</a>.<br />
+<br />
+<i>Coleridge, Lady</i>, <a href="#Page_48">48</a>.<br />
+<br />
+Cologne Cathedral, Leighton on, <a href="#Page_86">86</a>.<br />
+<br />
+Colour: Leighton's mode of procedure, <a href="#Page_55">55-58</a>.<br />
+<br />
+<i>Condottiere, A</i>, <a href="#Page_31">31</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#condot">32</a>.</span><br />
+<br />
+<i>Contrast, A</i>, <a href="#Page_70">70</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#contrast">72</a>.</span><br />
+<br />
+<i>Corinna of Tanagra</i>, <a href="#Page_50">50</a>.<br />
+<br />
+Cornelius, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>.<br />
+<br />
+"Cornhill Gallery, The," <a href="#Page_69">69</a>.<br />
+<br />
+Correggio, Leighton and, <a href="#Page_10">10</a>, <a href="#Page_18">18</a>.<br />
+<br />
+<i>Costa, Signor</i>, <a href="#Page_39">39</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#costa">40</a>.</span><br />
+<br />
+<i>Count Paris</i>, <a href="#Page_16">16</a>, <a href="#Page_107">107</a>, <a href="#Page_122">122</a>.<br />
+<br />
+Cousin, Jean, <a href="#Page_84">84</a>.<br />
+<br />
+<i>Crenaia</i>, <a href="#Page_42">42</a>.<br />
+<br />
+<i>Cross-bow Man, A</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<i>Cupid with Doves</i>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#cupid">66</a>.</span><br />
+<br />
+<i>Cymon</i> (clay model), <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#cymonstudy">68</a>.</span><br />
+<br />
+<i>Cymon and Iphigenia</i>, <a href="#Page_42">42</a>, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">photogravure, <a href="#cymon">44</a>.</span><br />
+<br />
+<br />
+<i>D&aelig;dalus and Icarus</i>, <a href="#Page_26">26</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#icarus">26</a>.</span><br />
+<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span><br />
+Dalou and <i>The Athlete</i>, <a href="#Page_68">68</a>.<br />
+<br />
+Dalziel's "Bible Gallery," <a href="#Page_23">23</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#cain">70</a>.</span><br />
+<br />
+<i>Damascus, Grand Mosque at</i>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#mimbar">28</a>.</span><br />
+<br />
+Damascus, sketches of, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#mimbar">28</a>, <a href="#damascus">132</a>.</span><br />
+<br />
+<i>Dance, The</i>, <a href="#Page_44">44</a>, <a href="#Page_67">67</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#friezes">44</a>.</span><br />
+<br />
+Dante, Leighton on, <a href="#Page_81">81</a>.<br />
+<br />
+<i>Dante at Verona</i>, <a href="#Page_21">21</a>, <a href="#Page_109">109</a>.<br />
+<br />
+<i>Daphnephoria</i>, <a href="#Page_24">24</a>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>, <a href="#Page_47">47</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">clay models for, <a href="#Page_68">68</a>;</span><br />
+<span style="margin-left: 1em;">illus., <a href="#daphne">34</a>;</span><br />
+<span style="margin-left: 1em;"><i>Study for</i> (illus.), <a href="#daphnestudy">34</a>.</span><br />
+<br />
+Darmstadt, Leighton at, <a href="#Page_8">8</a>.<br />
+<br />
+<i>David</i>, <a href="#Page_23">23</a>, <a href="#Page_110">110</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#Page_24">24</a>.</span><br />
+<br />
+<i>Day Dreams</i>, <a href="#Page_43">43</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#daydreams">42</a>.</span><br />
+<br />
+<i>Death of the First Born</i>, <a href="#Page_69">69</a>.<br />
+<br />
+Decorative work, Leighton's, <a href="#Page_63">63-67</a>.<br />
+<br />
+<i>Departure for the War, The</i>, <a href="#Page_67">67</a>.<br />
+<br />
+Discourses on Art, Leighton's, <a href="#Page_71">71-87</a>.<br />
+<br />
+Drapery, Leighton's treatment of, <a href="#Page_48">48</a>, <a href="#Page_55">55-58</a>.<br />
+<br />
+<i>Dream, A</i>, <a href="#Page_19">19</a>, <a href="#Page_109">109</a>.<br />
+<br />
+<i>Duett</i>, <a href="#Page_20">20</a>.<br />
+<br />
+D&uuml;rer, Albert, Leighton on, <a href="#Page_86">86</a>.<br />
+<br />
+<br />
+Eastlake, Sir Charles, <a href="#Page_10">10-12</a>.<br />
+<br />
+Egypt, Leighton's visit to, <a href="#Page_28">28</a>;<br />
+<span style="margin-left: 1em;">on the Art of, <a href="#Page_75">75</a>.</span><br />
+<br />
+<i>Egyptian Slinger</i>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_112">112</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#slinger">112</a>.</span><br />
+<br />
+<i>Electra at the Tomb of Agamemnon</i>, <a href="#Page_26">26</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#electra">26</a>.</span><br />
+<br />
+<i>Elegy</i>, <a href="#Page_48">48</a>.<br />
+<br />
+<i>Eliezer and Rebekah</i>, <a href="#Page_69">69</a>.<br />
+<br />
+<i>Elijah in the Wilderness</i>, <a href="#Page_39">39</a>;<br />
+<span style="margin-left: 1em;"><i>Study for</i>, illus., <a href="#elijahstudy">38</a>.</span><br />
+<br />
+<i>Elisha and the Shunamite's Son</i>, illus., <a href="#elisha">114</a>.<br />
+<br />
+English Art, Leighton on, <a href="#Page_73">73</a>.<br />
+<br />
+Etruscan Art, Leighton on, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>.<br />
+<br />
+<i>Eucharis</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<br />
+<i>Fair Persian, The</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Farewell</i>, <a href="#Page_50">50</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#farewell">50</a>.</span><br />
+<br />
+<i>Fatidica</i>, <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#fatidica">52</a>.</span><br />
+<br />
+<i>Fisherman and Syren, The</i>, <a href="#Page_16">16</a>, <a href="#Page_107">107</a>.<br />
+<br />
+<i>Flaming June</i>, <a href="#Page_51">51</a>.<br />
+<br />
+Fleury, Robert, <a href="#Page_10">10</a>, <a href="#Page_15">15</a>.<br />
+<br />
+<i>Florence, The Plague at</i>, <a href="#Page_8">8</a>, <a href="#Page_90">90</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#plague">8</a>.</span><br />
+<br />
+Florence, Leighton at, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>.<br />
+<br />
+<i>Fountain, At the</i>, <a href="#Page_50">50</a>.<br />
+<br />
+<i>Fountain in Court at Damascus</i>, illus., <a href="#damascus">132</a>.<br />
+<br />
+France, Evolution of Art in, Leighton on, <a href="#Page_83">83</a>.<br />
+<br />
+Frankfort, Leighton at, <a href="#Page_6">6-8</a>.<br />
+<br />
+Frescoes, <a href="#Page_32">32</a>, <a href="#Page_63">63-66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#artsofwar">64-66</a>.</span><br />
+<br />
+Friezes, <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#friezes">44</a>.</span><br />
+<br />
+<i>Frigidarium, The</i>, <a href="#Page_50">50</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#frigid">50</a>.</span><br />
+<br />
+<br />
+Gamba, Signor, <a href="#Page_8">8</a>.<br />
+<br />
+<i>Garden of the Hesperides, The</i>, <a href="#Page_49">49</a>.<br />
+<br />
+Generalife, Study of a Garden at, <a href="#Page_33">33</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#granada">28</a>.</span><br />
+<br />
+German Architecture, Leighton on, <a href="#Page_85">85-86</a>.<br />
+<br />
+Gerome, <a href="#Page_10">10</a>.<br />
+<br />
+Gibson, the sculptor, <a href="#Page_11">11</a>.<br />
+<br />
+Gilbert, Alfred, <a href="#Page_88">88</a>.<br />
+<br />
+Giotto, <a href="#Page_9">9</a>.<br />
+<br />
+Girl, A little (1887), <a href="#Page_47">47</a>.<br />
+<br />
+---- in Eastern garb (1877), <a href="#Page_37">37</a>.<br />
+<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span><br />
+<i>Girl Feeding Peacocks, A</i>, <a href="#Page_20">20</a>, <a href="#Page_109">109</a>.<br />
+<br />
+<i>Girl with a Basket of Fruit</i>, <a href="#Page_109">109</a>.<br />
+<br />
+<i>Girls' Heads, Studies of</i>, <a href="#Page_38">38</a>, <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#head1">74</a>, <a href="#head2">76</a>, <a href="#head3">78</a>, <a href="#head4">80</a>.</span><br />
+<br />
+Goethe: subject from, <a href="#Page_16">16</a>;<br />
+<span style="margin-left: 1em;">on Gothic architecture, <a href="#Page_84">84</a>.</span><br />
+<br />
+<i>Golden Hours</i>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#goldenhours">21</a>.</span><br />
+<br />
+<i>Gordon, H. E.</i>, <a href="#Page_37">37</a>.<br />
+<br />
+Gothic architecture, Leighton on, <a href="#Page_84">84</a>.<br />
+<br />
+Greek Art, Leighton on, <a href="#Page_76">76</a>.<br />
+<br />
+<i>Greek Girls picking up Pebbles by the Sea</i>, <a href="#Page_30">30</a>.<br />
+<br />
+<i>Greek Girls playing at Ball</i>, <a href="#Page_48">48</a>, <a href="#Page_59">59</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#greekgirls">48</a>.</span><br />
+<br />
+Grenfell, the Hon. Mrs. (<i>Miss Mabel Mills</i>), <a href="#Page_37">37</a>.<br />
+<br />
+Greville, Lady Charlotte, monument to, <a href="#Page_67">67</a>.<br />
+<br />
+<i>Gulnihal</i>, <a href="#Page_46">46</a>.<br />
+<br />
+<i>Guthrie, Portrait of Mrs. James</i>, <a href="#Page_24">24</a>.<br />
+<br />
+<br />
+Hart, Professor, <a href="#Page_12">12</a>.<br />
+<br />
+<i>Helen of Troy</i>, <a href="#Page_23">23</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#helen">22</a>.</span><br />
+<br />
+<i>Helios and Rhodos</i>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>.<br />
+<br />
+<i>Hercules wrestling with Death</i>, <a href="#Page_30">30</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#hercules">30</a>.</span><br />
+<br />
+<i>Hesperides, Garden of the</i>, <a href="#Page_49">49</a>.<br />
+<br />
+<i>Hichens, Mrs. A.</i>, <a href="#Page_46">46</a>.<br />
+<br />
+<i>Hit</i>, <a href="#Page_50">50</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#hit">54</a>.</span><br />
+<br />
+<i>Hodgson, Miss Ruth</i>, <a href="#Page_38">38</a>.<br />
+<br />
+<i>Hodgson, Misses Stewart</i>, <a href="#Page_48">48</a>.<br />
+<br />
+Hogarth Club, the, <a href="#Page_17">17</a>.<br />
+<br />
+Hunt, Holman, <a href="#Page_13">13</a>, <a href="#Page_17">17</a>.<br />
+<br />
+<br />
+<i>I'Anson, the late Mrs. Lavinia</i>, <a href="#Page_23">23</a>.<br />
+<br />
+<i>Idyll</i>, <a href="#Page_42">42</a>.<br />
+<br />
+<i>In St. Mark's</i>, <a href="#Page_23">23</a>.<br />
+<br />
+<i>Invocation</i>, <a href="#Page_48">48</a>.<br />
+<br />
+<i>Iostephane</i>, <a href="#Page_42">42</a>.<br />
+<br />
+<i>Italian Girl, An</i>, <a href="#Page_37">37</a>.<br />
+<br />
+Italy, Evolution of Painting in, Leighton on the, <a href="#Page_72">72</a>.<br />
+<br />
+<br />
+<i>J. A.&mdash;a Study</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<i>Jezebel and Ahab</i>, <a href="#Page_20">20</a>, <a href="#Page_123">123</a>.<br />
+<br />
+<i>Joachim, Miss Nina</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<i>Jonathan's Token to David</i>, <a href="#Page_25">25</a>, <a href="#Page_124">124</a>.<br />
+<br />
+Jubilee medal, <a href="#Page_46">46</a>, <a href="#Page_69">69</a>, <a href="#Page_129">129</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#medallion">130</a>.</span><br />
+<br />
+<i>Juggling Girl</i>, <a href="#Page_33">33</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#juggling">32</a>.</span><br />
+<br />
+<br />
+Keats's "Endymion," subject from, <a href="#Page_15">15</a>, <a href="#Page_122">122</a>.<br />
+<br />
+Kemble, Mrs., <a href="#Page_11">11</a>.<br />
+<br />
+<i>Kittens</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<br />
+<i>Lachrym&aelig;</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Lady with Pomegranates, A</i>, <a href="#Page_53">53</a>.<br />
+<br />
+<i>Laing, Miss, Portrait of</i>, <a href="#Page_9">9</a>.<br />
+<br />
+Landscape studies, Leighton's, <a href="#Page_16">16</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_39">39</a>, <a href="#Page_62">62</a>, <a href="#Page_132">132</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#granada">28</a>, <a href="#damascus">132</a>, <a href="#broussa">134</a>, <a href="#athens">136</a>.</span><br />
+<br />
+Landseer, Sir Edwin, <a href="#Page_10">10</a>, <a href="#Page_13">13</a>.<br />
+<br />
+Lang's, Mrs. Andrew, monograph on Leighton, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, <a href="#Page_63">63</a>.<br />
+<br />
+<i>Last Watch of Hero</i>, <a href="#Page_47">47</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#lastwatch">46</a>.</span><br />
+<br />
+Leighton, Frederic, Lord;<br />
+<span style="margin-left: 1em;">list of dignities and titles, <a href="#Page_2">2</a>;</span><br />
+<span style="margin-left: 1em;">ancestors and birth, <a href="#Page_4">4</a>;</span><br />
+<span style="margin-left: 1em;">first picture, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">portrait (1848), <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">first picture for the Academy, <a href="#Page_11">11</a>;</span><br />
+<span style="margin-left: 1em;">A.R.A., <a href="#Page_21">21</a>;</span><br />
+<span style="margin-left: 1em;">R.A., <a href="#Page_24">24</a>;</span><br />
+<span style="margin-left: 1em;">first appearance as a sculptor, <a href="#Page_36">36</a>;</span><br />
+<span style="margin-left: 1em;">P.R.A., <a href="#Page_39">39</a>;</span><br />
+<span style="margin-left: 1em;"><i>Portrait</i>, by himself, <a href="#Page_42">42</a>;</span><br />
+<span style="margin-left: 1em;">illus., <a href="#leighton">3</a>;</span><br />
+<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span><span style="margin-left: 1em;">portraits by Watts, <a href="#Page_42">42</a>, <a href="#Page_90">90</a>;</span><br />
+<span style="margin-left: 1em;">his method of painting, <a href="#Page_54">54-60</a>;</span><br />
+<span style="margin-left: 1em;">drawings, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>;</span><br />
+<span style="margin-left: 1em;">decorative works, <a href="#Page_63">63-67</a>;</span><br />
+<span style="margin-left: 1em;">sculpture, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>;</span><br />
+<span style="margin-left: 1em;">book illustration, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>;</span><br />
+<span style="margin-left: 1em;">Discourses on Art, <a href="#Page_71">71-87</a>;</span><br />
+<span style="margin-left: 1em;">house, <a href="#Page_88">88-102</a>;</span><br />
+<span style="margin-left: 1em;">criticisms on his work, <a href="#Page_103">103</a>, <a href="#Page_114">114</a>;</span><br />
+<span style="margin-left: 1em;">death, <a href="#Page_115">115</a>.</span><br />
+<br />
+<i>Lemon Tree, Study of a</i>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_61">61</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#lemon">18</a>.</span><br />
+<br />
+Lesseps, F. de, <a href="#Page_28">28</a>.<br />
+<br />
+<i>Letty</i>, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>.<br />
+<br />
+<i>Lieder ohne Worte</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<i>Light of the Harem, The</i>, <a href="#Page_42">42</a>.<br />
+<br />
+Lionardo da Vinci, Leighton on, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>.<br />
+<br />
+<i>Listener</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Little Fatima</i>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_111">111</a>.<br />
+<br />
+<i>Lucas, Mrs. F.</i>, <a href="#Page_48">48</a>.<br />
+<br />
+Lyndhurst, altarpiece at, <a href="#Page_24">24</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>.<br />
+<br />
+Lyons, Lord, <a href="#Page_11">11</a>.<br />
+<br />
+<br />
+<i>Maid with her Yellow Hair, The</i>, <a href="#Page_51">51</a>.<br />
+<br />
+Martin's, Sir Theodore, "Catullus," <a href="#Page_25">25</a>.<br />
+<br />
+Mason, George, <a href="#Page_11">11</a>, <a href="#Page_89">89</a>.<br />
+<br />
+Meli, Signor F., <a href="#Page_5">5</a>.<br />
+<br />
+<i>Melittion</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<i>Memories</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<i>Mermaid, The</i>, <a href="#Page_16">16</a>.<br />
+<br />
+Michael Angelo, Leighton on, <a href="#Page_82">82</a>.<br />
+<br />
+<i>Michael Angelo nursing his dying Servant</i>, <a href="#Page_19">19</a>.<br />
+<br />
+Millais, Sir J. E., <a href="#Page_9">9</a>, <a href="#Page_13">13</a>, <a href="#Page_46">46</a>, <a href="#Page_68">68</a>, <a href="#Page_73">73</a>.<br />
+<br />
+<i>Mills, Miss Mabel</i>, <a href="#Page_37">37</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#mabelmills">36</a>.</span><br />
+<br />
+<i>Mitford, A. B.</i>, <a href="#Page_49">49</a>.<br />
+<br />
+<i>Mocatta, Mrs.</i>, <a href="#Page_44">44</a>.<br />
+<br />
+Modelling and models (clay), <a href="#Page_67">67</a>, <a href="#Page_68">68</a>.<br />
+<br />
+<i>Moorish Garden</i>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>.<br />
+<br />
+Morals, Art and, Leighton on, <a href="#Page_74">74</a>.<br />
+<br />
+<i>Moretta</i>, <a href="#Page_31">31</a>.<br />
+<br />
+Morris, William, and Rossetti, <a href="#Page_17">17</a>.<br />
+<br />
+Mosaics, <a href="#Page_67">67</a>.<br />
+<br />
+<i>Moses views the Promised Land</i>, illus., <a href="#moses">70</a>.<br />
+<br />
+<i>Mosque, Ruined, at Broussa</i>, illus., <a href="#broussa">134</a>.<br />
+<br />
+<i>Mother and Child</i>, <a href="#Page_23">23</a>.<br />
+<br />
+Murger, Henri, <a href="#Page_7">7</a>.<br />
+<br />
+<i>Music</i> (a frieze), <a href="#Page_46">46</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#friezes">44</a>.</span><br />
+<br />
+<i>Music, The Triumph of</i>, <a href="#Page_15">15</a>, <a href="#Page_107">107</a>.<br />
+<br />
+<i>Music Lesson</i>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>.<br />
+<br />
+<i>Music Room, Decoration for a</i>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_128">128</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#ceiling">62</a>.</span><br />
+<br />
+<br />
+<i>Nanna</i>, <a href="#Page_17">17</a>.<br />
+<br />
+<i>Nap, A</i>, <a href="#Page_44">44</a>.<br />
+<br />
+Nature in Leighton's compositions, <a href="#Page_58">58</a>.<br />
+<br />
+<i>Nausicaa</i>, <a href="#Page_37">37</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#nausicaa">38</a>.</span><br />
+<br />
+<i>Needless Alarms</i>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>.<br />
+<br />
+<i>Neruccia</i>, <a href="#Page_39">39</a>.<br />
+<br />
+Nias, Lady (<i>Miss Laing</i>), <a href="#Page_9">9</a>.<br />
+<br />
+Nile, voyage up the, <a href="#Page_28">28</a>.<br />
+<br />
+<i>Nile Woman, A</i>, <a href="#Page_29">29</a>.<br />
+<br />
+<i>Noble Lady of Venice, A</i>, <a href="#Page_52">52</a>.<br />
+<br />
+<i>Nymph and Cupid, A</i>, <a href="#Page_15">15</a>, <a href="#Page_84">84</a>.<br />
+<br />
+Nymph of the Dargle, The, <a href="#Page_42">42</a>.<br />
+<br />
+<br />
+<i>Odalisque</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<i>Old Damascus</i> (the Jews' quarter), <a href="#Page_29">29</a>, <a href="#Page_33">33</a>.<br />
+<br />
+Orchardson, Mr., on <i>Clytie</i>, <a href="#Page_52">52</a>.<br />
+<br />
+Orkney, Lady, <a href="#Page_37">37</a>.<br />
+<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span><br />
+<i>Orpheus and Eurydice</i>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#orpheus">22</a>.</span><br />
+<br />
+Orr, Major Sutherland, monument to, <a href="#Page_67">67</a>.<br />
+<br />
+<i>Orr, Mrs. Sutherland</i>, <a href="#Page_19">19</a>.<br />
+<br />
+<br />
+Pacheco, Francisco, on drawing, <a href="#Page_60">60</a>.<br />
+<br />
+<i>Painter's Honeymoon, The</i>, <a href="#Page_24">24</a>.<br />
+<br />
+<i>Pan</i>, <a href="#Page_15">15</a>, <a href="#Page_122">122</a>.<br />
+<br />
+<i>Paolo</i>, <a href="#Page_35">35</a>.<br />
+<br />
+<i>Paolo e Francesca</i>, <a href="#Page_19">19</a>, <a href="#Page_122">122</a>.<br />
+<br />
+<i>Paris, Count</i>, <a href="#Page_16">16</a>, <a href="#Page_107">107</a>, <a href="#Page_122">122</a>.<br />
+<br />
+Paris, Leighton at, <a href="#Page_7">7</a>, <a href="#Page_15">15</a>;<br />
+<span style="margin-left: 1em;">exhibition at, <a href="#Page_13">13</a>.</span><br />
+<br />
+Parry, Gambier, and Ely Cathedral, <a href="#Page_65">65</a>.<br />
+<br />
+<i>Pastoral</i>, <a href="#Page_24">24</a>.<br />
+<br />
+<i>Pavonia</i>, <a href="#Page_17">17</a>.<br />
+<br />
+<i>Pencil Drawings, Two Early</i>, illus., <a href="#twoearly">6</a>.<br />
+<br />
+<i>Pencil Study, A</i>, illus., <a href="#pencil">16</a>.<br />
+<br />
+<i>Persephone, Return of</i>, <a href="#Page_49">49</a>, <a href="#Page_59">59</a>;<br />
+<span style="margin-left: 1em;"><i>Studies for</i>, illus., <a href="#persestudy">60</a>.</span><br />
+<br />
+<i>Perseus</i> (clay model), <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#perseus">68</a>.</span><br />
+<br />
+<i>Perseus and Andromeda</i>, <a href="#Page_49">49</a>, <a href="#Page_59">59</a>, <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;"><i>Study for</i>, illus., <a href="#perseusstudy">58</a>.</span><br />
+<br />
+<i>Persian Pedlar</i>, A, <a href="#Page_9">9</a>.<br />
+<br />
+Petrarch, Leighton on, <a href="#Page_81">81</a>.<br />
+<br />
+<i>Ph&oelig;be</i>, <a href="#Page_46">46</a>.<br />
+<br />
+<i>Ph&oelig;nicians bartering with Britons</i>, <a href="#Page_51">51</a>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#britons">66</a>.</span><br />
+<br />
+<i>Phryne at Eleusis</i>, <a href="#Page_44">44</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#phryne">42</a>.</span><br />
+<br />
+<i>Pisano, Niccol&ograve;</i> (mosaic), <a href="#Page_67">67</a>.<br />
+<br />
+<i>Plague at Florence, The</i>, <a href="#Page_8">8</a>, <a href="#Page_90">90</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#plague">8</a>.</span><br />
+<br />
+Powers, Hiram, <a href="#Page_5">5</a>.<br />
+<br />
+Poynter, Sir E. J., and Leighton, <a href="#Page_66">66</a>, <a href="#Page_116">116</a>.<br />
+<br />
+Pre-Raphaelites, the, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>.<br />
+<br />
+<i>Primrose, The Lady Sybil</i>, <a href="#Page_46">46</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#primrose">46</a>.</span><br />
+<br />
+<i>Psamathe</i>, <a href="#Page_41">41</a>.<br />
+<br />
+<br />
+<i>Ralli, Mrs. Augustus</i>, <a href="#Page_43">43</a>.<br />
+<br />
+Raphael, Leighton on, <a href="#Page_81">81</a>.<br />
+<br />
+<i>Red Mountains Desert, Cairo</i>, illus., <a href="#reddesert">136</a>.<br />
+<br />
+<i>Return of Persephone, The</i>, <a href="#Page_49">49</a>, <a href="#Page_59">59</a>;<br />
+<span style="margin-left: 1em;"><i>Studies for</i>, illus., <a href="#persestudy">60</a>.</span><br />
+<br />
+<i>Rizpah</i>, <a href="#Page_50">50</a>, <a href="#Page_59">59</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#rizpah">52</a>.</span><br />
+<br />
+Roman Art, Leighton on, <a href="#Page_78">78</a>.<br />
+<br />
+<i>Roman Lady, A</i>, <a href="#Page_17">17</a>.<br />
+<br />
+Romano Giulio, Leighton on, <a href="#Page_79">79</a>.<br />
+<br />
+Rome, Leighton at, <a href="#Page_3">3</a>, <a href="#Page_9">9-11</a>.<br />
+<br />
+<i>Romeo, The Dead</i>, illus., <a href="#romeo">14</a>.<br />
+<br />
+<i>Romeo and Juliet</i>, <a href="#Page_90">90</a>.<br />
+<br />
+"Romola" illustrations, <a href="#Page_69">69</a>.<br />
+<br />
+Rossetti, D. G., <a href="#Page_10">10</a>, <a href="#Page_13">13</a>;<br />
+<span style="margin-left: 1em;">works by, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>;</span><br />
+<span style="margin-left: 1em;">on Leighton, <a href="#Page_11">11</a>, <a href="#Page_19">19</a>, <a href="#Page_106">106</a>.</span><br />
+<br />
+Rossetti, W. M., on Leighton, <a href="#Page_109">109</a>, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>.<br />
+<br />
+Royal Exchange, decoration at, <a href="#Page_51">51</a>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#cupid">66</a>.</span><br />
+<br />
+<i>Rubinella</i>, <a href="#Page_42">42</a>.<br />
+<br />
+Ruskin on Leighton, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_17">17</a>, <a href="#Page_33">33</a>, <a href="#Page_103">103</a>, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>.<br />
+<br />
+<i>Rustic Music</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<i>Ryan, Edward</i>, <a href="#Page_31">31</a>.<br />
+<br />
+<br />
+<i>St. Jerome</i>, <a href="#Page_26">26</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#jerome">26</a>.</span><br />
+<br />
+<i>St. Marks, In</i>, <a href="#Page_23">23</a>.<br />
+<br />
+St. Paul's, Design for proposed decoration of, <a href="#Page_44">44</a>, <a href="#Page_49">49</a>, <a href="#Page_66">66</a>.<br />
+<br />
+<i>Salome</i>, <a href="#Page_15">15</a>.<br />
+<br />
+<i>Samson and Delilah</i>, <a href="#Page_18">18</a>.<br />
+<br />
+<i>Samson and the Lion</i>, illus., <a href="#samsonlion">70</a>.<br />
+<br />
+<i>Samson at the Mill</i>, <a href="#Page_69">69</a>.<br />
+<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span><br />
+<i>Samson carrying the Gates</i>, illus., <a href="#samsongate">70</a>.<br />
+<br />
+Sand, George, <a href="#Page_11">11</a>.<br />
+<br />
+Sartoris, Mrs. Algernon, <i>Portrait of</i>, <a href="#Page_43">43</a>;<br />
+<span style="margin-left: 1em;">illustration by Leighton to her "Week in a French Country House," <a href="#Page_69">69</a>.</span><br />
+<br />
+Sculpture, <a href="#Page_36">36</a>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#athlete">68</a>, <a href="#medallion">130</a>.</span><br />
+<br />
+<i>Sea Echoes</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<i>Sea gave up the Dead, And the</i>, <a href="#Page_49">49</a>, <a href="#Page_66">66</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#thesea">50</a>.</span><br />
+<br />
+<i>Serafina</i>, <a href="#Page_38">38</a>.<br />
+<br />
+"<i>Serenely Wandering</i>," illus., <a href="#serene">128</a>.<br />
+<br />
+Servolini, <a href="#Page_5">5</a>.<br />
+<br />
+<i>Sibyl</i>, <a href="#Page_48">48</a>, <a href="#Page_54">54</a>, <a href="#Page_58">58</a>.<br />
+<br />
+<i>Sim&aelig;tha the Sorceress</i>, <a href="#Page_47">47</a>.<br />
+<br />
+<i>Sisters</i>, <a href="#Page_20">20</a>.<br />
+<br />
+<i>Sister's Kiss</i>, <a href="#Page_41">41</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#sister">40</a>.</span><br />
+<br />
+Sizeranne, M. de la, on Leighton, <a href="#Page_113">113</a>.<br />
+<br />
+<i>Sluggard, The</i>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>;<br />
+<span style="margin-left: 1em;"><i>Study for</i>, illus., <a href="#sluggard">68</a>.</span><br />
+<br />
+<i>Solitude</i>, <a href="#Page_49">49</a>;<br />
+<span style="margin-left: 1em;"><i>Study for</i>, illus., <a href="#solitude">58</a>.</span><br />
+<br />
+South Kensington, drawings on wood at, <a href="#Page_69">69</a>;<br />
+<span style="margin-left: 1em;">frescoes, <a href="#Page_32">32</a>, <a href="#Page_63">63-66</a>;</span><br />
+<span style="margin-left: 1em;">mosaic, <a href="#Page_67">67</a>.</span><br />
+<br />
+Spain, Leighton on the Art of, <a href="#Page_82">82</a>, <a href="#Page_83">83</a>.<br />
+<br />
+Spielmann, Mr. M. H., on Leighton, <a href="#Page_46">46</a>, <a href="#Page_48">48</a>, <a href="#Page_54">54-58</a>.<br />
+<br />
+<i>Spies' Escape, The</i>, <a href="#Page_69">69</a>.<br />
+<br />
+<i>Spirit of the Summit, The</i>, <a href="#Page_51">51</a>, <a href="#Page_60">60</a>, <a href="#Page_113">113</a>.<br />
+<br />
+<i>Star of Bethlehem, The</i>, <a href="#Page_20">20</a>, <a href="#Page_109">109</a>, <a href="#Page_123">123</a>.<br />
+<br />
+Steinle, Johann Eduard, <a href="#Page_6">6</a>, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>.<br />
+<br />
+Stephens, F. G., on the Hogarth Club, <a href="#Page_17">17</a>.<br />
+<br />
+Studies, collection of Leighton's, <a href="#Page_62">62</a>.<br />
+<br />
+Studies in oil, list of, <a href="#Page_132">132-136</a>.<br />
+<br />
+<i>Studies of Heads</i>, <a href="#Page_38">38</a>, <a href="#Page_51">51</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#romeo">14</a>, <a href="#head1">74</a>, <a href="#head2">76</a>, <a href="#head3">78</a>, <a href="#head4">80</a>, <a href="#head5">82</a>.</span><br />
+<br />
+<i>Study</i> (little girl in Eastern Garb), <a href="#Page_37">37</a>.<br />
+<br />
+<i>Study A</i> (Grosvenor Gallery, 1877), <a href="#Page_37">37</a>;<br />
+<span style="margin-left: 1em;">(Academy, 1878), <a href="#Page_38">38</a>;</span><br />
+<span style="margin-left: 1em;">(Grosvenor Gallery, 1885), <a href="#Page_46">46</a>.</span><br />
+<br />
+<i>Summer Moon</i>, <a href="#Page_31">31</a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#summer">30</a>.</span><br />
+<br />
+<i>Summer Slumber</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Sun Gleams</i>, <a href="#Page_44">44</a>.<br />
+<br />
+<i>Sunny Hours</i>, <a href="#Page_17">17</a>.<br />
+<br />
+<i>Syracusan Bride</i>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_34">34</a>, <a href="#Page_47">47</a>.<br />
+<br />
+<br />
+Tate Gallery, The, <a href="#Page_36">36</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>.<br />
+<br />
+<i>Teresina</i>, <a href="#Page_35">35</a>.<br />
+<br />
+Thackeray on Leighton, <a href="#Page_9">9</a>.<br />
+<br />
+<i>Tragic Poetess</i>, <a href="#Page_49">49</a>.<br />
+<br />
+<i>Triumph of Music, The</i>, <a href="#Page_15">15</a>, <a href="#Page_107">107</a>.<br />
+<br />
+<i>'Twixt Hope and Fear</i>, <a href="#Page_51">51</a>.<br />
+<br />
+<br />
+Velasquez, Diego, Leighton on, <a href="#Page_83">83</a>.<br />
+<br />
+<i>Venus Disrobing</i>, <a href="#Page_25">25</a>, <a href="#Page_110"><ins class="correction" title="original reads '160'">110</ins></a>;<br />
+<span style="margin-left: 1em;">illus., <a href="#disrobing">24</a>.</span><br />
+<br />
+<i>Vestal</i>, <a href="#Page_44">44</a>, <a href="#Page_51">51</a>.<br />
+<br />
+<i>Viola</i>, <a href="#Page_43">43</a>.<br />
+<br />
+Volumnus Violens, tomb of, Leighton on, <a href="#Page_77">77</a>.<br />
+<br />
+<br />
+<i>Walker, John Hanson</i>, <a href="#Page_19">19</a>.<br />
+<br />
+Watteau, Leighton on, <a href="#Page_84">84</a>.<br />
+<br />
+Watts, G. F., <a href="#Page_14">14</a>;<br />
+<span style="margin-left: 1em;">pictures by, <a href="#Page_91">91</a>;</span><br />
+<span style="margin-left: 1em;">portraits of Leighton, <a href="#Page_42">42</a>, <a href="#Page_90">90</a>;</span><br />
+<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span><span style="margin-left: 1em;">method compared with Leighton's, <a href="#Page_55">55</a>;</span><br />
+<span style="margin-left: 1em;">on Leighton, <a href="#Page_116">116</a>.</span><br />
+<br />
+<i>Weaving the Wreath</i>, <a href="#Page_32">32</a>.<br />
+<br />
+<i>Wedded</i>, <a href="#Page_43">43</a>.<br />
+<br />
+<i>Whispers</i>, <a href="#Page_43">43</a>.<br />
+<br />
+<i>Widow's Prayer, The</i>, <a href="#Page_23">23</a>.<br />
+<br />
+<i>Winding the Skein</i>, <a href="#Page_37">37</a>, <a href="#Page_111">111</a>;<br />
+<span style="margin-left: 1em;">photogravure, <a href="#skein"><i>Front</i></a>.</span><br />
+<br />
+<i>Wise and Foolish Virgins, The</i>, <a href="#Page_24">24</a>, <a href="#Page_64">64</a>.<br />
+<br />
+<br />
+<i>Zeyra</i>, <a href="#Page_43">43</a>.</p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<h4>CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.<br />
+TOOKS COURT, CHANCERY LANE, LONDON.</h4>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><b>Footnotes:</b></p>
+
+<p><a name="f1" id="f1" href="#f1.1">[1]</a> See pages <a href="#Page_103">103-114</a>.</p>
+
+<p><a name="f2" id="f2" href="#f2.1">[2]</a> Letter to William Allingham, May 10th, 1861.</p>
+
+<p><a name="f3" id="f3" href="#f3.1">[3]</a> "Athen&aelig;um," April, 1864.</p>
+
+<p><a name="f4" id="f4" href="#f4.1">[4]</a> The original title of this picture was <i>Eastern Slinger scaring Birds in Harvest-time: Moonrise</i>. See Illustration at p. <a href="#Page_113">112</a>.</p>
+
+<p><a name="f5" id="f5" href="#f5.1">[5]</a> This picture was re-sold at Christie's in 1892 for 3,750 guineas.</p>
+
+<p><a name="f6" id="f6" href="#f6.1">[6]</a> Sometimes entitled <i>An Athlete strangling a Python</i>.</p>
+
+<p><a name="f7" id="f7" href="#f7.1">[7]</a> At page <a href="#Page_63">62</a>.</p>
+
+<p><a name="f8" id="f8" href="#f8.1">[8]</a> Engraved in the "Magazine of Art," March, 1896.</p>
+
+<p><a name="f9" id="f9" href="#f9.1">[9]</a> "Current Art" ("Magazine of Art," May, 1889).</p>
+
+<p><a name="f10" id="f10" href="#f10.1">[10]</a> "The Studio," vol. iii.</p>
+
+<p><a name="f11" id="f11" href="#f11.1">[11]</a> Reproductions of both of these drawings are given at p. <a href="#Page_18">18</a>.</p>
+
+<p><a name="f12" id="f12" href="#f12.1">[12]</a> "Letters of Dante Gabriel Rossetti to William Allingham," by George Birkbeck Hill, D.C.L., LL.D. London, T. Fisher Unwin, 1897.</p>
+
+<p><a name="f13" id="f13" href="#f13.1">[13]</a> "La Peinture Anglaise Contemporaine" (Paris, Hachette, 1895).</p>
+
+<p><a name="f14" id="f14" href="#f14.1">[14]</a> "Magazine of Art," March, 1896, p. 197.</p>
+
+<p><a name="f15" id="f15" href="#f15.1">[15]</a> The asterisk denotes works exhibited at the Winter Exhibition of the Royal Academy of Arts, 1897.</p>
+
+<p><a name="f16" id="f16" href="#f16.1">[16]</a> R.A., Royal Academy; G.G., Grosvenor Gallery; R.W.S., Royal Society
+of Painters in Water-Colours; S.S., Royal Society of British Artists, Suffolk Street; D.G., Dudley Gallery; S.P.P., Society of Portrait Painters.</p>
+
+<p><a name="f17" id="f17" href="#f17.1">[17]</a> Exhibited in the Roman Section, by some blunder of the Committee; the picture having been painted in Rome.</p>
+
+<p><a name="f18" id="f18" href="#f18.1">[18]</a> Purchased for &pound;2,000 by the President and Council of the Royal Academy, under the terms of the Chantrey Bequest.</p>
+
+<p><a name="f19" id="f19" href="#f19.1">[19]</a> Painted by invitation for the Collection of Portraits of Artists painted by themselves in the Uffizi Gallery, Florence.</p>
+
+<p><a name="f20" id="f20" href="#f20.1">[20]</a> Painted for the house of Mr. Murquand, New York.</p>
+
+<p><a name="f21" id="f21" href="#f21.1">[21]</a> Purchased for 1,000 guineas by the President and Council of the Royal Academy, under the terms of the Chantrey Bequest.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><b>Transcriber's note:</b></p>
+<p>Additional spacing after some of the quotes is intentional to indicate both the end of a quotation and the beginning of a new paragraph as presented in the original text.</p>
+<p>In the original text, the images are not on numbered pages. For this e-text. the images have been moved to the end of the nearest paragraph, and the links are to the images, not to the page references.</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK FREDERIC LORD LEIGHTON ***</p>
+<p>******* This file should be named 30262-h.txt or 30262-h.zip *******</p>
+<p>This and all associated files of various formats will be found in:<br />
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+The Project Gutenberg eBook, Frederic Lord Leighton , by Ernest Rhys
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Frederic Lord Leighton 
+       An Illustrated Record of His Life and Work
+
+
+Author: Ernest Rhys
+
+
+
+Release Date: October 15, 2009  [eBook #30262]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK FREDERIC LORD LEIGHTON ***
+
+
+E-text prepared by Suzanne Lybarger, Jonathan Ingram, Stephanie Eason, and
+the Project Gutenberg Online Distributed Proofreading Team
+(http://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 30262-h.htm or 30262-h.zip:
+      (http://www.gutenberg.org/files/30262/30262-h/30262-h.htm)
+      or
+      (http://www.gutenberg.org/files/30262/30262-h.zip)
+
+
+
+
+
+FREDERIC LORD LEIGHTON
+
+Late President of the Royal Academy of Arts
+
+An Illustrated Record of His Life and Work
+
+by
+
+ERNEST RHYS
+
+
+
+
+
+
+
+[Illustration: _Winding the Skein._
+               _By permission of the Fine Art Society._
+               _F. Leighton. pinxt._
+               _Swan Electric Engraving Co. Sc._]
+
+
+George Bell & Sons
+
+London: George Bell & Sons
+1900
+
+First Published, super-royal, 4to, 1895.
+Second Edition, revised, colombier 8vo, 1898.
+Third Edition, revised, crown 8vo, 1900.
+
+
+
+
+Publishers' Note to Third Edition
+
+
+The reception given to previous editions of this work encourages the
+publishers to hope that a re-issue in a smaller form may be appreciated.
+The present volume is reprinted with a few alterations and corrections
+from the second edition published in 1898. A chapter on "Lord Leighton's
+House in 1900," by Mr. S. Pepys Cockerell, has been added.
+
+The publishers take the opportunity to repeat their acknowledgments of
+assistance most kindly given by numerous owners and admirers of the
+artist's work. By the gracious consent of H.M. the Queen, the _Cimabue_
+in the Buckingham Palace collection, is here reproduced. Especial thanks
+are also due to Lord Davey, Lord Hillingdon, Lord Rosebery, Mrs.
+Dyson-Perrins, the late Mr. Alfred Morrison, Sir Bernhard Samuelson, Lady
+Halle, Mr. Alex. Henderson, Mr. Francis Reckitts, the late Sir Henry
+Tate, the Birmingham and Manchester Corporations, and the President and
+Council of the Royal Academy, who have kindly permitted the reproduction
+of pictures in their possession. To the late Lord Leighton himself the
+author and publishers have to acknowledge their indebtedness for a
+large number of studies and sketches, hitherto unpublished, as well as
+for his kind co-operation in the preparation of the volume. The author
+wishes also to record his thanks to Mr. M. H. Spielmann for permission
+to use his admirable account of the President's method of painting.
+
+By arrangement with the holders of several important copyrights,
+including Messrs. Thos. Agnew and Sons, P. and D. Colnaghi and Co.,
+H. Graves and Co., Arthur Tooth and Sons, the Society for Promoting
+Christian Knowledge, the proprietors of the Art Journal, the Berlin
+Photographic Company, and the Fine Art Society (whose courtesies in the
+matter are duly credited in the list of illustrations), the publishers
+have been enabled to represent many of the most popular paintings by the
+artist, and a selection of his famous designs for Dalziel's Bible
+Gallery.
+
+
+
+
+Contents
+
+                                                                   PAGE
+
+   CHAPTER I. HIS EARLY YEARS                                         3
+
+          II. YEAR BY YEAR--1855 TO 1864                             12
+
+         III. YEAR BY YEAR--1864 TO 1869                             21
+
+          IV. YEAR BY YEAR--1870 TO 1878                             28
+
+           V. YEAR BY YEAR--1878 TO 1896                             39
+
+          VI. HIS METHOD OF PAINTING                                 54
+
+         VII. MURAL DECORATION, SCULPTURE, AND ILLUSTRATION          61
+
+        VIII. DISCOURSES ON ART                                      71
+
+          IX. LORD LEIGHTON'S HOME                                   88
+
+           X. LORD LEIGHTON'S HOUSE IN 1900. BY S. PEPYS COCKERELL   92
+
+          XI. THE ARTIST AND HIS CRITICS                            103
+
+         XII. CONCLUSION                                            115
+
+  APPENDIX I. CHRONOLOGICAL LIST OF WORKS                           121
+
+          II. LIST OF LANDSCAPES AND STUDIES SOLD AT CHRISTIE'S
+              (JULY, 1896)                                          132
+
+        INDEX                                                       137
+
+
+
+
+List of Illustrations
+
+
+I. FIGURE SUBJECTS.
+
+                                                                   PAGE
+
+  WINDING THE SKEIN                                      _Frontispiece_
+    _By permission of the Fine Art Society._
+    (_Photogravure plate._)
+
+  CIMABUE'S MADONNA                                                  10
+    _By the gracious permission of Her Majesty the Queen._
+
+  GOLDEN HOURS                                                       21
+    _By the kind permission of Lord Davey._
+
+  HELEN OF TROY                                                      22
+    _By permission of Messrs. H. Graves and Co._
+
+  ORPHEUS AND EURYDICE                                               22
+    _By the kind permission of Francis Reckitts, Esq._
+
+  VENUS DISROBING FOR THE BATH                                       24
+    _By the kind permission of Alexander Henderson, Esq._
+
+  ELECTRA AT THE TOMB OF AGAMEMNON                                   24
+
+  DAEDALUS AND ICARUS                                                26
+    _By the kind permission of Alexander Henderson, Esq._
+
+  ST. JEROME                                                         26
+    _By the kind permission of the President and Council of
+    the Royal Academy of Arts._
+
+  HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS             30
+    _By the kind permission of Sir Bernhard Samuelson._
+
+  SUMMER MOON                                                        30
+    _By the kind permission of the late Alfred Morrison, Esq.,
+    from the photogravure published by Messrs. P. and D.
+    Colnaghi and Co._
+
+  THE JUGGLING GIRL                                                  32
+    _By the kind permission of Lord Hillingdon._
+
+  A CONDOTTIERE                                                      32
+    _By permission of the Corporation of Birmingham._
+
+  THE DAPHNEPHORIA                                                   34
+    _By permission of the Fine Art Society._
+
+  NAUSICAA                                                           38
+
+  SISTER'S KISS                                                      40
+    _By permission of the Fine Art Society._
+
+  PHRYNE AT ELEUSIS                                                  42
+    _By permission of the late Lord Leighton._
+
+  DAY DREAMS                                                         42
+    _By permission of the Fine Art Society._
+
+  CYMON AND IPHIGENIA                                                44
+    _By permission of the Fine Art Society._
+    (_Photogravure plate._)
+
+  THE LAST WATCH OF HERO                                             46
+    _By permission of the Corporation of Manchester._
+
+  GREEK GIRLS PLAYING AT BALL                                        48
+    _By permission of the Berlin Photographic Company._
+
+  THE BATH OF PSYCHE                                                 48
+    _By permission of the Berlin Photographic Company._
+
+  FAREWELL                                                           50
+    _By permission of Messrs. A. Tooth and Sons._
+
+  "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT"                    50
+    _By the kind permission of Sir Henry Tate._
+
+  THE FRIGIDARIUM                                                    50
+    _By permission of Messrs. H. Graves and Co._
+
+  RIZPAH                                                             52
+    _By permission of Messrs. Cassell and Co._
+
+  THE BRACELET                                                       52
+    _By permission of Messrs. T. Agnew and Sons._
+
+  FATIDICA                                                           52
+    _By permission of Messrs. T. Agnew and Sons._
+
+  A BACCHANTE                                                        54
+    _By permission of Messrs. H. Graves and Co._
+
+  HIT                                                                54
+    _By permission of the proprietors of the "Art Journal."_
+
+  EGYPTIAN SLINGER                                                  112
+    _By the kind permission of Lord Davey._
+
+  ELISHA AND THE SHUNAMITE'S SON                                    114
+    _By the kind permission of Mrs. Dyson-Perrins._
+
+  "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT"             128
+
+
+II. LANDSCAPES, ETC.
+
+  GARDEN AT GENERALIFE, GRANADA                                      28
+
+  MIMBAR OF THE GREAT MOSQUE AT DAMASCUS                             28
+
+  FOUNTAIN IN COURT AT DAMASCUS                                     132
+
+  THE ISLAND OF AEGINA, PNYX IN THE FOREGROUND                      132
+
+  RUINED MOSQUE, BROUSSA                                            134
+
+  CITY OF TOMBS, ASSIOUT, EGYPT                                     134
+
+  ATHENS, WITH THE GENOESE TOWER, PNYX IN FOREGROUND                136
+
+  COAST OF ASIA MINOR SEEN FROM RHODES                              136
+
+  RED MOUNTAINS DESERT, CAIRO                                       136
+
+
+III. PORTRAITS.
+
+  PORTRAIT OF THE ARTIST. (In the Uffizi Gallery, Florence)           3
+
+  PORTRAIT OF THE HON. MABEL MILLS                                   36
+    _By the kind permission of Lady Hillingdon._
+
+  PORTRAIT OF CAPTAIN (SIR) RICHARD BURTON                           36
+
+  PORTRAIT OF SIGNOR COSTA                                           40
+
+  PORTRAIT OF THE LADY SYBIL PRIMROSE                                46
+    _By the kind permission of Lord Rosebery._
+
+
+IV. STUDIES AND SKETCHES.
+
+  TWO EARLY PENCIL STUDIES                                            6
+
+  SCHEME FOR A PICTURE, "THE PLAGUE IN FLORENCE"                      8
+
+  STUDY FOR A HEAD--"THE DEAD ROMEO"                                 14
+
+  A PENCIL STUDY                                                     16
+
+  A LEMON TREE. (A pencil study)                                     18
+
+  BYZANTINE WELL-HEAD. (A pencil study)                              18
+
+  STUDY FOR "THE DAPHNEPHORIA"                                       34
+
+  STUDY FOR "ELIJAH IN THE WILDERNESS"                               38
+
+  STUDY FOR "CAPTIVE ANDROMACHE" (nude)                              56
+
+  STUDY FOR A FIGURE IN "CAPTIVE ANDROMACHE"                         56
+
+  STUDY FOR "ANDROMACHE"                                             56
+
+  STUDY FOR "PERSEUS AND ANDROMEDA"                                  58
+
+  STUDY FOR A FIGURE IN "THE BATH OF PSYCHE"                         58
+
+  STUDY FOR "SOLITUDE"                                               58
+
+  STUDY FOR A FIGURE IN "THE RETURN OF PERSEPHONE"                   60
+
+  STUDY FOR "PERSEPHONE"                                             60
+
+  STUDIES FOR THE DECORATION OF THE CEILING OF A MUSIC ROOM          62
+
+  CAIN AND ABEL                  {                 }
+  MOSES VIEWS THE PROMISED LAND  { From Dalziel's  }
+  SAMSON AND THE LION            { "Bible Gallery" }                 70
+  SAMSON CARRYING OFF THE GATES  {                 }
+    _By permission of Messrs. J. S. Virtue and Co. and the
+    Society for Promoting Christian Knowledge._
+
+  "A CONTRAST"                                                       72
+
+  A STUDY IN OILS. (Head of a girl, back view)                       74
+
+  HEAD OF A YOUNG GIRL. (A Study in oils)                            76
+    _By the kind permission of Lady Halle._
+
+  STUDY OF A HEAD                                                    78
+
+  STUDY OF A HEAD                                                    80
+
+  A STUDY IN OILS. (Head of a girl)                                  82
+
+
+V. FRESCOES, WALL PAINTINGS, ETC.
+
+  TWO FRIEZES--MUSIC, THE DANCE                                      44
+
+  DECORATION FOR THE CEILING OF A MUSIC ROOM                         62
+
+  THE INDUSTRIAL ARTS OF WAR. (From the fresco at South
+    Kensington Museum)                                               64
+
+  THE INDUSTRIAL ARTS OF PEACE. (From the fresco at South
+    Kensington Museum)                                               64
+
+  CUPID. (From a fresco)                                             66
+
+  PHOENICIANS BARTERING WITH BRITONS. (Panel in the Royal
+    Exchange)                                                        66
+
+
+VI. SCULPTURE.
+
+  AN ATHLETE STRUGGLING WITH A PYTHON. (Bronze statue, from
+    two points of view)                                              68
+
+  STUDY IN CLAY FOR "CYMON"                                          68
+
+  STUDY IN CLAY FOR "THE SLUGGARD"                                   68
+
+  STUDY IN CLAY FOR "PERSEUS"                                        68
+
+  STUDY IN CLAY FOR "ANDROMEDA"                                      68
+
+  DESIGN FOR REVERSE OF THE JUBILEE MEDALLION (1887)                130
+
+
+VII. LORD LEIGHTON'S HOUSE.
+
+  IN THE INNER HALL. (From a photograph taken specially
+    by Mr. James Hyatt)                                              88
+
+  IN THE ARAB HALL. (From a photograph by Messrs. Bedford,
+    Lemere, and Co.)                                                 96
+
+
+  BOOKPLATE OF LORD LEIGHTON. (Designed by R. Anning Bell)          120
+
+_With four exceptions all the reproductions are by the Swan
+Electric Engraving Company._
+
+
+
+
+FREDERIC LORD LEIGHTON, P.R.A.
+
+
+LIST OF DIGNITIES AND HONOURS CONFERRED
+ON FREDERIC LEIGHTON.
+
+Knighted, 1878; created a Baronet, 1886; created Baron Leighton of
+Stretton, 1896; elected Associate of the Royal Academy, 1864; Royal
+Academician, 1869; President of the Royal Academy, 1878; Hon. Mem. Royal
+Scottish Academy, and Royal Hibernian Academy, Associate of the
+Institute of France, President of the International Jury of Painting,
+Paris Exhibition, 1878; Hon. Member, Berlin Academy, 1886; also Member
+of the Royal Academy of Vienna, 1888, Belgium, 1886, of the Academy of
+St. Luke, Rome, and the Academies of Florence (1882), Turin, Genoa,
+Perugia, and Antwerp (1885); Hon. D.C.L., Oxford, 1879; Hon. LL.D.,
+Cambridge, 1879; Hon. LL.D., Edinburgh, 1884; Hon. D.Lit., Dublin, 1892;
+Hon. D.C.L., Durham, 1894; Hon. Fellow of Trinity College, London, 1876;
+Lieut.-Colonel of the 20th Middlesex (Artists') Rifle Volunteers, 1876
+to 1883 (resigned); then Hon. Colonel and holder of the Volunteer
+Decoration; Commander of the Legion of Honour, 1889; Commander of the
+Order of Leopold; Knight of the Prussian Order "pour le Merite," and of
+the Coburg Order Dem Verdienste.
+
+
+
+
+[Illustration: PORTRAIT OF THE ARTIST (1881)
+              _Painted for the Uffizi Gallery_]
+
+
+
+
+FREDERIC LORD LEIGHTON, P.R.A.
+
+AN ILLUSTRATED CHRONICLE
+
+
+
+
+CHAPTER I
+
+HIS EARLY YEARS
+
+
+To Italy, at whose liberal well-head English Art has so often renewed
+itself, we turn naturally for an opening to this chronicle of a great
+English artist's career. Frederic Leighton was the painter of our time
+who strove hardest to keep alive an Italian ideal of beauty in London;
+therefore it is in Italy, the Italy of Raphael and Angelo and his
+favourite Giotteschi, that we must seek the true beginnings of his art.
+
+London made its first acquaintance with him and his painting in 1855,
+when the picture, _Cimabue's Madonna carried in Procession through the
+Streets of Florence_, startled the Royal Academy, and proved that a
+'prentice work could be in its way something of a masterpiece. This
+picture, the work of an unknown young artist of twenty-five, painted
+chiefly in Rome, showed at once a new force and a new quality, and in
+its singular feeling for certain of the archaic Italian schools, showed,
+too, where for the moment the sympathies of the painter really lay. How
+far the potentiality disclosed in it was developed during the forty
+years following, how far the ideals in art, which it seemed to declare,
+were pursued or departed from, the Royal Academy year by year is
+witness. Here, before we turn to consider the history of those later
+years, we shall find it interesting to use this first picture as an
+index to that period of probation, which is so often the most
+interesting part of an artist's history. In accounting for it, and
+finding out the determining experiences of the artist's pupilage, we
+shall account, also, for much that came after. Although Frankfort and
+Paris play their part, the formative influences of that early period, we
+shall find, carry us chiefly, and again and again, into Italy.
+
+Frederic Leighton was born on the 3rd of December, 1830, at Scarborough,
+the son of a medical practitioner. His father, Dr. Frederic Leighton,
+was also the son of a physician who was knighted for eminence in his
+profession. Thus we have two generations of medicine and culture in the
+family; but there is no sign of art, or love for art, before the third.
+This generation produced three children, all devoted to the graphic arts
+and to music, of whom the boy, Frederic was the eldest.
+
+A word or two more must be given to his forbears, on grounds of
+character and heredity, before we pass. Sir James Leighton, the
+grandfather, was Physician to the Court at St. Petersburg, where he
+served in succession Alexander the First, and Nicholas, with whom he was
+on terms of considerable intimacy. His son, Dr. Frederic Leighton, who
+promised to be a still more brilliant practioner, was educated at
+Stonyhurst, but after taking his M.D. degree at Edinburgh, just as he
+was rapidly acquiring the highest professional reputation, contracted a
+cold that led to a partial deafness. This made it impossible for him to
+go on practising with safety, and retiring to his study he turned from
+physical to metaphysical pursuits. In spite of his deafness, as severe
+an embargo on social reputation as can well be laid, Dr. Leighton is
+said to have been equally noted among his friends for his keen
+intellectual quality and his urbanity.
+
+To be the son of his father, then, counted for something in our hero's
+career. Even in art, which Dr. Leighton did not care for particularly,
+the boy had very great opportunities. Before he was ten years old, he
+went abroad with his mother, who was in ill health; and already he had
+shown such decided signs of the _furor pingendi_ during a chance visit
+to Mr. Lance's studio in Paris, that it is without surprise that we hear
+of him in 1840 as taking drawing lessons from Signor F. Meli, at Rome.
+During these early travels the boy's sketch books were full (we are
+told) of precociously clever things. The climacteric moment came early
+in his career. At Florence, in 1844, when he was fourteen, he delivered
+himself of a sort of boyish ultimatum to his father, who, after taking
+counsel of Hiram Powers, the American sculptor, wisely gave the boy his
+wish, and decided to let him be an artist. Powers when asked, "Shall I
+make him an artist?" exclaimed in no uncertain terms, "Sir, you have no
+choice in the matter, he is one already;" and on further question, the
+father being anxious about the boy's possibilities, said, "He may become
+as eminent as he pleases."
+
+Few art students of our time appear to have encountered more fortunate
+conditions, on the whole, than did Frederic Leighton in the years
+immediately following. The Florentine school of fifty years ago,
+however, was not the best for a beginner. It was full of mannerisms,
+which a boy of that age was sure to pick up, and exaggerate on his own
+account. At that time Bezzuoli and Servolini were the great lights and
+directors of the Academy of the Fine Arts, and they delighted,
+naturally, in so able and so apt a pupil; that he found it hard to shake
+off their teaching becomes evident later.
+
+Those who had the good fortune at any time to have heard Lord Leighton
+describe his early wanderings in Europe, must have been struck by the
+warmth of his tribute to Johann Eduard Steinle, the Frankfort master,
+who did more than any other to correct his style, and to decide the
+whole future bent of his art.
+
+Steinle, whose name is barely known to us in England, was one of that
+remarkable school of painters, called familiarly "the Nazarenes,"
+because of their religious range of subjects, who were inspired
+originally by Overbeck and Pfuehler. Leighton in recent years described
+him as "an intensely fervent Catholic;" a man of most striking
+personality, and of most courtly manners, whose influence upon younger
+men was fairly magnetic. In the case of this particular pupil,
+certainly, his intervention was of most powerful effect. Religious in
+his methods, as well as in his sentiment of art, the florid
+insincerities and mannerisms of the Florentine Academy, as they were
+still to be seen in the young Leighton's work, found in him an admirable
+chastener, but it took many years of painfully hard work, lasting until
+1852, to undo the evil wrought by decadent Florence.
+
+Prior to this fortunate intercourse with Steinle, the student had an old
+acquaintance with Frankfort, which, like Florence, seemed destined to
+play a great part in his history. Before going to Florence, and deciding
+on his artistic career, in 1844, he had been sent to school in
+Frankfort. He returned there from Florence to resume his general
+education, and on leaving at seventeen, went for a year to the
+Staedtelsches Institut.
+
+
+[Illustration: TWO EARLY PENCIL STUDIES]
+
+
+In 1848 he went to Brussels, and worked there for a time without any
+master, painting the first picture that deserves to be remembered.
+Characteristically enough, this depicted _Cimabue finding Giotto in the
+fields of Florence_. The shepherd boy is engaged in drawing the figure
+of a lamb upon a smooth rock, using a piece of coal for pencil; an
+admirable and precocious piece of work. At the time it was first shown
+it was considered especially good in its harmonious and original
+colouring, nor did a sight of it in 1896 at the Winter Exhibition of the
+Royal Academy contradict the generous verdict of contemporary critics.
+At Brussels he painted a portrait of himself, a notable thing of its
+kind, wherein we see a slight, dark youth, with a face of much charm and
+distinction, whose features one easily sees to be like those of later
+portraits. Then, immediately before the return to Frankfort, and the
+studying there, under Steinle, Leighton spent some months in Paris,
+working in an atelier in the Rue Richer.
+
+The conditions of this most informal of life-schools were such as Henri
+Murger, who was alive and writing at the time, might have approved, but
+were hardly to be called educative in any higher sense. The only master
+that these Bohemians could boast was a very invertebrate old artist, who
+seems to have been the soul of politeness and irresponsibility, and who
+accompanied every weak criticism with the deprecatory conclusion, "Voila
+mon opinion!"
+
+"M. Voila mon opinion!" is a type not unknown otherwhere than in that
+Paris atelier. A fine alterative the student must have found the severe
+and stringent tonics that Steinle prescribed immediately afterwards in
+Frankfort.
+
+In the admirable monograph on "Sir Frederic Leighton" by Mrs. Andrew
+Lang, from which we have drawn on occasion in these pages, an
+interesting account is given of an exploit at Darmstadt, in which the
+young artist took a chief part. An artists' festival was to be held
+there, and Sir Frederic and one of his fellow-students, Signor Gamba,
+took it into their heads to paint a picture for the occasion on the
+walls of an old ruined castle near the town. The design was speedily
+sketched after the most approved mediaeval fashion, and no time was lost
+in executing the work. "The subject was a knight standing on the
+threshold of the castle, welcoming the guests, while in the centre of
+the picture was Spring, receiving the representatives of the three arts,
+all of them caricatures of well-known figures. In one corner were the
+two young artists themselves, surveying the pageant. The Schloss where
+this piece was painted is still in existence, and the Grand Duke has
+lately erected a wooden roof over the painting, to preserve it from
+destruction."
+
+Before leaving Frankfort, Leighton had already interested Steinle in his
+projected picture of _Cimabue's Madonna_, and the design for it was made
+under Steinle's direction. Under his direct influence, too, and inspired
+by Boccaccio, another Florentine picture--a cartoon of its great
+plague--was painted. In speaking of the dramatic treatment of its
+subject, Mrs. Lang describes "the contrast between the merry revellers
+on one side of the picture and the death-cart and its pile of corpses on
+the other, while in the centre is the link between the two--a
+terror-stricken woman attempting to escape with her baby from the
+pestilence-stricken city. We shall look in vain among the President's
+later works for any picture with a similar _motif_. In general he shared
+Plato's opinion--that violent passions are unsuitable subjects for art;
+not so much because the sight of them is degrading, as because what is
+at once hideous and transitory in its nature should not be
+perpetuated."
+
+
+[Illustration: SCHEME FOR A PICTURE: THE PLAGUE IN FLORENCE]
+
+
+We have seen how the spirit and sentiment of Italy continually remained
+by the artist in his German studio, and how in Frankfort his artistic
+imagination returned again and again to Florence, and to the early
+Florentines of his particular adoration--Cimabue and Giotto. The recall
+to Italy came inevitably, as Steinle's teaching at last had fully worked
+its purpose. Steinle himself counselled the move, and gave his favourite
+pupil an introduction to Cornelius in Rome. It was to Rome, therefore,
+and not to Florence, that the young artist went--to Rome where sooner or
+later the steps of all men who work for art or for religion tend, and
+where so few stay. This was in 1852, the year which was represented in
+the Commemorative Exhibition at Burlington House by _A Persian Pedlar_,
+a small full-length figure of a man in Oriental costume, seated
+cross-legged on a divan, with a long pipe in his hand. To 1853 belongs a
+_Portrait of Miss Laing_ (Lady Nias), which was shown again at the same
+time.
+
+The Rome of the mid-century was Rome at its best, with much artistic
+stimulus of the present, as well as of the past. The English colony was
+particularly strong. Thackeray was there, moving about after his wont in
+the studios and salons; the Brownings were there, and in their prime.
+The young painter and his work, including the _Cimabue's Madonna_ in its
+earlier stages, made a great impression on Thackeray, who turned prophet
+for once on the strength of it. On returning to London and meeting
+Millais, he prophesied gaily to that ardent Pre-Raphaelite, then
+marching on from success to success: "Millais! my boy, I have met in
+Rome a versatile young dog called Leighton, who will one of these days
+run you hard for the presidentship!" This was early days for such a
+rumour to reach the Academy, who knew an older school, represented by
+Landseer and Eastlake, and a younger school, represented by Millais and
+Rossetti, but as yet knew not Leighton.
+
+Among the leading artists in Rome at this time, beside Cornelius, were
+the two French painters, Bouguereau and Gerome. To these, especially to
+Bouguereau, who was a great believer in "scientific composition,"
+Leighton was, on his own testimony, largely indebted for his fine sense
+of form. Yet another famous Frenchman, Robert Fleury, whom he afterwards
+met in Paris, may be mentioned here, since from him he learnt much in
+the way of colouring, and the technique of his art.
+
+Turning from the painters to the poets, it was at Rome that Robert
+Browning, who was at this time writing his "Men and Women," formed close
+acquaintance with the young artist. Something of the atmosphere which
+permeates such poems as "Bishop Blougram's Apology," "Andrea del Sarto,"
+and others of the same series, seems to linger yet in the record of
+those early meetings of poets and painters, with all their associations:
+
+                            "The Vatican,
+  Greek busts, Venetian paintings, Roman walls,
+  And English books."
+
+
+One easily supposes Browning speaking through his Bishop Blougram, as,
+it is said, he was heard to speak in those days in praise of Correggio,
+to whose qualities, Ruskin tells us, Sir Frederic Leighton curiously
+approximates:
+
+  "'Twere pleasant could Correggio's fleeting glow
+  Hang full in face of one where'er one roams,
+  Since he more than the others brings with him
+  Italy's self--the marvellous Modenese!"
+
+Italy's self, in truth, Frederic Leighton, like Browning in poetry,
+did not fail to bring with him, and revived for us for many years, by
+his art and southern glow of colour, in the gray heart of London.
+
+
+[Illustration: CIMABUE'S MADONNA CARRIED IN PROCESSION THROUGH THE STREETS
+OF FLORENCE (1855)]
+
+
+Among other people whom Leighton met in Rome were George Sand, Mrs.
+Kemble, George Mason the painter, of _Harvest Moon_ fame, Gibson the
+sculptor, and Lord Lyons. Like Robert Browning, let us add, he was
+readily responsive to the quickening of his contemporaries, and
+vigorously studied the present in order that he might the better paint
+the past, and put live souls into the archaic raiment of Cimabue and old
+Florence.
+
+He was working hard all this while, with a devotion and concentration
+that impressed other friends beside Thackeray, upon his picture of
+_Cimabue's Madonna_, which was exhibited in the Academy of 1855, and as
+the work of an unknown hand made a distinct sensation. It was discussed,
+angrily by some, delightedly by others. The criticism which Rossetti,
+Mr. Ruskin, and other critics bestowed upon it in the press or in
+private correspondence[1] will come more fitly into our later pages,
+when we turn to deal with contemporary opinions upon Leighton's work.
+Enough to say here that it won fame for the artist at a stroke. The
+Queen bought it for L600, having bespoken it, I believe, before it left
+his studio, and hung it eventually in Buckingham Palace. With this
+encouraging first great success, the probationary stage of our artist's
+history may be said to close.
+
+
+
+
+CHAPTER II
+
+YEAR BY YEAR--1855 TO 1864
+
+
+The Academy of forty years ago was very different from that we know
+to-day. It was held in the left wing of the National Gallery, and had
+not nearly so much space at its disposal as it has in its present
+quarters at Burlington House. The exhibition of 1855 contained few
+pictures, compared with the multitudinous items of the present shows.
+
+Generally speaking, the exhibition was of a heavier, more Georgian
+aspect, in spite of certain Pre-Raphaelite experiments and other signs
+of the coming of a younger generation. Sir Charles Eastlake was
+President. Professor Hart was delivering lectures to its students, full
+of academic, respectable intelligence, if little more; lectures which
+those who are curious may find reported in full in the "Athenaeum" of
+that time.
+
+More interesting was the appearance of Mr. Ruskin as commentator on the
+pictures of the Academy in this year, the first in which he issued his
+characteristic "Academy Notes." His long, and, all things considered,
+remarkably appreciative criticism of the _Cimabue's Madonna_ we discuss
+elsewhere (p. 103). Of another picture of Italy by a very different
+painter, which was considered a masterpiece by some critics, we find him
+speaking in terms of monition: "Is it altogether too late to warn him
+that he is fast becoming nothing more than an Academician?" The one
+picture of the year, according to Mr. Ruskin, was the _Rescue_, by
+Millais. "It is the only great picture exhibited this year," he writes,
+"but this is very great." For the rest, _A Scene from As You Like It_,
+by Maclise; another Shakespearean subject, the inevitable _Lear and
+Cordelia_, by Herbert; and a _Beatrice_ by the then President, and we
+have recalled everything that served to give the Academy of that year
+its distinction in the eyes of contemporary critics. Sir Edwin Landseer,
+who to the outer world was the one great fact in the art of the time,
+does not appear to have exhibited in 1855.
+
+Looking back now to that date, what one discerns chiefly is the
+emergence of the Pre-Raphaelites from the more conventional multitude
+that were taking up the artistic traditions of the first half of the
+century. Millais, Rossetti, Holman Hunt, and their associates, count to
+us, to-day, as the representatives of an earlier generation; in 1855
+they still stood for all that was daring, unprecedented, and adventurous
+in their art.
+
+This newcomer, with his _Cimabue's Madonna_ in a new style, puzzled the
+critics considerably. They did not know quite how to allot him in their
+casual division of contemporary schools. "Landseer and Maclise we know;
+and Millais and Holman Hunt; but who is Leighton?" was the tenor of
+their commentary.
+
+Meanwhile an event of great significance to English Art in this year was
+happening--an exhibition of English pictures in Paris, the first of its
+kind. This beginning of such international exchanges was important; it
+has led up to many striking modifications of both English and French
+schools since that date. It is curious that it should coincide with the
+awakening to certain other foreign influences: that of the early Italian
+school upon the Pre-Raphaelites, and that of the later Italian,
+popularly known as "the classic school," upon Leighton and Mr. G. F.
+Watts.
+
+Of this exhibition of English pictures, which was held in the Avenue
+Montaigne, M. Ernest Chesneau, a critic very sympathetic to English art,
+tells us, in his admirable book on the "English School of Painting,"
+that "for the French it was a revelation of a style and a school of the
+very existence of which they had hitherto had no idea; and whether owing
+to its novelty, or the surprise it occasioned, or, indeed, to its real
+merit, whatever may have been the true cause, most certain it is that
+the English, until then little thought of and almost unknown abroad,
+obtained in France a great success."
+
+M. Chesneau, in going on to account further for the great impression
+made by the English painters in Paris, attributes it largely to the
+_singularity_ which, for foreign eyes, marks their work. It is curious,
+indeed, that French critics, and M. Chesneau among them, really admire
+this singularity, which they count distinctively British. They look for
+it in our pictures, and if they do not find it--as in the work of
+Leighton--they feel aggrieved.
+
+British eccentricity, whether thinking its way with the aid of genius
+into "Pre-Raphaelitism," or now again, with the aid of extreme
+cleverness and talent, into certain cruder forms of "impressionism," is
+sure of its effect. But an art like Leighton's, whose aim is beauty and
+not eccentricity, is apt to be slighted by both French and English
+critics, with some notable exceptions. Not all its grace, its classic
+quality, its beauty of line and distinction of treatment, avail it, when
+it comes into conflict with doctrinaire theories on the one hand, and a
+love for mere sensationalism on the other.
+
+
+[Illustration: THE DEAD ROMEO
+               A PENCIL STUDY]
+
+
+The success of his picture at the Academy, and the incidental
+lionizing of a season, did not tempt the artist to stay long in London,
+and he went to Paris, where he settled himself in a studio and proceeded
+to complete his _Triumph of Music_, and other pictures begun in Rome.
+
+By this time the painter's method might seem assured, but Paris was
+still able to add something to his style, with the aid of such masters
+as Fleury. English critics, who expected _The Triumph of Music_ to
+sustain the reputation won by _Cimabue's Madonna_, were
+disappointed--partly because Orpheus was represented as playing a
+violin, in place of the traditional lyre. To those who will examine and
+compare them more carefully, there is no such discrepancy. _The Triumph
+of Music: Orpheus by the power of his Art redeems his wife from Hades_,
+which is every whit as distinctive a performance as the _Cimabue's
+Madonna_ (as indeed it was conceived and painted largely under the same
+conditions), was nevertheless not a popular success. Certainly, it
+marks, as clearly as anything can, the sense of colour, the sense of
+form, the draughtsmanship, the immensely cultured eye and hand, first
+discovered to the English critics by its predecessor. It was sold after
+the painter's death.
+
+Of certain other works painted in 1856, 1857, and 1858, some of which
+never found their way to the Academy, little need be said. To this
+period belong two pictures painted in Paris, the one, _Pan_ under a
+fig-tree, with a quotation from Keats's "Endymion":
+
+                       "O thou, to whom
+  Broad-leaved fig-trees even now foredoom
+  Their ripened heritage,"
+
+and the other, a pendant to it, _A Nymph and Cupid_.
+
+_Salome, the Daughter of Herodias_, painted in 1857, but apparently not
+exhibited at the Academy, represents a small full-length figure in white
+drapery, with her arms above her head, which is crowned with flowers;
+behind her stands a female musician. Another, shown in 1858 at the Royal
+Academy, and again in the 1897 retrospective exhibition, was first
+entitled _The Fisherman and Syren_, and afterwards _The Mermaid_; it is
+a composition of two small full-length figures, a mermaid clasping a
+fisherman round the neck. The subject is taken from a ballad by Goethe:
+
+  "Half drew she him,
+  Half sunk he in,
+  And never more was seen."
+
+In the same year was a painting inspired by "Romeo and Juliet," entitled
+_Count Paris, accompanied by Friar Laurence, comes to the house of the
+Capulets to claim his bride; he finds Juliet stretched, apparently
+lifeless, on the bed_. The picture shows, in addition to the figures
+named in its former title, the father and mother of Juliet bending over
+their daughter's body, and through an opening beyond numerous figures at
+the foot of the staircase.
+
+The latter year marked the painter's return to London, where he entered
+more actively into its artistic life than he had done hitherto, and made
+closer acquaintance with the Pre-Raphaelites, who were already entering
+upon their second and maturer stage. To take Rossetti: it was in 1856
+that he made those five notable designs to illustrate "Poems by Alfred
+Tennyson," which Moxon and Co. published in the following year; an event
+that, for the first time, really introduced him to the public at large.
+To 1857, again, belongs Rossetti's _Blue Closet_ and _Damsel of the
+Sangrael_, both painted for Mr. W. Morris. And in 1857 and 1858, the
+famous and hapless distemper pictures on the walls of the Union Debating
+Society's room at Oxford, were engaging Rossetti and his associates,
+including Burne-Jones, William Morris, Mr. Val. Prinsep, Mr. Arthur
+Hughes, and Mr. Spencer Stanhope.
+
+
+[Illustration: A PENCIL STUDY]
+
+
+It was in the summer of 1858, Mr. F. G. Stephens tells us, that the
+original Hogarth Club was founded, of which the two Rossettis were
+prominent instigators,--one of the most notable of the many protestant
+societies that have sprung up at different times from a slightly
+anti-Academic bias. It is interesting to find that Leighton's famous
+_Lemon Tree_ drawing in silverpoint was exhibited here. The Hogarth Club
+held its meetings at 178, Piccadilly, in the first instance; removed
+afterwards to 6, Waterloo Place, Pall Mall, and finally dissolved, in
+1861, after existing for four seasons.
+
+To speak of other painters more or less associated with Rossetti and his
+school, Mr. Holman Hunt, whose _Light of the World_ had greatly struck
+Paris in 1855, exhibited his _Scapegoat_ at the Academy of 1856, a
+picture which called from Mr. Ruskin immense praise, and a
+characteristic protest: "I pray him to paint a few pictures with less
+feeling in them, and more handling." Of Millais we have already spoken.
+In 1856 he exhibited _The Child of the Regiment_, _Peace Concluded_, and
+_Autumn Leaves_.
+
+In 1859 Leighton showed three pictures at the Academy. One, _A Roman
+Lady_ (then called _La Nanna_), a half-length black-haired figure,
+facing the spectator, in Italian costume; another, now called _Nanna_,
+then entitled _Pavonia_, a half-length figure of a girl in Italian
+costume, with peacock's feathers in the background; and _Sunny Hours_,
+which seems to have escaped record so far. The same year saw another of
+his pictures, _Samson and Delilah_, exhibited at Suffolk Street.
+
+We must not pass by the famous _Study of a Lemon Tree_ (now at Oxford),
+mentioned above, without quoting the praise by Mr. Ruskin, which made it
+famous. Mr. Ruskin couples it with another drawing, both of which we
+have been fortunately able to reproduce in our pages. These "two perfect
+early drawings," he writes, "are of _A Lemon Tree_, and another of the
+same date, of _A Byzantine Well_, which determine for you without
+appeal, the question respecting necessity of delineation as the first
+skill of a painter. Of all our present masters Sir Frederic Leighton
+delights most in softly-blended colours, and his ideal of beauty is more
+nearly that of Correggio than any seen since Correggio's time. But you
+see by what precision of terminal outline he at first restrained, and
+exalted, his gift of beautiful _vaghezza_." The _Lemon Tree_ study, let
+us add, was drawn at Capri in the spring of 1859. Here, and elsewhere in
+the South of Europe, whither the artist returned, escaping from London
+at every opportunity, many other notable studies and drawings were made
+during this period. Some of these were employed long since for the
+backgrounds of pictures familiar to us all. Others, faithful studies of
+nature, small oil and water-colour drawings, chiefly landscape, were
+scarce known to the general public during the painter's life, but were
+eagerly competed for at the sale of his pictures in July, 1896.
+
+The little picture of _Capri at Sunrise_ was hung in the Academy of
+1860, the painter's only contribution of that year. In the year
+following, we find another small picture of Capri, together with five
+others, some of which played their part in winning for the artist his
+wider recognition.
+
+
+[Illustration: A LEMON TREE
+               A PENCIL STUDY]
+
+
+[Illustration: BYZANTINE WELL HEAD
+               A PENCIL STUDY]
+
+
+Meanwhile, the artist was drawing his London ties closer. In 1860 he
+took up his abode at 2, Orme Square, where he continued to reside until
+he built his famous house in Holland Park Road, some years later. His
+art did not for this reason become more like London, or more infected
+with that British singularity which some critics would seem to demand.
+On the contrary, Italy and the South, the glow of colour, the perfection
+of form, the plastic exquisiteness, which mark for us his mature
+performances, and which follow after classic ideals, were more and more
+clearly to be discerned in the remarkable cycle of pictures associated
+with this part of his career.
+
+In 1861 he painted portraits of his sister, _Mrs. Sutherland Orr_, and
+of _Mr. John Hanson Walker_, the former shown at the Academy, where also
+hung _Paolo e Francesca_, _A Dream_, _Lieder ohne Worte_, _J. A.--a
+Study_, and _Capri--Paganos_. Rossetti, writing of this exhibition,
+says: "Leighton might, as you say, have made a burst had not his
+pictures been ill-placed mostly--indeed, one of them (the only very good
+one, _Lieder ohne Worte_) is the only instance of very striking
+unfairness in the place."[2] In 1862 there were no fewer than six of the
+artist's pictures at the May exhibition of the Academy: the _Odalisque_,
+a very popular work, shows a draped female figure, in a very
+Leightonesque pose, with her arm above her head, leaning against a wall
+by the water. She holds a peacock's feather screen in her left hand,
+while a swan in the water at her feet cranes its head upwards towards
+her; _Michael Angelo nursing his dying Servant_, a group of two
+three-quarter length figures; the servant reclining in an armchair with
+his head resting against the shoulder of Michael Angelo--a fairly
+powerful but somewhat academic version of the incident--which looks at
+first glance like the work of a not very important "old master;" _The
+Star of Bethlehem_, showing one of the Magi on the terrace of his house
+looking at the strange star in the East, while below are indications of
+a revel he has just left. _Duett_, _Sisters_, _Sea Echoes_, and _Rustic
+Music_, also belong to this year.
+
+In 1863 he showed _Eucharis_, a half-length figure of a white-robed
+girl, with a basket of fruit on her head; _Jezebel and Ahab_; _A
+Cross-bow Man_; and _A Girl Feeding Peacocks_; with these we complete
+the list of his work as an outsider.
+
+
+
+
+[Illustration: GOLDEN HOURS (1864)]
+
+
+CHAPTER III
+
+YEAR BY YEAR--1864 TO 1869
+
+
+In 1864 Leighton was made an Associate of the Royal Academy. To its
+summer exhibition he contributed three pictures, showing great and
+various power in their composition. _Dante at Verona_, _Orpheus and
+Eurydice_, and _Golden Hours_. The first of these, one of the most
+remarkable pictures of our modern English school, in which "Dante"
+appears, is a large work, with figures something less than life-size. It
+illustrates the verses in the "Paradiso":
+
+                       "Thou shalt prove
+  How salt the savour is of others' bread;
+  How hard the passage, to descend and climb
+  By others' stairs. But that shall gall thee most
+  Will be the worthless and vile company
+  With whom thou must be thrown into the straits,
+  For all ungrateful, impious all and mad
+  Shall turn against thee."
+
+
+"Dante, in fulfilment of this prophecy, is seen descending the palace
+stairs of the Can Grande, at Verona, during his exile. He is dressed in
+sober grey and drab clothes, and contrasts strongly in his ascetic and
+suffering aspect with the gay revellers about him. The people are
+preparing for a festival, and splendidly and fantastically robed, some
+bringing wreaths of flowers. Bowing with mock reverence, a jester gibes
+at Dante. An indolent sentinel is seated at the porch, and looks on
+unconcernedly, his spear lying across his breast. A young man, probably
+acquainted with the writing of Dante, sympathises with him. In the
+centre and just before the feet of Dante, is a beautiful child,
+brilliantly dressed and crowned with flowers, and dragging along the
+floor a garland of bay leaves and flowers, while looking earnestly and
+innocently in the poet's face. Next come a pair of lovers, the lady
+looking at Dante with attention, the man heedless. The last wears a vest
+embroidered with eyes like those in a peacock's tail. A priest and a
+noble descend the stairs behind, jeering at Dante."[3]
+
+It was the _Golden Hours_ which, though perhaps less memorable and
+imaginative than the others, won the greatest popular success of the
+three, a success beyond anything that the artist had so far painted. As
+this picture is here reproduced, description is needless, except so far
+as regards the colour of the background, which is literally golden. The
+dress of the lady who leans upon the spinet is white, embroidered with
+flowers. The _Orpheus and Eurydice_ showed that the old friendship,
+formed originally in Rome, between the painter and Robert Browning, was
+maintained. Some of the poet's lines served as a text for the picture;
+and as they are little known we repeat them here:
+
+  "But give them me--the mouth, the eyes, the brow--
+  Let them once more absorb me! One look now
+  Will lap me round for ever, not to pass
+  Out of its light, though darkness lie beyond.
+  Hold me but safe again within the bond
+  Of one immortal look! All woe that was,
+  Forgotten, and all terror that may be,
+  Defied,--no past is mine, no future! look at me!"
+
+
+[Illustration: HELEN OF TROY (1865)
+               _By permission of Messrs. Henry Graves and Co._]
+
+
+[Illustration: ORPHEUS AND EURYDICE (1864)]
+
+
+To this year, also, belongs a portrait of _The late Miss Lavinia
+I'Anson_, a circular panel showing the sky for background. This was
+exhibited again in the winter Academy of 1897.
+
+In 1865 the artist showed once again his eclectic sympathies, by the
+variety of the subject-pictures that he sent to the Academy, ranging
+from _David_ to _Helen of Troy_.
+
+In his tenderly conceived _David_, the Psalmist is seen gazing at two
+doves in the sky above; he, sunk in a profound reverie, is seated upon a
+house-top overlooking some neighbouring hills. The whole is large in its
+handling and treatment, and in the simplicity of its drapery recalls
+several of the famous illustrations the artist contributed to Dalziel's
+Bible Gallery. It was exhibited with the quotation, "Oh, that I had
+wings like a dove! for then would I fly away and be at rest." With the
+delightful _Helen of Troy_ we are recalled to the third book of the
+Iliad, when Iris bids Helen go and see the general truce made pending
+the duel between Paris and Menelaus, of which she is to be the prize. So
+Helen, having summoned her maids and "shadowed her graces with white
+veils," rose and passed along the ramparts of Troy. In the picture the
+light falls on her shoulders and her hair, while her face and the whole
+of the front of her form are shadowed over, with somewhat mystical
+effect.
+
+To the same year belongs _In St. Mark's_, a picture of a lady with a
+child in her arms leaving the church, a lovely and finished study of
+colour; _The Widow's Prayer_; and _Mother and Child_, a graceful
+reminder of a gentler world than Helen's.
+
+In 1866 the critics had at last a work which seemed to them to follow
+the lines of the _Cimabue's Madonna_. This was the radiant and lovely
+picture of the _Syracusan Bride leading Wild Beasts in Procession to
+the Temple of Diana_. The composition of this remarkable painting
+deserves to be closely studied, for it is very characteristic of Sir
+Frederic Leighton's theories of art, and his conviction of the
+necessarily decorative effect of such works. A terrace of white marble,
+whose line is reflected and repeated by the line of white clouds in the
+sky painting above, affords the figures of the procession a delightful
+setting. The Syracusan bride leads a lioness, and these are followed by
+a train of maidens and wild beasts, the last reduced to a pictorial
+seemliness and decorative calm, very fortunate under the circumstances.
+The procession is seen approaching the door of the temple, and a statue
+of Diana serves as a last note in the ideal harmonies of form and colour
+to which the whole is attuned. As compared with the _Cimabue's Madonna_,
+it is a more finished piece of work, and the handling throughout is more
+assured. It was as much an advance, technically, upon that, as the
+_Daphnephoria_, which crowned the artist's third decade, was upon this.
+According to popular report, it was this picture of the _Syracusan
+Bride_ which decided his future election as a full member of the
+Academy; but as a matter of fact, it was in 1869 that this election took
+place. The picture, let us add, was suggested to the painter by a
+passage in the second Idyll of Theocritus: "And for her then many other
+wild beasts were going in procession round about, and among them a
+lioness." _The Painter's Honeymoon_ and a _Portrait of Mrs. James
+Guthrie_ were also exhibited this year; and the wall-painting of _The
+Wise and Foolish Virgins_, at Lyndhurst, in the New Forest, was executed
+during the summer.
+
+
+[Illustration: VENUS DISROBING FOR THE BATH (1867)]
+
+
+[Illustration: ELECTRA AT THE TOMB OF AGAMEMNON (1869)]
+
+
+In its next exhibition, that of 1867, the Academy held five pictures by
+the artist, including the delightful _Pastoral_, two small
+full-length figures standing in a landscape of a shepherd and a
+girl--whom he is teaching to play the pipes. This again might be
+considered a painter's translation from Theocritus, and the _Venus
+Disrobing for the Bath_, one of the most debated of all the artist's
+paintings of the nude. The paleness of the flesh-tint of this Venus
+aroused a criticism which has often been urged against his
+pictures--that such a hue was not in nature. In imparting an ideal
+effect to an ideal subject, Leighton always, however, followed his own
+conviction--that art has a law of its own, and a harmony of colour and
+form, derived and selected no doubt from natural loveliness, but not to
+be referred too closely to the natural, or to the average, in these
+things.
+
+To the 1868 Academy Leighton contributed another biblical theme,
+_Jonathan's Token to David_. With this were four others, as widely
+varying in subject and conception as need be desired. One was a very
+charming portrait of a very pretty woman, _Mrs. Frederick P. Cockerell_.
+Then follow three more in that cycle of classic subjects, of which the
+painter never tired. The full title of the first runs, _Ariadne abandoned
+by Theseus: Ariadne watches for his return: Artemis releases her by death_.
+In it the figure of Ariadne, clothed in white drapery, is seen lying on a
+rocky promontory overlooking the sea. _Acme and Septimius_ is a circular
+picture, with two small full-length figures reclining on a marble bench.
+This extract from Sir Theodore Martin's translation of Catullus was
+appended to its title in the catalogue:
+
+  "Then bending gently back her head,
+  With that sweet mouth so rosy red,
+  Upon his eyes she dropped a kiss,
+  Intoxicating him with bliss."
+
+A love song on canvas, a pictorial transcript from Catullus, it was
+perhaps the most popular picture of the year. The last of the three was
+_Actaea, the Nymph of the Shore_. It represents a small full-length nude
+figure lying on white drapery by the sea-shore. Actaea is a lovely
+figure, full of that grace which Leighton so well knew how to impart to
+his idealized figures.
+
+After this year, at any rate, there could be no longer any doubt but
+that the artist's power really lay in the creation of ideal forms;
+whether presented in monomime or combined in poetic and decorative
+groups, called up from the wonderful limbo of classic myth and history.
+
+With 1869 came _Electra at the Tomb of Agamemnon_, a memorable picture,
+full of characteristic effects of colour and composition, and a notable
+exercise in the grand style. This work, considered from any side, must
+be seen to be the outcome of a unique faculty, so unprecedented in
+English art as to run every risk of misconception that native
+predilections could impose upon those who stopped to criticise it. The
+figure of Electra clad in black drapery offered a problem of peculiar
+difficulty.
+
+Another painting shown this year was _Daedalus and Icarus_, a strikingly
+conceived picture. The two figures are singularly noble conceptions of
+the idealized nude; the drapery at the back of Icarus is typical of the
+painter in every fold, while the landscape seen far below the stone
+platform on which the figures stand, shows a bay of the blue Aegean sea
+in full sidelight, with a lovely glimpse of the white walls of a distant
+town.
+
+The same exhibition of 1869 saw, also, the vigorously painted diploma
+picture, _St. Jerome_, which marked his election as R.A. In it the
+saint, nude to the waist, kneels with uplifted arms at the foot of a
+crucifix, his lion seen in the background. _Helios and Rhodos_,
+another painting exhibited at the same time, shows Helios descending
+from his chariot, which is in a cloud above, to embrace the nymph
+Rhodos, who has risen from the sea.
+
+
+[Illustration: DAEDALUS AND ICARUS (1869)]
+
+
+[Illustration: ST. JEROME (1869)]
+
+
+
+
+CHAPTER IV
+
+YEAR BY YEAR--1870 TO 1878
+
+
+Sundry journeys into the East during this period of Leighton's career,
+gave him new subject-matter, new tints to his palette, and added
+something of an oriental fantasy to the classic sentiment of his art.
+The sketches of Damascus and other time-honoured eastern cities,
+mosques, gardens, and courtyards, which figured largely among Sir
+Frederic's studies, were made for the most part in the autumn of 1873.
+
+Previously, as early as 1867, the East had cast its spell upon him. In
+1868, he went into Egypt, and made a voyage up the Nile with M. de
+Lesseps, then at the flood of good-fortune. The Khedive himself provided
+the steamer for this adventure. "It was during this voyage," we are
+told, "that Sir Frederic came across a small child with the strangest
+and most limited idea of full dress that probably ever occurred to
+mortal--a tiny coin strung on to one of her strong coarse hairs." Of the
+studies made during the journey, one is a woman's head, draped so as to
+have a singularly archaic and Sphinx-like effect. Another is the fine
+profile of a young peasant; and yet another, the head of an old man,
+simple-minded and philosophical.
+
+
+[Illustration: GARDEN AT GENERALIFE, GRANADA]
+
+
+[Illustration: MIMBAR OF THE GREAT MOSQUE AT DAMASCUS
+               (Since destroyed by fire)]
+
+
+In 1869 the _Helios and Rhodos_, already mentioned, served as the first
+sign to the public of the new R.A.'s interest in things oriental. To the
+1870 exhibition, his only contribution was the picture, _A Nile Woman_,
+which is now owned by the Princess of Wales. It is a small
+full-length figure of a girl, balancing an empty pitcher upon her head,
+at the time of moonrise. Anticipating the Eastern subjects which future
+years produced, we may note a picture of _Old Damascus_, showing the
+Jews' quarter in that fabled city, in all its motley picturesqueness,
+and the delightful _Moorish Garden,--A Dream of Granada_, which were
+exhibited in 1874. A powerful picture, shown in 1875, of the _Egyptian
+Slinger_,[4] is illustrated later in this volume, but no reproduction
+can quite suggest the striking colouring of the original, and the
+masterly treatment of its light and shade, in the presentment of this
+lonely figure posed high on its platform against the clear evening sky.
+The delightful _Little Fatima_, and the _Grand Mosque, Damascus_,
+enlarged from the sketch previously alluded to, were also exhibited in
+1875.
+
+But perhaps the most picturesque memorial of the East due to the
+artist's wanderings of these years, is an architectural, and not a
+pictorial one. The fame of the Arab Hall in Lord Leighton's house has
+reached even further than that of _Little Fatima_, or his painting of
+the _Grand Mosque at Damascus_. Built originally to provide a setting
+for some exquisite blue tiles, brought by the owner from Damascus
+itself, it remains the most perfect representation of an oriental
+interior to be found in London; but this again belongs to a later
+period, and we must return to the date whence this chronicle was
+interrupted. Before doing so, however, it may be noted that in 1870
+began the famous Winter Exhibitions of Old Masters and Deceased British
+Artists, of which Leighton was one of the most active supporters.
+
+In the May exhibition of the Royal Academy, 1871, was hung a notable
+canvas, _Greek Girls picking up Pebbles by the Sea_, described at the
+time as "a delightful composition, comprising figures of almost
+exhaustless grace, and wealth of beauty in design and colour."
+
+Another painting, also shown there, _Cleoboulos instructing his daughter
+Cleobouline_, is a charming example of its kind. The philosopher, with a
+scroll on his lap, sits on a cushioned bench with his young daughter by
+his side, his earnest action in delightful contrast with her girlish
+grace.
+
+But his great work in 1871 was _Hercules wrestling with Death for the
+body of Alcestis_. The scene of this profound tragedy is on the
+sea-shore, where the body of Alcestis, robed in white, lies under the
+branches of trees in the centre of the picture. On the left is a group
+of mourners, a seated girl and a woman prostrate in grief. On the right
+are the two struggling figures; Hercules' superb form and tossing
+lion-skin contrasting finely, both in action and colouring, with the
+tall and coldly grey-robed spectre of Death, who presses forward to the
+bed where Alcestis lies, whence he is thrust back by the mighty
+Hercules. The exquisite figure of Alcestis with her statuesquely draped
+robes and their pure and delicate colouring, forms a wonderful contrast
+to the two strenuous figures on the right, while the figures of the
+mourners on the left are delightfully posed and full of grace.
+
+In July of this year, it is interesting to remember, appeared Browning's
+"Balaustion's Adventure," which contained the following tribute to the
+above picture and its painter:
+
+  "I know, too, a great Kaunian painter, strong
+  As Herakles, though rosy with a robe
+  Of grace that softens down the sinewy strength:
+  And he has made a picture of it all.
+  There lies Alkestis dead, beneath the sun,
+  She longed to look her last upon, beside
+  The sea, which somehow tempts the life in us
+  To come trip over its white waste of waves,
+  And try escape from earth, and fleet as free.
+  Behind the body I suppose there bends
+  Old Pheres in his hoary impotence;
+  And women-wailers, in a corner crouch
+  --Four, beautiful as you four,--yes, indeed!
+  Close, each to other, agonizing all,
+  As fastened, in fear's rhythmic sympathy,
+  To two contending opposite. There strains
+  The might o' the hero 'gainst his more than match,
+  --Death, dreadful not in thew and bone, but like
+  The envenomed substance that exudes some dew,
+  Whereby the merely honest flesh and blood
+  Will fester up and run to ruin straight,
+  Ere they can close with, clasp and overcome,
+  The poisonous impalpability
+  That simulates a form beneath the flow
+  Of those grey garments; I pronounce that piece
+  Worthy to set up in our Poikile!"
+
+
+[Illustration: HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS
+(1871)]
+
+
+[Illustration: SUMMER MOON (1872)
+               _By permission of Messrs. P. and D. Colnaghi and Co._]
+
+
+To 1872 belongs the _Summer Moon_, one of the loveliest things ever
+shown at the Academy, a picture full of that rarer feeling for light and
+colour, which the artist achieved again and again in his treatment of
+sunset, twilight, and night effects. _After Vespers_, exhibited the same
+year, is a three-quarter length figure of a girl in a green robe
+standing in front of a bench, holding in her right hand a string of
+beads. This year's Academy held also _A Condottiere_, the noble figure
+of a man in armour, now in the Birmingham Municipal Gallery, and a
+portrait of the _Right Hon. Edward Ryan_. Hardly less memorable was
+_Moretta_, exhibited in the Academy of 1873, in the words of a critic of
+the day, "one of the most subtle and fortunate productions of the
+painter." _Moretta_ is robed in green, with masses of loosely arranged
+hair, and a tender and delicate face. _Weaving the Wreath_, shown the
+same year (and again in the Guildhall, 1895), is a very charming figure
+of quite a young girl seated on a carpet upon a raised step at the foot
+of a building. Behind her is a bas-relief, against which her head,
+crowned by a chaplet of flowers, tells out with sculpturesque effect;
+the sharp, vertical line of thread strained between her hands, and
+thence in diagonal line to the ball at her feet, is curiously rigid, and
+by contrast makes the draperies across which it is silhouetted appear
+still more mobile.
+
+We are passing over, deliberately, the artist's decorative masterpieces
+of this period,--the South Kensington frescoes to wit; of which the
+_Arts of War_ belongs to the year 1872, and its companion, _Arts of
+Peace_, to 1873. These works will be found treated at length in a later
+chapter on the artist's decorative work (pp. 63, 64).
+
+In the Academy of 1874 appeared four pictures, the most important being
+the heroic painting,--_Clytemnestra from the Battlements of Argos
+watches for the Beacon-fires which are to announce the Return of
+Agamemnon_. In this picture, the figure of Clytemnestra is seen standing
+erect, with hands folded, supporting the drapery that clothes a majestic
+form. For further description, we may be content to quote that given at
+the time in the appreciative art columns of the "Athenaeum:"
+
+"There is the grandeur of Greek tragedy in Mr. Leighton's _Clytemnestra_
+watching for the signal of her husband's return from Troy. The time is
+deep in the fateful night, while the city sleeps; moonlight floods the
+walls, the roofs, the gates, and the towers with a ghastly glare, which
+seems presageful, and casts shadows as dark as they are mysterious and
+terrible. The dense blue of the sky is dim, sad, and ominous. But the
+most ominous and impressive element of the picture is a grim figure,
+the tall woman on the palace roof before us, who looks Titanic in her
+stateliness, and huge beyond humanity in the voluminous white drapery
+that wraps her limbs and bosom. Her hands are clenched and her arms
+thrust down straight and rigidly, each finger locked as in a struggle to
+strangle its fellow; the muscles swell on the bulky limbs. Drawn erect
+and with set features, which are so pale that the moonlight could not
+make them paler, the queen stares fixedly and yet eagerly into the
+distance, as if she had the will to look over the very edge of the world
+for the light to come."
+
+
+[Illustration: THE JUGGLING GIRL (1874)]
+
+
+[Illustration: A CONDOTTIERE (1872)
+               _By permission of the Corporation of Birmingham_]
+
+
+Another picture this year was the _Moorish Garden--a dream of Granada_,
+a delightful little canvas, almost square. In the foreground is a young
+girl carrying copper vessels, and followed by two peacocks; the
+background is obviously taken from the study of a garden at Generalife
+(reproduced at p. 28); the _Antique Juggling Girl_ and _Old Damascus:
+the Jews' Quarter_, were also in the Academy of 1874.
+
+To 1875 belongs the _Egyptian Slinger_, a picture which, as we shall see
+later, provoked severe censure from Mr. Ruskin. As exhibited it differed
+much from its present state. Not only was the sky of deeper violet, but
+almost in silhouette against the moon, on another raised platform, stood
+a draped female figure, afterwards painted out entirely. Other works
+shown this year were _Little Fatima_, a small half-length figure of a
+little girl in Eastern costume, seen against a dark background; and a
+_Portion of the Interior of the Grand Mosque at Damascus_ (reproduced at
+p. 28). As the building it depicts has since been burnt down, the fine
+transcript has an added interest. We are come now to a year which, even
+beyond other years of activity, displayed the artist's characteristic
+energy: 1876. In the Academy of that year, with the _Daphnephoria_,
+Leighton once more chose a great classic theme, for a painting which, by
+its composition, reminded the critics and lovers of art of the artist's
+early triumph with the _Cimabue's Madonna_, and of his other great
+processional picture, the _Syracusan Bride_.
+
+Of all his works in this class, there is no doubt that the
+_Daphnephoria_ is the most technically complete. The procession is seen
+defiling along a terrace backed by trees through which the clear
+southern sky gleams. A youth carrying the symbolic olive bough, called
+the Kopo, adorned with its curious emblems, leads the procession. He is
+clad in purple robes and crowned with leaves. The youthful priest, known
+as the Daphnephoros (the laurel-bearer) follows, clothed in white
+raiment. He is similarly crowned, and carries a slim laurel stem. Then
+come three boys, in scanty red and green draperies, which serve only to
+emphasize the beauty of their almost naked forms, the middle and tallest
+one bearing aloft a draped trophy of golden armour. These are seen to be
+pausing while the leader of the chorus, a tall, finely modelled man,
+whose back is turned, is giving directions to the chorus with uplifted
+right hand; in his left hand is a lyre, and the left arm from the elbow
+is characteristically draped. The first row of the chorus is composed of
+five children, clothed in purple, crowned with flowers; two rows of
+maidens, in blue and white, come next; and these in turn are succeeded
+by some boys with cymbals. The interest of the passing procession is
+very much enhanced by the effect produced on two lovely bystanders,--a
+girl and child in blue, beautifully designed, who are drawing water in
+the left foreground. In the valley below is seen the town of Thebes.
+
+
+[Illustration: THE DAPHNEPHORIA (1876)
+               _By permission of The Fine Art Society._]
+
+
+[Illustration: STUDY FOR "THE DAPHNEPHORIA"]
+
+
+With the painter's reading of the _Daphnephoria_ it may be
+interesting to compare another account of this splendid religious
+function. At this festival in honour of Apollo, celebrated every ninth
+year by the Boeotians, it was usual, says pleasant Lempriere, "to
+adorn an olive bough with garlands of laurel and other flowers, and
+place on the top a brazen globe, from which were suspended smaller ones.
+In the middle was placed a number of crowns, and a globe of inferior
+size, and the bottom was adorned with a saffron-coloured garment. The
+globe on the top represented the Sun, or Apollo; that in the middle was
+an emblem of the moon, and the others of the stars. The crowns, which
+were 365 in number, represented the sun's annual revolution. This bough
+was carried in solemn procession by a beautiful youth of an illustrious
+family, whose parents were both living. He was dressed in rich garments
+which reached to the ground, his hair hung loose and dishevelled, his
+head was covered with a golden crown, and he wore on his feet shoes
+called _Iphricatidae_, from Iphricates, an Athenian who first invented
+them. He was called Daphnephoros, 'laurel-bearer,' and at that
+time he executed the office of priest of Apollo. He was preceded by one
+of his nearest relations, bearing a rod adorned with garlands, and
+behind him followed a train of virgins with branches in their hands. In
+this order the procession advanced as far as the temple of Apollo,
+surnamed Ismenius, where supplicatory hymns were sung to the god."[5]
+
+In the 1876 Academy hung also the striking portrait, _Captain Richard
+Burton, H.M.'s Consul at Trieste_; and two very characteristic single
+figures, _Teresina_ and _Paolo_. The portrait of Captain Burton has been
+fairly described as masterly. "There is no attempt," said one critic,
+"at posing or picturesqueness in the portrait. It is the head of a man
+who is lean and rugged and brown, but the face is full of character, and
+every line tells. It is painted in the same strong and bold, and yet
+careful, way that distinguishes the head of Signor Costa, painted three
+years later."
+
+The next year saw Leighton's first appearance as a sculptor. It was at
+the Academy of 1877 that he exhibited the well-known, vigorously
+designed and wrought _Athlete Struggling with a Python_.[6] This
+adventure of the R.A. into a new field proved so successful, that the
+_Athlete_ took rank as the most striking piece of sculpture of that
+year. "In this work," said a friendly critic, "Mr. Leighton has
+attempted to succeed in a truly antique way. We are bound to admit that
+he has done wisely, bravely, and successfully." The statue was bought,
+we may add, for L2,000, as the first purchase made by the trustees of
+the Chantrey Fund, and is now in the Tate Gallery at Millbank. It was
+afterwards repeated in marble, by the artist's own hand, for the Danish
+Museum at Copenhagen.
+
+Still more popular was his _Music Lesson_, another work in the same
+exhibition. To realize the full charm of this picture, one must see the
+original; for much depends upon the beauty of its colouring. Imagine a
+classical marble hall, marble floor, marble walls, in black and white,
+and red--deep red--marble pillars; and sitting there, sumptuously
+attired, but bare-footed, two fair-haired girls, who serve for pupil and
+music-mistress. The elder is showing the younger how to finger a lyre,
+of exquisite design and finish; and the expression on their faces is
+charmingly true, while the colours that they contribute to the
+composition,--the pale blue of the child's dress, the pale flesh tints,
+the pale yellow hair, and the white and gold of the elder girl's loose
+robe, and the rich auburn of her hair,--are most harmonious. A bit of
+scarlet pomegranate blossom, lying on the marble ground, gives the last
+high note of colour to the picture. Two other pictures of 1877 must not
+be omitted. _Study_ shows us a little girl (the present Lady Orkney), in
+Eastern garb, diligently reading a sheet of music which lies before her
+on a little desk. There is great charm in the simple grace of the
+picture and in the softly brilliant colouring of the child's costume.
+Very delightful, too, is the portrait of _Miss Mabel Mills_ (now the
+Hon. Mrs. Grenfell), habited in black velvet, and a large dark hat with
+coloured feathers, set against a grey background, a picture here
+reproduced. _A Study_, _An Italian Girl_, and a _Portrait of H. E.
+Gordon_, were all three shown at the Grosvenor Gallery the same year.
+
+
+[Illustration: PORTRAIT OF THE HON. MABEL MILLS (1877)]
+
+
+[Illustration: PORTRAIT OF CAPTAIN RICHARD BURTON (1876)]
+
+
+Another picture, in which a simple theme is treated in a classic
+fashion--not dissimilar to that employed for the _Music Lesson_--is
+_Winding the Skein_, a lovely painting exhibited at the Academy in 1878.
+In this we see two Greek maidens as naturally employed as we often see
+English girls in other surroundings. This idealization of a familiar
+occupation--so that it is lifted out of a local and casual sphere, into
+the permanent sphere of classic art, is characteristic of the whole of
+Leighton's work. He, like Sir L. Alma-Tadema and Albert Moore, contrived
+also to preserve a certain modern contemporary feeling in the classic
+presentment of his themes. He was never archaic; so that the classic
+scenarium of his subjects, in his hands, appears as little antiquarian
+as a mediaeval environment, shall we say, in the hands of Browning.
+_Nausicaa_, a full-length girlish figure, in green and white draperies,
+standing in a doorway, and _Serafina_, another single figure, and _A
+Study_, were also shown the same year. At the Grosvenor Gallery were a
+_Portrait of Miss Ruth Stewart Hodgson_, a demure little damsel in
+outdoor attire, and a _Study of a Girl's Head_, full face.
+
+
+[Illustration: NAUSICAA (1878)]
+
+
+
+
+[Illustration: STUDY FOR "ELIJAH AND THE ANGEL"]
+
+
+CHAPTER V
+
+YEAR BY YEAR--1878 TO 1896
+
+
+On November 13th, 1878, Frederic Leighton was elected President of the
+Royal Academy, in succession to Sir Francis Grant, and immediately
+received the honour of knighthood.
+
+In 1879 Leighton sent eight contributions to the Academy, not one of
+which, with the possible exception of the _Elijah_, perhaps, has been
+counted among his masterpieces. Four of them belong to that group of
+ideal figure paintings which almost constitute a _genre_ in themselves:
+_Biondina_, _Catarina_, _Amarilla_, and _Neruccia_, a girl with a red
+flower in her hair, in white dress, against a dark background. The
+finely austere _Elijah in the Wilderness_ was an addition to the notable
+group of Scriptural paintings. In this picture the nude figure of the
+prophet is seen reclining on a rock, with head and arms thrown back,
+while beside him stands an angel holding bread and water. The striking
+and powerful _Portrait of Professor Costa_, the _Portrait of the
+Countess Brownlow_, and a portrait study, completed the list of the
+year's contributions, the largest number ever sent in by Leighton,
+before his election or afterward. This year ten of his landscape-studies
+in oil were exhibited at the Grosvenor Gallery.
+
+It may be thought by the outsider that the coveted office of the
+President of the Royal Academy of Arts is, in a way, an ornamental
+one,--some such golden sinecure as that of the old High Chamberlains.
+Nothing could be more mistaken. "Not everybody," wrote the late Mr.
+Underhill, who for some time, as private secretary to Sir Frederic
+Leighton, had special opportunities of knowing, "is aware of the tax
+upon a man's time and energy that is involved in the acceptance of the
+office in question. The post is a peculiar one, and requires a
+combination of talents not frequently to be found, inasmuch as it
+demands an established standing as a painter, together with great
+urbanity and considerable social position. The inroads which the
+occupancy of the office makes upon an artist's time are very
+considerable. There is, on the average, at least one Council meeting for
+every three weeks throughout the whole of the year. There are from time
+to time general assemblies for the election of new members and for other
+purposes, over which the President is bound, of course, to preside. For
+ten days or a fortnight in every April he has to be in attendance with
+the Council daily at Burlington House, for the purpose of selecting the
+pictures which are to be hung in the Spring Exhibition. He has to
+preside over the banquet which yearly precedes the opening of the
+Academy, and he has to act as host at the annual conversazione. Finally,
+it is his duty every other year to deliver a long, elaborate, and
+carefully prepared 'Discourse' upon matters connected with art, to the
+students who are for that purpose assembled. It is a post of much honour
+and small profit."
+
+
+[Illustration: SISTER'S KISS (1880)
+               _By permission of the Fine Art Society_]
+
+
+[Illustration: PORTRAIT OF SIGNOR COSTA (1879)]
+
+
+In filling this post, and neglecting no one of its smallest offices and
+endless small courtesies, an artist had needs be without the
+characteristic artist's defects of hesitation and delay; and in fact,
+Lord Leighton mastered, as much as any statesman of our time, the
+indispensable secret of despatch. We quote from Mr. Underhill again:
+"To administer the affairs of the Academy, to fulfil a round of social
+semi-public and public engagements, and to paint pictures which
+invariably reach a high level of excellence, would of course be
+impossible--even to Sir Frederic Leighton--were it not for the fact that
+he makes the very most of the time at his disposal. 'That's the secret,'
+remarked a distinguished member of the Academy to the present writer
+some little time before the President's death; 'Sir Frederic knows
+exactly how long it will take to do a certain thing, and he apportions
+his time accordingly.' This being the case, no one will be surprised to
+learn that he attached the greatest importance to punctuality. He
+himself never failed to keep an appointment at the exact moment fixed
+upon, and he expected, of course, similar punctuality on the part of
+others. The stroke of eight from the Academy clock was the signal for
+Sir Frederic to enter the Council Room at Burlington House, and to open
+the deliberations of the body over which he presided. 'They will never
+again get a man to devote so much time and energy to the business of the
+Academy,' said Sir Frederic Leighton's most distinguished colleague
+shortly before his death; 'never again.'" And since that time the same
+tribute has been paid ungrudgingly in public and private often enough.
+
+In 1880, we are tempted by five canvases; of which the _Sister's Kiss_
+and _Psamathe_, are perhaps the most important. The former turns a
+garden wall to delightful account, in its picture of a child, who is
+seated upon it, and of her charmingly drawn elder sister, who gives the
+kiss. The composition of this picture may be seen in our reproduction,
+but the colour of the bronze green robe--of singular beauty--is of
+course not even suggested. More classic, perhaps, and not less
+picturesque, is the Greek maiden, Psamathe, who was, if we remember
+aright, one of the Nereides. The artist has painted her sitting by the
+seashore, gazing over the Aegean, with her back turned to the spectator.
+Filmy garments, which have slipped from her shoulders on to the sand;
+arms folded about her knees; every detail of the picture carries out the
+effect of dreamy loveliness that pervades Psamathe and her surroundings.
+_Iostephane_ is a three-quarter length figure, less than life size, of a
+girl in light yellow drapery, with violets in her fair hair, who stands
+facing the spectator and arranging her draperies over her right arm;
+there are marble columns and a fountain in the background. _The Light of
+the Harem_ is a version of one of the groups in the fresco of _The
+Industrial Arts of Peace_ at South Kensington. The picture now known as
+the _Nymph of the Dargle_ was also exhibited this year under the title
+of _Crenaia_. It represents a small full-length figure facing the
+spectator; the river Dargle flows through Powerscourt, and forms the
+waterfall here represented in the background, hence its name.
+_Rubinella_, a girl with red gold hair was shown at the Summer
+Exhibition and a large number of sketches and studies at the Winter
+Exhibition of the Grosvenor Gallery this year.
+
+In 1881, the portrait of the Painter, painted by invitation in 1880 for
+the collection of autograph portraits of artists in the Uffizi Gallery,
+Florence, deserves particular mention. Not even Mr. Watts' best portrait
+of Leighton is quite so like as this, which shows the striking head of
+the artist to great effect, assisted by the decorative President's robe
+and insignia. The _Idyll_, shown the same year, has been compared by
+some critics with the _Cymon and Iphigenia_, the scene and circumstance
+of both being to a certain degree similar, while there are similar
+effects in both of colour and of composition. In the _Idyll_, we have a
+lovely female figure, lying at full length, attended by a second nymph,
+and by a piping man, all grouped beneath an arm of a beech tree, that
+extends overhead and shadows the upland ridge on which they have come to
+rest, while they gaze on a river winding among sunlit meads. The water
+reflects the blue and white of sky and clouds; the land is dashed by
+shadows. The nymphs' robes are red, blue, and pale yellow.
+
+
+[Illustration: PHRYNE AT ELEUSIS (1882)]
+
+
+[Illustration: DAY DREAMS (1882)
+               _By permission of the Fine Art Society_]
+
+
+We ought not to overlook another idyllic picture in the same exhibition,
+_Whispers_, an illustration of Horace's well-known line, "Lenesque sub
+noctem susurri." In this charming work, amid masses of crimson flowers
+and green leaves, two lovers are seen seated upon a marble bench, while
+he whispers tenderly in her ear, and she listens with dreamy eyes and
+maidenly mien. The noble picture of _Elisha and the Shunamite's Son_
+(reproduced at p. 114) was also shown this year, as well as _Bianca_, a
+fair-haired girl in a white dress, standing with folded arms, _Viola_,
+and two portraits, _Mrs. Augustus Ralli_, exhibited at the Royal
+Academy, and _Mrs. Algernon Sartoris_, at the Grosvenor Gallery.
+
+In the 1882 Academy appeared two of the most popular of Sir Frederic's
+pictures, _Wedded_ and _Day Dreams_. In the latter, a fair Sybarite is
+pressing her cheek against her hands, as she stands near a tapestry,
+with eyes gazing far away, the images of love-dreams in them; her purple
+mantle, embroidered with silver, produces a charming effect of colour.
+Still more famous is _Wedded_,--"one of the happiest of Sir Frederic's
+designs," said a critic at the time, "and as a composition of lines,
+difficult, subtle, and original, may be called one of the most
+remarkable productions of this decade." Other pictures shown this year
+were _Antigone_ and the much-debated _Phryne at Eleusis_--a notable
+study of the famous hetaira, who is seen standing, and holding out with
+one hand the mass of her deep auburn hair. Her skin is of a ruddy golden
+hue, as if seen under a glow of sunlight. Red tissue, which falls from
+her shoulders and extended arms, and an olive-coloured mantle that has
+fallen at the foot of the marble columns behind her, backed by a sky,
+very characteristic of the painter, in which snowlike masses of cloud
+float in a southern azure, produce a total effect of a certain
+super-womanly order of beauty. A _Design for a portion of a Proposed
+Decoration in St. Paul's_, a picture entitled _Melittion_, and a
+_Portrait of Mrs. Mocatta_, were also hung at the Academy in 1882;
+_Zeyra_, a little Eastern child in plum coloured headdress, a rich bit
+of colour elaborately painted, was shown at the Grosvenor Gallery.
+
+In 1883, _Memories_, though not one of the most typical of Leighton's
+pictures, decidedly pleased the general public. It shows the half-length
+figure of a blonde, in a black and gold dress. More interesting
+artistically was a decorative frieze, _The Dance_, for a drawing-room,
+the design for which we reproduce, and which may, in so far, answer for
+itself. Other pictures of 1883 are _Kittens_, a full-length figure of a
+fair-haired child in purple and embroidered drapery, seated on a bench
+covered with a leopard skin, holding a rose in hand and looking down at
+a kitten sitting beside her; and the _Vestal_, a bust of a girl with her
+head and shoulders swathed with white gold-embroidered draperies. To
+this year also belongs a _Portrait of Miss Nina Joachim_, a child in a
+blue frock with crimson sash.
+
+
+[Illustration: _Cymon and Iphigenia._
+               _By permission of the Fine Art Society._
+               _F. Leighton. pinxt._
+               _Swan Electric Engraving Co. Sc._]
+
+
+[Illustration: STUDIES FOR TWO FRIEZES "MUSIC" AND "THE DANCE"]
+
+
+The next year, 1884, brought _Letty_, that most delightful of English
+maidens, _A Nap_, _Sun Gleams_, and the imaginative and admirably
+romantic _Cymon and Iphigenia_. _Letty_ was one of Leighton's pictures
+which particularly excited Mr. Ruskin's admiration. It shows a simply
+pretty child, with soft brown hair under a black hat, a saffron kerchief
+about her neck. The _Letty_ and the _Cymon and Iphigenia_, with a few
+other notable pictures, did much to leave a pleasant recollection of the
+exceptional Academy of 1884. "A more original effect of light and
+colour, used in the broad, true, and ideal treatment of lovely forms,"
+said a French critic, "we do not remember to have seen at the Academy,
+than that produced by the _Cymon and Iphigenia_." Engravings and other
+reproductions of the picture have made its design, at any rate, almost
+as familiar now as Boccaccio's tale itself. There are some divergences,
+however, in the two versions. Boccaccio's tale is a tale of spring; Sir
+Frederic, the better to carry out his conception of the drowsy desuetude
+of sleep, and of that sense of pleasant but absolute weariness which one
+associates with the season of hot days and short nights, has changed the
+spring into that riper summer-time which is on the verge of autumn; and
+that hour of late sunset which is on the verge of night. Under its rich
+glow lies the sleeping Iphigenia, draped in folds upon folds of white,
+and her attendants; while Cymon, who is as unlike the boor of tradition
+as Spenser's Colin Clout is unlike an ordinary Cumbrian herdsman, stands
+hard-by, wondering, pensively wrapt in so exquisite a vision.
+Altogether, a great presentment of an immortal idyll; so treated,
+indeed, that it becomes much more than a mere reading of Boccaccio, and
+gives an ideal picture of Sleep itself,--that Sleep which so many
+artists and poets have tried at one time or another to render.
+
+In 1885, among the five contributions of the President to the Academy,
+appeared the vivacious portrait of Lord Rosebery's little daughter, _The
+Lady Sybil Primrose_, who appears in white with a blue sash, carrying a
+doll. _A Portrait of Mrs. A. Hichens_ and _Phoebe_ were the only other
+pictures this year. A frieze, _Music_, was shown, and at the Grosvenor
+Gallery _A Study_ of a fair-haired girl, in green velvet dress. 1886 was
+chiefly notable for the statue in bronze of _The Sluggard_, in which
+Leighton again furnished us with a plastic characterization of Sleep,
+which he designed by way of contrast to his statue of the struggling
+Athlete. It was suggested, Mr. Spielmann says, by accidental
+circumstances. The model who had been sitting to him fell a-yawning in
+his interval of rest, and charmed the artist, not only with his
+exceptional beauty of line and play of muscle, but also with the
+artistic contrast of energy and languor. But that he might not lay
+himself open to the charge that the work was a glorification of
+indolence, the sculptor made concession to what after all was an
+artistic suggestion, and placed under the yawner's foot
+
+  "The glorious wreath of laurel leaves
+  Heel trodden and despised."
+
+The graceful statuette of a little girl who is alarmed by a toad on the
+edge of a pool or stream of water, called _Needless Alarms_, appeared at
+the same time; and was so much admired by the President's colleague, Sir
+John Everett Millais, that he wished to purchase it, whereupon Sir
+Frederic presented it to him, and received, in return, the charming
+picture of _Shelling Peas_, which Sir John painted specially for this
+pleasant exchange. In 1886 also appeared the _Decoration in Painting for
+a Music Room_, destined for New York, which is illustrated[7] by
+the completed work, and its preliminary studies from life for it.
+_Gulnihal_, a single figure, is the only other painting exhibited at the
+Academy in this year.
+
+
+[Illustration: THE LAST WATCH OF HERO (1887)
+               _By permission of the Manchester Corporation_]
+
+
+[Illustration: PORTRAIT OF THE LADY SYBIL PRIMROSE (1885)]
+
+
+In 1887 appeared a picture which seems scarcely to have received its due
+appreciation, _The Jealousy of Simaetha the Sorceress_. This is a
+seated figure in yellow and white drapery, with a purple mantle wrapped
+around her shoulders; a well-wrought, finely-rendered work. _The Last
+Watch of Hero_, also first seen this year, is now in the Manchester
+Corporation Gallery. It is in two compartments; in the upper, and
+larger, Hero, clad in pink drapery, is seen drawing aside a curtain and
+gazing out over the sea. Below, in the smaller panel, is the body of the
+dead Leander, on a rock washed by the waves. A quotation from Sir Edwin
+Arnold's translation of Musaeus was appended to its title:
+
+  "With aching heart she scanned the sea-face dim.
+       *       *       *       *       *
+  Lo! at the turret's foot his body lay,
+  Rolled on the stones and washed with breaking spray."
+
+A picture of a little girl with yellow hair and pale blue eyes, entitled
+with a verse by Robert Browning:
+
+    "Yellow and pale as ripened corn
+    Which Autumn's kiss frees,--grain from sheath,--
+    Such was her hair, while her eyes beneath
+  Showed Spring's faint violets freshly born,"
+
+was in the same exhibition, and also a design for the reverse of the
+Jubilee medallion, executed for her Majesty's Government.
+
+In 1888 appeared another large work, which, although not absolutely a
+procession, has much in common with the _Cimabue_, the _Syracusan
+Bride_, and _The Daphnephoria_. It was entitled _Captive Andromache_,
+and accompanied by a fragment of the "Iliad," translated by E. B.
+Browning:
+
+                          ... "Some standing by
+  Marking thy tears fall, shall say, 'This is she,
+  The wife of that same Hector that fought best
+  Of all the Trojans when all fought for Troy.'"
+
+This, and a _Portrait of Amy, Lady Coleridge_, were the artist's only
+contributions to the Royal Academy of 1888. The _Portraits of the Misses
+Stewart Hodgson_ is also of this year, which saw four landscape studies
+exhibited at the Royal Society of Painters in Water Colours, and five at
+the Royal Society of British Artists, Suffolk Street.
+
+The _Sibyl_, exhibited in 1889, is a full-length figure swathed in lilac
+drapery, seated with her legs crossed, on a chair, her chin supported by
+her left hand, and gazing out of the picture. Beside her are scrolls,
+and a sombre sky is behind the figure. _Invocation_, a girl in white
+robes with arms raised above her head, and a _Portrait of Mrs. F.
+Lucas_, were also shown; but _Greek Girls playing at Ball_ is not only
+the most important, but is also a picture that shows the mannerism of
+Lord Leighton's treatment of drapery at its finest. Elsewhere the
+undulating snaky coils may be somewhat distressing, here they float in
+the air and help the suggestion of movement. The landscape at the back
+is also both typical and beautiful. An _Elegy_ was the fifth of the
+artist's contributions to the Academy of 1889.
+
+In 1890 _The Bath of Psyche_ appeared at the Academy. This at once
+established its position as a popular favourite, and has probably been
+more widely reproduced than any other. It was purchased under the terms
+of the Chantrey Bequest, and is now in the Tate Gallery. It was
+suggested, so Mr. M. H. Spielmann tells us, by the "paper-knife"
+picture, as Lord Leighton called it, which he had painted for Sir L.
+Alma-Tadema's wall screen. _Solitude_ was also shown this year, and the
+_Tragic Poetess_, a full-length figure, clad in blue and purple drapery,
+on a terrace, with the sea beyond. The fourth picture at the Academy was
+a very faithfully painted transcript of _The Arab Hall_, at No. 2,
+Holland Park Road.
+
+
+[Illustration: GREEK GIRLS PLAYING AT BALL (1889)
+               _By permission of the Berlin Photographic Co._]
+
+
+[Illustration: THE BATH OF PSYCHE (1890)
+               _By permission of the Berlin Photographic Co._]
+
+
+In 1891 appeared _Perseus and Andromeda_, a very original version of a
+theme which it seems the destiny of every painter and sculptor of
+classical subjects to attempt at some time. In this Andromeda is bound
+to a rock, the monster stands over her with outstretched wings, while
+from the clouds above, Perseus, on his winged steed, is discharging
+arrows. The clay models for Perseus are reproduced elsewhere (at p. 68).
+The _Return of Persephone_ was another important work shown this year.
+It represents Persephone, supported by Hermes, being brought back to the
+upper world, where she is awaited with outstretched arms by Demeter. A
+_Portrait of A. B. Mitford, Esq._, and a marble version of the _Athlete
+Struggling with a Python_, were also shown in the same exhibition.
+
+In 1892 a version of a panel of the proposed decoration for the dome of
+St. Paul's appeared with the title, _And the Sea gave up the Dead which
+were in it_; this, purchased by Mr. Henry Tate, is now among the
+pictures he gave to the Gallery at Millbank. The most important of
+Leighton's later works, _The Garden of the Hesperides_, in many respects
+the most sumptuous piece of decoration he ever achieved, was shown this
+year. It is a large circular picture, the centre occupied by a tree
+bearing golden apples; under its branches recline the three Hesperides,
+caressing the dragon who assists them to guard the treasure. A superbly
+brilliant sea is in the distance. The charm of this picture is mainly in
+its colour, but as an example of elaborately artificial composition it
+is hardly less noteworthy. Unfortunately, despite every effort of Lord
+Leighton, most kindly exerted on behalf of the editor of this volume,
+the owners of the copyright refused under any condition to allow it to
+be illustrated herein. _A Bacchante_, and _At the Fountain_, a girl in
+fawn-coloured and violet draperies, with a bunch of lemons overhanging
+the marble wall behind her, were shown this year; and also a _Clytie_,
+which must not be confused with another known by the same title, the
+last picture on which the artist was at work before his death. The 1892
+version, shown in the retrospective exhibition, is thus described in its
+catalogue: "A small figure of Clytie is seen on the right, kneeling on a
+stone building with arms outstretched towards the sun, which is setting
+behind a range of moorland hills."
+
+In 1893 _Hit_, _The Frigidarium_, _Farewell_, _Corinna of Tanagra_, and
+_Rizpah_ were exhibited at the Academy. Of these the most important is
+the last named. It illustrates the story of the two sons of Rizpah, by
+Saul, Armoni and Mephibosheth, who were slain by the Gideonites. Rizpah,
+robed in dark blue, is seen in the act of fetching away their bodies,
+which are shrouded by dull lilac and blue draperies. Vultures circle
+above, and two leopards approach stealthily. _Farewell_ is a single
+figure in olive green and plum-coloured peplis under a portico above the
+sea, where she pauses to take a last look at an outward-bound ship.
+
+_Atalanta_ depicts the bust only of a dark-haired girl in purple and
+white drapery, with a snake-like ornament twisted round her arm, which
+is bare to the shoulder. _Corinna of Tanagra_ is a half-length figure
+crowned with leaves, in coloured drapery, resting her clasped hands upon
+her lyre. _The Frigidarium_ is an upright figure in semi-transparent red
+drapery, which with the background of gold is reflected in the water
+beneath her feet.
+
+
+[Illustration: FAREWELL (1893)
+               _By permission of Messrs. Arthur Tooth and Sons_]
+
+
+[Illustration: "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."--REV.
+XX. 13 (1892)]
+
+
+[Illustration: THE FRIGIDARIUM (1893)
+               _By permission of Messrs. H. Graves and Co._]
+
+
+In 1894 were shown _The Spirit of the Summit_, a white-robed figure with
+upturned face, sitting on a snowy peak, with starlit sky beyond; _The
+Bracelet_; _Fatidica_, a figure in green-white robes; _At the Window_, a
+dark-haired boy in blue, looking over the ledge of a window; and _Summer
+Slumber_. This last is a somewhat elaborate composition; a girl in
+salmon colour draperies is lying asleep on the broad rim of a marble
+fountain, masses of flowers are in the mid distance, and a vista of
+sunny landscape through the open window beyond.
+
+In 1895, the last year of the artist's working life, he sent six
+pictures to the Academy, and completed the wall decoration at the Royal
+Exchange (here illustrated), _Phoenicians Bartering with Britons_. The
+paintings were entitled, _Flaming June_ (a picture reproduced in colours
+for a Christmas number of the "Graphic"), in which the "broad" painting
+of the sea beyond was a notable exception to the artist's usual
+handling; _Lachrymae_, a standing figure in robes of black and blue
+green, resting her arm upon a Doric column; _'Twixt Hope and Fear_, a
+seated figure of a black-haired Greek girl, robed in white and olive,
+with a sheep-skin thrown around her; _The Maid with her Yellow Hair_, a
+girlish figure in lemon-coloured drapery, reading from a red-backed
+book; _Listener_, a child seated with crossed legs on a fur rug; and a
+_Study of a Girl's Head_, with auburn, wavy hair.
+
+In the 1896 Academy _Clytie_ was the only picture. In Lord Leighton's
+studio in various stages of completion were a _Bacchante_, a half-length
+figure of a fair-haired girl crowned with leaves, and a leopard skin
+over her shoulder; _The Fair Persian_, a bust of a girl with flowing
+dark hair, crowned by a jewelled circlet; and _The Vestal_, a
+half-length figure of a girl in white drapery, these were all exhibited
+at the Winter Exhibition of 1897.
+
+To _Clytie_, his last picture, a small monograph has been devoted by the
+Fine Art Society. In this we read: "'Thank goodness my ailment has not
+interfered with my capacity for work, for I have never had a better
+appetite for it, nor I believe done better. I was idle for five months
+in the summer, but since my return I have been working hard and have
+produced the pictures you see.' Thus he spoke to the present writer [of
+the monograph in question] as he led the way across his studio....
+Turning to the _Clytie_ he continued: 'This I have been at work upon all
+the morning. Orchardson has been so good as to say I have never done
+anything finer than the sky. You know the story. I have shown the
+goddess in adoration before the setting sun, whose last rays are
+permeating her whole being. With upraised arms she is entreating her
+beloved one not to forsake her. A flood of golden light saturates the
+scene, and to carry out my intention, I have changed my model's hair
+from black to auburn. To the right is a small altar, upon which is an
+offering of fruit, and upon a pillar beyond I shall show the feet of a
+statue of Apollo.'
+
+"But a few days after this occurrence the dead President lay in
+semi-state in his coffin, before the picture. A drawing in the 'Graphic'
+(January 26th, 1896) shows the interior of the studio, with the figure
+of Clytie, in her attitude of despair, stretching her arms above the
+body of her creator."
+
+Here the record, year by year, is closed. A few pictures seem to have
+escaped the honours of exhibition. One,[8] _A Noble Lady of Venice_, in
+possession of Lord Armstrong, does not appear to have been
+exhibited. It is probably the picture which was sold at Christie's in
+1875 for 950 guineas. A _Lady with Pomegranates_, which sold for 765
+guineas at the sale of Baron Grant's pictures in 1877, does not appear
+in our list of exhibited works; nor, it may be, are all the early
+pictures included therein. But the official catalogues of the Royal
+Academy May Exhibitions, and of the special Winter Exhibition devoted to
+the artist's works, have been freely drawn upon for description, and to
+the list of his life's work, as it appeared in the first edition of this
+work, many additions have been made.
+
+
+[Illustration: RIZPAH (1893)]
+
+
+[Illustration: THE BRACELET (1894)
+               _By permission of Messrs. T. Agnew and Sons_]
+
+
+[Illustration: FATIDICA (1894)
+               _By permission of Messrs. T Agnew and Sons_]
+
+
+
+
+CHAPTER VI
+
+HIS METHOD OF PAINTING
+
+
+For particulars of the wonderfully thorough "method," which Leighton
+used in preparing his pictures, we cannot do better than quote the
+following admirable account by Mr. M. H. Spielmann (published during the
+painter's life), which he has allowed us to reprint here.[9]
+
+"I have said that the sense of line in composition, in figure and
+drapery, is one of the chief qualities of the artist; and the conviction
+that the method in which he places them upon canvas with such unerring
+success--for it may be said that the President rarely, if ever, produces
+an ugly form in a picture--would be both interesting and instructive,
+prompted me to learn in what manner his effects are produced. This I
+have done, having special regard to one of his Academy pictures, _The
+Sibyl_, which, being a single figure, simplifies greatly the explanation
+of the mode of procedure. This explanation holds good in every case, be
+the composition great or small, elaborate or simple; the _modus
+operandi_ is always the same.
+
+
+[Illustration: A BACCHANTE (1896)
+               _By permission of Messrs. Henry Graves and Co._]
+
+
+[Illustration: "HIT" (1893)
+               _By permission of "The Art Journal"_]
+
+
+"Having by good fortune observed in a model an extraordinarily fine and
+'Michelangelesque' formation of the hand and wrist--an articulation as
+rare to find as it is anatomically beautiful and desirable--he bethought
+him of a subject that would enable him to introduce his
+_trouvaille_. As but one attitude could display the special
+formation to advantage, the idea of a Sibyl, sitting brooding beside her
+oracular tripod, was soon evolved, but not so soon was its form
+determined and fixed. Like Mr. Watts, Sir Frederic Leighton thinks out
+the whole picture before he puts brush to canvas, or chalk to paper;
+but, unlike Mr. Watts, once he is decided upon his scheme of colour, the
+arrangement of line, the disposition of the folds, down to the minutest
+details, he seldom, if ever, alters a single line. And the reason is
+evident. In Sir Frederic's pictures--which are, above all, decorations
+in the real sense of the word--the design is a pattern in which every
+line has its place and its proper relation to other lines, so that the
+disturbing of one of them, outside of certain limits, would throw the
+whole out of gear. Having thus determined his picture in his mind's eye,
+he in the majority of cases makes a sketch in black and white chalk upon
+brown paper to fix it. In the first sketch, the care with which the
+folds have been broadly arranged will be evident, and, if it be compared
+with the finished picture, the very slight degree in which the general
+scheme has been departed from will convince the reader of the almost
+scientific precision of the artist's line of action. But there is a good
+reason for this determining of the draperies before the model is called
+in; and it is this. The nude model, no matter how practised he or she
+may be, never moves or stands or sits, in these degenerate days, with
+exactly the same freedom as when draped; action or pose is always
+different--not so much from a sense of mental constraint as from the
+unusual liberty experienced by the limbs, to which the muscular action
+invariably responds when the body is released from the discipline and
+confinement of clothing.
+
+"The picture having been thus determined, the model is called in, and is
+posed as nearly as possible in the attitude desired. As nearly as
+possible I say, for, as no two faces are exactly alike, no two models
+ever entirely resemble one another in body or muscular action, and
+cannot, therefore, pose in such a manner as exactly to correspond with
+either another model or another figure--no matter how correctly the
+latter may be drawn. From the model the artist makes the careful
+outline, in brown paper, a true transcript from life, which may entail
+some slight corrections of the original design in the direction of
+modifying the attitude and general appearance of the figure. This would
+be rendered necessary, probably by the bulk and material of the drapery.
+So far, of course, the artist's attention is engaged exclusively by
+'form,' 'colour' being always treated more or less ideally. The figure
+is now placed in its surroundings, and established in exact relation to
+the canvas. The result is the first true sketch of the entire design,
+figure and background, and is built up of the two previous ones. It must
+be absolutely accurate in the distribution of spaces, for it has
+subsequently to be 'squared off' on to the canvas, which is ordered to
+the exact scale of the sketch. At this moment, the design being finally
+determined, the sketch in oil colours is made. It has been deferred till
+now, because the placing of the colours is, of course, of as much
+importance as the harmony. This done, the canvas is for the first time
+produced, and thereon is enlarged the design, the painter re-drawing the
+outline--never departing a hair's breadth from the outlines and forms
+already obtained--and then highly finishing the whole figure in warm
+monochrome from the life. Every muscle, every joint, every crease is
+there, although all this careful painting is shortly to be hidden with
+the draperies; such, however, is the only method of insuring absolute
+correctness of drawing. The fourth stage completed, the artist
+returns once more to his brown paper, re-copies the outline accurately
+from the picture, on a larger scale than before, and resumes his studies
+of draperies in greater detail and with still greater precision, dealing
+with them in sections, as parts of a homogeneous whole. The draperies
+are now laid with infinite care on to the living model, and are made to
+approximate as closely as possible to the arrangement given in the first
+sketch, which, as it was not haphazard, but most carefully worked out,
+must of necessity be adhered to. They have often to be drawn piecemeal,
+as a model cannot by any means always retain the attitude sufficiently
+long for the design to be wholly carried out at one cast. This
+arrangement is effected with special reference to painting--that is to
+say, giving not only form and light and shade, but also the relation and
+'values' of tones. The draperies are drawn over, and are made to conform
+exactly to the forms copied from the nudes of the underpainted picture.
+This is a cardinal point, because in carrying out the picture the folds
+are found fitting mathematically on to the nude, or nudes, first
+established on the canvas. The next step then is to transfer these
+draperies to the canvas on which the design has been squared off, and
+this is done with flowing colour in the same monochrome as before over
+the nudes, to which they are intelligently applied, and which nudes must
+never--mentally at least--be lost sight of. The canvas has been prepared
+with a grey tone, lighter or darker, according to the subject in hand,
+and the effect to be produced. The background and accessories being now
+added, the whole picture presents a more or less completed
+aspect--resembling that, say, of a print of any warm tone. In the case
+of draperies of very vigorous tone, a rich flat local colour is probably
+rubbed over them, the modelling underneath being, though thin, so sharp
+and definite as to assert itself through this wash. Certain portions of
+the picture might probably be prepared with a wash or flat tinting of a
+colour the _opposite_ of that which it is eventually to receive. A blue
+sky, for instance, would possibly have a soft, ruddy tone spread over
+the canvas--the sky, which is a very definite and important part of the
+President's compositions, being as completely drawn in monochrome as any
+other portion of the design; or for rich blue mountains a strong orange
+wash or tint might be used as a bed. The structure of the picture being
+thus absolutely complete, and the effect distinctly determined by a
+sketch which it is the painter's aim to equal in the big work, he has
+nothing to think of but colour, and with that he now proceeds
+deliberately, but rapidly.
+
+
+[Illustration: NUDE STUDY FOR "CAPTIVE ANDROMACHE"]
+
+
+[Illustration: STUDY FOR A FIGURE IN "CAPTIVE ANDROMACHE"]
+
+
+[Illustration: STUDY FOR "ANDROMACHE"]
+
+
+"Such is the method by which Sir Frederic Leighton finds it convenient
+to build up his pictures. The labour entailed by such a system as this
+is, of course, enormous, more especially when the composition to be
+worked out is of so complex a character as the _Captive Andromache_ of
+last year, every figure and group of which were treated with the same
+completeness and detail as we have seen to attend the production of so
+simple a picture as _The Sibyl_. Deliberateness of workmanship and
+calculation of effect, into which inspiration of the moment is never
+allowed to enter, are the chief characteristics of the painter's
+craftsmanship. The inspiration stage was practically passed when he took
+the crayon in his hand; and to this circumstance probably is to be
+assigned the absence of realism which arrests the attention of the
+beholder."
+
+Mr. Spielmann has instanced, in the above account, the tragic and lovely
+_Captive Andromache_, exhibited in 1888; and we may further add
+that exquisite painting of _Greek Girls playing at Ball_, of 1889; or
+the still more exquisite _Bath of Psyche_, of the year following. All
+three are full of technical delicacy and finesse. For other qualities
+take that radiantly pictured myth, the _Perseus and Andromeda_, or the
+_Return of Persephone_ (both of 1891); or the lovely _Clytie_ of 1892,
+whose sunset background was painted at Malinmore, on the west coast of
+Donegal; or the _Atalanta_ or the _Rizpah_ of 1893.
+
+
+[Illustration: STUDY FOR "PERSEUS AND ANDROMEDA"]
+
+
+[Illustration: STUDY FOR "THE BATH OF PSYCHE"]
+
+
+[Illustration: STUDY FOR "SOLITUDE"]
+
+
+The memorable picture, first named of these, which shows Andromache at
+the Well, is in particular a most characteristic example of the artist's
+larger style. In it, true to his classic predilections, he gives a new
+setting to the touching old story of Andromache's captivity. Following
+up the earlier scene in the "Iliad," where Andromache begs her husband
+Hector not to sally forth to battle, but to stay and defend the city,
+and where, finding her prayers in vain, and weeping, she bids Hector
+farewell, the picture shows the fulfilment of Andromache's fears and the
+dire prophecy which Hector had recalled to his wife.
+
+By way of contrast to this sombre canvas, take the glowing and brilliant
+colours of the _Perseus and Andromeda_, one of the three pictures shown
+at the Academy in 1891. The painting of the surroundings of Andromeda,
+the deep blue water in the sea lagoon beneath, and these radiant
+elemental people of air and light, provides such a glow of colour, as
+haunts the eye for long after one has gazed one's fill upon it.
+Something of the same feeling for the spirit that is in the forces of
+the earth, lurks behind many of Leighton's representments of the classic
+myths. It is certainly to be found, with a difference, in the _Return of
+Persephone_, exhibited with the _Perseus_, which becomes in the
+artist's hands a profound allegory of the return of Spring, with all
+kind of symbolical meanings in the three figures of Proserpine, Ceres,
+and Hermes, that are seen meeting before the mouth of Hades. _The Spirit
+of the Summit_, one of the latest of these embodiments of the relation
+of Man to Nature, may be read to mean Man's finer spirit of aspiration,
+and the mountainous imagination of Art itself. It is characteristic of
+the artist that, in the later years of his career, at a time when most
+artists and men are apt to give up something of their earlier pursuit of
+ideals, he retained undiminished a feeling for the unaccomplished
+heights of the imagination. _The Spirit of the Summit_ may serve, then,
+as the symbol, not so much of things attained, and Art victorious, as of
+things that are always to be attained, and of Art striving and
+undeterred. In this way it may serve, too, as in some sort the emblem of
+Leighton's own ideals, and of his whole career. His artistic temper was
+throughout, one of endless energy, endless determination; with a dash of
+that finer dissatisfaction which is always seeking out new embodiments,
+under all difficulties, of Man's pursuit, in a difficult, and often an
+unbeautiful world, of Truth and Beauty. Above all, he was a consummate
+draughtsman, and as Francisco Pacheco, the father-in-law of Velasquez,
+wrote in his "Arte de la Pintura" (1649): "Drawing is the life and soul
+of painting; drawing, especially outline, is the hardest; nay, the Art
+has, strictly speaking, no other difficulty. Without drawing painting is
+nothing but a vulgar craft; those who neglect it are bastards of the
+Art, mere daubers and blotchers."
+
+
+[Illustration: STUDY FOR "THE RETURN OF PERSEPHONE"]
+
+
+[Illustration: STUDY FOR "PERSEPHONE"]
+
+
+
+
+CHAPTER VII
+
+MURAL DECORATION, SCULPTURE, AND ILLUSTRATION
+
+
+The drawings of Lord Leighton deserve special consideration. The famous
+_Lemon Tree_ was made at Capri in the Spring of 1859; it is work that no
+Pre-Raphaelite could have finished more minutely, yet it has nothing
+"niggling" in its treatment. In a conversation[10] Lord Leighton is said
+to have referred to the many days spent upon the production of this
+study--dwelling specially on the difficulty he experienced in finding
+again and again each separate leaf in the perspective of the confused
+branches, as morning after morning he returned at sunrise to continue
+the work. The drawing of each leaf reveals the close observation which
+ultimately recorded its particular individuality. You feel that as a
+shepherd knows his sheep to call each by its name, so the artist must
+have become familiar with every separate leaf and twig before he had
+completed his task. The whole is broad and simple, and scarcely suggests
+the enormous patience which must have been needed to carry out the
+self-imposed toil. Nothing is shirked, nothing is scamped; from the stem
+to the outermost leaf, every part in succession reveals equal interest,
+and yet the whole is not without that larger quality which brings it
+together in a harmonious whole, so that it is as much the study of a
+tree as the study of each separate item that composes it.
+
+The _Byzantine Well-head_ is another notable instance of similar labour
+devoted to an architectural subject; this was evidently a favourite with
+its author; for during his life it hung close by his bed in the simple
+chamber of his otherwise sumptuous home, a room devoid of luxury and
+almost ascetic in its appointments.[11]
+
+The great mass of studies, on brown paper chiefly, which he had
+carefully preserved, were purchased by the Fine Art Society, and some
+two hundred and fifty were exhibited at their gallery in December, 1896,
+and a selection in facsimile has been published in sumptuous form. In a
+prefatory note to the catalogue of these studies Mr. S. Pepys Cockerell
+says: "It is seldom that we are privileged to watch at ease the workings
+of another's mind, but these drawings, the intimate record of a long
+life-time, offer an unusually good opportunity. One might call them the
+confessions of an artist; and anyone who wants to know what Leighton was
+really like, has only to use his eyes. One thing, at any rate, no one
+can fail to see, viz., that he had the qualities which result in
+industry. Whatever success he achieved was only gained after desperate
+labour. It is curious that while he had the reputation for working with
+ease, he considered himself to have no facility for anything, whether
+for art, for writing, or for speaking. I recollect his once saying:
+'Thank Heaven, I was never clever at anything,' for he believed with Sir
+Joshua, that everything is granted to well-deserved labour."
+
+The landscape studies in oil (of which a list almost complete will be
+found in Appendix II.), show equal observation and sympathetic
+perception of the beauty of colour, as well as of the beauty of
+form. The truth of these carefully recorded impressions of scenery was
+no less patent than the masterly "selection" which had set itself to
+depict all that seemed of value, and escaped at once the photographic
+imitation of one school, and the evasion of detail of another. They all
+preserve a certain classic repose, without violence to topographical
+accuracy, or painter-like intention.
+
+
+[Illustration: STUDY FOR THE CEILING OF A MUSIC-ROOM]
+
+
+[Illustration: STUDY FOR THE CEILING OF A MUSIC-ROOM]
+
+
+[Illustration]
+
+
+[Illustrations: DECORATION FOR THE CEILING OF A MUSIC-ROOM]
+
+
+We have had occasion to refer frequently, in passing, to Leighton's
+decorative works, but we have purposely deferred any description of
+them, preferring to treat them separately. To know how present was his
+feeling for decorative effect at all times, it is sufficient to glance
+never so casually at his own house, about which we hope presently to say
+something,--genuine expression as it is of his Art. Now we wish rather
+to touch on his more public performances. Of these, the famous frescoes
+which fill large lunettes in the central court at South Kensington, _The
+Industrial Arts of War_ and _The Industrial Arts of Peace_, are the best
+known, as they are among the most characteristic of all the artist's
+productions.
+
+The fresco of _The Arts of War_ is a very complex piece of work. It is
+crowded with figures, full of that orderly disorder which one must
+expect to find, on the hurried morning of a day of battle, in these
+delightfully decorative warriors. "In the centre"--we quote here Mrs.
+Lang's description--"is a white marble staircase, leading from the
+quadrangle to an archway, beyond which is another courtyard. Seen
+through the archway, knights are riding by.... The busy scene in the
+courtyard suggests an immediate departure to the seat of war. In the
+corner to the right crossbows are being chosen and tested; a man is
+kneeling by a pile of swords, and descanting on their various merits to
+an undecided customer, while those weapons that he has already disposed
+of are having their blades tried and felt. A little way off, to the left
+of the archway, some men-at-arms are trying on the armour of a youth who
+has still to win his spurs.... The whole is distinguished by the extreme
+naturalness and simplicity of all the actions, and by soft, glowing
+colours, chiefly dark olive green and splendid saffrons."
+
+In _The Arts of Peace_, its companion, the central portion of the fresco
+is devised as the interior of a Greek house, where within a semicircular
+alcove we see a number of Greek maidens and older women, delightfully
+grouped, mainly occupied in the art of personal adornment. Before this
+house is the waterside, with a very decorative boat, confined by a
+gracefully-looped chain, whose curve, as it hangs, is very subtly
+designed to complete the salient lines of the whole composition. On
+either side of this interior we have groups of men, more vigorously
+treated,--drawing water, bearing burdens, pushing a boat from land. The
+total effect of these finely posed contrasted groups, of the admirably
+architectured walls, piers, and pavements, and of the striking
+background, as of another hill-crowned Athens, is most complete and
+satisfying. The colouring throughout, diversified with extreme art as it
+is, is full of that southern radiance, and clear, sunlit glamour, so
+often found in the artist's pictures. To realize this fully, South
+Kensington must be visited, for word-painting at its best but poorly
+reproduces the art that it doubtfully imitates.
+
+
+[Illustration: FRESCO: THE INDUSTRIAL ARTS OF WAR (1872)]
+
+
+[Illustration: FRESCO: THE INDUSTRIAL ARTS OF PEACE (1873)]
+
+
+But these were by no means the first attempts of the artist to
+acclimatize the noblest form of mural decoration, which cannot even at
+this date be regarded as fully naturalized amongst us. In 1866 he
+commenced work on a fresco of _The Wise and Foolish Virgins_, which
+forms the altarpiece of the beautiful modern church at Lyndhurst,
+erected on the site of the older building commemorated in Charles
+Kingsley's ballad. This painting still remains a lasting attraction to
+visitors in the New Forest village. In the centre, the Bridegroom, clad
+in white, bearing lilies in His left hand, extends His right to the
+foremost of the five wise virgins. Angels at each side of the central
+figure welcome the one group, and repel the other. On the extreme right
+is a kneeling figure, "Ora;" on the left, "Vigila," a figure trimming a
+lamp. The scale of the figures is over life-size, and the unfortunate
+position of the work, immediately under a large east window, so that the
+figures appear standing on the altar, has provoked adverse criticism;
+but the painting itself, as a triumphant accomplishment of a peculiarly
+difficult undertaking, and a superb scheme of line and colour, has won
+favourable comments at all times. It was painted in the medium, a
+mixture of copal, wax, resin, and oil, previously employed with success
+by Mr. Gambier Parry in his decorations for Ely Cathedral.
+
+It is interesting to read the account of the execution of this work,
+which is said to have been carried out chiefly on Saturday afternoons,
+the artist catching a mid-day train from town, and working on it from
+the moment of his arrival until dusk. Experience of the London and South
+Western Railway Company thirty years ago makes one doubt whether leaving
+town at mid-day should not be taken as arriving at Lyndhurst Road at
+that time, for otherwise it would have been a miracle to accomplish the
+task by daylight. It is, however, exhilarating to find that the
+sustained enthusiasm of the young artist was equal to the effort
+involved in mastering so many obstacles; for the result, despite the
+increased attention given to decoration in these later years, may even
+now be considered, so far as modern ecclesiastical painting is
+concerned, to be without a rival in England.
+
+The beautiful _Cupid with Doves_, is also said to be from a fresco;
+whether a genuine painting on the wall itself (after the true fresco
+manner) or not, it has the larger qualities peculiar to the method which
+distinguishes several other works that were certainly not executed in
+this medium,--the latest of Leighton's mural decorations, for example, a
+painting of _Phoenicians Bartering with Britons_, which the President
+of the Royal Academy in 1895 presented as the first of a series of
+panels in the Royal Exchange. Although, as this was painted on canvas,
+it cannot be ranked as a legitimate successor in the direct line of the
+Lyndhurst and South Kensington frescoes, it is marked by many of the
+architectural qualities which distinguish a painting designed to be in
+true relation to the planes of its surroundings, and employs a
+convention which makes it appear an integral part of the wall surface,
+not a mere panel accidentally placed within a frame supplied by the
+features of the building itself.
+
+The South Kensington frescoes, as we have before stated, were painted in
+1872-3. Some ten years later Sir Frederic collaborated with Sir Edward
+(then Mr.) Poynter in the decoration of the dome of St. Paul's. His
+share was to have filled eight _medallions_, so called, in the
+compartments into which his colleague divided the dome. The design for
+one of these, _The Sea gave up the Dead which were in it_, was exhibited
+at the Academy of 1892, and is now among the works presented by Mr. Tate
+to the National Gallery of British Art. This is another treatment of a
+great subject, in which the problem of reconciling the dramatic with
+the decorative has been seriously attempted. The dome of St. Paul's, had
+it been completed according to this scheme, might have been a worthy if
+a somewhat academic presentation of the tremendous visions of the
+Apocalypse.
+
+
+[Illustration: CUPID: FROM A FRESCO]
+
+
+[Illustration: PHOENICIANS BARTERING WITH BRITONS
+               PANEL IN THE ROYAL EXCHANGE (1895)]
+
+
+Certain others of Leighton's decorative works we have already mentioned,
+such as the design for a ceiling, now in New York. Not so well known is
+his frieze delineating a dance, for an English drawing-room; or the
+small frieze with a design of Dolphins, also in England. A scheme in
+water-colours for a mural decoration, entitled _The Departure for the
+War_, was never carried out; the sketch for it was sold with the
+remaining works at Christie's, July, 1896. The single figures in mosaic
+of _Cimabue_ and _Pisano_, at the South Kensington Museum, must not be
+forgotten.
+
+To the public--or at least that portion which limits its art to the
+exhibitions of the Royal Academy--Leighton, as we have seen, made his
+_debut_ as a sculptor with the group, _An Athlete struggling with a
+Python_ (known also as _An Athlete strangling a Python_), which in the
+bronze version is now among works purchased under the terms of the
+Chantrey bequest in the Tate Gallery. But long before that date he had
+successfully essayed plastic art; his first effort being for the
+medallion of a monument to Mrs. Browning in the Protestant cemetery at
+Florence. Two other monuments, to the memory of Major Sutherland Orr
+(his sister's husband), and Lady Charlotte Greville, must also be
+mentioned. We have already spoken of _The Athlete_, _The Sluggard_, and
+_Needless Alarms_. But it would be unfair to omit mention of many small
+works--small, that is to say, in scale, for they are distinguished by
+great breadth of handling--which were prepared as auxiliary studies for
+his paintings. Visitors to the studio in Holland Park Road, were always
+impressed by several of these models, which stood on a large chest in
+the bay of a great studio window. Especially noteworthy was a group of
+three singing maidens, who figure in _The Daphnephoria_, and another of
+the "choragus" for the same picture; for later works, the mounted
+Perseus, and Andromeda with the monster, both designed for the picture
+of that legend. Others belonging to a slightly earlier period
+included--the sleeping Iphigenia, a crouching figure of her attendant,
+and a nude figure of Cymon, all, of course, for _Cymon and Iphigenia_.
+These models were made to be clad in wet drapery of exquisitely fine
+texture, and were prepared only for ten minutes' drawing of the first
+idea of the figures; all serious study being made from the draped model,
+or the lay figure. Such help as they have rendered must all be referred
+to the period before the finished cartoon was ready to be traced on the
+canvas. Since Lord Leighton's decease most of these have been
+successfully cast in bronze, and are the property of the Royal Academy.
+In the studio were also the first sketches in clay for _The Sluggard_,
+and also for _The Athlete_, which was not originally intended to be
+carried further. Indeed, several people mistook it for a genuine
+antique, and admired it accordingly; Dalou, the great French sculptor,
+was especially so struck by it, that he advised its author to work out
+the idea in full size. The three years' labour devoted to the task, the
+failures by the way, and its ultimate triumphant success, both here and
+in Paris, are too well known to need recapitulation. A replica was
+commissioned for the Copenhagen Gallery, and probably no work of its
+accomplished author did more to win him the appreciation of French and
+German artists.
+
+
+[Illustration: BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)]
+
+
+[Illustration: BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)]
+
+
+[Illustration: STUDY IN CLAY FOR "CYMON"]
+
+
+[Illustration: STUDY IN CLAY FOR "THE SLUGGARD"]
+
+
+[Illustration: STUDY IN CLAY FOR "PERSEUS"]
+
+
+[Illustration: STUDY IN CLAY FOR "ANDROMEDA"]
+
+
+In this brief mention of Lord Leighton's achievements in sculpture, the
+medal commemorating the Jubilee of Queen Victoria, a study for which is
+reproduced at p. 130, must not be overlooked.
+
+Although to those who have not followed closely the splendid period of
+English illustration which may be said to have reached its zenith at the
+time when Dalziel's "Bible Gallery" was published, it may be a surprise
+to find "Frederic Leighton" figuring as an illustrator, yet the nine
+compositions in that book are by no means his sole contribution to the
+art of black and white.
+
+For each instalment of "Romola," as it ran through the pages of the
+"Cornhill Magazine," the artist contributed a full page drawing, and an
+initial letter. The twenty-four full pages were afterwards reprinted in
+"The Cornhill Gallery" (Smith and Elder, 1865). These are most notable
+works, even when measured by the standard of their contemporaries. The
+same magazine contains two other works from his pen, one illustrating a
+poem, "The great God Pan," by Mrs. Browning, and another illustrating a
+story by Mrs. Sartoris, entitled "A Week in a French Country House."
+These, and the nine compositions in the "Bible Gallery" (the pictures
+from which have lately been re-issued in a popular form by the Society
+for Promoting Christian Knowledge) exhaust the list of those which can
+be traced. As four of the magnificent designs are reproduced here, it
+would be superfluous to describe them; the titles of the five others
+are: _Abram and the Angel_, _Eliezer and Rebekah_, _Death of the First
+Born_, _The Spies' Escape_, and _Samson at the Mill_.
+
+One of the original drawings on wood is now on view at the South
+Kensington Museum, and, by comparison with impressions from the engraved
+blocks, we see how small has been the loss in translation, so admirably
+has the artist mastered the limitation of the technique that was to
+represent his work in another medium. The reproductions here given are
+considerably reduced, and necessarily lose something, but they retain
+enough to prove that had the artist cared to rest his reputation upon
+such works, he might have done so with a light heart, for whenever the
+golden period of English illustration is recalled, these comparatively
+few drawings will inevitably be recalled with it.
+
+A photographic silver-print from a drawing which forms the frontispiece
+to a little book of fairy tales is of hardly sufficient
+importance--charming though its original must have been--to be included
+among the book illustrations. The drawing, _A Contrast_, reproduced at
+p. 72, is undated; the idea it is intended to suggest, a model who once
+stood for some youthful god, revisiting the adolescent portrait of
+himself when old age has him gripped fast with rheumatism and failing
+vigour.
+
+To-day, when one has heard sculptors claim that Lord Leighton's finest
+work was in their own craft, one has also heard many illustrators not
+merely extol these drawings--notably the Bible subjects--as his
+masterpieces, but jealously refuse to consider him entitled to serious
+regard as an artist in any other medium. This attitude, so curiously
+unlike the usual welcome from experts which awaits an artist who
+ventures into fresh mediums for expressing himself, should be put on
+record as a unique tribute; the more worthy of attention, because in
+each instance it was advanced not wholly as praise, but to some extent
+as a reproach on Leighton's painting. No intended compliment could carry
+more genuine appreciation than this warm approval from fellow experts in
+the special subjects of which they are masters.
+
+
+[Illustration: CAIN AND ABEL]
+
+
+[Illustration: MOSES VIEWS THE PROMISED LAND]
+
+
+[Illustration: SAMSON AND THE LION]
+
+
+[Illustration: SAMSON CARRYING THE GATES]
+
+
+
+
+CHAPTER VIII
+
+DISCOURSES ON ART
+
+
+We must next speak of the late President's Addresses and Discourses on
+Art, and of that other art of oratory, which, we shall find, as he
+conceived it, had something of the same monumental quality he imparted
+to his painting. His presidential speeches at the annual banquet of the
+Academy would alone be sufficient to show this; but it is of course to
+his Addresses and Discourses that we must turn if we would understand
+his feeling for the two unallied arts.
+
+His success in the one is to be explained, we shall find, in very much
+the same way as his success in the other. Like most speakers of any
+distinction, Lord Leighton left nothing to chance. In his speeches and
+Discourses, as in his pictures, the most careful and exact preparation
+was made for every effect, however apparently casual it may have seemed.
+His Discourses were obviously based upon classic models; for their full
+periods, sonorously and deliberately arranged, have a rhythm that
+attends to the whole period, and not merely, as is often the way with
+English speakers, to each sentence in turn.
+
+In quoting from these Discourses, we do so, however, with an eye to his
+own proper art as a painter, and to his whole theory and sentiment of
+that art and its functions, and its allied plastic arts, even more than
+to his art as a speaker. Indeed, the Discourses form a unique
+contribution to the art criticism of our time; they cover the most
+interesting and various periods in the history of the Art of Europe; and
+although the cycle he had mapped out was interrupted before he had
+completed it--first by illness which postponed the biennial discourse,
+and then by death--the portions already delivered touch incidentally on
+the theory and philosophy of all Art in a highly suggestive and eloquent
+way.
+
+In his first Discourse, delivered to the Academy students on the 10th of
+December, 1879, the new President took occasion to estimate the modern
+predicament and general position of Art, as a prelude to the
+consideration of its special developments, in later Discourses. "I wish
+in so doing," he said, "to seek the solution of certain perplexities and
+doubts which will often, in these days of restless self-questioning in
+which we live, arise in the minds and weigh on the hearts of students
+who think as well as work."
+
+In answering the question of questions in Art for us to-day--that is,
+what are its chances in the present, compared with the glory and
+splendour of its achievement in the past?--Leighton provides us with
+some memorable passages in his first Discourse. Speaking of the
+"Evolution of Painting in Italy," he turned it to notable account in his
+argument, as in this reference to the Florentine school:
+
+"It is, perhaps," he said, "in Tuscany, and notably in Florence, that we
+see the national temperament most clearly declared in its art, as indeed
+in all its intellectual productions; here we see that strange mixture of
+Attic subtlety and exquisiteness of taste, with a sombre fervour and a
+rude Pelasgic strength which marks the Tuscans, sending forth a Dante, a
+Brunelleschi, and a Michael Angelo,--a Fiesole, a Boccaccio, and a
+Botticelli, and we find that eagerness in the pursuit of the
+knowledge of men and things, which was so characteristic of them, summed
+up in a Macchiavelli and a Lionardi da Vinci."
+
+
+[Illustration: A CONTRAST]
+
+
+How different the conditions when we turn to consider English Art, as it
+stands to-day: "The whole current of human life setting resolutely in a
+direction opposed to artistic production; no love of beauty, no sense of
+the outward dignity and comeliness of things, calling on the part of the
+public for expression at the artist's hands; and, as a corollary, no
+dignity, no comeliness for the most part, in their outward aspect;
+everywhere a narrow utilitarianism which does not include the
+gratification of the artistic sense amongst things useful; the works of
+artists sought for indeed, but too often as a profitable merchandise, or
+a vehicle of speculation, too often on grounds wholly foreign to their
+intrinsic worth as productions of a distinctive form of human genius,
+with laws and conditions of its own."
+
+The modern student may well question, whether the great artists of the
+past, if they lived now under our different conditions, would achieve
+all that they did then. For further bewilderment, the differences to be
+seen in the past itself, between school and school, and one age and
+another, may lead him to doubt "whether Art be not indeed an ephemeral
+thing, a mere efflorescence of the human intelligence, an isolated
+development, incapable of organic growth." To such doubts, comes the
+reassuring answer: "That Art is fed by forces that lie in the depth of
+our nature, and which are as old as man himself; of which therefore we
+need not doubt the durability; and to the question whether Art with all
+its blossoms has but one root, the answer we shall see to be: Assuredly
+it has; for its outward modes of expression are many and various, but
+its underlying vital motives are the same."
+
+The new President concluded his first Discourse with an eloquent plea
+for sincerity in Art: "Without sincerity of emotion no gift, however
+facile and specious, will avail you to win the lasting sympathies of
+men"--a truth which perhaps needs more repeating to-day than ever it
+did!
+
+In the second Discourse (December 10th, 1881), we are called upon to
+consider that other question which has so often perplexed the artist,
+especially the English artist, in whom the moral sentiment is apt to
+take a threatening form on occasion: "What is the relation in which Art
+stands to Morals and to Religion?"
+
+For his reply, Leighton took in turn the two contentions: one, that the
+first duty of all artistic productions is the inculcation of a moral
+lesson, if not indeed of a Christian truth; the other, that Art is
+altogether independent of ethics. His conclusion is the only sagacious
+and sane one: that whilst Art in itself is indeed independent of ethics,
+yet is there no error so deadly as to deny that "the moral complexion,
+the ethos, of the artist does in truth tinge every work of his hand, and
+fashion, in silence, but with the certainty of fate, the course and
+current of his whole career." The steps that lead irresistibly to this
+conclusion, are very clearly indicated in the course of this Discourse;
+and the more convincingly, because the speaker is himself so sympathetic
+to the religious inspiration of Italian art, on the one hand, and to its
+merely natural aesthetic growth on the other.
+
+
+[Illustration: A STUDY IN OILS]
+
+
+"The language of Art," he said then, "is not the appointed vehicle of
+ethic truths;... On the other hand, there is a field in which she has no
+rival. We have within us the faculty for a range of emotion, of
+exquisite subtlety and of irresistible force, to which Art, and Art
+alone amongst human forms of expression, has a key; these then, and
+no others, are the chords which it is her appointed duty to strike; and
+form, colour, and the contrasts of light and shade are the agents
+through which it is given to her to set them in motion. Her duty is,
+therefore, to awaken those sensations directly emotional and indirectly
+intellectual, which can be communicated only through the sense of sight,
+to the delight of which she has primarily to minister. And the dignity
+of these sensations lies in this, that they are inseparably connected by
+association of ideas with a range of perception and feelings of infinite
+variety and scope. They come fraught with dim complex memories of all
+the evershifting spectacle of inanimate creation and of the more deeply
+stirring phenomena of life; of the storm and the lull, the splendour and
+the darkness of the outer world; of the storm and the lull, the
+splendour and the darkness of the changeful and the transitory lives of
+men."
+
+In his third Discourse, which was delivered on the 10th December, 1883,
+the President entered on his exhaustive discussion, continued in many
+subsequent Discourses, of "The relation of Artistic Production to the
+conditions of time and place under which it is evolved, and to the
+characteristics of the races to which it is due." In this Discourse he
+briefly and suggestively reviews the Art of Egypt, Assyria, and Greece,
+endeavouring to account for the main characteristics of each. In Egypt
+he shows how a nation securely established in a peace and pre-eminence
+lasting for ages, blessed beyond measure in a fertile and prospering
+climate, a nation beyond all things pious and occupied in reverential
+care of the dead, should give birth to an art serene, magnificent, and
+vast. "Those whose fortune it has been," he eloquently said, "to stand
+by the base of the Great Pyramid of Khoofoo, and look up at its far
+summit flaming in the violet sky, or to gaze on the wreck of that
+solemn watcher of the rising sun, the giant Sphinx of Gizeh, erect,
+still, after sixty centuries in the desert's slowly rising tide; or who
+have rested in the shade of the huge shafts which tell of the pomp and
+splendour of hundred-gated Thebes; must, I think, have received
+impressions of majesty and of enduring strength which will not fade
+within their memory."
+
+After old Egypt, and the account of Chaldaean and Assyrian Art, with its
+warlike expression, we are led on in turn to the consideration of Greek
+Art, and the causes of its development. "Nothing that I am aware of in
+the history of the human intelligence," he said, "is for a moment
+comparable to the dazzling swiftness of the ripening of Greek Art in the
+fifth century before Christ." After speaking of the fortunate balance
+and interaction of races which resulted in the Greek Art of that era, he
+goes on to speak of the exceptionally favouring circumstances of the
+people: "Here are no vast alluvial plains, such as those along which, in
+the East, whole empires surged to and fro in battle; no mighty flood of
+rivers, no towering mountain walls: instead, a tract of moderate size; a
+fretted promontory thrust out into the sea--far out, and flinging across
+the blue a multitude of purple isles and islets towards the Ionian,
+kindred, shores." Such a fortunate environment, joined to the
+extraordinarily high ideal formed by the Greeks of citizenship, had much
+to do with the fostering of Greek Art, in all "its nobility and its
+serenity, its exquisite balance, its searching after truth, and its
+thirst for the ideal."
+
+
+[Illustration: HEAD OF A YOUNG GIRL
+               A STUDY IN OILS]
+
+
+In his fourth Discourse Lord Leighton carried on his inquiry upon the
+origins and conditions of Art into the difficult region of the
+Etruscans; whose plastic work, like their speech, he considers, was at
+best an uncouth, vigorous imitation, or re-shaping, of Greek models.
+As examples of Etruscan Art, we are referred to "the two lovely bronze
+mirrors, preserved at Perugia and Berlin, representing,--one, Helen
+between Castor and Pollux,--the other, Bacchus, Semele, and Apollo....
+In either case, the design is distinctly Greek; nevertheless a certain
+ruggedness of form and handling is felt in both, betraying a temper less
+subtle than the Hellenic; and we read without surprise on the one
+'Pultuke,' and 'Phluphluus' on the other." Lest it should be thought
+that something less than justice is done to Etruscan Art, take this fine
+description of the tomb of Volumnus Violens:
+
+"The recumbent effigy of the Volumnian is, indeed, rude and of little
+merit; rude also in execution is the monument on which it rests, but in
+conception and design of a dignity almost Dantesque. Facing the visitor,
+as he enters the sepulchral chamber, this small sarcophagus--small in
+dimensions, but in impressiveness how great!--rivets him at once under
+the taper's fitful light. Raised on a rude basement, the body of the
+monument figures the entrance to a vault; in the centre, painted in
+colours that have nearly faded, appears a doorway, within the threshold
+of which four female figures gaze wistfully upon the outer world; on
+either side two winged genii, their brows girt with the never-failing
+Etruscan serpents, but wholly free from the quaintness of early Etruscan
+treatment, sit cross-legged, watching, torch in hand, the gate from
+which no living man returns. Roughly as they are hewn, it would be
+difficult to surpass the stateliness of their aspect or the art with
+which they are designed; Roman gravity, but quickened with Etruscan
+fire, invests them: ... and our thoughts are irresistibly carried
+forward to the supreme sculptor whom the Tuscan land was one day to
+bear."
+
+From Etruria, we pass naturally on to Rome; for, as we are significantly
+reminded, "The Romans lay, until the tide of Greek Art broke on them
+after the fall of Syracuse, wholly under the influence of the
+Etruscans.... Etruria gave them kings, augurs, doctors, mimes,
+musicians, boxers, runners; the royal purple, the royal sceptre, the
+fasces, the curule chair, the Lydian flute, the straight trumpet, and
+the curved trumpet. The education of a Roman youth received its
+finishing touches in Etruria: Tuscan engineers had girt Rome with walls;
+Tuscan engineers had built the great conduit through which the swamp,
+which was one day to be the Forum, was drained into the Tiber. What
+wonder, then, that in architecture, also in painting, in sculpture, in
+jewellery, and in all the things of taste, Etruscans gave the law to the
+ruder and less cultured race?"
+
+This influence lasted, until the counter-current of Greece found an
+inlet to Roman life, filtering "through Campania into Rome from the
+opposite end of the peninsula." And then, from the fall of Syracuse, and
+the bringing of its spoils to Rome, we find a perfect craze for Grecian
+marbles, bronzes, pictures, gems, inflaming the magnates, nobles, and
+_nouveaux riches_ of Rome. How fortunate that influence was in another
+field, that of literature, we know. In plastic art, by reason of the
+essentially inartistic spirit of the Roman race, the result was
+practically small; save indeed in one department, that of portraiture,
+to which the essential impulse was, as Leighton very suggestively shows,
+"ethic, not aesthetic." Even in Roman architecture, our critic finds
+little to weaken his view of the Roman aesthetic inefficiency. "It was
+not," he said, "the spontaneous utterance of an aesthetic instinct, but
+the outcome of material needs and of patriotic pride," and hence only an
+incomplete expression of Roman civilization. "To them, in brief, art
+was not vernacular: their purest taste, their brightest gifts of mind,
+found no utterance in it."
+
+
+[Illustration: STUDY OF A HEAD]
+
+
+"We have seen Art," he concluded, "such Art as it was given to Rome to
+achieve--rise and fall with the virtues of the Roman people. From the
+lips of the most seeing of its sons we know the solvent in which those
+virtues perished: that solvent was the greed, the insatiate greed, of
+gold--'auri sacra fames'--the rot of luxury. 'More deadly than arms,'
+Juvenal magnificently exclaims, 'luxury has swept down upon us, and
+avenges the conquered world.'
+
+                           ...... 'Saevior armis
+  Luxuria incubuit, victumque ulciscitur orbem.'"
+
+
+From Rome we are taken, in the fifth Discourse, delivered on the 10th
+December, 1887, to the making and the racial re-shaping of Italy, that
+began with the fifth century. All through these Discourses the speaker
+laid great stress upon the ethnological history of the European races,
+as he turned to one after another, and essayed to trace their artistic
+idiosyncracy and their artistic evolution. Italy is, to the ethnologist
+as well as to the art student, one of the most interesting countries in
+Europe. Rome almost alone, among the Italian provinces, retained her
+racial and aesthetic peculiarities, unaffected to the end of the chapter;
+and even when she wielded "the sceptre of the Christian world," still
+she produced no one flower of native genius, we are reminded, unless
+Giulio Romano, that "brawny and prolific plagiarist of Raphael," as
+Leighton well stigmatizes him, be thought a genius; which criticism
+forbid!
+
+It was different with Tuscany, where the introduction of new racial
+elements had a distinct effect. This "new amalgam" produced in the
+field of Art, we are told, an infinitely nobler and more exquisite
+result than had grown out of the old conditions. Still, however, the old
+Etruscan allied grace and harsh strength lingered on in the art of
+Christian Etruria. "Of the subtle graces which breathe in that art, from
+Giotto to Lionardo, it is needless to speak; and surely in the rugged
+angularities of a Verocchio, a Signorelli, or a Donatello, and in the
+shadow of sadness which broods over so much of the finest Florentine
+work, the more sombre phase of the Etruscan temper still lives on."
+
+In the end, if we try to account for the artistic power and mastery of
+one people in Italy, and the lack of that power in another, we are
+driven to the conclusion that the source of the artistic gift is hidden
+and obscure. One may cite the opposite examples of Venice and of
+Genoa,--the one so masterfully artistic; the other so impotent. And yet
+the same favouring conditions, _a priori_, might have seemed to exist
+for both.
+
+With the intermingling of the peoples, and the rejuvenescence of the
+physical life, came the spiritual outburst of Christianity. And the
+influence, again, of Christianity upon Italian Art was immense. In place
+of joy in the ideals of bodily perfection, "loathing of the body and its
+beauty, as of the vehicle of all temptation, a yearning for a life in
+which the flesh should be shaken off, a spirit of awe, of pity, and of
+love, became the moving forces that shaped its creations."
+
+After great religious periods, we often find that great scientific
+periods follow. The ethical impulse that religion gives, is converted
+into other forms of energy, by reason of man's awakened consciousness of
+the meaning of things, physical and material as well as spiritual.
+
+
+[Illustration: STUDY OF A HEAD]
+
+
+In Italy a reaction against the Christian doctrine of the degradation of
+the flesh led to a new recognition of the beauty of man and of his
+physical environment. Anatomy and perspective were studied, accordingly,
+with a new sense of their significance in Art. The spirit of science led
+to "such amazing studies of leaf and flower as Lionardo loved to draw.
+Thus to Tuscan artists the new movement brought the love of nature, and
+the light of science."
+
+We come upon Dante and Petrarch in this Discourse, in tracing the
+history of Italian Art during the centuries of transition: "With Dante
+we reach the threshold of the Renaissance. He stands on the verge of the
+middle ages; in him the old order ends. With Petrarch the new order
+begins." It is not so much as a poet, however, that Petrarch counts in
+this process from one period to another; but rather as an intellectual
+pioneer, leading the way into the great pagan world. Petrarch "was the
+first Humanist," in short.
+
+We cannot stay to dwell upon the effect of the Humanists and all they
+stood for, good and evil, in Italian Art and Letters. We pass on, now,
+from Petrarch and the influence the movement had on Italian literature,
+to its effect on Italian Art. The Renaissance did not affect Art in the
+same way, as Botticelli may serve to show. "But perhaps," said the
+lecturer, "the various operations in the province of Art of the two main
+motive forces of the Renaissance--the impulse towards the scientific
+study of nature, and the impulse to reinstate the classic spirit--may be
+best illustrated by reference to Lionardo da Vinci, Raphael, and Michael
+Angelo." The passages in which Leighton characterised these three
+masters are among the most striking of all those uttered by him within
+the walls of the Academy. Lionardo's scientific "avidity of research,"
+Raphael's "classic serenity," and Angelo's "mediaeval ardour," are turned
+to admirable effect in the pages of this Discourse; and the tribute paid
+to them on the part of an English painter who has zealously sought to
+live and work in the light of their great examples, has indeed an
+interest that is personal, in a sense, as well as general and critical.
+
+Take this concluding sentence upon Raphael:
+
+"Whatever was best in the classic spirit was absorbed and eagerly
+assimilated by him, and imparted to the work of his best day that
+rhythm, that gentle gravity, and that noble plenitude of form, which are
+its stamp, and proclaim him the brother of Mozart and of Sophocles."
+
+Or this, again, on Michael Angelo, as distinguishing him from Raphael:
+
+"The type of human form which he lifted to the fullest expressional
+force is the last development of a purely indigenous conception of human
+beauty, whereas the type which we know as Raphaelesque is a classic
+ideal warmed with Christian feeling. Sublimely alone as Buonarotti's
+genius stands, towering and unapproached, ... it does but mark the
+highest summit reached in the magnificent continuity of its evolution,
+by the purely native genius of Tuscan Art."
+
+Having arrived at Tuscan Art, and at Michael Angelo, in whom it reaches
+its consummate development, we leave Italy, and turn now to the
+description of Art in Spain, given by Lord Leighton in his Discourse of
+December, 1889. And first we have some account of the extraordinarily
+various racial strains which were contributed to form the significant
+figure of the fifteenth-century Spaniard. On the ancient Iberian stock
+was grafted Celtic, Greek, Phoenician, and Carthaginian blood; and to
+these infusions succeeded the great invasion of the Visigoths of the
+fifth century.
+
+
+[Illustration: STUDY OF A HEAD]
+
+
+"The Art of Spain," he said, "was, at the outset, wholly borrowed, and
+from various sources; we shall see heterogeneous, imported elements,
+assimilated sometimes in a greater or less degree, frequently flung
+together in illogical confusion, seldom, if ever, fused into a new,
+harmonious whole by that inner welding fire which is genius; and we
+shall see in the sixteenth century a foreign influence received and
+borne as a yoke"--(that of the Italian Renaissance) "because no living
+generative force was there to throw it off--with results too often
+dreary beyond measure; and, finally, we shall meet this strange freak of
+nature, a soil without artistic initiative bringing forth the greatest
+initiator--observe, I do not say the greatest artist--the greatest
+initiator perhaps since Lionardo in modern art--except it be his
+contemporary Rembrandt--Diego Velasquez."
+
+In his Discourse of December, 1891, we have, rapidly sketched, the
+Evolution of Art in France. Touching again on the question of race, the
+lecturer adduced the great race of Gauls, submitting first to Roman, and
+afterwards to Frankish, or Teutonic, domination and admixture. The main
+characteristics of the Gaulish people he judges to be, "a love of
+fighting and a magnificent bravery, great impatience of control, a
+passion for new things, a swift, brilliant, logical intelligence, a gay
+and mocking spirit--for 'to laugh,' says Rabelais, 'is the proper mark
+of man,'--an inextinguishable self-confidence." With the reign of
+Charlemagne began the development of the architecture of France, but not
+until the tenth and eleventh centuries did the "movement reach its full
+force; and its development was due mainly to the great monastic
+community, which, founded by St. Benedict early in the sixth century,
+had poured from the heights of Monte Cassino its beneficent influence
+over Western Europe."
+
+Here we have it explained how the principle of Gothic architecture, "the
+substitution of a balance of active forces for the principle of inert
+resistance," was gradually evolved. This principle once found, Gothic
+architecture reached its most splendid period in a wonderfully short
+space of time; cathedrals and churches were built everywhere, and before
+the end of the thirteenth century, the most splendid Gothic buildings
+were begun or completed. With the end of the thirteenth century Gothic
+architecture began to decline, lured by the "fascination of the statical
+_tour de force_, the craving to bring down to an irreducible minimum the
+amount of material that would suffice to the stability of a building
+extravagantly lofty."
+
+Many more extracts we would gladly make, whether from the account of the
+French sculpture of this period, marked as it was by "sincerity and
+freshness, often by great beauty and stateliness;" or from the criticism
+of such artists as Jean Cousin, who painted windows which were "limpid
+with hues of amethyst, sapphire, and topaz, and fair as a May morning;"
+or again, of Watteau, of whom we are told that "in the vivacity and
+grace of his drawing, in the fascination of his harmonies, rich and
+suave at once, in the fidelity with which he reflected his times without
+hinting at their coarseness, this wizard of the brush remains one of the
+most interesting, as he is one of the most fascinating, masters of his
+country's art."
+
+In the Discourse of 1893 the History of Gothic Architecture was pursued,
+from its native France to its adopted home in Germany. At the end of
+last century Goethe declared that not only was the Gothic style native
+to Germany, but no other nation had a peculiar style of its own; "for,"
+he said, "the Italians have none, and still less the Frenchmen"!
+According to Leighton, "the Germans, as a race, were, speaking broadly,
+never at one in spirit with ogival architecture. The result was such as
+you would expect; in the use of a form of architecture which was not of
+spontaneous growth in their midst, and unrestrained, moreover, as they
+were, by a sound innate instinct of special fitness, German builders
+were often led into solecisms, incongruities, and excesses, from which
+in the practice of their native style they have been largely free." Of
+this style, which may be called the German-Romanesque, the best examples
+are to be found among the churches of the Rhineland. In the thirteenth
+century this style, admirably as it expressed the genius of the Teuton,
+succumbed to invading French influence. "I have often wondered," he
+continued, "at the strange contrast between the reticent and grave
+sobriety of the architecture of Germany before the fall of the
+Hohenstaufens, and its erratic self-indulgence in the Gothic period."
+There is much, however, to be said in praise of the Gothic churches of
+Germany, their fine colouring, suggestiveness, and variety. Take the
+description of the Church of St. Lorenz in Nuremberg. "Nothing could
+well be more delightful than the impression which you receive on
+entering it; the beauty of the dark brown stone, the rich hues of the
+stained glass, the right relation of tone value, to use a painter's
+term, between the structure and the lights--the sombre blazoned shields
+which cluster along the walls, the succession on pier beyond pier of
+pictures powerful in colour and enhanced by the gleaming gold of
+fantastic carven frames, above all the succession of picturesque objects
+in mid-air above you, a large chandelier, a stately rood-cross, and to
+crown all, Veit Stoss's masterpiece, the Annunciation, rich with gold
+and colour; all these things conspire to produce a whole, delightful and
+poetic, in spite of much that invites criticism in the architectural
+forms themselves." Still more interesting is the word-picture of the
+great Cathedral of Cologne, "a monument of indomitable will, of science,
+and of stylistic orthodoxy ... its beautiful rhythm, its noble
+consistency and unity, its soaring height, rivet the beholder's gaze";
+and yet, the building, in spite of all, does not entirely convince: "the
+kindling touch of genius" seems to be wanting.
+
+Take, finally, this description of Albert Duerer: "He was a man of a
+strong and upright nature, bent on pure and high ideals, a man ever
+seeking, if I may use his own characteristic expression, to make known
+through his work the mysterious treasure that was laid up in his heart;
+he was a thinker, a theorist, and as you know, a writer; like many of
+the great artists of the Renaissance, he was steeped also in the love of
+science.... Superbly inexhaustible as a designer, as a draughtsman he
+was powerful, thorough, and minute to a marvel, but never without a
+certain almost caligraphic mannerism of hand, wanting in spontaneous
+simplicity--never broadly serene. In his colour he was rich and vivid,
+not always unerring in his harmonies, not alluring in his
+execution--withal a giant."
+
+With this tribute to a great predecessor we must leave these Discourses,
+which need, to be properly appreciated, to be studied as a whole; as
+indeed they form Leighton's deliberate exposition of his whole
+principles of Aesthetics. In working this out, Discourse by Discourse,
+he was not content to rely upon convenient literary sources, or
+previously acquired knowledge of his subject; but undertook special
+journeys, and spent long periods, abroad, to procure his own evidence
+at first hand. This gives his Discourses all the value of original
+research, based on new materials, to add to their purely critical value.
+Had they been completed, they would have formed an invaluable
+contribution to the history and the philosophy of Art.
+
+
+
+
+CHAPTER IX
+
+LORD LEIGHTON'S HOME
+
+
+If we seek for practical expression of Leighton's sympathy for
+decorative art, we may find it most satisfactorily in his own home as it
+appeared during his life. Mr. George Aitchison, R.A., designed the whole
+house;--even the Arab Hall being largely built from drawings made
+specially by him in Moorish Spain. Although the exterior of No. 2,
+Holland Park Road has individuality, rather than distinction, it was
+within that its special charms were found. One of the first things seen
+on entering was a striking bronze statue, "Icarus," by Mr. Alfred
+Gilbert; a typical instance of Leighton's generous recognition of
+artistic contemporaries.
+
+In earlier pages we spoke of the Arab Hall and its Oriental enchantment.
+No attempt to paint the effects of such an interior in words can call it
+up half as clearly as the slightest actual drawing. There is a dim dome
+above, and a fountain falling into a great black marble basin below;
+there are eight little arched windows of stained glass in the dome; and
+there are white marble columns, whose bases are green, whose capitals
+are carved with rare and curious birds, supporting the arches of the
+alcoves. The Cairo lattice-work in the lower arched recesses lets in
+only so much of the hot light of midsummer (for it is in summer that one
+should see it to appreciate its last charm), as consists with the
+coolness, and the quiet, and the perfect Oriental repose, which give
+the chamber its spell.
+
+
+[Illustration: THE HOUSE: THE INNER HALL]
+
+
+More in what we may call the highway of the house, from entrance hall to
+studios, is the large hall, out of which the Arab Hall leads, and from
+which the dark oak staircase ascends with walls tiled in blue and white.
+Here, on every side, one saw all manner of lovely paintings and
+exquisite _bric-a-brac_: a drawing of _The Fontana della Tartarughe in
+Rome_ by Leighton's old mentor, Steinle; other bronzes and paintings,
+and in full view a huge stuffed peacock, which seemed to have shed some
+of its brilliant hues upon its surroundings.
+
+In the drawing-room hung many Corots and Constables, with a superb
+Daubigny, and a most tempting example of George Mason,--a picture of a
+girl driving calves on a windy hill, amid a perfect embarrassment of
+such artistic riches. The famous Corots, a sequence of panels,
+representing _Morning_, _Noon_, _Evening_, and _Night_, which cost Lord
+Leighton less than 1,000 francs each, were sold for 6,000 guineas for
+the four, at Christie's, in July, 1896. Still another small Corot, a
+picture of a boat afloat on a still lake, was also in this room. One of
+the Constables that hung there is literally historic--for it is the
+sketch for that famous _Hay Wain_ which, exhibited in Paris, at once
+upset the classical tradition, and gave impetus to the whole modern
+school of French landscape. Near it was one of Constable's many pictures
+of Hampstead Heath,--simply a bit of dark heath against a sympathetic
+sky; but so painted as to be a masterpiece of its kind. These pictures
+were but a few of the many artfully disposed things of beauty, born in
+older Italy, or newer France, or in our new-old London.
+
+Upon the staircase there were pictures at every turn to make one pause,
+step by step, on the way. Sir Joshua Reynolds was represented by an
+unfinished canvas of Lord Rockingham, in which the great Burke, in his
+minor function of secretary, also figures. Then came G. F. Watts's
+earlier portrait of Leighton himself; and here a genuine Tintoretto.
+There was the P.R.A.'s famous _Portrait of Captain Burton_; and over a
+doorway his early painting of _The Plague at Florence_, with another
+early work, _Romeo and Juliet_, one of his very few Shakespearean
+pictures.
+
+From the landing whence most of these things were visible, you entered
+at once the great studio. Round the upper wall ran a cast of the
+Parthenon frieze, and beneath this the wall on one side was riddled and
+windowed, as it were, with innumerable framed pictures, small studies of
+foreign scenes; so that one looked out in turn upon Italy and the South,
+Egypt and the East, or upon an Irish sunset, or a Scottish
+mountain-side.
+
+Opposite these, below the great window, were many of the artist's
+miniature wax models and studies. Else, the ordinary not unpicturesque
+lumber of an artist's studio was conspicuously absent. The secret of
+Leighton's despatch and careful ordering of his days, was to be read,
+indeed, in every detail of his work-a-day surroundings. Even in a dim
+antechamber, with a trellised niche most mysteriously overlooking the
+Arab Hall, at one end of the studio, in which the curious visitor might
+have expected to find dusty studies, discarded canvases, and other such
+aesthetic remnants,--even that was found to contain not lumber, but a
+Sebastian del Piombo, a sketch of Sappho by Delacroix, a landscape by
+Costa, a Madonna and Child of Sano di Pietro del Piombo.
+
+At the extreme other end of the main studio was the working studio of
+glass, built to combat the fogs by procuring whatever vestige of light
+Kensington may accord in its most November moods. The last addition to
+the building, not long before Lord Leighton's death, was a gallery,
+known as "The Music Room," expressly designed to receive his
+pictures--mostly gifts from contemporary artists; or, to speak more
+accurately, works that had been exchanged for others in a wholly
+non-commercial spirit. These included, _Shelling Peas_, by Sir J. E.
+Millais, _The Corner of the Studio_, by Sir L. Alma-Tadema, _The
+Haystacks_, and _Venus_, by G. F. Watts, and _Chaucer's Dream of Good
+Women_, by Sir E. Burne-Jones.
+
+Such was the daily environment of that hard, unceasing, indefatigable
+labour which, natural faculty taken for granted, is always the secret of
+an artist's extraordinary production. And it was an environment, as one
+felt on leaving it for the gray London without, that well accorded with
+the radiant painted procession of the figures, classic and other, that
+file through Lord Leighton's pictures.
+
+
+
+
+CHAPTER X
+
+LORD LEIGHTON'S HOUSE IN 1900
+
+
+In the preceding chapter a picture is drawn of the "House Beautiful," as
+it was in Lord Leighton's lifetime. It was then full to overflowing with
+all manner of treasures; but now all that were removable have been
+dispersed. Only the shell, the house itself, remains. Yet denuded as it
+is, that is still well worth looking at. The architectural features to
+which Mr. Rhys, dazzled by other things, hardly did justice, are now all
+the more apparent.
+
+One of the rarest of all accomplishments, at any rate in England, is a
+cultivated taste in architecture; but it so happened that amongst his
+many acquirements Lord Leighton possessed it in a remarkable degree. In
+fact he received, although a painter by profession, the gold medal of
+the Royal Institute of British Architects in virtue of the intimate
+knowledge of architecture he had displayed in some of his
+backgrounds--for instance, those of the frescoes at South Kensington. It
+is a great honour, and one by no means lightly bestowed. At any rate,
+when there was a question of building himself a house, though he might
+not have been able to build it himself, he was thoroughly qualified to
+choose an architect. His choice fell upon Professor Aitchison, now R.A.,
+and he probably hit upon the only man of his generation able to put his
+feeling into bricks and mortar, viz., the feeling for a beauty sedate,
+delicate, and dignified.
+
+We must remember the condition of things architectural in the sixties to
+do justice to the independence of employer and architect. It was a time
+when the Albert Memorial was possible, and when men tried to guide their
+steps by the light of "The Seven Lamps of Architecture." A sentimental
+fancy for Gothic based on irrational grounds was all but universal, and
+it needed courage to avow a preference for the classical. The compromise
+in favour of quaintness and capricious prettiness which began under the
+name of the "Queen Anne style," and has contributed so many picturesque
+and pleasing buildings to our modern London, had not yet budded. Nor
+would it ever at any time of his life have thoroughly responded to
+Leighton's taste. So long as he could detect a defect he was
+dissatisfied, and extreme nicety is not what the Dutch style pretends
+to. It depends upon a picturesque combination of forms of no great
+refinement in themselves, but which give a varied skyline and a pretty
+play of light and shade. It amuses at the first glance, and as it rarely
+demands a second, it is well suited to turbid atmospheres, which blur
+outlines, and a chilly climate in which people cannot loiter out of
+doors. Moreover, the old-world memories it evokes, although in a minor
+degree than was the case with the Gothic, contribute to its facile
+popularity. But the classical taste is a love for form and delicate
+beauty of line _as such_, quite irrespective of any associations which
+may accompany them, or lamps, be they seven or seventy times seven. And
+to build his house in this style was the natural thing for a sculptor
+and fastidious seeker after the ideal in form. He found the man he
+wanted in Professor Aitchison.
+
+We must go over the outside and inside of the house, but rapidly; for to
+do more than just indicate the points worth attention would be waste of
+effort. To convey an idea of the feelings produced by architecture is
+perhaps possible, but it is perfectly vain to hope to picture it or
+reproduce in words the actual beauties of proportion or of colour. Those
+who wish to verify them must see for themselves and examine the building
+carefully.
+
+The aspect of the house as seen from the street is, it must be admitted,
+hardly symmetrical; but it is evident also that the first design has
+been much altered and added to. At one end the Arab Hall, with its dome
+and "bearded" battlements, is an obvious afterthought, in great contrast
+with the serious simplicity of the rest. And at the other end the glass
+studio, which was added later still, is also clearly an excrescence. The
+centre part was the original house, and the studio was the chief feature
+of it, and very much as it is now. It is, of course, on the north side,
+and the street, the south side, is occupied by small rooms which, with
+their repeated small openings, offer no great scope for designing.
+Still, the whole has that look of dignity which always accompanies high
+finish; and the entrance, far from being commonplace, because it has
+nothing quaint or surprising about it, has a certain ample serenity
+which it is rare to find. The mouldings of stonework and woodwork, few
+and simple as they are, are not taken out of a pattern-book, as is
+usually the case, but are specially designed each for its own position.
+All the refinement of a building consists in its mouldings, and no one
+has designed mouldings better than Professor Aitchison. A vast
+improvement has been made in this respect in the last twenty years or
+so, and it is largely due to his influence. At any rate he was one of
+the first and he remains the best of modern designers of mouldings.
+There are some fine examples of his work in the house.
+
+On the north the house looks into a fair-sized garden, skilfully
+planted, so that it looks much larger than it is. In the mind of the
+writer this aspect is intimately bound up with the recollection of
+delightful Sunday mornings in summer, when he sat chatting on random
+subjects with the President, who, in slippers, a so-called "land and
+water hat," and a smock frock, leant back in a garden-chair and talked
+as no one else could. The quiet, the sun overhead, the grass under our
+feet, the green trees around us, and the house visible between them,
+form an ineffaceable picture of aesthetic contentment it is a delight to
+recall. It recurred every Sunday whenever the weather was fine and warm.
+Then it was that there was leisure to appreciate the admirable symmetry
+of the architecture; for in England it is so rare to sit out of doors
+where one may look at architecture that even if architects were to
+design exteriors with all the subtlety of a Brunelleschi or a Bramante,
+they would seldom get anyone to notice their work.
+
+The studio occupies the whole of the upper story, and the architect had
+a good opportunity, as there was no need to cut it up as is the case
+when several rooms have to be provided for, by numerous uniform lights.
+Here, in the centre, is one great light between wide spaces of wall
+judiciously divided by string courses, and in the upper part on either
+side of the great window is a row of three small windows. At the east
+end is a small door leading into a pretty little Venetian balcony with
+stone parapet. The whole makes a very beautiful building, and the
+details and proportions are all worth examining.
+
+This central part was what one saw through the trees as one sat in the
+garden. Less visible were the glass studio on its iron columns, an
+excellent piece of work, considering its few possibilities, and the Arab
+Hall at the other end. Of course the latter looks a little incongruous.
+It is a professed reproduction of Arab architecture, but carried out,
+like the rest of the house, with unstinted expense, care, and finish.
+
+We will now go inside by the front door. The cornice of the ceiling of
+the vestibule first entered is singularly fine. Like every other good
+artist Professor Aitchison improved as he went on, and this is one of
+his latest designs in mouldings. When the entrance was altered some
+years before the President's death, an opportunity occurred for putting
+in a new ceiling.
+
+Passing on into the hall one comes upon a very picturesque arrangement
+of staircase. It is lit from above by a broad skylight. The stairs begin
+to rise against the wall of the dining-room which is recessed; while on
+the first floor the wall of the studio is projected and carried on
+columns, beyond which the stairs rise. So that figures coming through
+the hall in the light, begin mounting the stairs in the shadow, and
+re-emerge into the light, as the stairs turn, with a very varied and
+striking effect. By the first short flight of steps, and between the two
+columns, is a seat made of a Persian chest or cassone, beautiful and
+unusual in shape, and richly inlaid. Lord Leighton bought it in Rhodes
+or Lindos, and was very proud of it. It could not be removed and sold
+with the rest of the treasures at Christie's as it was a "fixture." The
+floor of the hall is of marble mosaic, mostly black and white. Only one
+small piece by the dining-room door, a very agreeable design, is in
+pinkish marbles.
+
+
+[Illustration: THE HOUSE: THE ARAB HALL]
+
+
+On the left, down a short passage, is the Arab Hall. It is so unlike
+anything else in Europe that its reputation has withdrawn all
+attention from the rest of the house. It certainly is a most sumptuous
+piece of work. Elsewhere Leighton satisfied his love of chastened form;
+in this room and its approach he gave full scope to his delight in rich
+colours. The general scheme is a peacock blue, known technically as
+Egyptian green, and gold, with plentiful black and white. Here and there
+tiny spots of red occur, but they are rare. The harmony begins in the
+staircase hall. The walls, except in the recessed part, where there are
+genuine oriental tiles, are lined to the level of the first floor with
+tiles of a fine blue, from the kilns of Mr. De Morgan, and the soffitt
+of the stairs is coloured buff, with gold spots. In the passage the tone
+increases in richness. The ceiling is silver and the cornice gold, while
+the walls, except for a fine panel of oriental tiles over the
+drawing-room door, are lined with the same tiles as the staircase. Then
+between two grand columns of red Caserta marble, with gilt capitals
+modelled by Randolph Caldecott, we pass into the Arab Hall itself, and
+we come upon the full magnificence of the effect. It is made up of
+polished marbles of many colours, gilt and sculptured capitals,
+alabaster, shining tiles, glistening mosaic of gold and colours, brass
+and copper in the hanging corona, and coloured glass in the little
+pierced windows, in fact, of every form of enrichment yet devised by
+Eastern or Western Art. From the floor, which is black and white, the
+tone rises through blue to lose itself in the gloom of a golden dome,
+sparsely lit by jewel-like coloured lights.
+
+In the centre a jet of water springs up, to fall back into a basin of
+black marble. The form of the basin which deepens towards the centre in
+successive steps, is an adaptation of the pattern of a well-known
+oriental fountain. All is equally black in this pool, and the border
+unfortunately is barely distinguishable from the water. After a dinner
+party at which Sir E. Burne-Jones, Mr. Whistler, Mr. Albert Moore, and
+many others were present, I recollect how, when we were smoking and
+drinking coffee in this hall, somebody, excitedly discoursing, stepped
+unaware right into the fountain. Two large Japanese gold tench, whose
+somnolent existence was now for the first time made interesting, dashed
+about looking for an exit, and there was a general noise of splashing
+and laughter. The dark, apparently fathomless pool was rather a mistake.
+Mishaps like that just mentioned occurred, I believe, more than once.
+There had been at first a white marble basin, but it did not give
+satisfaction, because, being in several pieces, it leaked, whereas the
+black one is all cut out of one block, at great expense, of course. But
+the white had the advantage of lightness where light is none too
+plentiful. In our winter, when days are dark and cold, black pools, with
+marble columns and floors, tiled walls, and dim domes about them do not
+fall in with English notions of cosy woollen comfort. The season to do
+justice to this hall is when summer comes round. When the sun breaks
+through the lattice work of the musharabiyehs, and the light is thrown
+up on the storied tiles, and up the polished columns to the glinting
+mosaic, to die away in the golden cupola, the effect is indeed superb,
+and to sit on the divan, by the splash of the fountain, and look from
+the glories within to the green trees without, is to live not in London
+but in the veritable Arabian nights.
+
+The hall is square. On one side is the entrance. In the centre of each
+of the other sides is a lofty arched recess. Those to the north and
+south are windows, shuttered with genuine musharabiyehs bought in Cairo
+and having deep cushioned divans. The recess to the west has only a
+small pierced window high up. It has a raised step, and in it used to
+stand certain bronze reproductions from Pompeii, with pots, vases, etc.,
+now gone. Some of the tiles were bought in Damascus in 1873. The price
+paid was L200 for the complete tile surface of one room. What would they
+be worth now? Others, particularly the great inscription spoken of
+below, were bought later in Cairo, and the rest at odd times. Here and
+there are single tiles, but most of them are in sets forming fine
+panels. An interesting one, in the south-east corner, represents hawks
+clutching their prey, cheetahs and deer, a hunter, etc., and another has
+herons, fish, tortoises, deer, etc. Set into the woodwork in the western
+recess are four tiles with female figures. These are either Persian or
+come from the neighbourhood of Persia, for the Anatolian or Egyptian
+Mahommedan tolerated no representations of life. The rest repeat in
+pleasing variety the usual motives of oriental design, viz., vines,
+cypresses, pinks and vases, doorways (? the entrances of mosques), with
+hanging lamps, and conventional floral designs. Above the entrance runs
+the chief treasure, the grand series of tiles bearing the great
+inscription. It is about sixteen feet long. According to Mr. Harding
+Smith it may be translated thus:
+
+"In the name of the merciful and long-suffering God. The Merciful hath
+taught the Koran. He hath created man and taught him speech. He hath set
+the sun and moon in a certain course. Both the trees and the grass are
+in subjection to him."
+
+It cannot be said that there is anything very new in that. There rarely
+is in such inscriptions. There are three others, but so far as they have
+been deciphered they appear to be incomplete, and in two cases, at any
+rate, to much the same effect as the big one. Just pious reminders. The
+real interest of them lies in the decorative effect of the imposing
+procession of letters across the wall, and the splendour of their
+colours. For beauty and condition this great inscription is said to be
+without a rival in any collection in Europe.
+
+Let into the woodwork panelling in the west bay there are two small
+lustred Persian tiles of the thirteenth century. They have been
+mutilated as to the faces of the figures by true believers. The rest
+belong to the sixteenth or early seventeenth centuries, a time when
+artistic production was stimulated by the commercial wealth brought by
+the trade of Venice and Genoa with the East through Anatolia, Damascus
+and Cairo.
+
+Round three sides above the tiles runs a decorative mosaic frieze, by
+Walter Crane, of an arabesque design on a gold ground. It is a beautiful
+and fanciful piece of work in itself, and it serves moreover to blend
+the prevailing colour of the tiles with the gilding of the upper
+regions. But it does not continue round the fourth side, because over
+the entrance, above the great inscription, an oriel window of
+musharabiyeh work looks down into the hall from the first floor of the
+house.
+
+The pierced windows, or at least eight of them, were brought from Cairo,
+and when bought had the original glass in them; but in the east the
+glass is stuck in with white of egg, and as they were, as usual,
+ill-packed, the glass all came out and was ground to fragments in the
+jolting of the journey. Only enough could be saved to fill the window in
+the upper part of the west recess opposite the entrance. The remainder
+had to be filled with English imitations.
+
+Returning now to the staircase, we find it ends on the first floor in a
+landing leading to the great studio. On the left it is open to the
+little studio; so-called because, having a skylight, Lord Leighton used
+it for painting out-of-door effects until he had the glass studio built.
+Adjoining it, or forming an extension of it, is another room, built only
+a year or two before the late owner's death. After the addition of the
+glass studio the two were only used as an antechamber, and were hung
+with the pictures presented by brother artists, and with a few old
+masters. The mouldings round the skylights are very pretty. The latticed
+window before mentioned looks down from the little studio into the Arab
+Hall.
+
+The great studio is a large room about sixty feet by twenty-five and
+about seventeen in height. In the centre of the north side is the lofty
+window forming a bay and extending into a skylight in the top. High up
+on either side of it are the three small openings mentioned when
+speaking of the exterior. A curtain hangs in front of them, and in point
+of fact they were never used. In the west wall is an apse with a gilt
+semi-dome, which appears in some of Lord Leighton's pictures. Across the
+east end runs a gallery at about eight feet from the floor with
+bookshelves under it on either side, and in the middle a broad passage
+leads into the glass studio, and still outside this is a wide balcony
+looking into the garden. Casts of a portion of the Panathenaic frieze of
+the Parthenon run along the upper part of the wall of the great studio, fit
+emblem of the lifelong devotion of the President to classic art. Such
+then is the workshop. Even now, comparatively bare as it is at the
+present moment of writing, this is one of the most picturesque suites of
+rooms in existence; but to see it on one of the grand occasions of
+Leighton's musical receptions was a very different sight and one not
+easily to be forgotten. Then when walls and easels were covered with
+pictures, when rare carpets hung from the gallery, flowers and palms
+filled the bay window, beautiful women and men of every form of
+distinction crowded the floor to listen to Joachim and Piatti, nothing
+was wanting which could give beauty or interest to the spectacle.
+
+It will be seen that the house is still rich in artistic beauty and
+still has objects of value. But the most precious of its contents are
+after all its associations. Its floors have been trodden by all that was
+most notable in the society of its owner's day, people whose names alone
+would be an epitome of our times. It was also the workshop of a great
+artist. But, above all, it was the centre of a great influence which
+profoundly modified English art.
+
+Whatever judgment the future may pass upon his own productions, the fact
+must never be lost sight of that even without them Leighton was a great
+man. Intellectually, spiritually, and socially he was the most brilliant
+leader and stimulator of artists we have ever seen in England. His
+earnest example and lifelong persistence fanned the flame of enthusiasm
+among all branches of art workers. He taught Englishmen to study form,
+and it was under his encouragement that sculpture, which was fallen so
+low, has now risen into so good a place. Finally he did more than anyone
+else has done to raise the status of the artist in society.
+
+The house which he built himself was his hobby, and in the refinement
+and catholicity of taste it shows, there is so just a reflex of his
+characteristics that an account of it is indispensable to any book which
+claims to describe the man.
+
+S. PEPYS COCKERELL.
+
+
+
+
+CHAPTER XI
+
+THE ARTIST AND HIS CRITICS
+
+
+Before closing our record it will be well to quote, as we promised
+earlier, some of the contemporary criticism that Sir Frederic's work has
+encountered from time to time; and especially the criticism of his
+earlier performances, while he was still in the years of his
+pre-Academic probation.
+
+As a provocation to criticism, most interesting of all is his picture,
+the _Cimabue's Madonna carried in Procession through the Streets of
+Florence_, upon which we have already commented. As we may here remind
+our readers, it was painted at Rome chiefly, in 1853-4, and was
+exhibited at the Academy of 1855. In that year, as good fortune would
+have it, Mr. Ruskin issued for the first time, "Notes on some of the
+Principal Pictures Exhibited in the Rooms of the Royal Academy." Some
+pages of this famous pronouncement are devoted to this very picture, and
+we cannot do better than quote freely from a criticism so remarkable.
+
+"This is a very important and very beautiful picture," says Mr. Ruskin.
+"It has both sincerity and grace, and is painted on the purest
+principles of Venetian art--that is to say, on the calm acceptance of
+the whole of nature, small and great, as, in its place, deserving of
+faithful rendering. The great secret of the Venetians was their
+simplicity. They were great colourists, not because they had peculiar
+secrets about oil and colour, but because when they saw a thing red,
+they painted it red; and ... when they saw it distinctly, they painted
+it distinctly. In all Paul Veronese's pictures, the lace borders of the
+table cloths or fringes of the dresses are painted with just as much
+care as the faces of the principal figures; and the reader may rest
+assured that in all great art it is so. Everything in it is done as well
+as it _can_ be done. Thus in the picture before us, in the background is
+the Church of San Miniato, strictly accurate in every detail; on the top
+of the wall are oleanders and pinks, as carefully painted as the church;
+the architecture of the shrine on the wall is well studied from
+thirteenth-century Gothic, and painted with as much care as the pinks;
+the dresses of the figures, very beautifully designed, are painted with
+as much care as the faces: that is to say, all things throughout with as
+much care as the painter could bestow. It necessarily follows that what
+is most difficult (_i.e._ the faces) should be comparatively the worst
+done. But if they are done as well as the painter could do them, it is
+all we have to ask; and modern artists are under a wonderful mistake in
+thinking that when they have painted faces ill, they make their pictures
+more valuable by painting the dresses worse.
+
+"The painting before us has been objected to because it seems broken up
+in bits. Precisely the same objection would hold, and in very nearly the
+same degree, against the best works of the Venetians. All faithful
+colourists' work, in figure-painting, has a look of sharp separation
+between part and part.... Although, however, in common with all other
+works of its class, it is marked by these sharp divisions, there is no
+confusion in its arrangement. The principal figure is nobly principal,
+not by extraordinary light, but by its own pure whiteness; and both the
+Master and the young Giotto attract full regard by distinction of form
+and face. The features of the boy are carefully studied, and are indeed
+what, from the existing portraits of him, we know those of Giotto must
+have been in his youth. The head of the young girl who wears the garland
+of blue flowers is also very sweetly conceived.
+
+"Such are the chief merits of the picture. Its defect is that the equal
+care given to the whole of it is not yet _care enough_. I am aware of no
+instance of a young painter, who was to be really great, who did not in
+his youth paint with intense effort and delicacy of finish. The handling
+here is much too broad; and the faces are, in many instances, out of
+drawing, and very opaque and feeble in colour. Nor have they in general
+the dignity of the countenance of the thirteenth century. The Dante
+especially is ill-conceived--far too haughty, and in no wise noble or
+thoughtful. It seems to me probable that Mr. Leighton has greatness in
+him, but there is no absolute proof of it in this picture; and if he
+does not, in succeeding years, paint far better, he will soon lose the
+power of painting so well."
+
+To Mr. Ruskin's account, which is sufficient to enable one to realize
+the picture in some detail, we may add further the criticism of the
+"Athenaeum" of May 12th, 1855, which is interesting as showing how the
+work affected a contemporary critic of another order. It speaks of Mr.
+Leighton as "a young artist who, we believe, has studied in Italy," and
+goes on to say: "There can be no question that the picture is one of
+great power, although the composition is quaint even to sectarianism;
+and though the touch, in parts broad and masterly, is in the lesser
+parts of the roughest character." The last clause of the sentence bears
+out, it may be perceived, a significant indictment in Mr. Ruskin's
+deliverance, which lays stress on a defect that the artist, in his
+maturer brush-work, does not show.
+
+Rossetti, writing to his friend William Allingham, May 11th, 1855, says:
+"There is a big picture of _Cimabue_, one of his works in procession, by
+a new man, living abroad, named Leighton--a huge thing, which the Queen
+has bought, which everyone talks of. The R.A.'s have been gasping for
+years for someone to back against Hunt and Millais, and here they have
+him, a fact that makes some people do the picture injustice in return.
+It was _very_ uninteresting to me at first sight; but on looking more at
+it, I think there is great richness of arrangement, a quality which,
+when _really_ existing, as it does in the best old masters, and perhaps
+hitherto in no living man--at any rate English--ranks among the great
+qualities.
+
+"But I am not quite sure yet either of this or of the faculty for
+colour, which I suspect exists very strongly, but is certainly at
+present under a thick veil of paint, owing, I fancy, to too much
+continental study. One undoubted excellence it has--facility, without
+much neatness or ultra-cleverness in the execution, which is greatly
+like that of Paul Veronese; and the colour may mature in future works to
+the same resemblance, I fancy. There is much feeling for beauty, too, in
+the women. As for purely intellectual qualities, expression, intention,
+etc., there is little as yet of them; but I think that in art richness
+of arrangement is so nearly allied to these, that where it exists (in an
+earnest man) they will probably supervene. However, the choice of
+subject, though interesting in a certain way, leaves one quite in the
+dark as to what faculty the man may have for representing incident or
+passionate emotion. But I believe, as far as this showing goes, that he
+possesses qualities which the mass of our artists aim at chiefly, and
+only seem to possess. Whether he have those of which neither they nor he
+give sign, I cannot tell; but he is said to be only twenty-four years
+old. There is something very French in his work, at present, which is
+the most disagreeable thing about it; but this I dare say would leave
+him if he came to England."[12]
+
+In the year following Leighton's academical _debut_, he exhibited a
+picture entitled _The Triumph of Music_, which the "Athenaeum," hereafter
+so sympathetic towards his work, described as "anything but a triumph of
+art."
+
+Partly, perhaps, because of the general tone of discouragement in all
+the criticisms of this year, the artist did not send in anything to the
+Academy of 1857. In 1858 his two pictures--_The Fisherman and the
+Syren_, and _Count Paris_, although admirably conceived, and extremely
+interesting to us now, received no word of friendly criticism that is
+worth recording.
+
+At the Academy of 1859 were exhibited two pictures by him, which served
+to reassure at last those critics who had been shaking their heads over
+his supposed inability to follow up his first success. We turn to the
+"Athenaeum" again, to study its gradual conversion from an attitude of
+critical distrust to one of critical sympathy:
+
+"Mr. Leighton," says the "Athenaeum," "after a temporary eclipse,
+struggles again to light. His heads of Italian women this year are
+worthy of a young old master: anything more feeling, commanding, or
+coldly beautiful, we have not seen for many a day.... This is real
+painting, and we cannot but think that a painter who can paint so
+powerfully will soon be able to surpass that processional picture of
+his,..." _i.e._, the _Cimabue_.
+
+In 1860, the artist, who then entered upon his thirtieth year, exhibited
+a small picture, _Capri, Sunrise_, which won great praise for its
+successful treatment of Italian landscape under the Scirocco, whose
+sulphurous light is cast with evil suggestion upon the white houses and
+green vegetation. In paying his tribute to the quality of the picture,
+the critic of the "Athenaeum" cannot resist, however, the old cry of
+great expectations. For the effect of the _Cimabue's Madonna_ had
+aroused critics to regard the painter as one who would continue the
+legend of the great historical schools, and carry on the traditions of
+the so-called grand style. But the critic proposes, the creator
+disposes: the artist went his own way, following still his own ideals.
+
+In 1861, some rather warm discussion raged over two of the artist's
+contributions to the Royal Academy, which appeared in its catalogue as
+Nos. 399 and 550, and which, it was said, had been deliberately slighted
+by the hanging committee. In later years, Leighton must sometimes have
+smiled when he heard (as from his position he must needs have,) the
+annual plaint of the "skied." It is to the "Art Journal," whose
+criticisms, when they had to do with the new and rising schools, used to
+be always entertaining, if often provoking, in those days, that we turn
+for a contemporary account of these things, rather than to any other
+source. The critic having premised, with a delightful and convincing air
+of "I told you so!" that his first effort (the inevitable _Cimabue's
+Madonna_) having exhausted the poor artist, "he has been coming down the
+ladder of fame ever since," continues in characteristic tones: "Instead
+of being hung too high, the _Dream_, had it been properly hung, would
+have been displayed upon the ceiling." The picture, according to this
+authority, consisted only of a questionable combination of the "lower
+forms of mere decorative ornamentation," and was in fact, "not so much a
+picture as a very clever treatment for the centre of a ceiling." So much
+for what was really the first clear sign of the artist's delightful
+decorative faculty.
+
+It is clear from various evidences of the feeling of the critics about
+Leighton at this time, that they had begun to look upon him as one whose
+ideals were frivolous, and not seriously minded, or weighted with the
+true British substantiality of the old Academy tradition. In the very
+next year, the artist, by the chances of his own temperamental
+many-sided delight in life and art, did something to reassure his
+admonitors once more. No. 217 at the Royal Academy of 1862 was his
+picture, _The Star of Bethlehem_, which, with some natural and not
+unfair deductions, won considerable praise from the critic last quoted.
+In this painting, which shows curiously the mingled academic and natural
+quality of the artist, the critic found profound incompatibilities of
+conception and technique; and next year, the same critic was stirred to
+exclaim,--"The pictures which of all others give most trouble and
+anxiety to the critic are perhaps those of Mr. Millais and Mr.
+Leighton,"--a very suggestive conjunction of names, let us add.
+
+It was probably the same critic, who speaking of the _Dante at Verona_,
+in 1864, said gravely, "The promise given by the _Cimabue_ here reaches
+fruition."
+
+Writing in 1863, Mr. W. M. Rossetti, a critic whom it is interesting to
+be able to cite, said of two of the artist's pictures of that year, the
+_Girl feeding Peacocks_ and the _Girl with a Basket of Fruit_, they
+belong "to that class of art in which Mr. Leighton shines--the art of
+luxurious exquisiteness; beauty, for beauty's sake; colour, light, form,
+choice details, for their own sake, or for beauty's."
+
+In the same year, Mr. Rossetti spoke of the young artist as the one
+"British painter of special faculty who has come forward with the most
+decided novelty of aim"--since, that is, the new development of art
+under the little band of Pre-Raphaelites,--with which Mr. W. M. Rossetti
+was himself so closely associated.
+
+By way of contrast, we may cite the "Art Journal" of 1865, which
+provides a most extraordinary criticism of _David_, of that year. "We
+would venture to ask," says this ingenious critic, "why the divine
+psalmist has so small a brain? Within this skull there is not compass
+for the poet's thoughts to range. We state as a physiological fact, that
+a head so small, with a brow so receding, could not have belonged to any
+man who has made himself conspicuous in the world's history. Again,
+descending to mere matter of costume, there cannot be a doubt that the
+purple mantle flung on the psalmist's shoulders is wholly wanting in
+study of detail, and constitutes a blot on the landscape. Barring these
+oversights, the picture possesses merits."
+
+At this period we hear the first critical murmurs against the artist's
+very deliberately chosen method of flesh-painting. In 1867, speaking of
+the _Venus Disrobing_, the "Art Journal" critic says: "According to the
+manner, not to say the mannerism, of the artist, it has a pale silvery
+hue, not as white as marble, not so life-glowing as flesh." With this we
+may compare, for the comparison is instructive, the "Athenaeum," whose
+notice is more sympathetic. The figure of the goddess it describes as
+"all rosy white, ... admirably drawn, and modelled with extreme care."
+
+Again, in 1868, the "Art Journal" says of Sir Frederic's _Actaea_: "The
+artist has made some attempt to paint flesh in its freshness and
+transparency, and indeed the more he renounces the opacity of the German
+school, and the more he can realize the brilliance of the old Venetian
+painters, the better."
+
+In 1869, the "Athenaeum" praised the _Sister's Kiss_, as "a lovely
+group," but complained that the execution was a "little too smooth,"--a
+complaint not infrequently echoed from time to time by the artist's
+critics. Some years later we find Mr. W. M. Rossetti making the same
+complaint in criticising _Winding the Skein_.
+
+In 1875 the picture, _Portions of the Interior of the Grand Mosque at
+Damascus_, won great praise, as "a remarkably delicate piece of work, in
+which the beautiful colouring of the tiled walls and mosaic pavement are
+skilfully rendered."
+
+In 1876, the quondam hostile "Art Journal" is completely converted by
+the _Daphnephoria_: "To project such a scene upon canvas presupposes a
+man of high poetic imagination, and when it is accompanied by such
+delicacy and yet such precision of drawing and such sincerity of
+modelling, the poet is merged in the painter and we speak of such a one
+as a master. There is, indeed, nothing more consolatory to those who
+take an interest in British art than the knowledge that we have among us
+a man of such pure devotion and lofty aim."
+
+It was in 1875, that Mr. Ruskin, resuming his _role_ of an Academy
+critic, claimed Leighton as "a kindred Goth," and confessed, "I
+determined on writing this number of 'Academy Notes,' simply because I
+was so much delighted with Mr. Leslie's _School_, Mr. Leighton's _Little
+Fatima_, Mr. Hook's _Hearts of Oak_, and Mr. Couldery's _Kittens_."
+
+In his lectures on the Art of England, the same critic, speaking of
+Leighton's children, says: "It is with extreme gratitude, and
+unqualified admiration, that I find Sir Frederic condescending from the
+majesties of Olympus to the worship of those unappalling powers, which,
+heaven be thanked, are as brightly Anglo-Saxon as Hellenic; and painting
+for us, with a soft charm peculiarly his own, the witchcraft and the
+wonderfulness of childhood."
+
+Upon the _Egyptian Slinger_ of the same year, which Mr. Ruskin terms the
+"study of man in his Oriental function of scarecrow (symmetrically
+antithetic to his British one of game preserver)," his criticism is
+interesting, but adverse. The critic who elsewhere acknowledged fully
+the artist's acutely observant and enthusiastic study of the organism of
+the human body, confesses himself unable to recognize his skill, or to
+feel sympathy with the subjects that admit of its display. It is, he
+goes on to say further of the _Slinger_, "it is, I do not doubt,
+anatomically correct, and with the addition of the corn, the poppies,
+and the moon, becomes semi-artistic; so that I feel much compunction in
+depressing it into the Natural History class; and the more, because it
+partly forfeits its claim even to such position, by obscuring in
+twilight and disturbing our minds, in the process of scientific
+investigation, by sensational effects of afterglow and lunar effulgence,
+which are disadvantageous, not to the scientific observer only, but to
+less learned spectators; for when simple persons like myself, greatly
+susceptible to the influence of the stage lamps and pink side-lights,
+first catch sight of this striding figure from the other side of the
+room, and take it, perhaps, for the angel with his right foot on the sea
+and the left on the earth, swearing there shall be Time no longer; or
+for Achilles alighting from one of his lance-cast-long leaps on the
+shore of Scamander, and find on near approach that all this grand
+straddling and turning down of the gas mean practically only a lad
+shying stones at sparrows, we are only too likely to pass it petulantly
+without taking note of what is really interesting in this eastern custom
+and skill."
+
+
+[Illustration: EGYPTIAN SLINGER (1875)]
+
+
+The most recent criticism of importance on the art of Leighton is
+contained in an admirable volume by M. de la Sizeranne.[13] We take this
+opportunity of quoting a few sentences from an appreciation which opens
+with the significant remark that Sir Frederic Leighton is officially the
+representative of English painting on the Continent, and, in reality,
+the representative of Continental painting in England, and concludes by
+tracing the definitely English ideal that underlies the artist's work.
+Elsewhere the critic says, "Ce qui est britannique en M. Leighton,
+quoique bien voile par son eclectisme, transparaitra encore." Apart from
+Leighton's distinctively native predilection for certain subjects, M. de
+la Sizeranne finds him very English in his treatment of draperies, for
+instance, a treatment which he traces ingeniously to the much study
+given to the Greek drapery of the Elgin marbles by the English School,
+since the days of the Pre-Raphaelites. Elsewhere, taking as his text the
+picture _The Spirit of the Summit_, he says: "Des sujets qui elevent la
+pensee vers les sommets de la vie ou de l'histoire, de sorte qu'on ne
+puisse se rappeler un nez ou une jambe sans se souvenir de quelque haute
+lecon evangelique, ou de moins de quelque grande necessite sociale,
+voila ce que M. Leighton a traite. Et un style beaucoup plus sobre que
+celui d'Overbeck, beaucoup plus viril que celui de M. Bouguereau, voila
+comment il les a traites." Again: "La grandeur de la communion humaine,
+la noblesse de la paix, tel est le theme qui a le plus souvent et le
+mieux inspire M. Leighton. Et cela il ne l'a pas trouve en France, ni
+ailleurs. C'est bien une idee anglaise." No better summing up of the
+chronicle of the life work of the artist could well be found.
+
+But we have pursued far enough this study of an artist's progress
+through the thorny, devious ways of art criticism. We have reached the
+point, in fact, where the comparative uncertainties of an artist's
+career make way for the certainties. With one quotation more, in which
+we have a tribute from another critic, Mr. Comyns Carr, we may fitly
+close: "No painter of our time," said Mr. Carr, "maintains a firmer or
+more constant adherence to those severe principles of design which have
+received the sanction of great example in the past. Sir Frederic
+Leighton has never lowered the standard of his work in deference to any
+popular demand, and for this persistent devotion to his own highest
+ideals he deserves well of all who share his faith in the power of
+beauty."
+
+
+[Illustration: ELISHA AND THE SHUNAMITE'S SON (1881)]
+
+
+
+
+CHAPTER XII
+
+CONCLUSION
+
+
+In now bringing this record to a close, we will of set purpose remain
+true to the chronicler's function, pure and simple; attempting no
+profounder or more critical summing up of our subject, than consists
+with the plain record of a remarkable career.
+
+After a year of indifferent health, during part of which time he was
+ordered abroad for rest and change, being thus unable to preside at the
+annual banquet in May, Leighton returned to England apparently
+convalescent. Although unable to deliver the biennial presidential
+address, which fell due in December, 1895, he met the students on that
+occasion, and apologized for not delivering the Discourse which was due,
+in these words: "The cloud which has hung over me hangs over me
+still."[14]
+
+Early in 1896 a peerage was bestowed upon him, and all the world
+applauded the honour conferred on Art in his name. On January 13th,
+1896, the news of his death came as a terrible surprise. The new peer,
+Baron Leighton of Stretton, was buried with much state at St. Paul's
+Cathedral, before men in general had wholly recognized that Lord
+Leighton was the popular "Sir Frederic," the President of the Royal
+Academy, and one of the most familiar figures at any important
+function--at court or elsewhere.
+
+Except perhaps in the case of politicians, who live in some degree by
+the public recognition of their personal qualities, it is difficult to
+render tribute gracefully and well to a contemporary. But we cannot
+close these pages, now, without pausing to recall how fortunate it has
+been that English Art, for seventeen years, had as its titular head an
+artist whose affluent artistic faculty was but the open sign of a
+crowded life, loyal throughout to the great causes, high ideals, and,
+let us add, the early friendships, chosen long ago in the mid century.
+We are now at that century's end,--an end not without its reproach, as
+expressed by a decadence more self-conscious than dignified, more
+critical than creative; but in Lord Leighton's Art there was little
+diminution in his active energy, and of that finer health and spirit of
+life, which is behind all beauty! Like his distinguished friend and
+colleague, Mr. G. F. Watts (whose tribute to him as a man and as an
+artist has been expressed again and again in eloquent terms), Leighton
+remained, in his later period as in his youth, generously alive to all
+the things that count, devoted still to the Art, the current life, and
+the great national traditions, of his own country.
+
+From another famous colleague, Sir E. J. Poynter, P.R.A., one may fitly
+add here the following further sentences of contemporary tribute, which
+were written by way of dedication to his "Ten Lectures on Art,"
+published some years ago:--"I came to-day from the 'Varnishing Day' at
+the Royal Academy Exhibition with a pleasant conviction that there is on
+all sides a more decided tendency towards a higher standard in Art, both
+as regards treatment of subject and execution, than I have before
+noticed; and I have no hesitation in attributing this sudden improvement
+in the main to the stimulus given to us all by the election of our new
+President, and to the influence of the energy, thoroughness and nobility
+of aim which he displays in everything he undertakes. I was probably the
+first, when we were both young and in Rome together, to whom he had the
+opportunity of showing the disinterested kindness which he has
+invariably extended to beginners, and to him, as the friend and master
+who first directed my ambition, and whose precepts I never fail to
+recall when at work (as many another will recall them), I venture to
+dedicate this book with affection and respect."
+
+"As we are, so our work is!" said Leighton in one of the most memorable
+of his Discourses; "and the moral effect of what we are will control the
+artist's work from the first touch of the brush or chisel to the last."
+"Believe me," he concludes, in a striking passage that may very fitly
+serve us, too, with a conclusion to these passages, "believe me,
+whatever of dignity, whatever of strength we have within us, will
+dignify and will make strong the labours of our hands; whatever
+littleness degrades our spirit will lessen them and drag them down.
+Whatever noble fire is in our hearts will burn also in our work,
+whatever purity is ours will also chasten and exalt it; for as we are,
+so our work is, and what we sow in our lives, that, beyond a doubt, we
+shall reap for good or for ill in the strengthening or defacing of
+whatever gifts have fallen to our lot."
+
+It would be superfluous to quote from the elegiac tributes which
+appeared in the public press after Lord Leighton's death, and invidious
+to repeat certain unkind and unjust strictures which marred the
+otherwise unanimous note of appreciation. It is obvious that an artist
+with so strongly marked a personality must needs have been fettered by
+the very limits he himself had set. At one time, when a painter of
+eminence openly expressed his preference for Lord Leighton's unfinished
+work, and begged him to keep a certain picture as "a beautiful sketch,"
+he replied: "No, I shall finish it, and probably, as you suggest, spoil
+it. To complete satisfactorily is what we painters live for. I am not a
+great painter, but I am always striving to finish my work up to my first
+conception."
+
+There are many mansions in the city of Art, and if the one of Lord
+Leighton's building was not to the taste of all his contemporaries, the
+edifice can be left to await the final test of years. Fashions in taste
+change rapidly, and much of his finish that finds disfavour to-day may
+in time charm once again. A career overburdened by official honour was
+destined to provoke a certain amount of envious protest; but as a man,
+no voice has urged a word against his ideally perfect performance, not
+merely of his official duties, but of others which indeed were laid upon
+him by his position. These he obeyed without ostentation--almost without
+men's knowledge. His kindly help, by commendation or by commission given
+to young artists; his broad and tolerant view of work conceived in
+direct opposition to all he valued himself, was not hidden from his
+friends. "It is with a sense of amazement," a critic writes in a private
+letter, "that one afternoon after a protest that nothing he said was to
+be published, I heard him discuss the prospects and the works of our
+ultra-modern painters. Even in fields beyond his sympathy he picked out
+the chaff from the wheat, and was judicially accurate in his verdicts of
+the difference between 'tweedle-dum' and 'tweedle-dee,' both one would
+have said, entirely unknown to him."
+
+In Lord Leighton British artists lost a truer friend than many of them
+suspected, one who wielded his power justly to all, and was more often
+on the side of progress than not, a power for reform that can never be
+estimated at its actual value, working within a highly conservative
+body, full of vested interests and prejudice--as is the habit of
+academies of Art and Literature abroad no less than at home. That
+Leighton, who controlled its destinies so long, was loyal to its true
+interests, and never forgot the institution with which he was associated
+so many years is evident from his last words: "Give my love to all at
+the Academy."
+
+
+[Illustration: BOOKPLATE OF LORD LEIGHTON. DESIGNED BY R. ANNING BELL.]
+
+
+
+
+APPENDIX I
+
+LIST OF PRINCIPAL WORKS
+
+_With date and place of exhibition_
+
+
+1850  (_circa_). *CIMABUE FINDING GIOTTO IN THE FIELDS OF FLORENCE.[15]
+      (49-1/2 x 37 in.) Steinle Institute (Frankfort).
+
+1850. THE DUEL BETWEEN ROMEO AND TYBALT. (37 x 50 in.)
+
+1851  (_circa_). THE DEATH OF BRUNELLESCHI. Steinle Institute.
+
+1851. [EARLY PORTRAIT OF LEIGHTON BY HIMSELF.]
+
+1852. *A PERSIAN PEDLAR.
+
+  "   [BUFFALMACCO, THE PAINTER. A humorous subject, taken from Vasari,
+      was undertaken about this date.]
+
+1853. PORTRAIT OF MISS LAING (Lady Nias).
+
+1855. *CIMABUE'S CELEBRATED MADONNA IS CARRIED IN PROCESSION THROUGH
+      THE STREETS OF FLORENCE. In front of the Madonna, and crowned with
+      laurels, walks Cimabue himself, with his pupil Giotto; behind it,
+      Arnolfo di Lapo, Gaddo Gaddi, Andrea Tafi, Nicola Pisano,
+      Buffalmacco and Simone Memmi; in the corner, Dante.
+      (87-1/2 x 205 in.)                                           R.A.[16]
+
+  "   THE RECONCILIATION OF THE MONTAGUES AND CAPULETS over the dead
+      bodies of Romeo and Juliet. Paris International Exhibition.[17]
+
+1856. THE TRIUMPH OF MUSIC. (80 x 110 in.)                             R.A.
+
+      "Orpheus, by the power of his art, redeems his wife from Hades."
+
+1857. *SALOME, the daughter of Herodias. (44-1/2 x 25 in.)
+
+1858. *THE MERMAID (THE FISHERMAN AND THE SYREN).
+      (From a ballad by Goethe.) (26-1/2 x 18-1/2 in.)                 R.A.
+
+          "Half drew she him,
+          Half sunk he in,
+          And never more was seen."
+
+  "   "COUNT PARIS, accompanied by Friar Lawrence and a band of
+      musicians, comes to the house of the Capulets, to claim his
+      bride: he finds Juliet stretched apparently lifeless on her
+      bed."--_Romeo and Juliet_, act IV., sc. 5. (26-1/2 x 18-1/2 in.) R.A.
+
+  "   REMINISCENCE OF ALGIERS.                                         S.S.
+
+        _These were_,
+
+          [A SUBJECT FROM KEATS'S HYMN TO PAN,] _in the first book of
+          "Endymion," a figure of Pan under a fig-tree, with the
+          inscription_,
+
+                                "_O thou, to whom
+              Broad-leaved fig-trees even now foredoom
+              Their ripen'd fruitage;_"
+
+        _and the other_,
+
+          [A PENDANT TO THE "PAN,"] _the figure of a nude nymph about
+          to bathe, with a little Cupid loosening her sandal._
+
+1859. SUNNY HOURS.                                                     R.A.
+
+  "   *ROMAN LADY (La Nanna).                                          R.A.
+
+  "   *NANNA (Pavonia).                                                R.A.
+
+  "   SAMSON AND DELILAH.                                              S.S.
+
+1860. CAPRI--SUNRISE.                                                  R.A.
+
+1861. *PORTRAIT OF MRS. SUTHERLAND ORR. [Mrs. S. O., a portrait.]
+      (28 x 18 in.)                                                    R.A.
+
+  "   *PORTRAIT OF JOHN HANSON WALKER, ESQ. (23 x 17 in.)
+
+  "   PAOLO E FRANCESCA.                                               R.A.
+
+          "Ma solo un punto fu quel che ci vinse
+          Quando legemmo il disiato riso
+          Esser baciato da cotanto amante,
+          Questi, che mai da me non fia diviso,
+          La bocca mi bacio tutto tremante:
+          Galeotto fu'l libro e chi lo scrisse:
+          Quel giorno piu non vi legemmo avante."
+
+  "   A DREAM.                                                         R.A.
+
+          ... "Not yet--not yet--
+          Still there is trial for thee, still the lot
+          To bear (the Father wills it) strife and care;
+          With this sweet consciousness in balance set
+          Against the world, to soothe thy suffering there
+             Thy Lord rejects thee not.
+          Such tender words awoke me hopeful, shriven
+          To life on earth again from dream of heaven."
+
+  "   LIEDER OHNE WORTE.                                               R.A.
+
+  "   J. A. A STUDY.                                                   R.A.
+
+  "   CAPRI--PAGANOS.                                                  R.A.
+
+1862. ODALISQUE.                                                       R.A.
+
+  "   *THE STAR OF BETHLEHEM. (60 x 23-1/2 in.)                        R.A.
+
+          One of the Magi, from the terrace of his house, stands
+          looking at the star in the East; the lower part of the
+          picture indicates a road, which he may be supposed
+          just to have left.
+
+  "   SISTERS.                                                         R.A.
+
+  "   *MICHAEL ANGELO NURSING HIS DYING SERVANT. (43 x 36 in.)         R.A.
+
+  "   DUETT.                                                           R.A.
+
+  "   SEA ECHOES.                                                      R.A.
+
+  "   RUSTIC MUSIC.
+
+1863. JEZEBEL AND AHAB, having caused Naboth to be put to death,
+      go down to take possession of his vineyard; they are met at
+      the entrance by Elijah the Tishbite:                             R.A.
+
+          "Hast thou killed, and also taken possession?"
+
+  "   *EUCHARIS. (A Girl with a Basket of Fruit.) (32-1/2 x 22 in.)    R.A.
+
+  "   A GIRL FEEDING PEACOCKS.                                         R.A.
+
+  "   AN ITALIAN CROSSBOW-MAN. (15 x 24-1/2 in.)                       R.A.
+
+1864. DANTE AT VERONA.                                                 R.A.
+
+  "   *ORPHEUS AND EURYDICE. (49 x 42 in.)                             R.A.
+
+          "But give them me--the mouth, the eyes,--the brow--
+          Let them once more absorb me! One look now
+          Will lap me round for ever, not to pass
+          Out of its light, though darkness lie beyond!
+          Hold me but safe again within the bond
+          Of one immortal look! All woe that was,
+          Forgotten, and all terror that may be,
+          Defied--no past is mine, no future! look at me!"
+                              ROBERT BROWNING: _A Fragment_.
+
+  "   *GOLDEN HOURS. (36 x 48 in.)                                     R.A.
+
+  "   *PORTRAIT OF THE LATE MISS LAVINIA I'ANSON. (Circular, 12-1/2 in.)
+
+1865. *DAVID. (37 x 47 in.)                                            R.A.
+
+          "Oh that I had wings like a dove! for then would I fly
+          away and be at rest." _Psalm_ lv.
+
+  "   MOTHER AND CHILD.                                                R.A.
+
+  "   WIDOW'S PRAYER.                                                  R.A.
+
+  "   HELEN OF TROY.                                                   R.A.
+
+          "Thus as she spoke, in Helen's breast arose
+          Fond recollections of her former lord,
+          Her home, and parents; o'er her head she threw
+          A snowy veil; and shedding tender tears
+          She issued forth not unaccompanied;
+          For with her went fair Aethra, Pittheus' child.
+          And stag-eyed Clymene, her maidens twain.
+          They quickly at the Scaean gate arrived."
+
+  "   IN ST. MARK'S.                                                   R.A.
+
+1866. PAINTER'S HONEYMOON.                                             R.A.
+
+  "   PORTRAIT OF MRS. JAMES GUTHRIE.                                  R.A.
+
+  "   SYRACUSAN BRIDE LEADING WILD BEASTS IN PROCESSION TO THE
+      TEMPLE OF DIANA.                                                 R.A.
+
+          (Suggested by a passage in the second Idyll of Theocritus.)
+
+          "And for her, then, many other wild beasts were going in
+          procession round about, and among them a lioness."
+
+  "   THE WISE AND FOOLISH VIRGINS. (Fresco in Lyndhurst Church.)
+
+1867. *PASTORAL. (51-1/2 x 26 in.)                                     R.A.
+
+  "   *GREEK GIRL DANCING. (Spanish Dancing Girl: Cadiz in the old
+      times.) (34 x 45 in.)                                            R.A.
+
+  "   KNUCKLE-BONE PLAYER.                                             R.A.
+
+  "   *ROMAN MOTHER. (24 x 19 in.)                                     R.A.
+
+  "   *VENUS DISROBING FOR THE BATH. (79 x 35-1/2 in.)                 R.A.
+
+  "   *PORTRAIT OF MRS. JOHN HANSON WALKER. (18 x 16 in.)
+
+1868. JONATHAN'S TOKEN TO DAVID.                                       R.A.
+
+          "And it came to pass in the morning, that Jonathan went
+          out into the field at the time appointed by David, and
+          a little lad with him."
+
+  "   *PORTRAIT OF MRS. FREDERICK P. COCKERELL. (23-1/2 x 19-1/2 in.)  R.A.
+
+  "   *PORTRAIT OF JOHN MARTINEAU, ESQ. (23-1/2 x 19-1/2 in.)
+
+  "   *ARIADNE ABANDONED BY THESEUS; Ariadne watches for his return;
+      Artemis releases her by death. (45 x 62 in.)                     R.A.
+
+  "   *ACME AND SEPTIMIUS. (Circular, 37-1/2 in.)                      R.A.
+
+          "Then bending gently back her head
+          With that sweet mouth, so rosy red,
+          Upon his eyes she dropped a kiss,
+          Intoxicating him with bliss."
+                              CATULLUS (Theodore Martin's translation).
+
+  "   *ACTAEA, THE NYMPH OF THE SHORE. (22 x 40 in.)                   R.A.
+
+1869. *ST. JEROME. (Diploma work, deposited in the Academy on his
+      election as an Academician.) (72 x 55 in.)                       R.A.
+
+  "   *DAEDALUS AND ICARUS. (53-1/2 x 40-1/2 in.)                      R.A.
+
+  "   *ELECTRA AT THE TOMB OF AGAMEMNON. (59-1/2 x 29 in.)             R.A.
+
+  "   *HELIOS AND RHODOS. (65-1/2 x 42 in.)                            R.A.
+
+1870. A NILE WOMAN. (21-1/2 x 11-1/2 in.)                              R.A.
+
+  "   STUDY.                                                           S.S.
+
+1871. *HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS.
+      (54 x 104-1/2 in.)                                               R.A.
+
+  "   GREEK GIRLS PICKING UP PEBBLES BY THE SHORE OF THE SEA.          R.A.
+
+  "   *CLEOBOULOS INSTRUCTING HIS DAUGHTER CLEOBOULINE.
+      (24 x 37-1/2 in.)                                                R.A.
+
+  "   VIEW OF ASSIOUT(?) (_A sketch._)                                 S.S.
+
+  "   SUNRISE AT LONGSOR. (_A sketch._)                                S.S.
+
+  "   VIEW OF THE RED MOUNTAINS NEAR CAIRO. (_A sketch._)              S.S.
+
+1872. *AFTER VESPERS. (43 x 27-1/2 in.)                                R.A.
+
+  "   *SUMMER MOON. (Guildhall, 1890.) (39-1/2 x 50-1/2 in.)           R.A.
+
+  "   PORTRAIT OF THE RIGHT HON. EDWARD RYAN, Secretary of the
+      Dilettanti Society, for which the picture was painted.
+      (S.P.P., 1893.)                                                  R.A.
+
+  "   A CONDOTTIERE.                                                   R.A.
+
+  "   *THE INDUSTRIAL ARTS OF WAR at the International Exhibition
+      at South Kensington. (Monochrome, 76 x 177 in.)
+
+  "   THE CAPTIVE.                                                     S.S.
+
+  "   AN ARAB CAFE, ALGIERS.                                           S.S.
+
+1873. *WEAVING THE WREATH. (Guildhall, 1895.)                          R.A.
+
+  "   MORETTA. (Guildhall, 1894.) (20-1/2 x 14-1/2 in.)                R.A.
+
+  "   *THE INDUSTRIAL ARTS OF PEACE. (Monochrome, 76 x 177 in.)        R.A.
+
+  "   A ROMAN.                                                         S.S.
+
+  "   VITTORIA.                                                        S.S.
+
+1874. *MOORISH GARDEN: a dream of Granada. (41 x 40 in.)
+      (Guildhall, 1895.)                                               R.A.
+
+  "   OLD DAMASCUS: Jews' Quarter.                                     R.A.
+
+  "   *ANTIQUE JUGGLING GIRL. (Guildhall, 1892.) (41-1/2 x 24 in.)     R.A.
+
+  "   CLYTEMNESTRA from the battlements of Argos watches for the
+      beacon fires which are to announce the return of Agamemnon.      R.A.
+
+  "   ANNARELLA, ANA CAPRI.                                            D.G.
+
+  "   RUBINELLA, CAPRI.                                                D.G.
+
+  "   LEMON TREE, CAPRI.                                               D.G.
+
+  "   WEST COURT OF PALAZZO, VENICE.                                   D.G.
+
+1875. *PORTION OF THE INTERIOR OF THE GRAND MOSQUE OF DAMASCUS.
+      (62 x 47 in.)                                                    R.A.
+
+  "   *PORTRAIT OF MRS. H. E. GORDON (35-1/2 x 37 in.)                 R.A.
+
+  "   *LITTLE FATIMA. (15-1/2 x 9-1/4 in.)                             R.A.
+
+  "   VENETIAN GIRL.                                                   R.A.
+
+  "   *EGYPTIAN SLINGER. (Eastern Slinger Scaring Birds in
+      Harvest-time: Moonrise.) (Guildhall, 1890.)                      R.A.
+
+  "   FLORENTINE YOUTH.                                                S.S.
+
+  "   RUINED MOSQUE IN DAMASCUS.                                       S.S.
+
+1876. *PORTRAIT OF SIR RICHARD FRANCIS BURTON, K.C.M.G. (Portrait
+      of Capt. Richard Burton, H.M. Consul at Trieste). (23-1/2 x
+      19-1/2 in.) (Paris, 1878; Melbourne, 1888; S.P.P., 1892.)        R.A.
+
+  "   *THE DAPHNEPHORIA. (89 x 204 in.)                                R.A.
+
+          A triumphal procession held every ninth year at Thebes,
+          in honour of Apollo and to commemorate a victory of the
+          Thebans over the Aeolians of Arne. (See Proclus,
+          "Chrestomath," p. 11.)
+
+  "   TERESINA.                                                        R.A.
+
+  "   PAOLO.                                                           R.A.
+
+1877. *MUSIC LESSON. (36-1/2 x 37-1/8 in.) (Paris, 1878.)              R.A.
+
+  "   *PORTRAIT OF MISS MABEL MILLS (The Hon. Mrs. Grenfell).
+      (23 x 19 in.)                                                    R.A.
+
+  "   *AN ATHLETE STRANGLING A PYTHON.[18] Bronze. (Paris, 1878.)      R.A.
+
+  "   *PORTRAIT OF H. E. GORDON. (23-1/2 x 19 in.)                     G.G.
+
+  "   AN ITALIAN GIRL.                                                 G.G.
+
+  "   *STUDY. (A little girl with fair hair, in a pink robe.)
+      (24 x 28 in.)                                                    R.A.
+
+  "   A STUDY.                                                         G.G.
+
+1878. *NAUSICAA. (57-1/2 x 25-1/2 in.) (Guildhall, 1896.)              R.A.
+
+  "   SERAFINA.                                                        R.A.
+
+  "   *WINDING THE SKEIN. (39-1/2 x 63-1/2 in.)                        R.A.
+
+  "   A STUDY.                                                         R.A.
+
+  "   *PORTRAIT OF MISS RUTH STEWART HODGSON. (50-1/2 x 35-1/2 in.)    G.G.
+
+  "   STUDY OF A GIRL'S HEAD.                                          G.G.
+
+  "   SIERRA: ELVIZA IN THE DISTANCE, GRANADA.                         S.S.
+
+  "   THE SIERRA ALHAMA, GRANADA.                                      S.S.
+
+1879. BIONDINA.                                                        R.A.
+
+  "   CATARINA.                                                        R.A.
+
+  "   *ELIJAH IN THE WILDERNESS. (91 x 81-1/2 in.) (Paris, 1878.)      R.A.
+
+  "   PORTRAIT OF SIGNOR G. COSTA.                                     R.A.
+
+  "   AMARILLA.                                                        R.A.
+
+  "   A STUDY.                                                         R.A.
+
+  "   PORTRAIT OF THE COUNTESS BROWNLOW.                               R.A.
+
+  "   *NERUCCIA. (19 x 16 in.)                                         R.A.
+
+  "   A STUDY.                                                         S.S.
+
+  "   THE CARRACA HILLS.                                               S.S.
+
+  "   A STREET IN LERICI.                                              S.S.
+
+  "   VIA BIANCA, CAPRI.                                               G.G.
+
+  "   ARCHWAY IN ALGIERS.                                              G.G.
+
+  "   RUINS OF A MOSQUE, DAMASCUS.                                     G.G.
+
+  "   STUDY OF A DONKEY.                                               G.G.
+
+  "   ON THE TERRACE, CAPRI.                                           G.G.
+
+  "   SKETCH NEAR DAMASCUS.                                            G.G.
+
+  "   VIEW IN GRANADA.                                                 G.G.
+
+  "   STUDY OF A DONKEY, EGYPT.                                        G.G.
+
+  "   STUDY OF A HEAD.                                                 G.G.
+
+  "   NICANDRA.                                                        G.G.
+
+1880. *SISTER'S KISS. (48 x 21-1/2 in.)                                R.A.
+
+  "   *IOSTEPHANE. (37 x 19 in.)                                       R.A.
+
+  "   THE LIGHT OF THE HAREM. (60 x 33 in.)                            R.A.
+
+  "   PSAMATHE. (36 x 24 in.)                                          R.A.
+
+  "   *THE NYMPH OF THE DARGLE (Crenaia). (29-1/2 x 10 in.)            R.A.
+
+  "   RUBINELLA.                                                       G.G.
+
+  "   THE POZZO CORNER, VENICE.           Winter Exhibition.           G.G.
+
+  "   JACK AND HIS CIDER CAN.               "        "                 G.G.
+
+  "   THE PAINTER'S HONEYMOON.              "        "                 G.G.
+
+  "   WINDING OF THE SKEIN (with sketch).   "        "                 G.G.
+
+  "   HEAD OF URBINO.                       "        "                 G.G.
+
+  "   STEPS OF THE BARGELLO, FLORENCE.      "        "                 G.G.
+
+  "   A CONTRAST.                           "        "                 G.G.
+
+  "   GARDEN AT CAPRI.                      "        "                 G.G.
+
+  "   TWENTY-NINE STUDIES OF HEADS,
+      FLOWERS, AND DRAPERIES.               "        "                 G.G.
+
+1881. ELISHA RAISING THE SON OF THE SHUNAMITE. (32 x 54 in.)
+      (Guildhall, 1895.)                                               R.A.
+
+  "   PORTRAIT OF THE PAINTER.[19]                                     R.A.
+
+  "   *IDYLL. (41-1/2 x 84 in.)                                        R.A.
+
+  "   *PORTRAIT OF MRS. STEPHEN RALLI. (48 x 33 in.)                   R.A.
+
+  "   *WHISPERS. (48 x 30 in.)                                         R.A.
+
+  "   VIOLA.                                                           R.A.
+
+  "   *BIANCA. (18 x 12-1/2 in.)                                       R.A.
+
+  "   PORTRAIT OF MRS. ALGERNON SARTORIS.                              G.G.
+
+1882. *DAY-DREAMS. (47-1/2 x 35-1/2 in.)                               R.A.
+
+  "   WEDDED.                                                          R.A.
+
+  "   PHRYNE AT ELEUSIS. (86 x 48 in.) (Melbourne, 1888.)              R.A.
+
+  "   ANTIGONE.                                                        R.A.
+
+  "   "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."
+      _Rev._ xx. 13. (Design for a portion of a decoration in
+      St. Paul's.)                                                     R.A.
+
+  "   MELITTION.                                                       R.A.
+
+  "   *PORTRAIT OF MRS. MOCATTA. (23-1/2 x 19-1/2 in.)
+
+  "   ZEYRA.                                                           G.G.
+
+1883. THE DANCE: decorative frieze for a drawing-room in a
+      private house.                                                   R.A.
+
+  "   *VESTAL. (24-1/2 x 17 in.)                                       R.A.
+
+  "   *KITTENS. (48 x 31-1/2 in.)                                      R.A.
+
+  "   MEMORIES.                                                        R.A.
+
+  "   *PORTRAIT OF MISS NINA JOACHIM. (16 x 13 in.)
+
+1884. *LETTY. (18 x 15-1/2 in.)                                        R.A.
+
+  "   *CYMON AND IPHIGENIA. (64 x 129 in.)                             R.A.
+
+  "   A NAP.                                                           R.A.
+
+  "   SUN GLEAMS.                                                      R.A.
+
+1885. "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT."
+      (46 x 27 in.)                                                    R.A.
+
+  "   PORTRAIT OF THE LADY SYBIL PRIMROSE.                             R.A.
+
+  "   *PORTRAIT OF MRS. A. HICHENS. (26-1/2 x 20-1/2 in.)              R.A.
+
+  "   MUSIC: a frieze.                                                 R.A.
+
+  "   PHOEBE. (Manchester, 1887.)                                      R.A.
+
+  "   A STUDY.                                                         G.G.
+
+  "   TOMBS OF MUSLIM SAINTS.                                          S.S.
+
+  "   MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS.                      S.S.
+
+1886. PAINTED DECORATION FOR THE CEILING OF A MUSIC-ROOM.[20]
+      (7 ft. x 20 ft.)                                                 R.A.
+
+  "   GULNIHAL.                                                        R.A.
+
+  "   *THE SLUGGARD. Statue, bronze.                                   R.A.
+
+  "   *NEEDLESS ALARMS. Statuette.                                     R.A.
+
+1887. *THE JEALOUSY OF SIMAETHA, THE SORCERESS. (35-1/2 x 55-1/2 in.)  R.A.
+
+  "   *THE LAST WATCH OF HERO. (62-1/2 x 35-1/2 in., with predella
+      12-1/2 x 29-1/2 in.)                                             R.A.
+
+          "With aching heart she scanned the sea-face dim.
+          .    .    .    .    .    .    .    .    .    .
+          Lo! at the turret's foot his body lay,
+          Rolled on the stones, and washed with breaking spray."
+
+              _Hero and Leander: Musaeus_ (translated by Edwin Arnold).
+
+  "   [Picture of A LITTLE GIRL WITH GOLDEN HAIR AND PALE BLUE EYES.]
+
+            "Yellow and pale as ripened corn
+            Which Autumn's kiss frees--grain from sheath--
+            Such was her hair, while her eyes beneath,
+          Showed Spring's faint violets freshly born."
+                              ROBERT BROWNING.
+
+  "   *Design for the reverse of THE JUBILEE MEDALLION. (_Executed
+      for Her Majesty's Government._)                                  R.A.
+
+          _Empire, enthroned in the centre, rests her right hand on
+          the sword of Justice, and holds in her left the symbol of
+          victorious rule. At her feet, on one side, Commerce
+          proffers wealth, on the other a winged figure holds
+          emblems of Electricity and Steam-power. Flanking the
+          throne to the right of the spectator are Agriculture and
+          Industry--on the opposite side, Science, Literature, and
+          the Arts. Above, interlocking wreaths, held by winged
+          genii representing respectively the years 1837 and 1887,
+          inclose the initials,_ V.R.I.
+
+1888. *CAPTIVE ANDROMACHE. (77 x 160 in.)                              R.A.
+
+                                    ".... Some standing by,
+           Marking thy tears fall, shall say, 'This is she,
+           The wife of that same Hector that fought best
+           Of all the Trojans, when all fought for Troy.'"
+                          _Iliad_, VI. (E. B. Browning's translation.)
+
+  "   *PORTRAIT OF AMY, LADY COLERIDGE. (42 x 39-1/2 in.)
+      (S.P.P., 1891.)                                                  R.A.
+
+  "   *PORTRAITS OF THE MISSES STEWART HODGSON. (47 x 39-1/2 in.)
+
+  "   FOUR STUDIES.                                                  R.W.S.
+
+  "   FIVE STUDIES.                                                    S.S.
+
+1889. *SIBYL. (59 x 34 in.)                                            R.A.
+
+  "   *INVOCATION. (54 x 33-1/2 in.)                                   R.A.
+
+  "   ELEGY.                                                           R.A.
+
+  "   GREEK GIRLS PLAYING AT BALL. (45 x 78 in.)                       R.A.
+
+  "   *PORTRAIT OF MRS. FRANCIS A. LUCAS. (23-1/2 x 19-1/2 in.)        R.A.
+
+1890. SOLITUDE.                                                        R.A.
+
+  "   *THE BATH OF PSYCHE.[21] (75 x 24-1/2 in.)                       R.A.
+
+  "   *TRAGIC POETESS. (63 x 34 in.)                                   R.A.
+
+  "   *THE ARAB HALL. (33 x 16 in.) (Guildhall, 1890.)                 R.A.
+
+1891. *PERSEUS AND ANDROMEDA. (91-1/2 x 50 in.)                        R.A.
+
+  "   *PORTRAIT OF A. B. FREEMAN-MITFORD, ESQ., C.B.
+      (46-1/2 x 38-1/2 in.)                                            R.A.
+
+  "   *RETURN OF PERSEPHONE. (79 x 59-1/2 in.)                         R.A.
+
+  "   ATHLETE STRUGGLING WITH A PYTHON--group, marble.                 R.A.
+
+1892. *"AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."
+      (Circular, 93 in.)                                               R.A.
+
+  "   AT THE FOUNTAIN. (49 x 37 in.)                                   R.A.
+
+  "   *THE GARDEN OF THE HESPERIDES. (Circular, 66 in.)
+      (Chicago, 1893; Guildhall, 1895.)                                R.A.
+
+  "   BACCHANTE.                                                       R.A.
+
+  "   *CLYTIE. (32-1/2 x 53-1/2 in.)                                   R.A.
+
+  "   PHRYNE AT THE BATH. (24 x 12 in.)                                S.S.
+
+  "   MALIN HEAD, DONEGAL.                                             S.S.
+
+  "   ST. MARK'S, VENICE.                                              S.S.
+
+  "   INTERIOR OF ST. MARK'S, VENICE.                                  S.S.
+
+  "   THE DOORWAY, NORTH AISLE, VENICE.                                S.S.
+
+  "   RIZPAH (the small study in oils). (7 x 7 in.)                    S.S.
+
+1893. *FAREWELL! (63 x 26-1/2 in.)                                     R.A.
+
+  "   *HIT! (29 x 22 in.)                                              R.A.
+
+  "   *ATALANTA. (26-1/2 x 19 in.)                                     R.A.
+
+  "   RIZPAH. (36 x 52 in.)                                            R.A.
+
+  "   *CORINNA OF TANAGRA. (47-1/2 x 21 in.)                           R.A.
+
+  "   THE FRIGIDARIUM.                                                 R.A.
+
+1894. *THE SPIRIT OF THE SUMMIT. (77-1/2 x 39-1/2 in.)                 R.A.
+
+  "   *THE BRACELET. (59-1/2 x 23 in.)                                 R.A.
+
+  "   *FATIDICA. (59-1/2 x 23 in.)                                     R.A.
+
+  "   *SUMMER SLUMBER. (45-1/2 x 62 in.)                               R.A.
+
+  "   AT THE WINDOW.                                                   R.A.
+
+  "   WIDE WONDERING EYES. (20 x 15-1/2 in.)                    Manchester.
+
+  "   THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE.               S.S.
+
+  "   THE ACROPOLIS OF LINDOS.                                         S.S.
+
+  "   FIUME MORTO, GOMBO, PISA.                                        S.S.
+
+  "   GIBRALTAR FROM SAN ROCQUE.                                       S.S.
+
+1895. LACHRYMAE. (60 x 24 in.)                                         R.A.
+
+  "   THE MAID WITH THE YELLOW HAIR.                                   R.A.
+
+  "   *"'TWIXT HOPE AND FEAR." (43-1/2 x 38-1/2 in.)                   R.A.
+
+  "   *FLAMING JUNE. (46 x 46 in.)                                     R.A.
+
+  "   LISTENER.                                                        R.A.
+
+  "   A STUDY.                                                         R.A.
+
+  "   PHOENICIANS BARTERING WITH BRITONS.                   Royal Exchange.
+
+  "   BOY WITH POMEGRANATE.                                Grafton Gallery.
+
+  "   MISS DENE.
+
+  "   AQUA CERTOSA, ROME.                                              S.S.
+
+  "   CHAIN OF HILLS SEEN FROM RONDA.                                  S.S.
+
+  "   ROCKS, MALIN HEAD, DONEGAL.                                      S.S.
+
+  "   TLEMCEN, ALGERIA.                                                S.S.
+
+1896. *CLYTIE. (61-1/2 x 53-1/2 in.)                                   R.A.
+
+  "   CANDIDA. (21 x 41-1/2 in.)                             Antwerp, 1896.
+
+  "   *THE VESTAL. (27 x 20-1/2 in.) Unfinished.
+
+  "   *A BACCHANTE. (26-1/2 x 21 in.)
+
+  "   *THE FAIR PERSIAN. (25-1/2 x 19-1/2 in.) Unfinished.
+
+
+[Illustration: "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT"
+(1885)]
+
+
+[Illustration: DESIGN FOR THE REVERSE OF THE JUBILEE MEDALLION (1887)]
+
+
+
+
+APPENDIX II
+
+
+The studies in oil, chiefly landscape, of quite small size, few of which
+had been exhibited, were sold, with the remaining works of the artist,
+by Messrs. Christie, Manson and Woods on July 11th, 13th, and 14th,
+1896, when the prices realized, from 50 to 100 guineas each for the
+best, were in excess of those the most sympathetic admirer of Lord
+Leighton's singular power as a landscape-painter had dared to expect.
+For convenience of future reference, the list of these as they appear in
+the sale catalogue may be worth the space it occupies; the numbers
+denote the "lot."
+
+   1. {HEAD OF A GIRL.
+      {HEAD OF A BOY.
+   2. A STUDY OF HOUSES, VENICE.
+   3. THE COAST OF ASIA MINOR, FROM RHODES.
+   4. A STREET SCENE.
+   5. HOUSES AT CAPRI.
+   6. THE COAST OF ASIA MINOR, FROM RHODES.
+   7. A GARDEN SCENE.
+   8. A FORTRESS, EGYPT.
+   9. TOMBS OF MUSLIM SAINTS AT ASSOUAN, FIRST CATARACT. R.S.B.A., 1895.
+  10. A BAY, ASIA MINOR, FROM RHODES.
+  11. THE BAY OF LINDOS.
+  12. IN THE CAMPAGNA, ITALY.
+  13. A TOWN, CAPRI.
+  14. MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS. R.S.B.A., 1895.
+  15. A VIEW IN THE CAMPAGNA.
+  16. A COVERED STREET IN ALGIERS.
+  17. A DOORWAY, ALGIERS.
+  18. HEAD OF A GIRL.
+  19. HEAD OF A MAN.
+  20. HEAD OF A GIRL.
+  21. HEAD OF A GIRL.
+  22. STREET IN ALGIERS.
+  23. ST. MARK'S, VENICE. R.S.B.A., 1892.
+  24. INTERIOR OF ST. MARK'S, VENICE. R.S.B.A., 1892.
+  25. THE DOORWAY, NORTH AISLE, ST. MARK'S, VENICE. R.S.B.A., 1892.
+  26. A BAY SCENE, ISLE OF RHODES.
+  27. A VIEW ON THE COAST, LINDOS.
+  28. DENDERAH.
+  29. THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE. R.S.B.A., 1894.
+  30. A STUDY IN THE CAMPAGNA.
+  31. AQUA CERTOSA, ROME.
+  32. A VIEW OF THE TOWN OF LINDOS.
+  33. THE ACROPOLIS OF LINDOS, where stood the Temple of Athena Pallas.
+      R.S.B.A., 1894.
+  34. A STUDY IN THE CAMPAGNA, WITH MONTE SORACTE.
+  35. STUDY OF A MAN'S HEAD.
+  36. AN ARAB'S HEAD.
+  37. A SHEIK.
+  38. AN ARAB.
+  39. HEAD OF AN OLD LADY.
+  40. A TURKISH BOATMAN.
+  41. FIUME MORTO, GOMBO, PISA. R.S.B.A., 1894.
+  42. THE CITADEL, CAIRO.
+  43. A VIEW IN DAMASCUS.
+  44. A VIEW IN CAPRI.
+  45. BOCCA D'ARNO.
+  46. THE CITY OF TOMBS, ASSIOUT, EGYPT. R.S.B.A. [1871?].
+  47. BUILDINGS, SIOUT, EGYPT.
+  48. A MOUNTAINOUS LANDSCAPE, SPAIN.
+  49. A STREET SCENE, CAPRI.
+  50. A COAST SCENE, ISLE OF WIGHT.
+  51. BARREN LAND.
+  52. A TOWN IN SPAIN.
+  53. BOSCO SACRO, CAMPAGNA.
+  54. VILLA MALTA, ROME.
+  55. THE ROCKS OF THE SIRENS, CAPRI.
+  56. A VIEW IN SPAIN.
+  57. A VALLEY, SPAIN.
+  58. ON THE COAST, ISLE OF WIGHT.
+  59. GARDEN AT GENERALIFE, GRANADA.
+  60. THE BATHS AT CARACALLA.
+  61. A HOUSE, CAPRI.
+  62. IN ST. MARK'S, VENICE.
+  63. THE STAIRCASE OF A HOUSE, CAPRI.
+  64. THE GARDEN OF A HOUSE, CAPRI.
+  65. STUDY OF A MALE FIGURE CARRYING A PITCHER.
+  66. HEAD OF A GIRL.
+  67. THE COAST OF ASIA MINOR, FROM RHODES.
+  68. CHAIN OF HILLS SEEN FROM RONDA. R.S.B.A., 1893.
+  69. THE COAST OF ASIA MINOR. (Study for the background of _Perseus_.)
+  70. A POOL, FINDHORN RIVER, N.B. (Study for the background of
+      _Solitude_.)
+  71. A LANE. (Study of rocks for _Solitude_.)
+  72. A WOMAN SEATED, IN A LANDSCAPE. (Study for _Simaetha the Sorceress_.)
+  73. TAORMINA, SICILY. (Sketch for background of _Wedded_.)
+  74. A POOL ON THE FINDHORN RIVER, FORRES, N.B. (Study for the background
+      of _Solitude_.)
+  75. TAORMINA, SICILY. (Study for the background of _Wedded_.)
+  76. INTERIOR OF A HOUSE AT LINDOS. (Study for the picture of
+      _Cleoboulos_.)
+  77. STUDY OF A WOMAN'S HEAD. Capri, moonlight. (Study for the effect in
+      _Clytemnestra_.)
+  78. BUILDINGS, CAPRI, MOONLIGHT. (A study for the same.)
+  79. AN ALLEGORICAL DESIGN FOR A MURAL DECORATION.
+  80. HEAD OF A LADY AND GENTLEMAN OF THE FIFTEENTH CENTURY.
+      (16 x 14-1/4 in.) (Painted in 1853.)
+  81. HEAD OF A LADY. White on brown ground.
+  82. A STUDY FROM VELASQUEZ.
+
+[83 to 117 _were larger works, mainly studies for completed pictures or
+the pictures themselves_.]
+
+       {A LANDSCAPE.
+  118. {STUDY OF SKY AT MALINMORE.
+       {STUDY.
+  119. A ROCKY COAST, MALINMORE, DONEGAL.
+  120. A MOUNTAINOUS LANDSCAPE.
+  121. A VIEW IN SCOTLAND.
+  122. A LANDSCAPE, ITALY.
+  123. FISHING BOATS ON THE COAST, CAPRI.
+  124. A VILLAGE ON A HILL, CAPRI.
+  125. A SCENE IN THE DESERT.
+  126. THE COAST OF GREECE.
+  127. HEAD OF A MAN.
+  128. A SCOTCH LAKE.
+  129. NEAR KYNANCE COVE.
+  130. CARRARA MOUNTAINS.
+  131. A VIEW IN ALGIERS.
+  132. TLEMCEN, ALGERIA. R.S.B.A., 1895.
+  133. THE DAMASCUS GATE, JERUSALEM.
+  134. THE ERICTHEUM (_sic_).
+  135. A STREET IN LERICI, near where Shelley was drowned.
+  136. {STUDY OF TREES.
+       {A LANDSCAPE.
+  137. {HEAD OF A GONDOLIER.
+       {IRISH PEASANT GIRL.
+  138. HEAD OF AN ITALIAN PEASANT.
+  139. {A COMMON.
+       {LANDSCAPE, WITH COTTAGES.
+  140. A ROCKY COAST, KYNANCE.
+  141. GRANITE BOULDERS, FORRES, N.B.
+  142. A SUNNY CORNFIELD.
+  143. A COURTYARD, TANGIERS.
+  144. A COURTYARD, TANGIERS.
+  145. A SKETCH OF ALBANO.
+  146. A COAST SCENE, IRELAND.
+  147. A SCOTCH SCENE.
+  148. A STUDY OF ROCKS.
+  149. THE STEEPLE ROCK, KYNANCE COVE.
+  150. A SANDY BAY, IRELAND.
+  151. KYNANCE COVE.
+  152. HOLY ISLAND. Bamborough in the distance.
+  153. A COAST SCENE, ISCHIA.
+  154. GLEN COLUMBKILL, IRELAND.
+  155. A MOORISH ARCHWAY, TANGIERS.
+  156. PERUGIA.
+  157. A ROCKY COAST, MALINMORE.
+  158. MALIN HEAD, DONEGAL. R.S.B.A., 1894.
+  159. GIBRALTAR, FROM SAN ROCQUE. R.S.B.A., 1895.
+  160. A BAY SCENE, SPAIN.
+  161. A SKETCH IN BEDFORDSHIRE.
+  162. A LANDSCAPE, RONDA.
+  163. A SPANISH TOWN.
+  164. THE BATHS OF CARACALLA.
+  165. THE STREET OF THE KNIGHTS, RHODES.
+  166. THE COAST OF ASIA MINOR, SEEN FROM RHODES.
+  167. LONGSOR.
+  168. A MOUNTAIN SCENE, WITH TEMPLE AND FIGURE, EGYPT.
+  169. A STUDY ON THE COAST OF IRELAND.
+  170. A RIVER SCENE, SCOTLAND.
+  171. MICKLEOUR, SCOTLAND.
+  172. A SEA PIECE.
+  173. THE COAST OF ASIA MINOR.
+  174. {ON THE NILE.
+       {A VIEW IN SPAIN.
+  175. {A TEMPLE ON THE NILE.
+       {SPANISH VIEW.
+  176. MALINMORE, DONEGAL.
+  177. THE BAY OF CADIZ, MOONLIGHT, AND PALAZZO REZZONICO.
+  178. A VIEW OF ATHENS.
+  179. {SCOTCH MOUNTAINS: SUNSET.
+       {A COAST SCENE, RHODES.
+  180. VITTORIA. R.S.B.A., 1873.
+  181. {A CLASSICAL HEAD. (Monochrome.)
+       {HEAD OF A MAN.
+  182. A STUDY OF PINE TREES.
+  183. A VILLAGE ON A HILL.
+  184. A RUINED MOSQUE AT BROUSSA.
+  185. A WOODY BANK.
+  186. RUINS OF A MOORISH ARCH, SPAIN.
+  187. A VIEW IN ITALY, WITH A CORNFIELD.
+  188. (This number is omitted in the sale catalogue.)
+  189. MIMBAR OF THE GREAT MOSQUE AT DAMASCUS.
+  190. {ROCKS, CAPRI.
+       {A FORTRESS, SPAIN.
+  191. {LANDSCAPE, SCOTLAND.
+       {LANDSCAPE, SCOTLAND.
+  192. THE RED MOUNTAINS, DESERT, EGYPT.
+  193. SKETCH NEAR CAIRO.
+  194. A FOUNTAIN IN THE COURT-YARD OF A JEW'S HOUSE, SPAIN.
+  195. A HOUSE IN TANGIERS. Mansion House, 1882.
+  196. A STREET SCENE, CAIRO.
+  197. A MOORISH STREET.
+  198. A STUDY OF ROCKS, SCOTLAND.
+  199. THE GARDEN OF THE HOUSE OF THE MAN WHO BUILT THE ALHAMBRA.
+  200. A SPANISH DONKEY.
+  201. A DONKEY AND ARAB DRIVER.
+  202. MENA DONKEY.
+  203. A STUDY OF HILLS.
+  204. THE TEMPLE OF PHYLAE.
+  205. DAMASCUS: NIGHT.
+  206. A MOUNTAINOUS LANDSCAPE, WITH A CAVERN.
+  207. A WOOD SCENE.
+  208. HEAD OF AN ITALIAN GIRL.
+  209. THE DUNGEONS OF A CASTLE.
+  210. A CASTLE KEEP.
+  211. ENTRANCE TO A HOUSE, CAPRI.
+  212. A COAST SCENE, IRELAND: STORM EFFORT (_sic_).
+  213. LONGSOR.
+  214. THE NILE AT THEBES.
+  215. A VIEW ON THE CAMPAGNA.
+  216. A MOUNTAINOUS LANDSCAPE, SCOTLAND.
+  217. CAPRI BY NIGHT.
+  218. A FORTRESS ON THE CAMPAGNA.
+  219. A LANDSCAPE, WITH SAND HILLS.
+  220. A WOOD SCENE.
+  221. NEAR DENDERAH.
+  222. A LANDSCAPE.
+  223. ATHENS, WITH THE GENOESE TOWER, PNYX IN THE FOREGROUND.
+  224. A LANDSCAPE, CAIRO.
+  225. ON THE NILE.
+  226. PASTURE, EGYPT.
+  227. RED MOUNTAINS DESERT, EGYPT.
+  228. AN EGYPTIAN VILLAGE.
+  229. THE ISLAND OF AEGINA.
+  230. THEBES.
+  231. THE COAST OF AEGINA, PNYX IN THE FOREGROUND.
+  232. BUILDINGS ON THE COAST, ISLAND OF RHODES.
+  233. ASSOUAN, EGYPT.
+  234. A VINEYARD, CAPRI.
+  235. THE TEMPLE OF PHYLAE, LOOKING UP THE NILE.
+  236. THE NILE AT ESUEH.
+  237. THE CATHEDRAL, CAPRI.
+  238. A SQUARE IN CADIZ.
+  239. ON THE NILE.
+  240. IN THE NILE VALLEY.
+  241. A VIEW ACROSS THE NILE.
+  242. A WOODY HILL SIDE.
+  243. ROCKS OF THE SIRENS CAPRI.
+  244. A FARM.
+
+
+There were also copies made by Leighton himself of _Peace and War_ after
+Rubens, the _Massacre of the Innocents_, after Bonifazio, _A Martyrdom_,
+and the _Last Supper_, after Veronese.
+
+The huge collection of studies, mainly in chalk upon brown paper, made
+by Lord Leighton, were nearly all preserved; two hundred and forty of
+these were exhibited by the Fine Art Society, who bought the whole
+collection, and afterwards published a volume containing forty
+reproduced in facsimile.
+
+
+[Illustration: FOUNTAIN IN COURT AT DAMASCUS]
+
+
+[Illustration: THE ISLAND OF AEGINA: PNYX IN FOREGROUND]
+
+
+[Illustration: RED MOUNTAINS DESERT, CAIRO]
+
+
+[Illustration: RUINED MOSQUE, BROUSSA]
+
+
+[Illustration: CITY OF TOMBS, ASSIOUT, EGYPT]
+
+
+[Illustration: ATHENS WITH THE GENOESE TOWER: PNYX IN FOREGROUND]
+
+
+[Illustration: COAST OF ASIA MINOR SEEN FROM RHODES]
+
+
+
+
+INDEX.
+
+_Titles of Pictures are printed in italics._
+
+
+  _Abram and the Angel_, 69.
+
+  _Acme and Septimius_, 25.
+
+  _Actaea_, 26, 111.
+
+  _Aegina, The Island of_, illus., 132.
+
+  _After Vespers_, 31.
+
+  Aitchison, George, R.A., 88.
+
+  Allingham, William, 106.
+
+  Alma-Tadema, Sir L., 37, 48, 91.
+
+  _Amarilla_, 39.
+
+  _And the Sea gave up its Dead_, 49, 66;
+    illus., 50.
+
+  _Andromeda_ (study in clay), 68;
+    illus., 68.
+
+  _Antigone_, 43.
+
+  _Antique Juggling Girl_, 33;
+    illus., 32.
+
+  Arab Hall, The, 29, 49, 88, 94, 96-100;
+    illus., 96.
+
+  _Ariadne abandoned by Theseus_, 25.
+
+  Arnold, Sir Edwin, translation of Musaeus, 47.
+
+  Art and Morals, Leighton on, 74.
+
+  "Art Journal," criticisms of the, 108, _et seq._
+
+  Artistic Production in relation to Time and Place, Leighton on, 75.
+
+  _Arts of Peace, The_, 32, 42, 63, 64;
+    illus., 64.
+
+  _Arts of War, The_, 32, 63;
+    illus., 64.
+
+  _Asia Minor, The Coast of_, illus., 136.
+
+  Assyria, the Art of, Leighton on, 76.
+
+  _At the Fountain_, 50.
+
+  _At the Window_, 51.
+
+  _Atalanta_, 50, 59.
+
+  "Athenaeum," criticisms of the, 32, 105, _et seq._
+
+  _Athens, with the Genoese Tower_, illus., 136.
+
+  _Athlete struggling with a Python_, 36, 67, 68, 126;
+    illus., 36, 49;
+    (marble version), 68.
+
+
+  _Bacchante_ (1892), 50, (1896) 51;
+    illus., 54.
+
+  _Bath of Psyche, The_, 48, 59, 129;
+    illus., 48.
+
+  Bezzuoli, 5.
+
+  _Bianca_, 43.
+
+  "Bible Gallery," Dalziel's, 23, 69, 70.
+
+  _Biondina_, 39.
+
+  Black and white, Leighton's work in, 69, 70.
+
+  Boccaccio, Leighton inspired by, 8, 45.
+
+  Book illustration, 69, 70.
+
+  Bookplate, Leighton's, illus., 120.
+
+  Bouguereau, Leighton and, 10.
+
+  _Bracelet, The_, 51;
+    illus., 52.
+
+  Bronzes, 36, 46, 67, 68.
+
+  _Broussa, Ruined Mosque at_, illus., 134.
+
+  _Brownlow, Countess of_, 39.
+
+  Browning, E. B., 47;
+    medallion of a monument to, 67;
+    illustration by Leighton to her "Great God Pan," 69.
+
+  Browning, Robert, 10;
+    subjects from, 22, 47;
+    on _Hercules wrestling with Death_, 30.
+
+  Brussels, Leighton at, 6, 7.
+
+  Burne-Jones, Sir E., 17, 91.
+
+  _Burton, Capt. Richard_, 35, 90;
+    illus., 36.
+
+  _Byzantine Well-head, A_, 18, 62;
+    illus., 18.
+
+
+  _Cain and Abel_, illus., 70.
+
+  _Cairo, Red Mountains Desert_, illus., 136.
+
+  _Capri--Paganos_, 19.
+
+  _Capri at Sunrise_, 18, 108.
+
+  Capri, Leighton at, 18, 61.
+
+  _Captive Andromache_, 47, 58;
+    _Studies_ for, illus., 56.
+
+  Carr, Mr. Comyns, on Leighton, 114.
+
+  _Catarina_, 39.
+
+  Ceiling, design for a, 46, 67, 128;
+    illus., 62.
+
+  Chesneau, Ernest, on English Art, 14.
+
+  Cimabue, influence of, 9.
+
+  _Cimabue_ (mosaic figure), 67.
+
+  _Cimabue finding Giotto_, 7.
+
+  _Cimabue's Madonna_, 3, 8, 9, 11, 23, 34, 47;
+    criticisms of, 103-107, 108;
+    illus., 10.
+
+  _City of Tombs, Assiout_, illus., 134.
+
+  _Cleoboulos instructing his daughter Cleobouline_, 30.
+
+  _Clytemnestra_, 32.
+
+  _Clytie_ (1892), 50, 59.
+
+  _Clytie_ (his last picture), 51, 52.
+
+  Cockerell, S. Pepys, on Leighton's drawings, 62.
+
+  _Cockerell, Mrs. Frederick P._, 25.
+
+  _Coleridge, Lady_, 48.
+
+  Cologne Cathedral, Leighton on, 86.
+
+  Colour: Leighton's mode of procedure, 55-58.
+
+  _Condottiere, A_, 31;
+    illus., 32.
+
+  _Contrast, A_, 70;
+    illus., 72.
+
+  _Corinna of Tanagra_, 50.
+
+  Cornelius, 9, 10.
+
+  "Cornhill Gallery, The," 69.
+
+  Correggio, Leighton and, 10, 18.
+
+  _Costa, Signor_, 39;
+    illus., 40.
+
+  _Count Paris_, 16, 107, 122.
+
+  Cousin, Jean, 84.
+
+  _Crenaia_, 42.
+
+  _Cross-bow Man, A_, 20.
+
+  _Cupid with Doves_, 66;
+    illus., 66.
+
+  _Cymon_ (clay model), 68;
+    illus., 68.
+
+  _Cymon and Iphigenia_, 42, 44, 45, 68;
+    photogravure, 44.
+
+
+  _Daedalus and Icarus_, 26;
+    illus., 26.
+
+  Dalou and _The Athlete_, 68.
+
+  Dalziel's "Bible Gallery," 23, 69, 70;
+    illus., 70.
+
+  _Damascus, Grand Mosque at_, 29, 33, 111;
+    illus., 28.
+
+  Damascus, sketches of, 28, 29, 33, 111;
+    illus., 28, 132.
+
+  _Dance, The_, 44, 67;
+    illus., 44.
+
+  Dante, Leighton on, 81.
+
+  _Dante at Verona_, 21, 109.
+
+  _Daphnephoria_, 24, 34, 35, 47, 111;
+    clay models for, 68;
+    illus., 34;
+    _Study for_ (illus.), 34.
+
+  Darmstadt, Leighton at, 8.
+
+  _David_, 23, 110;
+    illus., 24.
+
+  _Day Dreams_, 43;
+    illus., 42.
+
+  _Death of the First Born_, 69.
+
+  Decorative work, Leighton's, 63-67.
+
+  _Departure for the War, The_, 67.
+
+  Discourses on Art, Leighton's, 71-87.
+
+  Drapery, Leighton's treatment of, 48, 55-58.
+
+  _Dream, A_, 19, 109.
+
+  _Duett_, 20.
+
+  Duerer, Albert, Leighton on, 86.
+
+
+  Eastlake, Sir Charles, 10-12.
+
+  Egypt, Leighton's visit to, 28;
+    on the Art of, 75.
+
+  _Egyptian Slinger_, 29, 33, 112;
+    illus., 112.
+
+  _Electra at the Tomb of Agamemnon_, 26;
+    illus., 26.
+
+  _Elegy_, 48.
+
+  _Eliezer and Rebekah_, 69.
+
+  _Elijah in the Wilderness_, 39;
+    _Study for_, illus., 38.
+
+  _Elisha and the Shunamite's Son_, illus., 114.
+
+  English Art, Leighton on, 73.
+
+  Etruscan Art, Leighton on, 76, 77.
+
+  _Eucharis_, 20.
+
+
+  _Fair Persian, The_, 51.
+
+  _Farewell_, 50;
+    illus., 50.
+
+  _Fatidica_, 51;
+    illus., 52.
+
+  _Fisherman and Syren, The_, 16, 107.
+
+  _Flaming June_, 51.
+
+  Fleury, Robert, 10, 15.
+
+  _Florence, The Plague at_, 8, 90;
+    illus., 8.
+
+  Florence, Leighton at, 5, 6.
+
+  _Fountain, At the_, 50.
+
+  _Fountain in Court at Damascus_, illus., 132.
+
+  France, Evolution of Art in, Leighton on, 83.
+
+  Frankfort, Leighton at, 6-8.
+
+  Frescoes, 32, 63-66;
+    illus., 64-66.
+
+  Friezes, 44, 46, 67;
+    illus., 44.
+
+  _Frigidarium, The_, 50;
+    illus., 50.
+
+
+  Gamba, Signor, 8.
+
+  _Garden of the Hesperides, The_, 49.
+
+  Generalife, Study of a Garden at, 33;
+    illus., 28.
+
+  German Architecture, Leighton on, 85-86.
+
+  Gerome, 10.
+
+  Gibson, the sculptor, 11.
+
+  Gilbert, Alfred, 88.
+
+  Giotto, 9.
+
+  Girl, A little (1887), 47.
+
+  ---- in Eastern garb (1877), 37.
+
+  _Girl Feeding Peacocks, A_, 20, 109.
+
+  _Girl with a Basket of Fruit_, 109.
+
+  _Girls' Heads, Studies of_, 38, 51;
+    illus., 74, 76, 78, 80.
+
+  Goethe: subject from, 16;
+    on Gothic architecture, 84.
+
+  _Golden Hours_, 21, 22;
+    illus., 21.
+
+  _Gordon, H. E._, 37.
+
+  Gothic architecture, Leighton on, 84.
+
+  Greek Art, Leighton on, 76.
+
+  _Greek Girls picking up Pebbles by the Sea_, 30.
+
+  _Greek Girls playing at Ball_, 48, 59;
+    illus., 48.
+
+  Grenfell, the Hon. Mrs. (_Miss Mabel Mills_), 37.
+
+  Greville, Lady Charlotte, monument to, 67.
+
+  _Gulnihal_, 46.
+
+  _Guthrie, Portrait of Mrs. James_, 24.
+
+
+  Hart, Professor, 12.
+
+  _Helen of Troy_, 23;
+    illus., 22.
+
+  _Helios and Rhodos_, 27, 28.
+
+  _Hercules wrestling with Death_, 30;
+    illus., 30.
+
+  _Hesperides, Garden of the_, 49.
+
+  _Hichens, Mrs. A._, 46.
+
+  _Hit_, 50;
+    illus., 54.
+
+  _Hodgson, Miss Ruth_, 38.
+
+  _Hodgson, Misses Stewart_, 48.
+
+  Hogarth Club, the, 17.
+
+  Hunt, Holman, 13, 17.
+
+
+  _I'Anson, the late Mrs. Lavinia_, 23.
+
+  _Idyll_, 42.
+
+  _In St. Mark's_, 23.
+
+  _Invocation_, 48.
+
+  _Iostephane_, 42.
+
+  _Italian Girl, An_, 37.
+
+  Italy, Evolution of Painting in, Leighton on the, 72.
+
+
+  _J. A.--a Study_, 19.
+
+  _Jezebel and Ahab_, 20, 123.
+
+  _Joachim, Miss Nina_, 44.
+
+  _Jonathan's Token to David_, 25, 124.
+
+  Jubilee medal, 46, 69, 129;
+    illus., 130.
+
+  _Juggling Girl_, 33;
+    illus., 32.
+
+
+  Keats's "Endymion," subject from, 15, 122.
+
+  Kemble, Mrs., 11.
+
+  _Kittens_, 44.
+
+
+  _Lachrymae_, 51.
+
+  _Lady with Pomegranates, A_, 53.
+
+  _Laing, Miss, Portrait of_, 9.
+
+  Landscape studies, Leighton's, 16, 28, 29, 33, 39, 62, 132;
+    illus., 28, 132, 134, 136.
+
+  Landseer, Sir Edwin, 10, 13.
+
+  Lang's, Mrs. Andrew, monograph on Leighton, 7, 8, 63.
+
+  _Last Watch of Hero_, 47;
+    illus., 46.
+
+  Leighton, Frederic, Lord;
+    list of dignities and titles, 2;
+    ancestors and birth, 4;
+    first picture, 7;
+    portrait (1848), 7;
+    first picture for the Academy, 11;
+    A.R.A., 21;
+    R.A., 24;
+    first appearance as a sculptor, 36;
+    P.R.A., 39;
+    _Portrait_, by himself, 42;
+    illus., 3;
+    portraits by Watts, 42, 90;
+    his method of painting, 54-60;
+    drawings, 60, 61;
+    decorative works, 63-67;
+    sculpture, 67, 68;
+    book illustration, 69, 70;
+    Discourses on Art, 71-87;
+    house, 88-102;
+    criticisms on his work, 103, 114;
+    death, 115.
+
+  _Lemon Tree, Study of a_, 17, 18, 61;
+    illus., 18.
+
+  Lesseps, F. de, 28.
+
+  _Letty_, 44, 45.
+
+  _Lieder ohne Worte_, 19.
+
+  _Light of the Harem, The_, 42.
+
+  Lionardo da Vinci, Leighton on, 80, 81, 82.
+
+  _Listener_, 51.
+
+  _Little Fatima_, 29, 33, 111.
+
+  _Lucas, Mrs. F._, 48.
+
+  Lyndhurst, altarpiece at, 24, 64, 65.
+
+  Lyons, Lord, 11.
+
+
+  _Maid with her Yellow Hair, The_, 51.
+
+  Martin's, Sir Theodore, "Catullus," 25.
+
+  Mason, George, 11, 89.
+
+  Meli, Signor F., 5.
+
+  _Melittion_, 44.
+
+  _Memories_, 44.
+
+  _Mermaid, The_, 16.
+
+  Michael Angelo, Leighton on, 82.
+
+  _Michael Angelo nursing his dying Servant_, 19.
+
+  Millais, Sir J. E., 9, 13, 46, 68, 73.
+
+  _Mills, Miss Mabel_, 37;
+    illus., 36.
+
+  _Mitford, A. B._, 49.
+
+  _Mocatta, Mrs._, 44.
+
+  Modelling and models (clay), 67, 68.
+
+  _Moorish Garden_, 29, 33.
+
+  Morals, Art and, Leighton on, 74.
+
+  _Moretta_, 31.
+
+  Morris, William, and Rossetti, 17.
+
+  Mosaics, 67.
+
+  _Moses views the Promised Land_, illus., 70.
+
+  _Mosque, Ruined, at Broussa_, illus., 134.
+
+  _Mother and Child_, 23.
+
+  Murger, Henri, 7.
+
+  _Music_ (a frieze), 46;
+    illus., 44.
+
+  _Music, The Triumph of_, 15, 107.
+
+  _Music Lesson_, 36, 37.
+
+  _Music Room, Decoration for a_, 46, 67, 128;
+    illus., 62.
+
+
+  _Nanna_, 17.
+
+  _Nap, A_, 44.
+
+  Nature in Leighton's compositions, 58.
+
+  _Nausicaa_, 37;
+    illus., 38.
+
+  _Needless Alarms_, 46, 67.
+
+  _Neruccia_, 39.
+
+  Nias, Lady (_Miss Laing_), 9.
+
+  Nile, voyage up the, 28.
+
+  _Nile Woman, A_, 29.
+
+  _Noble Lady of Venice, A_, 52.
+
+  _Nymph and Cupid, A_, 15, 84.
+
+  Nymph of the Dargle, The, 42.
+
+
+  _Odalisque_, 19.
+
+  _Old Damascus_ (the Jews' quarter), 29, 33.
+
+  Orchardson, Mr., on _Clytie_, 52.
+
+  Orkney, Lady, 37.
+
+  _Orpheus and Eurydice_, 21, 22;
+    illus., 22.
+
+  Orr, Major Sutherland, monument to, 67.
+
+  _Orr, Mrs. Sutherland_, 19.
+
+
+  Pacheco, Francisco, on drawing, 60.
+
+  _Painter's Honeymoon, The_, 24.
+
+  _Pan_, 15, 122.
+
+  _Paolo_, 35.
+
+  _Paolo e Francesca_, 19, 122.
+
+  _Paris, Count_, 16, 107, 122.
+
+  Paris, Leighton at, 7, 15;
+    exhibition at, 13.
+
+  Parry, Gambier, and Ely Cathedral, 65.
+
+  _Pastoral_, 24.
+
+  _Pavonia_, 17.
+
+  _Pencil Drawings, Two Early_, illus., 6.
+
+  _Pencil Study, A_, illus., 16.
+
+  _Persephone, Return of_, 49, 59;
+    _Studies for_, illus., 60.
+
+  _Perseus_ (clay model), 68;
+    illus., 68.
+
+  _Perseus and Andromeda_, 49, 59, 68;
+    _Study for_, illus., 58.
+
+  _Persian Pedlar_, A, 9.
+
+  Petrarch, Leighton on, 81.
+
+  _Phoebe_, 46.
+
+  _Phoenicians bartering with Britons_, 51, 66;
+    illus., 66.
+
+  _Phryne at Eleusis_, 44;
+    illus., 42.
+
+  _Pisano, Niccolo_ (mosaic), 67.
+
+  _Plague at Florence, The_, 8, 90;
+    illus., 8.
+
+  Powers, Hiram, 5.
+
+  Poynter, Sir E. J., and Leighton, 66, 116.
+
+  Pre-Raphaelites, the, 16, 17.
+
+  _Primrose, The Lady Sybil_, 46;
+    illus., 46.
+
+  _Psamathe_, 41.
+
+
+  _Ralli, Mrs. Augustus_, 43.
+
+  Raphael, Leighton on, 81.
+
+  _Red Mountains Desert, Cairo_, illus., 136.
+
+  _Return of Persephone, The_, 49, 59;
+    _Studies for_, illus., 60.
+
+  _Rizpah_, 50, 59;
+    illus., 52.
+
+  Roman Art, Leighton on, 78.
+
+  _Roman Lady, A_, 17.
+
+  Romano Giulio, Leighton on, 79.
+
+  Rome, Leighton at, 3, 9-11.
+
+  _Romeo, The Dead_, illus., 14.
+
+  _Romeo and Juliet_, 90.
+
+  "Romola" illustrations, 69.
+
+  Rossetti, D. G., 10, 13;
+    works by, 16, 17;
+    on Leighton, 11, 19, 106.
+
+  Rossetti, W. M., on Leighton, 109, 110, 111.
+
+  Royal Exchange, decoration at, 51, 66;
+    illus., 66.
+
+  _Rubinella_, 42.
+
+  Ruskin on Leighton, 11, 12, 17, 33, 103, 111, 112.
+
+  _Rustic Music_, 20.
+
+  _Ryan, Edward_, 31.
+
+
+  _St. Jerome_, 26;
+    illus., 26.
+
+  _St. Marks, In_, 23.
+
+  St. Paul's, Design for proposed decoration of, 44, 49, 66.
+
+  _Salome_, 15.
+
+  _Samson and Delilah_, 18.
+
+  _Samson and the Lion_, illus., 70.
+
+  _Samson at the Mill_, 69.
+
+  _Samson carrying the Gates_, illus., 70.
+
+  Sand, George, 11.
+
+  Sartoris, Mrs. Algernon, _Portrait of_, 43;
+    illustration by Leighton to her "Week in a French Country House," 69.
+
+  Sculpture, 36, 46, 67, 68;
+    illus., 68, 130.
+
+  _Sea Echoes_, 20.
+
+  _Sea gave up the Dead, And the_, 49, 66;
+    illus., 50.
+
+  _Serafina_, 38.
+
+  "_Serenely Wandering_," illus., 128.
+
+  Servolini, 5.
+
+  _Sibyl_, 48, 54, 58.
+
+  _Simaetha the Sorceress_, 47.
+
+  _Sisters_, 20.
+
+  _Sister's Kiss_, 41, 111;
+    illus., 40.
+
+  Sizeranne, M. de la, on Leighton, 113.
+
+  _Sluggard, The_, 46, 67, 68;
+    _Study for_, illus., 68.
+
+  _Solitude_, 49;
+    _Study for_, illus., 58.
+
+  South Kensington, drawings on wood at, 69;
+    frescoes, 32, 63-66;
+    mosaic, 67.
+
+  Spain, Leighton on the Art of, 82, 83.
+
+  Spielmann, Mr. M. H., on Leighton, 46, 48, 54-58.
+
+  _Spies' Escape, The_, 69.
+
+  _Spirit of the Summit, The_, 51, 60, 113.
+
+  _Star of Bethlehem, The_, 20, 109, 123.
+
+  Steinle, Johann Eduard, 6, 8, 9.
+
+  Stephens, F. G., on the Hogarth Club, 17.
+
+  Studies, collection of Leighton's, 62.
+
+  Studies in oil, list of, 132-136.
+
+  _Studies of Heads_, 38, 51;
+    illus., 14, 74, 76, 78, 80, 82.
+
+  _Study_ (little girl in Eastern Garb), 37.
+
+  _Study A_ (Grosvenor Gallery, 1877), 37;
+    (Academy, 1878), 38;
+    (Grosvenor Gallery, 1885), 46.
+
+  _Summer Moon_, 31;
+    illus., 30.
+
+  _Summer Slumber_, 51.
+
+  _Sun Gleams_, 44.
+
+  _Sunny Hours_, 17.
+
+  _Syracusan Bride_, 23, 24, 34, 47.
+
+
+  Tate Gallery, The, 36, 48, 49.
+
+  _Teresina_, 35.
+
+  Thackeray on Leighton, 9.
+
+  _Tragic Poetess_, 49.
+
+  _Triumph of Music, The_, 15, 107.
+
+  _'Twixt Hope and Fear_, 51.
+
+
+  Velasquez, Diego, Leighton on, 83.
+
+  _Venus Disrobing_, 25, 160;
+    illus., 24.
+
+  _Vestal_, 44, 51.
+
+  _Viola_, 43.
+
+  Volumnus Violens, tomb of, Leighton on, 77.
+
+
+  _Walker, John Hanson_, 19.
+
+  Watteau, Leighton on, 84.
+
+  Watts, G. F., 14;
+    pictures by, 91;
+    portraits of Leighton, 42, 90;
+    method compared with Leighton's, 55;
+    on Leighton, 116.
+
+  _Weaving the Wreath_, 32.
+
+  _Wedded_, 43.
+
+  _Whispers_, 43.
+
+  _Widow's Prayer, The_, 23.
+
+  _Winding the Skein_, 37, 111;
+    photogravure, _Front_.
+
+  _Wise and Foolish Virgins, The_, 24, 64.
+
+
+  _Zeyra_, 43.
+
+
+
+CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.
+
+TOOKS COURT, CHANCERY LANE, LONDON.
+
+
+
+
+Footnotes:
+
+[1] See pages 103-114.
+
+[2] Letter to William Allingham, May 10th, 1861.
+
+[3] "Athenaeum," April, 1864.
+
+[4] The original title of this picture was _Eastern Slinger scaring
+Birds in Harvest-time: Moonrise_. See Illustration at p. 112.
+
+[5] This picture was re-sold at Christie's in 1892 for 3,750 guineas.
+
+[6] Sometimes entitled _An Athlete strangling a Python_.
+
+[7] At page 62.
+
+[8] Engraved in the "Magazine of Art," March, 1896.
+
+[9] "Current Art" ("Magazine of Art," May, 1889).
+
+[10] "The Studio," vol. iii.
+
+[11] Reproductions of both of these drawings are given at p. 18.
+
+[12] "Letters of Dante Gabriel Rossetti to William Allingham," by George
+Birkbeck Hill, D.C.L., LL.D. London, T. Fisher Unwin, 1897.
+
+[13] "La Peinture Anglaise Contemporaine" (Paris, Hachette, 1895).
+
+[14] "Magazine of Art," March, 1896, p. 197.
+
+[15] The asterisk denotes works exhibited at the Winter Exhibition of
+the Royal Academy of Arts, 1897.
+
+[16] R.A., Royal Academy; G.G., Grosvenor Gallery; R.W.S., Royal Society
+of Painters in Water-Colours; S.S., Royal Society of British Artists,
+Suffolk Street; D.G., Dudley Gallery; S.P.P., Society of Portrait
+Painters.
+
+[17] Exhibited in the Roman Section, by some blunder of the Committee;
+the picture having been painted in Rome.
+
+[18] Purchased for L2,000 by the President and Council of the Royal
+Academy, under the terms of the Chantrey Bequest.
+
+[19] Painted by invitation for the Collection of Portraits of Artists
+painted by themselves in the Uffizi Gallery, Florence.
+
+[20] Painted for the house of Mr. Murquand, New York.
+
+[21] Purchased for 1,000 guineas by the President and Council of the
+Royal Academy, under the terms of the Chantrey Bequest.
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+Passages in italics are indicated by _underscore_.
+
+Images have been moved from the middle of a paragraph to the closest
+paragraph break or to the end of a long quote.
+
+The following misprints have been corrected:
+  "Dyson-Perrin" corrected to "Dyson-Perrins" (page v)
+  "Frederic" corrected to "Frederick" (page 25 and index)
+  Missing word added on page 101 (assumed "the").
+
+Additional spacing after some of the quotes is intentional to indicate
+both the end of a quotation and the beginning of a new paragraph as
+presented in the original text.
+
+The original text includes Greek characters. For this text version
+these letters have been replaced with transliterations.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK FREDERIC LORD LEIGHTON ***
+
+
+******* This file should be named 30262.txt or 30262.zip *******
+
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