file which includes the original illustrations4 ,see #cjbfb-;h4htm or #cjbfb-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#cjbfb_/pg#cjbfb-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#cj bfb_/cjbfb-;h4zip7 ,,frederic ,,lord ,,leighton ,late ,president of the ,royal ,academy of ,arts ,an ,illustrated ,record of ,his ,life and ,work by ,,ernest ,,rhys ,illustration3 ,winding the ,skein4 ,by permission of the ,fine ,art ,society4 ,f4 ,leighton4 pinxt4 ,swan ,electric ,engraving ,co4 ,sc4 ,george ,bell ,sons ,london3 ,george ,bell ,sons #aijj ,first ,published1 super-royal1 #dto1 #ahie4 ,second ,edition1 revised1 colombier #hvo1 #ahih4 ,third ,edition1 revised1 crown #hvo1 #aijj4 ,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 appreciated4 ,the present volume is reprinted with a few alterations and corrections from the second edition published in #ahih4 ,a chapter on ,lord ,leighton's ,house in #aijj1 by ,mr4 ,s4 ,pepys ,cockerell1 has been added4 ,the publishers take the opportunity to repeat their acknowledgments of assistance most kindly given by numerous owners and admirers of the artist's work4 ,by the gracious consent of ,h4,m4 the ,queen1 the ,cimabue in the ,buckingham ,palace collection1 is here reproduced4 ,especial thanks are also due to ,lord ,davey1 ,lord ,hillingdon1 ,lord ,rosebery1 ,mrs4 ,dyson-,perrins1 the late ,mr4 ,alfred ,morrison1 ,sir ,bernhard ,samuelson1 ,lady ,hall1 ,mr4 ,alex4 ,henderson1 ,mr4 ,francis ,reckitts1 the late ,sir ,henry ,tate1 the ,birmingham and ,manchester ,corporations1 and the ,president and ,council of the ,royal ,academy1 who have kindly permitted the reproduction of pictures in their possession4 ,to the late ,lord ,leighton himself the author and publishers have to acknowledge their indebtedness for a large number of studies and sketches1 hitherto unpublished1 as well as for his kind co-operation in the preparation of the volume4 ,the author wishes also to record his thanks to ,mr4 ,m4 ,h4 ,spielmann for permission to use his admirable account of the ,president's method of painting4 ,by arrangement with the holders of several important copyrights1 including ,messrs4 ,thos4 ,agnew and ,sons1 ,p4 and ,d4 ,colnaghi and ,co41 ,h4 ,graves and ,co41 ,arthur ,tooth and ,sons1 the ,society for ,promoting ,christian ,knowledge1 the proprietors of the ,art ,journal1 the ,berlin ,photographic ,company1 and the ,fine ,art ,society 7whose courtesies in the matter are duly credited in the list of illustrations71 the publishers have been enabled to represent many of the most popular paintings by the artist1 and a selection of his famous designs for ,dalziel's ,bible ,gallery4 ,contents ,,page ,,chapter ,i4 ,,his ,,early ,,years #c ,,ii4 ,,year ,,by ,,year--#ahee ,,to #ahfd #ab ,,iii4 ,,year ,,by ,,year--#ahfd ,,to #ahfi #ba ,,iv4 ,,year ,,by ,,year--#ahgj ,,to #ahgh #bh ,v4 ,,year ,,by ,,year--#ahgh ,,to #ahif #ci ,,vi4 ,,his ,,method ,,of ,,painting #ed ,,vii4 ,,mural ,,decoration1 ,,sculpture1 ,,and ,,illustration #fa ,,viii4 ,,discourses ,,on ,,art #ga ,,ix4 ,,lord ,,leighton',s ,,home #hh ,x4 ,,lord ,,leighton',s ,,house ,,in #aijj4 ,,by ,s4 ,,pepys ,,cockerell #ib ,,xi4 ,,the ,,artist ,,and ,,his ,,critics #ajc ,,xii4 ,,conclusion #aae ,,appendix ,i4 ,,chronological ,,list ,,of ,,works #aba ,,ii4 ,,list ,,of ,,landscapes ,,and ,,studies ,,sold ,,at ,,christie',s 7,,july1 #ahif7 #acb ,,index #acg ,list of ,illustrations ,i4 ,,figure ,,subjects4 ,,page ,,winding ,,the ,,skein ,frontispiece ,by permission of the ,fine ,art ,society4 7,photogravure plate47 ,,cimabue',s ,,madonna #aj ,by the gracious permission of ,her ,majesty the ,queen4 ,,golden ,,hours #ba ,by the kind permission of ,lord ,davey4 ,,helen ,,of ,,troy #bb ,by permission of ,messrs4 ,h4 ,graves and ,co4 ,,orpheus ,,and ,,eurydice #bb ,by the kind permission of ,francis ,reckitts1 ,esq4 ,,venus ,,disrobing ,,for ,,the ,,bath #bd ,by the kind permission of ,alexander ,henderson1 ,esq4 ,,electra ,,at ,,the ,,tomb ,,of ,,agamemnon #bd ,d,,dalus ,,and ,,icarus #bf ,by the kind permission of ,alexander ,henderson1 ,esq4 ,,st4 ,,jerome #bf ,by the kind permission of the ,president and ,council of the ,royal ,academy of ,arts4 ,,hercules ,,wrestling ,,with ,,death ,,for ,,the ,,body ,,of ,,alcestis #cj ,by the kind permission of ,sir ,bernhard ,samuelson4 ,,summer ,,moon #cj ,by the kind permission of the late ,alfred ,morrison1 ,esq41 from the photogravure published by ,messrs4 ,p4 and ,d4 ,colnaghi and ,co4 ,,the ,,juggling ,,girl #cb ,by the kind permission of ,lord ,hillingdon4 ,a ,,condottiere #cb ,by permission of the ,corporation of ,birmingham4 ,,the ,,daphnephoria #cd ,by permission of the ,fine ,art ,society4 ,,nausicaa #ch ,,sister',s ,,kiss #dj ,by permission of the ,fine ,art ,society4 ,,phryne ,,at ,,eleusis #db ,by permission of the late ,lord ,leighton4 ,,day ,,dreams #db ,by permission of the ,fine ,art ,society4 ,,cymon ,,and ,,iphigenia #dd ,by permission of the ,fine ,art ,society4 7,photogravure plate47 ,,the ,,last ,,watch ,,of ,,hero #df ,by permission of the ,corporation of ,manchester4 ,,greek ,,girls ,,playing ,,at ,,ball #dh ,by permission of the ,berlin ,photographic ,company4 ,,the ,,bath ,,of ,,psyche #dh ,by permission of the ,berlin ,photographic ,company4 ,,farewell #ej ,by permission of ,messrs4 ,a4 ,tooth and ,sons4 ,,and ,,the ,,sea ,,gave ,,up ,,the ,,dead ,,which ,,were ,,in ,,it #ej ,by the kind permission of ,sir ,henry ,tate4 ,,the ,,frigidarium #ej ,by permission of ,messrs4 ,h4 ,graves and ,co4 ,,rizpah #eb ,by permission of ,messrs4 ,cassell and ,co4 ,,the ,,bracelet #eb ,by permission of ,messrs4 ,t4 ,agnew and ,sons4 ,,fatidica #eb ,by permission of ,messrs4 ,t4 ,agnew and ,sons4 ,a ,,bacchante #ed ,by permission of ,messrs4 ,h4 ,graves and ,co4 ,,hit #ed ,by permission of the proprietors of the ,art ,journal4 ,,egyptian ,,slinger #aab ,by the kind permission of ,lord ,davey4 ,,elisha ,,and ,,the ,,shunamite',s ,,son #aad ,by the kind permission of ,mrs4 ,dyson-,perrins4 444 ,,serenely ,,wandering ,,in ,a ,,trance ,,of ,,sober ,,thought #abh ,,ii4 ,,landscapes1 ,,etc4 ,,garden ,,at ,,generalife1 ,,granada #bh ,,mimbar ,,of ,,the ,,great ,,mosque ,,at ,,damascus #bh ,,fountain ,,in ,,court ,,at ,,damascus #acb ,,the ,,island ,,of ,,gina1 ,,pnyx ,,in ,,the ,,foreground #acb ,,ruined ,,mosque1 ,,broussa #acd ,,city ,,of ,,tombs1 ,,assiout1 ,,egypt #acd ,,athens1 ,,with ,,the ,,genoese ,,tower1 ,,pnyx ,,in ,,foreground #acf ,,coast ,,of ,,asia ,,minor ,,seen ,,from ,,rhodes #acf ,,red ,,mountains ,,desert1 ,,cairo #acf ,,iii4 ,,portraits4 ,,portrait ,,of ,,the ,,artist4 7,in the ,uffizi ,gallery1 ,florence7 #c ,,portrait ,,of ,,the ,,hon4 ,,mabel ,,mills #cf ,by the kind permission of ,lady ,hillingdon4 ,,portrait ,,of ,,captain 7,,sir7 ,,richard ,,burton #cf ,,portrait ,,of ,,signor ,,costa #dj ,,portrait ,,of ,,the ,,lady ,,sybil ,,primrose #df ,by the kind permission of ,lord ,rosebery4 ,,iv4 ,,studies ,,and ,,sketches4 ,,two ,,early ,,pencil ,,studies #f ,,scheme ,,for ,a ,,picture1 ,,the ,,plague ,,in ,,florence #h ,,study ,,for ,a ,,head--,,the ,,dead ,,romeo #ad ,a ,,pencil ,,study #af ,a ,,lemon ,,tree4 7,a pencil study7 #ah ,,byzantine ,,well-,,head4 7,a pencil study7 #ah ,,study ,,for ,,the ,,daphnephoria #cd ,,study ,,for ,,elijah ,,in ,,the ,,wilderness #ch ,,study ,,for ,,captive ,,andromache 7nude7 #ef ,,study ,,for ,a ,,figure ,,in ,,captive ,,andromache #ef ,,study ,,for ,,andromache #ef ,,study ,,for ,,perseus ,,and ,,andromeda #eh ,,study ,,for ,a ,,figure ,,in ,,the ,,bath ,,of ,,psyche #eh ,,study ,,for ,,solitude #eh ,,study ,,for ,a ,,figure ,,in ,,the ,,return ,,of ,,persephone #fj ,,study ,,for ,,persephone #fj ,,studies ,,for ,,the ,,decoration ,,of ,,the ,,ceiling ,,of ,a ,,music ,,room #fb ,,cain ,,and ,,abel ,,moses ,,views ,,the ,,promised ,,land ,from ,dalziel's ,,samson ,,and ,,the ,,lion ,bible ,gallery #gj ,,samson ,,carrying ,,off ,,the ,,gates ,by permission of ,messrs4 ,j4 ,s4 ,virtue and ,co4 and the ,society for ,promoting ,christian ,knowledge4 ,a ,,contrast #gb ,a ,,study ,,in ,,oils4 7,head of a girl1 back view7 #gd ,,head ,,of ,a ,,young ,,girl4 7,a ,study in oils7 #gf ,by the kind permission of ,lady ,hall4 ,,study ,,of ,a ,,head #gh ,,study ,,of ,a ,,head #hj ,a ,,study ,,in ,,oils4 7,head of a girl7 #hb ,v4 ,,frescoes1 ,,wall ,,paintings1 ,,etc4 ,,two ,,friezes--,,music1 ,,the ,,dance #dd ,,decoration ,,for ,,the ,,ceiling ,,of ,a ,,music ,,room #fb ,,the ,,industrial ,,arts ,,of ,,war4 7,from the fresco at ,south ,kensington ,museum7 #fd ,,the ,,industrial ,,arts ,,of ,,peace4 7,from the fresco at ,south ,kensington ,museum7 #fd ,,cupid4 7,from a fresco7 #ff ,,phoenicians ,,bartering ,,with ,,britons4 7,panel in the ,royal ,exchange7 #ff ,,vi4 ,,sculpture4 ,,an ,,athlete ,,struggling ,,with ,a ,,python4 7,bronze statue1 from two points of view7 #fh ,,study ,,in ,,clay ,,for ,,cymon #fh ,,study ,,in ,,clay ,,for ,,the ,,sluggard #fh ,,study ,,in ,,clay ,,for ,,perseus #fh ,,study ,,in ,,clay ,,for ,,andromeda #fh ,,design ,,for ,,reverse ,,of ,,the ,,jubilee ,,medallion 7#ahhg7 #acj ,,vii4 ,,lord ,,leighton',s ,,house4 ,,in ,,the ,,inner ,,hall4 7,from a photograph taken specially by ,mr4 ,james ,hyatt7 #hh ,,in ,,the ,,arab ,,hall4 7,from a photograph by ,messrs4 ,bedford1 ,lemere1 and ,co47 #if ,,bookplate ,,of ,,lord ,,leighton4 7,designed by ,r4 ,anning ,bell7 #abj ,with four exceptions all the reproductions are by the ,swan ,electric ,engraving ,company4 ,,frederic ,,lord ,,leighton1 ,p4,r4,a4 ,,list ,,of ,,dignities ,,and ,,honours ,,conferred ,,on ,,frederic ,,leighton4 ,knighted1 #ahgh2 created a ,baronet1 #ahhf2 created ,baron ,leighton of ,stretton1 #ahif2 elected ,associate of the ,royal ,academy1 #ahfd2 ,royal ,academician1 #ahfi2 ,president of the ,royal ,academy1 #ahgh2 ,hon4 ,mem4 ,royal ,scottish ,academy1 and ,royal ,hibernian ,academy1 ,associate of the ,institute of ,france1 ,president of the ,international ,jury of ,painting1 ,paris ,exhibition1 #ahgh2 ,hon4 ,member1 ,berlin ,academy1 #ahhf2 also ,member of the ,royal ,academy of ,vienna1 #ahhh1 ,belgium1 #ahhf1 of the ,academy of ,st4 ,luke1 ,rome1 and the ,academies of ,florence 7#ahhb71 ,turin1 ,genoa1 ,perugia1 and ,antwerp 7#ahhe72 ,hon4 ,d4,c4,l41 ,oxford1 #ahgi2 ,hon4 ,,ll4,d41 ,cambridge1 #ahgi2 ,hon4 ,,ll4,d41 ,edinburgh1 #ahhd2 ,hon4 ,d4,lit41 ,dublin1 #ahib2 ,hon4 ,d4,c4,l41 ,durham1 #ahid2 ,hon4 ,fellow of ,trinity ,college1 ,london1 #ahgf2 ,lieut4-,colonel of the #bjth ,middlesex 7,artists'7 ,rifle ,volunteers1 #ahgf to #ahhc 7resigned72 then ,hon4 ,colonel and holder of the ,volunteer ,decoration2 ,commander of the ,legion of ,honour1 #ahhi2 ,commander of the ,order of ,leopold2 ,knight of the ,prussian ,order pour le ,mrite1 and of the ,coburg ,order ,dem ,verdienste4 ,illustration3 ,,portrait ,,of ,,the ,,artist 7#ahha7 ,painted for the ,uffizi ,gallery ,,frederic ,,lord ,,leighton1 ,p4,r4,a4 ,,an ,,illustrated ,,chronicle ,,chapter ,i ,,his ,,early ,,years ,to ,italy1 at whose liberal well-head ,english ,art has so often renewed itself1 we turn naturally for an opening to this chronicle of a great ,english artist's career4 ,frederic ,leighton was the painter of our time who strove hardest to keep alive an ,italian ideal of beauty in ,london2 therefore it is in ,italy1 the ,italy of ,raphael and ,angelo and his favourite ,giotteschi1 that we must seek the true beginnings of his art4 ,london made its first acquaintance with him and his painting in #ahee1 when the picture1 ,cimabue's ,madonna carried in ,procession through the ,streets of ,florence1 startled the ,royal ,academy1 and proved that a 'prentice work could be in its way something of a masterpiece4 ,this picture1 the work of an unknown young artist of twenty-five1 painted chiefly in ,rome1 showed at once a new force and a new quality1 and in its singular feeling for certain of the archaic ,italian schools1 showed1 too1 where for the moment the sympathies of the painter really lay4 ,how far the potentiality disclosed in it was developed during the forty years following1 how far the ideals in art1 which it seemed to declare1 were pursued or departed from1 the ,royal ,academy year by year is witness4 ,here1 before we turn to consider the history of those later years1 we shall find it interesting to use this first picture as an index to that period of probation1 which is so often the most interesting part of an artist's history4 ,in accounting for it1 and finding out the determining experiences of the artist's pupilage1 we shall account1 also1 for much that came after4 ,although ,frankfort and ,paris play their part1 the formative influences of that early period1 we shall find1 carry us chiefly1 and again and again1 into ,italy4 ,frederic ,leighton was born on the #crd of ,december1 #ahcj1 at ,scarborough1 the son of a medical practitioner4 ,his father1 ,dr4 ,frederic ,leighton1 was also the son of a physician who was knighted for eminence in his profession4 ,thus we have two generations of medicine and culture in the family2 but there is no sign of art1 or love for art1 before the third4 ,this generation produced three children1 all devoted to the graphic arts and to music1 of whom the boy1 ,frederic was the eldest4 ,a word or two more must be given to his forbears1 on grounds of character and heredity1 before we pass4 ,sir ,james ,leighton1 the grandfather1 was ,physician to the ,court at ,st4 ,petersburg1 where he served in succession ,alexander the ,first1 and ,nicholas1 with whom he was on terms of considerable intimacy4 ,his son1 ,dr4 ,frederic ,leighton1 who promised to be a still more brilliant practioner1 was educated at ,stonyhurst1 but after taking his ,m4,d4 degree at ,edinburgh1 just as he was rapidly acquiring the highest professional reputation1 contracted a cold that led to a partial deafness4 ,this made it impossible for him to go on practising with safety1 and retiring to his study he turned from physical to metaphysical pursuits4 ,in spite of his deafness1 as severe an embargo on social reputation as can well be laid1 ,dr4 ,leighton is said to have been equally noted among his friends for his keen intellectual quality and his urbanity4 ,to be the son of his father1 then1 counted for something in our hero's career4 ,even in art1 which ,dr4 ,leighton did not care for particularly1 the boy had very great opportunities4 ,before he was ten years old1 he went abroad with his mother1 who was in ill health2 and already he had shown such decided signs of the furor pingendi during a chance visit to ,mr4 ,lance's studio in ,paris1 that it is without surprise that we hear of him in #ahdj as taking drawing lessons from ,signor ,f4 ,meli1 at ,rome4 ,during these early travels the boy's sketch books were full 7we are told7 of precociously clever things4 ,the climacteric moment came early in his career4 ,at ,florence1 in #ahdd1 when he was fourteen1 he delivered himself of a sort of boyish ultimatum to his father1 who1 after taking counsel of ,hiram ,powers1 the ,american sculptor1 wisely gave the boy his wish1 and decided to let him be an artist4 ,powers when asked1 ,shall ,i make him an artist8 exclaimed in no uncertain terms1 ,sir1 you have no choice in the matter1 he is one already2 and on further question1 the father being anxious about the boy's possibilities1 said1 ,he may become as eminent as he pleases4 ,few art students of our time appear to have encountered more fortunate conditions1 on the whole1 than did ,frederic ,leighton in the years immediately following4 ,the ,florentine school of fifty years ago1 however1 was not the best for a beginner4 ,it was full of mannerisms1 which a boy of that age was sure to pick up1 and exaggerate on his own account4 ,at that time ,bezzuoli and ,servolini were the great lights and directors of the ,academy of the ,fine ,arts1 and they delighted1 naturally1 in so able and so apt a pupil2 that he found it hard to shake off their teaching becomes evident later4 ,those who had the good fortune at any time to have heard ,lord ,leighton describe his early wanderings in ,europe1 must have been struck by the warmth of his tribute to ,johann ,eduard ,steinle1 the ,frankfort master1 who did more than any other to correct his style1 and to decide the whole future bent of his art4 ,steinle1 whose name is barely known to us in ,england1 was one of that remarkable school of painters1 called familiarly the ,nazarenes1 because of their religious range of subjects1 who were inspired originally by ,overbeck and ,pfhler4 ,leighton in recent years described him as an intensely fervent ,catholic2 a man of most striking personality1 and of most courtly manners1 whose influence upon younger men was fairly magnetic4 ,in the case of this particular pupil1 certainly1 his intervention was of most powerful effect4 ,religious in his methods1 as well as in his sentiment of art1 the florid insincerities and mannerisms of the ,florentine ,academy1 as they were still to be seen in the young ,leighton's work1 found in him an admirable chastener1 but it took many years of painfully hard work1 lasting until #aheb1 to undo the evil wrought by decadent ,florence4 ,prior to this fortunate intercourse with ,steinle1 the student had an old acquaintance with ,frankfort1 which1 like ,florence1 seemed destined to play a great part in his history4 ,before going to ,florence1 and deciding on his artistic career1 in #ahdd1 he had been sent to school in ,frankfort4 ,he returned there from ,florence to resume his general education1 and on leaving at seventeen1 went for a year to the ,stdtelsches ,institut4 ,illustration3 ,,two ,,early ,,pencil ,,studies ,in #ahdh he went to ,brussels1 and worked there for a time without any master1 painting the first picture that deserves to be remembered4 ,characteristically enough1 this depicted ,cimabue finding ,giotto in the fields of ,florence4 ,the shepherd boy is engaged in drawing the figure of a lamb upon a smooth rock1 using a piece of coal for pencil2 an admirable and precocious piece of work4 ,at the time it was first shown it was considered especially good in its harmonious and original colouring1 nor did a sight of it in #ahif at the ,winter ,exhibition of the ,royal ,academy contradict the generous verdict of contemporary critics4 ,at ,brussels he painted a portrait of himself1 a notable thing of its kind1 wherein we see a slight1 dark youth1 with a face of much charm and distinction1 whose features one easily sees to be like those of later portraits4 ,then1 immediately before the return to ,frankfort1 and the studying there1 under ,steinle1 ,leighton spent some months in ,paris1 working in an atelier in the ,rue ,richer4 ,the conditions of this most informal of life-schools were such as ,henri ,murger1 who was alive and writing at the time1 might have approved1 but were hardly to be called educative in any higher sense4 ,the only master that these ,bohemians could boast was a very invertebrate old artist1 who seems to have been the soul of politeness and irresponsibility1 and who accompanied every weak criticism with the deprecatory conclusion1 ,voil mon opinion6 ,m4 ,voil mon opinion6 is a type not unknown otherwhere than in that ,paris atelier4 ,a fine alterative the student must have found the severe and stringent tonics that ,steinle prescribed immediately afterwards in ,frankfort4 ,in the admirable monograph on ,sir ,frederic ,leighton by ,mrs4 ,andrew ,lang1 from which we have drawn on occasion in these pages1 an interesting account is given of an exploit at ,darmstadt1 in which the young artist took a chief part4 ,an artists' festival was to be held there1 and ,sir ,frederic and one of his fellow-students1 ,signor ,gamba1 took it into their heads to paint a picture for the occasion on the walls of an old ruined castle near the town4 ,the design was speedily sketched after the most approved medival fashion1 and no time was lost in executing the work4 ,the subject was a knight standing on the threshold of the castle1 welcoming the guests1 while in the centre of the picture was ,spring1 receiving the representatives of the three arts1 all of them caricatures of well-known figures4 ,in one corner were the two young artists themselves1 surveying the pageant4 ,the ,schloss where this piece was painted is still in existence1 and the ,grand ,duke has lately erected a wooden roof over the painting1 to preserve it from destruction4 ,before leaving ,frankfort1 ,leighton had already interested ,steinle in his projected picture of ,cimabue's ,madonna1 and the design for it was made under ,steinle's direction4 ,under his direct influence1 too1 and inspired by ,boccaccio1 another ,florentine picture--a cartoon of its great plague--was painted4 ,in speaking of the dramatic treatment of its subject1 ,mrs4 ,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 other1 while in the centre is the link between the two--a terror-stricken woman attempting to escape with her baby from the pestilence-stricken city4 ,we shall look in vain among the ,president's later works for any picture with a similar motif4 ,in general he shared ,plato's opinion--that violent passions are unsuitable subjects for art2 not so much because the sight of them is degrading1 as because what is at once hideous and transitory in its nature should not be perpetuated4 ,illustration3 ,,scheme ,,for ,a ,,picture3 ,,the ,,plague ,,in ,,florence ,we have seen how the spirit and sentiment of ,italy continually remained by the artist in his ,german studio1 and how in ,frankfort his artistic imagination returned again and again to ,florence1 and to the early ,florentines of his particular adoration--,cimabue and ,giotto4 ,the recall to ,italy came inevitably1 as ,steinle's teaching at last had fully worked its purpose4 ,steinle himself counselled the move1 and gave his favourite pupil an introduction to ,cornelius in ,rome4 ,it was to ,rome1 therefore1 and not to ,florence1 that the young artist went--to ,rome where sooner or later the steps of all men who work for art or for religion tend1 and where so few stay4 ,this was in #aheb1 the year which was represented in the ,commemorative ,exhibition at ,burlington ,house by ,a ,persian ,pedlar1 a small full-length figure of a man in ,oriental costume1 seated cross-legged on a divan1 with a long pipe in his hand4 ,to #ahec belongs a ,portrait of ,miss ,laing 7,lady ,nias71 which was shown again at the same time4 ,the ,rome of the mid-century was ,rome at its best1 with much artistic stimulus of the present1 as well as of the past4 ,the ,english colony was particularly strong4 ,thackeray was there1 moving about after his wont in the studios and salons2 the ,brownings were there1 and in their prime4 ,the young painter and his work1 including the ,cimabue's ,madonna in its earlier stages1 made a great impression on ,thackeray1 who turned prophet for once on the strength of it4 ,on returning to ,london and meeting ,millais1 he prophesied gaily to that ardent ,pre-,raphaelite1 then marching on from success to success3 ,millais6 my boy1 ,i have met in ,rome a versatile young dog called ,leighton1 who will one of these days run you hard for the presidentship6 ,this was early days for such a rumour to reach the ,academy1 who knew an older school1 represented by ,landseer and ,eastlake1 and a younger school1 represented by ,millais and ,rossetti1 but as yet knew not ,leighton4 ,among the leading artists in ,rome at this time1 beside ,cornelius1 were the two ,french painters1 ,bouguereau and ,gerome4 ,to these1 especially to ,bouguereau1 who was a great believer in scientific composition1 ,leighton was1 on his own testimony1 largely indebted for his fine sense of form4 ,yet another famous ,frenchman1 ,robert ,fleury1 whom he afterwards met in ,paris1 may be mentioned here1 since from him he learnt much in the way of colouring1 and the technique of his art4 ,turning from the painters to the poets1 it was at ,rome that ,robert ,browning1 who was at this time writing his ,men and ,women1 formed close acquaintance with the young artist4 ,something of the atmosphere which permeates such poems as ,bishop ,blougram's ,apology1 ,andrea del ,sarto1 and others of the same series1 seems to linger yet in the record of those early meetings of poets and painters1 with all their associations3 ,the ,vatican1 ,greek busts1 ,venetian paintings1 ,roman walls1 ,and ,english books4 ,one easily supposes ,browning speaking through his ,bishop ,blougram1 as1 it is said1 he was heard to speak in those days in praise of ,correggio1 to whose qualities1 ,ruskin tells us1 ,sir ,frederic ,leighton curiously approximates3 ',twere pleasant could ,correggio's fleeting glow ,hang full in face of one where'er one roams1 ,since he more than the others brings with him ,italy's self--the marvellous ,modenese6 ,italy's self1 in truth1 ,frederic ,leighton1 like ,browning in poetry1 did not fail to bring with him1 and revived for us for many years1 by his art and southern glow of colour1 in the gray heart of ,london4 ,illustration3 ,,cimabue',s ,,madonna ,,carried ,,in ,,procession ,,through ,,the ,,streets ,,of ,,florence 7#ahee7 ,among other people whom ,leighton met in ,rome were ,george ,sand1 ,mrs4 ,kemble1 ,george ,mason the painter1 of ,harvest ,moon fame1 ,gibson the sculptor1 and ,lord ,lyons4 ,like ,robert ,browning1 let us add1 he was readily responsive to the quickening of his contemporaries1 and vigorously studied the present in order that he might the better paint the past1 and put live souls into the archaic raiment of ,cimabue and old ,florence4 ,he was working hard all this while1 with a devotion and concentration that impressed other friends beside ,thackeray1 upon his picture of ,cimabue's ,madonna1 which was exhibited in the ,academy of #ahee1 and as the work of an unknown hand made a distinct sensation4 ,it was discussed1 angrily by some1 delightedly by others4 ,the criticism which ,rossetti1 ,mr4 ,ruskin1 and other critics bestowed upon it in the press or in private correspondence#a will come more fitly into our later pages1 when we turn to deal with contemporary opinions upon ,leighton's work4 ,enough to say here that it won fame for the artist at a stroke4 ,the ,queen bought it for #fjj1 having bespoken it1 ,i believe1 before it left his studio1 and hung it eventually in ,buckingham ,palace4 ,with this encouraging first great success1 the probationary stage of our artist's history may be said to close4 ,,chapter ,,ii ,,year ,,by ,,year--#ahee ,,to #ahfd ,the ,academy of forty years ago was very different from that we know to-day4 ,it was held in the left wing of the ,national ,gallery1 and had not nearly so much space at its disposal as it has in its present quarters at ,burlington ,house4 ,the exhibition of #ahee contained few pictures1 compared with the multitudinous items of the present shows4 ,generally speaking1 the exhibition was of a heavier1 more ,georgian aspect1 in spite of certain ,pre-,raphaelite experiments and other signs of the coming of a younger generation4 ,sir ,charles ,eastlake was ,president4 ,professor ,hart was delivering lectures to its students1 full of academic1 respectable intelligence1 if little more2 lectures which those who are curious may find reported in full in the ,athenum of that time4 ,more interesting was the appearance of ,mr4 ,ruskin as commentator on the pictures of the ,academy in this year1 the first in which he issued his characteristic ,academy ,notes4 ,his long1 and1 all things considered1 remarkably appreciative criticism of the ,cimabue's ,madonna we discuss elsewhere 7p4 #ajc74 ,of another picture of ,italy by a very different painter1 which was considered a masterpiece by some critics1 we find him speaking in terms of monition3 ,is it altogether too late to warn him that he is fast becoming nothing more than an ,academician8 ,the one picture of the year1 according to ,mr4 ,ruskin1 was the ,rescue1 by ,millais4 ,it is the only great picture exhibited this year1 he writes1 but this is very great4 ,for the rest1 ,a ,scene from ,as ,you ,like ,it1 by ,maclise2 another ,shakespearean subject1 the inevitable ,lear and ,cordelia1 by ,herbert2 and a ,beatrice by the then ,president1 and we have recalled everything that served to give the ,academy of that year its distinction in the eyes of contemporary critics4 ,sir ,edwin ,landseer1 who to the outer world was the one great fact in the art of the time1 does not appear to have exhibited in #ahee4 ,looking back now to that date1 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 century4 ,millais1 ,rossetti1 ,holman ,hunt1 and their associates1 count to us1 to-day1 as the representatives of an earlier generation2 in #ahee they still stood for all that was daring1 unprecedented1 and adventurous in their art4 ,this newcomer1 with his ,cimabue's ,madonna in a new style1 puzzled the critics considerably4 ,they did not know quite how to allot him in their casual division of contemporary schools4 ,landseer and ,maclise we know2 and ,millais and ,holman ,hunt2 but who is ,leighton8 was the tenor of their commentary4 ,meanwhile an event of great significance to ,english ,art in this year was happening--an exhibition of ,english pictures in ,paris1 the first of its kind4 ,this beginning of such international exchanges was important2 it has led up to many striking modifications of both ,english and ,french schools since that date4 ,it is curious that it should coincide with the awakening to certain other foreign influences3 that of the early ,italian school upon the ,pre-,raphaelites1 and that of the later ,italian1 popularly known as the classic school1 upon ,leighton and ,mr4 ,g4 ,f4 ,watts4 ,of this exhibition of ,english pictures1 which was held in the ,avenue ,montaigne1 ,m4 ,ernest ,chesneau1 a critic very sympathetic to ,english art1 tells us1 in his admirable book on the ,english ,school of ,painting1 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 idea2 and whether owing to its novelty1 or the surprise it occasioned1 or1 indeed1 to its real merit1 whatever may have been the true cause1 most certain it is that the ,english1 until then little thought of and almost unknown abroad1 obtained in ,france a great success4 ,m4 ,chesneau1 in going on to account further for the great impression made by the ,english painters in ,paris1 attributes it largely to the singularity which1 for foreign eyes1 marks their work4 ,it is curious1 indeed1 that ,french critics1 and ,m4 ,chesneau among them1 really admire this singularity1 which they count distinctively ,british4 ,they look for it in our pictures1 and if they do not find it--as in the work of ,leighton--they feel aggrieved4 ,british eccentricity1 whether thinking its way with the aid of genius into ,pre-,raphaelitism1 or now again1 with the aid of extreme cleverness and talent1 into certain cruder forms of impressionism1 is sure of its effect4 ,but an art like ,leighton's1 whose aim is beauty and not eccentricity1 is apt to be slighted by both ,french and ,english critics1 with some notable exceptions4 ,not all its grace1 its classic quality1 its beauty of line and distinction of treatment1 avail it1 when it comes into conflict with doctrinaire theories on the one hand1 and a love for mere sensationalism on the other4 ,illustration3 ,,the ,,dead ,,romeo ,a ,,pencil ,,study ,the success of his picture at the ,academy1 and the incidental lionizing of a season1 did not tempt the artist to stay long in ,london1 and he went to ,paris1 where he settled himself in a studio and proceeded to complete his ,triumph of ,music1 and other pictures begun in ,rome4 ,by this time the painter's method might seem assured1 but ,paris was still able to add something to his style1 with the aid of such masters as ,fleury4 ,english critics1 who expected ,the ,triumph of ,music to sustain the reputation won by ,cimabue's ,madonna1 were disappointed--partly because ,orpheus was represented as playing a violin1 in place of the traditional lyre4 ,to those who will examine and compare them more carefully1 there is no such discrepancy4 ,the ,triumph of ,music3 ,orpheus by the power of his ,art redeems his wife from ,hades1 which is every whit as distinctive a performance as the ,cimabue's ,madonna 7as indeed it was conceived and painted largely under the same conditions71 was nevertheless not a popular success4 ,certainly1 it marks1 as clearly as anything can1 the sense of colour1 the sense of form1 the draughtsmanship1 the immensely cultured eye and hand1 first discovered to the ,english critics by its predecessor4 ,it was sold after the painter's death4 ,of certain other works painted in #ahef1 #aheg1 and #aheh1 some of which never found their way to the ,academy1 little need be said4 ,to this period belong two pictures painted in ,paris1 the one1 ,pan under a fig-tree1 with a quotation from ,keats's ,endymion3 ,o thou1 to whom ,broad-leaved fig-trees even now foredoom ,their ripened heritage1 and the other1 a pendant to it1 ,a ,nymph and ,cupid4 ,salome1 the ,daughter of ,herodias1 painted in #aheg1 but apparently not exhibited at the ,academy1 represents a small full-length figure in white drapery1 with her arms above her head1 which is crowned with flowers2 behind her stands a female musician4 ,another1 shown in #aheh at the ,royal ,academy1 and again in the #ahig retrospective exhibition1 was first entitled ,the ,fisherman and ,syren1 and afterwards ,the ,mermaid2 it is a composition of two small full-length figures1 a mermaid clasping a fisherman round the neck4 ,the subject is taken from a ballad by ,goethe3 ,half drew she him1 ,half sunk he in1 ,and never more was seen4 ,in the same year was a painting inspired by ,romeo and ,juliet1 entitled ,count ,paris1 accompanied by ,friar ,laurence1 comes to the house of the ,capulets to claim his bride2 he finds ,juliet stretched1 apparently lifeless1 on the bed4 ,the picture shows1 in addition to the figures named in its former title1 the father and mother of ,juliet bending over their daughter's body1 and through an opening beyond numerous figures at the foot of the staircase4 ,the latter year marked the painter's return to ,london1 where he entered more actively into its artistic life than he had done hitherto1 and made closer acquaintance with the ,pre-,raphaelites1 who were already entering upon their second and maturer stage4 ,to take ,rossetti3 it was in #ahef that he made those five notable designs to illustrate ,poems by ,alfred ,tennyson1 which ,moxon and ,co4 published in the following year2 an event that1 for the first time1 really introduced him to the public at large4 ,to #aheg1 again1 belongs ,rossetti's ,blue ,closet and ,damsel of the ,sangrael1 both painted for ,mr4 ,w4 ,morris4 ,and in #aheg and #aheh1 the famous and hapless distemper pictures on the walls of the ,union ,debating ,society's room at ,oxford1 were engaging ,rossetti and his associates1 including ,burne-,jones1 ,william ,morris1 ,mr4 ,val4 ,prinsep1 ,mr4 ,arthur ,hughes1 and ,mr4 ,spencer ,stanhope4 ,illustration3 ,a ,,pencil ,,study ,it was in the summer of #aheh1 ,mr4 ,f4 ,g4 ,stephens tells us1 that the original ,hogarth ,club was founded1 of which the two ,rossettis were prominent instigators1--one of the most notable of the many protestant societies that have sprung up at different times from a slightly anti-,academic bias4 ,it is interesting to find that ,leighton's famous ,lemon ,tree drawing in silverpoint was exhibited here4 ,the ,hogarth ,club held its meetings at #agh1 ,piccadilly1 in the first instance2 removed afterwards to #f1 ,waterloo ,place1 ,pall ,mall1 and finally dissolved1 in #ahfa1 after existing for four seasons4 ,to speak of other painters more or less associated with ,rossetti and his school1 ,mr4 ,holman ,hunt1 whose ,light of the ,world had greatly struck ,paris in #ahee1 exhibited his ,scapegoat at the ,academy of #ahef1 a picture which called from ,mr4 ,ruskin immense praise1 and a characteristic protest3 ,i pray him to paint a few pictures with less feeling in them1 and more handling4 ,of ,millais we have already spoken4 ,in #ahef he exhibited ,the ,child of the ,regiment1 ,peace ,concluded1 and ,autumn ,leaves4 ,in #ahei ,leighton showed three pictures at the ,academy4 ,one1 ,a ,roman ,lady 7then called ,la ,nanna71 a half-length black-haired figure1 facing the spectator1 in ,italian costume2 another1 now called ,nanna1 then entitled ,pavonia1 a half-length figure of a girl in ,italian costume1 with peacock's feathers in the background2 and ,sunny ,hours1 which seems to have escaped record so far4 ,the same year saw another of his pictures1 ,samson and ,delilah1 exhibited at ,suffolk ,street4 ,we must not pass by the famous ,study of a ,lemon ,tree 7now at ,oxford71 mentioned above1 without quoting the praise by ,mr4 ,ruskin1 which made it famous4 ,mr4 ,ruskin couples it with another drawing1 both of which we have been fortunately able to reproduce in our pages4 ,these two perfect early drawings1 he writes1 are of ,a ,lemon ,tree1 and another of the same date1 of ,a ,byzantine ,well1 which determine for you without appeal1 the question respecting necessity of delineation as the first skill of a painter4 ,of all our present masters ,sir ,frederic ,leighton delights most in softly-blended colours1 and his ideal of beauty is more nearly that of ,correggio than any seen since ,correggio's time4 ,but you see by what precision of terminal outline he at first restrained1 and exalted1 his gift of beautiful vaghezza4 ,the ,lemon ,tree study1 let us add1 was drawn at ,capri in the spring of #ahei4 ,here1 and elsewhere in the ,south of ,europe1 whither the artist returned1 escaping from ,london at every opportunity1 many other notable studies and drawings were made during this period4 ,some of these were employed long since for the backgrounds of pictures familiar to us all4 ,others1 faithful studies of nature1 small oil and water-colour drawings1 chiefly landscape1 were scarce known to the general public during the painter's life1 but were eagerly competed for at the sale of his pictures in ,july1 #ahif4 ,the little picture of ,capri at ,sunrise was hung in the ,academy of #ahfj1 the painter's only contribution of that year4 ,in the year following1 we find another small picture of ,capri1 together with five others1 some of which played their part in winning for the artist his wider recognition4 ,illustration3 ,a ,,lemon ,,tree ,a ,,pencil ,,study ,illustration3 ,,byzantine ,,well ,,head ,a ,,pencil ,,study ,meanwhile1 the artist was drawing his ,london ties closer4 ,in #ahfj he took up his abode at #b1 ,orme ,square1 where he continued to reside until he built his famous house in ,holland ,park ,road1 some years later4 ,his art did not for this reason become more like ,london1 or more infected with that ,british singularity which some critics would seem to demand4 ,on the contrary1 ,italy and the ,south1 the glow of colour1 the perfection of form1 the plastic exquisiteness1 which mark for us his mature performances1 and which follow after classic ideals1 were more and more clearly to be discerned in the remarkable cycle of pictures associated with this part of his career4 ,in #ahfa he painted portraits of his sister1 ,mrs4 ,sutherland ,orr1 and of ,mr4 ,john ,hanson ,walker1 the former shown at the ,academy1 where also hung ,paolo e ,francesca1 ,a ,dream1 ,lieder ohne ,worte1 ,j4 ,a4--a ,study1 and ,capri--,paganos4 ,rossetti1 writing of this exhibition1 says3 ,leighton might1 as you say1 have made a burst had not his pictures been ill-placed mostly--indeed1 one of them 7the only very good one1 ,lieder ohne ,worte7 is the only instance of very striking unfairness in the place4#b ,in #ahfb there were no fewer than six of the artist's pictures at the ,may exhibition of the ,academy3 the ,odalisque1 a very popular work1 shows a draped female figure1 in a very ,leightonesque pose1 with her arm above her head1 leaning against a wall by the water4 ,she holds a peacock's feather screen in her left hand1 while a swan in the water at her feet cranes its head upwards towards her2 ,michael ,angelo nursing his dying ,servant1 a group of two three-quarter length figures2 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 master2 ,the ,star of ,bethlehem1 showing one of the ,magi on the terrace of his house looking at the strange star in the ,east1 while below are indications of a revel he has just left4 ,duett1 ,sisters1 ,sea ,echoes1 and ,rustic ,music1 also belong to this year4 ,in #ahfc he showed ,eucharis1 a half-length figure of a white-robed girl1 with a basket of fruit on her head2 ,jezebel and ,ahab2 ,a ,cross-bow ,man2 and ,a ,girl ,feeding ,peacocks2 with these we complete the list of his work as an outsider4 ,illustration3 ,,golden ,,hours 7#ahfd7 ,,chapter ,,iii ,,year ,,by ,,year--#ahfd ,,to #ahfi ,in #ahfd ,leighton was made an ,associate of the ,royal ,academy4 ,to its summer exhibition he contributed three pictures1 showing great and various power in their composition4 ,dante at ,verona1 ,orpheus and ,eurydice1 and ,golden ,hours4 ,the first of these1 one of the most remarkable pictures of our modern ,english school1 in which ,dante appears1 is a large work1 with figures something less than life-size4 ,it illustrates the verses in the ,paradiso3 ,thou shalt prove ,how salt the savour is of others' bread2 ,how hard the passage1 to descend and climb ,by others' stairs4 ,but that shall gall thee most ,will be the worthless and vile company ,with whom thou must be thrown into the straits1 ,for all ungrateful1 impious all and mad ,shall turn against thee4 ,dante1 in fulfilment of this prophecy1 is seen descending the palace stairs of the ,can ,grande1 at ,verona1 during his exile4 ,he is dressed in sober grey and drab clothes1 and contrasts strongly in his ascetic and suffering aspect with the gay revellers about him4 ,the people are preparing for a festival1 and splendidly and fantastically robed1 some bringing wreaths of flowers4 ,bowing with mock reverence1 a jester gibes at ,dante4 ,an indolent sentinel is seated at the porch1 and looks on unconcernedly1 his spear lying across his breast4 ,a young man1 probably acquainted with the writing of ,dante1 sympathises with him4 ,in the centre and just before the feet of ,dante1 is a beautiful child1 brilliantly dressed and crowned with flowers1 and dragging along the floor a garland of bay leaves and flowers1 while looking earnestly and innocently in the poet's face4 ,next come a pair of lovers1 the lady looking at ,dante with attention1 the man heedless4 ,the last wears a vest embroidered with eyes like those in a peacock's tail4 ,a priest and a noble descend the stairs behind1 jeering at ,dante4#c ,it was the ,golden ,hours which1 though perhaps less memorable and imaginative than the others1 won the greatest popular success of the three1 a success beyond anything that the artist had so far painted4 ,as this picture is here reproduced1 description is needless1 except so far as regards the colour of the background1 which is literally golden4 ,the dress of the lady who leans upon the spinet is white1 embroidered with flowers4 ,the ,orpheus and ,eurydice showed that the old friendship1 formed originally in ,rome1 between the painter and ,robert ,browning1 was maintained4 ,some of the poet's lines served as a text for the picture2 and as they are little known we repeat them here3 ,but give them me--the mouth1 the eyes1 the brow-- ,let them once more absorb me6 ,one look now ,will lap me round for ever1 not to pass ,out of its light1 though darkness lie beyond4 ,hold me but safe again within the bond ,of one immortal look6 ,all woe that was1 ,forgotten1 and all terror that may be1 ,defied1--no past is mine1 no future6 look at me6 ,illustration3 ,,helen ,,of ,,troy 7#ahfe7 ,by permission of ,messrs4 ,henry ,graves and ,co4 ,illustration3 ,,orpheus ,,and ,,eurydice 7#ahfd7 ,to this year1 also1 belongs a portrait of ,the late ,miss ,lavinia ,i',anson1 a circular panel showing the sky for background4 ,this was exhibited again in the winter ,academy of #ahig4 ,in #ahfe the artist showed once again his eclectic sympathies1 by the variety of the subject-pictures that he sent to the ,academy1 ranging from ,david to ,helen of ,troy4 ,in his tenderly conceived ,david1 the ,psalmist is seen gazing at two doves in the sky above2 he1 sunk in a profound reverie1 is seated upon a house-top overlooking some neighbouring hills4 ,the whole is large in its handling and treatment1 and in the simplicity of its drapery recalls several of the famous illustrations the artist contributed to ,dalziel's ,bible ,gallery4 ,it was exhibited with the quotation1 ,oh1 that ,i had wings like a dove6 for then would ,i fly away and be at rest4 ,with the delightful ,helen of ,troy we are recalled to the third book of the ,iliad1 when ,iris bids ,helen go and see the general truce made pending the duel between ,paris and ,menelaus1 of which she is to be the prize4 ,so ,helen1 having summoned her maids and shadowed her graces with white veils1 rose and passed along the ramparts of ,troy4 ,in the picture the light falls on her shoulders and her hair1 while her face and the whole of the front of her form are shadowed over1 with somewhat mystical effect4 ,to the same year belongs ,in ,st4 ,mark's1 a picture of a lady with a child in her arms leaving the church1 a lovely and finished study of colour2 ,the ,widow's ,prayer2 and ,mother and ,child1 a graceful reminder of a gentler world than ,helen's4 ,in #ahff the critics had at last a work which seemed to them to follow the lines of the ,cimabue's ,madonna4 ,this was the radiant and lovely picture of the ,syracusan ,bride leading ,wild ,beasts in ,procession to the ,temple of ,diana4 ,the composition of this remarkable painting deserves to be closely studied1 for it is very characteristic of ,sir ,frederic ,leighton's theories of art1 and his conviction of the necessarily decorative effect of such works4 ,a terrace of white marble1 whose line is reflected and repeated by the line of white clouds in the sky painting above1 affords the figures of the procession a delightful setting4 ,the ,syracusan bride leads a lioness1 and these are followed by a train of maidens and wild beasts1 the last reduced to a pictorial seemliness and decorative calm1 very fortunate under the circumstances4 ,the procession is seen approaching the door of the temple1 and a statue of ,diana serves as a last note in the ideal harmonies of form and colour to which the whole is attuned4 ,as compared with the ,cimabue's ,madonna1 it is a more finished piece of work1 and the handling throughout is more assured4 ,it was as much an advance1 technically1 upon that1 as the ,daphnephoria1 which crowned the artist's third decade1 was upon this4 ,according to popular report1 it was this picture of the ,syracusan ,bride which decided his future election as a full member of the ,academy2 but as a matter of fact1 it was in #ahfi that this election took place4 ,the picture1 let us add1 was suggested to the painter by a passage in the second ,idyll of ,theocritus3 ,and for her then many other wild beasts were going in procession round about1 and among them a lioness4 ,the ,painter's ,honeymoon and a ,portrait of ,mrs4 ,james ,guthrie were also exhibited this year2 and the wall-painting of ,the ,wise and ,foolish ,virgins1 at ,lyndhurst1 in the ,new ,forest1 was executed during the summer4 ,illustration3 ,,venus ,,disrobing ,,for ,,the ,,bath 7#ahfg7 ,illustration3 ,,electra ,,at ,,the ,,tomb ,,of ,,agamemnon 7#ahfi7 ,in its next exhibition1 that of #ahfg1 the ,academy held five pictures by the artist1 including the delightful ,pastoral1 two small full-length figures standing in a landscape of a shepherd and a girl--whom he is teaching to play the pipes4 ,this again might be considered a painter's translation from ,theocritus1 and the ,venus ,disrobing for the ,bath1 one of the most debated of all the artist's paintings of the nude4 ,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 nature4 ,in imparting an ideal effect to an ideal subject1 ,leighton always1 however1 followed his own conviction--that art has a law of its own1 and a harmony of colour and form1 derived and selected no doubt from natural loveliness1 but not to be referred too closely to the natural1 or to the average1 in these things4 ,to the #ahfh ,academy ,leighton contributed another biblical theme1 ,jonathan's ,token to ,david4 ,with this were four others1 as widely varying in subject and conception as need be desired4 ,one was a very charming portrait of a very pretty woman1 ,mrs4 ,frederick ,p4 ,cockerell4 ,then follow three more in that cycle of classic subjects1 of which the painter never tired4 ,the full title of the first runs1 ,ariadne abandoned by ,theseus3 ,ariadne watches for his return3 ,artemis releases her by death4 ,in it the figure of ,ariadne1 clothed in white drapery1 is seen lying on a rocky promontory overlooking the sea4 ,acme and ,septimius is a circular picture1 with two small full-length figures reclining on a marble bench4 ,this extract from ,sir ,theodore ,martin's translation of ,catullus was appended to its title in the catalogue3 ,then bending gently back her head1 ,with that sweet mouth so rosy red1 ,upon his eyes she dropped a kiss1 ,intoxicating him with bliss4 ,a love song on canvas1 a pictorial transcript from ,catullus1 it was perhaps the most popular picture of the year4 ,the last of the three was ,acta1 the ,nymph of the ,shore4 ,it represents a small full-length nude figure lying on white drapery by the sea-shore4 ,acta is a lovely figure1 full of that grace which ,leighton so well knew how to impart to his idealized figures4 ,after this year1 at any rate1 there could be no longer any doubt but that the artist's power really lay in the creation of ideal forms2 whether presented in monomime or combined in poetic and decorative groups1 called up from the wonderful limbo of classic myth and history4 ,with #ahfi came ,electra at the ,tomb of ,agamemnon1 a memorable picture1 full of characteristic effects of colour and composition1 and a notable exercise in the grand style4 ,this work1 considered from any side1 must be seen to be the outcome of a unique faculty1 so unprecedented in ,english art as to run every risk of misconception that native predilections could impose upon those who stopped to criticise it4 ,the figure of ,electra clad in black drapery offered a problem of peculiar difficulty4 ,another painting shown this year was ,ddalus and ,icarus1 a strikingly conceived picture4 ,the two figures are singularly noble conceptions of the idealized nude2 the drapery at the back of ,icarus is typical of the painter in every fold1 while the landscape seen far below the stone platform on which the figures stand1 shows a bay of the blue gean sea in full sidelight1 with a lovely glimpse of the white walls of a distant town4 ,the same exhibition of #ahfi saw1 also1 the vigorously painted diploma picture1 ,st4 ,jerome1 which marked his election as ,r4,a4 ,in it the saint1 nude to the waist1 kneels with uplifted arms at the foot of a crucifix1 his lion seen in the background4 ,helios and ,rhodos1 another painting exhibited at the same time1 shows ,helios descending from his chariot1 which is in a cloud above1 to embrace the nymph ,rhodos1 who has risen from the sea4 ,illustration3 ,d,,dalus ,,and ,,icarus 7#ahfi7 ,illustration3 ,,st4 ,,jerome 7#ahfi7 ,,chapter ,,iv ,,year ,,by ,,year--#ahgj ,,to #ahgh ,sundry journeys into the ,east during this period of ,leighton's career1 gave him new subject-matter1 new tints to his palette1 and added something of an oriental fantasy to the classic sentiment of his art4 ,the sketches of ,damascus and other time-honoured eastern cities1 mosques1 gardens1 and courtyards1 which figured largely among ,sir ,frederic's studies1 were made for the most part in the autumn of #ahgc4 ,previously1 as early as #ahfg1 the ,east had cast its spell upon him4 ,in #ahfh1 he went into ,egypt1 and made a voyage up the ,nile with ,m4 de ,lesseps1 then at the flood of good-fortune4 ,the ,khedive himself provided the steamer for this adventure4 ,it was during this voyage1 we are told1 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 hairs4 ,of the studies made during the journey1 one is a woman's head1 draped so as to have a singularly archaic and ,sphinx-like effect4 ,another is the fine profile of a young peasant2 and yet another1 the head of an old man1 simple-minded and philosophical4 ,illustration3 ,,garden ,,at ,,generalife1 ,,granada ,illustration3 ,,mimbar ,,of ,,the ,,great ,,mosque ,,at ,,damascus 7,since destroyed by fire7 ,in #ahfi the ,helios and ,rhodos1 already mentioned1 served as the first sign to the public of the new ,r4,a4's interest in things oriental4 ,to the #ahgj exhibition1 his only contribution was the picture1 ,a ,nile ,woman1 which is now owned by the ,princess of ,wales4 ,it is a small full-length figure of a girl1 balancing an empty pitcher upon her head1 at the time of moonrise4 ,anticipating the ,eastern subjects which future years produced1 we may note a picture of ,old ,damascus1 showing the ,jews' quarter in that fabled city1 in all its motley picturesqueness1 and the delightful ,moorish ,garden1--,a ,dream of ,granada1 which were exhibited in #ahgd4 ,a powerful picture1 shown in #ahge1 of the ,egyptian ,slinger1#d is illustrated later in this volume1 but no reproduction can quite suggest the striking colouring of the original1 and the masterly treatment of its light and shade1 in the presentment of this lonely figure posed high on its platform against the clear evening sky4 ,the delightful ,little ,fatima1 and the ,grand ,mosque1 ,damascus1 enlarged from the sketch previously alluded to1 were also exhibited in #ahge4 ,but perhaps the most picturesque memorial of the ,east due to the artist's wanderings of these years1 is an architectural1 and not a pictorial one4 ,the fame of the ,arab ,hall in ,lord ,leighton's house has reached even further than that of ,little ,fatima1 or his painting of the ,grand ,mosque at ,damascus4 ,built originally to provide a setting for some exquisite blue tiles1 brought by the owner from ,damascus itself1 it remains the most perfect representation of an oriental interior to be found in ,london2 but this again belongs to a later period1 and we must return to the date whence this chronicle was interrupted4 ,before doing so1 however1 it may be noted that in #ahgj began the famous ,winter ,exhibitions of ,old ,masters and ,deceased ,british ,artists1 of which ,leighton was one of the most active supporters4 ,in the ,may exhibition of the ,royal ,academy1 #ahga1 was hung a notable canvas1 ,greek ,girls picking up ,pebbles by the ,sea1 described at the time as a delightful composition1 comprising figures of almost exhaustless grace1 and wealth of beauty in design and colour4 ,another painting1 also shown there1 ,cleoboulos instructing his daughter ,cleobouline1 is a charming example of its kind4 ,the philosopher1 with a scroll on his lap1 sits on a cushioned bench with his young daughter by his side1 his earnest action in delightful contrast with her girlish grace4 ,but his great work in #ahga was ,hercules wrestling with ,death for the body of ,alcestis4 ,the scene of this profound tragedy is on the sea-shore1 where the body of ,alcestis1 robed in white1 lies under the branches of trees in the centre of the picture4 ,on the left is a group of mourners1 a seated girl and a woman prostrate in grief4 ,on the right are the two struggling figures2 ,hercules' superb form and tossing lion-skin contrasting finely1 both in action and colouring1 with the tall and coldly grey-robed spectre of ,death1 who presses forward to the bed where ,alcestis lies1 whence he is thrust back by the mighty ,hercules4 ,the exquisite figure of ,alcestis with her statuesquely draped robes and their pure and delicate colouring1 forms a wonderful contrast to the two strenuous figures on the right1 while the figures of the mourners on the left are delightfully posed and full of grace4 ,in ,july of this year1 it is interesting to remember1 appeared ,browning's ,balaustion's ,adventure1 which contained the following tribute to the above picture and its painter3 ,i know1 too1 a great ,kaunian painter1 strong ,as ,herakles1 though rosy with a robe ,of grace that softens down the sinewy strength3 ,and he has made a picture of it all4 ,there lies ,alkestis dead1 beneath the sun1 ,she longed to look her last upon1 beside ,the sea1 which somehow tempts the life in us ,to come trip over its white waste of waves1 ,and try escape from earth1 and fleet as free4 ,behind the body ,i suppose there bends ,old ,pheres in his hoary impotence2 ,and women-wailers1 in a corner crouch --,four1 beautiful as you four1--yes1 indeed6 ,close1 each to other1 agonizing all1 ,as fastened1 in fear's rhythmic sympathy1 ,to two contending opposite4 ,there strains ,the might o' the hero 'gainst his more than match1 --,death1 dreadful not in thew and bone1 but like ,the envenomed substance that exudes some dew1 ,whereby the merely honest flesh and blood ,will fester up and run to ruin straight1 ,ere they can close with1 clasp and overcome1 ,the poisonous impalpability ,that simulates a form beneath the flow ,of those grey garments2 ,i pronounce that piece ,worthy to set up in our ,poikil6 ,illustration3 ,,hercules ,,wrestling ,,with ,,death ,,for ,,the ,,body ,,of ,,alcestis 7#ahga7 ,illustration3 ,,summer ,,moon 7#ahgb7 ,by permission of ,messrs4 ,p4 and ,d4 ,colnaghi and ,co4 ,to #ahgb belongs the ,summer ,moon1 one of the loveliest things ever shown at the ,academy1 a picture full of that rarer feeling for light and colour1 which the artist achieved again and again in his treatment of sunset1 twilight1 and night effects4 ,after ,vespers1 exhibited the same year1 is a three-quarter length figure of a girl in a green robe standing in front of a bench1 holding in her right hand a string of beads4 ,this year's ,academy held also ,a ,condottiere1 the noble figure of a man in armour1 now in the ,birmingham ,municipal ,gallery1 and a portrait of the ,right ,hon4 ,edward ,ryan4 ,hardly less memorable was ,moretta1 exhibited in the ,academy of #ahgc1 in the words of a critic of the day1 one of the most subtle and fortunate productions of the painter4 ,moretta is robed in green1 with masses of loosely arranged hair1 and a tender and delicate face4 ,weaving the ,wreath1 shown the same year 7and again in the ,guildhall1 #ahie71 is a very charming figure of quite a young girl seated on a carpet upon a raised step at the foot of a building4 ,behind her is a bas-relief1 against which her head1 crowned by a chaplet of flowers1 tells out with sculpturesque effect2 the sharp1 vertical line of thread strained between her hands1 and thence in diagonal line to the ball at her feet1 is curiously rigid1 and by contrast makes the draperies across which it is silhouetted appear still more mobile4 ,we are passing over1 deliberately1 the artist's decorative masterpieces of this period1--the ,south ,kensington frescoes to wit2 of which the ,arts of ,war belongs to the year #ahgb1 and its companion1 ,arts of ,peace1 to #ahgc4 ,these works will be found treated at length in a later chapter on the artist's decorative work 7pp4 #fc1 #fd74 ,in the ,academy of #ahgd appeared four pictures1 the most important being the heroic painting1--,clytemnestra from the ,battlements of ,argos watches for the ,beacon-fires which are to announce the ,return of ,agamemnon4 ,in this picture1 the figure of ,clytemnestra is seen standing erect1 with hands folded1 supporting the drapery that clothes a majestic form4 ,for further description1 we may be content to quote that given at the time in the appreciative art columns of the ,athenum3 ,there is the grandeur of ,greek tragedy in ,mr4 ,leighton's ,clytemnestra watching for the signal of her husband's return from ,troy4 ,the time is deep in the fateful night1 while the city sleeps2 moonlight floods the walls1 the roofs1 the gates1 and the towers with a ghastly glare1 which seems presageful1 and casts shadows as dark as they are mysterious and terrible4 ,the dense blue of the sky is dim1 sad1 and ominous4 ,but the most ominous and impressive element of the picture is a grim figure1 the tall woman on the palace roof before us1 who looks ,titanic in her stateliness1 and huge beyond humanity in the voluminous white drapery that wraps her limbs and bosom4 ,her hands are clenched and her arms thrust down straight and rigidly1 each finger locked as in a struggle to strangle its fellow2 the muscles swell on the bulky limbs4 ,drawn erect and with set features1 which are so pale that the moonlight could not make them paler1 the queen stares fixedly and yet eagerly into the distance1 as if she had the will to look over the very edge of the world for the light to come4 ,illustration3 ,,the ,,juggling ,,girl 7#ahgd7 ,illustration3 ,a ,,condottiere 7#ahgb7 ,by permission of the ,corporation of ,birmingham ,another picture this year was the ,moorish ,garden--a dream of ,granada1 a delightful little canvas1 almost square4 ,in the foreground is a young girl carrying copper vessels1 and followed by two peacocks2 the background is obviously taken from the study of a garden at ,generalife 7reproduced at p4 #bh72 the ,antique ,juggling ,girl and ,old ,damascus3 the ,jews' ,quarter1 were also in the ,academy of #ahgd4 ,to #ahge belongs the ,egyptian ,slinger1 a picture which1 as we shall see later1 provoked severe censure from ,mr4 ,ruskin4 ,as exhibited it differed much from its present state4 ,not only was the sky of deeper violet1 but almost in silhouette against the moon1 on another raised platform1 stood a draped female figure1 afterwards painted out entirely4 ,other works shown this year were ,little ,fatima1 a small half-length figure of a little girl in ,eastern costume1 seen against a dark background2 and a ,portion of the ,interior of the ,grand ,mosque at ,damascus 7reproduced at p4 #bh74 ,as the building it depicts has since been burnt down1 the fine transcript has an added interest4 ,we are come now to a year which1 even beyond other years of activity1 displayed the artist's characteristic energy3 #ahgf4 ,in the ,academy of that year1 with the ,daphnephoria1 ,leighton once more chose a great classic theme1 for a painting which1 by its composition1 reminded the critics and lovers of art of the artist's early triumph with the ,cimabue's ,madonna1 and of his other great processional picture1 the ,syracusan ,bride4 ,of all his works in this class1 there is no doubt that the ,daphnephoria is the most technically complete4 ,the procession is seen defiling along a terrace backed by trees through which the clear southern sky gleams4 ,a youth carrying the symbolic olive bough1 called the ,kopo1 adorned with its curious emblems1 leads the procession4 ,he is clad in purple robes and crowned with leaves4 ,the youthful priest1 known as the ,daphnephoros 7the laurel-bearer7 follows1 clothed in white raiment4 ,he is similarly crowned1 and carries a slim laurel stem4 ,then come three boys1 in scanty red and green draperies1 which serve only to emphasize the beauty of their almost naked forms1 the middle and tallest one bearing aloft a draped trophy of golden armour4 ,these are seen to be pausing while the leader of the chorus1 a tall1 finely modelled man1 whose back is turned1 is giving directions to the chorus with uplifted right hand2 in his left hand is a lyre1 and the left arm from the elbow is characteristically draped4 ,the first row of the chorus is composed of five children1 clothed in purple1 crowned with flowers2 two rows of maidens1 in blue and white1 come next2 and these in turn are succeeded by some boys with cymbals4 ,the interest of the passing procession is very much enhanced by the effect produced on two lovely bystanders1--a girl and child in blue1 beautifully designed1 who are drawing water in the left foreground4 ,in the valley below is seen the town of ,thebes4 ,illustration3 ,,the ,,daphnephoria 7#ahgf7 ,by permission of ,the ,fine ,art ,society4 ,illustration3 ,,study ,,for ,,the ,,daphnephoria ,with the painter's reading of the ,daphnephoria it may be interesting to compare another account of this splendid religious function4 ,at this festival in honour of ,apollo1 celebrated every ninth year by the ,boeotians1 it was usual1 says pleasant ,lempriere1 to adorn an olive bough with garlands of laurel and other flowers1 and place on the top a brazen globe1 from which were suspended smaller ones4 ,in the middle was placed a number of crowns1 and a globe of inferior size1 and the bottom was adorned with a saffron-coloured garment4 ,the globe on the top represented the ,sun1 or ,apollo2 that in the middle was an emblem of the moon1 and the others of the stars4 ,the crowns1 which were #cfe in number1 represented the sun's annual revolution4 ,this bough was carried in solemn procession by a beautiful youth of an illustrious family1 whose parents were both living4 ,he was dressed in rich garments which reached to the ground1 his hair hung loose and dishevelled1 his head was covered with a golden crown1 and he wore on his feet shoes called ,iphricatid1 from ,iphricates1 an ,athenian who first invented them4 ,he was called ,daphnphoros1 'laurel-bearer1' and at that time he executed the office of priest of ,apollo4 ,he was preceded by one of his nearest relations1 bearing a rod adorned with garlands1 and behind him followed a train of virgins with branches in their hands4 ,in this order the procession advanced as far as the temple of ,apollo1 surnamed ,ismenius1 where supplicatory hymns were sung to the god4#e ,in the #ahgf ,academy hung also the striking portrait1 ,captain ,richard ,burton1 ,h4,m4's ,consul at ,trieste2 and two very characteristic single figures1 ,teresina and ,paolo4 ,the portrait of ,captain ,burton has been fairly described as masterly4 ,there is no attempt1 said one critic1 at posing or picturesqueness in the portrait4 ,it is the head of a man who is lean and rugged and brown1 but the face is full of character1 and every line tells4 ,it is painted in the same strong and bold1 and yet careful1 way that distinguishes the head of ,signor ,costa1 painted three years later4 ,the next year saw ,leighton's first appearance as a sculptor4 ,it was at the ,academy of #ahgg that he exhibited the well-known1 vigorously designed and wrought ,athlete ,struggling with a ,python4#f ,this adventure of the ,r4,a4 into a new field proved so successful1 that the ,athlete took rank as the most striking piece of sculpture of that year4 ,in this work1 said a friendly critic1 ,mr4 ,leighton has attempted to succeed in a truly antique way4 ,we are bound to admit that he has done wisely1 bravely1 and successfully4 ,the statue was bought1 we may add1 for #b1jjj1 as the first purchase made by the trustees of the ,chantrey ,fund1 and is now in the ,tate ,gallery at ,millbank4 ,it was afterwards repeated in marble1 by the artist's own hand1 for the ,danish ,museum at ,copenhagen4 ,still more popular was his ,music ,lesson1 another work in the same exhibition4 ,to realize the full charm of this picture1 one must see the original2 for much depends upon the beauty of its colouring4 ,imagine a classical marble hall1 marble floor1 marble walls1 in black and white1 and red--deep red--marble pillars2 and sitting there1 sumptuously attired1 but bare-footed1 two fair-haired girls1 who serve for pupil and music-mistress4 ,the elder is showing the younger how to finger a lyre1 of exquisite design and finish2 and the expression on their faces is charmingly true1 while the colours that they contribute to the composition1--the pale blue of the child's dress1 the pale flesh tints1 the pale yellow hair1 and the white and gold of the elder girl's loose robe1 and the rich auburn of her hair1--are most harmonious4 ,a bit of scarlet pomegranate blossom1 lying on the marble ground1 gives the last high note of colour to the picture4 ,two other pictures of #ahgg must not be omitted4 ,study shows us a little girl 7the present ,lady ,orkney71 in ,eastern garb1 diligently reading a sheet of music which lies before her on a little desk4 ,there is great charm in the simple grace of the picture and in the softly brilliant colouring of the child's costume4 ,very delightful1 too1 is the portrait of ,miss ,mabel ,mills 7now the ,hon4 ,mrs4 ,grenfell71 habited in black velvet1 and a large dark hat with coloured feathers1 set against a grey background1 a picture here reproduced4 ,a ,study1 ,an ,italian ,girl1 and a ,portrait of ,h4 ,e4 ,gordon1 were all three shown at the ,grosvenor ,gallery the same year4 ,illustration3 ,,portrait ,,of ,,the ,,hon4 ,,mabel ,,mills 7#ahgg7 ,illustration3 ,,portrait ,,of ,,captain ,,richard ,,burton 7#ahgf7 ,another picture1 in which a simple theme is treated in a classic fashion--not dissimilar to that employed for the ,music ,lesson--is ,winding the ,skein1 a lovely painting exhibited at the ,academy in #ahgh4 ,in this we see two ,greek maidens as naturally employed as we often see ,english girls in other surroundings4 ,this idealization of a familiar occupation--so that it is lifted out of a local and casual sphere1 into the permanent sphere of classic art1 is characteristic of the whole of ,leighton's work4 ,he1 like ,sir ,l4 ,alma-,tadema and ,albert ,moore1 contrived also to preserve a certain modern contemporary feeling in the classic presentment of his themes4 ,he was never archaic2 so that the classic scenarium of his subjects1 in his hands1 appears as little antiquarian as a medival environment1 shall we say1 in the hands of ,browning4 ,nausicaa1 a full-length girlish figure1 in green and white draperies1 standing in a doorway1 and ,serafina1 another single figure1 and ,a ,study1 were also shown the same year4 ,at the ,grosvenor ,gallery were a ,portrait of ,miss ,ruth ,stewart ,hodgson1 a demure little damsel in outdoor attire1 and a ,study of a ,girl's ,head1 full face4 ,illustration3 ,,nausicaa 7#ahgh7 ,illustration3 ,,study ,,for ,,elijah ,,and ,,the ,,angel ,,chapter ,v ,,year ,,by ,,year--#ahgh ,,to #ahif ,on ,november #acth1 #ahgh1 ,frederic ,leighton was elected ,president of the ,royal ,academy1 in succession to ,sir ,francis ,grant1 and immediately received the honour of knighthood4 ,in #ahgi ,leighton sent eight contributions to the ,academy1 not one of which1 with the possible exception of the ,elijah1 perhaps1 has been counted among his masterpieces4 ,four of them belong to that group of ideal figure paintings which almost constitute a genre in themselves3 ,biondina1 ,catarina1 ,amarilla1 and ,neruccia1 a girl with a red flower in her hair1 in white dress1 against a dark background4 ,the finely austere ,elijah in the ,wilderness was an addition to the notable group of ,scriptural paintings4 ,in this picture the nude figure of the prophet is seen reclining on a rock1 with head and arms thrown back1 while beside him stands an angel holding bread and water4 ,the striking and powerful ,portrait of ,professor ,costa1 the ,portrait of the ,countess ,brownlow1 and a portrait study1 completed the list of the year's contributions1 the largest number ever sent in by ,leighton1 before his election or afterward4 ,this year ten of his landscape-studies in oil were exhibited at the ,grosvenor ,gallery4 ,it may be thought by the outsider that the coveted office of the ,president of the ,royal ,academy of ,arts is1 in a way1 an ornamental one1--some such golden sinecure as that of the old ,high ,chamberlains4 ,nothing could be more mistaken4 ,not everybody1 wrote the late ,mr4 ,underhill1 who for some time1 as private secretary to ,sir ,frederic ,leighton1 had special opportunities of knowing1 is aware of the tax upon a man's time and energy that is involved in the acceptance of the office in question4 ,the post is a peculiar one1 and requires a combination of talents not frequently to be found1 inasmuch as it demands an established standing as a painter1 together with great urbanity and considerable social position4 ,the inroads which the occupancy of the office makes upon an artist's time are very considerable4 ,there is1 on the average1 at least one ,council meeting for every three weeks throughout the whole of the year4 ,there are from time to time general assemblies for the election of new members and for other purposes1 over which the ,president is bound1 of course1 to preside4 ,for ten days or a fortnight in every ,april he has to be in attendance with the ,council daily at ,burlington ,house1 for the purpose of selecting the pictures which are to be hung in the ,spring ,exhibition4 ,he has to preside over the banquet which yearly precedes the opening of the ,academy1 and he has to act as host at the annual conversazione4 ,finally1 it is his duty every other year to deliver a long1 elaborate1 and carefully prepared ',discourse' upon matters connected with art1 to the students who are for that purpose assembled4 ,it is a post of much honour and small profit4 ,illustration3 ,,sister',s ,,kiss 7#ahhj7 ,by permission of the ,fine ,art ,society ,illustration3 ,,portrait ,,of ,,signor ,,costa 7#ahgi7 ,in filling this post1 and neglecting no one of its smallest offices and endless small courtesies1 an artist had needs be without the characteristic artist's defects of hesitation and delay2 and in fact1 ,lord ,leighton mastered1 as much as any statesman of our time1 the indispensable secret of despatch4 ,we quote from ,mr4 ,underhill again3 ,to administer the affairs of the ,academy1 to fulfil a round of social semi-public and public engagements1 and to paint pictures which invariably reach a high level of excellence1 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 disposal4 ',that's the secret1' remarked a distinguished member of the ,academy to the present writer some little time before the ,president's death2 ',sir ,frederic knows exactly how long it will take to do a certain thing1 and he apportions his time accordingly4' ,this being the case1 no one will be surprised to learn that he attached the greatest importance to punctuality4 ,he himself never failed to keep an appointment at the exact moment fixed upon1 and he expected1 of course1 similar punctuality on the part of others4 ,the stroke of eight from the ,academy clock was the signal for ,sir ,frederic to enter the ,council ,room at ,burlington ,house1 and to open the deliberations of the body over which he presided4 ',they will never again get a man to devote so much time and energy to the business of the ,academy1' said ,sir ,frederic ,leighton's most distinguished colleague shortly before his death2 'never again4' ,and since that time the same tribute has been paid ungrudgingly in public and private often enough4 ,in #ahhj1 we are tempted by five canvases2 of which the ,sister's ,kiss and ,psamathe1 are perhaps the most important4 ,the former turns a garden wall to delightful account1 in its picture of a child1 who is seated upon it1 and of her charmingly drawn elder sister1 who gives the kiss4 ,the composition of this picture may be seen in our reproduction1 but the colour of the bronze green robe--of singular beauty--is of course not even suggested4 ,more classic1 perhaps1 and not less picturesque1 is the ,greek maiden1 ,psamathe1 who was1 if we remember aright1 one of the ,nereides4 ,the artist has painted her sitting by the seashore1 gazing over the gean1 with her back turned to the spectator4 ,filmy garments1 which have slipped from her shoulders on to the sand2 arms folded about her knees2 every detail of the picture carries out the effect of dreamy loveliness that pervades ,psamathe and her surroundings4 ,iostephane is a three-quarter length figure1 less than life size1 of a girl in light yellow drapery1 with violets in her fair hair1 who stands facing the spectator and arranging her draperies over her right arm2 there are marble columns and a fountain in the background4 ,the ,light of the ,harem is a version of one of the groups in the fresco of ,the ,industrial ,arts of ,peace at ,south ,kensington4 ,the picture now known as the ,nymph of the ,dargle was also exhibited this year under the title of ,crenaia4 ,it represents a small full-length figure facing the spectator2 the river ,dargle flows through ,powerscourt1 and forms the waterfall here represented in the background1 hence its name4 ,rubinella1 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 year4 ,in #ahha1 the portrait of the ,painter1 painted by invitation in #ahhj for the collection of autograph portraits of artists in the ,uffizi ,gallery1 ,florence1 deserves particular mention4 ,not even ,mr4 ,watts' best portrait of ,leighton is quite so like as this1 which shows the striking head of the artist to great effect1 assisted by the decorative ,president's robe and insignia4 ,the ,idyll1 shown the same year1 has been compared by some critics with the ,cymon and ,iphigenia1 the scene and circumstance of both being to a certain degree similar1 while there are similar effects in both of colour and of composition4 ,in the ,idyll1 we have a lovely female figure1 lying at full length1 attended by a second nymph1 and by a piping man1 all grouped beneath an arm of a beech tree1 that extends overhead and shadows the upland ridge on which they have come to rest1 while they gaze on a river winding among sunlit meads4 ,the water reflects the blue and white of sky and clouds2 the land is dashed by shadows4 ,the nymphs' robes are red1 blue1 and pale yellow4 ,illustration3 ,,phryne ,,at ,,eleusis 7#ahhb7 ,illustration3 ,,day ,,dreams 7#ahhb7 ,by permission of the ,fine ,art ,society ,we ought not to overlook another idyllic picture in the same exhibition1 ,whispers1 an illustration of ,horace's well-known line1 ,lenesque sub noctem susurri4 ,in this charming work1 amid masses of crimson flowers and green leaves1 two lovers are seen seated upon a marble bench1 while he whispers tenderly in her ear1 and she listens with dreamy eyes and maidenly mien4 ,the noble picture of ,elisha and the ,shunamite's ,son 7reproduced at p4 #aad7 was also shown this year1 as well as ,bianca1 a fair-haired girl in a white dress1 standing with folded arms1 ,viola1 and two portraits1 ,mrs4 ,augustus ,ralli1 exhibited at the ,royal ,academy1 and ,mrs4 ,algernon ,sartoris1 at the ,grosvenor ,gallery4 ,in the #ahhb ,academy appeared two of the most popular of ,sir ,frederic's pictures1 ,wedded and ,day ,dreams4 ,in the latter1 a fair ,sybarite is pressing her cheek against her hands1 as she stands near a tapestry1 with eyes gazing far away1 the images of love-dreams in them2 her purple mantle1 embroidered with silver1 produces a charming effect of colour4 ,still more famous is ,wedded1--one of the happiest of ,sir ,frederic's designs1 said a critic at the time1 and as a composition of lines1 difficult1 subtle1 and original1 may be called one of the most remarkable productions of this decade4 ,other pictures shown this year were ,antigone and the much-debated ,phryne at ,eleusis--a notable study of the famous hetaira1 who is seen standing1 and holding out with one hand the mass of her deep auburn hair4 ,her skin is of a ruddy golden hue1 as if seen under a glow of sunlight4 ,red tissue1 which falls from her shoulders and extended arms1 and an olive-coloured mantle that has fallen at the foot of the marble columns behind her1 backed by a sky1 very characteristic of the painter1 in which snowlike masses of cloud float in a southern azure1 produce a total effect of a certain super-womanly order of beauty4 ,a ,design for a portion of a ,proposed ,decoration in ,st4 ,paul's1 a picture entitled ,melittion1 and a ,portrait of ,mrs4 ,mocatta1 were also hung at the ,academy in #ahhb2 ,zeyra1 a little ,eastern child in plum coloured headdress1 a rich bit of colour elaborately painted1 was shown at the ,grosvenor ,gallery4 ,in #ahhc1 ,memories1 though not one of the most typical of ,leighton's pictures1 decidedly pleased the general public4 ,it shows the half-length figure of a blonde1 in a black and gold dress4 ,more interesting artistically was a decorative frieze1 ,the ,dance1 for a drawing-room1 the design for which we reproduce1 and which may1 in so far1 answer for itself4 ,other pictures of #ahhc are ,kittens1 a full-length figure of a fair-haired child in purple and embroidered drapery1 seated on a bench covered with a leopard skin1 holding a rose in hand and looking down at a kitten sitting beside her2 and the ,vestal1 a bust of a girl with her head and shoulders swathed with white gold-embroidered draperies4 ,to this year also belongs a ,portrait of ,miss ,nina ,joachim1 a child in a blue frock with crimson sash4 ,illustration3 ,cymon and ,iphigenia4 ,by permission of the ,fine ,art ,society4 ,f4 ,leighton4 pinxt4 ,swan ,electric ,engraving ,co4 ,sc4 ,illustration3 ,,studies ,,for ,,two ,,friezes ,,music ,,and ,,the ,,dance ,the next year1 #ahhd1 brought ,letty1 that most delightful of ,english maidens1 ,a ,nap1 ,sun ,gleams1 and the imaginative and admirably romantic ,cymon and ,iphigenia4 ,letty was one of ,leighton's pictures which particularly excited ,mr4 ,ruskin's admiration4 ,it shows a simply pretty child1 with soft brown hair under a black hat1 a saffron kerchief about her neck4 ,the ,letty and the ,cymon and ,iphigenia1 with a few other notable pictures1 did much to leave a pleasant recollection of the exceptional ,academy of #ahhd4 ,a more original effect of light and colour1 used in the broad1 true1 and ideal treatment of lovely forms1 said a ,french critic1 we do not remember to have seen at the ,academy1 than that produced by the ,cymon and ,iphigenia4 ,engravings and other reproductions of the picture have made its design1 at any rate1 almost as familiar now as ,boccaccio's tale itself4 ,there are some divergences1 however1 in the two versions4 ,boccaccio's tale is a tale of spring2 ,sir ,frederic1 the better to carry out his conception of the drowsy desuetude of sleep1 and of that sense of pleasant but absolute weariness which one associates with the season of hot days and short nights1 has changed the spring into that riper summer-time which is on the verge of autumn2 and that hour of late sunset which is on the verge of night4 ,under its rich glow lies the sleeping ,iphigenia1 draped in folds upon folds of white1 and her attendants2 while ,cymon1 who is as unlike the boor of tradition as ,spenser's ,colin ,clout is unlike an ordinary ,cumbrian herdsman1 stands hard-by1 wondering1 pensively wrapt in so exquisite a vision4 ,altogether1 a great presentment of an immortal idyll2 so treated1 indeed1 that it becomes much more than a mere reading of ,boccaccio1 and gives an ideal picture of ,sleep itself1--that ,sleep which so many artists and poets have tried at one time or another to render4 ,in #ahhe1 among the five contributions of the ,president to the ,academy1 appeared the vivacious portrait of ,lord ,rosebery's little daughter1 ,the ,lady ,sybil ,primrose1 who appears in white with a blue sash1 carrying a doll4 ,a ,portrait of ,mrs4 ,a4 ,hichens and ,phoebe were the only other pictures this year4 ,a frieze1 ,music1 was shown1 and at the ,grosvenor ,gallery ,a ,study of a fair-haired girl1 in green velvet dress4 #ahhf was chiefly notable for the statue in bronze of ,the ,sluggard1 in which ,leighton again furnished us with a plastic characterization of ,sleep1 which he designed by way of contrast to his statue of the struggling ,athlete4 ,it was suggested1 ,mr4 ,spielmann says1 by accidental circumstances4 ,the model who had been sitting to him fell a-yawning in his interval of rest1 and charmed the artist1 not only with his exceptional beauty of line and play of muscle1 but also with the artistic contrast of energy and languor4 ,but that he might not lay himself open to the charge that the work was a glorification of indolence1 the sculptor made concession to what after all was an artistic suggestion1 and placed under the yawner's foot ,the glorious wreath of laurel leaves ,heel trodden and despised4 ,the graceful statuette of a little girl who is alarmed by a toad on the edge of a pool or stream of water1 called ,needless ,alarms1 appeared at the same time2 and was so much admired by the ,president's colleague1 ,sir ,john ,everett ,millais1 that he wished to purchase it1 whereupon ,sir ,frederic presented it to him1 and received1 in return1 the charming picture of ,shelling ,peas1 which ,sir ,john painted specially for this pleasant exchange4 ,in #ahhf also appeared the ,decoration in ,painting for a ,music ,room1 destined for ,new ,york1 which is illustrated#g by the completed work1 and its preliminary studies from life for it4 ,gulnihal1 a single figure1 is the only other painting exhibited at the ,academy in this year4 ,illustration3 ,,the ,,last ,,watch ,,of ,,hero 7#ahhg7 ,by permission of the ,manchester ,corporation ,illustration3 ,,portrait ,,of ,,the ,,lady ,,sybil ,,primrose 7#ahhe7 ,in #ahhg appeared a picture which seems scarcely to have received its due appreciation1 ,the ,jealousy of ,simtha the ,sorceress4 ,this is a seated figure in yellow and white drapery1 with a purple mantle wrapped around her shoulders2 a well-wrought1 finely-rendered work4 ,the ,last ,watch of ,hero1 also first seen this year1 is now in the ,manchester ,corporation ,gallery4 ,it is in two compartments2 in the upper1 and larger1 ,hero1 clad in pink drapery1 is seen drawing aside a curtain and gazing out over the sea4 ,below1 in the smaller panel1 is the body of the dead ,leander1 on a rock washed by the waves4 ,a quotation from ,sir ,edwin ,arnold's translation of ,musus was appended to its title3 ,with aching heart she scanned the sea-face dim4 99 99 99 99 99 ,lo6 at the turret's foot his body lay1 ,rolled on the stones and washed with breaking spray4 ,a picture of a little girl with yellow hair and pale blue eyes1 entitled with a verse by ,robert ,browning3 ,yellow and pale as ripened corn ,which ,autumn's kiss frees1--grain from sheath1-- ,such was her hair1 while her eyes beneath ,showed ,spring's faint violets freshly born1 was in the same exhibition1 and also a design for the reverse of the ,jubilee medallion1 executed for her ,majesty's ,government4 ,in #ahhh appeared another large work1 which1 although not absolutely a procession1 has much in common with the ,cimabue1 the ,syracusan ,bride1 and ,the ,daphnephoria4 ,it was entitled ,captive ,andromache1 and accompanied by a fragment of the ,iliad1 translated by ,e4 ,b4 ,browning3 444 ,some standing by ,marking thy tears fall1 shall say1 ',this is she1 ,the wife of that same ,hector that fought best ,of all the ,trojans when all fought for ,troy4' ,this1 and a ,portrait of ,amy1 ,lady ,coleridge1 were the artist's only contributions to the ,royal ,academy of #ahhh4 ,the ,portraits of the ,misses ,stewart ,hodgson is also of this year1 which saw four landscape studies exhibited at the ,royal ,society of ,painters in ,water ,colours1 and five at the ,royal ,society of ,british ,artists1 ,suffolk ,street4 ,the ,sibyl1 exhibited in #ahhi1 is a full-length figure swathed in lilac drapery1 seated with her legs crossed1 on a chair1 her chin supported by her left hand1 and gazing out of the picture4 ,beside her are scrolls1 and a sombre sky is behind the figure4 ,invocation1 a girl in white robes with arms raised above her head1 and a ,portrait of ,mrs4 ,f4 ,lucas1 were also shown2 but ,greek ,girls playing at ,ball is not only the most important1 but is also a picture that shows the mannerism of ,lord ,leighton's treatment of drapery at its finest4 ,elsewhere the undulating snaky coils may be somewhat distressing1 here they float in the air and help the suggestion of movement4 ,the landscape at the back is also both typical and beautiful4 ,an ,elegy was the fifth of the artist's contributions to the ,academy of #ahhi4 ,in #ahij ,the ,bath of ,psyche appeared at the ,academy4 ,this at once established its position as a popular favourite1 and has probably been more widely reproduced than any other4 ,it was purchased under the terms of the ,chantrey ,bequest1 and is now in the ,tate ,gallery4 ,it was suggested1 so ,mr4 ,m4 ,h4 ,spielmann tells us1 by the paper-knife picture1 as ,lord ,leighton called it1 which he had painted for ,sir ,l4 ,alma-,tadema's wall screen4 ,solitude was also shown this year1 and the ,tragic ,poetess1 a full-length figure1 clad in blue and purple drapery1 on a terrace1 with the sea beyond4 ,the fourth picture at the ,academy was a very faithfully painted transcript of ,the ,arab ,hall1 at ,no4 #b1 ,holland ,park ,road4 ,illustration3 ,,greek ,,girls ,,playing ,,at ,,ball 7#ahhi7 ,by permission of the ,berlin ,photographic ,co4 ,illustration3 ,,the ,,bath ,,of ,,psyche 7#ahij7 ,by permission of the ,berlin ,photographic ,co4 ,in #ahia appeared ,perseus and ,andromeda1 a very original version of a theme which it seems the destiny of every painter and sculptor of classical subjects to attempt at some time4 ,in this ,andromeda is bound to a rock1 the monster stands over her with outstretched wings1 while from the clouds above1 ,perseus1 on his winged steed1 is discharging arrows4 ,the clay models for ,perseus are reproduced elsewhere 7at p4 #fh74 ,the ,return of ,persephone was another important work shown this year4 ,it represents ,persephone1 supported by ,hermes1 being brought back to the upper world1 where she is awaited with outstretched arms by ,demeter4 ,a ,portrait of ,a4 ,b4 ,mitford1 ,esq41 and a marble version of the ,athlete ,struggling with a ,python1 were also shown in the same exhibition4 ,in #ahib a version of a panel of the proposed decoration for the dome of ,st4 ,paul's appeared with the title1 ,and the ,sea gave up the ,dead which were in it2 this1 purchased by ,mr4 ,henry ,tate1 is now among the pictures he gave to the ,gallery at ,millbank4 ,the most important of ,leighton's later works1 ,the ,garden of the ,hesperides1 in many respects the most sumptuous piece of decoration he ever achieved1 was shown this year4 ,it is a large circular picture1 the centre occupied by a tree bearing golden apples2 under its branches recline the three ,hesperides1 caressing the dragon who assists them to guard the treasure4 ,a superbly brilliant sea is in the distance4 ,the charm of this picture is mainly in its colour1 but as an example of elaborately artificial composition it is hardly less noteworthy4 ,unfortunately1 despite every effort of ,lord ,leighton1 most kindly exerted on behalf of the editor of this volume1 the owners of the copyright refused under any condition to allow it to be illustrated herein4 ,a ,bacchante1 and ,at the ,fountain1 a girl in fawn-coloured and violet draperies1 with a bunch of lemons overhanging the marble wall behind her1 were shown this year2 and also a ,clytie1 which must not be confused with another known by the same title1 the last picture on which the artist was at work before his death4 ,the #ahib version1 shown in the retrospective exhibition1 is thus described in its catalogue3 ,a small figure of ,clytie is seen on the right1 kneeling on a stone building with arms outstretched towards the sun1 which is setting behind a range of moorland hills4 ,in #ahic ,hit1 ,the ,frigidarium1 ,farewell1 ,corinna of ,tanagra1 and ,rizpah were exhibited at the ,academy4 ,of these the most important is the last named4 ,it illustrates the story of the two sons of ,rizpah1 by ,saul1 ,armoni and ,mephibosheth1 who were slain by the ,gideonites4 ,rizpah1 robed in dark blue1 is seen in the act of fetching away their bodies1 which are shrouded by dull lilac and blue draperies4 ,vultures circle above1 and two leopards approach stealthily4 ,farewell is a single figure in olive green and plum-coloured peplis under a portico above the sea1 where she pauses to take a last look at an outward-bound ship4 ,atalanta depicts the bust only of a dark-haired girl in purple and white drapery1 with a snake-like ornament twisted round her arm1 which is bare to the shoulder4 ,corinna of ,tanagra is a half-length figure crowned with leaves1 in coloured drapery1 resting her clasped hands upon her lyre4 ,the ,frigidarium is an upright figure in semi-transparent red drapery1 which with the background of gold is reflected in the water beneath her feet4 ,illustration3 ,,farewell 7#ahic7 ,by permission of ,messrs4 ,arthur ,tooth and ,sons ,illustration3 ,,and ,,the ,,sea ,,gave ,,up ,,the ,,dead ,,which ,,were ,,in ,,it4--,,rev4 ,,xx4 #ac 7#ahib7 ,illustration3 ,,the ,,frigidarium 7#ahic7 ,by permission of ,messrs4 ,h4 ,graves and ,co4 ,in #ahid were shown ,the ,spirit of the ,summit1 a white-robed figure with upturned face1 sitting on a snowy peak1 with starlit sky beyond2 ,the ,bracelet2 ,fatidica1 a figure in green-white robes2 ,at the ,window1 a dark-haired boy in blue1 looking over the ledge of a window2 and ,summer ,slumber4 ,this last is a somewhat elaborate composition2 a girl in salmon colour draperies is lying asleep on the broad rim of a marble fountain1 masses of flowers are in the mid distance1 and a vista of sunny landscape through the open window beyond4 ,in #ahie1 the last year of the artist's working life1 he sent six pictures to the ,academy1 and completed the wall decoration at the ,royal ,exchange 7here illustrated71 ,phoenicians ,bartering with ,britons4 ,the paintings were entitled1 ,flaming ,june 7a picture reproduced in colours for a ,christmas number of the ,graphic71 in which the broad painting of the sea beyond was a notable exception to the artist's usual handling2 ,lachrym1 a standing figure in robes of black and blue green1 resting her arm upon a ,doric column2 ',twixt ,hope and ,fear1 a seated figure of a black-haired ,greek girl1 robed in white and olive1 with a sheep-skin thrown around her2 ,the ,maid with her ,yellow ,hair1 a girlish figure in lemon-coloured drapery1 reading from a red-backed book2 ,listener1 a child seated with crossed legs on a fur rug2 and a ,study of a ,girl's ,head1 with auburn1 wavy hair4 ,in the #ahif ,academy ,clytie was the only picture4 ,in ,lord ,leighton's studio in various stages of completion were a ,bacchante1 a half-length figure of a fair-haired girl crowned with leaves1 and a leopard skin over her shoulder2 ,the ,fair ,persian1 a bust of a girl with flowing dark hair1 crowned by a jewelled circlet2 and ,the ,vestal1 a half-length figure of a girl in white drapery1 these were all exhibited at the ,winter ,exhibition of #ahig4 ,to ,clytie1 his last picture1 a small monograph has been devoted by the ,fine ,art ,society4 ,in this we read3 ',thank goodness my ailment has not interfered with my capacity for work1 for ,i have never had a better appetite for it1 nor ,i believe done better4 ,i was idle for five months in the summer1 but since my return ,i have been working hard and have produced the pictures you see4' ,thus he spoke to the present writer of the monograph in question as he led the way across his studio4444 ,turning to the ,clytie he continued3 ',this ,i have been at work upon all the morning4 ,orchardson has been so good as to say ,i have never done anything finer than the sky4 ,you know the story4 ,i have shown the goddess in adoration before the setting sun1 whose last rays are permeating her whole being4 ,with upraised arms she is entreating her beloved one not to forsake her4 ,a flood of golden light saturates the scene1 and to carry out my intention1 ,i have changed my model's hair from black to auburn4 ,to the right is a small altar1 upon which is an offering of fruit1 and upon a pillar beyond ,i shall show the feet of a statue of ,apollo4' ,but a few days after this occurrence the dead ,president lay in semi-state in his coffin1 before the picture4 ,a drawing in the ',graphic' 7,january #bfth1 #ahif7 shows the interior of the studio1 with the figure of ,clytie1 in her attitude of despair1 stretching her arms above the body of her creator4 ,here the record1 year by year1 is closed4 ,a few pictures seem to have escaped the honours of exhibition4 ,one1#h ,a ,noble ,lady of ,venice1 in possession of ,lord ,armstrong1 does not appear to have been exhibited4 ,it is probably the picture which was sold at ,christie's in #ahge for #iej guineas4 ,a ,lady with ,pomegranates1 which sold for #gfe guineas at the sale of ,baron ,grant's pictures in #ahgg1 does not appear in our list of exhibited works2 nor1 it may be1 are all the early pictures included therein4 ,but the official catalogues of the ,royal ,academy ,may ,exhibitions1 and of the special ,winter ,exhibition devoted to the artist's works1 have been freely drawn upon for description1 and to the list of his life's work1 as it appeared in the first edition of this work1 many additions have been made4 ,illustration3 ,,rizpah 7#ahic7 ,illustration3 ,,the ,,bracelet 7#ahid7 ,by permission of ,messrs4 ,t4 ,agnew and ,sons ,illustration3 ,,fatidica 7#ahid7 ,by permission of ,messrs4 ,t ,agnew and ,sons ,,chapter ,,vi ,,his ,,method ,,of ,,painting ,for particulars of the wonderfully thorough method1 which ,leighton used in preparing his pictures1 we cannot do better than quote the following admirable account by ,mr4 ,m4 ,h4 ,spielmann 7published during the painter's life71 which he has allowed us to reprint here4#i ,i have said that the sense of line in composition1 in figure and drapery1 is one of the chief qualities of the artist2 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 rarely1 if ever1 produces an ugly form in a picture--would be both interesting and instructive1 prompted me to learn in what manner his effects are produced4 ,this ,i have done1 having special regard to one of his ,academy pictures1 ,the ,sibyl1 which1 being a single figure1 simplifies greatly the explanation of the mode of procedure4 ,this explanation holds good in every case1 be the composition great or small1 elaborate or simple2 the modus operandi is always the same4 ,illustration3 ,a ,,bacchante 7#ahif7 ,by permission of ,messrs4 ,henry ,graves and ,co4 ,illustration3 ,,hit 7#ahic7 ,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 trouvaille4 ,as but one attitude could display the special formation to advantage1 the idea of a ,sibyl1 sitting brooding beside her oracular tripod1 was soon evolved1 but not so soon was its form determined and fixed4 ,like ,mr4 ,watts1 ,sir ,frederic ,leighton thinks out the whole picture before he puts brush to canvas1 or chalk to paper2 but1 unlike ,mr4 ,watts1 once he is decided upon his scheme of colour1 the arrangement of line1 the disposition of the folds1 down to the minutest details1 he seldom1 if ever1 alters a single line4 ,and the reason is evident4 ,in ,sir ,frederic's pictures--which are1 above all1 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 lines1 so that the disturbing of one of them1 outside of certain limits1 would throw the whole out of gear4 ,having thus determined his picture in his mind's eye1 he in the majority of cases makes a sketch in black and white chalk upon brown paper to fix it4 ,in the first sketch1 the care with which the folds have been broadly arranged will be evident1 and1 if it be compared with the finished picture1 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 action4 ,but there is a good reason for this determining of the draperies before the model is called in2 and it is this4 ,the nude model1 no matter how practised he or she may be1 never moves or stands or sits1 in these degenerate days1 with exactly the same freedom as when draped2 action or pose is always different--not so much from a sense of mental constraint as from the unusual liberty experienced by the limbs1 to which the muscular action invariably responds when the body is released from the discipline and confinement of clothing4 ,the picture having been thus determined1 the model is called in1 and is posed as nearly as possible in the attitude desired4 ,as nearly as possible ,i say1 for1 as no two faces are exactly alike1 no two models ever entirely resemble one another in body or muscular action1 and cannot1 therefore1 pose in such a manner as exactly to correspond with either another model or another figure--no matter how correctly the latter may be drawn4 ,from the model the artist makes the careful outline1 in brown paper1 a true transcript from life1 which may entail some slight corrections of the original design in the direction of modifying the attitude and general appearance of the figure4 ,this would be rendered necessary1 probably by the bulk and material of the drapery4 ,so far1 of course1 the artist's attention is engaged exclusively by 'form1' 'colour' being always treated more or less ideally4 ,the figure is now placed in its surroundings1 and established in exact relation to the canvas4 ,the result is the first true sketch of the entire design1 figure and background1 and is built up of the two previous ones4 ,it must be absolutely accurate in the distribution of spaces1 for it has subsequently to be 'squared off' on to the canvas1 which is ordered to the exact scale of the sketch4 ,at this moment1 the design being finally determined1 the sketch in oil colours is made4 ,it has been deferred till now1 because the placing of the colours is1 of course1 of as much importance as the harmony4 ,this done1 the canvas is for the first time produced1 and thereon is enlarged the design1 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 life4 ,every muscle1 every joint1 every crease is there1 although all this careful painting is shortly to be hidden with the draperies2 such1 however1 is the only method of insuring absolute correctness of drawing4 ,the fourth stage completed1 the artist returns once more to his brown paper1 re-copies the outline accurately from the picture1 on a larger scale than before1 and resumes his studies of draperies in greater detail and with still greater precision1 dealing with them in sections1 as parts of a homogeneous whole4 ,the draperies are now laid with infinite care on to the living model1 and are made to approximate as closely as possible to the arrangement given in the first sketch1 which1 as it was not haphazard1 but most carefully worked out1 must of necessity be adhered to4 ,they have often to be drawn piecemeal1 as a model cannot by any means always retain the attitude sufficiently long for the design to be wholly carried out at one cast4 ,this arrangement is effected with special reference to painting--that is to say1 giving not only form and light and shade1 but also the relation and 'values' of tones4 ,the draperies are drawn over1 and are made to conform exactly to the forms copied from the nudes of the underpainted picture4 ,this is a cardinal point1 because in carrying out the picture the folds are found fitting mathematically on to the nude1 or nudes1 first established on the canvas4 ,the next step then is to transfer these draperies to the canvas on which the design has been squared off1 and this is done with flowing colour in the same monochrome as before over the nudes1 to which they are intelligently applied1 and which nudes must never--mentally at least--be lost sight of4 ,the canvas has been prepared with a grey tone1 lighter or darker1 according to the subject in hand1 and the effect to be produced4 ,the background and accessories being now added1 the whole picture presents a more or less completed aspect--resembling that1 say1 of a print of any warm tone4 ,in the case of draperies of very vigorous tone1 a rich flat local colour is probably rubbed over them1 the modelling underneath being1 though thin1 so sharp and definite as to assert itself through this wash4 ,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 receive4 ,a blue sky1 for instance1 would possibly have a soft1 ruddy tone spread over the canvas--the sky1 which is a very definite and important part of the ,president's compositions1 being as completely drawn in monochrome as any other portion of the design2 or for rich blue mountains a strong orange wash or tint might be used as a bed4 ,the structure of the picture being thus absolutely complete1 and the effect distinctly determined by a sketch which it is the painter's aim to equal in the big work1 he has nothing to think of but colour1 and with that he now proceeds deliberately1 but rapidly4 ,illustration3 ,,nude ,,study ,,for ,,captive ,,andromache ,illustration3 ,,study ,,for ,a ,,figure ,,in ,,captive ,,andromache ,illustration3 ,,study ,,for ,,andromache ,such is the method by which ,sir ,frederic ,leighton finds it convenient to build up his pictures4 ,the labour entailed by such a system as this is1 of course1 enormous1 more especially when the composition to be worked out is of so complex a character as the ,captive ,andromache of last year1 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 ,sibyl4 ,deliberateness of workmanship and calculation of effect1 into which inspiration of the moment is never allowed to enter1 are the chief characteristics of the painter's craftsmanship4 ,the inspiration stage was practically passed when he took the crayon in his hand2 and to this circumstance probably is to be assigned the absence of realism which arrests the attention of the beholder4 ,mr4 ,spielmann has instanced1 in the above account1 the tragic and lovely ,captive ,andromache1 exhibited in #ahhh2 and we may further add that exquisite painting of ,greek ,girls playing at ,ball1 of #ahhi2 or the still more exquisite ,bath of ,psyche1 of the year following4 ,all three are full of technical delicacy and finesse4 ,for other qualities take that radiantly pictured myth1 the ,perseus and ,andromeda1 or the ,return of ,persephone 7both of #ahia72 or the lovely ,clytie of #ahib1 whose sunset background was painted at ,malinmore1 on the west coast of ,donegal2 or the ,atalanta or the ,rizpah of #ahic4 ,illustration3 ,,study ,,for ,,perseus ,,and ,,andromeda ,illustration3 ,,study ,,for ,,the ,,bath ,,of ,,psyche ,illustration3 ,,study ,,for ,,solitude ,the memorable picture1 first named of these1 which shows ,andromache at the ,well1 is in particular a most characteristic example of the artist's larger style4 ,in it1 true to his classic predilections1 he gives a new setting to the touching old story of ,andromache's captivity4 ,following up the earlier scene in the ,iliad1 where ,andromache begs her husband ,hector not to sally forth to battle1 but to stay and defend the city1 and where1 finding her prayers in vain1 and weeping1 she bids ,hector farewell1 the picture shows the fulfilment of ,andromache's fears and the dire prophecy which ,hector had recalled to his wife4 ,by way of contrast to this sombre canvas1 take the glowing and brilliant colours of the ,perseus and ,andromeda1 one of the three pictures shown at the ,academy in #ahia4 ,the painting of the surroundings of ,andromeda1 the deep blue water in the sea lagoon beneath1 and these radiant elemental people of air and light1 provides such a glow of colour1 as haunts the eye for long after one has gazed one's fill upon it4 ,something of the same feeling for the spirit that is in the forces of the earth1 lurks behind many of ,leighton's representments of the classic myths4 ,it is certainly to be found1 with a difference1 in the ,return of ,persephone1 exhibited with the ,perseus1 which becomes in the artist's hands a profound allegory of the return of ,spring1 with all kind of symbolical meanings in the three figures of ,proserpine1 ,ceres1 and ,hermes1 that are seen meeting before the mouth of ,hades4 ,the ,spirit of the ,summit1 one of the latest of these embodiments of the relation of ,man to ,nature1 may be read to mean ,man's finer spirit of aspiration1 and the mountainous imagination of ,art itself4 ,it is characteristic of the artist that1 in the later years of his career1 at a time when most artists and men are apt to give up something of their earlier pursuit of ideals1 he retained undiminished a feeling for the unaccomplished heights of the imagination4 ,the ,spirit of the ,summit may serve1 then1 as the symbol1 not so much of things attained1 and ,art victorious1 as of things that are always to be attained1 and of ,art striving and undeterred4 ,in this way it may serve1 too1 as in some sort the emblem of ,leighton's own ideals1 and of his whole career4 ,his artistic temper was throughout1 one of endless energy1 endless determination2 with a dash of that finer dissatisfaction which is always seeking out new embodiments1 under all difficulties1 of ,man's pursuit1 in a difficult1 and often an unbeautiful world1 of ,truth and ,beauty4 ,above all1 he was a consummate draughtsman1 and as ,francisco ,pacheco1 the father-in-law of ,velasquez1 wrote in his ,arte de la ,pintura 7#afdi73 ,drawing is the life and soul of painting2 drawing1 especially outline1 is the hardest2 nay1 the ,art has1 strictly speaking1 no other difficulty4 ,without drawing painting is nothing but a vulgar craft2 those who neglect it are bastards of the ,art1 mere daubers and blotchers4 ,illustration3 ,,study ,,for ,,the ,,return ,,of ,,persephone ,illustration3 ,,study ,,for ,,persephone ,,chapter ,,vii ,,mural ,,decoration1 ,,sculpture1 ,,and ,,illustration ,the drawings of ,lord ,leighton deserve special consideration4 ,the famous ,lemon ,tree was made at ,capri in the ,spring of #ahei2 it is work that no ,pre-,raphaelite could have finished more minutely1 yet it has nothing niggling in its treatment4 ,in a conversation#aj ,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 branches1 as morning after morning he returned at sunrise to continue the work4 ,the drawing of each leaf reveals the close observation which ultimately recorded its particular individuality4 ,you feel that as a shepherd knows his sheep to call each by its name1 so the artist must have become familiar with every separate leaf and twig before he had completed his task4 ,the whole is broad and simple1 and scarcely suggests the enormous patience which must have been needed to carry out the self-imposed toil4 ,nothing is shirked1 nothing is scamped2 from the stem to the outermost leaf1 every part in succession reveals equal interest1 and yet the whole is not without that larger quality which brings it together in a harmonious whole1 so that it is as much the study of a tree as the study of each separate item that composes it4 ,the ,byzantine ,well-head is another notable instance of similar labour devoted to an architectural subject2 this was evidently a favourite with its author2 for during his life it hung close by his bed in the simple chamber of his otherwise sumptuous home1 a room devoid of luxury and almost ascetic in its appointments4#aa ,the great mass of studies1 on brown paper chiefly1 which he had carefully preserved1 were purchased by the ,fine ,art ,society1 and some two hundred and fifty were exhibited at their gallery in ,december1 #ahif1 and a selection in facsimile has been published in sumptuous form4 ,in a prefatory note to the catalogue of these studies ,mr4 ,s4 ,pepys ,cockerell says3 ,it is seldom that we are privileged to watch at ease the workings of another's mind1 but these drawings1 the intimate record of a long life-time1 offer an unusually good opportunity4 ,one might call them the confessions of an artist2 and anyone who wants to know what ,leighton was really like1 has only to use his eyes4 ,one thing1 at any rate1 no one can fail to see1 viz41 that he had the qualities which result in industry4 ,whatever success he achieved was only gained after desperate labour4 ,it is curious that while he had the reputation for working with ease1 he considered himself to have no facility for anything1 whether for art1 for writing1 or for speaking4 ,i recollect his once saying3 ',thank ,heaven1 ,i was never clever at anything1' for he believed with ,sir ,joshua1 that everything is granted to well-deserved labour4 ,the landscape studies in oil 7of which a list almost complete will be found in ,appendix ,,ii471 show equal observation and sympathetic perception of the beauty of colour1 as well as of the beauty of form4 ,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 value1 and escaped at once the photographic imitation of one school1 and the evasion of detail of another4 ,they all preserve a certain classic repose1 without violence to topographical accuracy1 or painter-like intention4 ,illustration3 ,,study ,,for ,,the ,,ceiling ,,of ,a ,,music-,,room ,illustration3 ,,study ,,for ,,the ,,ceiling ,,of ,a ,,music-,,room ,illustration ,illustrations3 ,,decoration ,,for ,,the ,,ceiling ,,of ,a ,,music-,,room ,we have had occasion to refer frequently1 in passing1 to ,leighton's decorative works1 but we have purposely deferred any description of them1 preferring to treat them separately4 ,to know how present was his feeling for decorative effect at all times1 it is sufficient to glance never so casually at his own house1 about which we hope presently to say something1--genuine expression as it is of his ,art4 ,now we wish rather to touch on his more public performances4 ,of these1 the famous frescoes which fill large lunettes in the central court at ,south ,kensington1 ,the ,industrial ,arts of ,war and ,the ,industrial ,arts of ,peace1 are the best known1 as they are among the most characteristic of all the artist's productions4 ,the fresco of ,the ,arts of ,war is a very complex piece of work4 ,it is crowded with figures1 full of that orderly disorder which one must expect to find1 on the hurried morning of a day of battle1 in these delightfully decorative warriors4 ,in the centre--we quote here ,mrs4 ,lang's description--is a white marble staircase1 leading from the quadrangle to an archway1 beyond which is another courtyard4 ,seen through the archway1 knights are riding by4444 ,the busy scene in the courtyard suggests an immediate departure to the seat of war4 ,in the corner to the right crossbows are being chosen and tested2 a man is kneeling by a pile of swords1 and descanting on their various merits to an undecided customer1 while those weapons that he has already disposed of are having their blades tried and felt4 ,a little way off1 to the left of the archway1 some men-at-arms are trying on the armour of a youth who has still to win his spurs4444 ,the whole is distinguished by the extreme naturalness and simplicity of all the actions1 and by soft1 glowing colours1 chiefly dark olive green and splendid saffrons4 ,in ,the ,arts of ,peace1 its companion1 the central portion of the fresco is devised as the interior of a ,greek house1 where within a semicircular alcove we see a number of ,greek maidens and older women1 delightfully grouped1 mainly occupied in the art of personal adornment4 ,before this house is the waterside1 with a very decorative boat1 confined by a gracefully-looped chain1 whose curve1 as it hangs1 is very subtly designed to complete the salient lines of the whole composition4 ,on either side of this interior we have groups of men1 more vigorously treated1--drawing water1 bearing burdens1 pushing a boat from land4 ,the total effect of these finely posed contrasted groups1 of the admirably architectured walls1 piers1 and pavements1 and of the striking background1 as of another hill-crowned ,athens1 is most complete and satisfying4 ,the colouring throughout1 diversified with extreme art as it is1 is full of that southern radiance1 and clear1 sunlit glamour1 so often found in the artist's pictures4 ,to realize this fully1 ,south ,kensington must be visited1 for word-painting at its best but poorly reproduces the art that it doubtfully imitates4 ,illustration3 ,,fresco3 ,,the ,,industrial ,,arts ,,of ,,war 7#ahgb7 ,illustration3 ,,fresco3 ,,the ,,industrial ,,arts ,,of ,,peace 7#ahgc7 ,but these were by no means the first attempts of the artist to acclimatize the noblest form of mural decoration1 which cannot even at this date be regarded as fully naturalized amongst us4 ,in #ahff he commenced work on a fresco of ,the ,wise and ,foolish ,virgins1 which forms the altarpiece of the beautiful modern church at ,lyndhurst1 erected on the site of the older building commemorated in ,charles ,kingsley's ballad4 ,this painting still remains a lasting attraction to visitors in the ,new ,forest village4 ,in the centre1 the ,bridegroom1 clad in white1 bearing lilies in ,his left hand1 extends ,his right to the foremost of the five wise virgins4 ,angels at each side of the central figure welcome the one group1 and repel the other4 ,on the extreme right is a kneeling figure1 ,ora2 on the left1 ,vigila1 a figure trimming a lamp4 ,the scale of the figures is over life-size1 and the unfortunate position of the work1 immediately under a large east window1 so that the figures appear standing on the altar1 has provoked adverse criticism2 but the painting itself1 as a triumphant accomplishment of a peculiarly difficult undertaking1 and a superb scheme of line and colour1 has won favourable comments at all times4 ,it was painted in the medium1 a mixture of copal1 wax1 resin1 and oil1 previously employed with success by ,mr4 ,gambier ,parry in his decorations for ,ely ,cathedral4 ,it is interesting to read the account of the execution of this work1 which is said to have been carried out chiefly on ,saturday afternoons1 the artist catching a mid-day train from town1 and working on it from the moment of his arrival until dusk4 ,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 time1 for otherwise it would have been a miracle to accomplish the task by daylight4 ,it is1 however1 exhilarating to find that the sustained enthusiasm of the young artist was equal to the effort involved in mastering so many obstacles2 for the result1 despite the increased attention given to decoration in these later years1 may even now be considered1 so far as modern ecclesiastical painting is concerned1 to be without a rival in ,england4 ,the beautiful ,cupid with ,doves1 is also said to be from a fresco2 whether a genuine painting on the wall itself 7after the true fresco manner7 or not1 it has the larger qualities peculiar to the method which distinguishes several other works that were certainly not executed in this medium1--the latest of ,leighton's mural decorations1 for example1 a painting of ,phoenicians ,bartering with ,britons1 which the ,president of the ,royal ,academy in #ahie presented as the first of a series of panels in the ,royal ,exchange4 ,although1 as this was painted on canvas1 it cannot be ranked as a legitimate successor in the direct line of the ,lyndhurst and ,south ,kensington frescoes1 it is marked by many of the architectural qualities which distinguish a painting designed to be in true relation to the planes of its surroundings1 and employs a convention which makes it appear an integral part of the wall surface1 not a mere panel accidentally placed within a frame supplied by the features of the building itself4 ,the ,south ,kensington frescoes1 as we have before stated1 were painted in #ahgb-c4 ,some ten years later ,sir ,frederic collaborated with ,sir ,edward 7then ,mr47 ,poynter in the decoration of the dome of ,st4 ,paul's4 ,his share was to have filled eight medallions1 so called1 in the compartments into which his colleague divided the dome4 ,the design for one of these1 ,the ,sea gave up the ,dead which were in it1 was exhibited at the ,academy of #ahib1 and is now among the works presented by ,mr4 ,tate to the ,national ,gallery of ,british ,art4 ,this is another treatment of a great subject1 in which the problem of reconciling the dramatic with the decorative has been seriously attempted4 ,the dome of ,st4 ,paul's1 had it been completed according to this scheme1 might have been a worthy if a somewhat academic presentation of the tremendous visions of the ,apocalypse4 ,illustration3 ,,cupid3 ,,from ,a ,,fresco ,illustration3 ,,phoenicians ,,bartering ,,with ,,britons ,,panel ,,in ,,the ,,royal ,,exchange 7#ahie7 ,certain others of ,leighton's decorative works we have already mentioned1 such as the design for a ceiling1 now in ,new ,york4 ,not so well known is his frieze delineating a dance1 for an ,english drawing-room2 or the small frieze with a design of ,dolphins1 also in ,england4 ,a scheme in water-colours for a mural decoration1 entitled ,the ,departure for the ,war1 was never carried out2 the sketch for it was sold with the remaining works at ,christie's1 ,july1 #ahif4 ,the single figures in mosaic of ,cimabue and ,pisano1 at the ,south ,kensington ,museum1 must not be forgotten4 ,to the public--or at least that portion which limits its art to the exhibitions of the ,royal ,academy--,leighton1 as we have seen1 made his dbut as a sculptor with the group1 ,an ,athlete struggling with a ,python 7known also as ,an ,athlete strangling a ,python71 which in the bronze version is now among works purchased under the terms of the ,chantrey bequest in the ,tate ,gallery4 ,but long before that date he had successfully essayed plastic art2 his first effort being for the medallion of a monument to ,mrs4 ,browning in the ,protestant cemetery at ,florence4 ,two other monuments1 to the memory of ,major ,sutherland ,orr 7his sister's husband71 and ,lady ,charlotte ,greville1 must also be mentioned4 ,we have already spoken of ,the ,athlete1 ,the ,sluggard1 and ,needless ,alarms4 ,but it would be unfair to omit mention of many small works--small1 that is to say1 in scale1 for they are distinguished by great breadth of handling--which were prepared as auxiliary studies for his paintings4 ,visitors to the studio in ,holland ,park ,road1 were always impressed by several of these models1 which stood on a large chest in the bay of a great studio window4 ,especially noteworthy was a group of three singing maidens1 who figure in ,the ,daphnephoria1 and another of the choragus for the same picture2 for later works1 the mounted ,perseus1 and ,andromeda with the monster1 both designed for the picture of that legend4 ,others belonging to a slightly earlier period included--the sleeping ,iphigenia1 a crouching figure of her attendant1 and a nude figure of ,cymon1 all1 of course1 for ,cymon and ,iphigenia4 ,these models were made to be clad in wet drapery of exquisitely fine texture1 and were prepared only for ten minutes' drawing of the first idea of the figures2 all serious study being made from the draped model1 or the lay figure4 ,such help as they have rendered must all be referred to the period before the finished cartoon was ready to be traced on the canvas4 ,since ,lord ,leighton's decease most of these have been successfully cast in bronze1 and are the property of the ,royal ,academy4 ,in the studio were also the first sketches in clay for ,the ,sluggard1 and also for ,the ,athlete1 which was not originally intended to be carried further4 ,indeed1 several people mistook it for a genuine antique1 and admired it accordingly2 ,dalou1 the great ,french sculptor1 was especially so struck by it1 that he advised its author to work out the idea in full size4 ,the three years' labour devoted to the task1 the failures by the way1 and its ultimate triumphant success1 both here and in ,paris1 are too well known to need recapitulation4 ,a replica was commissioned for the ,copenhagen ,gallery1 and probably no work of its accomplished author did more to win him the appreciation of ,french and ,german artists4 ,illustration3 ,,bronze ,,statue3 ,,an ,,athlete ,,struggling ,,with ,a ,,python 7#ahgg7 ,illustration3 ,,bronze ,,statue3 ,,an ,,athlete ,,struggling ,,with ,a ,,python 7#ahgg7 ,illustration3 ,,study ,,in ,,clay ,,for ,,cymon ,illustration3 ,,study ,,in ,,clay ,,for ,,the ,,sluggard ,illustration3 ,,study ,,in ,,clay ,,for ,,perseus ,illustration3 ,,study ,,in ,,clay ,,for ,,andromeda ,in this brief mention of ,lord ,leighton's achievements in sculpture1 the medal commemorating the ,jubilee of ,queen ,victoria1 a study for which is reproduced at p4 #acj1 must not be overlooked4 ,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 published1 it may be a surprise to find ,frederic ,leighton figuring as an illustrator1 yet the nine compositions in that book are by no means his sole contribution to the art of black and white4 ,for each instalment of ,romola1 as it ran through the pages of the ,cornhill ,magazine1 the artist contributed a full page drawing1 and an initial letter4 ,the twenty-four full pages were afterwards reprinted in ,the ,cornhill ,gallery 7,smith and ,elder1 #ahfe74 ,these are most notable works1 even when measured by the standard of their contemporaries4 ,the same magazine contains two other works from his pen1 one illustrating a poem1 ,the great ,god ,pan1 by ,mrs4 ,browning1 and another illustrating a story by ,mrs4 ,sartoris1 entitled ,a ,week in a ,french ,country ,house4 ,these1 and the nine compositions in the ,bible ,gallery 7the pictures from which have lately been re-issued in a popular form by the ,society for ,promoting ,christian ,knowledge7 exhaust the list of those which can be traced4 ,as four of the magnificent designs are reproduced here1 it would be superfluous to describe them2 the titles of the five others are3 ,abram and the ,angel1 ,eliezer and ,rebekah1 ,death of the ,first ,born1 ,the ,spies' ,escape1 and ,samson at the ,mill4 ,one of the original drawings on wood is now on view at the ,south ,kensington ,museum1 and1 by comparison with impressions from the engraved blocks1 we see how small has been the loss in translation1 so admirably has the artist mastered the limitation of the technique that was to represent his work in another medium4 ,the reproductions here given are considerably reduced1 and necessarily lose something1 but they retain enough to prove that had the artist cared to rest his reputation upon such works1 he might have done so with a light heart1 for whenever the golden period of ,english illustration is recalled1 these comparatively few drawings will inevitably be recalled with it4 ,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 illustrations4 ,the drawing1 ,a ,contrast1 reproduced at p4 #gb1 is undated2 the idea it is intended to suggest1 a model who once stood for some youthful god1 revisiting the adolescent portrait of himself when old age has him gripped fast with rheumatism and failing vigour4 ,to-day1 when one has heard sculptors claim that ,lord ,leighton's finest work was in their own craft1 one has also heard many illustrators not merely extol these drawings--notably the ,bible subjects--as his masterpieces1 but jealously refuse to consider him entitled to serious regard as an artist in any other medium4 ,this attitude1 so curiously unlike the usual welcome from experts which awaits an artist who ventures into fresh mediums for expressing himself1 should be put on record as a unique tribute2 the more worthy of attention1 because in each instance it was advanced not wholly as praise1 but to some extent as a reproach on ,leighton's painting4 ,no intended compliment could carry more genuine appreciation than this warm approval from fellow experts in the special subjects of which they are masters4 ,illustration3 ,,cain ,,and ,,abel ,illustration3 ,,moses ,,views ,,the ,,promised ,,land ,illustration3 ,,samson ,,and ,,the ,,lion ,illustration3 ,,samson ,,carrying ,,the ,,gates ,,chapter ,,viii ,,discourses ,,on ,,art ,we must next speak of the late ,president's ,addresses and ,discourses on ,art1 and of that other art of oratory1 which1 we shall find1 as he conceived it1 had something of the same monumental quality he imparted to his painting4 ,his presidential speeches at the annual banquet of the ,academy would alone be sufficient to show this2 but it is of course to his ,addresses and ,discourses that we must turn if we would understand his feeling for the two unallied arts4 ,his success in the one is to be explained1 we shall find1 in very much the same way as his success in the other4 ,like most speakers of any distinction1 ,lord ,leighton left nothing to chance4 ,in his speeches and ,discourses1 as in his pictures1 the most careful and exact preparation was made for every effect1 however apparently casual it may have seemed4 ,his ,discourses were obviously based upon classic models2 for their full periods1 sonorously and deliberately arranged1 have a rhythm that attends to the whole period1 and not merely1 as is often the way with ,english speakers1 to each sentence in turn4 ,in quoting from these ,discourses1 we do so1 however1 with an eye to his own proper art as a painter1 and to his whole theory and sentiment of that art and its functions1 and its allied plastic arts1 even more than to his art as a speaker4 ,indeed1 the ,discourses form a unique contribution to the art criticism of our time2 they cover the most interesting and various periods in the history of the ,art of ,europe2 and although the cycle he had mapped out was interrupted before he had completed it--first by illness which postponed the biennial discourse1 and then by death--the portions already delivered touch incidentally on the theory and philosophy of all ,art in a highly suggestive and eloquent way4 ,in his first ,discourse1 delivered to the ,academy students on the #ajth of ,december1 #ahgi1 the new ,president took occasion to estimate the modern predicament and general position of ,art1 as a prelude to the consideration of its special developments1 in later ,discourses4 ,i wish in so doing1 he said1 to seek the solution of certain perplexities and doubts which will often1 in these days of restless self-questioning in which we live1 arise in the minds and weigh on the hearts of students who think as well as work4 ,in answering the question of questions in ,art for us to-day--that is1 what are its chances in the present1 compared with the glory and splendour of its achievement in the past8--,leighton provides us with some memorable passages in his first ,discourse4 ,speaking of the ,evolution of ,painting in ,italy1 he turned it to notable account in his argument1 as in this reference to the ,florentine school3 ,it is1 perhaps1 he said1 in ,tuscany1 and notably in ,florence1 that we see the national temperament most clearly declared in its art1 as indeed in all its intellectual productions2 here we see that strange mixture of ,attic subtlety and exquisiteness of taste1 with a sombre fervour and a rude ,pelasgic strength which marks the ,tuscans1 sending forth a ,dante1 a ,brunelleschi1 and a ,michael ,angelo1--a ,fiesole1 a ,boccaccio1 and a ,botticelli1 and we find that eagerness in the pursuit of the knowledge of men and things1 which was so characteristic of them1 summed up in a ,macchiavelli and a ,lionardi da ,vinci4 ,illustration3 ,a ,,contrast ,how different the conditions when we turn to consider ,english ,art1 as it stands to-day3 ,the whole current of human life setting resolutely in a direction opposed to artistic production2 no love of beauty1 no sense of the outward dignity and comeliness of things1 calling on the part of the public for expression at the artist's hands2 and1 as a corollary1 no dignity1 no comeliness for the most part1 in their outward aspect2 everywhere a narrow utilitarianism which does not include the gratification of the artistic sense amongst things useful2 the works of artists sought for indeed1 but too often as a profitable merchandise1 or a vehicle of speculation1 too often on grounds wholly foreign to their intrinsic worth as productions of a distinctive form of human genius1 with laws and conditions of its own4 ,the modern student may well question1 whether the great artists of the past1 if they lived now under our different conditions1 would achieve all that they did then4 ,for further bewilderment1 the differences to be seen in the past itself1 between school and school1 and one age and another1 may lead him to doubt whether ,art be not indeed an ephemeral thing1 a mere efflorescence of the human intelligence1 an isolated development1 incapable of organic growth4 ,to such doubts1 comes the reassuring answer3 ,that ,art is fed by forces that lie in the depth of our nature1 and which are as old as man himself2 of which therefore we need not doubt the durability2 and to the question whether ,art with all its blossoms has but one root1 the answer we shall see to be3 ,assuredly it has2 for its outward modes of expression are many and various1 but its underlying vital motives are the same4 ,the new ,president concluded his first ,discourse with an eloquent plea for sincerity in ,art3 ,without sincerity of emotion no gift1 however facile and specious1 will avail you to win the lasting sympathies of men--a truth which perhaps needs more repeating to-day than ever it did6 ,in the second ,discourse 7,december #ajth1 #ahha71 we are called upon to consider that other question which has so often perplexed the artist1 especially the ,english artist1 in whom the moral sentiment is apt to take a threatening form on occasion3 ,what is the relation in which ,art stands to ,morals and to ,religion8 ,for his reply1 ,leighton took in turn the two contentions3 one1 that the first duty of all artistic productions is the inculcation of a moral lesson1 if not indeed of a ,christian truth2 the other1 that ,art is altogether independent of ethics4 ,his conclusion is the only sagacious and sane one3 that whilst ,art in itself is indeed independent of ethics1 yet is there no error so deadly as to deny that the moral complexion1 the ethos1 of the artist does in truth tinge every work of his hand1 and fashion1 in silence1 but with the certainty of fate1 the course and current of his whole career4 ,the steps that lead irresistibly to this conclusion1 are very clearly indicated in the course of this ,discourse2 and the more convincingly1 because the speaker is himself so sympathetic to the religious inspiration of ,italian art1 on the one hand1 and to its merely natural sthetic growth on the other4 ,illustration3 ,a ,,study ,,in ,,oils ,the language of ,art1 he said then1 is not the appointed vehicle of ethic truths2444 ,on the other hand1 there is a field in which she has no rival4 ,we have within us the faculty for a range of emotion1 of exquisite subtlety and of irresistible force1 to which ,art1 and ,art alone amongst human forms of expression1 has a key2 these then1 and no others1 are the chords which it is her appointed duty to strike2 and form1 colour1 and the contrasts of light and shade are the agents through which it is given to her to set them in motion4 ,her duty is1 therefore1 to awaken those sensations directly emotional and indirectly intellectual1 which can be communicated only through the sense of sight1 to the delight of which she has primarily to minister4 ,and the dignity of these sensations lies in this1 that they are inseparably connected by association of ideas with a range of perception and feelings of infinite variety and scope4 ,they come fraught with dim complex memories of all the evershifting spectacle of inanimate creation and of the more deeply stirring phenomena of life2 of the storm and the lull1 the splendour and the darkness of the outer world2 of the storm and the lull1 the splendour and the darkness of the changeful and the transitory lives of men4 ,in his third ,discourse1 which was delivered on the #ajth ,december1 #ahhc1 the ,president entered on his exhaustive discussion1 continued in many subsequent ,discourses1 of ,the relation of ,artistic ,production to the conditions of time and place under which it is evolved1 and to the characteristics of the races to which it is due4 ,in this ,discourse he briefly and suggestively reviews the ,art of ,egypt1 ,assyria1 and ,greece1 endeavouring to account for the main characteristics of each4 ,in ,egypt he shows how a nation securely established in a peace and pre-eminence lasting for ages1 blessed beyond measure in a fertile and prospering climate1 a nation beyond all things pious and occupied in reverential care of the dead1 should give birth to an art serene1 magnificent1 and vast4 ,those whose fortune it has been1 he eloquently said1 to stand by the base of the ,great ,pyramid of ,khoofoo1 and look up at its far summit flaming in the violet sky1 or to gaze on the wreck of that solemn watcher of the rising sun1 the giant ,sphinx of ,gizeh1 erect1 still1 after sixty centuries in the desert's slowly rising tide2 or who have rested in the shade of the huge shafts which tell of the pomp and splendour of hundred-gated ,thebes2 must1 ,i think1 have received impressions of majesty and of enduring strength which will not fade within their memory4 ,after old ,egypt1 and the account of ,chaldan and ,assyrian ,art1 with its warlike expression1 we are led on in turn to the consideration of ,greek ,art1 and the causes of its development4 ,nothing that ,i am aware of in the history of the human intelligence1 he said1 is for a moment comparable to the dazzling swiftness of the ripening of ,greek ,art in the fifth century before ,christ4 ,after speaking of the fortunate balance and interaction of races which resulted in the ,greek ,art of that era1 he goes on to speak of the exceptionally favouring circumstances of the people3 ,here are no vast alluvial plains1 such as those along which1 in the ,east1 whole empires surged to and fro in battle2 no mighty flood of rivers1 no towering mountain walls3 instead1 a tract of moderate size2 a fretted promontory thrust out into the sea--far out1 and flinging across the blue a multitude of purple isles and islets towards the ,ionian1 kindred1 shores4 ,such a fortunate environment1 joined to the extraordinarily high ideal formed by the ,greeks of citizenship1 had much to do with the fostering of ,greek ,art1 in all its nobility and its serenity1 its exquisite balance1 its searching after truth1 and its thirst for the ideal4 ,illustration3 ,,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 ,etruscans2 whose plastic work1 like their speech1 he considers1 was at best an uncouth1 vigorous imitation1 or re-shaping1 of ,greek models4 ,as examples of ,etruscan ,art1 we are referred to the two lovely bronze mirrors1 preserved at ,perugia and ,berlin1 representing1--one1 ,helen between ,castor and ,pollux1--the other1 ,bacchus1 ,semele1 and ,apollo4444 ,in either case1 the design is distinctly ,greek2 nevertheless a certain ruggedness of form and handling is felt in both1 betraying a temper less subtle than the ,hellenic2 and we read without surprise on the one ',pultuke1' and ',phluphluus' on the other4 ,lest it should be thought that something less than justice is done to ,etruscan ,art1 take this fine description of the tomb of ,volumnus ,violens3 ,the recumbent effigy of the ,volumnian is1 indeed1 rude and of little merit2 rude also in execution is the monument on which it rests1 but in conception and design of a dignity almost ,dantesque4 ,facing the visitor1 as he enters the sepulchral chamber1 this small sarcophagus--small in dimensions1 but in impressiveness how great6--rivets him at once under the taper's fitful light4 ,raised on a rude basement1 the body of the monument figures the entrance to a vault2 in the centre1 painted in colours that have nearly faded1 appears a doorway1 within the threshold of which four female figures gaze wistfully upon the outer world2 on either side two winged genii1 their brows girt with the never-failing ,etruscan serpents1 but wholly free from the quaintness of early ,etruscan treatment1 sit cross-legged1 watching1 torch in hand1 the gate from which no living man returns4 ,roughly as they are hewn1 it would be difficult to surpass the stateliness of their aspect or the art with which they are designed2 ,roman gravity1 but quickened with ,etruscan fire1 invests them3 444 and our thoughts are irresistibly carried forward to the supreme sculptor whom the ,tuscan land was one day to bear4 ,from ,etruria1 we pass naturally on to ,rome2 for1 as we are significantly reminded1 ,the ,romans lay1 until the tide of ,greek ,art broke on them after the fall of ,syracuse1 wholly under the influence of the ,etruscans4444 ,etruria gave them kings1 augurs1 doctors1 mimes1 musicians1 boxers1 runners2 the royal purple1 the royal sceptre1 the fasces1 the curule chair1 the ,lydian flute1 the straight trumpet1 and the curved trumpet4 ,the education of a ,roman youth received its finishing touches in ,etruria3 ,tuscan engineers had girt ,rome with walls2 ,tuscan engineers had built the great conduit through which the swamp1 which was one day to be the ,forum1 was drained into the ,tiber4 ,what wonder1 then1 that in architecture1 also in painting1 in sculpture1 in jewellery1 and in all the things of taste1 ,etruscans gave the law to the ruder and less cultured race8 ,this influence lasted1 until the counter-current of ,greece found an inlet to ,roman life1 filtering through ,campania into ,rome from the opposite end of the peninsula4 ,and then1 from the fall of ,syracuse1 and the bringing of its spoils to ,rome1 we find a perfect craze for ,grecian marbles1 bronzes1 pictures1 gems1 inflaming the magnates1 nobles1 and nouveaux riches of ,rome4 ,how fortunate that influence was in another field1 that of literature1 we know4 ,in plastic art1 by reason of the essentially inartistic spirit of the ,roman race1 the result was practically small2 save indeed in one department1 that of portraiture1 to which the essential impulse was1 as ,leighton very suggestively shows1 ethic1 not sthetic4 ,even in ,roman architecture1 our critic finds little to weaken his view of the ,roman sthetic inefficiency4 ,it was not1 he said1 the spontaneous utterance of an sthetic instinct1 but the outcome of material needs and of patriotic pride1 and hence only an incomplete expression of ,roman civilization4 ,to them1 in brief1 art was not vernacular3 their purest taste1 their brightest gifts of mind1 found no utterance in it4 ,illustration3 ,,study ,,of ,a ,,head ,we have seen ,art1 he concluded1 such ,art as it was given to ,rome to achieve--rise and fall with the virtues of the ,roman people4 ,from the lips of the most seeing of its sons we know the solvent in which those virtues perished3 that solvent was the greed1 the insatiate greed1 of gold--'auri sacra fames'--the rot of luxury4 ',more deadly than arms1' ,juvenal magnificently exclaims1 'luxury has swept down upon us1 and avenges the conquered world4' 444444 ',svior armis ,luxuria incubuit1 victumque ulciscitur orbem4' ,from ,rome we are taken1 in the fifth ,discourse1 delivered on the #ajth ,december1 #ahhg1 to the making and the racial re-shaping of ,italy1 that began with the fifth century4 ,all through these ,discourses the speaker laid great stress upon the ethnological history of the ,european races1 as he turned to one after another1 and essayed to trace their artistic idiosyncracy and their artistic evolution4 ,italy is1 to the ethnologist as well as to the art student1 one of the most interesting countries in ,europe4 ,rome almost alone1 among the ,italian provinces1 retained her racial and sthetic peculiarities1 unaffected to the end of the chapter2 and even when she wielded the sceptre of the ,christian world1 still she produced no one flower of native genius1 we are reminded1 unless ,giulio ,romano1 that brawny and prolific plagiarist of ,raphael1 as ,leighton well stigmatizes him1 be thought a genius2 which criticism forbid6 ,it was different with ,tuscany1 where the introduction of new racial elements had a distinct effect4 ,this new amalgam produced in the field of ,art1 we are told1 an infinitely nobler and more exquisite result than had grown out of the old conditions4 ,still1 however1 the old ,etruscan allied grace and harsh strength lingered on in the art of ,christian ,etruria4 ,of the subtle graces which breathe in that art1 from ,giotto to ,lionardo1 it is needless to speak2 and surely in the rugged angularities of a ,verocchio1 a ,signorelli1 or a ,donatello1 and in the shadow of sadness which broods over so much of the finest ,florentine work1 the more sombre phase of the ,etruscan temper still lives on4 ,in the end1 if we try to account for the artistic power and mastery of one people in ,italy1 and the lack of that power in another1 we are driven to the conclusion that the source of the artistic gift is hidden and obscure4 ,one may cite the opposite examples of ,venice and of ,genoa1--the one so masterfully artistic2 the other so impotent4 ,and yet the same favouring conditions1 priori1 might have seemed to exist for both4 ,with the intermingling of the peoples1 and the rejuvenescence of the physical life1 came the spiritual outburst of ,christianity4 ,and the influence1 again1 of ,christianity upon ,italian ,art was immense4 ,in place of joy in the ideals of bodily perfection1 loathing of the body and its beauty1 as of the vehicle of all temptation1 a yearning for a life in which the flesh should be shaken off1 a spirit of awe1 of pity1 and of love1 became the moving forces that shaped its creations4 ,after great religious periods1 we often find that great scientific periods follow4 ,the ethical impulse that religion gives1 is converted into other forms of energy1 by reason of man's awakened consciousness of the meaning of things1 physical and material as well as spiritual4 ,illustration3 ,,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 environment4 ,anatomy and perspective were studied1 accordingly1 with a new sense of their significance in ,art4 ,the spirit of science led to such amazing studies of leaf and flower as ,lionardo loved to draw4 ,thus to ,tuscan artists the new movement brought the love of nature1 and the light of science4 ,we come upon ,dante and ,petrarch in this ,discourse1 in tracing the history of ,italian ,art during the centuries of transition3 ,with ,dante we reach the threshold of the ,renaissance4 ,he stands on the verge of the middle ages2 in him the old order ends4 ,with ,petrarch the new order begins4 ,it is not so much as a poet1 however1 that ,petrarch counts in this process from one period to another2 but rather as an intellectual pioneer1 leading the way into the great pagan world4 ,petrarch was the first ,humanist1 in short4 ,we cannot stay to dwell upon the effect of the ,humanists and all they stood for1 good and evil1 in ,italian ,art and ,letters4 ,we pass on1 now1 from ,petrarch and the influence the movement had on ,italian literature1 to its effect on ,italian ,art4 ,the ,renaissance did not affect ,art in the same way1 as ,botticelli may serve to show4 ,but perhaps1 said the lecturer1 the various operations in the province of ,art of the two main motive forces of the ,renaissance--the impulse towards the scientific study of nature1 and the impulse to reinstate the classic spirit--may be best illustrated by reference to ,lionardo da ,vinci1 ,raphael1 and ,michael ,angelo4 ,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 ,academy4 ,lionardo's scientific avidity of research1 ,raphael's classic serenity1 and ,angelo's medival ardour1 are turned to admirable effect in the pages of this ,discourse2 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 examples1 has indeed an interest that is personal1 in a sense1 as well as general and critical4 ,take this concluding sentence upon ,raphael3 ,whatever was best in the classic spirit was absorbed and eagerly assimilated by him1 and imparted to the work of his best day that rhythm1 that gentle gravity1 and that noble plenitude of form1 which are its stamp1 and proclaim him the brother of ,mozart and of ,sophocles4 ,or this1 again1 on ,michael ,angelo1 as distinguishing him from ,raphael3 ,the type of human form which he lifted to the fullest expressional force is the last development of a purely indigenous conception of human beauty1 whereas the type which we know as ,raphaelesque is a classic ideal warmed with ,christian feeling4 ,sublimely alone as ,buonarotti's genius stands1 towering and unapproached1 444 it does but mark the highest summit reached in the magnificent continuity of its evolution1 by the purely native genius of ,tuscan ,art4 ,having arrived at ,tuscan ,art1 and at ,michael ,angelo1 in whom it reaches its consummate development1 we leave ,italy1 and turn now to the description of ,art in ,spain1 given by ,lord ,leighton in his ,discourse of ,december1 #ahhi4 ,and first we have some account of the extraordinarily various racial strains which were contributed to form the significant figure of the fifteenth-century ,spaniard4 ,on the ancient ,iberian stock was grafted ,celtic1 ,greek1 ,phoenician1 and ,carthaginian blood2 and to these infusions succeeded the great invasion of the ,visigoths of the fifth century4 ,illustration3 ,,study ,,of ,a ,,head ,the ,art of ,spain1 he said1 was1 at the outset1 wholly borrowed1 and from various sources2 we shall see heterogeneous1 imported elements1 assimilated sometimes in a greater or less degree1 frequently flung together in illogical confusion1 seldom1 if ever1 fused into a new1 harmonious whole by that inner welding fire which is genius2 and we shall see in the sixteenth century a foreign influence received and borne as a yoke--7that of the ,italian ,renaissance7 because no living generative force was there to throw it off--with results too often dreary beyond measure2 and1 finally1 we shall meet this strange freak of nature1 a soil without artistic initiative bringing forth the greatest initiator--observe1 ,i do not say the greatest artist--the greatest initiator perhaps since ,lionardo in modern art--except it be his contemporary ,rembrandt--,diego ,velasquez4 ,in his ,discourse of ,december1 #ahia1 we have1 rapidly sketched1 the ,evolution of ,art in ,france4 ,touching again on the question of race1 the lecturer adduced the great race of ,gauls1 submitting first to ,roman1 and afterwards to ,frankish1 or ,teutonic1 domination and admixture4 ,the main characteristics of the ,gaulish people he judges to be1 a love of fighting and a magnificent bravery1 great impatience of control1 a passion for new things1 a swift1 brilliant1 logical intelligence1 a gay and mocking spirit--for 'to laugh1' says ,rabelais1 'is the proper mark of man1'--an inextinguishable self-confidence4 ,with the reign of ,charlemagne began the development of the architecture of ,france1 but not until the tenth and eleventh centuries did the movement reach its full force2 and its development was due mainly to the great monastic community1 which1 founded by ,st4 ,benedict early in the sixth century1 had poured from the heights of ,monte ,cassino its beneficent influence over ,western ,europe4 ,here we have it explained how the principle of ,gothic architecture1 the substitution of a balance of active forces for the principle of inert resistance1 was gradually evolved4 ,this principle once found1 ,gothic architecture reached its most splendid period in a wonderfully short space of time2 cathedrals and churches were built everywhere1 and before the end of the thirteenth century1 the most splendid ,gothic buildings were begun or completed4 ,with the end of the thirteenth century ,gothic architecture began to decline1 lured by the fascination of the statical tour de force1 the craving to bring down to an irreducible minimum the amount of material that would suffice to the stability of a building extravagantly lofty4 ,many more extracts we would gladly make1 whether from the account of the ,french sculpture of this period1 marked as it was by sincerity and freshness1 often by great beauty and stateliness2 or from the criticism of such artists as ,jean ,cousin1 who painted windows which were limpid with hues of amethyst1 sapphire1 and topaz1 and fair as a ,may morning2 or again1 of ,watteau1 of whom we are told that in the vivacity and grace of his drawing1 in the fascination of his harmonies1 rich and suave at once1 in the fidelity with which he reflected his times without hinting at their coarseness1 this wizard of the brush remains one of the most interesting1 as he is one of the most fascinating1 masters of his country's art4 ,in the ,discourse of #ahic the ,history of ,gothic ,architecture was pursued1 from its native ,france to its adopted home in ,germany4 ,at the end of last century ,goethe declared that not only was the ,gothic style native to ,germany1 but no other nation had a peculiar style of its own2 for1 he said1 the ,italians have none1 and still less the ,frenchmen6 ,according to ,leighton1 the ,germans1 as a race1 were1 speaking broadly1 never at one in spirit with ogival architecture4 ,the result was such as you would expect2 in the use of a form of architecture which was not of spontaneous growth in their midst1 and unrestrained1 moreover1 as they were1 by a sound innate instinct of special fitness1 ,german builders were often led into solecisms1 incongruities1 and excesses1 from which in the practice of their native style they have been largely free4 ,of this style1 which may be called the ,german-,romanesque1 the best examples are to be found among the churches of the ,rhineland4 ,in the thirteenth century this style1 admirably as it expressed the genius of the ,teuton1 succumbed to invading ,french influence4 ,i have often wondered1 he continued1 at the strange contrast between the reticent and grave sobriety of the architecture of ,germany before the fall of the ,hohenstaufens1 and its erratic self-indulgence in the ,gothic period4 ,there is much1 however1 to be said in praise of the ,gothic churches of ,germany1 their fine colouring1 suggestiveness1 and variety4 ,take the description of the ,church of ,st4 ,lorenz in ,nuremberg4 ,nothing could well be more delightful than the impression which you receive on entering it2 the beauty of the dark brown stone1 the rich hues of the stained glass1 the right relation of tone value1 to use a painter's term1 between the structure and the lights--the sombre blazoned shields which cluster along the walls1 the succession on pier beyond pier of pictures powerful in colour and enhanced by the gleaming gold of fantastic carven frames1 above all the succession of picturesque objects in mid-air above you1 a large chandelier1 a stately rood-cross1 and to crown all1 ,veit ,stoss's masterpiece1 the ,annunciation1 rich with gold and colour2 all these things conspire to produce a whole1 delightful and poetic1 in spite of much that invites criticism in the architectural forms themselves4 ,still more interesting is the word-picture of the great ,cathedral of ,cologne1 a monument of indomitable will1 of science1 and of stylistic orthodoxy 444 its beautiful rhythm1 its noble consistency and unity1 its soaring height1 rivet the beholder's gaze2 and yet1 the building1 in spite of all1 does not entirely convince3 the kindling touch of genius seems to be wanting4 ,take1 finally1 this description of ,albert ,drer3 ,he was a man of a strong and upright nature1 bent on pure and high ideals1 a man ever seeking1 if ,i may use his own characteristic expression1 to make known through his work the mysterious treasure that was laid up in his heart2 he was a thinker1 a theorist1 and as you know1 a writer2 like many of the great artists of the ,renaissance1 he was steeped also in the love of science4444 ,superbly inexhaustible as a designer1 as a draughtsman he was powerful1 thorough1 and minute to a marvel1 but never without a certain almost caligraphic mannerism of hand1 wanting in spontaneous simplicity--never broadly serene4 ,in his colour he was rich and vivid1 not always unerring in his harmonies1 not alluring in his execution--withal a giant4 ,with this tribute to a great predecessor we must leave these ,discourses1 which need1 to be properly appreciated1 to be studied as a whole2 as indeed they form ,leighton's deliberate exposition of his whole principles of ,aesthetics4 ,in working this out1 ,discourse by ,discourse1 he was not content to rely upon convenient literary sources1 or previously acquired knowledge of his subject2 but undertook special journeys1 and spent long periods1 abroad1 to procure his own evidence at first hand4 ,this gives his ,discourses all the value of original research1 based on new materials1 to add to their purely critical value4 ,had they been completed1 they would have formed an invaluable contribution to the history and the philosophy of ,art4 ,,chapter ,,ix ,,lord ,,leighton',s ,,home ,if we seek for practical expression of ,leighton's sympathy for decorative art1 we may find it most satisfactorily in his own home as it appeared during his life4 ,mr4 ,george ,aitchison1 ,r4,a41 designed the whole house2--even the ,arab ,hall being largely built from drawings made specially by him in ,moorish ,spain4 ,although the exterior of ,no4 #b1 ,holland ,park ,road has individuality1 rather than distinction1 it was within that its special charms were found4 ,one of the first things seen on entering was a striking bronze statue1 ,icarus1 by ,mr4 ,alfred ,gilbert2 a typical instance of ,leighton's generous recognition of artistic contemporaries4 ,in earlier pages we spoke of the ,arab ,hall and its ,oriental enchantment4 ,no attempt to paint the effects of such an interior in words can call it up half as clearly as the slightest actual drawing4 ,there is a dim dome above1 and a fountain falling into a great black marble basin below2 there are eight little arched windows of stained glass in the dome2 and there are white marble columns1 whose bases are green1 whose capitals are carved with rare and curious birds1 supporting the arches of the alcoves4 ,the ,cairo lattice-work in the lower arched recesses lets in only so much of the hot light of midsummer 7for it is in summer that one should see it to appreciate its last charm71 as consists with the coolness1 and the quiet1 and the perfect ,oriental repose1 which give the chamber its spell4 ,illustration3 ,,the ,,house3 ,,the ,,inner ,,hall ,more in what we may call the highway of the house1 from entrance hall to studios1 is the large hall1 out of which the ,arab ,hall leads1 and from which the dark oak staircase ascends with walls tiled in blue and white4 ,here1 on every side1 one saw all manner of lovely paintings and exquisite bric--brac3 a drawing of ,the ,fontana della ,tartarughe in ,rome by ,leighton's old mentor1 ,steinle2 other bronzes and paintings1 and in full view a huge stuffed peacock1 which seemed to have shed some of its brilliant hues upon its surroundings4 ,in the drawing-room hung many ,corots and ,constables1 with a superb ,daubigny1 and a most tempting example of ,george ,mason1--a picture of a girl driving calves on a windy hill1 amid a perfect embarrassment of such artistic riches4 ,the famous ,corots1 a sequence of panels1 representing ,morning1 ,noon1 ,evening1 and ,night1 which cost ,lord ,leighton less than #a1jjj francs each1 were sold for #f1jjj guineas for the four1 at ,christie's1 in ,july1 #ahif4 ,still another small ,corot1 a picture of a boat afloat on a still lake1 was also in this room4 ,one of the ,constables that hung there is literally historic--for it is the sketch for that famous ,hay ,wain which1 exhibited in ,paris1 at once upset the classical tradition1 and gave impetus to the whole modern school of ,french landscape4 ,near it was one of ,constable's many pictures of ,hampstead ,heath1--simply a bit of dark heath against a sympathetic sky2 but so painted as to be a masterpiece of its kind4 ,these pictures were but a few of the many artfully disposed things of beauty1 born in older ,italy1 or newer ,france1 or in our new-old ,london4 ,upon the staircase there were pictures at every turn to make one pause1 step by step1 on the way4 ,sir ,joshua ,reynolds was represented by an unfinished canvas of ,lord ,rockingham1 in which the great ,burke1 in his minor function of secretary1 also figures4 ,then came ,g4 ,f4 ,watts's earlier portrait of ,leighton himself2 and here a genuine ,tintoretto4 ,there was the ,p4,r4,a4's famous ,portrait of ,captain ,burton2 and over a doorway his early painting of ,the ,plague at ,florence1 with another early work1 ,romeo and ,juliet1 one of his very few ,shakespearean pictures4 ,from the landing whence most of these things were visible1 you entered at once the great studio4 ,round the upper wall ran a cast of the ,parthenon frieze1 and beneath this the wall on one side was riddled and windowed1 as it were1 with innumerable framed pictures1 small studies of foreign scenes2 so that one looked out in turn upon ,italy and the ,south1 ,egypt and the ,east1 or upon an ,irish sunset1 or a ,scottish mountain-side4 ,opposite these1 below the great window1 were many of the artist's miniature wax models and studies4 ,else1 the ordinary not unpicturesque lumber of an artist's studio was conspicuously absent4 ,the secret of ,leighton's despatch and careful ordering of his days1 was to be read1 indeed1 in every detail of his work-a-day surroundings4 ,even in a dim antechamber1 with a trellised niche most mysteriously overlooking the ,arab ,hall1 at one end of the studio1 in which the curious visitor might have expected to find dusty studies1 discarded canvases1 and other such sthetic remnants1--even that was found to contain not lumber1 but a ,sebastian del ,piombo1 a sketch of ,sappho by ,delacroix1 a landscape by ,costa1 a ,madonna and ,child of ,sano di ,pietro del ,piombo4 ,at the extreme other end of the main studio was the working studio of glass1 built to combat the fogs by procuring whatever vestige of light ,kensington may accord in its most ,november moods4 ,the last addition to the building1 not long before ,lord ,leighton's death1 was a gallery1 known as ,the ,music ,room1 expressly designed to receive his pictures--mostly gifts from contemporary artists2 or1 to speak more accurately1 works that had been exchanged for others in a wholly non-commercial spirit4 ,these included1 ,shelling ,peas1 by ,sir ,j4 ,e4 ,millais1 ,the ,corner of the ,studio1 by ,sir ,l4 ,alma-,tadema1 ,the ,haystacks1 and ,venus1 by ,g4 ,f4 ,watts1 and ,chaucer's ,dream of ,good ,women1 by ,sir ,e4 ,burne-,jones4 ,such was the daily environment of that hard1 unceasing1 indefatigable labour which1 natural faculty taken for granted1 is always the secret of an artist's extraordinary production4 ,and it was an environment1 as one felt on leaving it for the gray ,london without1 that well accorded with the radiant painted procession of the figures1 classic and other1 that file through ,lord ,leighton's pictures4 ,,chapter ,x ,,lord ,,leighton',s ,,house ,,in #aijj ,in the preceding chapter a picture is drawn of the ,house ,beautiful1 as it was in ,lord ,leighton's lifetime4 ,it was then full to overflowing with all manner of treasures2 but now all that were removable have been dispersed4 ,only the shell1 the house itself1 remains4 ,yet denuded as it is1 that is still well worth looking at4 ,the architectural features to which ,mr4 ,rhys1 dazzled by other things1 hardly did justice1 are now all the more apparent4 ,one of the rarest of all accomplishments1 at any rate in ,england1 is a cultivated taste in architecture2 but it so happened that amongst his many acquirements ,lord ,leighton possessed it in a remarkable degree4 ,in fact he received1 although a painter by profession1 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 instance1 those of the frescoes at ,south ,kensington4 ,it is a great honour1 and one by no means lightly bestowed4 ,at any rate1 when there was a question of building himself a house1 though he might not have been able to build it himself1 he was thoroughly qualified to choose an architect4 ,his choice fell upon ,professor ,aitchison1 now ,r4,a41 and he probably hit upon the only man of his generation able to put his feeling into bricks and mortar1 viz41 the feeling for a beauty sedate1 delicate1 and dignified4 ,we must remember the condition of things architectural in the sixties to do justice to the independence of employer and architect4 ,it was a time when the ,albert ,memorial was possible1 and when men tried to guide their steps by the light of ,the ,seven ,lamps of ,architecture4 ,a sentimental fancy for ,gothic based on irrational grounds was all but universal1 and it needed courage to avow a preference for the classical4 ,the compromise in favour of quaintness and capricious prettiness which began under the name of the ,queen ,anne style1 and has contributed so many picturesque and pleasing buildings to our modern ,london1 had not yet budded4 ,nor would it ever at any time of his life have thoroughly responded to ,leighton's taste4 ,so long as he could detect a defect he was dissatisfied1 and extreme nicety is not what the ,dutch style pretends to4 ,it depends upon a picturesque combination of forms of no great refinement in themselves1 but which give a varied skyline and a pretty play of light and shade4 ,it amuses at the first glance1 and as it rarely demands a second1 it is well suited to turbid atmospheres1 which blur outlines1 and a chilly climate in which people cannot loiter out of doors4 ,moreover1 the old-world memories it evokes1 although in a minor degree than was the case with the ,gothic1 contribute to its facile popularity4 ,but the classical taste is a love for form and delicate beauty of line as such1 quite irrespective of any associations which may accompany them1 or lamps1 be they seven or seventy times seven4 ,and to build his house in this style was the natural thing for a sculptor and fastidious seeker after the ideal in form4 ,he found the man he wanted in ,professor ,aitchison4 ,we must go over the outside and inside of the house1 but rapidly2 for to do more than just indicate the points worth attention would be waste of effort4 ,to convey an idea of the feelings produced by architecture is perhaps possible1 but it is perfectly vain to hope to picture it or reproduce in words the actual beauties of proportion or of colour4 ,those who wish to verify them must see for themselves and examine the building carefully4 ,the aspect of the house as seen from the street is1 it must be admitted1 hardly symmetrical2 but it is evident also that the first design has been much altered and added to4 ,at one end the ,arab ,hall1 with its dome and bearded battlements1 is an obvious afterthought1 in great contrast with the serious simplicity of the rest4 ,and at the other end the glass studio1 which was added later still1 is also clearly an excrescence4 ,the centre part was the original house1 and the studio was the chief feature of it1 and very much as it is now4 ,it is1 of course1 on the north side1 and the street1 the south side1 is occupied by small rooms which1 with their repeated small openings1 offer no great scope for designing4 ,still1 the whole has that look of dignity which always accompanies high finish2 and the entrance1 far from being commonplace1 because it has nothing quaint or surprising about it1 has a certain ample serenity which it is rare to find4 ,the mouldings of stonework and woodwork1 few and simple as they are1 are not taken out of a pattern-book1 as is usually the case1 but are specially designed each for its own position4 ,all the refinement of a building consists in its mouldings1 and no one has designed mouldings better than ,professor ,aitchison4 ,a vast improvement has been made in this respect in the last twenty years or so1 and it is largely due to his influence4 ,at any rate he was one of the first and he remains the best of modern designers of mouldings4 ,there are some fine examples of his work in the house4 ,on the north the house looks into a fair-sized garden1 skilfully planted1 so that it looks much larger than it is4 ,in the mind of the writer this aspect is intimately bound up with the recollection of delightful ,sunday mornings in summer1 when he sat chatting on random subjects with the ,president1 who1 in slippers1 a so-called land and water hat1 and a smock frock1 leant back in a garden-chair and talked as no one else could4 ,the quiet1 the sun overhead1 the grass under our feet1 the green trees around us1 and the house visible between them1 form an ineffaceable picture of sthetic contentment it is a delight to recall4 ,it recurred every ,sunday whenever the weather was fine and warm4 ,then it was that there was leisure to appreciate the admirable symmetry of the architecture2 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 ,bramante1 they would seldom get anyone to notice their work4 ,the studio occupies the whole of the upper story1 and the architect had a good opportunity1 as there was no need to cut it up as is the case when several rooms have to be provided for1 by numerous uniform lights4 ,here1 in the centre1 is one great light between wide spaces of wall judiciously divided by string courses1 and in the upper part on either side of the great window is a row of three small windows4 ,at the east end is a small door leading into a pretty little ,venetian balcony with stone parapet4 ,the whole makes a very beautiful building1 and the details and proportions are all worth examining4 ,this central part was what one saw through the trees as one sat in the garden4 ,less visible were the glass studio on its iron columns1 an excellent piece of work1 considering its few possibilities1 and the ,arab ,hall at the other end4 ,of course the latter looks a little incongruous4 ,it is a professed reproduction of ,arab architecture1 but carried out1 like the rest of the house1 with unstinted expense1 care1 and finish4 ,we will now go inside by the front door4 ,the cornice of the ceiling of the vestibule first entered is singularly fine4 ,like every other good artist ,professor ,aitchison improved as he went on1 and this is one of his latest designs in mouldings4 ,when the entrance was altered some years before the ,president's death1 an opportunity occurred for putting in a new ceiling4 ,passing on into the hall one comes upon a very picturesque arrangement of staircase4 ,it is lit from above by a broad skylight4 ,the stairs begin to rise against the wall of the dining-room which is recessed2 while on the first floor the wall of the studio is projected and carried on columns1 beyond which the stairs rise4 ,so that figures coming through the hall in the light1 begin mounting the stairs in the shadow1 and re-emerge into the light1 as the stairs turn1 with a very varied and striking effect4 ,by the first short flight of steps1 and between the two columns1 is a seat made of a ,persian chest or cassone1 beautiful and unusual in shape1 and richly inlaid4 ,lord ,leighton bought it in ,rhodes or ,lindos1 and was very proud of it4 ,it could not be removed and sold with the rest of the treasures at ,christie's as it was a fixture4 ,the floor of the hall is of marble mosaic1 mostly black and white4 ,only one small piece by the dining-room door1 a very agreeable design1 is in pinkish marbles4 ,illustration3 ,,the ,,house3 ,,the ,,arab ,,hall ,on the left1 down a short passage1 is the ,arab ,hall4 ,it is so unlike anything else in ,europe that its reputation has withdrawn all attention from the rest of the house4 ,it certainly is a most sumptuous piece of work4 ,elsewhere ,leighton satisfied his love of chastened form2 in this room and its approach he gave full scope to his delight in rich colours4 ,the general scheme is a peacock blue1 known technically as ,egyptian green1 and gold1 with plentiful black and white4 ,here and there tiny spots of red occur1 but they are rare4 ,the harmony begins in the staircase hall4 ,the walls1 except in the recessed part1 where there are genuine oriental tiles1 are lined to the level of the first floor with tiles of a fine blue1 from the kilns of ,mr4 ,de ,morgan1 and the soffitt of the stairs is coloured buff1 with gold spots4 ,in the passage the tone increases in richness4 ,the ceiling is silver and the cornice gold1 while the walls1 except for a fine panel of oriental tiles over the drawing-room door1 are lined with the same tiles as the staircase4 ,then between two grand columns of red ,caserta marble1 with gilt capitals modelled by ,randolph ,caldecott1 we pass into the ,arab ,hall itself1 and we come upon the full magnificence of the effect4 ,it is made up of polished marbles of many colours1 gilt and sculptured capitals1 alabaster1 shining tiles1 glistening mosaic of gold and colours1 brass and copper in the hanging corona1 and coloured glass in the little pierced windows1 in fact1 of every form of enrichment yet devised by ,eastern or ,western ,art4 ,from the floor1 which is black and white1 the tone rises through blue to lose itself in the gloom of a golden dome1 sparsely lit by jewel-like coloured lights4 ,in the centre a jet of water springs up1 to fall back into a basin of black marble4 ,the form of the basin which deepens towards the centre in successive steps1 is an adaptation of the pattern of a well-known oriental fountain4 ,all is equally black in this pool1 and the border unfortunately is barely distinguishable from the water4 ,after a dinner party at which ,sir ,e4 ,burne-,jones1 ,mr4 ,whistler1 ,mr4 ,albert ,moore1 and many others were present1 ,i recollect how1 when we were smoking and drinking coffee in this hall1 somebody1 excitedly discoursing1 stepped unaware right into the fountain4 ,two large ,japanese gold tench1 whose somnolent existence was now for the first time made interesting1 dashed about looking for an exit1 and there was a general noise of splashing and laughter4 ,the dark1 apparently fathomless pool was rather a mistake4 ,mishaps like that just mentioned occurred1 ,i believe1 more than once4 ,there had been at first a white marble basin1 but it did not give satisfaction1 because1 being in several pieces1 it leaked1 whereas the black one is all cut out of one block1 at great expense1 of course4 ,but the white had the advantage of lightness where light is none too plentiful4 ,in our winter1 when days are dark and cold1 black pools1 with marble columns and floors1 tiled walls1 and dim domes about them do not fall in with ,english notions of cosy woollen comfort4 ,the season to do justice to this hall is when summer comes round4 ,when the sun breaks through the lattice work of the musharabiyehs1 and the light is thrown up on the storied tiles1 and up the polished columns to the glinting mosaic1 to die away in the golden cupola1 the effect is indeed superb1 and to sit on the divan1 by the splash of the fountain1 and look from the glories within to the green trees without1 is to live not in ,london but in the veritable ,arabian nights4 ,the hall is square4 ,on one side is the entrance4 ,in the centre of each of the other sides is a lofty arched recess4 ,those to the north and south are windows1 shuttered with genuine musharabiyehs bought in ,cairo and having deep cushioned divans4 ,the recess to the west has only a small pierced window high up4 ,it has a raised step1 and in it used to stand certain bronze reproductions from ,pompeii1 with pots1 vases1 etc41 now gone4 ,some of the tiles were bought in ,damascus in #ahgc4 ,the price paid was #bjj for the complete tile surface of one room4 ,what would they be worth now8 ,others1 particularly the great inscription spoken of below1 were bought later in ,cairo1 and the rest at odd times4 ,here and there are single tiles1 but most of them are in sets forming fine panels4 ,an interesting one1 in the south-east corner1 represents hawks clutching their prey1 cheetahs and deer1 a hunter1 etc41 and another has herons1 fish1 tortoises1 deer1 etc4 ,set into the woodwork in the western recess are four tiles with female figures4 ,these are either ,persian or come from the neighbourhood of ,persia1 for the ,anatolian or ,egyptian ,mahommedan tolerated no representations of life4 ,the rest repeat in pleasing variety the usual motives of oriental design1 viz41 vines1 cypresses1 pinks and vases1 doorways 78 the entrances of mosques71 with hanging lamps1 and conventional floral designs4 ,above the entrance runs the chief treasure1 the grand series of tiles bearing the great inscription4 ,it is about sixteen feet long4 ,according to ,mr4 ,harding ,smith it may be translated thus3 ,in the name of the merciful and long-suffering ,god4 ,the ,merciful hath taught the ,koran4 ,he hath created man and taught him speech4 ,he hath set the sun and moon in a certain course4 ,both the trees and the grass are in subjection to him4 ,it cannot be said that there is anything very new in that4 ,there rarely is in such inscriptions4 ,there are three others1 but so far as they have been deciphered they appear to be incomplete1 and in two cases1 at any rate1 to much the same effect as the big one4 ,just pious reminders4 ,the real interest of them lies in the decorative effect of the imposing procession of letters across the wall1 and the splendour of their colours4 ,for beauty and condition this great inscription is said to be without a rival in any collection in ,europe4 ,let into the woodwork panelling in the west bay there are two small lustred ,persian tiles of the thirteenth century4 ,they have been mutilated as to the faces of the figures by true believers4 ,the rest belong to the sixteenth or early seventeenth centuries1 a time when artistic production was stimulated by the commercial wealth brought by the trade of ,venice and ,genoa with the ,east through ,anatolia1 ,damascus and ,cairo4 ,round three sides above the tiles runs a decorative mosaic frieze1 by ,walter ,crane1 of an arabesque design on a gold ground4 ,it is a beautiful and fanciful piece of work in itself1 and it serves moreover to blend the prevailing colour of the tiles with the gilding of the upper regions4 ,but it does not continue round the fourth side1 because over the entrance1 above the great inscription1 an oriel window of musharabiyeh work looks down into the hall from the first floor of the house4 ,the pierced windows1 or at least eight of them1 were brought from ,cairo1 and when bought had the original glass in them2 but in the east the glass is stuck in with white of egg1 and as they were1 as usual1 ill-packed1 the glass all came out and was ground to fragments in the jolting of the journey4 ,only enough could be saved to fill the window in the upper part of the west recess opposite the entrance4 ,the remainder had to be filled with ,english imitations4 ,returning now to the staircase1 we find it ends on the first floor in a landing leading to the great studio4 ,on the left it is open to the little studio2 so-called because1 having a skylight1 ,lord ,leighton used it for painting out-of-door effects until he had the glass studio built4 ,adjoining it1 or forming an extension of it1 is another room1 built only a year or two before the late owner's death4 ,after the addition of the glass studio the two were only used as an antechamber1 and were hung with the pictures presented by brother artists1 and with a few old masters4 ,the mouldings round the skylights are very pretty4 ,the latticed window before mentioned looks down from the little studio into the ,arab ,hall4 ,the great studio is a large room about sixty feet by twenty-five and about seventeen in height4 ,in the centre of the north side is the lofty window forming a bay and extending into a skylight in the top4 ,high up on either side of it are the three small openings mentioned when speaking of the exterior4 ,a curtain hangs in front of them1 and in point of fact they were never used4 ,in the west wall is an apse with a gilt semi-dome1 which appears in some of ,lord ,leighton's pictures4 ,across the east end runs a gallery at about eight feet from the floor with bookshelves under it on either side1 and in the middle a broad passage leads into the glass studio1 and still outside this is a wide balcony looking into the garden4 ,casts of a portion of the ,panathenaic frieze of the ,parthenon run along the upper part of the wall of the great studio1 fit emblem of the lifelong devotion of the ,president to classic art4 ,such then is the workshop4 ,even now1 comparatively bare as it is at the present moment of writing1 this is one of the most picturesque suites of rooms in existence2 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 forgotten4 ,then when walls and easels were covered with pictures1 when rare carpets hung from the gallery1 flowers and palms filled the bay window1 beautiful women and men of every form of distinction crowded the floor to listen to ,joachim and ,piatti1 nothing was wanting which could give beauty or interest to the spectacle4 ,it will be seen that the house is still rich in artistic beauty and still has objects of value4 ,but the most precious of its contents are after all its associations4 ,its floors have been trodden by all that was most notable in the society of its owner's day1 people whose names alone would be an epitome of our times4 ,it was also the workshop of a great artist4 ,but1 above all1 it was the centre of a great influence which profoundly modified ,english art4 ,whatever judgment the future may pass upon his own productions1 the fact must never be lost sight of that even without them ,leighton was a great man4 ,intellectually1 spiritually1 and socially he was the most brilliant leader and stimulator of artists we have ever seen in ,england4 ,his earnest example and lifelong persistence fanned the flame of enthusiasm among all branches of art workers4 ,he taught ,englishmen to study form1 and it was under his encouragement that sculpture1 which was fallen so low1 has now risen into so good a place4 ,finally he did more than anyone else has done to raise the status of the artist in society4 ,the house which he built himself was his hobby1 and in the refinement and catholicity of taste it shows1 there is so just a reflex of his characteristics that an account of it is indispensable to any book which claims to describe the man4 ,s4 ,,pepys ,,cockerell4 ,,chapter ,,xi ,,the ,,artist ,,and ,,his ,,critics ,before closing our record it will be well to quote1 as we promised earlier1 some of the contemporary criticism that ,sir ,frederic's work has encountered from time to time2 and especially the criticism of his earlier performances1 while he was still in the years of his pre-,academic probation4 ,as a provocation to criticism1 most interesting of all is his picture1 the ,cimabue's ,madonna carried in ,procession through the ,streets of ,florence1 upon which we have already commented4 ,as we may here remind our readers1 it was painted at ,rome chiefly1 in #ahec-d1 and was exhibited at the ,academy of #ahee4 ,in that year1 as good fortune would have it1 ,mr4 ,ruskin issued for the first time1 ,notes on some of the ,principal ,pictures ,exhibited in the ,rooms of the ,royal ,academy4 ,some pages of this famous pronouncement are devoted to this very picture1 and we cannot do better than quote freely from a criticism so remarkable4 ,this is a very important and very beautiful picture1 says ,mr4 ,ruskin4 ,it has both sincerity and grace1 and is painted on the purest principles of ,venetian art--that is to say1 on the calm acceptance of the whole of nature1 small and great1 as1 in its place1 deserving of faithful rendering4 ,the great secret of the ,venetians was their simplicity4 ,they were great colourists1 not because they had peculiar secrets about oil and colour1 but because when they saw a thing red1 they painted it red2 and 444 when they saw it distinctly1 they painted it distinctly4 ,in all ,paul ,veronese's pictures1 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 figures2 and the reader may rest assured that in all great art it is so4 ,everything in it is done as well as it can be done4 ,thus in the picture before us1 in the background is the ,church of ,san ,miniato1 strictly accurate in every detail2 on the top of the wall are oleanders and pinks1 as carefully painted as the church2 the architecture of the shrine on the wall is well studied from thirteenth-century ,gothic1 and painted with as much care as the pinks2 the dresses of the figures1 very beautifully designed1 are painted with as much care as the faces3 that is to say1 all things throughout with as much care as the painter could bestow4 ,it necessarily follows that what is most difficult 7i4e4 the faces7 should be comparatively the worst done4 ,but if they are done as well as the painter could do them1 it is all we have to ask2 and modern artists are under a wonderful mistake in thinking that when they have painted faces ill1 they make their pictures more valuable by painting the dresses worse4 ,the painting before us has been objected to because it seems broken up in bits4 ,precisely the same objection would hold1 and in very nearly the same degree1 against the best works of the ,venetians4 ,all faithful colourists' work1 in figure-painting1 has a look of sharp separation between part and part4444 ,although1 however1 in common with all other works of its class1 it is marked by these sharp divisions1 there is no confusion in its arrangement4 ,the principal figure is nobly principal1 not by extraordinary light1 but by its own pure whiteness2 and both the ,master and the young ,giotto attract full regard by distinction of form and face4 ,the features of the boy are carefully studied1 and are indeed what1 from the existing portraits of him1 we know those of ,giotto must have been in his youth4 ,the head of the young girl who wears the garland of blue flowers is also very sweetly conceived4 ,such are the chief merits of the picture4 ,its defect is that the equal care given to the whole of it is not yet care enough4 ,i am aware of no instance of a young painter1 who was to be really great1 who did not in his youth paint with intense effort and delicacy of finish4 ,the handling here is much too broad2 and the faces are1 in many instances1 out of drawing1 and very opaque and feeble in colour4 ,nor have they in general the dignity of the countenance of the thirteenth century4 ,the ,dante especially is ill-conceived--far too haughty1 and in no wise noble or thoughtful4 ,it seems to me probable that ,mr4 ,leighton has greatness in him1 but there is no absolute proof of it in this picture2 and if he does not1 in succeeding years1 paint far better1 he will soon lose the power of painting so well4 ,to ,mr4 ,ruskin's account1 which is sufficient to enable one to realize the picture in some detail1 we may add further the criticism of the ,athenum of ,may #abth1 #ahee1 which is interesting as showing how the work affected a contemporary critic of another order4 ,it speaks of ,mr4 ,leighton as a young artist who1 we believe1 has studied in ,italy1 and goes on to say3 ,there can be no question that the picture is one of great power1 although the composition is quaint even to sectarianism2 and though the touch1 in parts broad and masterly1 is in the lesser parts of the roughest character4 ,the last clause of the sentence bears out1 it may be perceived1 a significant indictment in ,mr4 ,ruskin's deliverance1 which lays stress on a defect that the artist1 in his maturer brush-work1 does not show4 ,rossetti1 writing to his friend ,william ,allingham1 ,may #aath1 #ahee1 says3 ,there is a big picture of ,cimabue1 one of his works in procession1 by a new man1 living abroad1 named ,leighton--a huge thing1 which the ,queen has bought1 which everyone talks of4 ,the ,r4,a4's have been gasping for years for someone to back against ,hunt and ,millais1 and here they have him1 a fact that makes some people do the picture injustice in return4 ,it was very uninteresting to me at first sight2 but on looking more at it1 ,i think there is great richness of arrangement1 a quality which1 when really existing1 as it does in the best old masters1 and perhaps hitherto in no living man--at any rate ,english--ranks among the great qualities4 ,but ,i am not quite sure yet either of this or of the faculty for colour1 which ,i suspect exists very strongly1 but is certainly at present under a thick veil of paint1 owing1 ,i fancy1 to too much continental study4 ,one undoubted excellence it has--facility1 without much neatness or ultra-cleverness in the execution1 which is greatly like that of ,paul ,veronese2 and the colour may mature in future works to the same resemblance1 ,i fancy4 ,there is much feeling for beauty1 too1 in the women4 ,as for purely intellectual qualities1 expression1 intention1 etc41 there is little as yet of them2 but ,i think that in art richness of arrangement is so nearly allied to these1 that where it exists 7in an earnest man7 they will probably supervene4 ,however1 the choice of subject1 though interesting in a certain way1 leaves one quite in the dark as to what faculty the man may have for representing incident or passionate emotion4 ,but ,i believe1 as far as this showing goes1 that he possesses qualities which the mass of our artists aim at chiefly1 and only seem to possess4 ,whether he have those of which neither they nor he give sign1 ,i cannot tell2 but he is said to be only twenty-four years old4 ,there is something very ,french in his work1 at present1 which is the most disagreeable thing about it2 but this ,i dare say would leave him if he came to ,england4#ab ,in the year following ,leighton's academical dbut1 he exhibited a picture entitled ,the ,triumph of ,music1 which the ,athenum1 hereafter so sympathetic towards his work1 described as anything but a triumph of art4 ,partly1 perhaps1 because of the general tone of discouragement in all the criticisms of this year1 the artist did not send in anything to the ,academy of #aheg4 ,in #aheh his two pictures--,the ,fisherman and the ,syren1 and ,count ,paris1 although admirably conceived1 and extremely interesting to us now1 received no word of friendly criticism that is worth recording4 ,at the ,academy of #ahei were exhibited two pictures by him1 which served to reassure at last those critics who had been shaking their heads over his supposed inability to follow up his first success4 ,we turn to the ,athenum again1 to study its gradual conversion from an attitude of critical distrust to one of critical sympathy3 ,mr4 ,leighton1 says the ,athenum1 after a temporary eclipse1 struggles again to light4 ,his heads of ,italian women this year are worthy of a young old master3 anything more feeling1 commanding1 or coldly beautiful1 we have not seen for many a day4444 ,this is real painting1 and we cannot but think that a painter who can paint so powerfully will soon be able to surpass that processional picture of his1444 i4e41 the ,cimabue4 ,in #ahfj1 the artist1 who then entered upon his thirtieth year1 exhibited a small picture1 ,capri1 ,sunrise1 which won great praise for its successful treatment of ,italian landscape under the ,scirocco1 whose sulphurous light is cast with evil suggestion upon the white houses and green vegetation4 ,in paying his tribute to the quality of the picture1 the critic of the ,athenum cannot resist1 however1 the old cry of great expectations4 ,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 schools1 and carry on the traditions of the so-called grand style4 ,but the critic proposes1 the creator disposes3 the artist went his own way1 following still his own ideals4 ,in #ahfa1 some rather warm discussion raged over two of the artist's contributions to the ,royal ,academy1 which appeared in its catalogue as ,nos4 #cii and #eej1 and which1 it was said1 had been deliberately slighted by the hanging committee4 ,in later years1 ,leighton must sometimes have smiled when he heard 7as from his position he must needs have17 the annual plaint of the skied4 ,it is to the ,art ,journal1 whose criticisms1 when they had to do with the new and rising schools1 used to be always entertaining1 if often provoking1 in those days1 that we turn for a contemporary account of these things1 rather than to any other source4 ,the critic having premised1 with a delightful and convincing air of ,i told you so6 that his first effort 7the inevitable ,cimabue's ,madonna7 having exhausted the poor artist1 he has been coming down the ladder of fame ever since1 continues in characteristic tones3 ,instead of being hung too high1 the ,dream1 had it been properly hung1 would have been displayed upon the ceiling4 ,the picture1 according to this authority1 consisted only of a questionable combination of the lower forms of mere decorative ornamentation1 and was in fact1 not so much a picture as a very clever treatment for the centre of a ceiling4 ,so much for what was really the first clear sign of the artist's delightful decorative faculty4 ,it is clear from various evidences of the feeling of the critics about ,leighton at this time1 that they had begun to look upon him as one whose ideals were frivolous1 and not seriously minded1 or weighted with the true ,british substantiality of the old ,academy tradition4 ,in the very next year1 the artist1 by the chances of his own temperamental many-sided delight in life and art1 did something to reassure his admonitors once more4 ,no4 #bag at the ,royal ,academy of #ahfb was his picture1 ,the ,star of ,bethlehem1 which1 with some natural and not unfair deductions1 won considerable praise from the critic last quoted4 ,in this painting1 which shows curiously the mingled academic and natural quality of the artist1 the critic found profound incompatibilities of conception and technique2 and next year1 the same critic was stirred to exclaim1--,the pictures which of all others give most trouble and anxiety to the critic are perhaps those of ,mr4 ,millais and ,mr4 ,leighton1--a very suggestive conjunction of names1 let us add4 ,it was probably the same critic1 who speaking of the ,dante at ,verona1 in #ahfd1 said gravely1 ,the promise given by the ,cimabue here reaches fruition4 ,writing in #ahfc1 ,mr4 ,w4 ,m4 ,rossetti1 a critic whom it is interesting to be able to cite1 said of two of the artist's pictures of that year1 the ,girl feeding ,peacocks and the ,girl with a ,basket of ,fruit1 they belong to that class of art in which ,mr4 ,leighton shines--the art of luxurious exquisiteness2 beauty1 for beauty's sake2 colour1 light1 form1 choice details1 for their own sake1 or for beauty's4 ,in the same year1 ,mr4 ,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--since1 that is1 the new development of art under the little band of ,pre-,raphaelites1--with which ,mr4 ,w4 ,m4 ,rossetti was himself so closely associated4 ,by way of contrast1 we may cite the ,art ,journal of #ahfe1 which provides a most extraordinary criticism of ,david1 of that year4 ,we would venture to ask1 says this ingenious critic1 why the divine psalmist has so small a brain8 ,within this skull there is not compass for the poet's thoughts to range4 ,we state as a physiological fact1 that a head so small1 with a brow so receding1 could not have belonged to any man who has made himself conspicuous in the world's history4 ,again1 descending to mere matter of costume1 there cannot be a doubt that the purple mantle flung on the psalmist's shoulders is wholly wanting in study of detail1 and constitutes a blot on the landscape4 ,barring these oversights1 the picture possesses merits4 ,at this period we hear the first critical murmurs against the artist's very deliberately chosen method of flesh-painting4 ,in #ahfg1 speaking of the ,venus ,disrobing1 the ,art ,journal critic says3 ,according to the manner1 not to say the mannerism1 of the artist1 it has a pale silvery hue1 not as white as marble1 not so life-glowing as flesh4 ,with this we may compare1 for the comparison is instructive1 the ,athenum1 whose notice is more sympathetic4 ,the figure of the goddess it describes as all rosy white1 444 admirably drawn1 and modelled with extreme care4 ,again1 in #ahfh1 the ,art ,journal says of ,sir ,frederic's ,acta3 ,the artist has made some attempt to paint flesh in its freshness and transparency1 and indeed the more he renounces the opacity of the ,german school1 and the more he can realize the brilliance of the old ,venetian painters1 the better4 ,in #ahfi1 the ,athenum praised the ,sister's ,kiss1 as a lovely group1 but complained that the execution was a little too smooth1--a complaint not infrequently echoed from time to time by the artist's critics4 ,some years later we find ,mr4 ,w4 ,m4 ,rossetti making the same complaint in criticising ,winding the ,skein4 ,in #ahge the picture1 ,portions of the ,interior of the ,grand ,mosque at ,damascus1 won great praise1 as a remarkably delicate piece of work1 in which the beautiful colouring of the tiled walls and mosaic pavement are skilfully rendered4 ,in #ahgf1 the quondam hostile ,art ,journal is completely converted by the ,daphnephoria3 ,to project such a scene upon canvas presupposes a man of high poetic imagination1 and when it is accompanied by such delicacy and yet such precision of drawing and such sincerity of modelling1 the poet is merged in the painter and we speak of such a one as a master4 ,there is1 indeed1 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 aim4 ,it was in #ahge1 that ,mr4 ,ruskin1 resuming his rle of an ,academy critic1 claimed ,leighton as a kindred ,goth1 and confessed1 ,i determined on writing this number of ',academy ,notes1' simply because ,i was so much delighted with ,mr4 ,leslie's ,school1 ,mr4 ,leighton's ,little ,fatima1 ,mr4 ,hook's ,hearts of ,oak1 and ,mr4 ,couldery's ,kittens4 ,in his lectures on the ,art of ,england1 the same critic1 speaking of ,leighton's children1 says3 ,it is with extreme gratitude1 and unqualified admiration1 that ,i find ,sir ,frederic condescending from the majesties of ,olympus to the worship of those unappalling powers1 which1 heaven be thanked1 are as brightly ,anglo-,saxon as ,hellenic2 and painting for us1 with a soft charm peculiarly his own1 the witchcraft and the wonderfulness of childhood4 ,upon the ,egyptian ,slinger of the same year1 which ,mr4 ,ruskin terms the study of man in his ,oriental function of scarecrow 7symmetrically antithetic to his ,british one of game preserver71 his criticism is interesting1 but adverse4 ,the critic who elsewhere acknowledged fully the artist's acutely observant and enthusiastic study of the organism of the human body1 confesses himself unable to recognize his skill1 or to feel sympathy with the subjects that admit of its display4 ,it is1 he goes on to say further of the ,slinger1 it is1 ,i do not doubt1 anatomically correct1 and with the addition of the corn1 the poppies1 and the moon1 becomes semi-artistic2 so that ,i feel much compunction in depressing it into the ,natural ,history class2 and the more1 because it partly forfeits its claim even to such position1 by obscuring in twilight and disturbing our minds1 in the process of scientific investigation1 by sensational effects of afterglow and lunar effulgence1 which are disadvantageous1 not to the scientific observer only1 but to less learned spectators2 for when simple persons like myself1 greatly susceptible to the influence of the stage lamps and pink side-lights1 first catch sight of this striding figure from the other side of the room1 and take it1 perhaps1 for the angel with his right foot on the sea and the left on the earth1 swearing there shall be ,time no longer2 or for ,achilles alighting from one of his lance-cast-long leaps on the shore of ,scamander1 and find on near approach that all this grand straddling and turning down of the gas mean practically only a lad shying stones at sparrows1 we are only too likely to pass it petulantly without taking note of what is really interesting in this eastern custom and skill4 ,illustration3 ,,egyptian ,,slinger 7#ahge7 ,the most recent criticism of importance on the art of ,leighton is contained in an admirable volume by ,m4 de la ,sizeranne4#ac ,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 ,continent1 and1 in reality1 the representative of ,continental painting in ,england1 and concludes by tracing the definitely ,english ideal that underlies the artist's work4 ,elsewhere the critic says1 ,ce qui est britannique en ,m4 ,leighton1 quoique bien voil par son clectisme1 transparatra encore4 ,apart from ,leighton's distinctively native predilection for certain subjects1 ,m4 de la ,sizeranne finds him very ,english in his treatment of draperies1 for instance1 a treatment which he traces ingeniously to the much study given to the ,greek drapery of the ,elgin marbles by the ,english ,school1 since the days of the ,pre-,raphaelites4 ,elsewhere1 taking as his text the picture ,the ,spirit of the ,summit1 he says3 ,des sujets qui lvent la pense vers les sommets de la vie ou de l'histoire1 de sorte qu'on ne puisse se rappeler un nez ou une jambe sans se souvenir de quelque haute leon vanglique1 ou de moins de quelque grande ncessit sociale1 voil ce que ,m4 ,leighton a trait4 ,et un style beaucoup plus sobre que celui d',overbeck1 beaucoup plus viril que celui de ,m4 ,bouguereau1 voil comment il les a traits4 ,again3 ,la grandeur de la communion humaine1 la noblesse de la paix1 tel est le thme qui a le plus souvent et le mieux inspir ,m4 ,leighton4 ,et cela il ne l'a pas trouv en ,france1 ni ailleurs4 ,c'est bien une ide anglaise4 ,no better summing up of the chronicle of the life work of the artist could well be found4 ,but we have pursued far enough this study of an artist's progress through the thorny1 devious ways of art criticism4 ,we have reached the point1 in fact1 where the comparative uncertainties of an artist's career make way for the certainties4 ,with one quotation more1 in which we have a tribute from another critic1 ,mr4 ,comyns ,carr1 we may fitly close3 ,no painter of our time1 said ,mr4 ,carr1 maintains a firmer or more constant adherence to those severe principles of design which have received the sanction of great example in the past4 ,sir ,frederic ,leighton has never lowered the standard of his work in deference to any popular demand1 and for this persistent devotion to his own highest ideals he deserves well of all who share his faith in the power of beauty4 ,illustration3 ,,elisha ,,and ,,the ,,shunamite',s ,,son 7#ahha7 ,,chapter ,,xii ,,conclusion ,in now bringing this record to a close1 we will of set purpose remain true to the chronicler's function1 pure and simple2 attempting no profounder or more critical summing up of our subject1 than consists with the plain record of a remarkable career4 ,after a year of indifferent health1 during part of which time he was ordered abroad for rest and change1 being thus unable to preside at the annual banquet in ,may1 ,leighton returned to ,england apparently convalescent4 ,although unable to deliver the biennial presidential address1 which fell due in ,december1 #ahie1 he met the students on that occasion1 and apologized for not delivering the ,discourse which was due1 in these words3 ,the cloud which has hung over me hangs over me still4#ad ,early in #ahif a peerage was bestowed upon him1 and all the world applauded the honour conferred on ,art in his name4 ,on ,january #acth1 #ahif1 the news of his death came as a terrible surprise4 ,the new peer1 ,baron ,leighton of ,stretton1 was buried with much state at ,st4 ,paul's ,cathedral1 before men in general had wholly recognized that ,lord ,leighton was the popular ,sir ,frederic1 the ,president of the ,royal ,academy1 and one of the most familiar figures at any important function--at court or elsewhere4 ,except perhaps in the case of politicians1 who live in some degree by the public recognition of their personal qualities1 it is difficult to render tribute gracefully and well to a contemporary4 ,but we cannot close these pages1 now1 without pausing to recall how fortunate it has been that ,english ,art1 for seventeen years1 had as its titular head an artist whose affluent artistic faculty was but the open sign of a crowded life1 loyal throughout to the great causes1 high ideals1 and1 let us add1 the early friendships1 chosen long ago in the mid century4 ,we are now at that century's end1--an end not without its reproach1 as expressed by a decadence more self-conscious than dignified1 more critical than creative2 but in ,lord ,leighton's ,art there was little diminution in his active energy1 and of that finer health and spirit of life1 which is behind all beauty6 ,like his distinguished friend and colleague1 ,mr4 ,g4 ,f4 ,watts 7whose tribute to him as a man and as an artist has been expressed again and again in eloquent terms71 ,leighton remained1 in his later period as in his youth1 generously alive to all the things that count1 devoted still to the ,art1 the current life1 and the great national traditions1 of his own country4 ,from another famous colleague1 ,sir ,e4 ,j4 ,poynter1 ,p4,r4,a41 one may fitly add here the following further sentences of contemporary tribute1 which were written by way of dedication to his ,ten ,lectures on ,art1 published some years ago3--,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 ,art1 both as regards treatment of subject and execution1 than ,i have before noticed2 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 ,president1 and to the influence of the energy1 thoroughness and nobility of aim which he displays in everything he undertakes4 ,i was probably the first1 when we were both young and in ,rome together1 to whom he had the opportunity of showing the disinterested kindness which he has invariably extended to beginners1 and to him1 as the friend and master who first directed my ambition1 and whose precepts ,i never fail to recall when at work 7as many another will recall them71 ,i venture to dedicate this book with affection and respect4 ,as we are1 so our work is6 said ,leighton in one of the most memorable of his ,discourses2 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 last4 ,believe me1 he concludes1 in a striking passage that may very fitly serve us1 too1 with a conclusion to these passages1 believe me1 whatever of dignity1 whatever of strength we have within us1 will dignify and will make strong the labours of our hands2 whatever littleness degrades our spirit will lessen them and drag them down4 ,whatever noble fire is in our hearts will burn also in our work1 whatever purity is ours will also chasten and exalt it2 for as we are1 so our work is1 and what we sow in our lives1 that1 beyond a doubt1 we shall reap for good or for ill in the strengthening or defacing of whatever gifts have fallen to our lot4 ,it would be superfluous to quote from the elegiac tributes which appeared in the public press after ,lord ,leighton's death1 and invidious to repeat certain unkind and unjust strictures which marred the otherwise unanimous note of appreciation4 ,it is obvious that an artist with so strongly marked a personality must needs have been fettered by the very limits he himself had set4 ,at one time1 when a painter of eminence openly expressed his preference for ,lord ,leighton's unfinished work1 and begged him to keep a certain picture as a beautiful sketch1 he replied3 ,no1 ,i shall finish it1 and probably1 as you suggest1 spoil it4 ,to complete satisfactorily is what we painters live for4 ,i am not a great painter1 but ,i am always striving to finish my work up to my first conception4 ,there are many mansions in the city of ,art1 and if the one of ,lord ,leighton's building was not to the taste of all his contemporaries1 the edifice can be left to await the final test of years4 ,fashions in taste change rapidly1 and much of his finish that finds disfavour to-day may in time charm once again4 ,a career overburdened by official honour was destined to provoke a certain amount of envious protest2 but as a man1 no voice has urged a word against his ideally perfect performance1 not merely of his official duties1 but of others which indeed were laid upon him by his position4 ,these he obeyed without ostentation--almost without men's knowledge4 ,his kindly help1 by commendation or by commission given to young artists2 his broad and tolerant view of work conceived in direct opposition to all he valued himself1 was not hidden from his friends4 ,it is with a sense of amazement1 a critic writes in a private letter1 that one afternoon after a protest that nothing he said was to be published1 ,i heard him discuss the prospects and the works of our ultra-modern painters4 ,even in fields beyond his sympathy he picked out the chaff from the wheat1 and was judicially accurate in his verdicts of the difference between 'tweedle-dum' and 'tweedle-dee1' both one would have said1 entirely unknown to him4 ,in ,lord ,leighton ,british artists lost a truer friend than many of them suspected1 one who wielded his power justly to all1 and was more often on the side of progress than not1 a power for reform that can never be estimated at its actual value1 working within a highly conservative body1 full of vested interests and prejudice--as is the habit of academies of ,art and ,literature abroad no less than at home4 ,that ,leighton1 who controlled its destinies so long1 was loyal to its true interests1 and never forgot the institution with which he was associated so many years is evident from his last words3 ,give my love to all at the ,academy4 ,illustration3 ,,bookplate ,,of ,,lord ,,leighton4 ,,designed ,,by ,r4 ,,anning ,,bell4 ,,appendix ,i ,,list ,,of ,,principal ,,works ,with date and place of exhibition #ahej 7circa74 99,,cimabue ,,finding ,,giotto ,,in ,,the ,,fields ,,of ,,florence4#ae 7#di-a_/b #cg in47 ,steinle ,institute 7,frankfort74 #ahej4 ,,the ,,duel ,,between ,,romeo ,,and ,,tybalt4 7#cg #ej in47 #ahea 7circa74 ,,the ,,death ,,of ,,brunelleschi4 ,steinle ,institute4 #ahea4 ,,early ,,portrait ,,of ,,leighton ,,by ,,himself4 #aheb4 99,a ,,persian ,,pedlar4 ,,buffalmacco1 ,,the ,,painter4 ,a humorous subject1 taken from ,vasari1 was undertaken about this date4 #ahec4 ,,portrait ,,of ,,miss ,,laing 7,lady ,nias74 #ahee4 99,,cimabue',s ,,celebrated ,,madonna ,,is ,,carried ,,in ,,procession ,,through ,,the ,,streets ,,of ,,florence4 ,in front of the ,madonna1 and crowned with laurels1 walks ,cimabue himself1 with his pupil ,giotto2 behind it1 ,arnolfo di ,lapo1 ,gaddo ,gaddi1 ,andrea ,tafi1 ,nicola ,pisano1 ,buffalmacco and ,simone ,memmi2 in the corner1 ,dante4 7#hg-a_/b #bje in47 ,r4,a4#af ,,the ,,reconciliation ,,of ,,the ,,montagues ,,and ,,capulets over the dead bodies of ,romeo and ,juliet4 ,paris ,international ,exhibition4#ag #ahef4 ,,the ,,triumph ,,of ,,music4 7#hj #aaj in47 ,r4,a4 ,orpheus1 by the power of his art1 redeems his wife from ,hades4 #aheg4 99,,salome1 the daughter of ,herodias4 7#dd-a_/b #be in47 #aheh4 99,,the ,,mermaid 7,,the ,,fisherman ,,and ,,the ,,syren74 7,from a ballad by ,goethe47 7#bf-a_/b #ah-a_/b in47 ,r4,a4 ,half drew she him1 ,half sunk he in1 ,and never more was seen4 ,,count ,,paris1 accompanied by ,friar ,lawrence and a band of musicians1 comes to the house of the ,capulets1 to claim his bride3 he finds ,juliet stretched apparently lifeless on her bed4--,romeo and ,juliet1 act ,,iv41 sc4 #e4 7#bf-a_/b #ah-a_/b in47 ,r4,a4 ,,reminiscence ,,of ,,algiers4 ,s4,s4 ,these were1 ,a ,,subject ,,from ,,keats',s ,,hymn ,,to ,,pan1 in the first book of ,endymion1 a figure of ,pan under a fig-tree1 with the inscription1 ,o thou1 to whom ,broad-leaved fig-trees even now foredoom ,their ripen'd fruitage2 and the other1 ,a ,,pendant ,,to ,,the ,,pan1 the figure of a nude nymph about to bathe1 with a little ,cupid loosening her sandal4 #ahei4 ,,sunny ,,hours4 ,r4,a4 99,,roman ,,lady 7,la ,nanna74 ,r4,a4 99,,nanna 7,pavonia74 ,r4,a4 ,,samson ,,and ,,delilah4 ,s4,s4 #ahfj4 ,,capri--,,sunrise4 ,r4,a4 #ahfa4 99,,portrait ,,of ,,mrs4 ,,sutherland ,,orr4 ,mrs4 ,s4 ,o41 a portrait4 7#bh #ah in47 ,r4,a4 99,,portrait ,,of ,,john ,,hanson ,,walker1 ,,esq4 7#bc #ag in47 ,,paolo ,e ,,francesca4 ,r4,a4 ,ma solo un punto fu quel che ci vinse ,quando legemmo il disiato riso ,esser baciato da cotanto amante1 ,questi1 che mai da me non fia diviso1 ,la bocca mi baci tutto tremante3 ,galeotto fu'l libro e chi lo scrisse3 ,quel giorno pi non vi legemmo avante4 ,a ,,dream4 ,r4,a4 444 ,not yet--not yet-- ,still there is trial for thee1 still the lot ,to bear 7the ,father wills it7 strife and care2 ,with this sweet consciousness in balance set ,against the world1 to soothe thy suffering there ,thy ,lord rejects thee not4 ,such tender words awoke me hopeful1 shriven ,to life on earth again from dream of heaven4 ,,lieder ,,ohne ,,worte4 ,r4,a4 ,j4 ,a4 ,a ,,study4 ,r4,a4 ,,capri--,,paganos4 ,r4,a4 #ahfb4 ,,odalisque4 ,r4,a4 99,,the ,,star ,,of ,,bethlehem4 7#fj #bc-a_/b in47 ,r4,a4 ,one of the ,magi1 from the terrace of his house1 stands looking at the star in the ,east2 the lower part of the picture indicates a road1 which he may be supposed just to have left4 ,,sisters4 ,r4,a4 99,,michael ,,angelo ,,nursing ,,his ,,dying ,,servant4 7#dc #cf in47 ,r4,a4 ,,duett4 ,r4,a4 ,,sea ,,echoes4 ,r4,a4 ,,rustic ,,music4 #ahfc4 ,,jezebel ,,and ,,ahab1 having caused ,naboth to be put to death1 go down to take possession of his vineyard2 they are met at the entrance by ,elijah the ,tishbite3 ,r4,a4 ,hast thou killed1 and also taken possession8 99,,eucharis4 7,a ,girl with a ,basket of ,fruit47 7#cb-a_/b #bb in47 ,r4,a4 ,a ,,girl ,,feeding ,,peacocks4 ,r4,a4 ,,an ,,italian ,,crossbow-,,man4 7#ae #bd-a_/b in47 ,r4,a4 #ahfd4 ,,dante ,,at ,,verona4 ,r4,a4 99,,orpheus ,,and ,,eurydice4 7#di #db in47 ,r4,a4 ,but give them me--the mouth1 the eyes1--the brow-- ,let them once more absorb me6 ,one look now ,will lap me round for ever1 not to pass ,out of its light1 though darkness lie beyond6 ,hold me but safe again within the bond ,of one immortal look6 ,all woe that was1 ,forgotten1 and all terror that may be1 ,defied--no past is mine1 no future6 look at me6 ,,robert ,,browning3 ,a ,fragment4 99,,golden ,,hours4 7#cf #dh in47 ,r4,a4 99,,portrait ,,of ,,the ,,late ,,miss ,,lavinia ,i',,anson4 7,circular1 #ab-a_/b in47 #ahfe4 99,,david4 7#cg #dg in47 ,r4,a4 ,oh that ,i had wings like a dove6 for then would ,i fly away and be at rest4 ,psalm lv4 ,,mother ,,and ,,child4 ,r4,a4 ,,widow',s ,,prayer4 ,r4,a4 ,,helen ,,of ,,troy4 ,r4,a4 ,thus as she spoke1 in ,helen's breast arose ,fond recollections of her former lord1 ,her home1 and parents2 o'er her head she threw ,a snowy veil2 and shedding tender tears ,she issued forth not unaccompanied2 ,for with her went fair thra1 ,pittheus' child4 ,and stag-eyed ,clymene1 her maidens twain4 ,they quickly at the ,scan gate arrived4 ,,in ,,st4 ,,mark',s4 ,r4,a4 #ahff4 ,,painter',s ,,honeymoon4 ,r4,a4 ,,portrait ,,of ,,mrs4 ,,james ,,guthrie4 ,r4,a4 ,,syracusan ,,bride ,,leading ,,wild ,,beasts ,,in ,,procession ,,to ,,the ,,temple ,,of ,,diana4 ,r4,a4 7,suggested by a passage in the second ,idyll of ,theocritus47 ,and for her1 then1 many other wild beasts were going in procession round about1 and among them a lioness4 ,,the ,,wise ,,and ,,foolish ,,virgins4 7,fresco in ,lyndhurst ,church47 #ahfg4 99,,pastoral4 7#ea-a_/b #bf in47 ,r4,a4 99,,greek ,,girl ,,dancing4 7,spanish ,dancing ,girl3 ,cadiz in the old times47 7#cd #de in47 ,r4,a4 ,,knuckle-,,bone ,,player4 ,r4,a4 99,,roman ,,mother4 7#bd #ai in47 ,r4,a4 99,,venus ,,disrobing ,,for ,,the ,,bath4 7#gi #ce-a_/b in47 ,r4,a4 99,,portrait ,,of ,,mrs4 ,,john ,,hanson ,,walker4 7#ah #af in47 #ahfh4 ,,jonathan',s ,,token ,,to ,,david4 ,r4,a4 ,and it came to pass in the morning1 that ,jonathan went out into the field at the time appointed by ,david1 and a little lad with him4 99,,portrait ,,of ,,mrs4 ,,frederick ,p4 ,,cockerell4 7#bc-a_/b #ai-a_/b in47 ,r4,a4 99,,portrait ,,of ,,john ,,martineau1 ,,esq4 7#bc-a_/b #ai-a_/b in47 99,,ariadne ,,abandoned ,,by ,,theseus2 ,ariadne watches for his return2 ,artemis releases her by death4 7#de #fb in47 ,r4,a4 99,,acme ,,and ,,septimius4 7,circular1 #cg-a_/b in47 ,r4,a4 ,then bending gently back her head ,with that sweet mouth1 so rosy red1 ,upon his eyes she dropped a kiss1 ,intoxicating him with bliss4 ,,catullus 7,theodore ,martin's translation74 99,,act,a1 ,,the ,,nymph ,,of ,,the ,,shore4 7#bb #dj in47 ,r4,a4 #ahfi4 99,,st4 ,,jerome4 7,diploma work1 deposited in the ,academy on his election as an ,academician47 7#gb #ee in47 ,r4,a4 99,d,,dalus ,,and ,,icarus4 7#ec-a_/b #dj-a_/b in47 ,r4,a4 99,,electra ,,at ,,the ,,tomb ,,of ,,agamemnon4 7#ei-a_/b #bi in47 ,r4,a4 99,,helios ,,and ,,rhodos4 7#fe-a_/b #db in47 ,r4,a4 #ahgj4 ,a ,,nile ,,woman4 7#ba-a_/b #aa-a_/b in47 ,r4,a4 ,,study4 ,s4,s4 #ahga4 99,,hercules ,,wrestling ,,with ,,death ,,for ,,the ,,body ,,of ,,alcestis4 7#ed #ajd-a_/b in47 ,r4,a4 ,,greek ,,girls ,,picking ,,up ,,pebbles ,,by ,,the ,,shore ,,of ,,the ,,sea4 ,r4,a4 99,,cleoboulos ,,instructing ,,his ,,daughter ,,cleobouline4 7#bd #cg-a_/b in47 ,r4,a4 ,,view ,,of ,,assiout787 7,a sketch47 ,s4,s4 ,,sunrise ,,at ,,longsor4 7,a sketch47 ,s4,s4 ,,view ,,of ,,the ,,red ,,mountains ,,near ,,cairo4 7,a sketch47 ,s4,s4 #ahgb4 99,,after ,,vespers4 7#dc #bg-a_/b in47 ,r4,a4 99,,summer ,,moon4 7,guildhall1 #ahij47 7#ci-a_/b #ej-a_/b in47 ,r4,a4 ,,portrait ,,of ,,the ,,right ,,hon4 ,,edward ,,ryan1 ,secretary of the ,dilettanti ,society1 for which the picture was painted4 7,s4,p4,p41 #ahic47 ,r4,a4 ,a ,,condottiere4 ,r4,a4 99,,the ,,industrial ,,arts ,,of ,,war at the ,international ,exhibition at ,south ,kensington4 7,monochrome1 #gf #agg in47 ,,the ,,captive4 ,s4,s4 ,,an ,,arab ,,caf1 ,,algiers4 ,s4,s4 #ahgc4 99,,weaving ,,the ,,wreath4 7,guildhall1 #ahie47 ,r4,a4 ,,moretta4 7,guildhall1 #ahid47 7#bj-a_/b #ad-a_/b in47 ,r4,a4 99,,the ,,industrial ,,arts ,,of ,,peace4 7,monochrome1 #gf #agg in47 ,r4,a4 ,a ,,roman4 ,s4,s4 ,,vittoria4 ,s4,s4 #ahgd4 99,,moorish ,,garden3 a dream of ,granada4 7#da #dj in47 7,guildhall1 #ahie47 ,r4,a4 ,,old ,,damascus3 ,jews' ,quarter4 ,r4,a4 99,,antique ,,juggling ,,girl4 7,guildhall1 #ahib47 7#da-a_/b #bd in47 ,r4,a4 ,,clytemnestra from the battlements of ,argos watches for the beacon fires which are to announce the return of ,agamemnon4 ,r4,a4 ,,annarella1 ,,ana ,,capri4 ,d4,g4 ,,rubinella1 ,,capri4 ,d4,g4 ,,lemon ,,tree1 ,,capri4 ,d4,g4 ,,west ,,court ,,of ,,palazzo1 ,,venice4 ,d4,g4 #ahge4 99,,portion ,,of ,,the ,,interior ,,of ,,the ,,grand ,,mosque ,,of ,,damascus4 7#fb #dg in47 ,r4,a4 99,,portrait ,,of ,,mrs4 ,h4 ,e4 ,,gordon 7#ce-a_/b #cg in47 ,r4,a4 99,,little ,,fatima4 7#ae-a_/b #i-a_/d in47 ,r4,a4 ,,venetian ,,girl4 ,r4,a4 99,,egyptian ,,slinger4 7,eastern ,slinger ,scaring ,birds in ,harvest-time3 ,moonrise47 7,guildhall1 #ahij47 ,r4,a4 ,,florentine ,,youth4 ,s4,s4 ,,ruined ,,mosque ,,in ,,damascus4 ,s4,s4 #ahgf4 99,,portrait ,,of ,,sir ,,richard ,,francis ,,burton1 ,k4,c4,m4,g4 7,portrait of ,capt4 ,richard ,burton1 ,h4,m4 ,consul at ,trieste74 7#bc-a_/b #ai-a_/b in47 7,paris1 #ahgh2 ,melbourne1 #ahhh2 ,s4,p4,p41 #ahib47 ,r4,a4 99,,the ,,daphnephoria4 7#hi #bjd in47 ,r4,a4 ,a triumphal procession held every ninth year at ,thebes1 in honour of ,apollo and to commemorate a victory of the ,thebans over the olians of ,arne4 7,see ,proclus1 ,chrestomath1 p4 #aa47 ,,teresina4 ,r4,a4 ,,paolo4 ,r4,a4 #ahgg4 99,,music ,,lesson4 7#cf-a_/b #cg-a_/h in47 7,paris1 #ahgh47 ,r4,a4 99,,portrait ,,of ,,miss ,,mabel ,,mills 7,the ,hon4 ,mrs4 ,grenfell74 7#bc #ai in47 ,r4,a4 99,,an ,,athlete ,,strangling ,a ,,python4#ah ,bronze4 7,paris1 #ahgh47 ,r4,a4 99,,portrait ,,of ,h4 ,e4 ,,gordon4 7#bc-a_/b #ai in47 ,g4,g4 ,,an ,,italian ,,girl4 ,g4,g4 99,,study4 7,a little girl with fair hair1 in a pink robe47 7#bd #bh in47 ,r4,a4 ,a ,,study4 ,g4,g4 #ahgh4 99,,nausicaa4 7#eg-a_/b #be-a_/b in47 7,guildhall1 #ahif47 ,r4,a4 ,,serafina4 ,r4,a4 99,,winding ,,the ,,skein4 7#ci-a_/b #fc-a_/b in47 ,r4,a4 ,a ,,study4 ,r4,a4 99,,portrait ,,of ,,miss ,,ruth ,,stewart ,,hodgson4 7#ej-a_/b #ce-a_/b in47 ,g4,g4 ,,study ,,of ,a ,,girl',s ,,head4 ,g4,g4 ,,sierra3 ,,elviza ,,in ,,the ,,distance1 ,,granada4 ,s4,s4 ,,the ,,sierra ,,alhama1 ,,granada4 ,s4,s4 #ahgi4 ,,biondina4 ,r4,a4 ,,catarina4 ,r4,a4 99,,elijah ,,in ,,the ,,wilderness4 7#ia #ha-a_/b in47 7,paris1 #ahgh47 ,r4,a4 ,,portrait ,,of ,,signor ,g4 ,,costa4 ,r4,a4 ,,amarilla4 ,r4,a4 ,a ,,study4 ,r4,a4 ,,portrait ,,of ,,the ,,countess ,,brownlow4 ,r4,a4 99,,neruccia4 7#ai #af in47 ,r4,a4 ,a ,,study4 ,s4,s4 ,,the ,,carraca ,,hills4 ,s4,s4 ,a ,,street ,,in ,,lerici4 ,s4,s4 ,,via ,,bianca1 ,,capri4 ,g4,g4 ,,archway ,,in ,,algiers4 ,g4,g4 ,,ruins ,,of ,a ,,mosque1 ,,damascus4 ,g4,g4 ,,study ,,of ,a ,,donkey4 ,g4,g4 ,,on ,,the ,,terrace1 ,,capri4 ,g4,g4 ,,sketch ,,near ,,damascus4 ,g4,g4 ,,view ,,in ,,granada4 ,g4,g4 ,,study ,,of ,a ,,donkey1 ,,egypt4 ,g4,g4 ,,study ,,of ,a ,,head4 ,g4,g4 ,,nicandra4 ,g4,g4 #ahhj4 99,,sister',s ,,kiss4 7#dh #ba-a_/b in47 ,r4,a4 99,,iostephane4 7#cg #ai in47 ,r4,a4 ,,the ,,light ,,of ,,the ,,harem4 7#fj #cc in47 ,r4,a4 ,,psamathe4 7#cf #bd in47 ,r4,a4 99,,the ,,nymph ,,of ,,the ,,dargle 7,crenaia74 7#bi-a_/b #aj in47 ,r4,a4 ,,rubinella4 ,g4,g4 ,,the ,,pozzo ,,corner1 ,,venice4 ,winter ,exhibition4 ,g4,g4 ,,jack ,,and ,,his ,,cider ,,can4 ,g4,g4 ,,the ,,painter',s ,,honeymoon4 ,g4,g4 ,,winding ,,of ,,the ,,skein 7with sketch74 ,g4,g4 ,,head ,,of ,,urbino4 ,g4,g4 ,,steps ,,of ,,the ,,bargello1 ,,florence4 ,g4,g4 ,a ,,contrast4 ,g4,g4 ,,garden ,,at ,,capri4 ,g4,g4 ,,twenty-,,nine ,,studies ,,of ,,heads1 ,,flowers1 ,,and ,,draperies4 ,g4,g4 #ahha4 ,,elisha ,,raising ,,the ,,son ,,of ,,the ,,shunamite4 7#cb x #ed in47 7,guildhall1 #ahie47 ,r4,a4 ,,portrait ,,of ,,the ,,painter4#ai ,r4,a4 99,,idyll4 7#da-a_/b #hd in47 ,r4,a4 99,,portrait ,,of ,,mrs4 ,,stephen ,,ralli4 7#dh #cc in47 ,r4,a4 99,,whispers4 7#dh #cj in47 ,r4,a4 ,,viola4 ,r4,a4 99,,bianca4 7#ah #ab-a_/b in47 ,r4,a4 ,,portrait ,,of ,,mrs4 ,,algernon ,,sartoris4 ,g4,g4 #ahhb4 99,,day-,,dreams4 7#dg-a_/b #ce-a_/b in47 ,r4,a4 ,,wedded4 ,r4,a4 ,,phryne ,,at ,,eleusis4 7#hf #dh in47 7,melbourne1 #ahhh47 ,r4,a4 ,,antigone4 ,r4,a4 ,,and ,,the ,,sea ,,gave ,,up ,,the ,,dead ,,which ,,were ,,in ,,it4 ,rev4 xx4 #ac4 7,design for a portion of a decoration in ,st4 ,paul's47 ,r4,a4 ,,melittion4 ,r4,a4 99,,portrait ,,of ,,mrs4 ,,mocatta4 7#bc-a_/b #ai-a_/b in47 ,,zeyra4 ,g4,g4 #ahhc4 ,,the ,,dance3 decorative frieze for a drawing-room in a private house4 ,r4,a4 99,,vestal4 7#bd-a_/b #ag in47 ,r4,a4 99,,kittens4 7#dh #ca-a_/b in47 ,r4,a4 ,,memories4 ,r4,a4 99,,portrait ,,of ,,miss ,,nina ,,joachim4 7#af #ac in47 #ahhd4 99,,letty4 7#ah #ae-a_/b in47 ,r4,a4 99,,cymon ,,and ,,iphigenia4 7#fd #abi in47 ,r4,a4 ,a ,,nap4 ,r4,a4 ,,sun ,,gleams4 ,r4,a4 #ahhe4 444 ,,serenely ,,wandering ,,in ,a ,,trance ,,of ,,sober ,,thought4 7#df #bg in47 ,r4,a4 ,,portrait ,,of ,,the ,,lady ,,sybil ,,primrose4 ,r4,a4 99,,portrait ,,of ,,mrs4 ,a4 ,,hichens4 7#bf-a_/b #bj-a_/b in47 ,r4,a4 ,,music3 a frieze4 ,r4,a4 ,,phoebe4 7,manchester1 #ahhg47 ,r4,a4 ,a ,,study4 ,g4,g4 ,,tombs ,,of ,,muslim ,,saints4 ,s4,s4 ,,mountains ,,near ,,ronda ,,puerta ,,de ,,los ,,vientos4 ,s4,s4 #ahhf4 ,,painted ,,decoration ,,for ,,the ,,ceiling ,,of ,a ,,music-,,room4#bj 7#g ft4 #bj ft47 ,r4,a4 ,,gulnihal4 ,r4,a4 99,,the ,,sluggard4 ,statue1 bronze4 ,r4,a4 99,,needless ,,alarms4 ,statuette4 ,r4,a4 #ahhg4 99,,the ,,jealousy ,,of ,,sim,,tha1 ,,the ,,sorceress4 7#ce-a_/b #ee-a_/b in47 ,r4,a4 99,,the ,,last ,,watch ,,of ,,hero4 7#fb-a_/b #ce-a_/b in41 with predella #ab-a_/b #bi-a_/b in47 ,r4,a4 ,with aching heart she scanned the sea-face dim4 4 4 4 4 4 4 4 4 4 4 ,lo6 at the turret's foot his body lay1 ,rolled on the stones1 and washed with breaking spray4 ,hero and ,leander3 ,musus 7translated by ,edwin ,arnold74 ,picture of ,a ,,little ,,girl ,,with ,,golden ,,hair ,,and ,,pale ,,blue ,,eyes4 ,yellow and pale as ripened corn ,which ,autumn's kiss frees--grain from sheath-- ,such was her hair1 while her eyes beneath1 ,showed ,spring's faint violets freshly born4 ,,robert ,,browning4 99,design for the reverse of ,,the ,,jubilee ,,medallion4 7,executed for ,her ,majesty's ,government47 ,r4,a4 ,empire1 enthroned in the centre1 rests her right hand on the sword of ,justice1 and holds in her left the symbol of victorious rule4 ,at her feet1 on one side1 ,commerce proffers wealth1 on the other a winged figure holds emblems of ,electricity and ,steam-power4 ,flanking the throne to the right of the spectator are ,agriculture and ,industry--on the opposite side1 ,science1 ,literature1 and the ,arts4 ,above1 interlocking wreaths1 held by winged genii representing respectively the years #ahcg and #ahhg1 inclose the initials1 ,v4,r4,i4 #ahhh4 99,,captive ,,andromache4 7#gg #afj in47 ,r4,a4 4444 ,some standing by1 ,marking thy tears fall1 shall say1 ',this is she1 ,the wife of that same ,hector that fought best ,of all the ,trojans1 when all fought for ,troy4' ,iliad1 ,,vi4 7,e4 ,b4 ,browning's translation47 99,,portrait ,,of ,,amy1 ,,lady ,,coleridge4 7#db #ci-a_/b in47 7,s4,p4,p41 #ahia47 ,r4,a4 99,,portraits ,,of ,,the ,,misses ,,stewart ,,hodgson4 7#dg #ci-a_/b in47 ,,four ,,studies4 ,r4,w4,s4 ,,five ,,studies4 ,s4,s4 #ahhi4 99,,sibyl4 7#ei #cd in47 ,r4,a4 99,,invocation4 7#ed #cc-a_/b in47 ,r4,a4 ,,elegy4 ,r4,a4 ,,greek ,,girls ,,playing ,,at ,,ball4 7#de #gh in47 ,r4,a4 99,,portrait ,,of ,,mrs4 ,,francis ,a4 ,,lucas4 7#bc-a_/b #ai-a_/b in47 ,r4,a4 #ahij4 ,,solitude4 ,r4,a4 99,,the ,,bath ,,of ,,psyche4#ba 7#ge #bd-a_/b in47 ,r4,a4 99,,tragic ,,poetess4 7#fc #cd in47 ,r4,a4 99,,the ,,arab ,,hall4 7#cc #af in47 7,guildhall1 #ahij47 ,r4,a4 #ahia4 99,,perseus ,,and ,,andromeda4 7#ia-a_/b #ej in47 ,r4,a4 99,,portrait ,,of ,a4 ,b4 ,,freeman-,,mitford1 ,,esq41 ,c4,b4 7#df-a_/b #ch-a_/b in47 ,r4,a4 99,,return ,,of ,,persephone4 7#gi #ei-a_/b in47 ,r4,a4 ,,athlete ,,struggling ,,with ,a ,,python--group1 marble4 ,r4,a4 #ahib4 99,,and ,,the ,,sea ,,gave ,,up ,,the ,,dead ,,which ,,were ,,in ,,it4 7,circular1 #ic in47 ,r4,a4 ,,at ,,the ,,fountain4 7#di #cg in47 ,r4,a4 99,,the ,,garden ,,of ,,the ,,hesperides4 7,circular1 #ff in47 7,chicago1 #ahic2 ,guildhall1 #ahie47 ,r4,a4 ,,bacchante4 ,r4,a4 99,,clytie4 7#cb-a_/b #ec-a_/b in47 ,r4,a4 ,,phryne ,,at ,,the ,,bath4 7#bd #ab in47 ,s4,s4 ,,malin ,,head1 ,,donegal4 ,s4,s4 ,,st4 ,,mark',s1 ,,venice4 ,s4,s4 ,,interior ,,of ,,st4 ,,mark',s1 ,,venice4 ,s4,s4 ,,the ,,doorway1 ,,north ,,aisle1 ,,venice4 ,s4,s4 ,,rizpah 7the small study in oils74 7#g #g in47 ,s4,s4 #ahic4 99,,farewell6 7#fc #bf-a_/b in47 ,r4,a4 99,,hit6 7#bi #bb in47 ,r4,a4 99,,atalanta4 7#bf-a_/b #ai in47 ,r4,a4 ,,rizpah4 7#cf #eb in47 ,r4,a4 99,,corinna ,,of ,,tanagra4 7#dg-a_/b #ba in47 ,r4,a4 ,,the ,,frigidarium4 ,r4,a4 #ahid4 99,,the ,,spirit ,,of ,,the ,,summit4 7#gg-a_/b #ci-a_/b in47 ,r4,a4 99,,the ,,bracelet4 7#ei-a_/b #bc in47 ,r4,a4 99,,fatidica4 7#ei-a_/b #bc in47 ,r4,a4 99,,summer ,,slumber4 7#de-a_/b #fb in47 ,r4,a4 ,,at ,,the ,,window4 ,r4,a4 ,,wide ,,wondering ,,eyes4 7#bj #ae-a_/b in47 ,manchester4 ,,the ,,roman ,,campagna1 ,,monte ,,soracte ,,in ,,the ,,distance4 ,s4,s4 ,,the ,,acropolis ,,of ,,lindos4 ,s4,s4 ,,fiume ,,morto1 ,,gombo1 ,,pisa4 ,s4,s4 ,,gibraltar ,,from ,,san ,,rocque4 ,s4,s4 #ahie4 ,,lachrym4 7#fj #bd in47 ,r4,a4 ,,the ,,maid ,,with ,,the ,,yellow ,,hair4 ,r4,a4 99',,twixt ,,hope ,,and ,,fear4 7#dc-a_/b #ch-a_/b in47 ,r4,a4 99,,flaming ,,june4 7#df #df in47 ,r4,a4 ,,listener4 ,r4,a4 ,a ,,study4 ,r4,a4 ,,phoenicians ,,bartering ,,with ,,britons4 ,royal ,exchange4 ,,boy ,,with ,,pomegranate4 ,grafton ,gallery4 ,,miss ,,dene4 ,,aqua ,,certosa1 ,,rome4 ,s4,s4 ,,chain ,,of ,,hills ,,seen ,,from ,,ronda4 ,s4,s4 ,,rocks1 ,,malin ,,head1 ,,donegal4 ,s4,s4 ,,tlem,,en1 ,,algeria4 ,s4,s4 #ahif4 99,,clytie4 7#fa-a_/b #ec-a_/b in47 ,r4,a4 ,,candida4 7#ba #da-a_/b in47 ,antwerp1 #ahif4 99,,the ,,vestal4 7#bg #bj-a_/b in47 ,unfinished4 99,a ,,bacchante4 7#bf-a_/b #ba in47 99,,the ,,fair ,,persian4 7#be-a_/b #ai-a_/b in47 ,unfinished4 ,illustration3 444 ,,serenely ,,wandering ,,in ,a ,,trance ,,of ,,sober ,,thought 7#ahhe7 ,illustration3 ,,design ,,for ,,the ,,reverse ,,of ,,the ,,jubilee ,,medallion 7#ahhg7 ,,appendix ,,ii ,the studies in oil1 chiefly landscape1 of quite small size1 few of which had been exhibited1 were sold1 with the remaining works of the artist1 by ,messrs4 ,christie1 ,manson and ,woods on ,july #aath1 #acth1 and #adth1 #ahif1 when the prices realized1 from #ej to #ajj guineas each for the best1 were in excess of those the most sympathetic admirer of ,lord ,leighton's singular power as a landscape-painter had dared to expect4 ,for convenience of future reference1 the list of these as they appear in the sale catalogue may be worth the space it occupies2 the numbers denote the lot4 #a4 ,,head ,,of ,a ,,girl4 ,,head ,,of ,a ,,boy4 #b4 ,a ,,study ,,of ,,houses1 ,,venice4 #c4 ,,the ,,coast ,,of ,,asia ,,minor1 ,,from ,,rhodes4 #d4 ,a ,,street ,,scene4 #e4 ,,houses ,,at ,,capri4 #f4 ,,the ,,coast ,,of ,,asia ,,minor1 ,,from ,,rhodes4 #g4 ,a ,,garden ,,scene4 #h4 ,a ,,fortress1 ,,egypt4 #i4 ,,tombs ,,of ,,muslim ,,saints ,,at ,,assouan1 ,,first ,,cataract4 ,r4,s4,b4,a41 #ahie4 #aj4 ,a ,,bay1 ,,asia ,,minor1 ,,from ,,rhodes4 #aa4 ,,the ,,bay ,,of ,,lindos4 #ab4 ,,in ,,the ,,campagna1 ,,italy4 #ac4 ,a ,,town1 ,,capri4 #ad4 ,,mountains ,,near ,,ronda ,,puerta ,,de ,,los ,,vientos4 ,r4,s4,b4,a41 #ahie4 #ae4 ,a ,,view ,,in ,,the ,,campagna4 #af4 ,a ,,covered ,,street ,,in ,,algiers4 #ag4 ,a ,,doorway1 ,,algiers4 #ah4 ,,head ,,of ,a ,,girl4 #ai4 ,,head ,,of ,a ,,man4 #bj4 ,,head ,,of ,a ,,girl4 #ba4 ,,head ,,of ,a ,,girl4 #bb4 ,,street ,,in ,,algiers4 #bc4 ,,st4 ,,mark',s1 ,,venice4 ,r4,s4,b4,a41 #ahib4 #bd4 ,,interior ,,of ,,st4 ,,mark',s1 ,,venice4 ,r4,s4,b4,a41 #ahib4 #be4 ,,the ,,doorway1 ,,north ,,aisle1 ,,st4 ,,mark',s1 ,,venice4 ,r4,s4,b4,a41 #ahib4 #bf4 ,a ,,bay ,,scene1 ,,isle ,,of ,,rhodes4 #bg4 ,a ,,view ,,on ,,the ,,coast1 ,,lindos4 #bh4 ,,denderah4 #bi4 ,,the ,,roman ,,campagna1 ,,monte ,,soracte ,,in ,,the ,,distance4 ,r4,s4,b4,a41 #ahid4 #cj4 ,a ,,study ,,in ,,the ,,campagna4 #ca4 ,,aqua ,,certosa1 ,,rome4 #cb4 ,a ,,view ,,of ,,the ,,town ,,of ,,lindos4 #cc4 ,,the ,,acropolis ,,of ,,lindos1 where stood the ,temple of ,athena ,pallas4 ,r4,s4,b4,a41 #ahid4 #cd4 ,a ,,study ,,in ,,the ,,campagna1 ,,with ,,monte ,,soracte4 #ce4 ,,study ,,of ,a ,,man',s ,,head4 #cf4 ,,an ,,arab',s ,,head4 #cg4 ,a ,,sheik4 #ch4 ,,an ,,arab4 #ci4 ,,head ,,of ,,an ,,old ,,lady4 #dj4 ,a ,,turkish ,,boatman4 #da4 ,,fiume ,,morto1 ,,gombo1 ,,pisa4 ,r4,s4,b4,a41 #ahid4 #db4 ,,the ,,citadel1 ,,cairo4 #dc4 ,a ,,view ,,in ,,damascus4 #dd4 ,a ,,view ,,in ,,capri4 #de4 ,,bocca ,d',,arno4 #df4 ,,the ,,city ,,of ,,tombs1 ,,assiout1 ,,egypt4 ,r4,s4,b4,a4 #ahga84 #dg4 ,,buildings1 ,,siout1 ,,egypt4 #dh4 ,a ,,mountainous ,,landscape1 ,,spain4 #di4 ,a ,,street ,,scene1 ,,capri4 #ej4 ,a ,,coast ,,scene1 ,,isle ,,of ,,wight4 #ea4 ,,barren ,,land4 #eb4 ,a ,,town ,,in ,,spain4 #ec4 ,,bosco ,,sacro1 ,,campagna4 #ed4 ,,villa ,,malta1 ,,rome4 #ee4 ,,the ,,rocks ,,of ,,the ,,sirens1 ,,capri4 #ef4 ,a ,,view ,,in ,,spain4 #eg4 ,a ,,valley1 ,,spain4 #eh4 ,,on ,,the ,,coast1 ,,isle ,,of ,,wight4 #ei4 ,,garden ,,at ,,generalife1 ,,granada4 #fj4 ,,the ,,baths ,,at ,,caracalla4 #fa4 ,a ,,house1 ,,capri4 #fb4 ,,in ,,st4 ,,mark',s1 ,,venice4 #fc4 ,,the ,,staircase ,,of ,a ,,house1 ,,capri4 #fd4 ,,the ,,garden ,,of ,a ,,house1 ,,capri4 #fe4 ,,study ,,of ,a ,,male ,,figure ,,carrying ,a ,,pitcher4 #ff4 ,,head ,,of ,a ,,girl4 #fg4 ,,the ,,coast ,,of ,,asia ,,minor1 ,,from ,,rhodes4 #fh4 ,,chain ,,of ,,hills ,,seen ,,from ,,ronda4 ,r4,s4,b4,a41 #ahic4 #fi4 ,,the ,,coast ,,of ,,asia ,,minor4 7,study for the background of ,perseus47 #gj4 ,a ,,pool1 ,,findhorn ,,river1 ,n4,b4 7,study for the background of ,solitude47 #ga4 ,a ,,lane4 7,study of rocks for ,solitude47 #gb4 ,a ,,woman ,,seated1 ,,in ,a ,,landscape4 7,study for ,simtha the ,sorceress47 #gc4 ,,taormina1 ,,sicily4 7,sketch for background of ,wedded47 #gd4 ,a ,,pool ,,on ,,the ,,findhorn ,,river1 ,,forres1 ,n4,b4 7,study for the background of ,solitude47 #ge4 ,,taormina1 ,,sicily4 7,study for the background of ,wedded47 #gf4 ,,interior ,,of ,a ,,house ,,at ,,lindos4 7,study for the picture of ,cleoboulos47 #gg4 ,,study ,,of ,a ,,woman',s ,,head4 ,capri1 moonlight4 7,study for the effect in ,clytemnestra47 #gh4 ,,buildings1 ,,capri1 ,,moonlight4 7,a study for the same47 #gi4 ,,an ,,allegorical ,,design ,,for ,a ,,mural ,,decoration4 #hj4 ,,head ,,of ,a ,,lady ,,and ,,gentleman ,,of ,,the ,,fifteenth ,,century4 7#af #ad-a_/d in47 7,painted in #ahec47 #ha4 ,,head ,,of ,a ,,lady4 ,white on brown ground4 #hb4 ,a ,,study ,,from ,,velasquez4 #hc to #aag were larger works1 mainly studies for completed pictures or the pictures themselves4 ,a ,,landscape4 #aah4 ,,study ,,of ,,sky ,,at ,,malinmore4 ,,study4 #aai4 ,a ,,rocky ,,coast1 ,,malinmore1 ,,donegal4 #abj4 ,a ,,mountainous ,,landscape4 #aba4 ,a ,,view ,,in ,,scotland4 #abb4 ,a ,,landscape1 ,,italy4 #abc4 ,,fishing ,,boats ,,on ,,the ,,coast1 ,,capri4 #abd4 ,a ,,village ,,on ,a ,,hill1 ,,capri4 #abe4 ,a ,,scene ,,in ,,the ,,desert4 #abf4 ,,the ,,coast ,,of ,,greece4 #abg4 ,,head ,,of ,a ,,man4 #abh4 ,a ,,scotch ,,lake4 #abi4 ,,near ,,kynance ,,cove4 #acj4 ,,carrara ,,mountains4 #aca4 ,a ,,view ,,in ,,algiers4 #acb4 ,,tlem,,en1 ,,algeria4 ,r4,s4,b4,a41 #ahie4 #acc4 ,,the ,,damascus ,,gate1 ,,jerusalem4 #acd4 ,,the ,,erictheum 7sic74 #ace4 ,a ,,street ,,in ,,lerici1 near where ,shelley was drowned4 #acf4 ,,study ,,of ,,trees4 ,a ,,landscape4 #acg4 ,,head ,,of ,a ,,gondolier4 ,,irish ,,peasant ,,girl4 #ach4 ,,head ,,of ,,an ,,italian ,,peasant4 #aci4 ,a ,,common4 ,,landscape1 ,,with ,,cottages4 #adj4 ,a ,,rocky ,,coast1 ,,kynance4 #ada4 ,,granite ,,boulders1 ,,forres1 ,n4,b4 #adb4 ,a ,,sunny ,,cornfield4 #adc4 ,a ,,courtyard1 ,,tangiers4 #add4 ,a ,,courtyard1 ,,tangiers4 #ade4 ,a ,,sketch ,,of ,,albano4 #adf4 ,a ,,coast ,,scene1 ,,ireland4 #adg4 ,a ,,scotch ,,scene4 #adh4 ,a ,,study ,,of ,,rocks4 #adi4 ,,the ,,steeple ,,rock1 ,,kynance ,,cove4 #aej4 ,a ,,sandy ,,bay1 ,,ireland4 #aea4 ,,kynance ,,cove4 #aeb4 ,,holy ,,island4 ,bamborough in the distance4 #aec4 ,a ,,coast ,,scene1 ,,ischia4 #aed4 ,,glen ,,columbkill1 ,,ireland4 #aee4 ,a ,,moorish ,,archway1 ,,tangiers4 #aef4 ,,perugia4 #aeg4 ,a ,,rocky ,,coast1 ,,malinmore4 #aeh4 ,,malin ,,head1 ,,donegal4 ,r4,s4,b4,a41 #ahid4 #aei4 ,,gibraltar1 ,,from ,,san ,,rocque4 ,r4,s4,b4,a41 #ahie4 #afj4 ,a ,,bay ,,scene1 ,,spain4 #afa4 ,a ,,sketch ,,in ,,bedfordshire4 #afb4 ,a ,,landscape1 ,,ronda4 #afc4 ,a ,,spanish ,,town4 #afd4 ,,the ,,baths ,,of ,,caracalla4 #afe4 ,,the ,,street ,,of ,,the ,,knights1 ,,rhodes4 #aff4 ,,the ,,coast ,,of ,,asia ,,minor1 ,,seen ,,from ,,rhodes4 #afg4 ,,longsor4 #afh4 ,a ,,mountain ,,scene1 ,,with ,,temple ,,and ,,figure1 ,,egypt4 #afi4 ,a ,,study ,,on ,,the ,,coast ,,of ,,ireland4 #agj4 ,a ,,river ,,scene1 ,,scotland4 #aga4 ,,mickleour1 ,,scotland4 #agb4 ,a ,,sea ,,piece4 #agc4 ,,the ,,coast ,,of ,,asia ,,minor4 #agd4 ,,on ,,the ,,nile4 ,a ,,view ,,in ,,spain4 #age4 ,a ,,temple ,,on ,,the ,,nile4 ,,spanish ,,view4 #agf4 ,,malinmore1 ,,donegal4 #agg4 ,,the ,,bay ,,of ,,cadiz1 ,,moonlight1 ,,and ,,palazzo ,,rezzonico4 #agh4 ,a ,,view ,,of ,,athens4 #agi4 ,,scotch ,,mountains3 ,,sunset4 ,a ,,coast ,,scene1 ,,rhodes4 #ahj4 ,,vittoria4 ,r4,s4,b4,a41 #ahgc4 #aha4 ,a ,,classical ,,head4 7,monochrome47 ,,head ,,of ,a ,,man4 #ahb4 ,a ,,study ,,of ,,pine ,,trees4 #ahc4 ,a ,,village ,,on ,a ,,hill4 #ahd4 ,a ,,ruined ,,mosque ,,at ,,broussa4 #ahe4 ,a ,,woody ,,bank4 #ahf4 ,,ruins ,,of ,a ,,moorish ,,arch1 ,,spain4 #ahg4 ,a ,,view ,,in ,,italy1 ,,with ,a ,,cornfield4 #ahh4 7,this number is omitted in the sale catalogue47 #ahi4 ,,mimbar ,,of ,,the ,,great ,,mosque ,,at ,,damascus4 #aij4 ,,rocks1 ,,capri4 ,a ,,fortress1 ,,spain4 #aia4 ,,landscape1 ,,scotland4 ,,landscape1 ,,scotland4 #aib4 ,,the ,,red ,,mountains1 ,,desert1 ,,egypt4 #aic4 ,,sketch ,,near ,,cairo4 #aid4 ,a ,,fountain ,,in ,,the ,,court-,,yard ,,of ,a ,,jew',s ,,house1 ,,spain4 #aie4 ,a ,,house ,,in ,,tangiers4 ,mansion ,house1 #ahhb4 #aif4 ,a ,,street ,,scene1 ,,cairo4 #aig4 ,a ,,moorish ,,street4 #aih4 ,a ,,study ,,of ,,rocks1 ,,scotland4 #aii4 ,,the ,,garden ,,of ,,the ,,house ,,of ,,the ,,man ,,who ,,built ,,the ,,alhambra4 #bjj4 ,a ,,spanish ,,donkey4 #bja4 ,a ,,donkey ,,and ,,arab ,,driver4 #bjb4 ,,mena ,,donkey4 #bjc4 ,a ,,study ,,of ,,hills4 #bjd4 ,,the ,,temple ,,of ,,phyl4 #bje4 ,,damascus3 ,,night4 #bjf4 ,a ,,mountainous ,,landscape1 ,,with ,a ,,cavern4 #bjg4 ,a ,,wood ,,scene4 #bjh4 ,,head ,,of ,,an ,,italian ,,girl4 #bji4 ,,the ,,dungeons ,,of ,a ,,castle4 #baj4 ,a ,,castle ,,keep4 #baa4 ,,entrance ,,to ,a ,,house1 ,,capri4 #bab4 ,a ,,coast ,,scene1 ,,ireland3 ,,storm ,,effort 7sic74 #bac4 ,,longsor4 #bad4 ,,the ,,nile ,,at ,,thebes4 #bae4 ,a ,,view ,,on ,,the ,,campagna4 #baf4 ,a ,,mountainous ,,landscape1 ,,scotland4 #bag4 ,,capri ,,by ,,night4 #bah4 ,a ,,fortress ,,on ,,the ,,campagna4 #bai4 ,a ,,landscape1 ,,with ,,sand ,,hills4 #bbj4 ,a ,,wood ,,scene4 #bba4 ,,near ,,denderah4 #bbb4 ,a ,,landscape4 #bbc4 ,,athens1 ,,with ,,the ,,genoese ,,tower1 ,,pnyx ,,in ,,the ,,foreground4 #bbd4 ,a ,,landscape1 ,,cairo4 #bbe4 ,,on ,,the ,,nile4 #bbf4 ,,pasture1 ,,egypt4 #bbg4 ,,red ,,mountains ,,desert1 ,,egypt4 #bbh4 ,,an ,,egyptian ,,village4 #bbi4 ,,the ,,island ,,of ,,gina4 #bcj4 ,,thebes4 #bca4 ,,the ,,coast ,,of ,,gina1 ,,pnyx ,,in ,,the ,,foreground4 #bcb4 ,,buildings ,,on ,,the ,,coast1 ,,island ,,of ,,rhodes4 #bcc4 ,,assouan1 ,,egypt4 #bcd4 ,a ,,vineyard1 ,,capri4 #bce4 ,,the ,,temple ,,of ,,phyl1 ,,looking ,,up ,,the ,,nile4 #bcf4 ,,the ,,nile ,,at ,,esueh4 #bcg4 ,,the ,,cathedral1 ,,capri4 #bch4 ,a ,,square ,,in ,,cadiz4 #bci4 ,,on ,,the ,,nile4 #bdj4 ,,in ,,the ,,nile ,,valley4 #bda4 ,a ,,view ,,across ,,the ,,nile4 #bdb4 ,a ,,woody ,,hill ,,side4 #bdc4 ,,rocks ,,of ,,the ,,sirens ,,capri4 #bdd4 ,a ,,farm4 ,there were also copies made by ,leighton himself of ,peace and ,war after ,rubens1 the ,massacre of the ,innocents1 after ,bonifazio1 ,a ,martyrdom1 and the ,last ,supper1 after ,veronese4 ,the huge collection of studies1 mainly in chalk upon brown paper1 made by ,lord ,leighton1 were nearly all preserved2 two hundred and forty of these were exhibited by the ,fine ,art ,society1 who bought the whole collection1 and afterwards published a volume containing forty reproduced in facsimile4 ,illustration3 ,,fountain ,,in ,,court ,,at ,,damascus ,illustration3 ,,the ,,island ,,of ,,gina3 ,,pnyx ,,in ,,foreground ,illustration3 ,,red ,,mountains ,,desert1 ,,cairo ,illustration3 ,,ruined ,,mosque1 ,,broussa ,illustration3 ,,city ,,of ,,tombs1 ,,assiout1 ,,egypt ,illustration3 ,,athens ,,with ,,the ,,genoese ,,tower3 ,,pnyx ,,in ,,foreground ,illustration3 ,,coast ,,of ,,asia ,,minor ,,seen ,,from ,,rhodes ,,index4 ,titles of ,pictures are printed in italics4 ,abram and the ,angel1 #fi4 ,acme and ,septimius1 #be4 ,acta1 #bf1 #aaa4 gina1 ,the ,island of1 illus41 #acb4 ,after ,vespers1 #ca4 ,aitchison1 ,george1 ,r4,a41 #hh4 ,allingham1 ,william1 #ajf4 ,alma-,tadema1 ,sir ,l41 #cg1 #dh1 #ia4 ,amarilla1 #ci4 ,and the ,sea gave up its ,dead1 #di1 #ff2 illus41 #ej4 ,andromeda 7study in clay71 #fh2 illus41 #fh4 ,antigone1 #dc4 ,antique ,juggling ,girl1 #cc2 illus41 #cb4 ,arab ,hall1 ,the1 #bi1 #di1 #hh1 #id1 #if-ajj2 illus41 #if4 ,ariadne abandoned by ,theseus1 #be4 ,arnold1 ,sir ,edwin1 translation of ,musus1 #dg4 ,art and ,morals1 ,leighton on1 #gd4 ,art ,journal1 criticisms of the1 #ajh1 et seq4 ,artistic ,production in relation to ,time and ,place1 ,leighton on1 #ge4 ,arts of ,peace1 ,the1 #cb1 #db1 #fc1 #fd2 illus41 #fd4 ,arts of ,war1 ,the1 #cb1 #fc2 illus41 #fd4 ,asia ,minor1 ,the ,coast of1 illus41 #acf4 ,assyria1 the ,art of1 ,leighton on1 #gf4 ,at the ,fountain1 #ej4 ,at the ,window1 #ea4 ,atalanta1 #ej1 #ei4 ,athenum1 criticisms of the1 #cb1 #aje1 et seq4 ,athens1 with the ,genoese ,tower1 illus41 #acf4 ,athlete struggling with a ,python1 #cf1 #fg1 #fh1 #abf2 illus41 #cf1 #di2 7marble version71 #fh4 ,bacchante 7#ahib71 #ej1 7#ahif7 #ea2 illus41 #ed4 ,bath of ,psyche1 ,the1 #dh1 #ei1 #abi2 illus41 #dh4 ,bezzuoli1 #e4 ,bianca1 #dc4 ,bible ,gallery1 ,dalziel's1 #bc1 #fi1 #gj4 ,biondina1 #ci4 ,black and white1 ,leighton's work in1 #fi1 #gj4 ,boccaccio1 ,leighton inspired by1 #h1 #de4 ,book illustration1 #fi1 #gj4 ,bookplate1 ,leighton's1 illus41 #abj4 ,bouguereau1 ,leighton and1 #aj4 ,bracelet1 ,the1 #ea2 illus41 #eb4 ,bronzes1 #cf1 #df1 #fg1 #fh4 ,broussa1 ,ruined ,mosque at1 illus41 #acd4 ,brownlow1 ,countess of1 #ci4 ,browning1 ,e4 ,b41 #dg2 medallion of a monument to1 #fg2 illustration by ,leighton to her ,great ,god ,pan1 #fi4 ,browning1 ,robert1 #aj2 subjects from1 #bb1 #dg2 on ,hercules wrestling with ,death1 #cj4 ,brussels1 ,leighton at1 #f1 #g4 ,burne-,jones1 ,sir ,e41 #ag1 #ia4 ,burton1 ,capt4 ,richard1 #ce1 #ij2 illus41 #cf4 ,byzantine ,well-head1 ,a1 #ah1 #fb2 illus41 #ah4 ,cain and ,abel1 illus41 #gj4 ,cairo1 ,red ,mountains ,desert1 illus41 #acf4 ,capri--,paganos1 #ai4 ,capri at ,sunrise1 #ah1 #ajh4 ,capri1 ,leighton at1 #ah1 #fa4 ,captive ,andromache1 #dg1 #eh2 ,studies for1 illus41 #ef4 ,carr1 ,mr4 ,comyns1 on ,leighton1 #aad4 ,catarina1 #ci4 ,ceiling1 design for a1 #df1 #fg1 #abh2 illus41 #fb4 ,chesneau1 ,ernest1 on ,english ,art1 #ad4 ,cimabue1 influence of1 #i4 ,cimabue 7mosaic figure71 #fg4 ,cimabue finding ,giotto1 #g4 ,cimabue's ,madonna1 #c1 #h1 #i1 #aa1 #bc1 #cd1 #dg2 criticisms of1 #ajc-ajg1 #ajh2 illus41 #aj4 ,city of ,tombs1 ,assiout1 illus41 #acd4 ,cleoboulos instructing his daughter ,cleobouline1 #cj4 ,clytemnestra1 #cb4 ,clytie 7#ahib71 #ej1 #ei4 ,clytie 7his last picture71 #ea1 #eb4 ,cockerell1 ,s4 ,pepys1 on ,leighton's drawings1 #fb4 ,cockerell1 ,mrs4 ,frederick ,p41 #be4 ,coleridge1 ,lady1 #dh4 ,cologne ,cathedral1 ,leighton on1 #hf4 ,colour3 ,leighton's mode of procedure1 #ee-eh4 ,condottiere1 ,a1 #ca2 illus41 #cb4 ,contrast1 ,a1 #gj2 illus41 #gb4 ,corinna of ,tanagra1 #ej4 ,cornelius1 #i1 #aj4 ,cornhill ,gallery1 ,the1 #fi4 ,correggio1 ,leighton and1 #aj1 #ah4 ,costa1 ,signor1 #ci2 illus41 #dj4 ,count ,paris1 #af1 #ajg1 #abb4 ,cousin1 ,jean1 #hd4 ,crenaia1 #db4 ,cross-bow ,man1 ,a1 #bj4 ,cupid with ,doves1 #ff2 illus41 #ff4 ,cymon 7clay model71 #fh2 illus41 #fh4 ,cymon and ,iphigenia1 #db1 #dd1 #de1 #fh2 photogravure1 #dd4 ,ddalus and ,icarus1 #bf2 illus41 #bf4 ,dalou and ,the ,athlete1 #fh4 ,dalziel's ,bible ,gallery1 #bc1 #fi1 #gj2 illus41 #gj4 ,damascus1 ,grand ,mosque at1 #bi1 #cc1 #aaa2 illus41 #bh4 ,damascus1 sketches of1 #bh1 #bi1 #cc1 #aaa2 illus41 #bh1 #acb4 ,dance1 ,the1 #dd1 #fg2 illus41 #dd4 ,dante1 ,leighton on1 #ha4 ,dante at ,verona1 #ba1 #aji4 ,daphnephoria1 #bd1 #cd1 #ce1 #dg1 #aaa2 clay models for1 #fh2 illus41 #cd2 ,study for 7illus471 #cd4 ,darmstadt1 ,leighton at1 #h4 ,david1 #bc1 #aaj2 illus41 #bd4 ,day ,dreams1 #dc2 illus41 #db4 ,death of the ,first ,born1 #fi4 ,decorative work1 ,leighton's1 #fc-fg4 ,departure for the ,war1 ,the1 #fg4 ,discourses on ,art1 ,leighton's1 #ga-hg4 ,drapery1 ,leighton's treatment of1 #dh1 #ee-eh4 ,dream1 ,a1 #ai1 #aji4 ,duett1 #bj4 ,drer1 ,albert1 ,leighton on1 #hf4 ,eastlake1 ,sir ,charles1 #aj-ab4 ,egypt1 ,leighton's visit to1 #bh2 on the ,art of1 #ge4 ,egyptian ,slinger1 #bi1 #cc1 #aab2 illus41 #aab4 ,electra at the ,tomb of ,agamemnon1 #bf2 illus41 #bf4 ,elegy1 #dh4 ,eliezer and ,rebekah1 #fi4 ,elijah in the ,wilderness1 #ci2 ,study for1 illus41 #ch4 ,elisha and the ,shunamite's ,son1 illus41 #aad4 ,english ,art1 ,leighton on1 #gc4 ,etruscan ,art1 ,leighton on1 #gf1 #gg4 ,eucharis1 #bj4 ,fair ,persian1 ,the1 #ea4 ,farewell1 #ej2 illus41 #ej4 ,fatidica1 #ea2 illus41 #eb4 ,fisherman and ,syren1 ,the1 #af1 #ajg4 ,flaming ,june1 #ea4 ,fleury1 ,robert1 #aj1 #ae4 ,florence1 ,the ,plague at1 #h1 #ij2 illus41 #h4 ,florence1 ,leighton at1 #e1 #f4 ,fountain1 ,at the1 #ej4 ,fountain in ,court at ,damascus1 illus41 #acb4 ,france1 ,evolution of ,art in1 ,leighton on1 #hc4 ,frankfort1 ,leighton at1 #f-h4 ,frescoes1 #cb1 #fc-ff2 illus41 #fd-ff4 ,friezes1 #dd1 #df1 #fg2 illus41 #dd4 ,frigidarium1 ,the1 #ej2 illus41 #ej4 ,gamba1 ,signor1 #h4 ,garden of the ,hesperides1 ,the1 #di4 ,generalife1 ,study of a ,garden at1 #cc2 illus41 #bh4 ,german ,architecture1 ,leighton on1 #he-hf4 ,gerome1 #aj4 ,gibson1 the sculptor1 #aa4 ,gilbert1 ,alfred1 #hh4 ,giotto1 #i4 ,girl1 ,a little 7#ahhg71 #dg4 ---- in ,eastern garb 7#ahgg71 #cg4 ,girl ,feeding ,peacocks1 ,a1 #bj1 #aji4 ,girl with a ,basket of ,fruit1 #aji4 ,girls' ,heads1 ,studies of1 #ch1 #ea2 illus41 #gd1 #gf1 #gh1 #hj4 ,goethe3 subject from1 #af2 on ,gothic architecture1 #hd4 ,golden ,hours1 #ba1 #bb2 illus41 #ba4 ,gordon1 ,h4 ,e41 #cg4 ,gothic architecture1 ,leighton on1 #hd4 ,greek ,art1 ,leighton on1 #gf4 ,greek ,girls picking up ,pebbles by the ,sea1 #cj4 ,greek ,girls playing at ,ball1 #dh1 #ei2 illus41 #dh4 ,grenfell1 the ,hon4 ,mrs4 7,miss ,mabel ,mills71 #cg4 ,greville1 ,lady ,charlotte1 monument to1 #fg4 ,gulnihal1 #df4 ,guthrie1 ,portrait of ,mrs4 ,james1 #bd4 ,hart1 ,professor1 #ab4 ,helen of ,troy1 #bc2 illus41 #bb4 ,helios and ,rhodos1 #bg1 #bh4 ,hercules wrestling with ,death1 #cj2 illus41 #cj4 ,hesperides1 ,garden of the1 #di4 ,hichens1 ,mrs4 ,a41 #df4 ,hit1 #ej2 illus41 #ed4 ,hodgson1 ,miss ,ruth1 #ch4 ,hodgson1 ,misses ,stewart1 #dh4 ,hogarth ,club1 the1 #ag4 ,hunt1 ,holman1 #ac1 #ag4 ,i',anson1 the late ,mrs4 ,lavinia1 #bc4 ,idyll1 #db4 ,in ,st4 ,mark's1 #bc4 ,invocation1 #dh4 ,iostephane1 #db4 ,italian ,girl1 ,an1 #cg4 ,italy1 ,evolution of ,painting in1 ,leighton on the1 #gb4 ,j4 ,a4--a ,study1 #ai4 ,jezebel and ,ahab1 #bj1 #abc4 ,joachim1 ,miss ,nina1 #dd4 ,jonathan's ,token to ,david1 #be1 #abd4 ,jubilee medal1 #df1 #fi1 #abi2 illus41 #acj4 ,juggling ,girl1 #cc2 illus41 #cb4 ,keats's ,endymion1 subject from1 #ae1 #abb4 ,kemble1 ,mrs41 #aa4 ,kittens1 #dd4 ,lachrym1 #ea4 ,lady with ,pomegranates1 ,a1 #ec4 ,laing1 ,miss1 ,portrait of1 #i4 ,landscape studies1 ,leighton's1 #af1 #bh1 #bi1 #cc1 #ci1 #fb1 #acb2 illus41 #bh1 #acb1 #acd1 #acf4 ,landseer1 ,sir ,edwin1 #aj1 #ac4 ,lang's1 ,mrs4 ,andrew1 monograph on ,leighton1 #g1 #h1 #fc4 ,last ,watch of ,hero1 #dg2 illus41 #df4 ,leighton1 ,frederic1 ,lord2 list of dignities and titles1 #b2 ancestors and birth1 #d2 first picture1 #g2 portrait 7#ahdh71 #g2 first picture for the ,academy1 #aa2 ,a4,r4,a41 #ba2 ,r4,a41 #bd2 first appearance as a sculptor1 #cf2 ,p4,r4,a41 #ci2 ,portrait1 by himself1 #db2 illus41 #c2 portraits by ,watts1 #db1 #ij2 his method of painting1 #ed-fj2 drawings1 #fj1 #fa2 decorative works1 #fc-fg2 sculpture1 #fg1 #fh2 book illustration1 #fi1 #gj2 ,discourses on ,art1 #ga-hg2 house1 #hh-ajb2 criticisms on his work1 #ajc1 #aad2 death1 #aae4 ,lemon ,tree1 ,study of a1 #ag1 #ah1 #fa2 illus41 #ah4 ,lesseps1 ,f4 de1 #bh4 ,letty1 #dd1 #de4 ,lieder ohne ,worte1 #ai4 ,light of the ,harem1 ,the1 #db4 ,lionardo da ,vinci1 ,leighton on1 #hj1 #ha1 #hb4 ,listener1 #ea4 ,little ,fatima1 #bi1 #cc1 #aaa4 ,lucas1 ,mrs4 ,f41 #dh4 ,lyndhurst1 altarpiece at1 #bd1 #fd1 #fe4 ,lyons1 ,lord1 #aa4 ,maid with her ,yellow ,hair1 ,the1 #ea4 ,martin's1 ,sir ,theodore1 ,catullus1 #be4 ,mason1 ,george1 #aa1 #hi4 ,meli1 ,signor ,f41 #e4 ,melittion1 #dd4 ,memories1 #dd4 ,mermaid1 ,the1 #af4 ,michael ,angelo1 ,leighton on1 #hb4 ,michael ,angelo nursing his dying ,servant1 #ai4 ,millais1 ,sir ,j4 ,e41 #i1 #ac1 #df1 #fh1 #gc4 ,mills1 ,miss ,mabel1 #cg2 illus41 #cf4 ,mitford1 ,a4 ,b41 #di4 ,mocatta1 ,mrs41 #dd4 ,modelling and models 7clay71 #fg1 #fh4 ,moorish ,garden1 #bi1 #cc4 ,morals1 ,art and1 ,leighton on1 #gd4 ,moretta1 #ca4 ,morris1 ,william1 and ,rossetti1 #ag4 ,mosaics1 #fg4 ,moses views the ,promised ,land1 illus41 #gj4 ,mosque1 ,ruined1 at ,broussa1 illus41 #acd4 ,mother and ,child1 #bc4 ,murger1 ,henri1 #g4 ,music 7a frieze71 #df2 illus41 #dd4 ,music1 ,the ,triumph of1 #ae1 #ajg4 ,music ,lesson1 #cf1 #cg4 ,music ,room1 ,decoration for a1 #df1 #fg1 #abh2 illus41 #fb4 ,nanna1 #ag4 ,nap1 ,a1 #dd4 ,nature in ,leighton's compositions1 #eh4 ,nausicaa1 #cg2 illus41 #ch4 ,needless ,alarms1 #df1 #fg4 ,neruccia1 #ci4 ,nias1 ,lady 7,miss ,laing71 #i4 ,nile1 voyage up the1 #bh4 ,nile ,woman1 ,a1 #bi4 ,noble ,lady of ,venice1 ,a1 #eb4 ,nymph and ,cupid1 ,a1 #ae1 #hd4 ,nymph of the ,dargle1 ,the1 #db4 ,odalisque1 #ai4 ,old ,damascus 7the ,jews' quarter71 #bi1 #cc4 ,orchardson1 ,mr41 on ,clytie1 #eb4 ,orkney1 ,lady1 #cg4 ,orpheus and ,eurydice1 #ba1 #bb2 illus41 #bb4 ,orr1 ,major ,sutherland1 monument to1 #fg4 ,orr1 ,mrs4 ,sutherland1 #ai4 ,pacheco1 ,francisco1 on drawing1 #fj4 ,painter's ,honeymoon1 ,the1 #bd4 ,pan1 #ae1 #abb4 ,paolo1 #ce4 ,paolo e ,francesca1 #ai1 #abb4 ,paris1 ,count1 #af1 #ajg1 #abb4 ,paris1 ,leighton at1 #g1 #ae2 exhibition at1 #ac4 ,parry1 ,gambier1 and ,ely ,cathedral1 #fe4 ,pastoral1 #bd4 ,pavonia1 #ag4 ,pencil ,drawings1 ,two ,early1 illus41 #f4 ,pencil ,study1 ,a1 illus41 #af4 ,persephone1 ,return of1 #di1 #ei2 ,studies for1 illus41 #fj4 ,perseus 7clay model71 #fh2 illus41 #fh4 ,perseus and ,andromeda1 #di1 #ei1 #fh2 ,study for1 illus41 #eh4 ,persian ,pedlar1 ,a1 #i4 ,petrarch1 ,leighton on1 #ha4 ,phoebe1 #df4 ,phoenicians bartering with ,britons1 #ea1 #ff2 illus41 #ff4 ,phryne at ,eleusis1 #dd2 illus41 #db4 ,pisano1 ,niccol 7mosaic71 #fg4 ,plague at ,florence1 ,the1 #h1 #ij2 illus41 #h4 ,powers1 ,hiram1 #e4 ,poynter1 ,sir ,e4 ,j41 and ,leighton1 #ff1 #aaf4 ,pre-,raphaelites1 the1 #af1 #ag4 ,primrose1 ,the ,lady ,sybil1 #df2 illus41 #df4 ,psamathe1 #da4 ,ralli1 ,mrs4 ,augustus1 #dc4 ,raphael1 ,leighton on1 #ha4 ,red ,mountains ,desert1 ,cairo1 illus41 #acf4 ,return of ,persephone1 ,the1 #di1 #ei2 ,studies for1 illus41 #fj4 ,rizpah1 #ej1 #ei2 illus41 #eb4 ,roman ,art1 ,leighton on1 #gh4 ,roman ,lady1 ,a1 #ag4 ,romano ,giulio1 ,leighton on1 #gi4 ,rome1 ,leighton at1 #c1 #i-aa4 ,romeo1 ,the ,dead1 illus41 #ad4 ,romeo and ,juliet1 #ij4 ,romola illustrations1 #fi4 ,rossetti1 ,d4 ,g41 #aj1 #ac2 works by1 #af1 #ag2 on ,leighton1 #aa1 #ai1 #ajf4 ,rossetti1 ,w4 ,m41 on ,leighton1 #aji1 #aaj1 #aaa4 ,royal ,exchange1 decoration at1 #ea1 #ff2 illus41 #ff4 ,rubinella1 #db4 ,ruskin on ,leighton1 #aa1 #ab1 #ag1 #cc1 #ajc1 #aaa1 #aab4 ,rustic ,music1 #bj4 ,ryan1 ,edward1 #ca4 ,st4 ,jerome1 #bf2 illus41 #bf4 ,st4 ,marks1 ,in1 #bc4 ,st4 ,paul's1 ,design for proposed decoration of1 #dd1 #di1 #ff4 ,salome1 #ae4 ,samson and ,delilah1 #ah4 ,samson and the ,lion1 illus41 #gj4 ,samson at the ,mill1 #fi4 ,samson carrying the ,gates1 illus41 #gj4 ,sand1 ,george1 #aa4 ,sartoris1 ,mrs4 ,algernon1 ,portrait of1 #dc2 illustration by ,leighton to her ,week in a ,french ,country ,house1 #fi4 ,sculpture1 #cf1 #df1 #fg1 #fh2 illus41 #fh1 #acj4 ,sea ,echoes1 #bj4 ,sea gave up the ,dead1 ,and the1 #di1 #ff2 illus41 #ej4 ,serafina1 #ch4 ,serenely ,wandering1 illus41 #abh4 ,servolini1 #e4 ,sibyl1 #dh1 #ed1 #eh4 ,simtha the ,sorceress1 #dg4 ,sisters1 #bj4 ,sister's ,kiss1 #da1 #aaa2 illus41 #dj4 ,sizeranne1 ,m4 de la1 on ,leighton1 #aac4 ,sluggard1 ,the1 #df1 #fg1 #fh2 ,study for1 illus41 #fh4 ,solitude1 #di2 ,study for1 illus41 #eh4 ,south ,kensington1 drawings on wood at1 #fi2 frescoes1 #cb1 #fc-ff2 mosaic1 #fg4 ,spain1 ,leighton on the ,art of1 #hb1 #hc4 ,spielmann1 ,mr4 ,m4 ,h41 on ,leighton1 #df1 #dh1 #ed-eh4 ,spies' ,escape1 ,the1 #fi4 ,spirit of the ,summit1 ,the1 #ea1 #fj1 #aac4 ,star of ,bethlehem1 ,the1 #bj1 #aji1 #abc4 ,steinle1 ,johann ,eduard1 #f1 #h1 #i4 ,stephens1 ,f4 ,g41 on the ,hogarth ,club1 #ag4 ,studies1 collection of ,leighton's1 #fb4 ,studies in oil1 list of1 #acb-acf4 ,studies of ,heads1 #ch1 #ea2 illus41 #ad1 #gd1 #gf1 #gh1 #hj1 #hb4 ,study 7little girl in ,eastern ,garb71 #cg4 ,study ,a 7,grosvenor ,gallery1 #ahgg71 #cg2 7,academy1 #ahgh71 #ch2 7,grosvenor ,gallery1 #ahhe71 #df4 ,summer ,moon1 #ca2 illus41 #cj4 ,summer ,slumber1 #ea4 ,sun ,gleams1 #dd4 ,sunny ,hours1 #ag4 ,syracusan ,bride1 #bc1 #bd1 #cd1 #dg4 ,tate ,gallery1 ,the1 #cf1 #dh1 #di4 ,teresina1 #ce4 ,thackeray on ,leighton1 #i4 ,tragic ,poetess1 #di4 ,triumph of ,music1 ,the1 #ae1 #ajg4 ',twixt ,hope and ,fear1 #ea4 ,velasquez1 ,diego1 ,leighton on1 #hc4 ,venus ,disrobing1 #be1 #afj2 illus41 #bd4 ,vestal1 #dd1 #ea4 ,viola1 #dc4 ,volumnus ,violens1 tomb of1 ,leighton on1 #gg4 ,walker1 ,john ,hanson1 #ai4 ,watteau1 ,leighton on1 #hd4 ,watts1 ,g4 ,f41 #ad2 pictures by1 #ia2 portraits of ,leighton1 #db1 #ij2 method compared with ,leighton's1 #ee2 on ,leighton1 #aaf4 ,weaving the ,wreath1 #cb4 ,wedded1 #dc4 ,whispers1 #dc4 ,widow's ,prayer1 ,the1 #bc4 ,winding the ,skein1 #cg1 #aaa2 photogravure1 ,front4 ,wise and ,foolish ,virgins1 ,the1 #bd1 #fd4 ,zeyra1 #dc4 ,,chiswick ,,press3 ,,printed ,,by ,,charles ,,whittingham ,,and ,,co4 ,,tooks ,,court1 ,,chancery ,,lane1 ,,london4 ,footnotes3 #a ,see pages #ajc-aad4 #b ,letter to ,william ,allingham1 ,may #ajth1 #ahfa4 #c ,athenum1 ,april1 #ahfd4 #d ,the original title of this picture was ,eastern ,slinger scaring ,birds in ,harvest-time3 ,moonrise4 ,see ,illustration at p4 #aab4 #e ,this picture was re-sold at ,christie's in #ahib for #c1gej guineas4 #f ,sometimes entitled ,an ,athlete strangling a ,python4 #g ,at page #fb4 #h ,engraved in the ,magazine of ,art1 ,march1 #ahif4 #i ,current ,art 7,magazine of ,art1 ,may1 #ahhi74 #aj ,the ,studio1 vol4 iii4 #aa ,reproductions of both of these drawings are given at p4 #ah4 #ab ,letters of ,dante ,gabriel ,rossetti to ,william ,allingham1 by ,george ,birkbeck ,hill1 ,d4,c4,l41 ,,ll4,d4 ,london1 ,t4 ,fisher ,unwin1 #ahig4 #ac ,la ,peinture ,anglaise ,contemporaine 7,paris1 ,hachette1 #ahie74 #ad ,magazine of ,art1 ,march1 #ahif1 p4 #aig4 #ae ,the asterisk denotes works exhibited at the ,winter ,exhibition of the ,royal ,academy of ,arts1 #ahig4 #af ,r4,a41 ,royal ,academy2 ,g4,g41 ,grosvenor ,gallery2 ,r4,w4,s41 ,royal ,society of ,painters in ,water-,colours2 ,s4,s41 ,royal ,society of ,british ,artists1 ,suffolk ,street2 ,d4,g41 ,dudley ,gallery2 ,s4,p4,p41 ,society of ,portrait ,painters4 #ag ,exhibited in the ,roman ,section1 by some blunder of the ,committee2 the picture having been painted in ,rome4 #ah ,purchased for #b1jjj by the ,president and ,council of the ,royal ,academy1 under the terms of the ,chantrey ,bequest4 #ai ,painted by invitation for the ,collection of ,portraits of ,artists painted by themselves in the ,uffizi ,gallery1 ,florence4 #bj ,painted for the house of ,mr4 ,murquand1 ,new ,york4 #ba ,purchased for #a1jjj guineas by the ,president and ,council of the ,royal ,academy1 under the terms of the ,chantrey ,bequest4 99 99 99 99 99 ,transcriber's note3 ,passages in italics are indicated by underscore4 ,images have been moved from the middle of a paragraph to the closest paragraph break or to the end of a long quote4 ,the following misprints have been corrected3 ,dyson-,perrin corrected to ,dyson-,perrins 7page v7 ,frederic corrected to ,frederick 7page #be and index7 ,missing word added on page #aja 7assumed the74 ,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 text4 ,the original text includes ,greek characters4 ,for this text version these letters have been replaced with transliterations4