The hall is square. On one side is the entrance. In the centre of each of the other sides is a lofty arched recess. Those to the north and south are windows, shuttered with genuine musharabiyehs bought in Cairo and having deep cushioned divans. The recess to the west has only a small pierced window high up. It has a raised step, and in it used to stand certain bronze reproductions from Pompeii, with pots, vases, etc., now gone. Some of the tiles were bought in Damascus in 1873. The price paid was L200 for the complete tile surface of one room. What would they be worth now? Others, particularly the great inscription spoken of below, were bought later in Cairo, and the rest at odd times. Here and there are single tiles, but most of them are in sets forming fine panels. An interesting one, in the south-east corner, represents hawks clutching their prey, cheetahs and deer, a hunter, etc., and another has herons, fish, tortoises, deer, etc. Set into the woodwork in the western recess are four tiles with female figures. These are either Persian or come from the neighbourhood of Persia, for the Anatolian or Egyptian Mahommedan tolerated no representations of life. The rest repeat in pleasing variety the usual motives of oriental design, viz., vines, cypresses, pinks and vases, doorways (? the entrances of mosques), with hanging lamps, and conventional floral designs. Above the entrance runs the chief treasure, the grand series of tiles bearing the great inscription. It is about sixteen feet long. According to Mr. Harding Smith it may be translated thus:

"In the name of the merciful and long-suffering God. The Merciful hath taught the Koran. He hath created man and taught him speech. He hath set the sun and moon in a certain course. Both the trees and the grass are in subjection to him."

It cannot be said that there is anything very new in that. There rarely is in such inscriptions. There are three others, but so far as they have been deciphered they appear to be incomplete, and in two cases, at any rate, to much the same effect as the big one. Just pious reminders. The real interest of them lies in the decorative effect of the imposing procession of letters across the wall, and the splendour of their colours. For beauty and condition this great inscription is said to be without a rival in any collection in Europe.

Let into the woodwork panelling in the west bay there are two small lustred Persian tiles of the thirteenth century. They have been mutilated as to the faces of the figures by true believers. The rest belong to the sixteenth or early seventeenth centuries, a time when artistic production was stimulated by the commercial wealth brought by the trade of Venice and Genoa with the East through Anatolia, Damascus and Cairo.

Round three sides above the tiles runs a decorative mosaic frieze, by Walter Crane, of an arabesque design on a gold ground. It is a beautiful and fanciful piece of work in itself, and it serves moreover to blend the prevailing colour of the tiles with the gilding of the upper regions. But it does not continue round the fourth side, because over the entrance, above the great inscription, an oriel window of musharabiyeh work looks down into the hall from the first floor of the house.

The pierced windows, or at least eight of them, were brought from Cairo, and when bought had the original glass in them; but in the east the glass is stuck in with white of egg, and as they were, as usual, ill-packed, the glass all came out and was ground to fragments in the jolting of the journey. Only enough could be saved to fill the window in the upper part of the west recess opposite the entrance. The remainder had to be filled with English imitations.

Returning now to the staircase, we find it ends on the first floor in a landing leading to the great studio. On the left it is open to the little studio; so-called because, having a skylight, Lord Leighton used it for painting out-of-door effects until he had the glass studio built. Adjoining it, or forming an extension of it, is another room, built only a year or two before the late owner's death. After the addition of the glass studio the two were only used as an antechamber, and were hung with the pictures presented by brother artists, and with a few old masters. The mouldings round the skylights are very pretty. The latticed window before mentioned looks down from the little studio into the Arab Hall.

The great studio is a large room about sixty feet by twenty-five and about seventeen in height. In the centre of the north side is the lofty window forming a bay and extending into a skylight in the top. High up on either side of it are the three small openings mentioned when speaking of the exterior. A curtain hangs in front of them, and in point of fact they were never used. In the west wall is an apse with a gilt semi-dome, which appears in some of Lord Leighton's pictures. Across the east end runs a gallery at about eight feet from the floor with bookshelves under it on either side, and in the middle a broad passage leads into the glass studio, and still outside this is a wide balcony looking into the garden. Casts of a portion of the Panathenaic frieze of the Parthenon run along the upper part of the wall of the great studio, fit emblem of the lifelong devotion of the President to classic art. Such then is the workshop. Even now, comparatively bare as it is at the present moment of writing, this is one of the most picturesque suites of rooms in existence; but to see it on one of the grand occasions of Leighton's musical receptions was a very different sight and one not easily to be forgotten. Then when walls and easels were covered with pictures, when rare carpets hung from the gallery, flowers and palms filled the bay window, beautiful women and men of every form of distinction crowded the floor to listen to Joachim and Piatti, nothing was wanting which could give beauty or interest to the spectacle.

It will be seen that the house is still rich in artistic beauty and still has objects of value. But the most precious of its contents are after all its associations. Its floors have been trodden by all that was most notable in the society of its owner's day, people whose names alone would be an epitome of our times. It was also the workshop of a great artist. But, above all, it was the centre of a great influence which profoundly modified English art.

Whatever judgment the future may pass upon his own productions, the fact must never be lost sight of that even without them Leighton was a great man. Intellectually, spiritually, and socially he was the most brilliant leader and stimulator of artists we have ever seen in England. His earnest example and lifelong persistence fanned the flame of enthusiasm among all branches of art workers. He taught Englishmen to study form, and it was under his encouragement that sculpture, which was fallen so low, has now risen into so good a place. Finally he did more than anyone else has done to raise the status of the artist in society.

The house which he built himself was his hobby, and in the refinement and catholicity of taste it shows, there is so just a reflex of his characteristics that an account of it is indispensable to any book which claims to describe the man.

S. PEPYS COCKERELL.



CHAPTER XI

THE ARTIST AND HIS CRITICS

Before closing our record it will be well to quote, as we promised earlier, some of the contemporary criticism that Sir Frederic's work has encountered from time to time; and especially the criticism of his earlier performances, while he was still in the years of his pre-Academic probation.

As a provocation to criticism, most interesting of all is his picture, the Cimabue's Madonna carried in Procession through the Streets of Florence, upon which we have already commented. As we may here remind our readers, it was painted at Rome chiefly, in 1853-4, and was exhibited at the Academy of 1855. In that year, as good fortune would have it, Mr. Ruskin issued for the first time, "Notes on some of the Principal Pictures Exhibited in the Rooms of the Royal Academy." Some pages of this famous pronouncement are devoted to this very picture, and we cannot do better than quote freely from a criticism so remarkable.

"This is a very important and very beautiful picture," says Mr. Ruskin. "It has both sincerity and grace, and is painted on the purest principles of Venetian art—that is to say, on the calm acceptance of the whole of nature, small and great, as, in its place, deserving of faithful rendering. The great secret of the Venetians was their simplicity. They were great colourists, not because they had peculiar secrets about oil and colour, but because when they saw a thing red, they painted it red; and ... when they saw it distinctly, they painted it distinctly. In all Paul Veronese's pictures, the lace borders of the table cloths or fringes of the dresses are painted with just as much care as the faces of the principal figures; and the reader may rest assured that in all great art it is so. Everything in it is done as well as it can be done. Thus in the picture before us, in the background is the Church of San Miniato, strictly accurate in every detail; on the top of the wall are oleanders and pinks, as carefully painted as the church; the architecture of the shrine on the wall is well studied from thirteenth-century Gothic, and painted with as much care as the pinks; the dresses of the figures, very beautifully designed, are painted with as much care as the faces: that is to say, all things throughout with as much care as the painter could bestow. It necessarily follows that what is most difficult (i.e. the faces) should be comparatively the worst done. But if they are done as well as the painter could do them, it is all we have to ask; and modern artists are under a wonderful mistake in thinking that when they have painted faces ill, they make their pictures more valuable by painting the dresses worse.

"The painting before us has been objected to because it seems broken up in bits. Precisely the same objection would hold, and in very nearly the same degree, against the best works of the Venetians. All faithful colourists' work, in figure-painting, has a look of sharp separation between part and part.... Although, however, in common with all other works of its class, it is marked by these sharp divisions, there is no confusion in its arrangement. The principal figure is nobly principal, not by extraordinary light, but by its own pure whiteness; and both the Master and the young Giotto attract full regard by distinction of form and face. The features of the boy are carefully studied, and are indeed what, from the existing portraits of him, we know those of Giotto must have been in his youth. The head of the young girl who wears the garland of blue flowers is also very sweetly conceived.

"Such are the chief merits of the picture. Its defect is that the equal care given to the whole of it is not yet care enough. I am aware of no instance of a young painter, who was to be really great, who did not in his youth paint with intense effort and delicacy of finish. The handling here is much too broad; and the faces are, in many instances, out of drawing, and very opaque and feeble in colour. Nor have they in general the dignity of the countenance of the thirteenth century. The Dante especially is ill-conceived—far too haughty, and in no wise noble or thoughtful. It seems to me probable that Mr. Leighton has greatness in him, but there is no absolute proof of it in this picture; and if he does not, in succeeding years, paint far better, he will soon lose the power of painting so well."

To Mr. Ruskin's account, which is sufficient to enable one to realize the picture in some detail, we may add further the criticism of the "Athenaeum" of May 12th, 1855, which is interesting as showing how the work affected a contemporary critic of another order. It speaks of Mr. Leighton as "a young artist who, we believe, has studied in Italy," and goes on to say: "There can be no question that the picture is one of great power, although the composition is quaint even to sectarianism; and though the touch, in parts broad and masterly, is in the lesser parts of the roughest character." The last clause of the sentence bears out, it may be perceived, a significant indictment in Mr. Ruskin's deliverance, which lays stress on a defect that the artist, in his maturer brush-work, does not show.

Rossetti, writing to his friend William Allingham, May 11th, 1855, says: "There is a big picture of Cimabue, one of his works in procession, by a new man, living abroad, named Leighton—a huge thing, which the Queen has bought, which everyone talks of. The R.A.'s have been gasping for years for someone to back against Hunt and Millais, and here they have him, a fact that makes some people do the picture injustice in return. It was very uninteresting to me at first sight; but on looking more at it, I think there is great richness of arrangement, a quality which, when really existing, as it does in the best old masters, and perhaps hitherto in no living man—at any rate English—ranks among the great qualities.

"But I am not quite sure yet either of this or of the faculty for colour, which I suspect exists very strongly, but is certainly at present under a thick veil of paint, owing, I fancy, to too much continental study. One undoubted excellence it has—facility, without much neatness or ultra-cleverness in the execution, which is greatly like that of Paul Veronese; and the colour may mature in future works to the same resemblance, I fancy. There is much feeling for beauty, too, in the women. As for purely intellectual qualities, expression, intention, etc., there is little as yet of them; but I think that in art richness of arrangement is so nearly allied to these, that where it exists (in an earnest man) they will probably supervene. However, the choice of subject, though interesting in a certain way, leaves one quite in the dark as to what faculty the man may have for representing incident or passionate emotion. But I believe, as far as this showing goes, that he possesses qualities which the mass of our artists aim at chiefly, and only seem to possess. Whether he have those of which neither they nor he give sign, I cannot tell; but he is said to be only twenty-four years old. There is something very French in his work, at present, which is the most disagreeable thing about it; but this I dare say would leave him if he came to England."[12]

In the year following Leighton's academical debut, he exhibited a picture entitled The Triumph of Music, which the "Athenaeum," hereafter so sympathetic towards his work, described as "anything but a triumph of art."

Partly, perhaps, because of the general tone of discouragement in all the criticisms of this year, the artist did not send in anything to the Academy of 1857. In 1858 his two pictures—The Fisherman and the Syren, and Count Paris, although admirably conceived, and extremely interesting to us now, received no word of friendly criticism that is worth recording.

At the Academy of 1859 were exhibited two pictures by him, which served to reassure at last those critics who had been shaking their heads over his supposed inability to follow up his first success. We turn to the "Athenaeum" again, to study its gradual conversion from an attitude of critical distrust to one of critical sympathy:

"Mr. Leighton," says the "Athenaeum," "after a temporary eclipse, struggles again to light. His heads of Italian women this year are worthy of a young old master: anything more feeling, commanding, or coldly beautiful, we have not seen for many a day.... This is real painting, and we cannot but think that a painter who can paint so powerfully will soon be able to surpass that processional picture of his,..." i.e., the Cimabue.

In 1860, the artist, who then entered upon his thirtieth year, exhibited a small picture, Capri, Sunrise, which won great praise for its successful treatment of Italian landscape under the Scirocco, whose sulphurous light is cast with evil suggestion upon the white houses and green vegetation. In paying his tribute to the quality of the picture, the critic of the "Athenaeum" cannot resist, however, the old cry of great expectations. For the effect of the Cimabue's Madonna had aroused critics to regard the painter as one who would continue the legend of the great historical schools, and carry on the traditions of the so-called grand style. But the critic proposes, the creator disposes: the artist went his own way, following still his own ideals.

In 1861, some rather warm discussion raged over two of the artist's contributions to the Royal Academy, which appeared in its catalogue as Nos. 399 and 550, and which, it was said, had been deliberately slighted by the hanging committee. In later years, Leighton must sometimes have smiled when he heard (as from his position he must needs have,) the annual plaint of the "skied." It is to the "Art Journal," whose criticisms, when they had to do with the new and rising schools, used to be always entertaining, if often provoking, in those days, that we turn for a contemporary account of these things, rather than to any other source. The critic having premised, with a delightful and convincing air of "I told you so!" that his first effort (the inevitable Cimabue's Madonna) having exhausted the poor artist, "he has been coming down the ladder of fame ever since," continues in characteristic tones: "Instead of being hung too high, the Dream, had it been properly hung, would have been displayed upon the ceiling." The picture, according to this authority, consisted only of a questionable combination of the "lower forms of mere decorative ornamentation," and was in fact, "not so much a picture as a very clever treatment for the centre of a ceiling." So much for what was really the first clear sign of the artist's delightful decorative faculty.

It is clear from various evidences of the feeling of the critics about Leighton at this time, that they had begun to look upon him as one whose ideals were frivolous, and not seriously minded, or weighted with the true British substantiality of the old Academy tradition. In the very next year, the artist, by the chances of his own temperamental many-sided delight in life and art, did something to reassure his admonitors once more. No. 217 at the Royal Academy of 1862 was his picture, The Star of Bethlehem, which, with some natural and not unfair deductions, won considerable praise from the critic last quoted. In this painting, which shows curiously the mingled academic and natural quality of the artist, the critic found profound incompatibilities of conception and technique; and next year, the same critic was stirred to exclaim,—"The pictures which of all others give most trouble and anxiety to the critic are perhaps those of Mr. Millais and Mr. Leighton,"—a very suggestive conjunction of names, let us add.

It was probably the same critic, who speaking of the Dante at Verona, in 1864, said gravely, "The promise given by the Cimabue here reaches fruition."

Writing in 1863, Mr. W. M. Rossetti, a critic whom it is interesting to be able to cite, said of two of the artist's pictures of that year, the Girl feeding Peacocks and the Girl with a Basket of Fruit, they belong "to that class of art in which Mr. Leighton shines—the art of luxurious exquisiteness; beauty, for beauty's sake; colour, light, form, choice details, for their own sake, or for beauty's."

In the same year, Mr. Rossetti spoke of the young artist as the one "British painter of special faculty who has come forward with the most decided novelty of aim"—since, that is, the new development of art under the little band of Pre-Raphaelites,—with which Mr. W. M. Rossetti was himself so closely associated.

By way of contrast, we may cite the "Art Journal" of 1865, which provides a most extraordinary criticism of David, of that year. "We would venture to ask," says this ingenious critic, "why the divine psalmist has so small a brain? Within this skull there is not compass for the poet's thoughts to range. We state as a physiological fact, that a head so small, with a brow so receding, could not have belonged to any man who has made himself conspicuous in the world's history. Again, descending to mere matter of costume, there cannot be a doubt that the purple mantle flung on the psalmist's shoulders is wholly wanting in study of detail, and constitutes a blot on the landscape. Barring these oversights, the picture possesses merits."

At this period we hear the first critical murmurs against the artist's very deliberately chosen method of flesh-painting. In 1867, speaking of the Venus Disrobing, the "Art Journal" critic says: "According to the manner, not to say the mannerism, of the artist, it has a pale silvery hue, not as white as marble, not so life-glowing as flesh." With this we may compare, for the comparison is instructive, the "Athenaeum," whose notice is more sympathetic. The figure of the goddess it describes as "all rosy white, ... admirably drawn, and modelled with extreme care."

Again, in 1868, the "Art Journal" says of Sir Frederic's Actaea: "The artist has made some attempt to paint flesh in its freshness and transparency, and indeed the more he renounces the opacity of the German school, and the more he can realize the brilliance of the old Venetian painters, the better."

In 1869, the "Athenaeum" praised the Sister's Kiss, as "a lovely group," but complained that the execution was a "little too smooth,"—a complaint not infrequently echoed from time to time by the artist's critics. Some years later we find Mr. W. M. Rossetti making the same complaint in criticising Winding the Skein.

In 1875 the picture, Portions of the Interior of the Grand Mosque at Damascus, won great praise, as "a remarkably delicate piece of work, in which the beautiful colouring of the tiled walls and mosaic pavement are skilfully rendered."

In 1876, the quondam hostile "Art Journal" is completely converted by the Daphnephoria: "To project such a scene upon canvas presupposes a man of high poetic imagination, and when it is accompanied by such delicacy and yet such precision of drawing and such sincerity of modelling, the poet is merged in the painter and we speak of such a one as a master. There is, indeed, nothing more consolatory to those who take an interest in British art than the knowledge that we have among us a man of such pure devotion and lofty aim."

It was in 1875, that Mr. Ruskin, resuming his role of an Academy critic, claimed Leighton as "a kindred Goth," and confessed, "I determined on writing this number of 'Academy Notes,' simply because I was so much delighted with Mr. Leslie's School, Mr. Leighton's Little Fatima, Mr. Hook's Hearts of Oak, and Mr. Couldery's Kittens."

In his lectures on the Art of England, the same critic, speaking of Leighton's children, says: "It is with extreme gratitude, and unqualified admiration, that I find Sir Frederic condescending from the majesties of Olympus to the worship of those unappalling powers, which, heaven be thanked, are as brightly Anglo-Saxon as Hellenic; and painting for us, with a soft charm peculiarly his own, the witchcraft and the wonderfulness of childhood."

Upon the Egyptian Slinger of the same year, which Mr. Ruskin terms the "study of man in his Oriental function of scarecrow (symmetrically antithetic to his British one of game preserver)," his criticism is interesting, but adverse. The critic who elsewhere acknowledged fully the artist's acutely observant and enthusiastic study of the organism of the human body, confesses himself unable to recognize his skill, or to feel sympathy with the subjects that admit of its display. It is, he goes on to say further of the Slinger, "it is, I do not doubt, anatomically correct, and with the addition of the corn, the poppies, and the moon, becomes semi-artistic; so that I feel much compunction in depressing it into the Natural History class; and the more, because it partly forfeits its claim even to such position, by obscuring in twilight and disturbing our minds, in the process of scientific investigation, by sensational effects of afterglow and lunar effulgence, which are disadvantageous, not to the scientific observer only, but to less learned spectators; for when simple persons like myself, greatly susceptible to the influence of the stage lamps and pink side-lights, first catch sight of this striding figure from the other side of the room, and take it, perhaps, for the angel with his right foot on the sea and the left on the earth, swearing there shall be Time no longer; or for Achilles alighting from one of his lance-cast-long leaps on the shore of Scamander, and find on near approach that all this grand straddling and turning down of the gas mean practically only a lad shying stones at sparrows, we are only too likely to pass it petulantly without taking note of what is really interesting in this eastern custom and skill."



The most recent criticism of importance on the art of Leighton is contained in an admirable volume by M. de la Sizeranne.[13] We take this opportunity of quoting a few sentences from an appreciation which opens with the significant remark that Sir Frederic Leighton is officially the representative of English painting on the Continent, and, in reality, the representative of Continental painting in England, and concludes by tracing the definitely English ideal that underlies the artist's work. Elsewhere the critic says, "Ce qui est britannique en M. Leighton, quoique bien voile par son eclectisme, transparaitra encore." Apart from Leighton's distinctively native predilection for certain subjects, M. de la Sizeranne finds him very English in his treatment of draperies, for instance, a treatment which he traces ingeniously to the much study given to the Greek drapery of the Elgin marbles by the English School, since the days of the Pre-Raphaelites. Elsewhere, taking as his text the picture The Spirit of the Summit, he says: "Des sujets qui elevent la pensee vers les sommets de la vie ou de l'histoire, de sorte qu'on ne puisse se rappeler un nez ou une jambe sans se souvenir de quelque haute lecon evangelique, ou de moins de quelque grande necessite sociale, voila ce que M. Leighton a traite. Et un style beaucoup plus sobre que celui d'Overbeck, beaucoup plus viril que celui de M. Bouguereau, voila comment il les a traites." Again: "La grandeur de la communion humaine, la noblesse de la paix, tel est le theme qui a le plus souvent et le mieux inspire M. Leighton. Et cela il ne l'a pas trouve en France, ni ailleurs. C'est bien une idee anglaise." No better summing up of the chronicle of the life work of the artist could well be found.

But we have pursued far enough this study of an artist's progress through the thorny, devious ways of art criticism. We have reached the point, in fact, where the comparative uncertainties of an artist's career make way for the certainties. With one quotation more, in which we have a tribute from another critic, Mr. Comyns Carr, we may fitly close: "No painter of our time," said Mr. Carr, "maintains a firmer or more constant adherence to those severe principles of design which have received the sanction of great example in the past. Sir Frederic Leighton has never lowered the standard of his work in deference to any popular demand, and for this persistent devotion to his own highest ideals he deserves well of all who share his faith in the power of beauty."



CHAPTER XII

CONCLUSION

In now bringing this record to a close, we will of set purpose remain true to the chronicler's function, pure and simple; attempting no profounder or more critical summing up of our subject, than consists with the plain record of a remarkable career.

After a year of indifferent health, during part of which time he was ordered abroad for rest and change, being thus unable to preside at the annual banquet in May, Leighton returned to England apparently convalescent. Although unable to deliver the biennial presidential address, which fell due in December, 1895, he met the students on that occasion, and apologized for not delivering the Discourse which was due, in these words: "The cloud which has hung over me hangs over me still."[14]

Early in 1896 a peerage was bestowed upon him, and all the world applauded the honour conferred on Art in his name. On January 13th, 1896, the news of his death came as a terrible surprise. The new peer, Baron Leighton of Stretton, was buried with much state at St. Paul's Cathedral, before men in general had wholly recognized that Lord Leighton was the popular "Sir Frederic," the President of the Royal Academy, and one of the most familiar figures at any important function—at court or elsewhere.

Except perhaps in the case of politicians, who live in some degree by the public recognition of their personal qualities, it is difficult to render tribute gracefully and well to a contemporary. But we cannot close these pages, now, without pausing to recall how fortunate it has been that English Art, for seventeen years, had as its titular head an artist whose affluent artistic faculty was but the open sign of a crowded life, loyal throughout to the great causes, high ideals, and, let us add, the early friendships, chosen long ago in the mid century. We are now at that century's end,—an end not without its reproach, as expressed by a decadence more self-conscious than dignified, more critical than creative; but in Lord Leighton's Art there was little diminution in his active energy, and of that finer health and spirit of life, which is behind all beauty! Like his distinguished friend and colleague, Mr. G. F. Watts (whose tribute to him as a man and as an artist has been expressed again and again in eloquent terms), Leighton remained, in his later period as in his youth, generously alive to all the things that count, devoted still to the Art, the current life, and the great national traditions, of his own country.

From another famous colleague, Sir E. J. Poynter, P.R.A., one may fitly add here the following further sentences of contemporary tribute, which were written by way of dedication to his "Ten Lectures on Art," published some years ago:—"I came to-day from the 'Varnishing Day' at the Royal Academy Exhibition with a pleasant conviction that there is on all sides a more decided tendency towards a higher standard in Art, both as regards treatment of subject and execution, than I have before noticed; and I have no hesitation in attributing this sudden improvement in the main to the stimulus given to us all by the election of our new President, and to the influence of the energy, thoroughness and nobility of aim which he displays in everything he undertakes. I was probably the first, when we were both young and in Rome together, to whom he had the opportunity of showing the disinterested kindness which he has invariably extended to beginners, and to him, as the friend and master who first directed my ambition, and whose precepts I never fail to recall when at work (as many another will recall them), I venture to dedicate this book with affection and respect."

"As we are, so our work is!" said Leighton in one of the most memorable of his Discourses; "and the moral effect of what we are will control the artist's work from the first touch of the brush or chisel to the last." "Believe me," he concludes, in a striking passage that may very fitly serve us, too, with a conclusion to these passages, "believe me, whatever of dignity, whatever of strength we have within us, will dignify and will make strong the labours of our hands; whatever littleness degrades our spirit will lessen them and drag them down. Whatever noble fire is in our hearts will burn also in our work, whatever purity is ours will also chasten and exalt it; for as we are, so our work is, and what we sow in our lives, that, beyond a doubt, we shall reap for good or for ill in the strengthening or defacing of whatever gifts have fallen to our lot."

It would be superfluous to quote from the elegiac tributes which appeared in the public press after Lord Leighton's death, and invidious to repeat certain unkind and unjust strictures which marred the otherwise unanimous note of appreciation. It is obvious that an artist with so strongly marked a personality must needs have been fettered by the very limits he himself had set. At one time, when a painter of eminence openly expressed his preference for Lord Leighton's unfinished work, and begged him to keep a certain picture as "a beautiful sketch," he replied: "No, I shall finish it, and probably, as you suggest, spoil it. To complete satisfactorily is what we painters live for. I am not a great painter, but I am always striving to finish my work up to my first conception."

There are many mansions in the city of Art, and if the one of Lord Leighton's building was not to the taste of all his contemporaries, the edifice can be left to await the final test of years. Fashions in taste change rapidly, and much of his finish that finds disfavour to-day may in time charm once again. A career overburdened by official honour was destined to provoke a certain amount of envious protest; but as a man, no voice has urged a word against his ideally perfect performance, not merely of his official duties, but of others which indeed were laid upon him by his position. These he obeyed without ostentation—almost without men's knowledge. His kindly help, by commendation or by commission given to young artists; his broad and tolerant view of work conceived in direct opposition to all he valued himself, was not hidden from his friends. "It is with a sense of amazement," a critic writes in a private letter, "that one afternoon after a protest that nothing he said was to be published, I heard him discuss the prospects and the works of our ultra-modern painters. Even in fields beyond his sympathy he picked out the chaff from the wheat, and was judicially accurate in his verdicts of the difference between 'tweedle-dum' and 'tweedle-dee,' both one would have said, entirely unknown to him."

In Lord Leighton British artists lost a truer friend than many of them suspected, one who wielded his power justly to all, and was more often on the side of progress than not, a power for reform that can never be estimated at its actual value, working within a highly conservative body, full of vested interests and prejudice—as is the habit of academies of Art and Literature abroad no less than at home. That Leighton, who controlled its destinies so long, was loyal to its true interests, and never forgot the institution with which he was associated so many years is evident from his last words: "Give my love to all at the Academy."



APPENDIX I

LIST OF PRINCIPAL WORKS

With date and place of exhibition

1850 (circa). *CIMABUE FINDING GIOTTO IN THE FIELDS OF FLORENCE.[15] (49-1/2 x 37 in.) Steinle Institute (Frankfort).

1850. THE DUEL BETWEEN ROMEO AND TYBALT. (37 x 50 in.)

1851 (circa). THE DEATH OF BRUNELLESCHI. Steinle Institute.

1851. [EARLY PORTRAIT OF LEIGHTON BY HIMSELF.]

1852. *A PERSIAN PEDLAR.

" [BUFFALMACCO, THE PAINTER. A humorous subject, taken from Vasari, was undertaken about this date.]

1853. PORTRAIT OF MISS LAING (Lady Nias).

1855. *CIMABUE'S CELEBRATED MADONNA IS CARRIED IN PROCESSION THROUGH THE STREETS OF FLORENCE. In front of the Madonna, and crowned with laurels, walks Cimabue himself, with his pupil Giotto; behind it, Arnolfo di Lapo, Gaddo Gaddi, Andrea Tafi, Nicola Pisano, Buffalmacco and Simone Memmi; in the corner, Dante. (87-1/2 x 205 in.) R.A.[16]

" THE RECONCILIATION OF THE MONTAGUES AND CAPULETS over the dead bodies of Romeo and Juliet. Paris International Exhibition.[17]

1856. THE TRIUMPH OF MUSIC. (80 x 110 in.) R.A.

"Orpheus, by the power of his art, redeems his wife from Hades."

1857. *SALOME, the daughter of Herodias. (44-1/2 x 25 in.)

1858. *THE MERMAID (THE FISHERMAN AND THE SYREN). (From a ballad by Goethe.) (26-1/2 x 18-1/2 in.) R.A.

"Half drew she him, Half sunk he in, And never more was seen."

" "COUNT PARIS, accompanied by Friar Lawrence and a band of musicians, comes to the house of the Capulets, to claim his bride: he finds Juliet stretched apparently lifeless on her bed."—Romeo and Juliet, act IV., sc. 5. (26-1/2 x 18-1/2 in.) R.A.

" REMINISCENCE OF ALGIERS. S.S.

These were,

[A SUBJECT FROM KEATS'S HYMN TO PAN,] in the first book of "Endymion," a figure of Pan under a fig-tree, with the inscription,

"O thou, to whom Broad-leaved fig-trees even now foredoom Their ripen'd fruitage;"

and the other,

[A PENDANT TO THE "PAN,"] the figure of a nude nymph about to bathe, with a little Cupid loosening her sandal.

1859. SUNNY HOURS. R.A.

" *ROMAN LADY (La Nanna). R.A.

" *NANNA (Pavonia). R.A.

" SAMSON AND DELILAH. S.S.

1860. CAPRI—SUNRISE. R.A.

1861. *PORTRAIT OF MRS. SUTHERLAND ORR. [Mrs. S. O., a portrait.] (28 x 18 in.) R.A.

" *PORTRAIT OF JOHN HANSON WALKER, ESQ. (23 x 17 in.)

" PAOLO E FRANCESCA. R.A.

"Ma solo un punto fu quel che ci vinse Quando legemmo il disiato riso Esser baciato da cotanto amante, Questi, che mai da me non fia diviso, La bocca mi bacio tutto tremante: Galeotto fu'l libro e chi lo scrisse: Quel giorno piu non vi legemmo avante."

" A DREAM. R.A.

... "Not yet—not yet— Still there is trial for thee, still the lot To bear (the Father wills it) strife and care; With this sweet consciousness in balance set Against the world, to soothe thy suffering there Thy Lord rejects thee not. Such tender words awoke me hopeful, shriven To life on earth again from dream of heaven."

" LIEDER OHNE WORTE. R.A.

" J. A. A STUDY. R.A.

" CAPRI—PAGANOS. R.A.

1862. ODALISQUE. R.A.

" *THE STAR OF BETHLEHEM. (60 x 23-1/2 in.) R.A.

One of the Magi, from the terrace of his house, stands looking at the star in the East; the lower part of the picture indicates a road, which he may be supposed just to have left.

" SISTERS. R.A.

" *MICHAEL ANGELO NURSING HIS DYING SERVANT. (43 x 36 in.) R.A.

" DUETT. R.A.

" SEA ECHOES. R.A.

" RUSTIC MUSIC.

1863. JEZEBEL AND AHAB, having caused Naboth to be put to death, go down to take possession of his vineyard; they are met at the entrance by Elijah the Tishbite: R.A.

"Hast thou killed, and also taken possession?"

" *EUCHARIS. (A Girl with a Basket of Fruit.) (32-1/2 x 22 in.) R.A.

" A GIRL FEEDING PEACOCKS. R.A.

" AN ITALIAN CROSSBOW-MAN. (15 x 24-1/2 in.) R.A.

1864. DANTE AT VERONA. R.A.

" *ORPHEUS AND EURYDICE. (49 x 42 in.) R.A.

"But give them me—the mouth, the eyes,—the brow— Let them once more absorb me! One look now Will lap me round for ever, not to pass Out of its light, though darkness lie beyond! Hold me but safe again within the bond Of one immortal look! All woe that was, Forgotten, and all terror that may be, Defied—no past is mine, no future! look at me!" ROBERT BROWNING: A Fragment.

" *GOLDEN HOURS. (36 x 48 in.) R.A.

" *PORTRAIT OF THE LATE MISS LAVINIA I'ANSON. (Circular, 12-1/2 in.)

1865. *DAVID. (37 x 47 in.) R.A.

"Oh that I had wings like a dove! for then would I fly away and be at rest." Psalm lv.

" MOTHER AND CHILD. R.A.

" WIDOW'S PRAYER. R.A.

" HELEN OF TROY. R.A.

"Thus as she spoke, in Helen's breast arose Fond recollections of her former lord, Her home, and parents; o'er her head she threw A snowy veil; and shedding tender tears She issued forth not unaccompanied; For with her went fair Aethra, Pittheus' child. And stag-eyed Clymene, her maidens twain. They quickly at the Scaean gate arrived."

" IN ST. MARK'S. R.A.

1866. PAINTER'S HONEYMOON. R.A.

" PORTRAIT OF MRS. JAMES GUTHRIE. R.A.

" SYRACUSAN BRIDE LEADING WILD BEASTS IN PROCESSION TO THE TEMPLE OF DIANA. R.A.

(Suggested by a passage in the second Idyll of Theocritus.)

"And for her, then, many other wild beasts were going in procession round about, and among them a lioness."

" THE WISE AND FOOLISH VIRGINS. (Fresco in Lyndhurst Church.)

1867. *PASTORAL. (51-1/2 x 26 in.) R.A.

" *GREEK GIRL DANCING. (Spanish Dancing Girl: Cadiz in the old times.) (34 x 45 in.) R.A.

" KNUCKLE-BONE PLAYER. R.A.

" *ROMAN MOTHER. (24 x 19 in.) R.A.

" *VENUS DISROBING FOR THE BATH. (79 x 35-1/2 in.) R.A.

" *PORTRAIT OF MRS. JOHN HANSON WALKER. (18 x 16 in.)

1868. JONATHAN'S TOKEN TO DAVID. R.A.

"And it came to pass in the morning, that Jonathan went out into the field at the time appointed by David, and a little lad with him."

" *PORTRAIT OF MRS. FREDERICK P. COCKERELL. (23-1/2 x 19-1/2 in.) R.A.

" *PORTRAIT OF JOHN MARTINEAU, ESQ. (23-1/2 x 19-1/2 in.)

" *ARIADNE ABANDONED BY THESEUS; Ariadne watches for his return; Artemis releases her by death. (45 x 62 in.) R.A.

" *ACME AND SEPTIMIUS. (Circular, 37-1/2 in.) R.A.

"Then bending gently back her head With that sweet mouth, so rosy red, Upon his eyes she dropped a kiss, Intoxicating him with bliss." CATULLUS (Theodore Martin's translation).

" *ACTAEA, THE NYMPH OF THE SHORE. (22 x 40 in.) R.A.

1869. *ST. JEROME. (Diploma work, deposited in the Academy on his election as an Academician.) (72 x 55 in.) R.A.

" *DAEDALUS AND ICARUS. (53-1/2 x 40-1/2 in.) R.A.

" *ELECTRA AT THE TOMB OF AGAMEMNON. (59-1/2 x 29 in.) R.A.

" *HELIOS AND RHODOS. (65-1/2 x 42 in.) R.A.

1870. A NILE WOMAN. (21-1/2 x 11-1/2 in.) R.A.

" STUDY. S.S.

1871. *HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS. (54 x 104-1/2 in.) R.A.

" GREEK GIRLS PICKING UP PEBBLES BY THE SHORE OF THE SEA. R.A.

" *CLEOBOULOS INSTRUCTING HIS DAUGHTER CLEOBOULINE. (24 x 37-1/2 in.) R.A.

" VIEW OF ASSIOUT(?) (A sketch.) S.S.

" SUNRISE AT LONGSOR. (A sketch.) S.S.

" VIEW OF THE RED MOUNTAINS NEAR CAIRO. (A sketch.) S.S.

1872. *AFTER VESPERS. (43 x 27-1/2 in.) R.A.

" *SUMMER MOON. (Guildhall, 1890.) (39-1/2 x 50-1/2 in.) R.A.

" PORTRAIT OF THE RIGHT HON. EDWARD RYAN, Secretary of the Dilettanti Society, for which the picture was painted. (S.P.P., 1893.) R.A.

" A CONDOTTIERE. R.A.

" *THE INDUSTRIAL ARTS OF WAR at the International Exhibition at South Kensington. (Monochrome, 76 x 177 in.)

" THE CAPTIVE. S.S.

" AN ARAB CAFE, ALGIERS. S.S.

1873. *WEAVING THE WREATH. (Guildhall, 1895.) R.A.

" MORETTA. (Guildhall, 1894.) (20-1/2 x 14-1/2 in.) R.A.

" *THE INDUSTRIAL ARTS OF PEACE. (Monochrome, 76 x 177 in.) R.A.

" A ROMAN. S.S.

" VITTORIA. S.S.

1874. *MOORISH GARDEN: a dream of Granada. (41 x 40 in.) (Guildhall, 1895.) R.A.

" OLD DAMASCUS: Jews' Quarter. R.A.

" *ANTIQUE JUGGLING GIRL. (Guildhall, 1892.) (41-1/2 x 24 in.) R.A.

" CLYTEMNESTRA from the battlements of Argos watches for the beacon fires which are to announce the return of Agamemnon. R.A.

" ANNARELLA, ANA CAPRI. D.G.

" RUBINELLA, CAPRI. D.G.

" LEMON TREE, CAPRI. D.G.

" WEST COURT OF PALAZZO, VENICE. D.G.

1875. *PORTION OF THE INTERIOR OF THE GRAND MOSQUE OF DAMASCUS. (62 x 47 in.) R.A.

" *PORTRAIT OF MRS. H. E. GORDON (35-1/2 x 37 in.) R.A.

" *LITTLE FATIMA. (15-1/2 x 9-1/4 in.) R.A.

" VENETIAN GIRL. R.A.

" *EGYPTIAN SLINGER. (Eastern Slinger Scaring Birds in Harvest-time: Moonrise.) (Guildhall, 1890.) R.A.

" FLORENTINE YOUTH. S.S.

" RUINED MOSQUE IN DAMASCUS. S.S.

1876. *PORTRAIT OF SIR RICHARD FRANCIS BURTON, K.C.M.G. (Portrait of Capt. Richard Burton, H.M. Consul at Trieste). (23-1/2 x 19-1/2 in.) (Paris, 1878; Melbourne, 1888; S.P.P., 1892.) R.A.

" *THE DAPHNEPHORIA. (89 x 204 in.) R.A.

A triumphal procession held every ninth year at Thebes, in honour of Apollo and to commemorate a victory of the Thebans over the Aeolians of Arne. (See Proclus, "Chrestomath," p. 11.)

" TERESINA. R.A.

" PAOLO. R.A.

1877. *MUSIC LESSON. (36-1/2 x 37-1/8 in.) (Paris, 1878.) R.A.

" *PORTRAIT OF MISS MABEL MILLS (The Hon. Mrs. Grenfell). (23 x 19 in.) R.A.

" *AN ATHLETE STRANGLING A PYTHON.[18] Bronze. (Paris, 1878.) R.A.

" *PORTRAIT OF H. E. GORDON. (23-1/2 x 19 in.) G.G.

" AN ITALIAN GIRL. G.G.

" *STUDY. (A little girl with fair hair, in a pink robe.) (24 x 28 in.) R.A.

" A STUDY. G.G.

1878. *NAUSICAA. (57-1/2 x 25-1/2 in.) (Guildhall, 1896.) R.A.

" SERAFINA. R.A.

" *WINDING THE SKEIN. (39-1/2 x 63-1/2 in.) R.A.

" A STUDY. R.A.

" *PORTRAIT OF MISS RUTH STEWART HODGSON. (50-1/2 x 35-1/2 in.) G.G.

" STUDY OF A GIRL'S HEAD. G.G.

" SIERRA: ELVIZA IN THE DISTANCE, GRANADA. S.S.

" THE SIERRA ALHAMA, GRANADA. S.S.

1879. BIONDINA. R.A.

" CATARINA. R.A.

" *ELIJAH IN THE WILDERNESS. (91 x 81-1/2 in.) (Paris, 1878.) R.A.

" PORTRAIT OF SIGNOR G. COSTA. R.A.

" AMARILLA. R.A.

" A STUDY. R.A.

" PORTRAIT OF THE COUNTESS BROWNLOW. R.A.

" *NERUCCIA. (19 x 16 in.) R.A.

" A STUDY. S.S.

" THE CARRACA HILLS. S.S.

" A STREET IN LERICI. S.S.

" VIA BIANCA, CAPRI. G.G.

" ARCHWAY IN ALGIERS. G.G.

" RUINS OF A MOSQUE, DAMASCUS. G.G.

" STUDY OF A DONKEY. G.G.

" ON THE TERRACE, CAPRI. G.G.

" SKETCH NEAR DAMASCUS. G.G.

" VIEW IN GRANADA. G.G.

" STUDY OF A DONKEY, EGYPT. G.G.

" STUDY OF A HEAD. G.G.

" NICANDRA. G.G.

1880. *SISTER'S KISS. (48 x 21-1/2 in.) R.A.

" *IOSTEPHANE. (37 x 19 in.) R.A.

" THE LIGHT OF THE HAREM. (60 x 33 in.) R.A.

" PSAMATHE. (36 x 24 in.) R.A.

" *THE NYMPH OF THE DARGLE (Crenaia). (29-1/2 x 10 in.) R.A.

" RUBINELLA. G.G.

" THE POZZO CORNER, VENICE. Winter Exhibition. G.G.

" JACK AND HIS CIDER CAN. " " G.G.

" THE PAINTER'S HONEYMOON. " " G.G.

" WINDING OF THE SKEIN (with sketch). " " G.G.

" HEAD OF URBINO. " " G.G.

" STEPS OF THE BARGELLO, FLORENCE. " " G.G.

" A CONTRAST. " " G.G.

" GARDEN AT CAPRI. " " G.G.

" TWENTY-NINE STUDIES OF HEADS, FLOWERS, AND DRAPERIES. " " G.G.

1881. ELISHA RAISING THE SON OF THE SHUNAMITE. (32 x 54 in.) (Guildhall, 1895.) R.A.

" PORTRAIT OF THE PAINTER.[19] R.A.

" *IDYLL. (41-1/2 x 84 in.) R.A.

" *PORTRAIT OF MRS. STEPHEN RALLI. (48 x 33 in.) R.A.

" *WHISPERS. (48 x 30 in.) R.A.

" VIOLA. R.A.

" *BIANCA. (18 x 12-1/2 in.) R.A.

" PORTRAIT OF MRS. ALGERNON SARTORIS. G.G.

1882. *DAY-DREAMS. (47-1/2 x 35-1/2 in.) R.A.

" WEDDED. R.A.

" PHRYNE AT ELEUSIS. (86 x 48 in.) (Melbourne, 1888.) R.A.

" ANTIGONE. R.A.

" "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT." Rev. xx. 13. (Design for a portion of a decoration in St. Paul's.) R.A.

" MELITTION. R.A.

" *PORTRAIT OF MRS. MOCATTA. (23-1/2 x 19-1/2 in.)

" ZEYRA. G.G.

1883. THE DANCE: decorative frieze for a drawing-room in a private house. R.A.

" *VESTAL. (24-1/2 x 17 in.) R.A.

" *KITTENS. (48 x 31-1/2 in.) R.A.

" MEMORIES. R.A.

" *PORTRAIT OF MISS NINA JOACHIM. (16 x 13 in.)

1884. *LETTY. (18 x 15-1/2 in.) R.A.

" *CYMON AND IPHIGENIA. (64 x 129 in.) R.A.

" A NAP. R.A.

" SUN GLEAMS. R.A.

1885. "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT." (46 x 27 in.) R.A.

" PORTRAIT OF THE LADY SYBIL PRIMROSE. R.A.

" *PORTRAIT OF MRS. A. HICHENS. (26-1/2 x 20-1/2 in.) R.A.

" MUSIC: a frieze. R.A.

" PHOEBE. (Manchester, 1887.) R.A.

" A STUDY. G.G.

" TOMBS OF MUSLIM SAINTS. S.S.

" MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS. S.S.

1886. PAINTED DECORATION FOR THE CEILING OF A MUSIC-ROOM.[20] (7 ft. x 20 ft.) R.A.

" GULNIHAL. R.A.

" *THE SLUGGARD. Statue, bronze. R.A.

" *NEEDLESS ALARMS. Statuette. R.A.

1887. *THE JEALOUSY OF SIMAETHA, THE SORCERESS. (35-1/2 x 55-1/2 in.) R.A.

" *THE LAST WATCH OF HERO. (62-1/2 x 35-1/2 in., with predella 12-1/2 x 29-1/2 in.) R.A.

"With aching heart she scanned the sea-face dim. . . . . . . . . . . Lo! at the turret's foot his body lay, Rolled on the stones, and washed with breaking spray."

Hero and Leander: Musaeus (translated by Edwin Arnold).

" [Picture of A LITTLE GIRL WITH GOLDEN HAIR AND PALE BLUE EYES.]

"Yellow and pale as ripened corn Which Autumn's kiss frees—grain from sheath— Such was her hair, while her eyes beneath, Showed Spring's faint violets freshly born." ROBERT BROWNING.

" *Design for the reverse of THE JUBILEE MEDALLION. (Executed for Her Majesty's Government.) R.A.

Empire, enthroned in the centre, rests her right hand on the sword of Justice, and holds in her left the symbol of victorious rule. At her feet, on one side, Commerce proffers wealth, on the other a winged figure holds emblems of Electricity and Steam-power. Flanking the throne to the right of the spectator are Agriculture and Industry—on the opposite side, Science, Literature, and the Arts. Above, interlocking wreaths, held by winged genii representing respectively the years 1837 and 1887, inclose the initials, V.R.I.

1888. *CAPTIVE ANDROMACHE. (77 x 160 in.) R.A.

".... Some standing by, Marking thy tears fall, shall say, 'This is she, The wife of that same Hector that fought best Of all the Trojans, when all fought for Troy.'" Iliad, VI. (E. B. Browning's translation.)

" *PORTRAIT OF AMY, LADY COLERIDGE. (42 x 39-1/2 in.) (S.P.P., 1891.) R.A.

" *PORTRAITS OF THE MISSES STEWART HODGSON. (47 x 39-1/2 in.)

" FOUR STUDIES. R.W.S.

" FIVE STUDIES. S.S.

1889. *SIBYL. (59 x 34 in.) R.A.

" *INVOCATION. (54 x 33-1/2 in.) R.A.

" ELEGY. R.A.

" GREEK GIRLS PLAYING AT BALL. (45 x 78 in.) R.A.

" *PORTRAIT OF MRS. FRANCIS A. LUCAS. (23-1/2 x 19-1/2 in.) R.A.

1890. SOLITUDE. R.A.

" *THE BATH OF PSYCHE.[21] (75 x 24-1/2 in.) R.A.

" *TRAGIC POETESS. (63 x 34 in.) R.A.

" *THE ARAB HALL. (33 x 16 in.) (Guildhall, 1890.) R.A.

1891. *PERSEUS AND ANDROMEDA. (91-1/2 x 50 in.) R.A.

" *PORTRAIT OF A. B. FREEMAN-MITFORD, ESQ., C.B. (46-1/2 x 38-1/2 in.) R.A.

" *RETURN OF PERSEPHONE. (79 x 59-1/2 in.) R.A.

" ATHLETE STRUGGLING WITH A PYTHON—group, marble. R.A.

1892. *"AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT." (Circular, 93 in.) R.A.

" AT THE FOUNTAIN. (49 x 37 in.) R.A.

" *THE GARDEN OF THE HESPERIDES. (Circular, 66 in.) (Chicago, 1893; Guildhall, 1895.) R.A.

" BACCHANTE. R.A.

" *CLYTIE. (32-1/2 x 53-1/2 in.) R.A.

" PHRYNE AT THE BATH. (24 x 12 in.) S.S.

" MALIN HEAD, DONEGAL. S.S.

" ST. MARK'S, VENICE. S.S.

" INTERIOR OF ST. MARK'S, VENICE. S.S.

" THE DOORWAY, NORTH AISLE, VENICE. S.S.

" RIZPAH (the small study in oils). (7 x 7 in.) S.S.

1893. *FAREWELL! (63 x 26-1/2 in.) R.A.

" *HIT! (29 x 22 in.) R.A.

" *ATALANTA. (26-1/2 x 19 in.) R.A.

" RIZPAH. (36 x 52 in.) R.A.

" *CORINNA OF TANAGRA. (47-1/2 x 21 in.) R.A.

" THE FRIGIDARIUM. R.A.

1894. *THE SPIRIT OF THE SUMMIT. (77-1/2 x 39-1/2 in.) R.A.

" *THE BRACELET. (59-1/2 x 23 in.) R.A.

" *FATIDICA. (59-1/2 x 23 in.) R.A.

" *SUMMER SLUMBER. (45-1/2 x 62 in.) R.A.

" AT THE WINDOW. R.A.

" WIDE WONDERING EYES. (20 x 15-1/2 in.) Manchester.

" THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE. S.S.

" THE ACROPOLIS OF LINDOS. S.S.

" FIUME MORTO, GOMBO, PISA. S.S.

" GIBRALTAR FROM SAN ROCQUE. S.S.

1895. LACHRYMAE. (60 x 24 in.) R.A.

" THE MAID WITH THE YELLOW HAIR. R.A.

" *"'TWIXT HOPE AND FEAR." (43-1/2 x 38-1/2 in.) R.A.

" *FLAMING JUNE. (46 x 46 in.) R.A.

" LISTENER. R.A.

" A STUDY. R.A.

" PHOENICIANS BARTERING WITH BRITONS. Royal Exchange.

" BOY WITH POMEGRANATE. Grafton Gallery.

" MISS DENE.

" AQUA CERTOSA, ROME. S.S.

" CHAIN OF HILLS SEEN FROM RONDA. S.S.

" ROCKS, MALIN HEAD, DONEGAL. S.S.

" TLEMCEN, ALGERIA. S.S.

1896. *CLYTIE. (61-1/2 x 53-1/2 in.) R.A.

" CANDIDA. (21 x 41-1/2 in.) Antwerp, 1896.

" *THE VESTAL. (27 x 20-1/2 in.) Unfinished.

" *A BACCHANTE. (26-1/2 x 21 in.)

" *THE FAIR PERSIAN. (25-1/2 x 19-1/2 in.) Unfinished.



APPENDIX II

The studies in oil, chiefly landscape, of quite small size, few of which had been exhibited, were sold, with the remaining works of the artist, by Messrs. Christie, Manson and Woods on July 11th, 13th, and 14th, 1896, when the prices realized, from 50 to 100 guineas each for the best, were in excess of those the most sympathetic admirer of Lord Leighton's singular power as a landscape-painter had dared to expect. For convenience of future reference, the list of these as they appear in the sale catalogue may be worth the space it occupies; the numbers denote the "lot."

1. {HEAD OF A GIRL. {HEAD OF A BOY. 2. A STUDY OF HOUSES, VENICE. 3. THE COAST OF ASIA MINOR, FROM RHODES. 4. A STREET SCENE. 5. HOUSES AT CAPRI. 6. THE COAST OF ASIA MINOR, FROM RHODES. 7. A GARDEN SCENE. 8. A FORTRESS, EGYPT. 9. TOMBS OF MUSLIM SAINTS AT ASSOUAN, FIRST CATARACT. R.S.B.A., 1895. 10. A BAY, ASIA MINOR, FROM RHODES. 11. THE BAY OF LINDOS. 12. IN THE CAMPAGNA, ITALY. 13. A TOWN, CAPRI. 14. MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS. R.S.B.A., 1895. 15. A VIEW IN THE CAMPAGNA. 16. A COVERED STREET IN ALGIERS. 17. A DOORWAY, ALGIERS. 18. HEAD OF A GIRL. 19. HEAD OF A MAN. 20. HEAD OF A GIRL. 21. HEAD OF A GIRL. 22. STREET IN ALGIERS. 23. ST. MARK'S, VENICE. R.S.B.A., 1892. 24. INTERIOR OF ST. MARK'S, VENICE. R.S.B.A., 1892. 25. THE DOORWAY, NORTH AISLE, ST. MARK'S, VENICE. R.S.B.A., 1892. 26. A BAY SCENE, ISLE OF RHODES. 27. A VIEW ON THE COAST, LINDOS. 28. DENDERAH. 29. THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE. R.S.B.A., 1894. 30. A STUDY IN THE CAMPAGNA. 31. AQUA CERTOSA, ROME. 32. A VIEW OF THE TOWN OF LINDOS. 33. THE ACROPOLIS OF LINDOS, where stood the Temple of Athena Pallas. R.S.B.A., 1894. 34. A STUDY IN THE CAMPAGNA, WITH MONTE SORACTE. 35. STUDY OF A MAN'S HEAD. 36. AN ARAB'S HEAD. 37. A SHEIK. 38. AN ARAB. 39. HEAD OF AN OLD LADY. 40. A TURKISH BOATMAN. 41. FIUME MORTO, GOMBO, PISA. R.S.B.A., 1894. 42. THE CITADEL, CAIRO. 43. A VIEW IN DAMASCUS. 44. A VIEW IN CAPRI. 45. BOCCA D'ARNO. 46. THE CITY OF TOMBS, ASSIOUT, EGYPT. R.S.B.A. [1871?]. 47. BUILDINGS, SIOUT, EGYPT. 48. A MOUNTAINOUS LANDSCAPE, SPAIN. 49. A STREET SCENE, CAPRI. 50. A COAST SCENE, ISLE OF WIGHT. 51. BARREN LAND. 52. A TOWN IN SPAIN. 53. BOSCO SACRO, CAMPAGNA. 54. VILLA MALTA, ROME. 55. THE ROCKS OF THE SIRENS, CAPRI. 56. A VIEW IN SPAIN. 57. A VALLEY, SPAIN. 58. ON THE COAST, ISLE OF WIGHT. 59. GARDEN AT GENERALIFE, GRANADA. 60. THE BATHS AT CARACALLA. 61. A HOUSE, CAPRI. 62. IN ST. MARK'S, VENICE. 63. THE STAIRCASE OF A HOUSE, CAPRI. 64. THE GARDEN OF A HOUSE, CAPRI. 65. STUDY OF A MALE FIGURE CARRYING A PITCHER. 66. HEAD OF A GIRL. 67. THE COAST OF ASIA MINOR, FROM RHODES. 68. CHAIN OF HILLS SEEN FROM RONDA. R.S.B.A., 1893. 69. THE COAST OF ASIA MINOR. (Study for the background of Perseus.) 70. A POOL, FINDHORN RIVER, N.B. (Study for the background of Solitude.) 71. A LANE. (Study of rocks for Solitude.) 72. A WOMAN SEATED, IN A LANDSCAPE. (Study for Simaetha the Sorceress.) 73. TAORMINA, SICILY. (Sketch for background of Wedded.) 74. A POOL ON THE FINDHORN RIVER, FORRES, N.B. (Study for the background of Solitude.) 75. TAORMINA, SICILY. (Study for the background of Wedded.) 76. INTERIOR OF A HOUSE AT LINDOS. (Study for the picture of Cleoboulos.) 77. STUDY OF A WOMAN'S HEAD. Capri, moonlight. (Study for the effect in Clytemnestra.) 78. BUILDINGS, CAPRI, MOONLIGHT. (A study for the same.) 79. AN ALLEGORICAL DESIGN FOR A MURAL DECORATION. 80. HEAD OF A LADY AND GENTLEMAN OF THE FIFTEENTH CENTURY. (16 x 14-1/4 in.) (Painted in 1853.) 81. HEAD OF A LADY. White on brown ground. 82. A STUDY FROM VELASQUEZ.

[83 to 117 were larger works, mainly studies for completed pictures or the pictures themselves.]

{A LANDSCAPE. 118. {STUDY OF SKY AT MALINMORE. {STUDY. 119. A ROCKY COAST, MALINMORE, DONEGAL. 120. A MOUNTAINOUS LANDSCAPE. 121. A VIEW IN SCOTLAND. 122. A LANDSCAPE, ITALY. 123. FISHING BOATS ON THE COAST, CAPRI. 124. A VILLAGE ON A HILL, CAPRI. 125. A SCENE IN THE DESERT. 126. THE COAST OF GREECE. 127. HEAD OF A MAN. 128. A SCOTCH LAKE. 129. NEAR KYNANCE COVE. 130. CARRARA MOUNTAINS. 131. A VIEW IN ALGIERS. 132. TLEMCEN, ALGERIA. R.S.B.A., 1895. 133. THE DAMASCUS GATE, JERUSALEM. 134. THE ERICTHEUM (sic). 135. A STREET IN LERICI, near where Shelley was drowned. 136. {STUDY OF TREES. {A LANDSCAPE. 137. {HEAD OF A GONDOLIER. {IRISH PEASANT GIRL. 138. HEAD OF AN ITALIAN PEASANT. 139. {A COMMON. {LANDSCAPE, WITH COTTAGES. 140. A ROCKY COAST, KYNANCE. 141. GRANITE BOULDERS, FORRES, N.B. 142. A SUNNY CORNFIELD. 143. A COURTYARD, TANGIERS. 144. A COURTYARD, TANGIERS. 145. A SKETCH OF ALBANO. 146. A COAST SCENE, IRELAND. 147. A SCOTCH SCENE. 148. A STUDY OF ROCKS. 149. THE STEEPLE ROCK, KYNANCE COVE. 150. A SANDY BAY, IRELAND. 151. KYNANCE COVE. 152. HOLY ISLAND. Bamborough in the distance. 153. A COAST SCENE, ISCHIA. 154. GLEN COLUMBKILL, IRELAND. 155. A MOORISH ARCHWAY, TANGIERS. 156. PERUGIA. 157. A ROCKY COAST, MALINMORE. 158. MALIN HEAD, DONEGAL. R.S.B.A., 1894. 159. GIBRALTAR, FROM SAN ROCQUE. R.S.B.A., 1895. 160. A BAY SCENE, SPAIN. 161. A SKETCH IN BEDFORDSHIRE. 162. A LANDSCAPE, RONDA. 163. A SPANISH TOWN. 164. THE BATHS OF CARACALLA. 165. THE STREET OF THE KNIGHTS, RHODES. 166. THE COAST OF ASIA MINOR, SEEN FROM RHODES. 167. LONGSOR. 168. A MOUNTAIN SCENE, WITH TEMPLE AND FIGURE, EGYPT. 169. A STUDY ON THE COAST OF IRELAND. 170. A RIVER SCENE, SCOTLAND. 171. MICKLEOUR, SCOTLAND. 172. A SEA PIECE. 173. THE COAST OF ASIA MINOR. 174. {ON THE NILE. {A VIEW IN SPAIN. 175. {A TEMPLE ON THE NILE. {SPANISH VIEW. 176. MALINMORE, DONEGAL. 177. THE BAY OF CADIZ, MOONLIGHT, AND PALAZZO REZZONICO. 178. A VIEW OF ATHENS. 179. {SCOTCH MOUNTAINS: SUNSET. {A COAST SCENE, RHODES. 180. VITTORIA. R.S.B.A., 1873. 181. {A CLASSICAL HEAD. (Monochrome.) {HEAD OF A MAN. 182. A STUDY OF PINE TREES. 183. A VILLAGE ON A HILL. 184. A RUINED MOSQUE AT BROUSSA. 185. A WOODY BANK. 186. RUINS OF A MOORISH ARCH, SPAIN. 187. A VIEW IN ITALY, WITH A CORNFIELD. 188. (This number is omitted in the sale catalogue.) 189. MIMBAR OF THE GREAT MOSQUE AT DAMASCUS. 190. {ROCKS, CAPRI. {A FORTRESS, SPAIN. 191. {LANDSCAPE, SCOTLAND. {LANDSCAPE, SCOTLAND. 192. THE RED MOUNTAINS, DESERT, EGYPT. 193. SKETCH NEAR CAIRO. 194. A FOUNTAIN IN THE COURT-YARD OF A JEW'S HOUSE, SPAIN. 195. A HOUSE IN TANGIERS. Mansion House, 1882. 196. A STREET SCENE, CAIRO. 197. A MOORISH STREET. 198. A STUDY OF ROCKS, SCOTLAND. 199. THE GARDEN OF THE HOUSE OF THE MAN WHO BUILT THE ALHAMBRA. 200. A SPANISH DONKEY. 201. A DONKEY AND ARAB DRIVER. 202. MENA DONKEY. 203. A STUDY OF HILLS. 204. THE TEMPLE OF PHYLAE. 205. DAMASCUS: NIGHT. 206. A MOUNTAINOUS LANDSCAPE, WITH A CAVERN. 207. A WOOD SCENE. 208. HEAD OF AN ITALIAN GIRL. 209. THE DUNGEONS OF A CASTLE. 210. A CASTLE KEEP. 211. ENTRANCE TO A HOUSE, CAPRI. 212. A COAST SCENE, IRELAND: STORM EFFORT (sic). 213. LONGSOR. 214. THE NILE AT THEBES. 215. A VIEW ON THE CAMPAGNA. 216. A MOUNTAINOUS LANDSCAPE, SCOTLAND. 217. CAPRI BY NIGHT. 218. A FORTRESS ON THE CAMPAGNA. 219. A LANDSCAPE, WITH SAND HILLS. 220. A WOOD SCENE. 221. NEAR DENDERAH. 222. A LANDSCAPE. 223. ATHENS, WITH THE GENOESE TOWER, PNYX IN THE FOREGROUND. 224. A LANDSCAPE, CAIRO. 225. ON THE NILE. 226. PASTURE, EGYPT. 227. RED MOUNTAINS DESERT, EGYPT. 228. AN EGYPTIAN VILLAGE. 229. THE ISLAND OF AEGINA. 230. THEBES. 231. THE COAST OF AEGINA, PNYX IN THE FOREGROUND. 232. BUILDINGS ON THE COAST, ISLAND OF RHODES. 233. ASSOUAN, EGYPT. 234. A VINEYARD, CAPRI. 235. THE TEMPLE OF PHYLAE, LOOKING UP THE NILE. 236. THE NILE AT ESUEH. 237. THE CATHEDRAL, CAPRI. 238. A SQUARE IN CADIZ. 239. ON THE NILE. 240. IN THE NILE VALLEY. 241. A VIEW ACROSS THE NILE. 242. A WOODY HILL SIDE. 243. ROCKS OF THE SIRENS CAPRI. 244. A FARM.

There were also copies made by Leighton himself of Peace and War after Rubens, the Massacre of the Innocents, after Bonifazio, A Martyrdom, and the Last Supper, after Veronese.

The huge collection of studies, mainly in chalk upon brown paper, made by Lord Leighton, were nearly all preserved; two hundred and forty of these were exhibited by the Fine Art Society, who bought the whole collection, and afterwards published a volume containing forty reproduced in facsimile.



INDEX.

Titles of Pictures are printed in italics.

Abram and the Angel, 69.

Acme and Septimius, 25.

Actaea, 26, 111.

Aegina, The Island of, illus., 132.

After Vespers, 31.

Aitchison, George, R.A., 88.

Allingham, William, 106.

Alma-Tadema, Sir L., 37, 48, 91.

Amarilla, 39.

And the Sea gave up its Dead, 49, 66; illus., 50.

Andromeda (study in clay), 68; illus., 68.

Antigone, 43.

Antique Juggling Girl, 33; illus., 32.

Arab Hall, The, 29, 49, 88, 94, 96-100; illus., 96.

Ariadne abandoned by Theseus, 25.

Arnold, Sir Edwin, translation of Musaeus, 47.

Art and Morals, Leighton on, 74.

"Art Journal," criticisms of the, 108, et seq.

Artistic Production in relation to Time and Place, Leighton on, 75.

Arts of Peace, The, 32, 42, 63, 64; illus., 64.

Arts of War, The, 32, 63; illus., 64.

Asia Minor, The Coast of, illus., 136.

Assyria, the Art of, Leighton on, 76.

At the Fountain, 50.

At the Window, 51.

Atalanta, 50, 59.

"Athenaeum," criticisms of the, 32, 105, et seq.

Athens, with the Genoese Tower, illus., 136.

Athlete struggling with a Python, 36, 67, 68, 126; illus., 36, 49; (marble version), 68.

Bacchante (1892), 50, (1896) 51; illus., 54.

Bath of Psyche, The, 48, 59, 129; illus., 48.

Bezzuoli, 5.

Bianca, 43.

"Bible Gallery," Dalziel's, 23, 69, 70.

Biondina, 39.

Black and white, Leighton's work in, 69, 70.

Boccaccio, Leighton inspired by, 8, 45.

Book illustration, 69, 70.

Bookplate, Leighton's, illus., 120.

Bouguereau, Leighton and, 10.

Bracelet, The, 51; illus., 52.

Bronzes, 36, 46, 67, 68.

Broussa, Ruined Mosque at, illus., 134.

Brownlow, Countess of, 39.

Browning, E. B., 47; medallion of a monument to, 67; illustration by Leighton to her "Great God Pan," 69.

Browning, Robert, 10; subjects from, 22, 47; on Hercules wrestling with Death, 30.

Brussels, Leighton at, 6, 7.

Burne-Jones, Sir E., 17, 91.

Burton, Capt. Richard, 35, 90; illus., 36.

Byzantine Well-head, A, 18, 62; illus., 18.

Cain and Abel, illus., 70.

Cairo, Red Mountains Desert, illus., 136.

Capri—Paganos, 19.

Capri at Sunrise, 18, 108.

Capri, Leighton at, 18, 61.

Captive Andromache, 47, 58; Studies for, illus., 56.

Carr, Mr. Comyns, on Leighton, 114.

Catarina, 39.

Ceiling, design for a, 46, 67, 128; illus., 62.

Chesneau, Ernest, on English Art, 14.

Cimabue, influence of, 9.

Cimabue (mosaic figure), 67.

Cimabue finding Giotto, 7.

Cimabue's Madonna, 3, 8, 9, 11, 23, 34, 47; criticisms of, 103-107, 108; illus., 10.

City of Tombs, Assiout, illus., 134.

Cleoboulos instructing his daughter Cleobouline, 30.

Clytemnestra, 32.

Clytie (1892), 50, 59.

Clytie (his last picture), 51, 52.

Cockerell, S. Pepys, on Leighton's drawings, 62.

Cockerell, Mrs. Frederick P., 25.

Coleridge, Lady, 48.

Cologne Cathedral, Leighton on, 86.

Colour: Leighton's mode of procedure, 55-58.

Condottiere, A, 31; illus., 32.

Contrast, A, 70; illus., 72.

Corinna of Tanagra, 50.

Cornelius, 9, 10.

"Cornhill Gallery, The," 69.

Correggio, Leighton and, 10, 18.

Costa, Signor, 39; illus., 40.

Count Paris, 16, 107, 122.

Cousin, Jean, 84.

Crenaia, 42.

Cross-bow Man, A, 20.

Cupid with Doves, 66; illus., 66.

Cymon (clay model), 68; illus., 68.

Cymon and Iphigenia, 42, 44, 45, 68; photogravure, 44.

Daedalus and Icarus, 26; illus., 26.

Dalou and The Athlete, 68.

Dalziel's "Bible Gallery," 23, 69, 70; illus., 70.

Damascus, Grand Mosque at, 29, 33, 111; illus., 28.

Damascus, sketches of, 28, 29, 33, 111; illus., 28, 132.

Dance, The, 44, 67; illus., 44.

Dante, Leighton on, 81.

Dante at Verona, 21, 109.

Daphnephoria, 24, 34, 35, 47, 111; clay models for, 68; illus., 34; Study for (illus.), 34.

Darmstadt, Leighton at, 8.

David, 23, 110; illus., 24.

Day Dreams, 43; illus., 42.

Death of the First Born, 69.

Decorative work, Leighton's, 63-67.

Departure for the War, The, 67.

Discourses on Art, Leighton's, 71-87.

Drapery, Leighton's treatment of, 48, 55-58.

Dream, A, 19, 109.

Duett, 20.

Duerer, Albert, Leighton on, 86.

Eastlake, Sir Charles, 10-12.

Egypt, Leighton's visit to, 28; on the Art of, 75.

Egyptian Slinger, 29, 33, 112; illus., 112.

Electra at the Tomb of Agamemnon, 26; illus., 26.

Elegy, 48.

Eliezer and Rebekah, 69.

Elijah in the Wilderness, 39; Study for, illus., 38.

Elisha and the Shunamite's Son, illus., 114.

English Art, Leighton on, 73.

Etruscan Art, Leighton on, 76, 77.

Eucharis, 20.

Fair Persian, The, 51.

Farewell, 50; illus., 50.

Fatidica, 51; illus., 52.

Fisherman and Syren, The, 16, 107.

Flaming June, 51.

Fleury, Robert, 10, 15.

Florence, The Plague at, 8, 90; illus., 8.

Florence, Leighton at, 5, 6.

Fountain, At the, 50.

Fountain in Court at Damascus, illus., 132.

France, Evolution of Art in, Leighton on, 83.

Frankfort, Leighton at, 6-8.

Frescoes, 32, 63-66; illus., 64-66.

Friezes, 44, 46, 67; illus., 44.

Frigidarium, The, 50; illus., 50.

Gamba, Signor, 8.

Garden of the Hesperides, The, 49.

Generalife, Study of a Garden at, 33; illus., 28.

German Architecture, Leighton on, 85-86.

Gerome, 10.

Gibson, the sculptor, 11.

Gilbert, Alfred, 88.

Giotto, 9.

Girl, A little (1887), 47.

—— in Eastern garb (1877), 37.

Girl Feeding Peacocks, A, 20, 109.

Girl with a Basket of Fruit, 109.

Girls' Heads, Studies of, 38, 51; illus., 74, 76, 78, 80.

Goethe: subject from, 16; on Gothic architecture, 84.

Golden Hours, 21, 22; illus., 21.

Gordon, H. E., 37.

Gothic architecture, Leighton on, 84.

Greek Art, Leighton on, 76.

Greek Girls picking up Pebbles by the Sea, 30.

Greek Girls playing at Ball, 48, 59; illus., 48.

Grenfell, the Hon. Mrs. (Miss Mabel Mills), 37.

Greville, Lady Charlotte, monument to, 67.

Gulnihal, 46.

Guthrie, Portrait of Mrs. James, 24.

Hart, Professor, 12.

Helen of Troy, 23; illus., 22.

Helios and Rhodos, 27, 28.

Hercules wrestling with Death, 30; illus., 30.

Hesperides, Garden of the, 49.

Hichens, Mrs. A., 46.

Hit, 50; illus., 54.

Hodgson, Miss Ruth, 38.

Hodgson, Misses Stewart, 48.

Hogarth Club, the, 17.

Hunt, Holman, 13, 17.

I'Anson, the late Mrs. Lavinia, 23.

Idyll, 42.

In St. Mark's, 23.

Invocation, 48.

Iostephane, 42.

Italian Girl, An, 37.

Italy, Evolution of Painting in, Leighton on the, 72.

J. A.—a Study, 19.

Jezebel and Ahab, 20, 123.

Joachim, Miss Nina, 44.

Jonathan's Token to David, 25, 124.

Jubilee medal, 46, 69, 129; illus., 130.

Juggling Girl, 33; illus., 32.

Keats's "Endymion," subject from, 15, 122.

Kemble, Mrs., 11.

Kittens, 44.

Lachrymae, 51.

Lady with Pomegranates, A, 53.

Laing, Miss, Portrait of, 9.

Landscape studies, Leighton's, 16, 28, 29, 33, 39, 62, 132; illus., 28, 132, 134, 136.

Landseer, Sir Edwin, 10, 13.

Lang's, Mrs. Andrew, monograph on Leighton, 7, 8, 63.

Last Watch of Hero, 47; illus., 46.

Leighton, Frederic, Lord; list of dignities and titles, 2; ancestors and birth, 4; first picture, 7; portrait (1848), 7; first picture for the Academy, 11; A.R.A., 21; R.A., 24; first appearance as a sculptor, 36; P.R.A., 39; Portrait, by himself, 42; illus., 3; portraits by Watts, 42, 90; his method of painting, 54-60; drawings, 60, 61; decorative works, 63-67; sculpture, 67, 68; book illustration, 69, 70; Discourses on Art, 71-87; house, 88-102; criticisms on his work, 103, 114; death, 115.

Lemon Tree, Study of a, 17, 18, 61; illus., 18.

Lesseps, F. de, 28.

Letty, 44, 45.

Lieder ohne Worte, 19.

Light of the Harem, The, 42.

Lionardo da Vinci, Leighton on, 80, 81, 82.

Listener, 51.

Little Fatima, 29, 33, 111.

Lucas, Mrs. F., 48.

Lyndhurst, altarpiece at, 24, 64, 65.

Lyons, Lord, 11.

Maid with her Yellow Hair, The, 51.

Martin's, Sir Theodore, "Catullus," 25.

Mason, George, 11, 89.

Meli, Signor F., 5.

Melittion, 44.

Memories, 44.

Mermaid, The, 16.

Michael Angelo, Leighton on, 82.

Michael Angelo nursing his dying Servant, 19.

Millais, Sir J. E., 9, 13, 46, 68, 73.

Mills, Miss Mabel, 37; illus., 36.

Mitford, A. B., 49.

Mocatta, Mrs., 44.

Modelling and models (clay), 67, 68.

Moorish Garden, 29, 33.

Morals, Art and, Leighton on, 74.

Moretta, 31.

Morris, William, and Rossetti, 17.

Mosaics, 67.

Moses views the Promised Land, illus., 70.

Mosque, Ruined, at Broussa, illus., 134.

Mother and Child, 23.

Murger, Henri, 7.

Music (a frieze), 46; illus., 44.

Music, The Triumph of, 15, 107.

Music Lesson, 36, 37.

Music Room, Decoration for a, 46, 67, 128; illus., 62.

Nanna, 17.

Nap, A, 44.

Nature in Leighton's compositions, 58.

Nausicaa, 37; illus., 38.

Needless Alarms, 46, 67.

Neruccia, 39.

Nias, Lady (Miss Laing), 9.

Nile, voyage up the, 28.

Nile Woman, A, 29.

Noble Lady of Venice, A, 52.

Nymph and Cupid, A, 15, 84.

Nymph of the Dargle, The, 42.

Odalisque, 19.

Old Damascus (the Jews' quarter), 29, 33.

Orchardson, Mr., on Clytie, 52.

Orkney, Lady, 37.

Orpheus and Eurydice, 21, 22; illus., 22.

Orr, Major Sutherland, monument to, 67.

Orr, Mrs. Sutherland, 19.

Pacheco, Francisco, on drawing, 60.

Painter's Honeymoon, The, 24.

Pan, 15, 122.

Paolo, 35.

Paolo e Francesca, 19, 122.

Paris, Count, 16, 107, 122.

Paris, Leighton at, 7, 15; exhibition at, 13.

Parry, Gambier, and Ely Cathedral, 65.

Pastoral, 24.

Pavonia, 17.

Pencil Drawings, Two Early, illus., 6.

Pencil Study, A, illus., 16.

Persephone, Return of, 49, 59; Studies for, illus., 60.

Perseus (clay model), 68; illus., 68.

Perseus and Andromeda, 49, 59, 68; Study for, illus., 58.

Persian Pedlar, A, 9.

Petrarch, Leighton on, 81.

Phoebe, 46.

Phoenicians bartering with Britons, 51, 66; illus., 66.

Phryne at Eleusis, 44; illus., 42.

Pisano, Niccolo (mosaic), 67.

Plague at Florence, The, 8, 90; illus., 8.

Powers, Hiram, 5.

Poynter, Sir E. J., and Leighton, 66, 116.

Pre-Raphaelites, the, 16, 17.

Primrose, The Lady Sybil, 46; illus., 46.

Psamathe, 41.

Ralli, Mrs. Augustus, 43.

Raphael, Leighton on, 81.

Red Mountains Desert, Cairo, illus., 136.

Return of Persephone, The, 49, 59; Studies for, illus., 60.

Rizpah, 50, 59; illus., 52.

Roman Art, Leighton on, 78.

Roman Lady, A, 17.

Romano Giulio, Leighton on, 79.

Rome, Leighton at, 3, 9-11.

Romeo, The Dead, illus., 14.

Romeo and Juliet, 90.

"Romola" illustrations, 69.

Rossetti, D. G., 10, 13; works by, 16, 17; on Leighton, 11, 19, 106.

Rossetti, W. M., on Leighton, 109, 110, 111.

Royal Exchange, decoration at, 51, 66; illus., 66.

Rubinella, 42.

Ruskin on Leighton, 11, 12, 17, 33, 103, 111, 112.

Rustic Music, 20.

Ryan, Edward, 31.

St. Jerome, 26; illus., 26.

St. Marks, In, 23.

St. Paul's, Design for proposed decoration of, 44, 49, 66.

Salome, 15.

Samson and Delilah, 18.

Samson and the Lion, illus., 70.

Samson at the Mill, 69.

Samson carrying the Gates, illus., 70.

Sand, George, 11.

Sartoris, Mrs. Algernon, Portrait of, 43; illustration by Leighton to her "Week in a French Country House," 69.

Sculpture, 36, 46, 67, 68; illus., 68, 130.

Sea Echoes, 20.

Sea gave up the Dead, And the, 49, 66; illus., 50.

Serafina, 38.

"Serenely Wandering," illus., 128.

Servolini, 5.

Sibyl, 48, 54, 58.

Simaetha the Sorceress, 47.

Sisters, 20.

Sister's Kiss, 41, 111; illus., 40.

Sizeranne, M. de la, on Leighton, 113.

Sluggard, The, 46, 67, 68; Study for, illus., 68.

Solitude, 49; Study for, illus., 58.

South Kensington, drawings on wood at, 69; frescoes, 32, 63-66; mosaic, 67.

Spain, Leighton on the Art of, 82, 83.

Spielmann, Mr. M. H., on Leighton, 46, 48, 54-58.

Spies' Escape, The, 69.

Spirit of the Summit, The, 51, 60, 113.

Star of Bethlehem, The, 20, 109, 123.

Steinle, Johann Eduard, 6, 8, 9.

Stephens, F. G., on the Hogarth Club, 17.

Studies, collection of Leighton's, 62.

Studies in oil, list of, 132-136.

Studies of Heads, 38, 51; illus., 14, 74, 76, 78, 80, 82.

Study (little girl in Eastern Garb), 37.

Study A (Grosvenor Gallery, 1877), 37; (Academy, 1878), 38; (Grosvenor Gallery, 1885), 46.

Summer Moon, 31; illus., 30.

Summer Slumber, 51.

Sun Gleams, 44.

Sunny Hours, 17.

Syracusan Bride, 23, 24, 34, 47.

Tate Gallery, The, 36, 48, 49.

Teresina, 35.

Thackeray on Leighton, 9.

Tragic Poetess, 49.

Triumph of Music, The, 15, 107.

'Twixt Hope and Fear, 51.

Velasquez, Diego, Leighton on, 83.

Venus Disrobing, 25, 160; illus., 24.

Vestal, 44, 51.

Viola, 43.

Volumnus Violens, tomb of, Leighton on, 77.

Walker, John Hanson, 19.

Watteau, Leighton on, 84.

Watts, G. F., 14; pictures by, 91; portraits of Leighton, 42, 90; method compared with Leighton's, 55; on Leighton, 116.

Weaving the Wreath, 32.

Wedded, 43.

Whispers, 43.

Widow's Prayer, The, 23.

Winding the Skein, 37, 111; photogravure, Front.

Wise and Foolish Virgins, The, 24, 64.

Zeyra, 43.



CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.

TOOKS COURT, CHANCERY LANE, LONDON.



Footnotes:

[1] See pages 103-114.

[2] Letter to William Allingham, May 10th, 1861.

[3] "Athenaeum," April, 1864.

[4] The original title of this picture was Eastern Slinger scaring Birds in Harvest-time: Moonrise. See Illustration at p. 112.

[5] This picture was re-sold at Christie's in 1892 for 3,750 guineas.

[6] Sometimes entitled An Athlete strangling a Python.

[7] At page 62.

[8] Engraved in the "Magazine of Art," March, 1896.

[9] "Current Art" ("Magazine of Art," May, 1889).

[10] "The Studio," vol. iii.

[11] Reproductions of both of these drawings are given at p. 18.

[12] "Letters of Dante Gabriel Rossetti to William Allingham," by George Birkbeck Hill, D.C.L., LL.D. London, T. Fisher Unwin, 1897.

[13] "La Peinture Anglaise Contemporaine" (Paris, Hachette, 1895).

[14] "Magazine of Art," March, 1896, p. 197.

[15] The asterisk denotes works exhibited at the Winter Exhibition of the Royal Academy of Arts, 1897.

[16] R.A., Royal Academy; G.G., Grosvenor Gallery; R.W.S., Royal Society of Painters in Water-Colours; S.S., Royal Society of British Artists, Suffolk Street; D.G., Dudley Gallery; S.P.P., Society of Portrait Painters.

[17] Exhibited in the Roman Section, by some blunder of the Committee; the picture having been painted in Rome.

[18] Purchased for L2,000 by the President and Council of the Royal Academy, under the terms of the Chantrey Bequest.

[19] Painted by invitation for the Collection of Portraits of Artists painted by themselves in the Uffizi Gallery, Florence.

[20] Painted for the house of Mr. Murquand, New York.

[21] Purchased for 1,000 guineas by the President and Council of the Royal Academy, under the terms of the Chantrey Bequest.



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Transcriber's note:

Passages in italics are indicated by underscore.

Images have been moved from the middle of a paragraph to the closest paragraph break or to the end of a long quote.

The following misprints have been corrected: "Dyson-Perrin" corrected to "Dyson-Perrins" (page v) "Frederic" corrected to "Frederick" (page 25 and index) Missing word added on page 101 (assumed "the").

Additional spacing after some of the quotes is intentional to indicate both the end of a quotation and the beginning of a new paragraph as presented in the original text.

The original text includes Greek characters. For this text version these letters have been replaced with transliterations.