Chapter XII
Reading edition
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."
Bookplate of Lord Leighton. Designed by R. Anning Bell.
APPENDIX I
List of Principal Works
With date and place of exhibition
1850 (circa).*Cimabue finding Giotto in the Fields of Florence.[15] (49½ × 37 in.)Steinle Institute (Frankfort).
1850.The Duel between Romeo and Tybalt. (37 × 50 in.)
1851 (circa).The Death of Brunelleschi.Steinle Institute.
1851.[Early Portrait of Leighton by himself.]
1852.*A Persian Pedlar.
"[Buffalmacco, the Painter. A humorous subject, taken from Vasari, was undertaken about this date.]
1853.Portrait of Miss Laing (Lady Nias).
1855.*Cimabue's Celebrated Madonna is carried in procession through the streets of Florence. In front of the Madonna, and crowned with laurels, walks Cimabue himself, with his pupil Giotto; behind it, Arnolfo di Lapo, Gaddo Gaddi, Andrea Tafi, Nicola Pisano, Buffalmacco and Simone Memmi; in the corner, Dante. (87½ × 205 in.)R.A.[16]
"The Reconciliation of the Montagues and Capulets over the dead bodies of Romeo and Juliet.Paris International Exhibition.[17]
1856.The Triumph of Music. (80 × 110 in.) "Orpheus, by the power of his art, redeems his wife from Hades."R.A.
1857.*Salome, the daughter of Herodias. (44½ × 25 in.)
1858.*The Mermaid (The Fisherman and the Syren). (From a ballad by Goethe.) (26½ × 18½ 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. (26½ × 18½ in.)R.A.
"Reminiscence of Algiers.S.S.
These were,
[A Subject from Keats's Hymn to Pan,] in the first book of "Endymion," a figure of Pan under a fig-tree, with the inscription, "O thou, to whom Broad-leaved fig-trees even now foredoom Their ripen'd fruitage;"
and the other,
[A Pendant to the "Pan,"] the figure of a nude nymph about to bathe, with a little Cupid loosening her sandal.
1859.Sunny Hours.R.A.
"*Roman Lady (La Nanna).R.A.
"*Nanna (Pavonia).R.A.
"Samson and Delilah.S.S.
1860.Capri—Sunrise.R.A.
1861.*Portrait of Mrs. Sutherland Orr. [Mrs. S. O., a portrait.] (28 × 18 in.)R.A.
"*Portrait of John Hanson Walker, Esq. (23 × 17 in.)
"Paolo e Francesca. "Ma solo un punto fu quel che ci vinse Quando legemmo il disiato riso Esser baciato da cotanto amante, Questi, che mai da me non fia diviso, La bocca mi baciò tutto tremante: Galeotto fu'l libro e chi lo scrisse: Quel giorno più non vi legemmo avante."R.A.
"A Dream. ... "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."R.A.
"Lieder ohne Worte.R.A.
"J. A. A Study.R.A.
"Capri—Paganos.R.A.
1862.Odalisque.R.A.
"*The Star of Bethlehem. (60 × 23½ in.) 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.R.A.
"Sisters.R.A.
"*Michael Angelo Nursing His Dying Servant. (43 × 36 in.)R.A.
"Duett.R.A.
"Sea Echoes.R.A.
"Rustic Music.
1863.Jezebel and Ahab, having caused Naboth to be put to death, go down to take possession of his vineyard; they are met at the entrance by Elijah the Tishbite: "Hast thou killed, and also taken possession?"R.A.
"*Eucharis. (A Girl with a Basket of Fruit.) (32½ × 22 in.)R.A.
"A Girl Feeding Peacocks.R.A.
"An Italian Crossbow-man. (15 × 24½ in.)R.A.
1864.Dante at Verona.R.A.
"*Orpheus and Eurydice. (49 × 42 in.) "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.R.A.
"*Golden Hours. (36 × 48 in.)R.A.
"*Portrait of the Late Miss Lavinia I'Anson. (Circular, 12½ in.)
1865.*David. (37 × 47 in.) "Oh that I had wings like a dove! for then would I fly away and be at rest." Psalm lv.R.A.
"Mother and Child.R.A.
"Widow's Prayer.R.A.
"Helen of Troy. "Thus as she spoke, in Helen's breast arose Fond recollections of her former lord, Her home, and parents; o'er her head she threw A snowy veil; and shedding tender tears She issued forth not unaccompanied; For with her went fair Æthra, Pittheus' child. And stag-eyed Clymene, her maidens twain. They quickly at the Scæan gate arrived."R.A.
"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. (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."R.A.
"The Wise and Foolish Virgins. (Fresco in Lyndhurst Church.)
1867.*Pastoral. (51½ × 26 in.)R.A.
"*Greek Girl Dancing. (Spanish Dancing Girl: Cadiz in the old times.) (34 × 45 in.)R.A.
"Knuckle-bone Player.R.A.
"*Roman Mother. (24 × 19 in.)R.A.
"*Venus Disrobing for the Bath. (79 × 35½ in.)R.A.
"*Portrait of Mrs. John Hanson Walker. (18 × 16 in.)
1868.Jonathan's Token To David. "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."R.A.
"*Portrait of Mrs. Frederick P. Cockerell. (23½ × 19½ in.)R.A.
"*Portrait of John Martineau, Esq. (23½ × 19½ in.)
"*Ariadne Abandoned by Theseus; Ariadne watches for his return; Artemis releases her by death. (45 × 62 in.)R.A.
"*Acme and Septimius. (Circular, 37½ in.) "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).R.A.
"*Actæa, the Nymph of the Shore. (22 × 40 in.)R.A.
1869.*St. Jerome. (Diploma work, deposited in the Academy on his election as an Academician.) (72 × 55 in.)R.A.
"*Dædalus and Icarus. (53½ × 40½ in.)R.A.
"*Electra at the Tomb of Agamemnon. (59½ × 29 in.)R.A.
"*Helios and Rhodos. (65½ × 42 in.)R.A.
1870.A Nile Woman. (21½ × 11½ in.)R.A.
"Study.S.S.
1871.*Hercules Wrestling with Death for the Body of Alcestis. (54 × 104½ in.)R.A.
"Greek Girls Picking up Pebbles by the Shore of the Sea.R.A.
"*Cleoboulos instructing his daughter Cleobouline. (24 × 37½ 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 × 27½ in.)R.A.
"*Summer Moon. (Guildhall, 1890.) (39½ × 50½ in.)R.A.
"Portrait of the Right Hon. Edward Ryan, Secretary of the Dilettanti Society, for which the picture was painted. (S.P.P., 1893.)R.A.
"A Condottiere.R.A.
"*The Industrial Arts of War at the International Exhibition at South Kensington. (Monochrome, 76 × 177 in.)
"The Captive.S.S.
"An Arab Café, Algiers.S.S.
1873.*Weaving the Wreath. (Guildhall, 1895.)R.A.
"Moretta. (Guildhall, 1894.) (20½ × 14½ in.)R.A.
"*The Industrial Arts of Peace. (Monochrome, 76 × 177 in.)R.A.
"A Roman.S.S.
"Vittoria.S.S.
1874.*Moorish Garden: a dream of Granada. (41 × 40 in.) (Guildhall, 1895.)R.A.
"Old Damascus: Jews' Quarter.R.A.
"*Antique Juggling Girl. (Guildhall, 1892.) (41½ × 24 in.)R.A.
"Clytemnestra from the battlements of Argos watches for the beacon fires which are to announce the return of Agamemnon.R.A.
"Annarella, Ana Capri.D.G.
"Rubinella, Capri.D.G.
"Lemon Tree, Capri.D.G.
"West Court of Palazzo, Venice.D.G.
1875.*Portion of the Interior of the Grand Mosque Of Damascus. (62 × 47 in.)R.A.
"*Portrait of Mrs. H. E. Gordon (35½ × 37 in.)R.A.
"*Little Fatima. (15½ × 9¼ 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). (23½ × 19½ in.) (Paris, 1878; Melbourne, 1888; S.P.P., 1892.)R.A.
"*The Daphnephoria. (89 × 204 in.) A triumphal procession held every ninth year at Thebes, in honour of Apollo and to commemorate a victory of the Thebans over the Æolians of Arne. (See Proclus, "Chrestomath," p. 11.)R.A.
"Teresina.R.A.
"Paolo.R.A.
1877.*Music Lesson. (36½ × 37⅛ in.) (Paris, 1878.)R.A.
"*Portrait of Miss Mabel Mills (The Hon. Mrs. Grenfell). (23 × 19 in.)R.A.
"*An Athlete strangling a Python.[18] Bronze. (Paris, 1878.)R.A.
"*Portrait of H. E. Gordon. (23½ × 19 in.)G.G.
"An Italian Girl.G.G.
"*Study. (A little girl with fair hair, in a pink robe.) (24 × 28 in.)R.A.
"A Study.G.G.
1878.*Nausicaa. (57½ × 25½ in.) (Guildhall, 1896.)R.A.
"Serafina.R.A.
"*Winding the Skein. (39½ × 63½ in.)R.A.
"A Study.R.A.
"*Portrait of Miss Ruth Stewart Hodgson. (50½ × 35½ 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 × 81½ in.) (Paris, 1878.)R.A.
"Portrait of Signor G. Costa.R.A.
"Amarilla.R.A.
"A Study.R.A.
"Portrait of the Countess Brownlow.R.A.
"*Neruccia. (19 × 16 in.)R.A.
"A Study.S.S.
"The Carraca Hills.S.S.
"A Street in Lerici.S.S.
"Via Bianca, Capri.G.G.
"Archway in Algiers.G.G.
"Ruins of a Mosque, Damascus.G.G.
"Study of a Donkey.G.G.
"On the Terrace, Capri.G.G.
"Sketch Near Damascus.G.G.
"View in Granada.G.G.
"Study of a Donkey, Egypt.G.G.
"Study of a Head.G.G.
"Nicandra.G.G.
1880.*Sister's Kiss. (48 × 21½ in.)R.A.
"*Iostephane. (37 × 19 in.)R.A.
"The Light of the Harem. (60 × 33 in.)R.A.
"Psamathe. (36 × 24 in.)R.A.
"*The Nymph of the Dargle (Crenaia). (29½ × 10 in.)R.A.
"Rubinella.G.G.
"The Pozzo Corner, Venice. Winter Exhibition.G.G.
"Jack and his Cider Can. Winter Exhibition.G.G.
"The Painter's Honeymoon. Winter Exhibition.G.G.
"Winding of the Skein (with sketch). Winter Exhibition.G.G.
"Head of Urbino. Winter Exhibition.G.G.
"Steps of the Bargello, Florence. Winter Exhibition.G.G.
"A Contrast. Winter Exhibition.G.G.
"Garden at Capri. Winter Exhibition.G.G.
"Twenty-Nine Studies of Heads, Flowers, and Draperies. Winter Exhibition.G.G.
1881.Elisha Raising the Son of the Shunamite. (32 × 54 in.) (Guildhall, 1895.)R.A.
"Portrait of the Painter.[19]R.A.
"*Idyll. (41½ × 84 in.)R.A.
"*Portrait of Mrs. Stephen Ralli. (48 × 33 in.)R.A.
"*Whispers. (48 × 30 in.)R.A.
"Viola.R.A.
"*Bianca. (18 × 12½ in.)R.A.
"Portrait of Mrs. Algernon Sartoris.G.G.
1882.*Day-dreams. (47½ × 35½ in.)R.A.
"Wedded.R.A.
"Phryne at Eleusis. (86 × 48 in.) (Melbourne, 1888.)R.A.
"Antigone. R.A.
""And the sea gave up the dead which were in it." Rev. xx. 13. (Design for a portion of a decoration in St. Paul's.)R.A.
"Melittion.R.A.
"*Portrait of Mrs. Mocatta. (23½ × 19½ in.)
"Zeyra.G.G.
1883.The Dance: decorative frieze for a drawing-room in a private house.R.A.
"*Vestal. (24½ × 17 in.)R.A.
"*Kittens. (48 × 31½ in.)R.A.
"Memories.R.A.
"*Portrait of Miss Nina Joachim. (16 × 13 in.)
1884.*Letty. (18 × 15½ in.)R.A.
"*Cymon and Iphigenia. (64 × 129 in.)R.A.
"A Nap.R.A.
"Sun Gleams.R.A.
1885."... Serenely wandering in a trance Of sober Thought." (46 × 27 in.)R.A.
"Portrait of the Lady Sybil Primrose.R.A.
"*Portrait of Mrs. A. Hichens. (26½ × 20½ in.)R.A.
"Music: a frieze.R.A.
"Phœbe. (Manchester, 1887.)R.A.
"A Study.G.G.
"Tombs of Muslim Saints.S.S.
"Mountains near Ronda Puerta de los Vientos.S.S.
1886.Painted Decoration for the Ceiling of a Music-room.[20] (7 ft. × 20 ft.)R.A.
"Gulnihal.R.A.
"*The Sluggard. Statue, bronze.R.A.
"*Needless Alarms. Statuette.R.A.
1887.*The Jealousy of Simætha, the Sorceress. (35½ × 55½ in.)R.A.
"*The Last Watch of Hero. (62½ × 35½ in., with predella 12½ × 29½ in.) "With aching heart she scanned the sea-face dim. ···· Lo! at the turret's foot his body lay, Rolled on the stones, and washed with breaking spray." Hero and Leander: Musæus (translated by Edwin Arnold).R.A.
"[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.) 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.R.A.
1888.*Captive Andromache. (77 × 160 in.) ".... 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.)R.A.
"*Portrait of Amy, Lady Coleridge. (42 × 39½ in.) (S.P.P., 1891.)R.A.
"*Portraits of the Misses Stewart Hodgson. (47 × 39½ in.)
"Four Studies.R.W.S.
"Five Studies.S.S.
1889.*Sibyl. (59 × 34 in.)R.A.
"*Invocation. (54 × 33½ in.)R.A.
"Elegy.R.A.
"Greek Girls playing at Ball. (45 × 78 in.)R.A.
"*Portrait of Mrs. Francis A. Lucas. (23½ × 19½ in.)R.A.
1890.Solitude.R.A.
"*The Bath of Psyche.[21] (75 × 24½ in.)R.A.
"*Tragic Poetess. (63 × 34 in.)R.A.
"*The Arab Hall. (33 × 16 in.) (Guildhall, 1890.)R.A.
1891.*Perseus and Andromeda. (91½ × 50 in.)R.A.
"*Portrait of A. B. Freeman-Mitford, Esq., C.B. (46½ × 38½ in.)R.A.
"*Return of Persephone. (79 × 59½ in.)R.A.
"Athlete Struggling with a Python—group, marble.R.A.
1892.*"And the sea gave up the dead which were in it." (Circular, 93 in.)R.A.
"At the Fountain. (49 × 37 in.)R.A.
"*The Garden of the Hesperides. (Circular, 66 in.) (Chicago, 1893; Guildhall, 1895.)R.A.
"Bacchante.R.A.
"*Clytie. (32½ × 53½ in.)R.A.
"Phryne at the Bath. (24 × 12 in.)S.S.
"Malin Head, Donegal.S.S.
"St. Mark's, Venice.S.S.
"Interior of St. Mark's, Venice.S.S.
"The Doorway, North Aisle, Venice.S.S.
"Rizpah (the small study in oils). (7 × 7 in.)S.S.
1893.*Farewell! (63 × 26½ in.)R.A.
"*Hit! (29 × 22 in.)R.A.
"*Atalanta. (26½ × 19 in.)R.A.
"Rizpah. (36 × 52 in.)R.A.
"*Corinna of Tanagra. (47½ × 21 in.)R.A.
"The Frigidarium.R.A.
1894.*The Spirit of the Summit. (77½ × 39½ in.)R.A.
"*The Bracelet. (59½ × 23 in.)R.A.
"*Fatidica. (59½ × 23 in.)R.A.
"*Summer Slumber. (45½ × 62 in.)R.A.
"At the Window.R.A.
"Wide Wondering Eyes. (20 × 15½ in.)Manchester.
"The Roman Campagna, Monte Soracte in the Distance.S.S.
"The Acropolis of Lindos.S.S.
"Fiume Morto, Gombo, Pisa.S.S.
"Gibraltar from San Rocque.S.S.
1895.Lachrymæ. (60 × 24 in.)R.A.
"The Maid with the Yellow Hair.R.A.
"*"'Twixt Hope and Fear." (43½ × 38½ in.)R.A.
"*Flaming June. (46 × 46 in.)R.A.
"Listener.R.A.
"A Study.R.A.
"Phœnicians Bartering With Britons.Royal Exchange.
"Boy with Pomegranate.Grafton Gallery.
"Miss Dene.
"Aqua Certosa, Rome.S.S.
"Chain of Hills seen from Ronda.S.S.
"Rocks, Malin Head, Donegal.S.S.
"Tlemçen, Algeria.S.S.
1896.*Clytie. (61½ × 53½ in.)R.A.
"Candida. (21 × 41½ in.)Antwerp, 1896.
"*The Vestal. (27 × 20½ in.) Unfinished.
"*A Bacchante. (26½ × 21 in.)
"*The Fair Persian. (25½ × 19½ in.) Unfinished.
"... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT" (1885)
DESIGN FOR THE REVERSE OF THE JUBILEE MEDALLION (1887)
APPENDIX II
The studies in oil, chiefly landscape, of quite small size, few of which had been exhibited, were sold, with the remaining works of the artist, by Messrs. Christie, Manson and Woods on July 11th, 13th, and 14th, 1896, when the prices realized, from 50 to 100 guineas each for the best, were in excess of those the most sympathetic admirer of Lord Leighton's singular power as a landscape-painter had dared to expect. For convenience of future reference, the list of these as they appear in the sale catalogue may be worth the space it occupies; the numbers denote the "lot."
1.{Head of a Girl. Head of a Boy.
2. A Study of Houses, Venice.
3. The Coast of Asia Minor, from Rhodes.
4. A Street Scene.
5. Houses at Capri.
6. The Coast of Asia Minor, from Rhodes.
7. A Garden Scene.
8. A Fortress, Egypt.
9. Tombs of Muslim Saints at Assouan, First Cataract. R.S.B.A., 1895.
10. A Bay, Asia Minor, from Rhodes.
11. The Bay of Lindos.
12. In the Campagna, Italy.
13. A Town, Capri.
14. Mountains near Ronda Puerta de los Vientos. R.S.B.A., 1895.
15. A View in the Campagna.
16. A Covered Street in Algiers.
17. A Doorway, Algiers.
18. Head of a Girl.
19. Head of a Man.
20. Head of a Girl.
21. Head of a Girl.
22. Street in Algiers.
23. St. Mark's, Venice. R.S.B.A., 1892.
24. Interior of St. Mark's, Venice. R.S.B.A., 1892.
25. The Doorway, North Aisle, St. Mark's, Venice. R.S.B.A., 1892.
26. A Bay Scene, Isle of Rhodes.
27. A View on the Coast, Lindos.
28. Denderah.
29. The Roman Campagna, Monte Soracte in the Distance. R.S.B.A., 1894.
30. A Study in the Campagna.
31. Aqua Certosa, Rome.
32. A View of the Town of Lindos.
33. The Acropolis of Lindos, where stood the Temple of Athena Pallas. R.S.B.A., 1894.
34. A Study in the Campagna, with Monte Soracte.
35. Study of a Man's Head.
36. An Arab's Head.
37. A Sheik.
38. An Arab.
39. Head of an Old Lady.
40. A Turkish Boatman.
41. Fiume Morto, Gombo, Pisa. R.S.B.A., 1894.
42. The Citadel, Cairo.
43. A View in Damascus.
44. A View in Capri.
45. Bocca d'Arno.
46. The City of Tombs, Assiout, Egypt. R.S.B.A. [1871?].
47. Buildings, Siout, Egypt.
48. A Mountainous Landscape, Spain.
49. A Street Scene, Capri.
50. A Coast Scene, Isle of Wight.
51. Barren Land.
52. A Town in Spain.
53. Bosco Sacro, Campagna.
54. Villa Malta, Rome.
55. The Rocks of the Sirens, Capri.
56. A View in Spain.
57. A Valley, Spain.
58. On the Coast, Isle of Wight.
59. Garden at Generalife, Granada.
60. The Baths at Caracalla.
61. A House, Capri.
62. In St. Mark's, Venice.
63. The Staircase of a House, Capri.
64. The Garden of a House, Capri.
65. Study of a Male Figure carrying a Pitcher.
66. Head of a Girl.
67. The Coast of Asia Minor, from Rhodes.
68. Chain of Hills seen from Ronda. R.S.B.A., 1893.
69. The Coast of Asia Minor. (Study for the background of Perseus.)
70. A Pool, Findhorn River, N.B. (Study for the background of Solitude.)
71. A Lane. (Study of rocks for Solitude.)
72. A Woman seated, in a landscape. (Study for Simætha the Sorceress.)
73. Taormina, Sicily. (Sketch for background of Wedded.)
74. A Pool on the Findhorn River, Forres, N.B. (Study for the background of Solitude.)
75. Taormina, Sicily. (Study for the background of Wedded.)
76. Interior of a House at Lindos. (Study for the picture of Cleoboulos.)
77. Study of a Woman's Head. Capri, moonlight. (Study for the effect in Clytemnestra.)
78. Buildings, Capri, Moonlight. (A study for the same.)
79. An Allegorical Design for a Mural Decoration.
80. Head of a Lady and Gentleman of the Fifteenth Century. (16 × 14¼ 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.]
118.{A Landscape. Study of Sky at Malinmore. Study.
119. A Rocky Coast, Malinmore, Donegal.
120. A Mountainous Landscape.
121. A View in Scotland.
122. A Landscape, Italy.
123. Fishing Boats on the Coast, Capri.
124. A Village on a Hill, Capri.
125. A Scene in the Desert.
126. The Coast of Greece.
127. Head of a Man.
128. A Scotch Lake.
129. Near Kynance Cove.
130. Carrara Mountains.
131. A View in Algiers.
132. Tlemçen, Algeria. R.S.B.A., 1895.
133. The Damascus Gate, Jerusalem.
134. The Erictheum (sic).
135. A Street in Lerici, near where Shelley was drowned.
136.{Study of Trees. A Landscape.
137.{Head of a Gondolier. Irish Peasant Girl.
138. Head of an Italian Peasant.
139.{A Common. Landscape, with Cottages.
140. A Rocky Coast, Kynance.
141. Granite Boulders, Forres, N.B.
142. A Sunny Cornfield.
143. A Courtyard, Tangiers.
144. A Courtyard, Tangiers.
145. A Sketch of Albano.
146. A Coast Scene, Ireland.
147. A Scotch Scene.
148. A Study of Rocks.
149. The Steeple Rock, Kynance Cove.
150. A Sandy Bay, Ireland.
151. Kynance Cove.
152. Holy Island. Bamborough in the distance.
153. A Coast Scene, Ischia.
154. Glen Columbkill, Ireland.
155. A Moorish Archway, Tangiers.
156. Perugia.
157. A Rocky Coast, Malinmore.
158. Malin Head, Donegal. R.S.B.A., 1894.
159. Gibraltar, from San Rocque. R.S.B.A., 1895.
160. A Bay Scene, Spain.
161. A Sketch in Bedfordshire.
162. A Landscape, Ronda.
163. A Spanish Town.
164. The Baths of Caracalla.
165. The Street of the Knights, Rhodes.
166. The Coast of Asia Minor, seen from Rhodes.
167. Longsor.
168. A Mountain Scene, with Temple and Figure, Egypt.
169. A Study on the Coast of Ireland.
170. A River Scene, Scotland.
171. Mickleour, Scotland.
172. A Sea Piece.
173. The Coast of Asia Minor.
174.{On the Nile. A View in Spain.
175.{A Temple on the Nile. Spanish View.
176. Malinmore, Donegal.
177. The Bay of Cadiz, Moonlight, and Palazzo Rezzonico.
178. A View of Athens.
179.{Scotch Mountains: Sunset. A Coast Scene, Rhodes.
180. Vittoria. R.S.B.A., 1873.
181.{A Classical Head. (Monochrome.) Head of a Man.
182. A Study of Pine Trees.
183. A Village on a Hill.
184. A Ruined Mosque at Broussa.
185. A Woody Bank.
186. Ruins of a Moorish Arch, Spain.
187. A View in Italy, with a Cornfield.
188. (This number is omitted in the sale catalogue.)
189. Mimbar of the Great Mosque at Damascus.
190.{Rocks, Capri. A Fortress, Spain.
191.{Landscape, Scotland. Landscape, Scotland.
192. The Red Mountains, Desert, Egypt.
193. Sketch near Cairo.
194. A Fountain in the Court-yard of a Jew's House, Spain.
195. A House in Tangiers. Mansion House, 1882.
196. A Street Scene, Cairo.
197. A Moorish Street.
198. A Study of Rocks, Scotland.
199. The Garden of the House of the Man who built the Alhambra.
200. A Spanish Donkey.
201. A Donkey and Arab Driver.
202. Mena Donkey.
203. A Study of Hills.
204. The Temple of Phylæ.
205. Damascus: Night.
206. A Mountainous Landscape, with a Cavern.
207. A Wood Scene.
208. Head of an Italian Girl.
209. The Dungeons of a Castle.
210. A Castle Keep.
211. Entrance to a House, Capri.
212. A Coast Scene, Ireland: Storm effort (sic).
213. Longsor.
214. The Nile at Thebes.
215. A View on the Campagna.
216. A Mountainous Landscape, Scotland.
217. Capri by Night.
218. A Fortress on the Campagna.
219. A Landscape, with Sand Hills.
220. A Wood Scene.
221. Near Denderah.
222. A Landscape.
223. Athens, with the Genoese Tower, Pnyx in the foreground.
224. A Landscape, Cairo.
225. On the Nile.
226. Pasture, Egypt.
227. Red Mountains Desert, Egypt.
228. An Egyptian Village.
229. The Island of Ægina.
230. Thebes.
231. The Coast of Ægina, Pnyx in the foreground.
232. Buildings on the Coast, Island of Rhodes.
233. Assouan, Egypt.
234. A Vineyard, Capri.
235. The Temple of Phylæ, looking up the Nile.
236. The Nile at Esueh.
237. The Cathedral, Capri.
238. A Square in Cadiz.
239. On the Nile.
240. In the Nile Valley.
241. A View across the Nile.
242. A Woody Hill Side.
243. Rocks of the Sirens Capri.
244. A Farm.
There were also copies made by Leighton himself of Peace and War after Rubens, the Massacre of the Innocents, after Bonifazio, A Martyrdom, and the Last Supper, after Veronese.
The huge collection of studies, mainly in chalk upon brown paper, made by Lord Leighton, were nearly all preserved; two hundred and forty of these were exhibited by the Fine Art Society, who bought the whole collection, and afterwards published a volume containing forty reproduced in facsimile.
FOUNTAIN IN COURT AT DAMASCUS
THE ISLAND OF ÆGINA: PNYX IN FOREGROUND
RED MOUNTAINS DESERT, CAIRO
RUINED MOSQUE, BROUSSA
CITY OF TOMBS, ASSIOUT, EGYPT
ATHENS WITH THE GENOESE TOWER: PNYX IN FOREGROUND
COAST OF ASIA MINOR SEEN FROM RHODES
INDEX.
Titles of Pictures are printed in italics.
Abram and the Angel, 69. Acme and Septimius, 25. Actæa, 26, 111. Ægina, The Island of, illus., 132. After Vespers, 31. Aitchison, George, R.A., 88. Allingham, William, 106. Alma-Tadema, Sir L., 37, 48, 91. Amarilla, 39. And the Sea gave up its Dead, 49, 66; illus., 50. Andromeda (study in clay), 68; illus., 68. Antigone, 43. Antique Juggling Girl, 33; illus., 32. Arab Hall, The, 29, 49, 88, 94, 96-100; illus., 96. Ariadne abandoned by Theseus, 25. Arnold, Sir Edwin, translation of Musæus, 47. Art and Morals, Leighton on, 74. "Art Journal," criticisms of the, 108, et seq. Artistic Production in relation to Time and Place, Leighton on, 75. Arts of Peace, The, 32, 42, 63, 64; illus., 64. Arts of War, The, 32, 63; illus., 64. Asia Minor, The Coast of, illus., 136. Assyria, the Art of, Leighton on, 76. At the Fountain, 50. At the Window, 51. Atalanta, 50, 59. "Athenæum," criticisms of the, 32, 105, et seq. Athens, with the Genoese Tower, illus., 136. Athlete struggling with a Python, 36, 67, 68, 126; illus., 36, 49; (marble version), 68. Bacchante (1892), 50, (1896) 51; illus., 54. Bath of Psyche, The, 48, 59, 129; illus., 48. Bezzuoli, 5. Bianca, 43. "Bible Gallery," Dalziel's, 23, 69, 70. Biondina, 39. Black and white, Leighton's work in, 69, 70. Boccaccio, Leighton inspired by, 8, 45. Book illustration, 69, 70. Bookplate, Leighton's, illus., 120. Bouguereau, Leighton and, 10. Bracelet, The, 51; illus., 52. Bronzes, 36, 46, 67, 68. Broussa, Ruined Mosque at, illus., 134. Brownlow, Countess of, 39. Browning, E. B., 47; medallion of a monument to, 67; illustration by Leighton to her "Great God Pan," 69. Browning, Robert, 10; subjects from, 22, 47; on Hercules wrestling with Death, 30. Brussels, Leighton at, 6, 7. Burne-Jones, Sir E., 17, 91. Burton, Capt. Richard, 35, 90; illus., 36. Byzantine Well-head, A, 18, 62; illus., 18. Cain and Abel, illus., 70. Cairo, Red Mountains Desert, illus., 136. Capri—Paganos, 19. Capri at Sunrise, 18, 108. Capri, Leighton at, 18, 61. Captive Andromache, 47, 58; Studies for, illus., 56. Carr, Mr. Comyns, on Leighton, 114. Catarina, 39. Ceiling, design for a, 46, 67, 128; illus., 62. Chesneau, Ernest, on English Art, 14. Cimabue, influence of, 9. Cimabue (mosaic figure), 67. Cimabue finding Giotto, 7. Cimabue's Madonna, 3, 8, 9, 11, 23, 34, 47; criticisms of, 103-107, 108; illus., 10. City of Tombs, Assiout, illus., 134. Cleoboulos instructing his daughter Cleobouline, 30. Clytemnestra, 32. Clytie (1892), 50, 59. Clytie (his last picture), 51, 52. Cockerell, S. Pepys, on Leighton's drawings, 62. Cockerell, Mrs. Frederick P., 25. Coleridge, Lady, 48. Cologne Cathedral, Leighton on, 86. Colour: Leighton's mode of procedure, 55-58. Condottiere, A, 31; illus., 32. Contrast, A, 70; illus., 72. Corinna of Tanagra, 50. Cornelius, 9, 10. "Cornhill Gallery, The," 69. Correggio, Leighton and, 10, 18. Costa, Signor, 39; illus., 40. Count Paris, 16, 107, 122. Cousin, Jean, 84. Crenaia, 42. Cross-bow Man, A, 20. Cupid with Doves, 66; illus., 66. Cymon (clay model), 68; illus., 68. Cymon and Iphigenia, 42, 44, 45, 68; photogravure, 44. Dædalus and Icarus, 26; illus., 26. Dalou and The Athlete, 68. Dalziel's "Bible Gallery," 23, 69, 70; illus., 70. Damascus, Grand Mosque at, 29, 33, 111; illus., 28. Damascus, sketches of, 28, 29, 33, 111; illus., 28, 132. Dance, The, 44, 67; illus., 44. Dante, Leighton on, 81. Dante at Verona, 21, 109. Daphnephoria, 24, 34, 35, 47, 111; clay models for, 68; illus., 34; Study for (illus.), 34. Darmstadt, Leighton at, 8. David, 23, 110; illus., 24. Day Dreams, 43; illus., 42. Death of the First Born, 69. Decorative work, Leighton's, 63-67. Departure for the War, The, 67. Discourses on Art, Leighton's, 71-87. Drapery, Leighton's treatment of, 48, 55-58. Dream, A, 19, 109. Duett, 20. Dürer, Albert, Leighton on, 86. Eastlake, Sir Charles, 10-12. Egypt, Leighton's visit to, 28; on the Art of, 75. Egyptian Slinger, 29, 33, 112; illus., 112. Electra at the Tomb of Agamemnon, 26; illus., 26. Elegy, 48. Eliezer and Rebekah, 69. Elijah in the Wilderness, 39; Study for, illus., 38. Elisha and the Shunamite's Son, illus., 114. English Art, Leighton on, 73. Etruscan Art, Leighton on, 76, 77. Eucharis, 20. Fair Persian, The, 51. Farewell, 50; illus., 50. Fatidica, 51; illus., 52. Fisherman and Syren, The, 16, 107. Flaming June, 51. Fleury, Robert, 10, 15. Florence, The Plague at, 8, 90; illus., 8. Florence, Leighton at, 5, 6. Fountain, At the, 50. Fountain in Court at Damascus, illus., 132. France, Evolution of Art in, Leighton on, 83. Frankfort, Leighton at, 6-8. Frescoes, 32, 63-66; illus., 64-66. Friezes, 44, 46, 67; illus., 44. Frigidarium, The, 50; illus., 50. Gamba, Signor, 8. Garden of the Hesperides, The, 49. Generalife, Study of a Garden at, 33; illus., 28. German Architecture, Leighton on, 85-86. Gerome, 10. Gibson, the sculptor, 11. Gilbert, Alfred, 88. Giotto, 9. Girl, A little (1887), 47. ---- in Eastern garb (1877), 37. Girl Feeding Peacocks, A, 20, 109. Girl with a Basket of Fruit, 109. Girls' Heads, Studies of, 38, 51; illus., 74, 76, 78, 80. Goethe: subject from, 16; on Gothic architecture, 84. Golden Hours, 21, 22; illus., 21. Gordon, H. E., 37. Gothic architecture, Leighton on, 84. Greek Art, Leighton on, 76. Greek Girls picking up Pebbles by the Sea, 30. Greek Girls playing at Ball, 48, 59; illus., 48. Grenfell, the Hon. Mrs. (Miss Mabel Mills), 37. Greville, Lady Charlotte, monument to, 67. Gulnihal, 46. Guthrie, Portrait of Mrs. James, 24. Hart, Professor, 12. Helen of Troy, 23; illus., 22. Helios and Rhodos, 27, 28. Hercules wrestling with Death, 30; illus., 30. Hesperides, Garden of the, 49. Hichens, Mrs. A., 46. Hit, 50; illus., 54. Hodgson, Miss Ruth, 38. Hodgson, Misses Stewart, 48. Hogarth Club, the, 17. Hunt, Holman, 13, 17. I'Anson, the late Mrs. Lavinia, 23. Idyll, 42. In St. Mark's, 23. Invocation, 48. Iostephane, 42. Italian Girl, An, 37. Italy, Evolution of Painting in, Leighton on the, 72. J. A.—a Study, 19. Jezebel and Ahab, 20, 123. Joachim, Miss Nina, 44. Jonathan's Token to David, 25, 124. Jubilee medal, 46, 69, 129; illus., 130. Juggling Girl, 33; illus., 32. Keats's "Endymion," subject from, 15, 122. Kemble, Mrs., 11. Kittens, 44. Lachrymæ, 51. Lady with Pomegranates, A, 53. Laing, Miss, Portrait of, 9. Landscape studies, Leighton's, 16, 28, 29, 33, 39, 62, 132; illus., 28, 132, 134, 136. Landseer, Sir Edwin, 10, 13. Lang's, Mrs. Andrew, monograph on Leighton, 7, 8, 63. Last Watch of Hero, 47; illus., 46. Leighton, Frederic, Lord; list of dignities and titles, 2; ancestors and birth, 4; first picture, 7; portrait (1848), 7; first picture for the Academy, 11; A.R.A., 21; R.A., 24; first appearance as a sculptor, 36; P.R.A., 39; Portrait, by himself, 42; illus., 3; portraits by Watts, 42, 90; his method of painting, 54-60; drawings, 60, 61; decorative works, 63-67; sculpture, 67, 68; book illustration, 69, 70; Discourses on Art, 71-87; house, 88-102; criticisms on his work, 103, 114; death, 115. Lemon Tree, Study of a, 17, 18, 61; illus., 18. Lesseps, F. de, 28. Letty, 44, 45. Lieder ohne Worte, 19. Light of the Harem, The, 42. Lionardo da Vinci, Leighton on, 80, 81, 82. Listener, 51. Little Fatima, 29, 33, 111. Lucas, Mrs. F., 48. Lyndhurst, altarpiece at, 24, 64, 65. Lyons, Lord, 11. Maid with her Yellow Hair, The, 51. Martin's, Sir Theodore, "Catullus," 25. Mason, George, 11, 89. Meli, Signor F., 5. Melittion, 44. Memories, 44. Mermaid, The, 16. Michael Angelo, Leighton on, 82. Michael Angelo nursing his dying Servant, 19. Millais, Sir J. E., 9, 13, 46, 68, 73. Mills, Miss Mabel, 37; illus., 36. Mitford, A. B., 49. Mocatta, Mrs., 44. Modelling and models (clay), 67, 68. Moorish Garden, 29, 33. Morals, Art and, Leighton on, 74. Moretta, 31. Morris, William, and Rossetti, 17. Mosaics, 67. Moses views the Promised Land, illus., 70. Mosque, Ruined, at Broussa, illus., 134. Mother and Child, 23. Murger, Henri, 7. Music (a frieze), 46; illus., 44. Music, The Triumph of, 15, 107. Music Lesson, 36, 37. Music Room, Decoration for a, 46, 67, 128; illus., 62. Nanna, 17. Nap, A, 44. Nature in Leighton's compositions, 58. Nausicaa, 37; illus., 38. Needless Alarms, 46, 67. Neruccia, 39. Nias, Lady (Miss Laing), 9. Nile, voyage up the, 28. Nile Woman, A, 29. Noble Lady of Venice, A, 52. Nymph and Cupid, A, 15, 84. Nymph of the Dargle, The, 42. Odalisque, 19. Old Damascus (the Jews' quarter), 29, 33. Orchardson, Mr., on Clytie, 52. Orkney, Lady, 37. Orpheus and Eurydice, 21, 22; illus., 22. Orr, Major Sutherland, monument to, 67. Orr, Mrs. Sutherland, 19. Pacheco, Francisco, on drawing, 60. Painter's Honeymoon, The, 24. Pan, 15, 122. Paolo, 35. Paolo e Francesca, 19, 122. Paris, Count, 16, 107, 122. Paris, Leighton at, 7, 15; exhibition at, 13. Parry, Gambier, and Ely Cathedral, 65. Pastoral, 24. Pavonia, 17. Pencil Drawings, Two Early, illus., 6. Pencil Study, A, illus., 16. Persephone, Return of, 49, 59; Studies for, illus., 60. Perseus (clay model), 68; illus., 68. Perseus and Andromeda, 49, 59, 68; Study for, illus., 58. Persian Pedlar, A, 9. Petrarch, Leighton on, 81. Phœbe, 46. Phœnicians bartering with Britons, 51, 66; illus., 66. Phryne at Eleusis, 44; illus., 42. Pisano, Niccolò (mosaic), 67. Plague at Florence, The, 8, 90; illus., 8. Powers, Hiram, 5. Poynter, Sir E. J., and Leighton, 66, 116. Pre-Raphaelites, the, 16, 17. Primrose, The Lady Sybil, 46; illus., 46. Psamathe, 41. Ralli, Mrs. Augustus, 43. Raphael, Leighton on, 81. Red Mountains Desert, Cairo, illus., 136. Return of Persephone, The, 49, 59; Studies for, illus., 60. Rizpah, 50, 59; illus., 52. Roman Art, Leighton on, 78. Roman Lady, A, 17. Romano Giulio, Leighton on, 79. Rome, Leighton at, 3, 9-11. Romeo, The Dead, illus., 14. Romeo and Juliet, 90. "Romola" illustrations, 69. Rossetti, D. G., 10, 13; works by, 16, 17; on Leighton, 11, 19, 106. Rossetti, W. M., on Leighton, 109, 110, 111. Royal Exchange, decoration at, 51, 66; illus., 66. Rubinella, 42. Ruskin on Leighton, 11, 12, 17, 33, 103, 111, 112. Rustic Music, 20. Ryan, Edward, 31. St. Jerome, 26; illus., 26. St. Marks, In, 23. St. Paul's, Design for proposed decoration of, 44, 49, 66. Salome, 15. Samson and Delilah, 18. Samson and the Lion, illus., 70. Samson at the Mill, 69. Samson carrying the Gates, illus., 70. Sand, George, 11. Sartoris, Mrs. Algernon, Portrait of, 43; illustration by Leighton to her "Week in a French Country House," 69. Sculpture, 36, 46, 67, 68; illus., 68, 130. Sea Echoes, 20. Sea gave up the Dead, And the, 49, 66; illus., 50. Serafina, 38. "Serenely Wandering," illus., 128. Servolini, 5. Sibyl, 48, 54, 58. Simætha the Sorceress, 47. Sisters, 20. Sister's Kiss, 41, 111; illus., 40. Sizeranne, M. de la, on Leighton, 113. Sluggard, The, 46, 67, 68; Study for, illus., 68. Solitude, 49; Study for, illus., 58. South Kensington, drawings on wood at, 69; frescoes, 32, 63-66; mosaic, 67. Spain, Leighton on the Art of, 82, 83. Spielmann, Mr. M. H., on Leighton, 46, 48, 54-58. Spies' Escape, The, 69. Spirit of the Summit, The, 51, 60, 113. Star of Bethlehem, The, 20, 109, 123. Steinle, Johann Eduard, 6, 8, 9. Stephens, F. G., on the Hogarth Club, 17. Studies, collection of Leighton's, 62. Studies in oil, list of, 132-136. Studies of Heads, 38, 51; illus., 14, 74, 76, 78, 80, 82. Study (little girl in Eastern Garb), 37. Study A (Grosvenor Gallery, 1877), 37; (Academy, 1878), 38; (Grosvenor Gallery, 1885), 46. Summer Moon, 31; illus., 30. Summer Slumber, 51. Sun Gleams, 44. Sunny Hours, 17. Syracusan Bride, 23, 24, 34, 47. Tate Gallery, The, 36, 48, 49. Teresina, 35. Thackeray on Leighton, 9. Tragic Poetess, 49. Triumph of Music, The, 15, 107. 'Twixt Hope and Fear, 51. Velasquez, Diego, Leighton on, 83. Venus Disrobing, 25, 110; illus., 24. Vestal, 44, 51. Viola, 43. Volumnus Violens, tomb of, Leighton on, 77. Walker, John Hanson, 19. Watteau, Leighton on, 84. Watts, G. F., 14; pictures by, 91; portraits of Leighton, 42, 90; method compared with Leighton's, 55; on Leighton, 116. Weaving the Wreath, 32. Wedded, 43. Whispers, 43. Widow's Prayer, The, 23. Winding the Skein, 37, 111; photogravure, Front. Wise and Foolish Virgins, The, 24, 64. Zeyra, 43.
CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON.
Footnotes:
[1] See pages 103-114.
[2] Letter to William Allingham, May 10th, 1861.
[3] "Athenæum," April, 1864.
[4] The original title of this picture was Eastern Slinger scaring Birds in Harvest-time: Moonrise. See Illustration at p. 112.
[5] This picture was re-sold at Christie's in 1892 for 3,750 guineas.
[6] Sometimes entitled An Athlete strangling a Python.
[7] At page 62.
[8] Engraved in the "Magazine of Art," March, 1896.
[9] "Current Art" ("Magazine of Art," May, 1889).
[10] "The Studio," vol. iii.
[11] Reproductions of both of these drawings are given at p. 18.
[12] "Letters of Dante Gabriel Rossetti to William Allingham," by George Birkbeck Hill, D.C.L., LL.D. London, T. Fisher Unwin, 1897.
[13] "La Peinture Anglaise Contemporaine" (Paris, Hachette, 1895).
[14] "Magazine of Art," March, 1896, p. 197.
[15] The asterisk denotes works exhibited at the Winter Exhibition of the Royal Academy of Arts, 1897.
[16] R.A., Royal Academy; G.G., Grosvenor Gallery; R.W.S., Royal Society of Painters in Water-Colours; S.S., Royal Society of British Artists, Suffolk Street; D.G., Dudley Gallery; S.P.P., Society of Portrait Painters.
[17] Exhibited in the Roman Section, by some blunder of the Committee; the picture having been painted in Rome.
[18] Purchased for £2,000 by the President and Council of the Royal Academy, under the terms of the Chantrey Bequest.
[19] Painted by invitation for the Collection of Portraits of Artists painted by themselves in the Uffizi Gallery, Florence.
[20] Painted for the house of Mr. Murquand, New York.
[21] Purchased for 1,000 guineas by the President and Council of the Royal Academy, under the terms of the Chantrey Bequest.
Transcriber's note:
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.
In the original text, the images are not on numbered pages. For this e-text. the images have been moved to the end of the nearest paragraph, and the links are to the images, not to the page references.