Volume 2 — CHAPTER VIToC (continued 2)

We are to a wonderful degree creatures of habit, our thoughts are prone to run—or shall I say rather to stagnate?—within grooves; and if we are a people of many and great endowments, a swift and free play of thought is, as we have been forcibly told by a voice that we shall hear no more, and can ill miss, not a distinguishing feature among us. Is it not an amazing thing, for example, that human shapes, which in clay or plaster would be ignominiously excluded from a second-rate exhibition, are not only accepted, but displayed with a chuckle of elated pride, when cast in the precious metals, flanked, say by a palm-tree, borne aloft on a rock, and presented in the guise of a piece of ornamental plate? But is this even rare? Is it not of constant occurrence? Do you demur? Well, let me ask you a plain question: Of all the nymphs and goddesses, the satyrs, and the tritons, that disport themselves on the ceremonial goldsmithery of the United Kingdom, how many if cast in vulgar plaster, and not in glittering gold, would pass muster before the jury of an average exhibition? And if few, I ask why is this so? In the name of Cellini—nay, in the name of common sense, why? And is it on account of the low ebb of figure modelling for decorative purposes that on our carved furniture—what we mysteriously describe as "art furniture"—the human form is hardly ever seen? Then why is the best talent not enlisted in this work? Certain it is that the absence of living forms imparts to much of the furniture now made in England, unsurpassed as it is in regard to delicacy and finish of handiwork, and frequently elegant in design, a certain look of slightness and flimsy, faddy dilettantism which prevent it from taking that rank in the province of applied art in which it might and should aspire.

But I have, I fear, already unduly drawn upon your patience, and I must bring to a close these too disjointed prefatory words, leaving it to the accomplished gentlemen who head the various sections of this Congress to amplify and enrich as they will out of the wide fund of their knowledge and experience the bald outline I have sketched before you. They, in their turn, taking up, no doubt, our common parable, will emphasise and press on you the fact that by cultivating its æsthetic sense in a more comprehensive and harmoniously consistent spirit than hitherto, and with a clearer vision of the nature of all art and a more catholic receptiveness as to its charms, and by stimulating in a right direction the abundant productive energy which lies to its hand, this nation will not only be adding infinitely to the adornment and dignity of its public and private life, not only providing for itself an increasing and manifold source of delight and renovating repose, mental and spiritual, in a day in which such resting and regenerating elements are more and more called for by our jaded nervous systems, and more and more needed for our intellectual equilibrium, but will be dealing with a subject which is every day becoming more and more important in relation to certain sides of the waning material prosperity of the country. For, as they will no doubt remind you, the industrial competition between this and other countries—a competition, keen and eager, which means to certain industries almost a race for life—runs, in many cases, no longer exclusively or mainly on the lines of excellence of material and solidity of workmanship, but greatly nowadays on the lines of artistic charm and beauty of design. This, to you, vital fact is one which they will, I am convinced, not suffer to fall into the background.

One last word in anticipation of certain objections not unlikely to be raised against an assumption which may seem to be implied in the existence of our Association—the assumption that the evils and shortcomings of which I have spoken with such unsparing frankness can be removed or remedied by the gathering togetherof a number of persons to listen to a series of addresses. The causes of these evils, we may be told, and their antidote, are not on the surface of things, but rest on conditions of a complex character, and are fundamental. "Who," I hear some one say, "is this dreamer of dreams, who hopes to cure by talking such deep-seated evils? Who is this shallow and unphilosophical thinker who does not see that the same primary conditions are operative in making the purchaser indifferent what he gets and the supplier indifferent to what he produces, and who attributes the circumstance that good work is not generally produced in certain forms of industry to the lack of demand, rather than to the deeper-lying fact that suppliers and demanders are of the same stock, having the same congenital failings; and satisfied with the same standards?" My answer to this imaginary, or I ought, perhaps, to say this foreseen objector would be, first, this—that I am not the visionary for whom he takes me, and that I do not believe in the efficacy of words either directly to remedy the state of things I have been deploring, or to create a love of art and a delicate sensitiveness to its charms in those to whom the responsive chords have been refused; neither is the eloquence, trumpet-toned and triumphant, conceivable by me before which the walls of the Jericho of the Philistine shall crumble in abrupt ruin to the ground; least of all do I believe in sudden developments of the human intellect. But it has nevertheless seemed to me, as it has seemed to the framers of this Association, that words, if they be judicious and sincere, may rally and strengthen and prompt to action instincts and impulses which only await a signal to assert themselves—instincts, sometimes, perhaps, not fully conscious of themselves—and that a favouring temperature may be thus created within which, by the operation of natural laws, in due time, but by no stroke of the wand, a new and better order may arise. Neither, indeed, do I ignore the force of my critic's contention that the causes of mischief lie deep, and are not to be touched by surface-tinkering, if they are to be removed at all; although I demur to his pessimistic estimate of them as a final bar to our hopes. It is true that certain specific attributes are, or seem to be, feeble in our race; it is true, too true—I have it on the repeated assurance of apologetic vendors—that with us the ugliest objects—often, oh! how ugly—have the largest market; nevertheless, the amount of good artistic production in connection with industry—I purposely speak of this first—has grown within the last score or so of years, and through the initiative, mind, of a mere handful of enthusiastic and highly gifted men in an extraordinary degree; and in a proportionate degree has the number increased, also, of those who accept and desire it; and this growth has been steady and organic, and is of the best augury. Now, the increase in the number of those who desire good work, and the concurrent development of their critical sensitiveness in matters of taste, stimulate, in their turn, the energies, and sustain the upward efforts, of the producers, and thus, through action and reaction, a condition of things should be slowly but surely evolved which shall more nearly approach that general level of artistic culture and artistic production so anxiously looked for by us all. It is in the hastening of this desired result that we invoke, not your sympathy alone, but your patient, strenuous aid. And if I am further asked how, in my view, this association can best contribute to the furtherance of our common end, I would say, not merely by seeking to fan and kindle a more general interest in the things of art, but mainly by seeking to awaken a clearer perception of the true essence of a work of art, by insisting on the fundamental identity of all manifestations of the artistic creative impulse through whatever channels it may express itself, and by setting forth and establishing this pregnant truth—that whatever degrees of dignity and rank may exist in the scale of artistic productions, according to the order of emotion to which they minister in us, they are in one kind; for the various and many channels through which beauty is made manifest to us in art are but the numerous several stops of one and the same divine instrument.

And if in what I have said I have laid especial stress on that branch of art which is called industrial, it is not solely to develop this cardinal doctrine, neither only because of the pressing, practical, paramount national importance of this part of our subject, but also because I, in truth, believe that it is in a great measure through these very forms of art that the improvement, to which I look with a steadfast faith, will be mainly operated. The almost unlimited area which they cover in itself constitutes them an engine of immense power, and I believe that through them, if at all, the sense of beauty and the love for it will be stimulated in, and communicated to, constantly increasing numbers. I believe that the day may come when public opinion, thus slowly but definitely moulded, will make itself loudly heard; when men will insist that what they do for the gracing and adornment of their homes shall be done also for the public buildings and thoroughfares of their cities; when they will remind their municipal representatives and the controllers of their guilds of what similar bodies of men did for the cities of Italy in the days of their proud prosperity in trade, and will ask why the walls of our public edifices are blank and silent, instead of being adorned and made delightful with things beautiful to see, or eloquent of whatever great deeds or good work enrich and honour the annals of the places of our birth. And lastly, I believe that an art desired by the whole people and fostered by the whole people's desire would reflect—for such art must be sincere—some of the best qualities of our race; its love of Nature, its imaginative force, its healthfulness, its strong simplicity.

And now, ladies and gentlemen, my task is ended. My duties to-night were purely prefatory; my words are but the prologue of the proceedings which begin to-morrow—a prologue which I undertook to speak less from any faith in its possible efficacy than in the belief that the first word spoken at such a time should be heard from the lips of one to whom, from the nature of the office he is privileged to fill, as well as from the whole bent of his mind, everything that concerns art, from end to end of its enchanting field, must be, and is, a source of deep, of constant, and engrossing interest. The curtain is now raised, the stage is spread before you, and I step aside to make room for others, leaving with you the expression of my fervent wish that the hopes which have brought us together in this place may not have been entertained in vain.

LORD LEIGHTON'S HOUSEToC

AND WHAT IT CONTAINS[89]

Preface To Catalogue

Two miles and a quarter from Hyde Park Corner, removed but a few steps from the main thoroughfare between London and Hammersmith, and running parallel to it, is Holland Park Road, facing which stands Lord Leighton's House. "I live in a mews," he used to say. This meant more than a figure of speech merely, though the "mews" in question is very different from a London street mews. Low, odd-shaped, irregular buildings, formerly stables (a few are still used as such), were in Lord Leighton's life converted into studios by artists who wished to cluster around the President of the Royal Academy. These stand in old gardens and are studded at intervals along the road, bordered by trees branching across it, and taking away all idea of its being a London street. Screened by a hedge of closely-cut lime-trees, the Leighton House stands back but a few yards from the pavement. Through a porch and a small outer hall the House is entered. Monsieur Choisy, the distinguished French architect, in his letter to the Times of April the 27th, 1896, written with the view of trying to induce the English nation to rise to the value of preserving this House as a national treasure, writes as follows:—

"Allow me also to point out the original beauty of the house where so many masterpieces are grouped. The French public have been enabled to admire this house through the excellent article of my friend and fellow-member of the R.I.B.A., Mr. Charles Lucas.

"Nowhere have I found in an architectural monument a happier gradation of effects nor a more complete knowledge of the play of light.

"The entrance to the house is by a plain hall that leads to a 'patio,' lit from the sky, where enamels shine brilliantly in the full light; from this 'patio' one passes into a twilight corridor, where enamel and gold detach themselves from an architectural ground of a richness somewhat severe; it is a transition which prepares the eye for a jewel of Oriental art, where the most brilliant productions of the Persian potter are set in an architectural frame inspired by Arab art, but treated freely; the harmony is so perfect that one asks oneself if the architecture has been conceived for the enamels or the enamels for the hall. This gradation, perhaps unique in contemporary architecture, was Leighton's idea; and the illustrious painter found in his old friend Mr. G. Aitchison, who built his house, a worthy interpreter of his fine conception. This hall where colour is triumphant, was dear to Leighton, and even forms the background to some of his pictures. Towards the end of his life he still meant to embellish it by substituting marble for that small part that was only painted. The generous employment of his fortune alone prevented him from realising his intention.

"England has at all times given the example of honouring great men; she will, I am sure, find the means of preserving for art a monument of which she had such reason to be proud."

As is now well known, Lord Leighton's executrixes, his two sisters, have assigned the lease of the property, which has sixty-six years yet to run, to three gentlemen who are members of the committee formed to preserve it for the use and education of the public, in memory of Lord Leighton, and the committee are now tenants at will of the proprietors. Works by Lord Leighton have been collected and placed in the studios and other rooms of the House. A large collection of his drawings and sketches and a few finished paintings have been secured through the generosity of his sisters, Mrs. Sutherland Orr, Mrs. Matthews, and his personal friends, the list of these being headed by the Prince of Wales. This collection of original works numbers 1114, 594 being now framed and hung on the walls. The collection also contains 28 proof engravings from Lord Leighton's principal pictures, presented by those who own the copyrights, i.e. Mrs. James Watney (who has also given an original drawing), the Fine Arts Society, the Berlin Photographic Company, Messrs. Agnew, Graves, Colnaghi, and Tooth. There are also 112 photographic reproductions by Mr. F. Hollyer and Messrs. Dixon, these, with a few exceptions, having been taken for Lord Leighton in his studio. The greater number of these photographs were given to the House by Mr. Wilfred Meynell, Mr. F. Hollyer, and Messrs. Dixon; the remainder by Lord Davey, Sir Henry Acland, Mr. A. Henderson, Mr. Philipson, Mr. A.G. Temple, and Mr. George Smith. The reproductions of completed pictures have been hung on the walls together with the sketches executed for them, in order that the student may realise how Leighton developed the designs he made into finished pictures. When funds permit, the 520 remaining drawings and sketches will be framed, and it is the desire of the committee that, though the Leighton House should always remain the chief centre of the collections, groups of sketches should be lent to exhibitors in the provinces and in the poorer parts of London. In the middle of the centre hall is now placed a reproduction presented by Mr. Brock, R.A., of the bust of Lord Leighton, executed by his sculptor friend—that perfect likeness in bronze of the President placed among the Diploma works in Burlington House. Surrounding this reproduction and lining the walls and staircase are plaques of Oriental designs, pictures in enamel, framed in by a background of Mr. William De Morgan's beautiful blue tiles.[90] The same treatment is continued through the "twilight corridor" leading to the great casket of treasures known as the Arab Hall. In the summer of 1899 the Society of the Library Association was received at the Leighton House, and at the meeting which preceded the conversazione, Lord Crawford, President of the Association, ended the speech he made on the merits and rare gifts of his friend, Lord Leighton, by a reference to the unique value of this casket of treasures. "We often," he said, "see Persian tiles in England. They are chiefly made in England, but they are bought in Persia! A genuine Persian tile is a very rare thing. When you meet it, cherish it!" In this Arab Hall hundreds of these "rare" things are collected, each individually of a quality of uncommon beauty and almost priceless, owing to the fact that large spaces on the walls are filled with these gorgeous tiles, fitted together as originally designed and intended by the Persian artists who invented them. Travellers who went to the East when there was still a chance of buying genuine Persian tiles know how it came about that these could sometimes be procured. The owners of the houses on the walls of which they were placed would become impoverished and were easily induced to sell a single tile to a traveller as a specimen. When the money paid for it was spent and more was wanted, if a second traveller came by another single tile was sold. The first purchaser might have been an Englishman, the second a Frenchman, the third a German, and so on. In this way the several tiles making one design got hopelessly dispersed. Lord Leighton, aided by his friend, Sir C. Purdon Clarke, the Director of the Art Museum, South Kensington, was extraordinarily lucky in obtaining large plaques of tiles intact. "During his visits to Rhodes, to Cairo, and to Damascus," writes Mr. George Aitchison, R.A., "he made a lovely collection of Saracenic tiles, and had, besides, bought two inscriptions, one of the most delicate colour and beautiful design, and the other about sixteen feet long and strikingly magnificent; besides getting some panels, stained glass, and lattice-work from Damascus afterwards; these were fitted into an Arab Hall in 1877." The enamelled tiles made the keynote of this beautiful creation, the Arab Hall, which, to repeat Mr. Choisy's words, forms a harmony "so perfect that one asks oneself if the architecture has been conceived for the enamels or the enamels for the Hall." Round three sides (the fourth being filled by the large inscription) runs a frieze in mosaics, the designs of which are among the most beautiful of those invented by our great English decorator, Walter Crane. Sir C. Purdon Clarke has designated this creation of Lord Leighton's, in which he was so ably assisted by his friend, Mr. George Aitchison, R.A., President of the Royal Society of British Architects, and in which is to be traced that generous delight which Leighton took in all that was good in the art of his contemporaries, as "the most beautiful structure which has been raised since the sixteenth century." It would, alone, make the preservation of the House as an effective medium for education in the beautiful a necessity to any truly art-loving people.

To turn to the collection of Leighton's own paintings, the most complete work secured is the "Clytemnestra from the battlements of Argos watches for the beacon fires that are to announce the return of Agamemnon" (No. 212).

Mr. G.F. Watts, R.A., writes: "I am more pleased than I can say that the picture is possible. It is very fine, a grand pictorial realisation of Greek sculpture and Greek poetry, very noble in form and expression, and singularly fine in the arrangement of drapery. Certainly a better example of Leighton at his happiest could not, I think, be found. It is also especially Leighton."

Mr. Watts has himself presented a finished painting by Leighton—a half-length figure of a man, which is an exquisite piece of work and given to Mr. Watts many years ago by the artist. When presenting it to the House Mr. Watts wrote that it was one of his possessions which he prized the most. Though the collection in Lord Leighton's House is mainly formed of his drawings, the few finished paintings and the several oil sketches of landscape belonging to it are sufficient to show how exquisite was his native sense of colour. The colour in "Clytemnestra" (No. 212) is both true to nature as a presentiment of the moonlight effect and to the dramatic feeling of the subject. The study (No. 110), for one of the heads in "Summer Moon" (No. 272), presented by Mr. Alfred Waterhouse, R.A., and executed actually by the light of the moon in Rome, is notably fine in texture and gives us the origin of that curiously happy note of colour in "Clytemnestra"—the bar of dull red cooled by moonlight. The model wore a scarlet ribbon, or might be, a row of coral beads round her neck while sitting to Leighton for the study, and this evidently gave him what he wanted, and suggested, when he was painting the "Clytemnestra" two years later, the contrast to the greys and blues in the red bar in this picture. Mr. A.G. Temple in his valuable work, "The Art of Painting in the Queen's Reign," alludes to this effect: "A picture low in key, but curiously strengthened by the massive bar of dark red that runs from the bottom to the top of the picture." Very fine colour and texture is seen in the sketch for a design of "St. George and the Dragon" made for some arched space (No. 115), and also in the small oil sketch for "Golden Hours" (No. 5-A), the study for the background of the picture "David" (No. 111), "A pool, Findhorn River" (No. 120), "Rocks in the Findhorn" (No. 123a), "Kynance Cove" (No. 125), "A View in Spain" (No. 122), "Simætha, the Sorceress" (No. 124), "Bay of Naples by Moonlight" (No. 112), are rapid though eminently careful sketches which prove, perhaps even more convincingly than highly-finished works, that in the very grain of his native art instinct was Leighton's delight in beauty of colour. In the sketch (No. 109), "The Entrance of a House," is one of many examples among his paintings which show what a master he was in the art of painting white; really true white, such as we see in marble and whitewashed walls in Greece, Sicily, and Italy. Surely no artist has ever painted more truly or poetically the quality of Southern light as it falls on white walls and columns. "Lieder ohne Worte" is one of several examples of a successful treatment of white marble as a background painted as Leighton could paint it.

It is indeed to be hoped that Leighton's friends who possess any of those oil paintings of landscape, sea, and architecture which lined the walls of the great studio during his life may help in aiding to make his gifts as a colourist more adequately represented in this permanent collection. The above-named works are, one and all, good specimens for the purpose. Whatever key of colour was struck, each of these studies from nature is a faithful and beautiful record of a scene in some lovely part of the world; whether the scene was fair and bathed in southern sunlight, or glowing in rich depths of shadow as in the paintings of the golden-lined interior of St. Mark's, Venice, further enriched by the scintillating texture of mosaic surface.

Leighton's early education, however, especially when he was in Germany, tended more to the development of his gifts as a draughtsman than to his gifts as a colourist; still it is evident that as soon as he began working independently of any master, his love of colour at once asserted itself. At the age of twenty-five his first picture, "The Cimabue Procession" (No. 42), was exhibited at the Royal Academy and purchased by the Queen. Mr. Ruskin criticised it at the time as the work of a colourist. "This is a very important and very beautiful picture," he writes. "It has both sincerity and grace, and is painted on the purest principles of Venetian art.... The great secret of the Venetians was their simplicity. They were great colourists." (See Catalogue for full quotation.) A lengthy description of Leighton's complete pictures would not find an appropriate place in this preface. Those who had the good fortune to see the wonderful collection of his works in 1897 will hardly need to be reminded of the rich and glowing feast of colour enjoyed before such pictures as "Helios and Rhodos," painted 1869 (studies in Collections No. 218), nor the depth and beauty in "Weaving the Wreath"(No. 144), "Antique Juggling Girl" (No. 359), "Moorish Garden: a Dream of Granada" (No. 280), not to mention the splendour and harmony in many of the larger and more intricate compositions. No less beautiful, it will be remembered, was the colouring of pictures in which the scheme was light and fair rather than rich and glowing. In "Winding the Skein" (No. 198), for instance, there is a feeling of morning freshness in its lovely sea and mountain background and white-marble terrace foreground. Though cool and pale the picture is full of colour. Again, in the slightly-turning figure of Psyche, now in the Tate Gallery (No. 59), the exquisite, pearly fairness of flesh tint must ever make this picture a standard of colour as well as of modelling. In its own line it is an achievement in painting that has surely never been surpassed. Almost equally beautiful is the passage in "Venus Disrobing for the Bath" (No. 151), where the line of the figure comes against the sea background. Leighton's native genius might perhaps be most truly described as one allied closely to, and echoing, that of the Greeks in Art, though trained, during a few important years of study, in Germany. The work of his great contemporaries, Rossetti, Millais, and Burne-Jones, might be described as revealing Italian, English, and Celtic sentiment, influenced by the fervour of pre-Raphaelite feeling. Leighton's genius as a colourist will probably be ever more and more appreciated as a partial allegiance to those three great colourists subsides as a fashion merely.

It is quite clear, from the evidence of the earliest studies, that the extraordinary facility evinced in Lord Leighton's drawings was the outcome of natural gifts. No one can study his art without realising very conclusively that he spared neither time nor trouble in order to make it as perfect as it was in his power to make it; but equally evident is it to those who examine his work with artistic and intelligent insight that the great power that he possessed for taking pains was inspired by a joyous, sensitive delight in beauty. The untiring industry which alone could have produced the unparalleled amount of work which he has left was clearly never weighted by any feeling that the toil of study was irksome. On the contrary there is, in every stroke, evidence that a fine delicate sense of beauty, a fervent, spontaneous "sincerity of emotion" (to use Leighton's own expression) was ever present, instigating and propelling the conscientious persistency of his efforts. Whether it be a flower, a face, a figure, a landscape, or but a piece of drapery—there is in every sketch in this collection that convincing stamp on the work which proves that the doing of it interested and delighted the artist; the test, in other words, that the work has in it the true fibre of the most genuine art. It is well to draw attention to this fact, because his abnormal industry has apparently been considered by some to be a sign of his having been deficient in rare and native art instincts. Some there are who hold that the most notable characteristic in Leighton's nature was an extraordinary power of will. That he exercised such a power is undoubtedly true. In no other manner could he have achieved the main purposes of his life, but surely those who knew him best, and who were in the position best to appreciate his art, would say rather that such an exercise of will was used in the service of a still more powerful ingredient, in the truly leading passion of his life, the moving motive of all his labours, i.e. a reverent worship of beauty. Much has been said and written,—even, strange to say, with respect to the great exhibition of his works exhibited at Burlington House in the winter of 1897,—which implies that the scholarly element outweighed the qualities resulting from natural gifts. Happily, the unprejudiced mind of the widest public was not deluded into sparing its praise by unappreciative or unintelligent criticism. Those who had not the opportunity at the Burlington House Exhibition of judging for themselves of the very great qualities Lord Leighton's art possesses, have but to study the collection of drawings in his house in order to realise that his gifts as an artist were as rare and native as was the intellect and splendour of nature which made his personality one of the most striking of his era.

A strong dramatic power is shown in many of Leighton's early designs, and the best examples of these have been secured for this national collection. Of the "Plague in Florence" (project for a picture), a notable example, there is a photograph by Mr. Fred Hollyer (No. 175), taken for Lord Leighton, the original sketch being in South Kensington Museum. The evidence of this power recurs at intervals in the later work in such pictures as "Heracles struggling with Death for the Body of Alcestis" (No. 54), "Electra at the Tomb of Agamemnon" (No. 7), (in this picture the colour carries out the imaginative and truly-felt dramatic instinct with singular power and beauty), "Orpheus and Eurydice" (No. 236), "St. Jerome," "The Last Watch of Hero" (No. 28), "Rizpah" (No. 193), and in the last work exhibited in the Royal Academy after Lord Leighton's death, "Clytie" (No. 27), the sun-loving soul bidding farewell to this world. But in many of the later works, as the artist grew older, as the drama of real life became more absorbing and intricate, as the struggle to sustain the interests of the art of his country fell more and more directly on him individually, he seemed to turn with a sense of relief to the more serene, passive sentiment of such pictures as "Idyll," "Winding the Skein" (No. 198), "Summer Slumber" (No. 94), "The Bath of Psyche," as a contrast to the pressure and restless fever of his active life. The tenderness of feeling, such as is invariably united with the highest manly qualities, finds expression throughout every stage of Leighton's art development, most notably in the drawing and painting of children. (Children had the greatest fascination for him.) In "Elisha and the Shunammite's Son" (No. 207), the tenderness is as touching as it is unobtrusive. "Sister's Kiss" (No. 275), and "Return of Persephone" (No. 53), are both examples in which wholesome, loving, human feeling is depicted with exquisite tenderness. In "Captive Andromache" (No. 21), such feeling in the group of the caressing parents and child is used as a contrast to enforce the loneliness of the captive widow. In "Ariadne abandoned by Theseus: Artemis releases her by Death" (many studies for which are in the collection still unframed), the whole picture breathes a feeling of tenderness which is in a high sense pathetic. In the sketches for "Michael Angelo nursing his Dying Servant" (No. 192), even more than in the completed picture, is seen evidence of the manly tender-heartedness which was a notable characteristic in Leighton's nature.

The hundreds of sketches and drawings now hung on the walls of the Leighton House form a diary of the artist's working life.

Here are records of the earliest student days in Florence in 1842. When twelve years old he studied at the Academy there under Bezzuoli and Servolini. Professor Costa writes of these two masters: "They were celebrated Florentines, excellent good men, but they could give but little light to this star, which was to become one of the first magnitude. Leighton, from his innate kindness, loved and esteemed his old masters much, though not agreeing in the judgment of his fellow-students, that they should be considered on the same level as the ancient Florentines. 'And who have you,' said Leighton one day to a certain Bettino (who is still living), 'who resembles your ancient masters?' And Bettino answered, 'We have still to-day our great Michael Angelos, and Raffaels, in Bezzuoli, in Servolini, in Ciseri.' But this boy of twelve years old could not believe this, and one fine day got into the diligence and left the Academy of Florence to return to England. Although the diligence went at a great pace, his fellow-students followed it on foot, running behind it, crying, 'Come back, Inglesino! come back, Inglesino! come back!' so much was he loved and respected. He did come back, in fact, many times to Italy, which he considered as his second fatherland."

There are also many records of the studies in Germany when Leighton was working under Steinle, of all his masters the one for whom he felt the greatest enthusiasm. The drawing in the collection which shows most clearly the influence of Steinle's teaching, was made on the journey from Frankfort to Rome in 1852. The subject is a monk leading a man away from his enemy and teaching him a lesson in forgiveness. It is signed, "Ulm, F.L., /52" (No. 251).

There is the sketch for the picture which Leighton and one of his fellow-students, Signor Gamba, on that same journey, took it into their heads to paint on the walls of an old ruined castle near Darmstadt. "The schloss," writes Mrs. Andrew Lang, "where this piece was painted is still in ruins, but the Grand Duke has lately erected a wooden roof over the painting to preserve it from destruction." While still at Frankfort, Leighton had begun the design for the "Cimabue's Procession" (No. 42). In the collection we find the drawing of the first design. For extraordinary precision of outline and graceful arrangement of moving figures, this is one of the most remarkable on the walls. We have also the study of the head in pencil for the figure of Dante in the right-hand corner of the picture (No. 42-B), (given by Canon Rawnsley), and a large study in water-colour and pencil of the woman seated at the window (given by Mr. J.A. Fuller Maitland) (No. 42-C). Hanging near these is a very finely pencilled head of that boy whom Leighton called "The prettiest and the wickedest boy in Rome." On it is written "Vincenzo—Roma, 1854, F.L." Another, on which is written "Venezia, 1856, F.L.," is, for strength of character and beauty combined, one of the most powerful in the collection (purchased by a donation given by Lord Rosebery). These are a few out of fifty drawings of heads in the House, executed for the main part, between the years 1852 and 1856. There are many records in landscape and street scenes of Leighton's journeying to Capri, Athens, Rhodes, Damascus, and Algeria. Of the drawings made during his stay in Algeria (presented to the House by Mr. Walter Derham) (Nos. 284 and 285), Mr. Pepys Cockerell wrote in his interesting article which appeared in the Nineteenth Century, "The finest of all, except the famous 'Lemon Tree,' which is in silver point, and was done in 1859, are the products of a visit to Algeria in 1857. I do not believe that more perfect drawings, better defined or more entirely realised, than these studies of Moors, of camels, &c., were ever executed by the hand of man.... They are not particularly summary, nor do they look as if they had been done in a moment, or without trouble. The drawings in question are as complete as if they came from the hand of Lionardo or Holbein."

Among the most perfect drawings Lord Leighton has left, are also the studies from flowers and foliage. Professor Aitchison writes: "One day I found him (Leighton) drawing the flower of the pumpkin, and he said flowers were quite as hard to draw as human heads, if you drew them conscientiously, but doing that rested with yourself, for there could be no critics. He said of drawing that the great thing was to thoroughly understand the structure, and that then, by patience and labour, you could express the outline and the modelling. In 1859, while at Capri, he drew the celebrated 'Lemon Tree,' working from daylight to dusk for a week or two, and giving large details in the margin of the snails on the tree." Mr. Ruskin writes: "Two perfect early drawings are of 'A Lemon Tree,' and another of the same date, of 'A Byzantine Well,' which determine for you without appeal the question respecting necessity of delineation as the first skill of a painter. Of all our present masters, Sir Frederic Leighton delights most in softly-blended colours, and his ideal of beauty is more nearly that of Correggio than any since Correggio's time. But you see by what precision of terminal outline he at first restrained and exalted his gift of beautiful vaghezza."

Of this drawing of "A Lemon Tree," now in the Oxford Museum, lent by Mr. Ruskin, Sir Henry Acland has given a singularly fine photograph, very nearly the size of the original. Lord Leighton gave Mr. Ruskin for his life this wonderful drawing of "A Lemon Tree" to hang in his Oxford Museum, that it might serve to impede, if possible, the increasing wrong-headedness in study—the careless conceit, the irreverent dash, the incompetent confidence of many modern students.

How Leighton's theories as to the manner in which flowers should be drawn were carried out, is exemplified by two wonderful studies of the said pumpkin flower (Nos. 97 and 104), and fifty other studies from flowers and plants in this collection. This artist in his early twenties, brilliant in society, full of intellectual and every other kind of vitality, could nevertheless sit for hours perfecting the study of a flower or a plant. One who knew him well in 1854 and 1855, wrote in the Times of 28th January 1896, three days after Leighton's death: "I remember hearing a relative of his, a clergyman, deplore in 1854, the persistency with which Leighton was throwing away his chances in life to become a mere artist." Five years previously, Leighton had embodied in a design, now in his house, the longing, the home sickness, the Sehnsucht he felt for his own true much-loved vocation. It is in the drawing of Giotto as a boy lying among his sheep upon a bank (No. 227). Below the sketch, in Leighton's handwriting, are the words "Giotto, Sehnsucht." The same writer continues: "I enjoyed constant intercourse with him during the whole of 1854 and to the middle of 1855. The summer of the former year we passed at the Baths of Lucca, dining together every day for three months. Finding the solitary splendour of the hotel at 'Villa' irksome, he suggested that we should mess together in my lodgings, which happened to be close to a little restaurant. In after years, meeting in London houses, we always referred with pleasure to the modest, but always wholesome and cleanly feasts that Lucrezia, landlady, chef, and waitress, supplied us with at an almost nominal cost. To me, at least, that period was one of great value and interest, for it gave me the opportunity of studying the character of one whose personality was attractive in no small degree. He was the most brilliant man I ever met.... He longed for and desired success: but only in so far as he deserved it. When he was sharply checked in his upward career, he accepted the rebuke with humility, for he was a modest man.[91] I had not met him for years when, coming into contact with him, I told him how keen the interest had been with which I had watched his progress. 'I am not satisfied,' he answered; 'I alone know how far I have fallen short of my ideal.'" In his House are two records of this visit to the Bagni di Lucca. One has been presented by Mr. J. MacWhirter, R.A. (No. 249). It is a highly finished drawing of a wreath of leaves exquisitely executed. On the same sheet is a drawing of a vine in fruit, and in Leighton's own writing "Pomegranate Lucca Bagni Villa."

No work in the collection evinces the precision and exact truthfulness of Leighton's drawing better than the outline copies from pictures and frescoes by V. Carpaccio, Giorgione, Simone Memmi and Signorelli made in 1852-53. In the copy from the fresco in the Capella Spagnuola, Sta. Maria Novella, Florence (No. 292), we have the portraits of Cimabue, Giotto, Taddeo Gaddi and Simone Memmi whose work it is.[92] The accuracy of the copy and the difficulty of making a copy at all, can hardly fully be realised, save by one who has attempted also to repeat the fading outlines of these dim frescoes in the only half-lighted chapel. Slight and ineffective as Leighton's drawing may appear at a first glance, it is, on further acquaintance, found to be an exquisite piece of work. The absolute truth and precision with which in pencil lines, on a small scale, he has unravelled the outlines of the dim forms, and has depicted the quaint seriousness of these old-world Italian countenances, makes this copy an extraordinary feat of eye and hand. From this drawing he designed the dress of Cimabue for the figure in his large picture, and also for the Cimabue in the South Kensington Mosaic. Written by Leighton above the pencil drawing are the words: "Simone Memmi Capella Spagnoli (St. Maria Novella, Florence), Taddeo Gaddi white and gold cap, Giotto gold and sea green, Cimabue gold flowers on white ground, Sim. Memmi with grey beard, head dress, yellow hood with black lining, Florence, 1853, F.L."

A study in brown (water-colour) (No. 91) signed "Florence, 1854, F.L.," was used by Leighton forty years after it was made in his background for "Lachrymæ" (No. 147), an engraving of which was given to the collection by Messrs. A. Tooth. The same study was also used for a charming design, highly finished in pencil and Chinese white, apparently executed for a book illustration, which is now in the House. One of the most beautiful of the foliage studies tells of a happy day "Near Bellosguardo, Sept./56." (No. 171). It is a perfect and highly-finished study of a vine. What joy Leighton must have had while looking at this exquisite thing in the September sunshine on that delicious Bellosguardo height! A butterfly and a bee were minutely pencilled on the paper as they flew round the vine-leaves as he drew them. "Cyclamen Tivoli, Oct./56." is written on another of these tiny treasures. "Aloes Pampl. Doria," "Pyrte Roma," "Thistle Rhodes," "Lindos/67 Asphodel," "Thistle Banks of Tiber, stalk light warm brown, leaf dark cld. brown, flow. dsk. warm brown, Roma/56," are notes on some of these pages of studies, which can only be said to compare with the work of a Leonardo or an Albert Dürer. There is absolutely no mannerism traceable; there is Nature's own quality of style. There is nothing slovenly in Nature, there is as surely nothing slovenly in Lord Leighton's art. The gift which in these modern days is perhaps most rare is a sense of style. Leighton's feeling for style was as much a part of his individual and native taste as was his delight in any other quality of beauty in Nature. Indeed what we call style in art is but the reflection of the same quality in Nature herself, the love which adds to the more oblivious facts of Nature a further quality of truth, a completer insight into her. Leighton possessed a sculptor's feeling for form. It was his subtle grasp of truth in structure which gives a special value to his outline drawings. The keen sensitiveness to the right character of the form, to which his pencil outline was the limit, influenced the quality of his touch as he portrayed that limit. He felt things "in the round" as solid projections in various planes, advancing or receding from the eye. As in the best sculpture, to every aspect of the solid form you get a fine, subtle, absolutely clear outline; so in Leighton's drawing of a contour, never is there any vague or undecided passage. This insures to his work the quality of distinction. These studies have, one and all, that quality. They are distinguished, as are fragments of the best Greek sculpture. Every born artist falls in love specially with one class of sentiment in Nature. Whether his special gifts guide his passion, or his passion his gifts, who can say? Probably each urges the other. The special note of beauty in Nature which excited Leighton's deepest enthusiasm was the quality which is most like that in a shell. In the pumpkin flowers in the study given by Mr. Hamo Thornycroft of "Kalmia Califolia," and in many others, is recalled notably the fine, pure, carved distinctness of the forms in a shell—the shell that contains the form and colour that at once delights the sense both of the painter and the sculptor. In the oil sketches by Leighton, those poems of Southern sunlight and colour, records of voyages in the Ægean seas, and off the coasts and islands of Greece and Asia Minor, we again recall the special beauty in the quality and colour of a shell, the rainbow tints in mother-of-pearl, the faint translucence trembling in a sheen of light.

In gauging the exceptional quality of the gifts which all these studies evince it will be well to remember that Leighton, at the time they were made, was under no influence but that of his own high standard, and led by no lights save those of his own exquisitely delicate perceptions. For the last twenty or thirty years detail in Nature—vegetation and Nature which is called "still life"—has been truthfully popularised by photography, so that now all students have it in their power to study from such detail treated on a flat surface. Beauty of natural structure and grace of line rendered with right perspective on a sheet of paper can be enjoyed and made use of by every artist. Many do avail themselves of photographs to carry out and complete the details of their pictures. But when Leighton made these wonderful drawings no such standards of elaborate finish of detail had been diffused. Nor had he joined, nor in any way come under the influence of the Pre-Raphaelite Brotherhood, nor received any inspiration from the teaching of Mr. Ruskin. Though we may truly liken these studies from "still life" to those by Leonardo as regards the truthful perfection of copies from Nature, there is no evidence in Leighton's drawings that the work, even of the great, much-revered-by-him Italian masters had influenced him when drawing from Nature. On the contrary, there is the strong stamp of his own peculiar genius on all of them, the stamp that proves rather that he saw and loved Nature as a Greek would have seen and loved her. Essentially Greek-like was the attitude in which Leighton approached Nature, i.e. with an emotion ever ardent in its intensity; but as ever restrained by the rare gift—the sense of style and of the right balance and proportion necessary in treating worthily the beauties of Nature in the language of art. Indeed, it may truly be affirmed that Leighton was made more like a Greek than like an Englishman as regarded his artistic powers, English though he was to the backbone in feeling and sentiment. The effect produced by that collected exhibition of his works in 1897 was, beyond all other effects, that of achievement; and achievement which was the result of a perfect mastery and grasp of aims meant to be achieved from the first to the last touch on the canvas. Leighton was far too great an artist ever to be satisfied with the results of his labour. Those who knew him best can testify to his terrible depressions and disappointments. Still, there was no "muddling through," to use Lord Rosebery's expression, such as so many English artists confess to in reaching the final result. Greek-like, Leighton saw everything in a definite, clearly outlined view, and, from the beginning to the end, his work was one direct forwarding of his purpose.

In 1860, Leighton migrated to his studio in Orme Square, Bayswater. The collection possesses several drawings made about that time, notably the studies for "Lieder ohne Worte" (No. 36). His young friend, now the well-known portrait-painter, Mr. Hanson Walker, sat for the head in the picture: "A Crowded Scene in Florence" (No. 198), a design full of interest and movement, was the gift to the House of this friend of Leighton's, who, at his instigation, took up art as a profession. In 1866 Leighton moved from Orme Square to the House he had built in Holland Park Road, and there we can now follow his yearly labours by studying the sketches and drawings made for all the well-known famous pictures of the last thirty years, till we come to the last—to that passionate appealing figure of Clytie (No. 27), drawn after the fatal warning had been given. The motive is the same as that of the first design—the early design of the "Giotto" (No. 227), (made very nearly fifty years before), i.e. "Sehnsucht"—not the dreamy half-conscious Sehnsucht of the awakening artist-nature as is seen in the boy Giotto—but the passionate longing to remain in the rich existence that rare gifts and noble affections had secured for that artist-nature. After the studies for "Clytie" there but remain those made for pictures never to be painted, till we reach at last the drawings made on the 22nd of January 1896 (No. 268), the last day on which Leighton worked. Three days after, on the following Saturday, he died.

The object of the Committee is to make this House and its treasures a centre for Art in the Parish of Kensington, where Lord Leighton lived for thirty years. During seventeen of these years he was the President of the Royal Academy, and, by common consent, the greatest President that institution has ever had. The South Kensington Museum is not in the parish, and, though this is one of the richest in London, Kensington proper has no centre of Art, and is sufficiently far removed from the centre of the metropolis to make it important that it should possess such a centre. Since October 1898, the Committee has arranged for Concerts, Lectures, and Readings to take place in the Studios, and the public is now enlightened as to the exceptional acoustic qualities the Studios possess, a fact for long recognised by Leighton's personal friends at the yearly concerts he gave to them when his pictures were ready for the Royal Academy. It is proposed to add to the contents of the House an Art Library, and for this many valuable volumes are waiting to be presented for the book-shelves to contain them. The present proprietors are prepared to hand over the house and all it contains to any public body who will engage to maintain it and to meet the views of the Committee as to the use of the House. As a memorial to Lord Leighton, the most suitable use will be, they feel, to devote it to the furtherance of the interests of Art of the best in all lines and among all classes; in fact to continue in his own home the culture of that "sweetness and light" which emanated so notably from his own nature. To conclude with words written by his old and very intimate friend, Professor Costa, with whom he spent his last holiday in the autumn before he died: "Leighton solved certain problems which appeared insoluble. For instance, he combined a life at high pressure with the most exquisite politeness—truth with poetry, an iron will with the tenderness of a mother's heart, high aims with a practical life and with the worship of beauty, the ardour of which was only equalled by its purity."

E.I.B.

FOOTNOTES:

LIST OF DIGNITIES AND HONOURS CONFERRED ON FREDERIC LEIGHTONToC

Knighted, 1878; created a Baronet, 1886; created Baron Leighton of Stretton, 1896; elected Associate of the Royal Academy, 1864; Royal Academician, 1869; President of the Royal Academy, 1878; Hon. Member, Royal Scottish Academy, and Royal Hibernian Academy, Associate of the Institute of France, President of the International Jury of Painting, Paris Exhibition, 1878; Hon. Member, Berlin Academy, 1886; also Member of the Royal Academy of Vienna, 1888; Belgium, 1886; of the Academy of St. Luke, Rome, and the Academies of Florence (1882), Turin, Genoa, Perugia, and Antwerp (1885); Hon. D.C.L., Oxford, 1879; Hon. LL.D., Cambridge, 1879; Hon. LL.D., Edinburgh, 1884; Hon. D. Lit., Dublin, 1892; Hon. D.C.L., Durham, 1894; Hon. Fellow of Trinity College, London, 1876; Lieut.-Colonel of the 20th Middlesex (Artist's) Rifle Volunteers, 1876 to 1883 (resigned); then Hon. Colonel and Holder of the Volunteer Decoration; Commander of the Legion of Honour, 1889; Commander of the Order of Leopold; Knight of the Prussian Order "pour le Mérite," and of the Coburg Order Dem Verdienste.

LIST OF PRINCIPAL WORKSToC

With Date and Place of Exhibition.[93] Corrected and amplified from "Frederic, Lord Leighton, His Life and Work," by Ernest Rhys.

1850 (circa). *Cimabue finding Giotto in the fields of Florence. (49½ × 37 inches.) Steinle Institute (Frankfort).

1850. The Duel between Romeo and Tybalt. (37 × 50 inches.)

1851 (circa). The Death of Brunelleschi. Steinle Institute.

1851. [Early Portrait of Leighton by Himself.]

1852. *A Persian Pedlar.

1852. [Buffalmacco, the Painter. A humorous subject, from Vasari, was undertaken about this date.] See Sketch in water-colour, Leighton House Collection.

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 Lappo, Taddeo Gaddi, Andrea Tafi, Niccola Pisano, Buffalmacco, and Simone Memmi; in the corner, Dante. (87½ × 205 inches.) R.A.[94] Purchased by H.M. Queen Victoria, Buckingham Palace. See Sketches, Leighton House Collection.

1855. The Reconciliation of the Montagues and Capulets over the dead bodies of Romeo and Juliet. Paris International Exhibition.[95]

1856. The Triumph of Music. (80 × 110 inches.) R.A. Painted in Paris.

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

1856. Pan. [A subject from Keats' Hymn to Pan, in the first book of "Endymion."] Painted in Paris. A figure of Pan under a fig-tree, with this inscription:—

1856. Venus. [A pendant to the Pan.] The figure of a nude nymph about to bathe, with a little Cupid loosening her sandal. Exhibited at the Manchester Exhibition and sent to America after. Painted in Paris.

1857. *Salome, the daughter of Herodias. (44½ × 25 inches.) See Sketch, Leighton House Collection.

1858. *The Mermaid (the fisherman and the syren). (From a ballad by Goethe.) (26½ × 18½ inches.) R.A.

1858. "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 the bed."—Romeo and Juliet, Act iv. sc. 5. (26½ × 18½ inches.) R.A.

1858. Reminiscence of Algiers: A Negro Dance. (Water-colour.) Suffolk Street Gallery.

1859. Sunny Hours. R.A.

1859. *Roman Lady (La Nanna). R.A.

1859. *Nanna (Pavonia). R.A.

1859. Samson and Delilah. S.S. See Sketches, Leighton House Collection.

1860. Capri—Sunrise. R.A.

1861. *Portrait of Mrs. Sutherland Orr [Mrs. S.O., a Portrait]. (28 × 18 inches.) R.A.

1861. *Portrait of John Hanson Walker, Esq. (23 × 17 inches.) Owner, H.M. The King. R.A.

1861. Paolo e Francesca. See Sketch, Leighton House Collection.

1861. A Dream.

1861. Lieder ohne Worte. R.A. See Sketches, Leighton House Collection.

1861. J.A. A Study. R.A.

1861. Capri—Paganos. R.A.

1862. Odalisque. R.A.

1862. *The Star of Bethlehem. (60 × 23½ inches.) 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. See Sketches, Leighton House Collection.

1862. Sisters. R.A.

1862. *Michael Angelo Nursing his Dying Servant. (43 × 36 inches.) R.A. See Sketches, Leighton House Collection.

1862. Duett. R.A.

1862. Sea Echoes. R.A.

1862. Rustic Music. R.A.

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. See Sketches, Leighton House Collection.

"Hast thou killed, and also taken possession?"

1863. *Eucharis. (A Girl with a Basket of Fruit.) (32½ × 22 inches.) R.A.

1863. A Girl Feeding Peacocks. R.A. See Sketch, Leighton House Collection.

1863. An Italian Crossbowman. (51 × 24½ inches.) R.A.

1864. Dante at Verona. R.A. See Sketches, Leighton House Collection.

1864. *Orpheus and Eurydice. (49 × 42 inches.) R.A. See Sketches, Leighton House Collection.

1864. *Golden Hours. (36 × 48 inches.) R.A. See Sketches in oil and chalk, Leighton House Collection.

1864. *Portrait of the late Miss Lavinia I'Anson. (Circular, 12½ inches.)

1865. *David. (37 × 47 inches.) R.A. See Sketches, Leighton House Collection.

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

1865. Mother and Child. R.A.

1865. Widow's Prayer. R.A.

1865. Helen of Troy. R.A.

1865. In St. Mark's. R.A.

1866. Painter's Honeymoon. R.A. See Sketch, Leighton House Collection.

1866. Portrait of Mrs. James Guthrie. R.A.

1866. Syracusan Bride leading wild beasts in procession to the Temple of Diana. (Suggested by a passage in the second Idyll of Theocritus.) R.A. See Sketches, Leighton House Collection.

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

1866. A Noble Lady of Venice. (Not exhibited till 1897.)

1866. The Wise and Foolish Virgins. (Fresco in Lyndhurst Church, finished 1864.) See Sketches, Leighton House Collection.

1867. *Pastoral. (51½ × 26 inches.) R.A. See Sketch, Leighton House Collection.

1867. *Greek Girl Dancing. (Spanish Dancing Girl; Cadiz in the old times.) (34 × 45 inches.) R.A.

1867. Knuckle-Bone Player. R.A.

1867. *Roman Mother. (24 × 19 inches.) R.A.

1867. *Venus disrobing for the Bath. (79 × 35½ inches.) R.A.

1867. *Portrait of Mrs. John Hanson Walker. (18 × 16 inches.)

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."

1868. *Portrait of Mrs. Frederick P. Cockerell. (23½ × 19½ inches.) R.A.

1868. *Portrait of John Martineau, Esq. (23½ × 19½ inches.) R.A.

1868. *Ariadne abandoned by Theseus; Ariadne watches for his return; Artemis releases her by death. (45 × 62 inches.) R.A. See Sketches, Leighton House Collection.

1868. *Acme and Septimius. (Circular, 37½ inches.) R.A.

1868. *Actæa, the Nymph of the Shore. (22 × 40 inches.) R.A. See Sketches, Leighton House Collection.

1869. *S. Jerome. (Diploma work, deposited in the Academy on his election as an Academician.) (72 × 55 inches.) R.A.

1869. *Dædalus and Icarus. (53½ × 40½ inches.) R.A. See Sketches, Leighton House Collection.

1869. *Electra at the Tomb of Agamemnon. (59½ × 29 inches.) R.A.

1869. *Helios and Rhodos. (65½ × 42 inches) R.A. See Sketches, Leighton House Collection.

1870. A Nile Woman. (21½ × 11½ inches.) R.A.

1870. Study. S.S.

1871. *Hercules Wrestling with Death for the Body of Alcestis. (54 × 104½ inches.) R.A. See Sketches, Leighton House Collection.

1871. Greek Girls picking up Pebbles by the shore of the Sea. R.A. See Sketch, Leighton House Collection.

1871. *Cleoboulos instructing his daughter Cleobouline. (24 × 37½ inches.) R.A.

1871. View of Assiout (?). (A sketch.) S.S.

1871. Sunrise at Lougsor. (A sketch.) S.S.

1871. View of the Red Mountains near Cairo. (A sketch) S.S.

1872. *After Vespers. (43 × 27½ inches.) R.A. See Sketch, Leighton House Collection.

1872. *Summer Moon. (Guildhall, 1890.) (39½ × 50½ inches.) R.A. See Sketches, Leighton House Collection.

1872. Portrait of the Right Hon. Edward Ryan, Secretary of the Dilettante Society, for which the picture was painted. (S.P.P., 1893.) R.A.

1872. A Condottiere. R.A. See Sketch, Leighton House Collection.

1872. *The Industrial Arts of War, at the International Exhibition at South Kensington. (Monochrome, 76 × 177 inches.) Carried out in fresco on the wall of the Victoria and Albert Museum. R.A. See Sketches, Leighton House Collection.

1872. The Captive. S.S.

1872. An Arab Café, Algiers. S.S.

1873. *Weaving the Wreath. (Guildhall, 1895.) R.A.

1873. Moretta. (Guildhall, 1894.) (20½ × 14½ inches.) R.A.

1873. The Industrial Arts of Peace. (Monochrome, 76 × 177 inches.) Carried out in fresco on the wall of the Victoria and Albert Museum. R.A. See Sketches, Leighton House Collection.

1873. A Roman. S.S.

1873. Vittoria. S.S.

1874. *Moorish Garden: A Dream of Granada. (Guildhall 1895.) (41 × 40 inches.) R.A.

1874. Old Damascus: Jews' Quarter. R.A.

1874. *Antique Juggling Girl. (Guildhall, 1892.) (41½ × 24 inches.) R.A. See Sketch, Leighton House Collection.

1874. Clytemnestra from the battlements of Argos watches for the Beacon Fires which are to announce the return of Agamemnon. R.A. Leighton House Collection. See also Sketches, Leighton House Collection.

1874. Annarella, Ana Capri. D.G.

1874. Rubinella, Capri. D.G.

1874. Lemon Tree, Capri. D.G.

1874. West Court of Palazzo, Venice. D.G.

1875. *Portion of the Interior of the Grand Mosque of Damascus. (62 × 47 inches.) R.A.

1875. *Portrait of Mrs. H.E. Gordon. (35½ × 37 inches.) R.A.

1875. *Little Fatima. (15½ × 9¼ inches.) R.A.

1875. Venetian Girl. R.A.

1875. *Egyptian Slinger. (Eastern slinger scaring birds in harvest time: Moonrise.) (Guildhall, 1890.) R.A. See Sketches, Leighton House Collection.

1875. Florentine Youth. S.S.

1875. Ruined Mosque in Damascus. S.S.

1876. *Portrait of Sir Richard Francis Burton, K.C.M.G. (Portrait of Captain Richard Burton, H.M. Consul at Trieste.) (23½ × 19½ inches.) (Paris, 1878; Melbourne, 1888; S.P.P., 1892.) R.A. National Portrait Gallery.

1876. *The Daphnephoria. (89 × 204 inches.) 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. See Sketches, Leighton House Collection.

1876. Teresina. R.A.

1876. Paolo. R.A.

1877. *Music Lesson. (36½ × 37-1/8 inches.) (Paris, 1878.) R.A.

1877. *Portrait of Miss Mabel Mills (The Hon. Mrs. Grenfell). (23 × 19 inches.) R.A.

1877. *An Athlete Strangling a Python.[96] Bronze. (Paris, 1878.) R.A. See Sketch in plaster, Leighton House Collection, presented by G.F. Watts, O.M.

1877. *Portrait of H.E. Gordon. (23½ × 19 inches.) G.G.

1877. An Italian Girl. G.G.

1877. *Study. (A little girl with fair hair, in a pink robe.) (24 × 28 inches.) R.A.

1877. A Study. G.G.

1878. *Nausicaa. (57½ × 26½ inches.) (Guildhall, 1896.) R.A. See Sketches, Leighton House Collection.

1878. Serafina. R.A.

1878. *Winding the Skein. (39½ × 63½ inches.) R.A. See Sketch, Leighton House Collection.

1878. A Study. R.A.

1878. *Portrait of Miss Ruth Stewart Hodgson. (50½ × 35½ inches.) G.G.

1878. Study of a Girl's Head. G.G.

1878. Sierra: Elviza in the distance, Granada. S.S.

1878. The Sierra Alhama, Granada. S.S.

1879. Biondina. R.A.

1879. Catarina. R.A.

1879. *Elijah in the Wilderness. (91 × 81½ inches.) R.A. (Paris, 1878.) Corporation of Liverpool. See Sketches, Leighton House Collection.

1879. Portrait of Signor G. Costa. R.A.

1879. Amarilla. R.A.

1879. A Study. R.A.

1879. Portrait of the Countess Brownlow. R.A.

1879. *Neruccia. (19 × 16 inches.) R.A.

1879. A Study. S.S.

1879. The Carrara Hills. S.S.

1879. A Street in Lerici. S.S.

1879. Via Bianca, Capri. G.G.

1879. Archway in Algiers. G.G.

1879. Ruins of a Mosque, Damascus. G.G.

1879. Study of a Donkey. G.G.

1879. On the Terrace, Capri. G.G.

1879. Sketch near Damascus. G.G.

1879. View in Granada. G.G.

1879. Study of a Donkey, Egypt. G.G.

1879. Study of a Head. G.G.

1879. Nicandra. G.G.

1880. *Sister's Kiss. (48 × 21½ inches.) R.A. See Sketch, Leighton House Collection.

1880. *Iostephane. (37 × 19 inches.) R.A.

1880. The Light of the Harem. (60 × 33 inches.) R.A.

1880. Psamathe. (36 × 24 inches.) R.A.

1880. *The Nymph of the Dargle (Crenaia). (29½ × 10 inches.) R.A.

1880. Rubinella. G.G.

1880. The Pozzo Corner, Venice. Winter Exhibition. G.G.

1880. Jack and his Cider Can. Winter Exhibition. G.G.

1880. The Painter's Honeymoon. Winter Exhibition. G.G.

1880. Winding of the Skein (with sketch). Winter Exhibition. G.G.

1880. Head of Urbino. Winter Exhibition. G.G.

1880. Steps of the Bargello, Florence. Winter Exhibition. G.G.

1880. A Contrast. Winter Exhibition. G.G.

1880. Garden at Capri. Winter Exhibition. G.G.

1880. Twenty-nine Studies of Heads, Flowers, and Draperies. Winter Exhibition. G.G.

1881. Elisha raising the son of the Shunammite. (32 × 54 inches.) (Guildhall, 1895.) R.A. See Sketches, Leighton House Collection.

1881. Portrait of the Painter.[97] R.A.

1881. *Idyll. (41½ × 84 inches.) R.A. See Sketches in oil and chalk, Leighton House Collection.

1881. *Portrait of Mrs. Stephen Ralli. (48 × 33 inches.) R.A.

1881. *Whispers. (48 × 30 inches.) R.A. See Sketch, Leighton House Collection.

1881. Viola. R.A.

1881. *Bianca. (18 × 12½ inches.) R.A.

1881. Portrait of Mrs. Algernon Sartoris. G.G.

1882. *Day-Dreams. (47½ × 35½ inches.) R.A.

1882. Wedded. R.A. See Sketches, Leighton House Collection.

1882. Phryne at Eleusis. (86 × 48 inches.) (Melbourne, 1888.) R.A. See Sketches, Leighton House Collection.

1882. Antigone. R.A.

1882. "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. The Tate Gallery. See Sketches, Leighton House Collection.

1882. Melittion. R.A.

1882. *Portrait of Mrs. Mocatta. (23½ × 19½ inches.)

1882. Zeyra. G.G.

1883. The Dance: decorative frieze for a drawing-room in a private house. R.A. See Sketches, Leighton House Collection.

1883. *Vestal. (24½ × 17 inches.) R.A.

1883. *Kittens. (48 × 31½ inches.) R.A.

1883. Memories. R.A.

1883. Portrait of Miss Nina Joachim. (16 × 13 inches.)

1884. *Letty. (18 × 15½ inches.) R.A.

1884. *Cymon and Iphigenia. (64 × 129 inches.) (Berlin, 1885.) R.A. See Sketches, Leighton House Collection.

1884. A Nap. R.A.

1884. Sun Gleams. R.A.

1885. ..."Serenely wandering in a trance of sober thought." ... (46 × 27 inches.) R.A.

1885. Portrait of the Lady Sybil Primrose. R.A.

1885. *Portrait of Mrs. A. Hichens. (26½ × 20½ inches.) R.A.

1885. Music: a frieze. R.A. See Sketches, Leighton House Collection.

1885. Phœbe. (Manchester, 1887.) R.A.

1885. A Study. G.G.

1885. Tombs of Muslim Saints. S.S.

1885. Mountains near Ronda Puerta de los Vientos. S.S.

1886. Painted decoration for the ceiling of a music-room.[98] (7 × 20 feet.) R.A. See Sketches, Leighton House Collection.

1886. Gulnihal. R.A.

1886. *The Sluggard. Statue, bronze. R.A. Presented to the Tate Gallery by Sir Henry Tate. See Statuette, Leighton House Collection.

1886. *Needless Alarms. Statuette. R.A. See Bronze, Leighton House Collection.

1887. *The Jealousy of Simœtha, the Sorceress. (35 × 55½ inches.) R.A. See Sketch, Leighton House Collection.

1887. *The Last Watch of Hero. (62½ × 35½ inches, with predella 12½ × 29½ inches.) R.A. Corporation of Manchester. See Sketch, Leighton House Collection.

1887. [Picture of a little girl with golden hair, and pale blue eyes.]

1887. *Design for the reverse of the Jubilee Medallion. (Executed for Her Majesty Queen Victoria's Government.) R.A. See Sketches, Leighton House Collection.

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

1888. *Captive Andromache. (77 × 160 inches.) R.A. Corporation of Manchester. See Sketches, Leighton House Collection.

1888. *Portrait of Amy, Lady Coleridge. (42 × 39½ inches.) (S.P.P., 1891.) R.A.

1888. *Portraits of the Misses Stewart Hodgson. (47 × 39½ inches.)

1888. Four Studies. R.W.S.

1888. Five Studies. S.S.

1889. *Sibyl. (59 × 34 inches.) R.A. See Sketches, Leighton House Collection.

1889. *Invocation. (54 × 33½ inches.) R.A.

1889. Elegy. R.A.

1889. Greek Girls playing at Ball. (45 × 78 inches.) R.A. See Sketches, Leighton House Collection.

1889. *Portrait of Mrs. Francis A. Lucas. (23½ × 19½ inches.) R.A.

1890. Solitude. R.A.

1890. *The Bath of Psyche.[99] (75 × 24½ inches.) R.A. See Sketches, Leighton House Collection.

1890. *Tragic Poetess. (63 × 34 inches.) R.A. See Sketches, Leighton House Collection.

1890. *The Arab Hall. (33 × 16 inches.) (Guildhall, 1890.) R.A.

1891. *Perseus and Andromeda. (91½ × 50 inches.) R.A. See Sketches, Leighton House Collection.

1891. *Portrait of A.B. Freeman-Mitford, Esq., C.B. (46¼ × 38½ inches.) R.A.

1891. *Return of Persephone. (79 × 59½ inches.) R.A. Corporation of Leeds. See Sketches, Leighton House Collection.

1891. Athlete Struggling with a Python. Group, marble. R.A.

1892. *"And the sea gave up the dead which were in it." (Circular, 93 inches.) R.A. See Sketches, Leighton House Collection.

1892. At the Fountain. (49 × 37 inches.) R.A.

1891. *The Garden of the Hesperides. (Circular, 66 inches.) (Chicago, 1893; Guildhall, 1895.) R.A. See Sketches, Leighton House Collection.

1892. Bacchante. R.A. See Sketches, Leighton House Collection.

1892. *Clytie. (32½ × 53½ inches.) R.A.

1892. Phryne at the Bath. (24 × 12 inches.) S.S. See Sketches, Leighton House Collection.

1892. Malin Head, Donegal. S.S.

1892. St. Mark's, Venice. S.S.

1892. Interior of St. Mark's, Venice. S.S.

1892. The Doorway, North Aisle, Venice. S.S.

1892. Rizpah (the small study in oils). (7 × 7 inches.) S.S.

1893. *Farewell! (63 × 26½ inches.) R.A.

1893. *Hit! (29 × 22 inches.) R.A. See Sketches, Leighton House Collection.

1893. Atalanta. (26½ × 19 inches.) R.A.

1893. Rizpah. (36 × 52 inches.) R.A. See Sketches, Leighton House Collection.

1893. Corinna of Tanagra. (47½ × 21 inches.) R.A.

1894. *The Spirit of the Summit. (77½ × 39½ inches.) R.A. See Sketches, Leighton House Collection.

1894. *The Bracelet. (59½ × 23 inches.) R.A. See Sketches, Leighton House Collection.

1894. *Fatidica. (59½ × 43 inches.) R.A. See Sketches, Leighton House Collection.

1894. *Summer Slumber. (45½ × 62 inches.) R.A. See Sketches, Leighton House Collection, one presented by H.M. The King.

1894. At the Window. R.A.

1894. Wide, Wondering Eyes. (20 × 15½ inches.) Manchester.

1894. The Roman Campagna, Monte Soracte in the distance. S.S.

1894. The Acropolis of Lindos. S.S.

1894. Fiume Morto, Gombo, Pisa. S.S.

1894. Gibraltar from San Rocque. S.S.

1895. Lachrymæ. (60 × 24 inches.) R.A. See Sketches, Leighton House Collection.

1895. The Maid with the Yellow Hair. R.A.

1895. *'Twixt Hope and Fear. (43½ × 38½ inches.) R.A.

1895. *Flaming June. (46 × 46 inches.) R.A. See Sketches, Leighton House Collection.

1895. Listener. R.A.

1895. A Study. R.A.

1895. Phœnicians bartering with Britons. Presented to the Royal Exchange by Lord Leighton. See Sketches, Leighton House Collection.

1895. Boy with Pomegranate. Grafton Gallery.

1895. Miss Dene.

1895. Aqua Certosa, Rome. S.S.

1895. Chain of Hills seen from Ronda. S.S.

1895. Rocks, Malin Head, Donegal. S.S.

1895. Tlemcen, Algeria. S.S.

1896. *Clytie. (61½ × 53½ inches.) R.A. See Sketches, Leighton House Collection.

1896. Candida. (21 × 41½ inches.) Antwerp, 1896.

1896. *The Vestal. (27 × 20½ inches.) Unfinished.

1896. *A Bacchante. (26½ × 21 inches.)

1896. *The Fair Persian. (25½ × 19½ inches.) Unfinished.

FOOTNOTES:

INDEXToC

Abercorn, Lady, i. 256; ii. 338

Aberdeen, Lord, i. 256

Abydos, ii. 180

Academy, see Royal Academy

Acland, Sir Henry, ii. 364, 373

Acton, Lord, quoted, ii. 33-34

Æsthetics, i. 103-104

Afreet, ii. 168

Agnew, ii. 286

Aïdé, Hamilton, i. 195; ii. 60, 105, 110, 111; letter from, ii. 126 note [40]; quoted, i. 154 note [28]

Aitchison, George, i. 164; ii. 7, 116, 117, 221, 363; letter from, to Prof. Church, ii. 222 note [57]; quoted, ii. 118-119, 217 note [55], 365, 372

Albert, Prince Consort, i. 1, 261, 262; ii. 202; death of, ii. 85

Alexandra, Queen (Princess of Wales), lines by, on Leighton, i. 33; ii. 336

Algiers (1857), i. 18, 293-294, 297-304; (1895), ii. 318; Drawings of Moorish subjects, ii. 372

Allen, Robin, letters from, ii. 59 note [18], 102, 230; poem by, 102

America— Hospitality in, i. 277 Slave crisis (1862), ii. 77-78, 82-85

Ampère, Mr., i. 146

Arab Hall, ii. 7-8, 217-222 and notes [55-57], 365

Arabic, ii. 154

Architecture— Athenian, ii. 128, 130-131, 145, 166 Ecclesiastical, i. 74 Egyptian, ii. 164-165, 185-186 Leighton's presidential address on, ii. 239 and note [63] Scottish, ii. 262 Westminster, in, i. 87

Armstrong, T., ii. 287

Arnold, Matthew, letters from, ii. 226, 231

Art— Academic, i. 209; ii. 5 "Barbarians'" view as to, i. 41 Breadth-of-treatment school, i. 70-71 Catholicity in, ii. 264-265 Classification in, ii. 16 Detail, scrupulous care in, i. 202 Florentine, ii. 117-118 Form, importance of, i. 293; ii. 11, 263 Foundation-laying in, i. 155-156 Function of, i. 25-26; ii. 23, 278, 282, 283 Greek, i. 228 Impressionist, ii. 33 Industry, need for, i. 206-208 Influence of, Leighton's views as to, ii. 33-35 Inspiration, moments of, ii. 4 Inward source of, i. 92, 188, 212 note [45]; ii. 15 Italian, Leighton's love for, ii. 5 Nature-study in, i. 174-175, 191, 199, 213; ii. 17-18 Practical nature of, i. 238 Protestant inconsistency as to, i. 74 Roman Catholic influence on, i. 66, 73 Roman influence on, i. 147, 188, 191 Spontaneity of, in the young, i. 217-218 Suggestion v. definition, ii. 26-28 White, painting of, ii. 367

Art of Painting in the Queen's Reign, The, cited, ii. 366

Artist Benevolent Fund, ii. 213

Artist Volunteer Corps, Leighton's membership of, i. 11-14; ii. 107, 111; resignation of commission (1883), ii. 243-245; at Leighton's funeral, ii. 337

Ashburton, Lord, portrait of, ii. 123 and note [37]

Assouan, ii. 148-150, 152

Athens, ii. 128, 130-131, 229 note [60]

Austin, Mrs., ii. 86

Avignon, i. 298

Ballater, ii. 309

Barrington, Mrs. Russell, letters to, ii. 328, 332, 333

Bayreuth, ii. 316, 326

Beards, i. 170

Beauty— Leighton's passion for, i. 59; ii. 2, 30, 328, 369 Puritanical attitude towards, i. 60

Becker, i. 56, 89

Beechey, Sir William, i. 269

Benedetto Bonfiglio, ii. 19

Beni Hassan, ii. 185-187

Benson, Ralph A., ii. 206-207; letter from, 58 note [18]

Bentinck, Count, i. 49, 52

Bentinck, Gen., i. 63

Bentinck, Penelope, i. 255, 262

Bergheim, i. 49-53

Berlin, i. 158-160

Bettino, i. 39

Bezzuoli, i. 38, 39

Bideford, ii. 66-67

Bileith, Mr., ii. 129

Birrell, Augustine, ii. 304-305

Boehm, Sir Edgar, letter from, ii. 200

Boughton, George H., letters from, ii. 199

Boxall, ii. 119, 227

Brackley, Lord, i. 264, 284

Brandes, Miss, ii. 217

British Institution, ii. 39, 44

British Museum, Leighton a trustee of, ii. 256

Brock, Mr., ii. 241, 259-260 and note [73]

Brown, Madox, ii. 299

Browning, Mrs., ii. 51-52, 64, 374 note [91]; letter from, 93

Browning, Robert, estimate of Leighton by, ii. 29 note [6]; conversational powers of, i. 146 and note [27], 149; lines by, on the Heracles picture, ii. 190; Leighton's estimate of, ii. 304-305; letter to, ii. 51; letters from, ii. 65, 225; quoted, i. 164; otherwise mentioned, i. 28, 149, 243, 280, 285; ii. 121

Bruce, Col. and Mrs., ii. 39

Bruckmann, Herr, ii. 113

Brunton, Sir Lauder, ii. 316, 323, 329-330

Buckner, i. 171

Bull-fights, ii. 210

Bulteel, Lady E., ii. 66

Burne-Jones, Sir E., ii. 3, 8, 199, 288, 368; inaccuracies of, i. 219 note-220 [47]; estimate of, ii. 25

Burton, Sir Richard, portrait of, ii. 195-196; letters from, 218-219

Calderon, ii. 196-197, 255

Cambridge, H.R.H. Duke of, ii. 262

Cameron, Mrs., cited, ii. 269 note [76]

Campagna, Roman, i. 22 and notes [8 and 9], 162, 164

Capri, ii. 18, 41

Carlisle, Earl of, ii. 6

Cartwright, W.C., politics of, i. 307-308; letters from, ii. 126 note [40], 152, 286; otherwise mentioned, i. 124, 243, 255-257, 278; ii. 38, 46, 52

Casts, gallery of, ii. 287-288 and note [79]

Chamberlayne, Kate, i. 126

Change of scene, importance of, i. 92-95

Chantrey Bequest, terms of, ii. 249-253

Chemistry of Paints and Painting (Church), cited, ii. 290 notes [80]

Choisy, M., quoted, ii. 221, 362-363

Chorley, Henry J., ii. 43 and note [13]; letter from, 127 note [40]

Church, Prof., cited, ii. 290 notes [80 and 81]; letters to, 290-302

Churche, ii. 70

Cimabue, i. 227

Clarke, Sir C.P., ii. 365; quoted, 218 note [55]

Cleopatra, ii. 163, 172

Cleopatra's Needle, ii. 284

Cleveland, Duke of, ii. 286

Cliquiness, i. 192

Cockerell, F. Pepys, i. 285; ii. 58 note [18], 87, 325 note [86]; quoted, i. 294; ii. 372

Cole, Sir Henry, ii. 212; letter from, 202; letter to, 204

Coleridge, Lord, letter from, ii. 227

Colfax, Mr., ii. 165

Colnaghi, i. 252, 254; ii. 364; cited 246

Colonna, i. 229 note [50]

Colour, Leighton's feeling for, ii. 188, 189, 366, 367

Colours, &c., letters to Prof. Church regarding, ii. 290-302

Commissioned subjects, Leighton's views on, ii. 277-278

Conture, i. 154, 296

Copies, Leighton's views on, ii. 277

Cornelius, i. 56, 66, 141, 149, 151, 173; Leighton's estimate of, 180, 190-191, 291, 295; Steinle's estimate of, i. 280

Cornhill Magazine, Leighton's illustrations for, ii. 91, 92, 95, 103

Corot, i. 241

Correggio, ii. 41, 256

Costa, Prof. Giovanni, Leighton's first meeting with, i. 162-164; portrait of, ii. 256; estimate of Leighton by, ii. 379; letter from, on Leighton, ii. 285 note [78]; quoted— on Leighton in Florence, i. 39; ii. 371; on Leighton in Siena, ii. 242 note [64]; on Leighton's methods, ii. 256; on Leighton's last visit, ii. 327-328; otherwise mentioned, ii. 7, 223, 297, 314

Cowley, Lady, i. 240, 309; ii. 88; letter from, i. 48

Cowley, Lord, letters from, i. 53-54; portrait of, ii. 88

Cowper, Lady, ii. 66

Cowper, Lord, portrait of, ii. 88

Crane, Walter, ii. 365; estimate of Leighton by, 6-9

Craven, Augustus, ii. 41

Crawford, Lord, quoted, ii. 364

Criticism— Leighton's appraisement of, i. 179 Ruskin on, ii. 122

Currie, Sir Donald, i. 4

Dalou, i. 241; letter from, ii. 198

Dalziel's Bible, Leighton's illustrations for, ii. 94-95

Damascus, ii. 206-209

Davey, Lord, ii. 364

De l'Aigle, Madame, ii. 191

De l'Aigle, Marquis, ii. 103

De Morgan, Wm., ii. 364 and note [90]

De Savelege, Emile, ii. 214

Delaroche, Paul, i. 249, 290

Denderah, ii. 172

Dene, Dorothy (Miss Pullen), ii. 267-274

Detail, perfection of, i. 202

Dickens, Charles, letters from, ii. 89; Leighton compared with, 330-331 and note [87]

Dilettanti, Society of, ii. 212-213

Disneh, ii. 141

Dixon, Messrs., ii. 364

Dolby, Miss, ii. 43-44

Domestic decoration, ii. 220

Doyle, Richard, letter from, ii. 124 note [38]

Drawings by Leighton— "Cervara," i. 163 note [32] Comparison of, with finished paintings, ii. 93 "Drifting," ii. 103 Estimate of, i. 197, 205; ii. 368, 376 "Evening in a French Country House, An," ii. 103 Florentine fresco, copy of, ii. 374-375 "Lemon Tree," i. 201 and note [42]-202; ii. 41 and note [11] "Monk Dividing Enemies, A," i. 65 note [18]; ii. 371 Moorish subjects, of, ii. 372 "Plague in Florence in 1850," ii. 93 "Samson Wrestling with the Lion," ii. 94 "Vincenzo's Head," i. 151-152, 154-155 "Well-Head, The," i. 110 note [24]

Du Maurier, i. 20 note [7]

Duccio, i. 227

Dudley, Lord, ii. 53 note [14]

Duff, Sir M. Grant, quoted, ii. 33

Dürer, Albert, i. 220; ii. 239-240

Dyer, Sir W. Thistelton, estimate of Leighton by, i. 219-221 note [47]

East, Alfred, estimate of Leighton by, ii. 266

Eastlake, Sir Ch., i. 48, 94, 265

Edfou, ii. 162

Edis, Col., ii. 244-245

Edward VII., King (Prince of Wales), "Cimabue's Madonna" lent by, for exhibition, i. 185; Leighton's studio visited by, ii. 37, 39, 40; tribute to Leighton by, i. 7; ii. 37; otherwise mentioned, i. 265; ii. 41 and note [9], 56, 60, 131, 213, 323, 363

Egypt, Leighton's visit to, ii. 131-187

Egyptian tombs, ii. 144-145

Elephantina, ii. 150

Elgin Cathedral, ii. 262

Eliot, George, see Lewes

Ellesmere, Earl of, i. 252, 257, 265

Ellesmere, Lady, i. 268

Ellis, Maj.-Gen., ii. 338

Elmore, ii. 118

Ely, Lady, ii. 178

Erskine, Mr., ii. 130

Esne, ii. 147-148

Etty, i. 216

Farquhar, Miss, i. 152

Farrer, Lady (Miss Wedgwood), ii. 217

Fatma, ii. 167

Fenzi, M., i. 100, 285

Ferronay, Pauline la (Mrs. A. Craven), ii. 41 note [10]

Ffrench, i. 260, 262

Findhorn River, ii. 261-262

Finlay, Mr., ii. 130, 131

FitzGerald, Percy, quoted, ii. 330 note [87]

Flatz, i. 133

Fleury, Robert, i. 27, 154, 245, 248, 249, 290; ii. 214, 294; letter from, ii. 37; cited, ii. 46

Florence— Leighton's early studies in, i. 38-40; his stay at (1853), 136; (1856), 284 List by Steinle of works to be studied in, i. 225-226

Florentine art, ii. 117-118

Flowers, Leighton's feeling for, i. 69, 75, 198; studies, i. 200, 218-219; ii. 263, 325 note [85], 372-373, 375-376

Form and matter, divergence between, ii. 184

Forres, ii. 261-262

Frankfort, Leighton at school at, i. 42

Frederick, Empress, ii. 337

French, i. 243

Fresco, Gambier Parry's medium for, ii. 105-106, 108-110, 301

Fresco v. oils, i. 296-297, 305; ii. 20

Freshfield, Mrs. Douglas, ii. 217

Frith, W.P., letter from, ii. 119 note [35]

Führich, i. 174

Fuller-Maitland, J.A., ii. 328, 372

Gamba, Count, i. 75, 85, 87, 90, 96, 98, 116-118, 120, 122, 123, 125, 132, 149, 151, 152, 164, 174, 188, 189, 191, 237; ii. 371

Gambart, ii. 114, 123

Garcia, Señor, ii. 239 note [62]

Gebel Silsily, ii. 161

Genius, i. 206

German æsthetics, i. 103-104

Germany, Leighton's journey through (1852), i. 63-68

Gérôme, ii. 147, 155

Gibson, i. 181, 261; ii. 39, 56; Leighton's estimate of, i. 114

Gilbert, Alfred, quoted, i. 7

Gilbert, Sir J., ii. 286

Gilchrist, Connie, ii. 268

Giotto, i. 128, 226 note [49], 228; ii. 374

Gladstone, W.E., ii. 57; letters from, 243, 289

Glyn, Mrs., ii. 269, 270

Goethe's Sprüche, Leighton's criticism of, ii. 305-306

Gondolas, i. 78

Goodall, J., i. 48; quoted, ii. 284

Gooderson, T., i. 171

Gordon, Lady Duff, ii. 132, 177, 181

Gortschakoff, Prince, i. 56

Gozze, Count, i. 169

Graefe, i. 157

Granada, ii. 210

Grant, Gen., ii. 165

Greek language, ii. 130-131

Greene, i. 258, 259

Greg, W.R., ii. 269 note [76]

Grenfell, Hon. Mrs. (Miss Mabel Mills), portrait of, ii. 197

Greville, Charles, ii. 108

Greville, Henry, Leighton's friendship with, i. 28, 164, 251 and note [56], 282; extracts from diaries of, i. 242-244, 246, 278; death of, i. 268-269; letters from, i. 252-268; otherwise mentioned, i. 241, 247; ii. 43, 44, 46, 86, 92, 216

Grey, Countess, i. 270

Grove, Sir George, letter from, ii. 243 note [65]

Grueber, H.A., quoted, ii. 255-256

Guaita, Mr., i. 281

Guthrie, Mrs. James, portrait of, ii. 10 note [1], 114

Habit, deadening effect of, i. 93, 95

Hague, The, i. 54-55

Hale, Mr., ii. 163, 165

Hallé, i. 234

Handel Festival (1859), ii. 43-44

Hardy, Thomas, ii. 320

Harrison, Mr., i. 260, 267, 282; ii. 46

Hassan Effendi, ii. 143

Haydon, i. 143-144

Hébert, i. 236, 237

Heidelberg, i. 63-64

Heilbronn, i. 64

Henderson, A., ii. 364

Hendschel, i. 150

Herkomer, Hubert, letter from, ii. 226

Hickey, Miss Emily, sonnet by, ii. 261 note [74]

Hildesheim, ii. 315

Hills, Mr., ii. 291

Hoare, Lady, ii. 38, 40, 48

Hodgson, J.G., i. 275; letter from, ii. 205 note [53]

Holland, Leighton's visit to (1852), i. 54-55

Holland, Lord and Lady, i. 309; ii. 41, 67, 92

Hollyer, Fred, ii. 364, 370; quoted, 288-289

Hommel, i. 150

Hooker, Sir Joseph, cited, i. 220

Hope, J.K. Kempton, letter from, ii. 213

Horsfall, T.C., correspondence with, ii. 274, 276-283

Horsley, Mr., ii. 223

Hosmer, Miss Harriet, i. 146, 181, 195; ii. 72, 76

Hosseyn, ii. 137-138, 140-142, 144, 146, 148, 153, 157, 158, 160, 165, 167, 170, 172, 174, 176-180, 187

Hughes, Mrs. Watts, ii. 332; letter from, 217

Human form, Leighton's treatment of, ii. 29

Hunt, Holman, i. 187 note [34], 220, 278; ii. 118, 148, 219

Hunter, Colin, i. 4

I'Anson, Mr. (great-uncle), i. 45-46

Impressionists, ii. 33

Ingres, i. 245

Innsbruck statues, i. 69-70, 88-89

Irish scenery, ii. 311

Irving, Sir H., ii. 270 note [77]; Leighton compared with, 330-331 and note [87]

Italian art, ii. 5, 19, 117

Italy (for districts, towns, &c., see their names)— Leighton's affection for, i. 19-24, 56, 62, 67-68, 72, 135, 137, 158, 302-303; ii. 51 Music of, i. 167 Street cries in, i. 72-73

Jameson, Mrs., i. 280

Janauschek, i. 55

Janotha, Miss, ii. 228

Joachim, Dr. Joseph, ii. 216, 223, 228, 316; Leighton's speech at jubilee presentation to, ii. 245-247

Kalergi, Madame, i. 242

Karnak, ii. 165-167

Kaye, Miss, i. 264

Kemble, Adelaide, see Sartoris

Kemble, Mrs. (Fanny), on "Pan" and "Venus," ii. 45; reading of, i. 184; estimate of Leighton by, i. 264; letter to, i. 165; letters from, i. 165 note [33]; ii. 68-83, 126 note [40]; otherwise mentioned, i. 146, 147, 149, 178, 181, 245, 255, 300

Kew gardens, i. 219-221 note [47]

Kimberley, S.A., art exhibition at, i. 4

Kom Ombo, ii. 160, 161

Koorveh, ii. 145

Kuppelwieser, i. 174

Kyrle Society, ii. 274-275

Laing, Isabel (Lady Nias), i. 108, 122 note [25], 125; portrait of, 122-123, 177

Land, W.C., ii. 225

Landseer, Sir Edwin, ii. 59, 61

Lang, Mrs. Andrew, quoted, ii. 372

Lansdowne, Lord, ii. 41, 43

Lantéri, Edouard, ii. 288

Lascelles, E., ii. 92

Lawrence, Sir Thos., i. 269

Lecky, Prof., ii. 338

Leech, John, ii. 68

Lehmann, ii. 287

Leighton, Dr. (father), career of, i. 36-37; attitude towards art as a profession, 16-17; severity towards his son, 37; anatomy studies, 38; move to Bath, 56; illness, ii. 309-310; death, 314; letters to, i. 44, 110, 171, 177, 180, 212, 236, 237, 244, 248, 269, 283, 307; ii. 58, 62, 86, 95, 114-116, 129, 131, 206, 209, 211, 213, 238 note [62], 261, 313; letter from, i. 101; letter regarding, i. 135-136; otherwise mentioned, i. 76, 84

Leighton, Lady (grandmother), i. 47, 56, 86

Leighton, Mrs. (mother), delicate health of, i. 36-38; tenderness of, 37; death of, ii. 126; letters to, i. 18, 42, 46, 49, 51, 59, 84, 92, 104, 122, 137, 139, 142, 147, 166, 167, 176, 178, 212, 224, 234, 236, 240, 245, 247, 281, 287, 289, 290, 297, 308; ii. 14 note [2], 38, 43-48, 55, 57, 60, 64-68, 88, 91, 107, 108, 110, 111, 119, 122, 191; letters from, i. 57, 98, 133, 139, 144, 177, 226 note [49], 232; letter from, to younger daughter, ii. 56

Leighton, Alexandra (sister), see Orr

Leighton, Augusta (sister), see Matthews

Leighton, Sir Baldwyn, letter from, i. 34

Leighton, Frederic, Lord— Ancestry of, i. 34-36 Career, chronological sequence of— birth, i. 36; early travels, 37, 38; education, 37-39, 41-42; under Steinle's influence, 40-42; first picture, 44; studies in Brussels, Paris and Frankfort, 44; visit to London, 45-48; portrait painting, 46, 48, 51-53; back to Frankfort, 48; at Bergheim, 49; in Holland, 54-55; Italy, 72-83; Rome, 95-96, 106 et seq., 161; at Bad Gleisweiler, 134; at Frankfort and Florence, 136; return to Rome, 139; at Lucca, 154 note [28]; Frankfort, Venice, Florence and Rome, 154; consultation with Graefe, 157; success of "Cimabue's Madonna," 193; in London, 222, 233; in Paris, 235-237, 239 et seq.; to Frankfort and Italy, 281-285; back to Rome, 289; in Algiers, 18, 293-294, 297-304; in Rome (1858), ii. 37; in London, 43; at 2 Orme Square, 47, 49; volunteering activities, i. 11-14; ii. 55, 107, 111; in Devonshire, 66; visit to Mason, 89-90; at Compiègne, 103-104; the Lyndhurst fresco, 104-108, 110-112; building of Leighton House, 114-117; A.R.A., 118; visit to Spain (1866), 128; examiner at Victoria and Albert Museum (1866-1875), 212; at Vichy (1869), 218 note [56]; up the Nile, 131-187; R.A. (1869), 123, 188; visit to Damascus (1873), 205-209; to Spain (1877), 209; P.R.A. (1878), 223; trustee of British Museum (1881), 256; resigns volunteer commission (1883), 243-245; made a baronet (1886), 289; waning health, 241, 313, 318, 323, 324, 328; visit to Spain (1889), ii. 238 note [62]; foreign travel, 313-316; Algiers, 318; made a peer, 331; fatal illness, 333-334; death, 334 Characteristics of— Actuality, sense of, i. 280; ii. 5, 26-27, 30 Art, passionate attachment to, i. 2, 16, 17; ii. 338-339 Beauty, love of, i. 59; ii. 2, 30, 328, 369 Bonhomie, ii. 330 Boyishness, ii. 317 Children, love of, ii. 192, 328, 370 Consistency, ii. 3, 21 Courage, ii. 317 Critical faculty, i. 217 Criticism, attitude towards, i. 179 Depression, liability to, i. 10 Duty, sense of, i. 250; ii. 21 Enthusiasm, i. 18, 41 Fastidiousness, ii. 5 Gratitude, ii. 266 Greek-like combination of qualities, i. 24-25, 59; ii. 368, 377-378 Impartiality, i. 5 Industry and strenuousness, ii. 4, 207-208, 223, 369 Insight, rapidity of, i. 24 Intellectual brilliancy, i. 4, 23, 24, 210; ii. 2, 242 Kindness, i. 269; ii. 7, 90, 104, 242 note [64] Loyalty, i. 19; ii. 3, 8 Mastery of others, ii. 242-243 and note [64] Modesty, i. 8, 206, 280; ii. 16, 233, 265, 266 Music, love of, i. 108, 126 Oratorical powers, i. 5, 6, 29; ii. 233-234 Originality, ii. 5, 16 Selective faculty, predominant, i. 219 note [47]; ii. 2 Sensitiveness, i. 31 Simplicity, i. 9 Sincerity, i. 8, 60, 92, 216 Smell and hearing, keen senses of, i. 72 Social charm, i. 8, 30 Society, general, distaste for, i. 166, 168, 222-223 Spontaneity, lack of, i. 246; ii. 1, 20, 233-234 Sympathy, i. 4-6, 9 and note [4], 216 Thoroughness, ii. 20, 31, 208, 233 Unselfishness, ii. 266 Vitality, exuberance of, i. 59, 224 Will power, ii. 369 Diary ("Pebbles"), extracts from, i. 61-87, 198 Diary of Egyptian visit, ii. 133-187 Dignities and honours conferred on, ii. 380 Drawings by, see that title Estimates of, by— Anonymous, i. 60; ii. 29-30, 374 Browning, Robert, ii. 29 note [6] Costa, Prof. G., ii. 379 Crane, W., ii. 6-9 Dyer, Sir W.T., i. 219-221 note [47] East, A., ii. 266 Greville, H., i. 243 Kemble, Mrs., i. 264 Powers, Hiram, i. 39 Poynter, Sir E., ii. 242 note [64] Richmond, Sir W., i. 209; ii. 1-6 Rivière, Briton, i. 5, 129, 207, 250; ii. 21-22 Ruskin, J., i. 212 Thornycroft, H., i. 5-6, 13-14 Watts, G.F., i. 4, 7, 210; ii. 22 Frescoes by, ii. 104-108, 110-112, 203-204 Funeral of, i. 31-33; ii. 335-338 Health difficulties, i. 42, 59, 130, 169, 240, 241; ii. 22, 68; eyesight trouble, i. 101, 111, 113, 123-124, 130, 131, 142, 157, 247, 309; ii. 22; waning health, 313, 318, 323, 324, 328; fatal disease, ii. 241, 302, 316, 333-334 Limitations in his art, i. 211-215 Methods of, ii. 12-15, 256, 293 Pictures by, see that title Portrait of, ii. 259; bust by Brock, 260 and note [73], 364 Portraits by, see that title Presidential addresses by, ii. 229-233, 235-241 Sketches by, ii. 257-259 and note [71], 366-367, 371-372 Speeches by, ii. 241-247 Statuary by, ii. 198-200, 259-260

Leighton, Sir James (grandfather), i. 36

Leighton, Rev. Wm., i. 35

Leighton House— Aims of committee of, ii. 378-379 Arab Hall, ii. 217-222, 365 Contents of, ii. 363-378 Preface to Catalogue of, ii. 362-379 Preliminaries to building of, ii. 115-116 Site of, ii. 114 and note [32] Style of, ii. 362-363

Leitch, i. 181

"Les Natchez," ii. 184

Leslie, Lady Constance, ii. 92; quoted, i. 193

Leslie, Sir John, i. 164, 261, 262

Lewes, Mr., ii. 95, 100

Lewes, Marian E. (George Eliot), ii. 95; letters from, 96-100

Lewis, Arthur, ii. 55, 92

Lindos, ii. 129, 148

Lindsay, Sir Coutts, ii. 286

Linton, ii. 286

Lister, Sir Joseph, ii. 338

Lister, Villers, i. 285

Listowel, Lord, ii. 92

Liszt, ii. 43 note [13]

Liverpool, Leighton's speech at Art Congress at (1888), ii. 247, 341-361

Loch, Lady, quoted, i. 3-4; ii. 334

Lockhart, i. 176

Lougsor, ii. 143, 174, 175

Lucas, Charles, cited, ii. 362

Lugano, Lake of, i. 283

Lynn of Dee, ii. 261 and note [74], 309

Lyon, Lord, ii. 76

Lyons, Bickerton, i. 146, 243

Mackail, ii. 333

Mackenzie, Sir A., ii. 338

MacWhirter, J., ii. 374

Maeterlinck, ii. 25, 27

Magazine of Art, reprint from, ii. 362 and note [89], 379

Mahometans, ii. 146, 169-170

Malet, Sir E., ii. 316

Malinmore (Co. Donegal), ii. 311, 324-325 and note [85]