CONCLUSION
In now bringing this record to a close, we will of set purpose remain
true to the chronicler's function, pure and simple; attempting no
profounder or more critical summing up of our subject, than consists
with the plain record of a remarkable career.
After a year of indifferent health, during part of which time he was
ordered abroad for rest and change, being thus unable to preside at the
annual banquet in May, Leighton returned to England apparently
convalescent. Although unable to deliver the biennial presidential
address, which fell due in December, 1895, he met the students on that
occasion, and apologized for not delivering the Discourse which was due,
in these words: "The cloud which has hung over me hangs over me
still."[14]
Early in 1896 a peerage was bestowed upon him, and all the world
applauded the honour conferred on Art in his name. On January 13th,
1896, the news of his death came as a terrible surprise. The new peer,
Baron Leighton of Stretton, was buried with much state at St. Paul's
Cathedral, before men in general had wholly recognized that Lord
Leighton was the popular "Sir Frederic," the President of the Royal
Academy, and one of the most familiar figures at any important
function--at court or elsewhere.
Except perhaps in the case of politicians, who live in some degree by
the public recognition of their personal qualities, it is difficult to
render tribute gracefully and well to a contemporary. But we cannot
close these pages, now, without pausing to recall how fortunate it has
been that English Art, for seventeen years, had as its titular head an
artist whose affluent artistic faculty was but the open sign of a
crowded life, loyal throughout to the great causes, high ideals, and,
let us add, the early friendships, chosen long ago in the mid century.
We are now at that century's end,--an end not without its reproach, as
expressed by a decadence more self-conscious than dignified, more
critical than creative; but in Lord Leighton's Art there was little
diminution in his active energy, and of that finer health and spirit of
life, which is behind all beauty! Like his distinguished friend and
colleague, Mr. G. F. Watts (whose tribute to him as a man and as an
artist has been expressed again and again in eloquent terms), Leighton
remained, in his later period as in his youth, generously alive to all
the things that count, devoted still to the Art, the current life, and
the great national traditions, of his own country.
From another famous colleague, Sir E. J. Poynter, P.R.A., one may fitly
add here the following further sentences of contemporary tribute, which
were written by way of dedication to his "Ten Lectures on Art,"
published some years ago:--"I came to-day from the 'Varnishing Day' at
the Royal Academy Exhibition with a pleasant conviction that there is on
all sides a more decided tendency towards a higher standard in Art, both
as regards treatment of subject and execution, than I have before
noticed; and I have no hesitation in attributing this sudden improvement
in the main to the stimulus given to us all by the election of our new
President, and to the influence of the energy, thoroughness and nobility
of aim which he displays in everything he undertakes. I was probably the
first, when we were both young and in Rome together, to whom he had the
opportunity of showing the disinterested kindness which he has
invariably extended to beginners, and to him, as the friend and master
who first directed my ambition, and whose precepts I never fail to
recall when at work (as many another will recall them), I venture to
dedicate this book with affection and respect."
"As we are, so our work is!" said Leighton in one of the most memorable
of his Discourses; "and the moral effect of what we are will control the
artist's work from the first touch of the brush or chisel to the last."
"Believe me," he concludes, in a striking passage that may very fitly
serve us, too, with a conclusion to these passages, "believe me,
whatever of dignity, whatever of strength we have within us, will
dignify and will make strong the labours of our hands; whatever
littleness degrades our spirit will lessen them and drag them down.
Whatever noble fire is in our hearts will burn also in our work,
whatever purity is ours will also chasten and exalt it; for as we are,
so our work is, and what we sow in our lives, that, beyond a doubt, we
shall reap for good or for ill in the strengthening or defacing of
whatever gifts have fallen to our lot."
It would be superfluous to quote from the elegiac tributes which
appeared in the public press after Lord Leighton's death, and invidious
to repeat certain unkind and unjust strictures which marred the
otherwise unanimous note of appreciation. It is obvious that an artist
with so strongly marked a personality must needs have been fettered by
the very limits he himself had set. At one time, when a painter of
eminence openly expressed his preference for Lord Leighton's unfinished
work, and begged him to keep a certain picture as "a beautiful sketch,"
he replied: "No, I shall finish it, and probably, as you suggest, spoil
it. To complete satisfactorily is what we painters live for. I am not a
great painter, but I am always striving to finish my work up to my first
conception."
There are many mansions in the city of Art, and if the one of Lord
Leighton's building was not to the taste of all his contemporaries, the
edifice can be left to await the final test of years. Fashions in taste
change rapidly, and much of his finish that finds disfavour to-day may
in time charm once again. A career overburdened by official honour was
destined to provoke a certain amount of envious protest; but as a man,
no voice has urged a word against his ideally perfect performance, not
merely of his official duties, but of others which indeed were laid upon
him by his position. These he obeyed without ostentation--almost without
men's knowledge. His kindly help, by commendation or by commission given
to young artists; his broad and tolerant view of work conceived in
direct opposition to all he valued himself, was not hidden from his
friends. "It is with a sense of amazement," a critic writes in a private
letter, "that one afternoon after a protest that nothing he said was to
be published, I heard him discuss the prospects and the works of our
ultra-modern painters. Even in fields beyond his sympathy he picked out
the chaff from the wheat, and was judicially accurate in his verdicts of
the difference between 'tweedle-dum' and 'tweedle-dee,' both one would
have said, entirely unknown to him."
In Lord Leighton British artists lost a truer friend than many of them
suspected, one who wielded his power justly to all, and was more often
on the side of progress than not, a power for reform that can never be
estimated at its actual value, working within a highly conservative
body, full of vested interests and prejudice--as is the habit of
academies of Art and Literature abroad no less than at home. That
Leighton, who controlled its destinies so long, was loyal to its true
interests, and never forgot the institution with which he was associated
so many years is evident from his last words: "Give my love to all at
the Academy."
[Illustration: BOOKPLATE OF LORD LEIGHTON. DESIGNED BY R. ANNING BELL.]
APPENDIX I
LIST OF PRINCIPAL WORKS
_With date and place of exhibition_
1850 (_circa_). *CIMABUE FINDING GIOTTO IN THE FIELDS OF FLORENCE.[15]
(49-1/2 × 37 in.) Steinle Institute (Frankfort).
1850. THE DUEL BETWEEN ROMEO AND TYBALT. (37 × 50 in.)
1851 (_circa_). THE DEATH OF BRUNELLESCHI. Steinle Institute.
1851. [EARLY PORTRAIT OF LEIGHTON BY HIMSELF.]
1852. *A PERSIAN PEDLAR.
" [BUFFALMACCO, THE PAINTER. A humorous subject, taken from Vasari,
was undertaken about this date.]
1853. PORTRAIT OF MISS LAING (Lady Nias).
1855. *CIMABUE'S CELEBRATED MADONNA IS CARRIED IN PROCESSION THROUGH
THE STREETS OF FLORENCE. In front of the Madonna, and crowned with
laurels, walks Cimabue himself, with his pupil Giotto; behind it,
Arnolfo di Lapo, Gaddo Gaddi, Andrea Tafi, Nicola Pisano,
Buffalmacco and Simone Memmi; in the corner, Dante.
(87-1/2 × 205 in.) R.A.[16]
" THE RECONCILIATION OF THE MONTAGUES AND CAPULETS over the dead
bodies of Romeo and Juliet. Paris International Exhibition.[17]
1856. THE TRIUMPH OF MUSIC. (80 × 110 in.) R.A.
"Orpheus, by the power of his art, redeems his wife from Hades."
1857. *SALOME, the daughter of Herodias. (44-1/2 × 25 in.)
1858. *THE MERMAID (THE FISHERMAN AND THE SYREN).
(From a ballad by Goethe.) (26-1/2 × 18-1/2 in.) R.A.
"Half drew she him,
Half sunk he in,
And never more was seen."
" "COUNT PARIS, accompanied by Friar Lawrence and a band of
musicians, comes to the house of the Capulets, to claim his
bride: he finds Juliet stretched apparently lifeless on her
bed."--_Romeo and Juliet_, act IV., sc. 5. (26-1/2 × 18-1/2 in.) R.A.
" REMINISCENCE OF ALGIERS. S.S.
_These were_,
[A SUBJECT FROM KEATS'S HYMN TO PAN,] _in the first book of
"Endymion," a figure of Pan under a fig-tree, with the
inscription_,
"_O thou, to whom
Broad-leaved fig-trees even now foredoom
Their ripen'd fruitage;_"
_and the other_,
[A PENDANT TO THE "PAN,"] _the figure of a nude nymph about
to bathe, with a little Cupid loosening her sandal._
1859. SUNNY HOURS. R.A.
" *ROMAN LADY (La Nanna). R.A.
" *NANNA (Pavonia). R.A.
" SAMSON AND DELILAH. S.S.
1860. CAPRI--SUNRISE. R.A.
1861. *PORTRAIT OF MRS. SUTHERLAND ORR. [Mrs. S. O., a portrait.]
(28 × 18 in.) R.A.
" *PORTRAIT OF JOHN HANSON WALKER, ESQ. (23 × 17 in.)
" PAOLO E FRANCESCA. R.A.
"Ma solo un punto fu quel che ci vinse
Quando legemmo il disiato riso
Esser baciato da cotanto amante,
Questi, che mai da me non fia diviso,
La bocca mi baciò tutto tremante:
Galeotto fu'l libro e chi lo scrisse:
Quel giorno più non vi legemmo avante."
" A DREAM. R.A.
... "Not yet--not yet--
Still there is trial for thee, still the lot
To bear (the Father wills it) strife and care;
With this sweet consciousness in balance set
Against the world, to soothe thy suffering there
Thy Lord rejects thee not.
Such tender words awoke me hopeful, shriven
To life on earth again from dream of heaven."
" LIEDER OHNE WORTE. R.A.
" J. A. A STUDY. R.A.
" CAPRI--PAGANOS. R.A.
1862. ODALISQUE. R.A.
" *THE STAR OF BETHLEHEM. (60 × 23-1/2 in.) R.A.
One of the Magi, from the terrace of his house, stands
looking at the star in the East; the lower part of the
picture indicates a road, which he may be supposed
just to have left.
" SISTERS. R.A.
" *MICHAEL ANGELO NURSING HIS DYING SERVANT. (43 × 36 in.) R.A.
" DUETT. R.A.
" SEA ECHOES. R.A.
" RUSTIC MUSIC.
1863. JEZEBEL AND AHAB, having caused Naboth to be put to death,
go down to take possession of his vineyard; they are met at
the entrance by Elijah the Tishbite: R.A.
"Hast thou killed, and also taken possession?"
" *EUCHARIS. (A Girl with a Basket of Fruit.) (32-1/2 × 22 in.) R.A.
" A GIRL FEEDING PEACOCKS. R.A.
" AN ITALIAN CROSSBOW-MAN. (15 × 24-1/2 in.) R.A.
1864. DANTE AT VERONA. R.A.
" *ORPHEUS AND EURYDICE. (49 × 42 in.) R.A.
"But give them me--the mouth, the eyes,--the brow--
Let them once more absorb me! One look now
Will lap me round for ever, not to pass
Out of its light, though darkness lie beyond!
Hold me but safe again within the bond
Of one immortal look! All woe that was,
Forgotten, and all terror that may be,
Defied--no past is mine, no future! look at me!"
ROBERT BROWNING: _A Fragment_.
" *GOLDEN HOURS. (36 × 48 in.) R.A.
" *PORTRAIT OF THE LATE MISS LAVINIA I'ANSON. (Circular, 12-1/2 in.)
1865. *DAVID. (37 × 47 in.) R.A.
"Oh that I had wings like a dove! for then would I fly
away and be at rest." _Psalm_ lv.
" MOTHER AND CHILD. R.A.
" WIDOW'S PRAYER. R.A.
" HELEN OF TROY. R.A.
"Thus as she spoke, in Helen's breast arose
Fond recollections of her former lord,
Her home, and parents; o'er her head she threw
A snowy veil; and shedding tender tears
She issued forth not unaccompanied;
For with her went fair Æthra, Pittheus' child.
And stag-eyed Clymene, her maidens twain.
They quickly at the Scæan gate arrived."
" IN ST. MARK'S. R.A.
1866. PAINTER'S HONEYMOON. R.A.
" PORTRAIT OF MRS. JAMES GUTHRIE. R.A.
" SYRACUSAN BRIDE LEADING WILD BEASTS IN PROCESSION TO THE
TEMPLE OF DIANA. R.A.
(Suggested by a passage in the second Idyll of Theocritus.)
"And for her, then, many other wild beasts were going in
procession round about, and among them a lioness."
" THE WISE AND FOOLISH VIRGINS. (Fresco in Lyndhurst Church.)
1867. *PASTORAL. (51-1/2 × 26 in.) R.A.
" *GREEK GIRL DANCING. (Spanish Dancing Girl: Cadiz in the old
times.) (34 × 45 in.) R.A.
" KNUCKLE-BONE PLAYER. R.A.
" *ROMAN MOTHER. (24 × 19 in.) R.A.
" *VENUS DISROBING FOR THE BATH. (79 × 35-1/2 in.) R.A.
" *PORTRAIT OF MRS. JOHN HANSON WALKER. (18 × 16 in.)
1868. JONATHAN'S TOKEN TO DAVID. R.A.
"And it came to pass in the morning, that Jonathan went
out into the field at the time appointed by David, and
a little lad with him."
" *PORTRAIT OF MRS. FREDERICK P. COCKERELL. (23-1/2 × 19-1/2 in.) R.A.
" *PORTRAIT OF JOHN MARTINEAU, ESQ. (23-1/2 × 19-1/2 in.)
" *ARIADNE ABANDONED BY THESEUS; Ariadne watches for his return;
Artemis releases her by death. (45 × 62 in.) R.A.
" *ACME AND SEPTIMIUS. (Circular, 37-1/2 in.) R.A.
"Then bending gently back her head
With that sweet mouth, so rosy red,
Upon his eyes she dropped a kiss,
Intoxicating him with bliss."
CATULLUS (Theodore Martin's translation).
" *ACTÆA, THE NYMPH OF THE SHORE. (22 × 40 in.) R.A.
1869. *ST. JEROME. (Diploma work, deposited in the Academy on his
election as an Academician.) (72 × 55 in.) R.A.
" *DÆDALUS AND ICARUS. (53-1/2 × 40-1/2 in.) R.A.
" *ELECTRA AT THE TOMB OF AGAMEMNON. (59-1/2 × 29 in.) R.A.
" *HELIOS AND RHODOS. (65-1/2 × 42 in.) R.A.
1870. A NILE WOMAN. (21-1/2 × 11-1/2 in.) R.A.
" STUDY. S.S.
1871. *HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS.
(54 × 104-1/2 in.) R.A.
" GREEK GIRLS PICKING UP PEBBLES BY THE SHORE OF THE SEA. R.A.
" *CLEOBOULOS INSTRUCTING HIS DAUGHTER CLEOBOULINE.
(24 × 37-1/2 in.) R.A.
" VIEW OF ASSIOUT(?) (_A sketch._) S.S.
" SUNRISE AT LONGSOR. (_A sketch._) S.S.
" VIEW OF THE RED MOUNTAINS NEAR CAIRO. (_A sketch._) S.S.
1872. *AFTER VESPERS. (43 × 27-1/2 in.) R.A.
" *SUMMER MOON. (Guildhall, 1890.) (39-1/2 × 50-1/2 in.) R.A.
" PORTRAIT OF THE RIGHT HON. EDWARD RYAN, Secretary of the
Dilettanti Society, for which the picture was painted.
(S.P.P., 1893.) R.A.
" A CONDOTTIERE. R.A.
" *THE INDUSTRIAL ARTS OF WAR at the International Exhibition
at South Kensington. (Monochrome, 76 × 177 in.)
" THE CAPTIVE. S.S.
" AN ARAB CAFÉ, ALGIERS. S.S.
1873. *WEAVING THE WREATH. (Guildhall, 1895.) R.A.
" MORETTA. (Guildhall, 1894.) (20-1/2 × 14-1/2 in.) R.A.
" *THE INDUSTRIAL ARTS OF PEACE. (Monochrome, 76 × 177 in.) R.A.
" A ROMAN. S.S.
" VITTORIA. S.S.
1874. *MOORISH GARDEN: a dream of Granada. (41 × 40 in.)
(Guildhall, 1895.) R.A.
" OLD DAMASCUS: Jews' Quarter. R.A.
" *ANTIQUE JUGGLING GIRL. (Guildhall, 1892.) (41-1/2 × 24 in.) R.A.
" CLYTEMNESTRA from the battlements of Argos watches for the
beacon fires which are to announce the return of Agamemnon. R.A.
" ANNARELLA, ANA CAPRI. D.G.
" RUBINELLA, CAPRI. D.G.
" LEMON TREE, CAPRI. D.G.
" WEST COURT OF PALAZZO, VENICE. D.G.
1875. *PORTION OF THE INTERIOR OF THE GRAND MOSQUE OF DAMASCUS.
(62 × 47 in.) R.A.
" *PORTRAIT OF MRS. H. E. GORDON (35-1/2 × 37 in.) R.A.
" *LITTLE FATIMA. (15-1/2 × 9-1/4 in.) R.A.
" VENETIAN GIRL. R.A.
" *EGYPTIAN SLINGER. (Eastern Slinger Scaring Birds in
Harvest-time: Moonrise.) (Guildhall, 1890.) R.A.
" FLORENTINE YOUTH. S.S.
" RUINED MOSQUE IN DAMASCUS. S.S.
1876. *PORTRAIT OF SIR RICHARD FRANCIS BURTON, K.C.M.G. (Portrait
of Capt. Richard Burton, H.M. Consul at Trieste). (23-1/2 ×
19-1/2 in.) (Paris, 1878; Melbourne, 1888; S.P.P., 1892.) R.A.
" *THE DAPHNEPHORIA. (89 × 204 in.) R.A.
A triumphal procession held every ninth year at Thebes,
in honour of Apollo and to commemorate a victory of the
Thebans over the Æolians of Arne. (See Proclus,
"Chrestomath," p. 11.)
" TERESINA. R.A.
" PAOLO. R.A.
1877. *MUSIC LESSON. (36-1/2 × 37-1/8 in.) (Paris, 1878.) R.A.
" *PORTRAIT OF MISS MABEL MILLS (The Hon. Mrs. Grenfell).
(23 × 19 in.) R.A.
" *AN ATHLETE STRANGLING A PYTHON.[18] Bronze. (Paris, 1878.) R.A.
" *PORTRAIT OF H. E. GORDON. (23-1/2 × 19 in.) G.G.
" AN ITALIAN GIRL. G.G.
" *STUDY. (A little girl with fair hair, in a pink robe.)
(24 × 28 in.) R.A.
" A STUDY. G.G.
1878. *NAUSICAA. (57-1/2 × 25-1/2 in.) (Guildhall, 1896.) R.A.
" SERAFINA. R.A.
" *WINDING THE SKEIN. (39-1/2 × 63-1/2 in.) R.A.
" A STUDY. R.A.
" *PORTRAIT OF MISS RUTH STEWART HODGSON. (50-1/2 × 35-1/2 in.) G.G.
" STUDY OF A GIRL'S HEAD. G.G.
" SIERRA: ELVIZA IN THE DISTANCE, GRANADA. S.S.
" THE SIERRA ALHAMA, GRANADA. S.S.
1879. BIONDINA. R.A.
" CATARINA. R.A.
" *ELIJAH IN THE WILDERNESS. (91 × 81-1/2 in.) (Paris, 1878.) R.A.
" PORTRAIT OF SIGNOR G. COSTA. R.A.
" AMARILLA. R.A.
" A STUDY. R.A.
" PORTRAIT OF THE COUNTESS BROWNLOW. R.A.
" *NERUCCIA. (19 × 16 in.) R.A.
" A STUDY. S.S.
" THE CARRACA HILLS. S.S.
" A STREET IN LERICI. S.S.
" VIA BIANCA, CAPRI. G.G.
" ARCHWAY IN ALGIERS. G.G.
" RUINS OF A MOSQUE, DAMASCUS. G.G.
" STUDY OF A DONKEY. G.G.
" ON THE TERRACE, CAPRI. G.G.
" SKETCH NEAR DAMASCUS. G.G.
" VIEW IN GRANADA. G.G.
" STUDY OF A DONKEY, EGYPT. G.G.
" STUDY OF A HEAD. G.G.
" NICANDRA. G.G.
1880. *SISTER'S KISS. (48 × 21-1/2 in.) R.A.
" *IOSTEPHANE. (37 × 19 in.) R.A.
" THE LIGHT OF THE HAREM. (60 × 33 in.) R.A.
" PSAMATHE. (36 × 24 in.) R.A.
" *THE NYMPH OF THE DARGLE (Crenaia). (29-1/2 × 10 in.) R.A.
" RUBINELLA. G.G.
" THE POZZO CORNER, VENICE. Winter Exhibition. G.G.
" JACK AND HIS CIDER CAN. " " G.G.
" THE PAINTER'S HONEYMOON. " " G.G.
" WINDING OF THE SKEIN (with sketch). " " G.G.
" HEAD OF URBINO. " " G.G.
" STEPS OF THE BARGELLO, FLORENCE. " " G.G.
" A CONTRAST. " " G.G.
" GARDEN AT CAPRI. " " G.G.
" TWENTY-NINE STUDIES OF HEADS,
FLOWERS, AND DRAPERIES. " " G.G.
1881. ELISHA RAISING THE SON OF THE SHUNAMITE. (32 x 54 in.)
(Guildhall, 1895.) R.A.
" PORTRAIT OF THE PAINTER.[19] R.A.
" *IDYLL. (41-1/2 × 84 in.) R.A.
" *PORTRAIT OF MRS. STEPHEN RALLI. (48 × 33 in.) R.A.
" *WHISPERS. (48 × 30 in.) R.A.
" VIOLA. R.A.
" *BIANCA. (18 × 12-1/2 in.) R.A.
" PORTRAIT OF MRS. ALGERNON SARTORIS. G.G.
1882. *DAY-DREAMS. (47-1/2 × 35-1/2 in.) R.A.
" WEDDED. R.A.
" PHRYNE AT ELEUSIS. (86 × 48 in.) (Melbourne, 1888.) R.A.
" ANTIGONE. R.A.
" "AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."
_Rev._ xx. 13. (Design for a portion of a decoration in
St. Paul's.) R.A.
" MELITTION. R.A.
" *PORTRAIT OF MRS. MOCATTA. (23-1/2 × 19-1/2 in.)
" ZEYRA. G.G.
1883. THE DANCE: decorative frieze for a drawing-room in a
private house. R.A.
" *VESTAL. (24-1/2 × 17 in.) R.A.
" *KITTENS. (48 × 31-1/2 in.) R.A.
" MEMORIES. R.A.
" *PORTRAIT OF MISS NINA JOACHIM. (16 × 13 in.)
1884. *LETTY. (18 × 15-1/2 in.) R.A.
" *CYMON AND IPHIGENIA. (64 × 129 in.) R.A.
" A NAP. R.A.
" SUN GLEAMS. R.A.
1885. "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT."
(46 × 27 in.) R.A.
" PORTRAIT OF THE LADY SYBIL PRIMROSE. R.A.
" *PORTRAIT OF MRS. A. HICHENS. (26-1/2 × 20-1/2 in.) R.A.
" MUSIC: a frieze. R.A.
" PHOEBE. (Manchester, 1887.) R.A.
" A STUDY. G.G.
" TOMBS OF MUSLIM SAINTS. S.S.
" MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS. S.S.
1886. PAINTED DECORATION FOR THE CEILING OF A MUSIC-ROOM.[20]
(7 ft. × 20 ft.) R.A.
" GULNIHAL. R.A.
" *THE SLUGGARD. Statue, bronze. R.A.
" *NEEDLESS ALARMS. Statuette. R.A.
1887. *THE JEALOUSY OF SIMÆTHA, THE SORCERESS. (35-1/2 × 55-1/2 in.) R.A.
" *THE LAST WATCH OF HERO. (62-1/2 × 35-1/2 in., with predella
12-1/2 × 29-1/2 in.) R.A.
"With aching heart she scanned the sea-face dim.
. . . . . . . . . .
Lo! at the turret's foot his body lay,
Rolled on the stones, and washed with breaking spray."
_Hero and Leander: Musæus_ (translated by Edwin Arnold).
" [Picture of A LITTLE GIRL WITH GOLDEN HAIR AND PALE BLUE EYES.]
"Yellow and pale as ripened corn
Which Autumn's kiss frees--grain from sheath--
Such was her hair, while her eyes beneath,
Showed Spring's faint violets freshly born."
ROBERT BROWNING.
" *Design for the reverse of THE JUBILEE MEDALLION. (_Executed
for Her Majesty's Government._) R.A.
_Empire, enthroned in the centre, rests her right hand on
the sword of Justice, and holds in her left the symbol of
victorious rule. At her feet, on one side, Commerce
proffers wealth, on the other a winged figure holds
emblems of Electricity and Steam-power. Flanking the
throne to the right of the spectator are Agriculture and
Industry--on the opposite side, Science, Literature, and
the Arts. Above, interlocking wreaths, held by winged
genii representing respectively the years 1837 and 1887,
inclose the initials,_ V.R.I.
1888. *CAPTIVE ANDROMACHE. (77 × 160 in.) R.A.
".... Some standing by,
Marking thy tears fall, shall say, 'This is she,
The wife of that same Hector that fought best
Of all the Trojans, when all fought for Troy.'"
_Iliad_, VI. (E. B. Browning's translation.)
" *PORTRAIT OF AMY, LADY COLERIDGE. (42 × 39-1/2 in.)
(S.P.P., 1891.) R.A.
" *PORTRAITS OF THE MISSES STEWART HODGSON. (47 × 39-1/2 in.)
" FOUR STUDIES. R.W.S.
" FIVE STUDIES. S.S.
1889. *SIBYL. (59 × 34 in.) R.A.
" *INVOCATION. (54 × 33-1/2 in.) R.A.
" ELEGY. R.A.
" GREEK GIRLS PLAYING AT BALL. (45 × 78 in.) R.A.
" *PORTRAIT OF MRS. FRANCIS A. LUCAS. (23-1/2 × 19-1/2 in.) R.A.
1890. SOLITUDE. R.A.
" *THE BATH OF PSYCHE.[21] (75 × 24-1/2 in.) R.A.
" *TRAGIC POETESS. (63 × 34 in.) R.A.
" *THE ARAB HALL. (33 × 16 in.) (Guildhall, 1890.) R.A.
1891. *PERSEUS AND ANDROMEDA. (91-1/2 × 50 in.) R.A.
" *PORTRAIT OF A. B. FREEMAN-MITFORD, ESQ., C.B.
(46-1/2 × 38-1/2 in.) R.A.
" *RETURN OF PERSEPHONE. (79 × 59-1/2 in.) R.A.
" ATHLETE STRUGGLING WITH A PYTHON--group, marble. R.A.
1892. *"AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."
(Circular, 93 in.) R.A.
" AT THE FOUNTAIN. (49 × 37 in.) R.A.
" *THE GARDEN OF THE HESPERIDES. (Circular, 66 in.)
(Chicago, 1893; Guildhall, 1895.) R.A.
" BACCHANTE. R.A.
" *CLYTIE. (32-1/2 × 53-1/2 in.) R.A.
" PHRYNE AT THE BATH. (24 × 12 in.) S.S.
" MALIN HEAD, DONEGAL. S.S.
" ST. MARK'S, VENICE. S.S.
" INTERIOR OF ST. MARK'S, VENICE. S.S.
" THE DOORWAY, NORTH AISLE, VENICE. S.S.
" RIZPAH (the small study in oils). (7 × 7 in.) S.S.
1893. *FAREWELL! (63 × 26-1/2 in.) R.A.
" *HIT! (29 × 22 in.) R.A.
" *ATALANTA. (26-1/2 × 19 in.) R.A.
" RIZPAH. (36 × 52 in.) R.A.
" *CORINNA OF TANAGRA. (47-1/2 × 21 in.) R.A.
" THE FRIGIDARIUM. R.A.
1894. *THE SPIRIT OF THE SUMMIT. (77-1/2 × 39-1/2 in.) R.A.
" *THE BRACELET. (59-1/2 × 23 in.) R.A.
" *FATIDICA. (59-1/2 × 23 in.) R.A.
" *SUMMER SLUMBER. (45-1/2 × 62 in.) R.A.
" AT THE WINDOW. R.A.
" WIDE WONDERING EYES. (20 × 15-1/2 in.) Manchester.
" THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE. S.S.
" THE ACROPOLIS OF LINDOS. S.S.
" FIUME MORTO, GOMBO, PISA. S.S.
" GIBRALTAR FROM SAN ROCQUE. S.S.
1895. LACHRYMÆ. (60 × 24 in.) R.A.
" THE MAID WITH THE YELLOW HAIR. R.A.
" *"'TWIXT HOPE AND FEAR." (43-1/2 × 38-1/2 in.) R.A.
" *FLAMING JUNE. (46 × 46 in.) R.A.
" LISTENER. R.A.
" A STUDY. R.A.
" PHOENICIANS BARTERING WITH BRITONS. Royal Exchange.
" BOY WITH POMEGRANATE. Grafton Gallery.
" MISS DENE.
" AQUA CERTOSA, ROME. S.S.
" CHAIN OF HILLS SEEN FROM RONDA. S.S.
" ROCKS, MALIN HEAD, DONEGAL. S.S.
" TLEMÇEN, ALGERIA. S.S.
1896. *CLYTIE. (61-1/2 × 53-1/2 in.) R.A.
" CANDIDA. (21 × 41-1/2 in.) Antwerp, 1896.
" *THE VESTAL. (27 × 20-1/2 in.) Unfinished.
" *A BACCHANTE. (26-1/2 × 21 in.)
" *THE FAIR PERSIAN. (25-1/2 × 19-1/2 in.) Unfinished.
[Illustration: "... SERENELY WANDERING IN A TRANCE OF SOBER THOUGHT"
(1885)]
[Illustration: DESIGN FOR THE REVERSE OF THE JUBILEE MEDALLION (1887)]
APPENDIX II
The studies in oil, chiefly landscape, of quite small size, few of which
had been exhibited, were sold, with the remaining works of the artist,
by Messrs. Christie, Manson and Woods on July 11th, 13th, and 14th,
1896, when the prices realized, from 50 to 100 guineas each for the
best, were in excess of those the most sympathetic admirer of Lord
Leighton's singular power as a landscape-painter had dared to expect.
For convenience of future reference, the list of these as they appear in
the sale catalogue may be worth the space it occupies; the numbers
denote the "lot."
1. {HEAD OF A GIRL.
{HEAD OF A BOY.
2. A STUDY OF HOUSES, VENICE.
3. THE COAST OF ASIA MINOR, FROM RHODES.
4. A STREET SCENE.
5. HOUSES AT CAPRI.
6. THE COAST OF ASIA MINOR, FROM RHODES.
7. A GARDEN SCENE.
8. A FORTRESS, EGYPT.
9. TOMBS OF MUSLIM SAINTS AT ASSOUAN, FIRST CATARACT. R.S.B.A., 1895.
10. A BAY, ASIA MINOR, FROM RHODES.
11. THE BAY OF LINDOS.
12. IN THE CAMPAGNA, ITALY.
13. A TOWN, CAPRI.
14. MOUNTAINS NEAR RONDA PUERTA DE LOS VIENTOS. R.S.B.A., 1895.
15. A VIEW IN THE CAMPAGNA.
16. A COVERED STREET IN ALGIERS.
17. A DOORWAY, ALGIERS.
18. HEAD OF A GIRL.
19. HEAD OF A MAN.
20. HEAD OF A GIRL.
21. HEAD OF A GIRL.
22. STREET IN ALGIERS.
23. ST. MARK'S, VENICE. R.S.B.A., 1892.
24. INTERIOR OF ST. MARK'S, VENICE. R.S.B.A., 1892.
25. THE DOORWAY, NORTH AISLE, ST. MARK'S, VENICE. R.S.B.A., 1892.
26. A BAY SCENE, ISLE OF RHODES.
27. A VIEW ON THE COAST, LINDOS.
28. DENDERAH.
29. THE ROMAN CAMPAGNA, MONTE SORACTE IN THE DISTANCE. R.S.B.A., 1894.
30. A STUDY IN THE CAMPAGNA.
31. AQUA CERTOSA, ROME.
32. A VIEW OF THE TOWN OF LINDOS.
33. THE ACROPOLIS OF LINDOS, where stood the Temple of Athena Pallas.
R.S.B.A., 1894.
34. A STUDY IN THE CAMPAGNA, WITH MONTE SORACTE.
35. STUDY OF A MAN'S HEAD.
36. AN ARAB'S HEAD.
37. A SHEIK.
38. AN ARAB.
39. HEAD OF AN OLD LADY.
40. A TURKISH BOATMAN.
41. FIUME MORTO, GOMBO, PISA. R.S.B.A., 1894.
42. THE CITADEL, CAIRO.
43. A VIEW IN DAMASCUS.
44. A VIEW IN CAPRI.
45. BOCCA D'ARNO.
46. THE CITY OF TOMBS, ASSIOUT, EGYPT. R.S.B.A. [1871?].
47. BUILDINGS, SIOUT, EGYPT.
48. A MOUNTAINOUS LANDSCAPE, SPAIN.
49. A STREET SCENE, CAPRI.
50. A COAST SCENE, ISLE OF WIGHT.
51. BARREN LAND.
52. A TOWN IN SPAIN.
53. BOSCO SACRO, CAMPAGNA.
54. VILLA MALTA, ROME.
55. THE ROCKS OF THE SIRENS, CAPRI.
56. A VIEW IN SPAIN.
57. A VALLEY, SPAIN.
58. ON THE COAST, ISLE OF WIGHT.
59. GARDEN AT GENERALIFE, GRANADA.
60. THE BATHS AT CARACALLA.
61. A HOUSE, CAPRI.
62. IN ST. MARK'S, VENICE.
63. THE STAIRCASE OF A HOUSE, CAPRI.
64. THE GARDEN OF A HOUSE, CAPRI.
65. STUDY OF A MALE FIGURE CARRYING A PITCHER.
66. HEAD OF A GIRL.
67. THE COAST OF ASIA MINOR, FROM RHODES.
68. CHAIN OF HILLS SEEN FROM RONDA. R.S.B.A., 1893.
69. THE COAST OF ASIA MINOR. (Study for the background of _Perseus_.)
70. A POOL, FINDHORN RIVER, N.B. (Study for the background of
_Solitude_.)
71. A LANE. (Study of rocks for _Solitude_.)
72. A WOMAN SEATED, IN A LANDSCAPE. (Study for _Simætha the Sorceress_.)
73. TAORMINA, SICILY. (Sketch for background of _Wedded_.)
74. A POOL ON THE FINDHORN RIVER, FORRES, N.B. (Study for the background
of _Solitude_.)
75. TAORMINA, SICILY. (Study for the background of _Wedded_.)
76. INTERIOR OF A HOUSE AT LINDOS. (Study for the picture of
_Cleoboulos_.)
77. STUDY OF A WOMAN'S HEAD. Capri, moonlight. (Study for the effect in
_Clytemnestra_.)
78. BUILDINGS, CAPRI, MOONLIGHT. (A study for the same.)
79. AN ALLEGORICAL DESIGN FOR A MURAL DECORATION.
80. HEAD OF A LADY AND GENTLEMAN OF THE FIFTEENTH CENTURY.
(16 × 14-1/4 in.) (Painted in 1853.)
81. HEAD OF A LADY. White on brown ground.
82. A STUDY FROM VELASQUEZ.
[83 to 117 _were larger works, mainly studies for completed pictures or
the pictures themselves_.]
{A LANDSCAPE.
118. {STUDY OF SKY AT MALINMORE.
{STUDY.
119. A ROCKY COAST, MALINMORE, DONEGAL.
120. A MOUNTAINOUS LANDSCAPE.
121. A VIEW IN SCOTLAND.
122. A LANDSCAPE, ITALY.
123. FISHING BOATS ON THE COAST, CAPRI.
124. A VILLAGE ON A HILL, CAPRI.
125. A SCENE IN THE DESERT.
126. THE COAST OF GREECE.
127. HEAD OF A MAN.
128. A SCOTCH LAKE.
129. NEAR KYNANCE COVE.
130. CARRARA MOUNTAINS.
131. A VIEW IN ALGIERS.
132. TLEMÇEN, ALGERIA. R.S.B.A., 1895.
133. THE DAMASCUS GATE, JERUSALEM.
134. THE ERICTHEUM (_sic_).
135. A STREET IN LERICI, near where Shelley was drowned.
136. {STUDY OF TREES.
{A LANDSCAPE.
137. {HEAD OF A GONDOLIER.
{IRISH PEASANT GIRL.
138. HEAD OF AN ITALIAN PEASANT.
139. {A COMMON.
{LANDSCAPE, WITH COTTAGES.
140. A ROCKY COAST, KYNANCE.
141. GRANITE BOULDERS, FORRES, N.B.
142. A SUNNY CORNFIELD.
143. A COURTYARD, TANGIERS.
144. A COURTYARD, TANGIERS.
145. A SKETCH OF ALBANO.
146. A COAST SCENE, IRELAND.
147. A SCOTCH SCENE.
148. A STUDY OF ROCKS.
149. THE STEEPLE ROCK, KYNANCE COVE.
150. A SANDY BAY, IRELAND.
151. KYNANCE COVE.
152. HOLY ISLAND. Bamborough in the distance.
153. A COAST SCENE, ISCHIA.
154. GLEN COLUMBKILL, IRELAND.
155. A MOORISH ARCHWAY, TANGIERS.
156. PERUGIA.
157. A ROCKY COAST, MALINMORE.
158. MALIN HEAD, DONEGAL. R.S.B.A., 1894.
159. GIBRALTAR, FROM SAN ROCQUE. R.S.B.A., 1895.
160. A BAY SCENE, SPAIN.
161. A SKETCH IN BEDFORDSHIRE.
162. A LANDSCAPE, RONDA.
163. A SPANISH TOWN.
164. THE BATHS OF CARACALLA.
165. THE STREET OF THE KNIGHTS, RHODES.
166. THE COAST OF ASIA MINOR, SEEN FROM RHODES.
167. LONGSOR.
168. A MOUNTAIN SCENE, WITH TEMPLE AND FIGURE, EGYPT.
169. A STUDY ON THE COAST OF IRELAND.
170. A RIVER SCENE, SCOTLAND.
171. MICKLEOUR, SCOTLAND.
172. A SEA PIECE.
173. THE COAST OF ASIA MINOR.
174. {ON THE NILE.
{A VIEW IN SPAIN.
175. {A TEMPLE ON THE NILE.
{SPANISH VIEW.
176. MALINMORE, DONEGAL.
177. THE BAY OF CADIZ, MOONLIGHT, AND PALAZZO REZZONICO.
178. A VIEW OF ATHENS.
179. {SCOTCH MOUNTAINS: SUNSET.
{A COAST SCENE, RHODES.
180. VITTORIA. R.S.B.A., 1873.
181. {A CLASSICAL HEAD. (Monochrome.)
{HEAD OF A MAN.
182. A STUDY OF PINE TREES.
183. A VILLAGE ON A HILL.
184. A RUINED MOSQUE AT BROUSSA.
185. A WOODY BANK.
186. RUINS OF A MOORISH ARCH, SPAIN.
187. A VIEW IN ITALY, WITH A CORNFIELD.
188. (This number is omitted in the sale catalogue.)
189. MIMBAR OF THE GREAT MOSQUE AT DAMASCUS.
190. {ROCKS, CAPRI.
{A FORTRESS, SPAIN.
191. {LANDSCAPE, SCOTLAND.
{LANDSCAPE, SCOTLAND.
192. THE RED MOUNTAINS, DESERT, EGYPT.
193. SKETCH NEAR CAIRO.
194. A FOUNTAIN IN THE COURT-YARD OF A JEW'S HOUSE, SPAIN.
195. A HOUSE IN TANGIERS. Mansion House, 1882.
196. A STREET SCENE, CAIRO.
197. A MOORISH STREET.
198. A STUDY OF ROCKS, SCOTLAND.
199. THE GARDEN OF THE HOUSE OF THE MAN WHO BUILT THE ALHAMBRA.
200. A SPANISH DONKEY.
201. A DONKEY AND ARAB DRIVER.
202. MENA DONKEY.
203. A STUDY OF HILLS.
204. THE TEMPLE OF PHYLÆ.
205. DAMASCUS: NIGHT.
206. A MOUNTAINOUS LANDSCAPE, WITH A CAVERN.
207. A WOOD SCENE.
208. HEAD OF AN ITALIAN GIRL.
209. THE DUNGEONS OF A CASTLE.
210. A CASTLE KEEP.
211. ENTRANCE TO A HOUSE, CAPRI.
212. A COAST SCENE, IRELAND: STORM EFFORT (_sic_).
213. LONGSOR.
214. THE NILE AT THEBES.
215. A VIEW ON THE CAMPAGNA.
216. A MOUNTAINOUS LANDSCAPE, SCOTLAND.
217. CAPRI BY NIGHT.
218. A FORTRESS ON THE CAMPAGNA.
219. A LANDSCAPE, WITH SAND HILLS.
220. A WOOD SCENE.
221. NEAR DENDERAH.
222. A LANDSCAPE.
223. ATHENS, WITH THE GENOESE TOWER, PNYX IN THE FOREGROUND.
224. A LANDSCAPE, CAIRO.
225. ON THE NILE.
226. PASTURE, EGYPT.
227. RED MOUNTAINS DESERT, EGYPT.
228. AN EGYPTIAN VILLAGE.
229. THE ISLAND OF ÆGINA.
230. THEBES.
231. THE COAST OF ÆGINA, PNYX IN THE FOREGROUND.
232. BUILDINGS ON THE COAST, ISLAND OF RHODES.
233. ASSOUAN, EGYPT.
234. A VINEYARD, CAPRI.
235. THE TEMPLE OF PHYLÆ, LOOKING UP THE NILE.
236. THE NILE AT ESUEH.
237. THE CATHEDRAL, CAPRI.
238. A SQUARE IN CADIZ.
239. ON THE NILE.
240. IN THE NILE VALLEY.
241. A VIEW ACROSS THE NILE.
242. A WOODY HILL SIDE.
243. ROCKS OF THE SIRENS CAPRI.
244. A FARM.
There were also copies made by Leighton himself of _Peace and War_ after
Rubens, the _Massacre of the Innocents_, after Bonifazio, _A Martyrdom_,
and the _Last Supper_, after Veronese.
The huge collection of studies, mainly in chalk upon brown paper, made
by Lord Leighton, were nearly all preserved; two hundred and forty of
these were exhibited by the Fine Art Society, who bought the whole
collection, and afterwards published a volume containing forty
reproduced in facsimile.
[Illustration: FOUNTAIN IN COURT AT DAMASCUS]
[Illustration: THE ISLAND OF ÆGINA: PNYX IN FOREGROUND]
[Illustration: RED MOUNTAINS DESERT, CAIRO]
[Illustration: RUINED MOSQUE, BROUSSA]
[Illustration: CITY OF TOMBS, ASSIOUT, EGYPT]
[Illustration: ATHENS WITH THE GENOESE TOWER: PNYX IN FOREGROUND]
[Illustration: COAST OF ASIA MINOR SEEN FROM RHODES]
INDEX.
_Titles of Pictures are printed in italics._
_Abram and the Angel_, 69.
_Acme and Septimius_, 25.
_Actæa_, 26, 111.
_Ægina, The Island of_, illus., 132.
_After Vespers_, 31.
Aitchison, George, R.A., 88.
Allingham, William, 106.
Alma-Tadema, Sir L., 37, 48, 91.
_Amarilla_, 39.
_And the Sea gave up its Dead_, 49, 66;
illus., 50.
_Andromeda_ (study in clay), 68;
illus., 68.
_Antigone_, 43.
_Antique Juggling Girl_, 33;
illus., 32.
Arab Hall, The, 29, 49, 88, 94, 96-100;
illus., 96.
_Ariadne abandoned by Theseus_, 25.
Arnold, Sir Edwin, translation of Musæus, 47.
Art and Morals, Leighton on, 74.
"Art Journal," criticisms of the, 108, _et seq._
Artistic Production in relation to Time and Place, Leighton on, 75.
_Arts of Peace, The_, 32, 42, 63, 64;
illus., 64.
_Arts of War, The_, 32, 63;
illus., 64.
_Asia Minor, The Coast of_, illus., 136.
Assyria, the Art of, Leighton on, 76.
_At the Fountain_, 50.
_At the Window_, 51.
_Atalanta_, 50, 59.
"Athenæum," criticisms of the, 32, 105, _et seq._
_Athens, with the Genoese Tower_, illus., 136.
_Athlete struggling with a Python_, 36, 67, 68, 126;
illus., 36, 49;
(marble version), 68.
_Bacchante_ (1892), 50, (1896) 51;
illus., 54.
_Bath of Psyche, The_, 48, 59, 129;
illus., 48.
Bezzuoli, 5.
_Bianca_, 43.
"Bible Gallery," Dalziel's, 23, 69, 70.
_Biondina_, 39.
Black and white, Leighton's work in, 69, 70.
Boccaccio, Leighton inspired by, 8, 45.
Book illustration, 69, 70.
Bookplate, Leighton's, illus., 120.
Bouguereau, Leighton and, 10.
_Bracelet, The_, 51;
illus., 52.
Bronzes, 36, 46, 67, 68.
_Broussa, Ruined Mosque at_, illus., 134.
_Brownlow, Countess of_, 39.
Browning, E. B., 47;
medallion of a monument to, 67;
illustration by Leighton to her "Great God Pan," 69.
Browning, Robert, 10;
subjects from, 22, 47;
on _Hercules wrestling with Death_, 30.
Brussels, Leighton at, 6, 7.
Burne-Jones, Sir E., 17, 91.
_Burton, Capt. Richard_, 35, 90;
illus., 36.
_Byzantine Well-head, A_, 18, 62;
illus., 18.
_Cain and Abel_, illus., 70.
_Cairo, Red Mountains Desert_, illus., 136.
_Capri--Paganos_, 19.
_Capri at Sunrise_, 18, 108.
Capri, Leighton at, 18, 61.
_Captive Andromache_, 47, 58;
_Studies_ for, illus., 56.
Carr, Mr. Comyns, on Leighton, 114.
_Catarina_, 39.
Ceiling, design for a, 46, 67, 128;
illus., 62.
Chesneau, Ernest, on English Art, 14.
Cimabue, influence of, 9.
_Cimabue_ (mosaic figure), 67.
_Cimabue finding Giotto_, 7.
_Cimabue's Madonna_, 3, 8, 9, 11, 23, 34, 47;
criticisms of, 103-107, 108;
illus., 10.
_City of Tombs, Assiout_, illus., 134.
_Cleoboulos instructing his daughter Cleobouline_, 30.
_Clytemnestra_, 32.
_Clytie_ (1892), 50, 59.
_Clytie_ (his last picture), 51, 52.
Cockerell, S. Pepys, on Leighton's drawings, 62.
_Cockerell, Mrs. Frederick P._, 25.
_Coleridge, Lady_, 48.
Cologne Cathedral, Leighton on, 86.
Colour: Leighton's mode of procedure, 55-58.
_Condottiere, A_, 31;
illus., 32.
_Contrast, A_, 70;
illus., 72.
_Corinna of Tanagra_, 50.
Cornelius, 9, 10.
"Cornhill Gallery, The," 69.
Correggio, Leighton and, 10, 18.
_Costa, Signor_, 39;
illus., 40.
_Count Paris_, 16, 107, 122.
Cousin, Jean, 84.
_Crenaia_, 42.
_Cross-bow Man, A_, 20.
_Cupid with Doves_, 66;
illus., 66.
_Cymon_ (clay model), 68;
illus., 68.
_Cymon and Iphigenia_, 42, 44, 45, 68;
photogravure, 44.
_Dædalus and Icarus_, 26;
illus., 26.
Dalou and _The Athlete_, 68.
Dalziel's "Bible Gallery," 23, 69, 70;
illus., 70.
_Damascus, Grand Mosque at_, 29, 33, 111;
illus., 28.
Damascus, sketches of, 28, 29, 33, 111;
illus., 28, 132.
_Dance, The_, 44, 67;
illus., 44.
Dante, Leighton on, 81.
_Dante at Verona_, 21, 109.
_Daphnephoria_, 24, 34, 35, 47, 111;
clay models for, 68;
illus., 34;
_Study for_ (illus.), 34.
Darmstadt, Leighton at, 8.
_David_, 23, 110;
illus., 24.
_Day Dreams_, 43;
illus., 42.
_Death of the First Born_, 69.
Decorative work, Leighton's, 63-67.
_Departure for the War, The_, 67.
Discourses on Art, Leighton's, 71-87.
Drapery, Leighton's treatment of, 48, 55-58.
_Dream, A_, 19, 109.
_Duett_, 20.
Dürer, Albert, Leighton on, 86.
Eastlake, Sir Charles, 10-12.
Egypt, Leighton's visit to, 28;
on the Art of, 75.
_Egyptian Slinger_, 29, 33, 112;
illus., 112.
_Electra at the Tomb of Agamemnon_, 26;
illus., 26.
_Elegy_, 48.
_Eliezer and Rebekah_, 69.
_Elijah in the Wilderness_, 39;
_Study for_, illus., 38.
_Elisha and the Shunamite's Son_, illus., 114.
English Art, Leighton on, 73.
Etruscan Art, Leighton on, 76, 77.
_Eucharis_, 20.
_Fair Persian, The_, 51.
_Farewell_, 50;
illus., 50.
_Fatidica_, 51;
illus., 52.
_Fisherman and Syren, The_, 16, 107.
_Flaming June_, 51.
Fleury, Robert, 10, 15.
_Florence, The Plague at_, 8, 90;
illus., 8.
Florence, Leighton at, 5, 6.
_Fountain, At the_, 50.
_Fountain in Court at Damascus_, illus., 132.
France, Evolution of Art in, Leighton on, 83.
Frankfort, Leighton at, 6-8.
Frescoes, 32, 63-66;
illus., 64-66.
Friezes, 44, 46, 67;
illus., 44.
_Frigidarium, The_, 50;
illus., 50.
Gamba, Signor, 8.
_Garden of the Hesperides, The_, 49.
Generalife, Study of a Garden at, 33;
illus., 28.
German Architecture, Leighton on, 85-86.
Gerome, 10.
Gibson, the sculptor, 11.
Gilbert, Alfred, 88.
Giotto, 9.
Girl, A little (1887), 47.
---- in Eastern garb (1877), 37.
_Girl Feeding Peacocks, A_, 20, 109.
_Girl with a Basket of Fruit_, 109.
_Girls' Heads, Studies of_, 38, 51;
illus., 74, 76, 78, 80.
Goethe: subject from, 16;
on Gothic architecture, 84.
_Golden Hours_, 21, 22;
illus., 21.
_Gordon, H. E._, 37.
Gothic architecture, Leighton on, 84.
Greek Art, Leighton on, 76.
_Greek Girls picking up Pebbles by the Sea_, 30.
_Greek Girls playing at Ball_, 48, 59;
illus., 48.
Grenfell, the Hon. Mrs. (_Miss Mabel Mills_), 37.
Greville, Lady Charlotte, monument to, 67.
_Gulnihal_, 46.
_Guthrie, Portrait of Mrs. James_, 24.
Hart, Professor, 12.
_Helen of Troy_, 23;
illus., 22.
_Helios and Rhodos_, 27, 28.
_Hercules wrestling with Death_, 30;
illus., 30.
_Hesperides, Garden of the_, 49.
_Hichens, Mrs. A._, 46.
_Hit_, 50;
illus., 54.
_Hodgson, Miss Ruth_, 38.
_Hodgson, Misses Stewart_, 48.
Hogarth Club, the, 17.
Hunt, Holman, 13, 17.
_I'Anson, the late Mrs. Lavinia_, 23.
_Idyll_, 42.
_In St. Mark's_, 23.
_Invocation_, 48.
_Iostephane_, 42.
_Italian Girl, An_, 37.
Italy, Evolution of Painting in, Leighton on the, 72.
_J. A.--a Study_, 19.
_Jezebel and Ahab_, 20, 123.
_Joachim, Miss Nina_, 44.
_Jonathan's Token to David_, 25, 124.
Jubilee medal, 46, 69, 129;
illus., 130.
_Juggling Girl_, 33;
illus., 32.
Keats's "Endymion," subject from, 15, 122.
Kemble, Mrs., 11.
_Kittens_, 44.
_Lachrymæ_, 51.
_Lady with Pomegranates, A_, 53.
_Laing, Miss, Portrait of_, 9.
Landscape studies, Leighton's, 16, 28, 29, 33, 39, 62, 132;
illus., 28, 132, 134, 136.
Landseer, Sir Edwin, 10, 13.
Lang's, Mrs. Andrew, monograph on Leighton, 7, 8, 63.
_Last Watch of Hero_, 47;
illus., 46.
Leighton, Frederic, Lord;
list of dignities and titles, 2;
ancestors and birth, 4;
first picture, 7;
portrait (1848), 7;
first picture for the Academy, 11;
A.R.A., 21;
R.A., 24;
first appearance as a sculptor, 36;
P.R.A., 39;
_Portrait_, by himself, 42;
illus., 3;
portraits by Watts, 42, 90;
his method of painting, 54-60;
drawings, 60, 61;
decorative works, 63-67;
sculpture, 67, 68;
book illustration, 69, 70;
Discourses on Art, 71-87;
house, 88-102;
criticisms on his work, 103, 114;
death, 115.
_Lemon Tree, Study of a_, 17, 18, 61;
illus., 18.
Lesseps, F. de, 28.
_Letty_, 44, 45.
_Lieder ohne Worte_, 19.
_Light of the Harem, The_, 42.
Lionardo da Vinci, Leighton on, 80, 81, 82.
_Listener_, 51.
_Little Fatima_, 29, 33, 111.
_Lucas, Mrs. F._, 48.
Lyndhurst, altarpiece at, 24, 64, 65.
Lyons, Lord, 11.
_Maid with her Yellow Hair, The_, 51.
Martin's, Sir Theodore, "Catullus," 25.
Mason, George, 11, 89.
Meli, Signor F., 5.
_Melittion_, 44.
_Memories_, 44.
_Mermaid, The_, 16.
Michael Angelo, Leighton on, 82.
_Michael Angelo nursing his dying Servant_, 19.
Millais, Sir J. E., 9, 13, 46, 68, 73.
_Mills, Miss Mabel_, 37;
illus., 36.
_Mitford, A. B._, 49.
_Mocatta, Mrs._, 44.
Modelling and models (clay), 67, 68.
_Moorish Garden_, 29, 33.
Morals, Art and, Leighton on, 74.
_Moretta_, 31.
Morris, William, and Rossetti, 17.
Mosaics, 67.
_Moses views the Promised Land_, illus., 70.
_Mosque, Ruined, at Broussa_, illus., 134.
_Mother and Child_, 23.
Murger, Henri, 7.
_Music_ (a frieze), 46;
illus., 44.
_Music, The Triumph of_, 15, 107.
_Music Lesson_, 36, 37.
_Music Room, Decoration for a_, 46, 67, 128;
illus., 62.
_Nanna_, 17.
_Nap, A_, 44.
Nature in Leighton's compositions, 58.
_Nausicaa_, 37;
illus., 38.
_Needless Alarms_, 46, 67.
_Neruccia_, 39.
Nias, Lady (_Miss Laing_), 9.
Nile, voyage up the, 28.
_Nile Woman, A_, 29.
_Noble Lady of Venice, A_, 52.
_Nymph and Cupid, A_, 15, 84.
Nymph of the Dargle, The, 42.
_Odalisque_, 19.
_Old Damascus_ (the Jews' quarter), 29, 33.
Orchardson, Mr., on _Clytie_, 52.
Orkney, Lady, 37.
_Orpheus and Eurydice_, 21, 22;
illus., 22.
Orr, Major Sutherland, monument to, 67.
_Orr, Mrs. Sutherland_, 19.
Pacheco, Francisco, on drawing, 60.
_Painter's Honeymoon, The_, 24.
_Pan_, 15, 122.
_Paolo_, 35.
_Paolo e Francesca_, 19, 122.
_Paris, Count_, 16, 107, 122.
Paris, Leighton at, 7, 15;
exhibition at, 13.
Parry, Gambier, and Ely Cathedral, 65.
_Pastoral_, 24.
_Pavonia_, 17.
_Pencil Drawings, Two Early_, illus., 6.
_Pencil Study, A_, illus., 16.
_Persephone, Return of_, 49, 59;
_Studies for_, illus., 60.
_Perseus_ (clay model), 68;
illus., 68.
_Perseus and Andromeda_, 49, 59, 68;
_Study for_, illus., 58.
_Persian Pedlar_, A, 9.
Petrarch, Leighton on, 81.
_Phoebe_, 46.
_Phoenicians bartering with Britons_, 51, 66;
illus., 66.
_Phryne at Eleusis_, 44;
illus., 42.
_Pisano, Niccolò_ (mosaic), 67.
_Plague at Florence, The_, 8, 90;
illus., 8.
Powers, Hiram, 5.
Poynter, Sir E. J., and Leighton, 66, 116.
Pre-Raphaelites, the, 16, 17.
_Primrose, The Lady Sybil_, 46;
illus., 46.
_Psamathe_, 41.
_Ralli, Mrs. Augustus_, 43.
Raphael, Leighton on, 81.
_Red Mountains Desert, Cairo_, illus., 136.
_Return of Persephone, The_, 49, 59;
_Studies for_, illus., 60.
_Rizpah_, 50, 59;
illus., 52.
Roman Art, Leighton on, 78.
_Roman Lady, A_, 17.
Romano Giulio, Leighton on, 79.
Rome, Leighton at, 3, 9-11.
_Romeo, The Dead_, illus., 14.
_Romeo and Juliet_, 90.
"Romola" illustrations, 69.
Rossetti, D. G., 10, 13;
works by, 16, 17;
on Leighton, 11, 19, 106.
Rossetti, W. M., on Leighton, 109, 110, 111.
Royal Exchange, decoration at, 51, 66;
illus., 66.
_Rubinella_, 42.
Ruskin on Leighton, 11, 12, 17, 33, 103, 111, 112.
_Rustic Music_, 20.
_Ryan, Edward_, 31.
_St. Jerome_, 26;
illus., 26.
_St. Marks, In_, 23.
St. Paul's, Design for proposed decoration of, 44, 49, 66.
_Salome_, 15.
_Samson and Delilah_, 18.
_Samson and the Lion_, illus., 70.
_Samson at the Mill_, 69.
_Samson carrying the Gates_, illus., 70.
Sand, George, 11.
Sartoris, Mrs. Algernon, _Portrait of_, 43;
illustration by Leighton to her "Week in a French Country House," 69.
Sculpture, 36, 46, 67, 68;
illus., 68, 130.
_Sea Echoes_, 20.
_Sea gave up the Dead, And the_, 49, 66;
illus., 50.
_Serafina_, 38.
"_Serenely Wandering_," illus., 128.
Servolini, 5.
_Sibyl_, 48, 54, 58.
_Simætha the Sorceress_, 47.
_Sisters_, 20.
_Sister's Kiss_, 41, 111;
illus., 40.
Sizeranne, M. de la, on Leighton, 113.
_Sluggard, The_, 46, 67, 68;
_Study for_, illus., 68.
_Solitude_, 49;
_Study for_, illus., 58.
South Kensington, drawings on wood at, 69;
frescoes, 32, 63-66;
mosaic, 67.
Spain, Leighton on the Art of, 82, 83.
Spielmann, Mr. M. H., on Leighton, 46, 48, 54-58.
_Spies' Escape, The_, 69.
_Spirit of the Summit, The_, 51, 60, 113.
_Star of Bethlehem, The_, 20, 109, 123.
Steinle, Johann Eduard, 6, 8, 9.
Stephens, F. G., on the Hogarth Club, 17.
Studies, collection of Leighton's, 62.
Studies in oil, list of, 132-136.
_Studies of Heads_, 38, 51;
illus., 14, 74, 76, 78, 80, 82.
_Study_ (little girl in Eastern Garb), 37.
_Study A_ (Grosvenor Gallery, 1877), 37;
(Academy, 1878), 38;
(Grosvenor Gallery, 1885), 46.
_Summer Moon_, 31;
illus., 30.
_Summer Slumber_, 51.
_Sun Gleams_, 44.
_Sunny Hours_, 17.
_Syracusan Bride_, 23, 24, 34, 47.
Tate Gallery, The, 36, 48, 49.
_Teresina_, 35.
Thackeray on Leighton, 9.
_Tragic Poetess_, 49.
_Triumph of Music, The_, 15, 107.
_'Twixt Hope and Fear_, 51.
Velasquez, Diego, Leighton on, 83.
_Venus Disrobing_, 25, 160;
illus., 24.
_Vestal_, 44, 51.
_Viola_, 43.
Volumnus Violens, tomb of, Leighton on, 77.
_Walker, John Hanson_, 19.
Watteau, Leighton on, 84.
Watts, G. F., 14;
pictures by, 91;
portraits of Leighton, 42, 90;
method compared with Leighton's, 55;
on Leighton, 116.
_Weaving the Wreath_, 32.
_Wedded_, 43.
_Whispers_, 43.
_Widow's Prayer, The_, 23.
_Winding the Skein_, 37, 111;
photogravure, _Front_.
_Wise and Foolish Virgins, The_, 24, 64.
_Zeyra_, 43.
CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.
Footnotes:
[1] See pages 103-114.
[2] Letter to William Allingham, May 10th, 1861.
[3] "Athenæum," April, 1864.
[4] The original title of this picture was _Eastern Slinger scaring
Birds in Harvest-time: Moonrise_. See Illustration at p. 112.
[5] This picture was re-sold at Christie's in 1892 for 3,750 guineas.
[6] Sometimes entitled _An Athlete strangling a Python_.
[7] At page 62.
[8] Engraved in the "Magazine of Art," March, 1896.
[9] "Current Art" ("Magazine of Art," May, 1889).
[10] "The Studio," vol. iii.
[11] Reproductions of both of these drawings are given at p. 18.
[12] "Letters of Dante Gabriel Rossetti to William Allingham," by George
Birkbeck Hill, D.C.L., LL.D. London, T. Fisher Unwin, 1897.
[13] "La Peinture Anglaise Contemporaine" (Paris, Hachette, 1895).
[14] "Magazine of Art," March, 1896, p. 197.
[15] The asterisk denotes works exhibited at the Winter Exhibition of
the Royal Academy of Arts, 1897.
[16] R.A., Royal Academy; G.G., Grosvenor Gallery; R.W.S., Royal Society
of Painters in Water-Colours; S.S., Royal Society of British Artists,
Suffolk Street; D.G., Dudley Gallery; S.P.P., Society of Portrait
Painters.
[17] Exhibited in the Roman Section, by some blunder of the Committee;
the picture having been painted in Rome.
[18] Purchased for £2,000 by the President and Council of the Royal
Academy, under the terms of the Chantrey Bequest.
[19] Painted by invitation for the Collection of Portraits of Artists
painted by themselves in the Uffizi Gallery, Florence.
[20] Painted for the house of Mr. Murquand, New York.
[21] Purchased for 1,000 guineas by the President and Council of the
Royal Academy, under the terms of the Chantrey Bequest.
* * * * *
Transcriber's note:
Passages in italics are indicated by _underscore_.
Images have been moved from the middle of a paragraph to the closest
paragraph break or to the end of a long quote.
The following misprints have been corrected:
"Dyson-Perrin" corrected to "Dyson-Perrins" (page v)
"Frederic" corrected to "Frederick" (page 25 and index)
Missing word added on page 101 (assumed "the").
Additional spacing after some of the quotes is intentional to indicate
both the end of a quotation and the beginning of a new paragraph as
presented in the original text.
The original text includes Greek characters. For this text version
these letters have been replaced with transliterations.