Chapter VI: Steinle and Italy Again--First Impressions of the East, 1856-1858 (2)

I saw in Algiers many things that interested me, very much _du
point de vue moeurs fetes_, with strange music on queer
instruments, odd dances, odder singing. The music of the Moors
is altogether very strange; it is monotonous in the extreme,
fitful, and sometimes apparently without any kind of shape,
and yet there is something very characteristic and almost
attaching about it. This applies only to instrumental music,
for as for the voice, they seem to consider it only as a
shriller instrument, using always at full pitch, with neck
outstretched and eyes half shut, always from the throat and
always higher than they can go. It is very strange that a
nation which attained once so high a pitch of civilisation,
should either never have known or have entirely forgotten that
the human voice is capable of inflection, and what an
all-powerful vehicle it may be made of every passionate
sentiment or soothing influence. However, much the same thing
is noticeable in the peasants near Rome, whose songs consist
(within a definite shape) of long-sustained chest notes that
are peculiar in the extreme, and though often harsh seem to be
wonderfully in harmony with the long unbroken lines of the
Campagna.

_A propos_ of chanting, I saw a very striking thing one day in
Algiers, in the shape of a Rhapsodist, who recited, with an
uncouth instrumental accompaniment, a long string of strophes
describing (I am told) the life and deeds of some hero; it was
exactly what a recital of the Homeric poems must have been
amongst the early Greeks. The Homer stood up in the midst of a
motley and most picturesque group of breathless listeners, and
chanted, with a sort of animated monotony, verses of about
two lines each, heightening the colour of his tale by
gesticulations. After each strophe the music struck in,
consisting of two queerly shaped tambours and a shrill flute.
After the performance, or rather, during the pauses, money was
collected in the tambourines. Homer (if he ever lived) no
doubt did the same.

On his return to Paris Leighton wrote to Steinle:--

_Translation._]
PARIS, _October 22, 1857_.

MY VERY DEAR FRIEND,--Since I know your industry better than
any one else, and also know that at this moment you are quite
particularly busy, I cannot be surprised that you have not
answered my letter of last month; however, some warm
expressions slipped from me in that letter which you may
perhaps have taken amiss; lest this should be indeed the case,
I hasten, my dear Master, to make you an ample apology and to
beg you not to take amiss what I may have said too hastily;
but if it is not so, do send me a short note that my doubt may
be solved; for it is an excessively painful idea to me that a
single word from my mouth should have displeased you.

I have just come back from Africa, where I have spent some
weeks with extreme pleasure, and, I believe, not without great
benefit; indeed, I might say that an artist cannot perfect his
sense of form so well anywhere as in the East; the types of
characteristic stamp which meet one's eye at every step are a
wonder to see, and of the simple grandeur of the costumes one
can form no previous conception--one sees real Michael Angelos
running about the streets.

I have done little or almost nothing, for one cannot possibly
induce the Arabs to sit; however, I believe I have learnt a
great deal by my observations; I have already made a
resolution to become acquainted with the Egyptian race in the
near future. But now I must see to it that I produce something
this winter, for time goes bye with giant strides, and will
not be called back again.

And you, my dear friend? what are you working at now? How I
should like to see your second cartoon! but unfortunately that
is one of the impossibilities. What has happened about the
church you were to paint? Has anything been settled? Once more
I beg you to write me a few lines to assure me that you are
not angry at my indiscretion.

Please remember me most kindly to your wife. And keep in
kindly remembrance, your grateful pupil,

LEIGHTON.

And again:--

_Translation._]
PARIS, 21 RUE PIGALLE,
_November 2, 1857_.

DEAR FRIEND AND MASTER,--All my best thanks for your kind
letter, and for the enclosed photograph of your splendid
cartoon; there is no need for me to tell you how greatly this
has rejoiced and delighted me; by now you know that beforehand
regarding every work of Steinle's (Steinleischen Arbeit), and
in no work more than in this do I recognise the fulness and
the brilliance of your fancy; meanwhile (as is only human) my
joy is a trifle damped by the overwhelming desire to know the
complete composition, and then to see the original itself. How
glad I am that at last you have a worthy task!

It was a great relief to me to find that you did not take
amiss what I wrote about wall painting, and that you quite
understood that I could only become so wrathful regarding a
matter which interests me in the highest degree. I wish with
all my heart that you may discover something which will fill
all requirements, while at the same time, as a bigoted
frescoist, I shake my head a little at your heresy. You will
certainly find me dreadfully stiff-necked, dear Friend! That
is because lately I have seen fresco painting much nearer, and
have compared it with oil painting directly beside it; I
cannot deny that in colour I find it immeasurably more frank
and stronger than its oil-neighbour, which appears muddy and
dull next it. True, Cennini mentions wall painting, but only
supplementarily, and after he has written at length of _buon
peseo_. I certainly fall into his views again!

Now, adieu, my dear friend; once more all my best thanks; you
may rely upon it, that the very first thing of mine that is
photographed shall immediately find its way to you at
Frankfurt; meantime, I candidly confess to you that I am quite
terribly dissatisfied with my performances, and could only
submit a hasty work to you.

Think often of your most devoted pupil,

FRED LEIGHTON.

(Written below by Steinle)
Answered, 4th June 1858.

The following letters, dated 30th November 1857, Paris, refer to Mrs. Orr's narrow escape from Aurungabad, owing to the fidelity of Sheik Boran Bukh, in the time of the Mutiny. It is a good example of the ease with which Leighton threw himself into the atmosphere of a situation. It reads like the writing of an Oriental!

MOST VALUED FRIEND,--The report of your gallant and generous
conduct towards my sister and the companions of her flight has
reached my ears, not only by private letters but also through
several of the first English newspapers. From one end of this
country to another, Englishmen have read the account of your
loyal bearing, and from one end of the country to the other
there has been but one voice to praise and to admire it; for
uprightness and fidelity are precious in the eyes of all
Englishmen, and honour and courage are to them as the breath
of life; but _my_ feelings towards you are naturally doubly
warm and grateful, for to your care and vigilance I owe the
safety of a most precious and valued life, that of a beloved
sister. It is to express to you this gratitude that I now
write, and also to beg you to accept as a small token of my
regard a shawl which I send together with this letter, and
which will be as a sign to cement our new friendship. Wear it
in remembrance of that perilous night at Aurungabad, and in
wearing it remember that on that night your fidelity won for
you many new friends, and amongst the truest and most sincere
count the brother of Mrs. Orr,

FRED LEIGHTON.

_To_ FREDERICK LEIGHTON, Esq., &c. &c.

AURUNGABAD, _13th July 1858_.

MOST RESPECTED SIR,--I beg to return you my humble and hearty
thanks for your kindness in having sent me a revolving pistol,
which was highly admired by all who saw it. I cannot be
sufficiently thankful to your invaluable kindness. I shall not
part with it till death, but keep it as a remembrance of your
high estimation of me your unworthy servant, and ever pray for
your and family's welfare and happiness.

I feel very uneasy in not hearing from Captain Orr since he
left us; I beg you will kindly let me know how he is getting
on, as I hear that he is not altogether very well. I was very
anxious to accompany him, and he agreed to take me, but on
second consideration he changed his mind. I hope some day or
other to be able to see you and family by God's grace.

I conclude, sir, with my humble respects and good wishes to
self and family. Hoping all's well.--I am, Sir, your most
obedient and grateful servant,

SHEIK BORAN BUKH, _Silladar_.

_Thursday._

DEAR PAPA,--In accordance with your request, yesterday
received, I enclose an envelope for B.B., on which perhaps you
will be so good as to add his rank, whatever that may be--I
believe Subahdar. I am glad the letter is right, and knowing
your great epistolary facilities, I don't feel as sorry as I
ought to have interfered with your design. I don't think it
will fall heavily on you.

I have a great favour to ask of you; and I feel sure you won't
grudge it me, as it concerns a man whose house is a second
home to me: Cartwright--indefatigable as he is, he keeps
constantly on the alert for any vacancy in Parliament, and is
in frequent communication with Hayter on the subject. Now the
representation of _Scarborough_ has just become vacant, and I
should take it as the greatest kindness if you would write to
that great friend of yours in that town (a banker--whose name
I, if I were to sit on my head, I could not remember; but you
know), mentioning Cartwright as a great friend and most
appropriate man. He (your friend) is sure to be very
influential amongst the townsfolk. I should wish you to say
this: state who Cartwright is, his family, place (Aynhoe Park,
Brackley), his relations _with Hayter the Whipper-in_ (that he
may not appear _tombe des nues_), and the following creed:
Pledge himself to Reform Bill with extension of franchise;
considers the Educational question amongst the most important
of the day; wants a thorough inquiry into India and Indian
affairs (government), and is prepared to support Lord
Palmerston's administration. All this is very important to
mention, because _all his relations_ are hot Tories. Also, in
case your friend should accept the suggestion and want to
communicate _at once_ Cartwright, give his (C.'s) direction in
Paris, _No. 5 Rue Roquepine_. Will you do this for me?

Please give dear Mamma a wigging for expressing no pleasure at
the prospect I hinted at of running over to Bath for a day or
two in the winter; tell her if she does not behave better I
won't come. I would write at greater length, but my model is
waiting, and I have no time.--With anticipated thanks, your
affectionate son,

FRED.

It was in the year 1857 that Leighton painted the beautiful figure of "Salome, the Daughter of Herodias," which apparently was never exhibited in any exhibition of his works till that of 1897. A sketch (see List of Illustrations) made for the picture is in the Leighton House Collection, also other drawings of dancing figures sketched in Algiers.

To his mother he wrote in the beginning of 1858:--

MONDAY, _Jan. 1858_.

DEAREST MAMMA,--Many thanks for your nice long letter, which I
had been anxiously expecting not only for news of yourself but
to hear what tidings had reached you from India. I am so
glad dear Lina continues tolerably well considering her
position. I can fully understand how dreadfully anxious poor
Sutherland must have been the whole time about her. I mean to
write to her myself without delay. Will you please let me have
her present direction, as I don't know it? How kind Sutherland
is to have remembered at such a moment about my tigerskin!
What an excellent and thoughtful creature he must be! The
extract from Brig. Stuart's despatch is most gratifying and
satisfactory, but I want to see it in print; where is it
published? can't you somehow get it and let me have it? I have
the greatest desire to possess it in that shape. What a nice
letter Booran Buckh's is. I am afraid that about the regiment
returning to Aurungabad is a hope not very likely to be
realised. There is still a frightful deal to do in Oude. Sir
Colin wants men sadly, and cavalry is particularly precious.

Mario's _etrenne_ cost me a pound, it was the least I could
do. Let me reassure you, dear Mamma, about my behaviour to
that amiable creature. I have been at his house often since,
and am sure he is not in the least hurt; as for his thinking I
was proud about his being an actor, that is so out of the
question that I could not help laughing when I read the
passage in your letter. In the first place, he would never
dream of suspecting me of such a piece of vulgarity, and in
the next, actor or no, he still is Count Candia, and therefore
more than my equal in rank.

I hope I may be with you somewhere about the 6th or 7th
February, and should stay till the 10th or 11th. It would be
humbug to say that I should not rather find you alone than in
a whirlpool of funereal gaieties; but, however, I am at your
disposal; do with me as you wish. I have been suffering very
much of late from tooth and face ache. I am rather better now,
thanks to, or in spite of, homoeopathy.

Lady Cowley I have never found in yet. The Embassy parties
have not begun yet. I go out almost every evening, but only in
a circle of four or five houses. I can't stay at home, my eyes
are too weak to do anything, I am sorry to say; I have not
opened a book this winter. The Hollands are going to Naples,
to my great regret; they were very kind; poor Lady Holland has
only just recovered from a very serious illness.

You tell me to bring over my Algerine sketches, but I have
very little to show, a few scratches only of types; my two
principal studies are _in oils_; I can't well take those over.
I am working away at my pictures as well as the pitch-dark
weather allows (which is very badly); however, I hope they may
turn out well. The silent Sartoris said to-day he thought my
Juliet picture "safe to succeed."

Good-bye, dear Mamma; best love to all from your most affect.
boy,

FRED.

END OF VOL. I

Printed by BALLANTYNE, HANSON & CO.
Edinburgh & London

FOOTNOTES:

[67] "Romeo," "Pan," and "Venus," being then exhibited at the yearly autumn Exhibition at Manchester.

[68] "368. _From Keats' Ode to Pan, in the 'Endymion'_: F. Leighton.--Flesh painting is the grand test. With the majority of artists the attempt results in a something very much resembling tinted marble. Not so Mr. Leighton. This enchanting creation of his mind glows with the rich warm hues of life; and the sweeping outline which gives such beauty to the female form is preserved with subdued definiteness. The background is a fine piece of mellow autumnal tinting.

"_The Royal Institution._--In the second room will be found one of the very best, if not the best picture in the exhibition, No. 183, 'Reconciliation of the Montagues and Capulets,' by F. Leighton. Whatever its other merits or faults may be, it tells the sad story clearly and forcibly. The scene is 'the tomb of all the Capulets,' and the moment chosen by the artist is when the heads of the rival houses, standing by the dead bodies of those in whom all their hopes had been centred, agree to lay by their ancient feuds, and clasp their hands in sign of future friendship.

"'_Capulet_--O brother Montague, give me thy hand:
This is my daughter's jointure, for no more
Can I demand.
_Montague_--But I can give thee more:
For I will raise her statue in pure gold:
That while Verona by that name is known
There shall no figure at such rate be set,
As that of true and faithful Juliet.'

In the foreground are the bodies of the lovers, placed on a bier. Juliet has thrown herself upon the body of Romeo, her hands clasped around his neck, and her cheek touching his. In that position, typical of her undying love, the fatal potion has done its work. Lady Capulet, in a paroxysm of maternal grief, has thrown herself on her knees at the foot of the bier; behind her is the Friar. Opposite the spectator are old Capulet and Montague, their aged forms bowed with grief, in the act of reconciliation. These are the principal figures. The Prince, attendants, &c., fill up, without crowding, the picture. The gloom of the ancient monument is capitally rendered, the colouring is harmonious, and the disposition of the figures careful and dramatic. The artist has admirably discriminated the characters of the two aged noblemen. Readers of Shakespeare will not need to be reminded of the distinction which the dramatist has made between the two. Montague appears only in the first and last acts, but displays great resolution, accompanied by a noble moderation, in the brawl commenced by the retainers of each of the houses. The language put into his mouth is noble and poetical, especially in concluding his account of the black and portentous humour which had overtaken his son.

"'But he, his own affection's counsellor,
Is to himself,--I will not say--how true,--
But to himself so secret and so close,
So far from sounding and discovery
As is the bud, bit with an envious worm,
Ere he can spread his sweet leaves to the air,
Or dedicate his beauty to the sun.'

No such language as this is ever given to old Capulet. On the contrary, he is fussy, shallow, and pretentious. Even the Nurse snubs him. In the first act he rushes out frantically calling for his sword, to which Lady Capulet replies--

"'A crutch, a crutch!--why call you for a sword?'

And the Nurse on another occasion says--

"'Go, go, you cot quean, go,
Get you to bed; faith you will be sick to-morrow
For this night's watching.'

The artist has finely distinguished the two men; there is no mistaking them. On the other hand, if we may 'hint a fall' or two, we should say, that the faces of the lovers are too livid and corpse-like. They are but newly dead, and the artist would have been truer to nature and increased the beauty of his picture if he had allowed some of the beauty of life to linger around them. The attitude of the Friar, too, with elevated arms and appalled look, is not in harmony with the grand composure of his demeanour at all other times, the noble motives from which he had acted, and that sanctity of character which induces the Prince to say to him, after his explanatory speech--

"'We still have known thee for a holy man.'

With all drawbacks, however, this is a noble picture; and if our readers will turn to the scene in the play and refresh their memories before going to the Institution, they will, we think, agree with us in ranking it as a successful Shakesperian illustration--high praise, but deserved."

[69] Among the drawings sold by the Fine Art Society in 1897 was a very striking and interesting sketch in water-colour by Steinle. The subject was a peasant confessing to a Cardinal. May be it was the sketch for this picture for which Steinle asked Leighton to help him respecting the cardinal's costume.

[70] Mrs. S. Orr was in India, the Mutiny taking place at that time.

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| Typographical errors corrected in text: |
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| Page xviii: Spagniola replaced with Spagnola |
| Page 63: Middelburg replaced with Middelburgh |
| Page 69: antlered replaced with anthered |
| Page 136: Spagniola replaced with Spagnola |
| Page 153: volorous replaced with valorous |
| Page 160: Kuppelwiesser replaced with Kuppelwieser |
| Page 190: Sclosser replaced with Schlosser |
| Page 210: "magnificent intellectual capacity, and unerring and |
| instantaneous spring upon the point to unravel." |
| replaced with "magnificent intellectual capacity, |
| and an unerring and instantaneous spring upon the |
| point to unravel." (see "Reminiscences of G.F. Watts"|
| by Mrs. Russell Barringtong, page 193.) |
| Page 198: antlered replaced with anthered |
| Page 226: Spagnolli replaced with Spagnola |
| Page 261: "bran new" replaced with "brand new" |
| Page 272: "He offers you L25 for if" replaced with |
| "He offers you L25 for it" |
| Page 273: "your sincerely" replaced with "yours sincerely" |
| Page 291: Pigale replaced with Pigalle |
| |
| Footnote 10: Sain-Damien replaced with Saint-Damien; |
| l'envalussait replaced with l'envahissait; and, |
| remplet replaced with remplit |
| Footnote 36: Caranco replaced with Carcano |
| (see Adelaide Sartoris' book "A Week in a French |
| Country-House" page xxx.) |
| |
| Note that the names I'Anson and Ffrench are legitimate |
| surnames. |
| |
| Frankfort a/M. is the abbreviation for Frankfurt am Main, |
| (in English 'Frankfort on the Main') a city on the Main |
| River, Germany. |
| |
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