Chapter II (1)

ILLUSTRATIONS FOR _CORNHILL MAGAZINE_--FRESCO FOR LYNDHURST CHURCH--ASSOCIATE OF THE ROYAL ACADEMY--MRS. LEIGHTON'S DEATH

1863-1865

In 1860 Leighton drew his first illustration for the _Cornhill Magazine_:--

_Translation._]
_Friday, 30th November 1860._

MY DEAR FRIEND AND MASTER,--Best thanks for your dear letter of
the 7th, thanks also especially, because in your kind praise you
do not spare criticism also; you could give me no better proof
that you still esteem and love your old pupil. I feel the
justice of your remarks about the drapery of the Saviour very
much, and can only say in my excuse that I have treated this
kind of subject very little, for I am only really a profane
fellow; but should I at some future time again treat such a
theme, I should endeavour to avoid similar faults. I send you
this time, for fun, a proof impression of a woodcut after a
drawing I made for one of our good monthly periodicals (_The
Cornhill Magazine_). It seems to me to be not bad for wood. It
illustrates a poem, and represents Ariadne kneeling on an
eminence, looking out for Theseus. This as a preliminary; I hope
to send you something in April.

DEAREST MAMMY,--My wretched picture is causing more delays! I am
very sorry to say I shan't be able to get to Bath before
Wednesday evening. I am due at Stourhead the 27th; this I cannot
defer any more, as I must be on duty with the Rifle Corps at the
beginning of September, and can't do all I have to do in less
than a week--this will, however, still leave me three weeks, all
but two days, at Bath.

I enjoyed myself at Panshanger very much--did I write to tell
you who our party was? In case I did not, it was as follows:
Henry Greville, Lord and Lady Katherine Valletort, Lord and Lady
Spencer, Mrs. Leslie, Lord Listowel, Mr. Clare Vyner, and Mr. E.
Lascelles--all young people; so that it was very pleasant.

There are, as you know, most beautiful pictures at Panshanger--a
magnificent Vandyke, a splendid Rembrandt, Correggio, Andrea del
Sarto, and two beautiful Raphaels.

G. Smith sent me a kind note and a cheque to fill up for drawing
in the _Cornhill_ ("Ariadne"). I put ten guineas, telling him
that I could not, as a general rule, interrupt my work for that
sum, but that I would not take more because the cut had turned
out so extremely bad.

I am going to expend the money, adding a few pounds, on a cup,
to be shot for in the spring by our Rifle Corps. Arthur Lewis
has already given one, and another of our men has promised a
second prize to go with my cup. My picture will be _finished_ by
the time I go to Bath. My eye is too accustomed to it to know
whether it is successful; I shall know better when I return from
the country.

I have no news, so good-bye, dear Mammy. Best love to all.--From
your very affectionate boy,

FRED.

I go to Windsor (to Miss Thackeray) for two days next week; that
also is an old invitation; I have no time for it, but must go. I
keep my parties going tolerably, but shall give that up with a
few exceptions when I settle here; it makes work impossible from
unavoidably late hours, and produces a general deterioration of
mind and body, mostly the former; the Hollands I shall always
keep up--they are most kind; I dine there frequently and meet
interesting and remarkable people.

Very remarkable drawings in pencil on other lines followed the celebrated "Lemon Tree"--surpassing in dramatic truth of expression any Leighton had executed since the early design he drew of the "Plague in Florence in 1850."[26]

The group of drawings for "Michael Angelo Nursing his Dying Servant" are among those preserved in the Leighton House collection, but were not seen by the public before Leighton's death. Though slight, they are among the most admirable he ever achieved in subtle tenderness of feeling and expressive truth of drawing. The feeble twitching clutch of the hands of the old man--announcing the speedy approach of Death--is a convincing proof of imaginative realism of a high order. This group of sketches, however, exemplify the curious artistic discrepancy which at times existed, especially before and about the time when the Michael Angelo was painted, between Leighton's pictures and the studies he made for them--a discrepancy which had no reference to his feeling for colour, but simply arose from an absence of sensitiveness for texture. In turning from the drawings to the painting, we find the noble feeling and conception, the lines and forms of the design much the same in all; but the heavy and yet insufficient texture of the actual surface mars the full conveying, even in the completed painting, of the feeling of the motive--so imperative is a simultaneous union of the idea with a happy echo of it in the touch of the human hand, if a work of art is fully to convey its message. Leighton's genius for using the point is referred to in a letter from Mrs. Browning, on the subject of a drawing he had made of her husband:--

_Copy._]

DEAR MR. LEIGHTON,--The portrait is beautiful, and would satisfy
me entirely except for a want of strength about the brow, which
I must write of, because I can't trust Robert himself with the
message. I think the brow is feeble, less massive than his,
with less fulness about the temples. In fact, your temple is
_hollow_, instead of full. Will you look at it by the original?
The eyes and mouth are exquisite. _Your pencil has the
expressiveness of another's brush._

How much I thank you for having put so much of my husband on
paper is proved by the very insolence of my criticisms.--Most
truly yours,

ELIZABETH BARRETT BROWNING.
_April 1._

In the same category as the Michael Angelo studies may be placed the first sketch of "Samson Wrestling with the Lion," designed as an illustration for Dalziel's Bible. This drawing is also in the Leighton House Collection, also the original drawings for "The Spies' Escape" and "Samson at the Mill." The following was written with regard to it: "An animal model never 'sits.' The artist must catch the action he wants from fleeting suggestions. His imagination alone can guide his pencil when he depicts such action with realistic power. It is in a pencil drawing of a lion that we find the work that evinces, more distinctly perhaps than does any other of Leighton's utterances in art, the highest kind of imagination in the drawing of form in action, namely in the sketch of 'Samson Wrestling with the Lion' for the illustrations in Dalziel's Bible. Where, indeed, for vigour of invention, can we find a drawing to surpass these few pencil lines? The sinews in the legs and claws of the animal are drawn up, clenching the vacant air with a quivering grip; the tail straightened stiffly through the strain of the wrestling; the whole animal convulsed with the force of the struggle. This is treatment of form no model could suggest, no knowledge evolve, no labour or industry produce. A true imagination alone can inspire such vivid realism." The other subjects Leighton illustrated were "Death of Abel," "Moses Viewing the Promised Land," "Samson Carrying the Gates," "Abraham and the Angel," "Eliezer and Rebecca at the Well," "The Slaying of the First-born."

* * * * *

In 1862 Leighton illustrated George Eliot's great novel "Romola." He writes to his father:--

_Tuesday._

DEAR PAPA,--Though I am not able, I am sorry to say, to report
the sale of any more of my pictures, you will be glad to hear of
a commission just given me by G. Smith of the _Cornhill_ which
is very acceptable to me. I am to illustrate (by-the-bye this is
"_strictly confidential_") a novel about to appear in the
_Cornhill_ from the hand of _Adam Bede_. It is an Italian story,
the scene and period are Florence and the fifteenth century,
nothing could "_ganter_" me better. It is to continue through
_twelve_ numbers, in each of which are to be _two_
illustrations.

I am to have for each _number_ L40; for the whole novel,
therefore, L480. I have conferred with the authoress to-day, and
am to get the first-proof sheets this week. The first number
will be published in July. Miss Evans (or Mrs. Lewes) has a very
striking countenance. Her face is large, her eyes deep set, her
nose aquiline, her mouth large, the under jaw projecting, rather
like Charles Quint; her voice and manner are grave, simple, and
gentle. There is a curious mixture in her look; she either is or
seems very short-sighted. Lewes is clever. Both were extremely
polite to me; her I shall like much.

I have no other news; no one asks about my pictures, though
their success is decidedly great; hard times! Are you writing to
Gussy? if so will you tell her that I mean to give her some
lessons with Halle when she comes to London? she shall have
_three_ a week for a month. Tell Lina with my love not to be
jealous, it will be her turn next. How is she? and how is Mamma?
Give them my best love, and believe me, your affectionate boy,

FRED.

That George Eliot should write a Florentine story at a time when Leighton was available to illustrate it, was certainly a most fortunate coincidence. Each scene which he represents is impregnated with a feeling which records the strong hold Italy had on his artistic resources. With a few exceptions, these illustrations for "Romola" are the last examples of his art, when a dramatic or a humorous treatment was a prominent feature of the designs. The last picture exhibited at the Royal Academy in 1897--the passionate, despairing figure of "Clytie"--was notably one of these exceptions. Unfortunately Leighton's letters to George Eliot respecting the "Romola" drawings cannot be found, and were probably destroyed before the author's death. The following were preserved by Leighton:--

16 BLANDFORD SQUARE, N.W.,
_Friday_.

DEAR MR. LEIGHTON,--Thanks for the sight of the Vignettes. They
are satisfactory.

Your delicious drawing was with me all day yesterday and made
the opera more delightful to me in the evening. I never saw
anything comparable to the scene in Nello's shop as an
illustration. There could not be a better beginning.

I should very much like to have a little conversation with you,
and will arrange to see you at any hour that will best suit you,
in the evening if you like, any time after the morning working
hours, which last till two o'clock. I know your time is very
precious to you just now, but I think we shall both benefit by a
little talk together after you have read the second
proof.--Yours very truly,

M.E. LEWES.
F. LEIGHTON, Esq.

16 BLANDFORD SQUARE, N.W.,
_Wednesday_.

DEAR MR. LEIGHTON,--I feel for you as well as myself in this
inevitable difficulty--nay, impossibility of producing perfect
correspondence between my intention and the illustrations.

I think your sketch is charming, considered in itself, and I
feel now with regret that if we had seen each other and talked a
little together after you had read the proof, the only important
discrepancy might have been prevented. It is too late for
alterations now. If it had not been, I should have wished
Bardo's head to be raised with the chin thrust forward a
little--the usual attitude of the blind head, I think--and
turned a little towards Romola, "as if he were looking at her."

Romola's attitude is perfect, and the composition is altogether
such as gives me a very cheering prospect for the future, when
we have more time for preparation. Her face and hair, though
deliciously beautiful, are not just the thing--how could they
be? Do not make yourself uneasy if alteration is impossible, but
I meant the hair to fall forward from behind the ears over the
neck, and the dress to be without ornament.

I shall inevitably be detestable to you, but believe that I am

(Unfinished)

16 BLANDFORD SQUARE, N.W.,
_Thursday_.

DEAR MR. LEIGHTON,--Unmitigated delight! Nello is better than my
Nello. I see the love and care with which the drawings are done.

After I had sent away my yesterday's note, written in such haste
that I was afterwards uncomfortable lest I had misrepresented my
feelings, the very considerations you suggest had occurred to me
and I had talked them over with Mr. Lewes--namely, that the
exigencies of your art must forbid perfect correspondence
between the text and the illustration; and I came to the
conclusion that it was these exigencies which had determined you
as to the position of Bardo's head and the fall of Romola's
hair. You have given her attitude transcendently well, and the
attitude is more important than the mere head-dress. I am glad
you chose Nello's shop; it makes so good a variety with Bardo
and Romola. In a day or two you will have the second part, and I
think you will find there a scene for Tessa "under the Plane
Tree." But perhaps we shall see each other before you begin the
next drawings.--Ever yours truly,

M.E. LEWES.

16 BLANDFORD SQUARE, N.W.,
_Monday_.

DEAR MR. LEIGHTON,--Your letter comforts me particularly. I am
so glad to think you find subjects to your mind. I have no
especial desire for the view from S. Miniato, and indeed a plan
we started in conversation with Mr. Smith this morning, namely,
to have moderately sized initial letters--the opening one being
an old Florentine in his _Lucco_ and generally the subjects
being bits of landscape or Florentine building--seems to do away
with any reason for having the landscape to begin with. The idea
of having Tessa and the mules, or Nello's sanctum, smiles upon
me, so pray feel free to choose the impression that urges itself
most strongly. Your observation about the "che, che" is just the
aid I besought from you. With that exception, I have confined
myself, I believe, to such interjections as I find in the
writers of the fourteenth and fifteenth centuries, and in them,
curiously enough, this exclamation now said to be so constant
and "to mean everything" (according to our authority) does not
seem to occur.

Thank you. Pray let me have as many criticisms of that kind as
you can. I am more gratified, I think, by your liking these
opening chapters than I have yet been by anything in these
nervous anxious weeks of decision about publication.--Very truly
yours,

M.E. LEWES.
F. LEIGHTON, Esq.

16 BLANDFORD SQUARE, N.W.,
_Tuesday Evening_.

DEAR MR. LEIGHTON,--I am enchanted! purely delighted! which
shall I begin with, to tell you that I delight in Baby's toes or
that exquisite poetry in the scene where Romola is standing? Is
it not a pleasant change to have that opening made through the
walls of the city, so as to see the sky and the mountains? In
the scene with Baldassarre and Tessa, also, the distant view is
charming. Tessa and her Babkin are perfect--Baldassarre's is, as
you say, an impossible face to draw, but you have seized the
framework of the face well, both in this illustration and the
previous one.

I want to tell you that a man of some eminence in art was
speaking of your drawings to a third person the other day as
"remarkable" in a tone of genuine admiration. I don't know
whether you care about that, but it is good to know that there
is any genuine admiration in one's neighbours.

I am glad to have the drawings left. I shall go now and have a
long look at them. The February number will soon be out of my
hands, but you will have it when it pleases the pigs--or
printers.--Ever yours truly,

M.E. LEWES.

PARK HOTEL, LITTLE HAMPTON,
SUSSEX, _September 10, '62_.

DEAR MR. LEIGHTON,--Thanks for your letter, which I have
received this morning.

My copy of Vasari has a profile of Piero di Cosimo, but it is of
no value, a man with a short beard and eyes nearly closed. The
old felt hat on his head has more character in it than the
features, but the hat you can't use.

Of Niccolo Caparra it is not likely that any portrait exists, so
that you may feel easy in letting your imagination interpret my
suggestions in the First and the Fifth Parts of Romola. There is
probably a portrait of Piero di Cosimo in the portrait room of
Uffizi, but in the absence of any decent catalogue of that
collection it was a bewildering and headachy business to assure
oneself of the presence or absence of any particular personage.

If you feel any doubt about the _new_ Romola, I think it will be
better for you to keep to the original representation, the type
given in the first illustration, which some accomplished people
told me they thought very charming. It will be much better to
continue what is intrinsically pretty than to fail in an effort
after something indistinctly seen. If you prefer the action of
_taking out_ the crucifix, instead of the merely contemplative
attitude, you can choose that with safety. In the scene with
Piero di Cosimo, I thought you might make the figures
subordinate to those other details which you render so
charmingly, and I chose it for that reason.

But I am quite convinced that illustrations can only form a sort
of overture to the text. The artist who uses the pencil must
otherwise be tormented to misery by the deficiencies or
requirements of the one who uses the pen, and the writer, on the
other hand, must die of impossible expectations. _Apropos_ of
all that, I want to assure you again of what I had said in that
letter, which your naughty servant sent down the wind, that I
appreciate very highly the advantage of having your hand and
mind to work with me rather than those of any other artist of
whom I know. Please do not take that as an impertinent
expression of opinion, but rather as an honest expression of
feeling by which you must interpret any apparent criticism.

The initial letter of the December part will be W. I forgot to
tell you how pleased I was with the initial letter of Part V.

I am very much obliged to you for your critical doubts. I will
put out the questionable "Ecco!" in deference to your knowledge.
I have a tremulous sense of my liability to error in such
things.

I don't wonder at your difficulty about the modification of
_com_ into _ciom_. The writers of the fifteenth century,
speaking of the insurrection of the _Ciompi_ which occurred in
the previous century, say that the word was a corruption of the
French _compere_, the same word of course as _compare_,
constantly on the lips of the numerous French who were present
in Florence during the dictatorship of the Duke of Athens. The
likelihood of the derivation lies in the analysis of transition
in the meaning of words _compere_ and _compare_, like the
English "gossip," beginning with the meaning of godfather and
ending with, or rather proceeding to that of companion. Our
"gossip" has at least parted with its secondary meaning as well
as its primary one.

The unlikelihood of the derivation lies in the modification of
the sounds, and I felt that unlikelihood as you have done. But
in the absence of a Max Mueller to assure me of a law to the
contrary, I thought the statement of Tuscan writers a better
authority than inferences. I ought to have written "is stated by
the old historians."

I am really comforted by the thought that you will mention
doubts to me when they occur to you. My misery is the certainty
that I must be often in error.

Mr. Lewes shares my admiration of the two last
illustrations.--Ever yours truly,

MARIAN E. LEWES.
F. LEIGHTON, Esq.

16 BLANDFORD SQUARE, N.W.,
_Tuesday_.

DEAR MR. LEIGHTON,--Since I saw you I have confirmed by renewed
reference my conclusion that _gamurra_ was the equivalent of
our _gown_, _i.e._ the constant outer garb of femininity,
varying in length and cut according to rank and age. The poets
and novelists give it alike to the peasant and the "city woman,"
and speak of the _girdle_ around it. Perhaps it would have been
better to call Tessa's gown a _gamurrina_, the word sometimes
used and indicating, I imagine, just that abbreviation of
petticoat that active work demands.

If you are going to see Ghirlandajo's frescoes--the engravings
of them I mean--in the choir of Santa Maria Novella, I wish you
would especially notice if the women in his groups have not that
plain piece of opaque drapery over the head which haunts my
memory. We were only allowed to see those frescoes once, because
of repairs going on; but I am strongly impressed with a
belief--which, _au reste_, may be quite false--in the presence
of my "white hood" there. As to the garb of the luxurious
classes at that time, a point which may turn up in our progress,
I think the painters can hardly be believed to have represented
it fully, since we know, on strong evidence, that it ran into
extravagances, which are even in contrast with the general
impression conveyed not only by the large fresco compositions
but by the portraits. You must have had sufficient experience of
the _eclecticism_ in costume which the artist's feeling forces
upon him in the presence of hideous or extreme fashion. We have
in Varchi a sufficiently fit and clear description of the
ordinary male costume of dignified Florentines in my time; but
for the corresponding feminine costume the best authority I have
seen is the very incomplete one of a certain Ginevra's
_trousseau_ in the Ricordi of the Rinuccini family of rather an
earlier period, but marking even there the rage for embroidery
and pearls which grew instead of diminishing.

I imagine that the woman's _berretta_, frequently of velvet
embroidered with pearls, and apparently almost as prevalent as
our bonnet, must have been that close-fitting cap, square at the
ears, of which we spoke yesterday. I trouble you with this
note--which pray do not think it necessary to answer--in order
to indicate to you the very slight satisfaction my anxiety on
this subject can meet with, and the obligation I shall be under
to you if you will ever give me a positive or negative hint or
correction.

Approximative truth is the only truth attainable, but at least
one must strive for that, and not wade off into arbitrary
falsehood.--Ever, dear Mr. Leighton, yours very truly,

MARIAN E. LEWES.

Leighton preserved the records of a friendship with Mr. Robin Allen,[27] established and for most part continued through a correspondence which lasted for many years from the early 'sixties. The letter sent with the following poem refers to Leighton's illustration to Mrs. Browning's poem, "Musical Instrument," of which the original drawing is reproduced. (See List of Illustrations.)

TRINITY HOUSE, E.C.

MY DEAR SIR,--If I send this to the author of a lovely
illustration to a lovely poem, it is not for its worth, but to
give me an excuse for saying that I go out of town for a month
next Wednesday, and hope that I may call on you on my return,
perhaps get leave to show you over Loughton Woods in the
autumn.--Believe me, my dear sir, yours truly,

ROBIN ALLEN.
F. LEIGHTON, Esq.

SEQUITUR TO MRS. BROWNING'S "MUSICAL INSTRUMENT" IN THE
"CORNHILL MAGAZINE" OF JULY 1860.

A greater God than the great god Pan
Planted the reed in the river,
And he is the only God who can
Break through its heart without killing the reed,
And make of its very life indeed
An organ, to utter His psalm as the Giver.

This greater God than the beast-god Pan,
As He watches the reeds in Time's river,
Counts for best poet that perfect Man
Who holds lightly his song, at its loftiest strain,
So he live a man's life!--and at all cost and pain
_Is_ a reed among reeds in the river.

R.A.

In a letter to his mother Leighton expresses a warm admiration for these lines by Mr. Robin Allen.

In the autumn of 1863 the following letter to his mother mentions a notable visit to Compiegne. The charming story Mrs. Edward Sartoris wrote, which appeared some years later in the _Cornhill Magazine_, "A Week in a French Country House," owes its local colour to this home at Compiegne to which Leighton refers. It belonged to Mr. Edward Sartoris' brother-in-law, the Marquis de l'Aigle. For this story Leighton made two admirable illustrations--"An Evening in a French Country House" and "Drifting." Leighton is supposed to have suggested the character of Monsieur Kiowski, the Polish artist in the story; and the figure in the boat holding the rudder in "Drifting" he certainly meant to represent himself, while the figure singing is Adelaide Sartoris--drawn, as shown by the head-dress, from the sketch Leighton made in 1856. (See List of Illustrations.)

_Commencement of letter missing._]
1862.

I have a fit of the blues instead.

I hope for the sake of my pictures that I shall soon get over
them (the blues, not the pictures). I believe if I could find
models I should recover at once; but I foresee that I shall have
no such luck.

I had a delightful time at Compiegne--the place is charming, the
house comfortable in the extreme, and the life the perfection of
unconstraint (if that is English); I have told you already how
hospitable and kind my host and hostess were. I have, of course,
no news to give you yet, except, by-the-bye, that the bailiffs
were in the house the other day because Mr. and Mrs. Gedy had
not paid L3, 5s. 6d. taxes; they stayed two days in the house,
and if the money had not come, would have walked off with some
of _my_ furniture. I wish I had a house; they are beginning a
house on Campden Hill, and would build it for an artist after
his own designs.

Mr. and Mrs. Alfred Sartoris, the admirer of "Eastern King," were also among the visitors during this week in a French country house, and write the following anecdote:--

"Those who knew Lord Leighton require no record of his kindness
and unselfishness. For those who had not that privilege the
following little anecdote may be interesting. In the late autumn
of 1863 we were all staying with my sister-in-law, the Marquise
de l'Aigle, at Francport, near Compiegne. Mrs. Sartoris was also
there and Mr. Leighton. There was to be a service on the Sunday
in a little neighbouring village church for some children who
had made their first communion, and it occurred to Mme. de
l'Aigle to have some special music on the occasion, and profit
by the glorious voice of Mrs. Sartoris, who kindly offered to
sing. Mr. Leighton also volunteered to take the tenor part in
various sacred pieces. We were all to help in the concerted
music, and the old cure was in the seventh heaven of delight at
the prospect of such a grand service. Our dismay can be imagined
when three days before the service Mr. Leighton announced that
he must leave us as business required his presence in London.
'Oh!' we all exclaimed, 'what shall we do? the tenor pieces must
be given up; the cure will die of grief,' &c. ... 'No, no,' said
Mr. L., in his cheery way, 'don't change anything; I shall be
back all right on Sunday morning in time to sing;' and so, sure
enough, he did return, having travelled two nights to London and
back. He never would tell us why he had gone; and it was not
till long afterwards that it transpired that he had made the
hurried double journey to help a struggling artist, whose work
he wished to bring forward and introduce to some influential
person. He attained his object, and thought nothing of the time
and trouble involved, only glad to have been a help to one who
needed assistance, and also to keep his promise by singing in
the little village church."

In 1863 Leighton began painting the fresco of "The Wise and Foolish Virgins," which he presented to the Church at Lyndhurst. It was painted on the plaster wall above the altar at the east end. While at work on it, he stayed with his old friend Mr. Hamilton Aide, who formed one of the happy company of _intimes_ of the Roman and Lucca days. Several visits to this charming home in the New Forest were made before the work was finished.

In the following letter to Steinle he mentions his first experiment in Mr. Gambier Parry's medium for painting in fresco.

_Translation._]
2 ORME SQUARE, BAYSWATER.

MY VERY DEAR FRIEND,--When I last wrote I asked you when the
German exhibition of which you spoke was to take place, and
whether it was to be held in Cologne itself; but as I received
no answer I supposed that this exhibition either had not come to
anything (as I have seen nothing about it in the newspapers), or
that it did not seem sufficiently important to you for me to go
specially to Germany for it. Nevertheless, I would have gone to
Cologne, if it had been in any way feasible, exclusively on
account of you and your works, which I am very anxious to see;
unfortunately, however, I could not arrange it, and must content
myself with learning from a letter (if you will write me one)
how your work succeeds, and how far you have got with it. Two
walls are already finished, are they not?

As for myself, I am fairly industrious. Amongst other things, I
am painting at present the composition which you have already
seen, of Michael Angelo and his old servant Urbino. I have
endeavoured to keep the action of the figures simpler and
smoother than in the first sketch; and, in fact, I think the
picture will please you better than the drawing. For the rest, I
am sick of painting small pictures, and would like to undertake
something large; but it is not very agreeable to paint pictures
which will probably remain always hanging round one's neck.

I think I shall very soon test the public again in this
respect--but _what_ I shall paint I do not know. A friend of
mine (Mr. Gambier Parry), a great art devotee and first-rate
amateur, has discovered a medium to replace fresco painting in
our damp climate. I have seen his experiments, and have myself
painted a head under his rules,[28] and to my complete
satisfaction. The result is scarcely to be distinguished from
fresco, and is quite as easy, indeed even easier to achieve. At
the same time this method has advantages which _buon_ fresco
does not possess; it dries exactly as one lays it on (and is
then flat), it has no deposit (_Ansaetze_), and one can go over
it as often as one likes. The wall (a granular lime wall) is
saturated with the same preparation as you paint with. This
preparation, which is _stone hard_ against water, can always
dissolve _itself_ with moisture, so that one can retouch it
perpetually, at the same time the _whole_ of one's palette is
available. My friend is going to publish his system; I will
then, if you like, tell you exactly about it.

And now, farewell, dear Master. Remember me most kindly to your
wife and children, and keep in remembrance your friend and
pupil,

FRED LEIGHTON.

He wrote to Steinle in 1862 that he was making studies for the Lyndhurst fresco, and expected to finish it that summer; but it was apparently only begun in August 1863.

_Translation._]
2 ORME SQUARE, BAYSWATER,
_April 22, 1862_.

MY VERY DEAR FRIEND,--When I last wrote to you, I promised and
hoped that this time I should be able to send you some
photographs of my latest works, but unfortunately at the last
moment time ran short. My pictures are only just ready for
exhibition, and I must send them off unphotographed. In order
that you may not think I have been idle, I write these lines;
also because I am unwilling, my dear Master, to fade entirely
from your memory. I am exhibiting _eight_ pictures this year, an
unusually large number. But the case is not so bad as it looks
at the first glance. Two only of these pictures are important in
size and subject. One of them you already know from a former
composition. It represents Michael Angelo with his dying servant
Urbino. In the principal idea I have not deviated much from the
first sketch, but have endeavoured to treat the whole with more
unity and the details with more simplicity than in the
drawing which you saw, and the faults of which you pointed out
to me. This picture is life-size, and extends down to the knees.

The other is of a somewhat fanciful description. I have imagined
one of the three holy kings, when he sees the Star in the East
from the battlements of his palace. The picture is curious and
open to much fault-finding, but I think it will please you by a
certain poetry in the conception. The shape is long and narrow.
The king, half life-size, almost turns his back upon the
spectator, and is, in the midst of the dark night, only lit by
the mystic rays of the Star. In contrast to this pure light one
sees, quite at the bottom, through an arch, into the hot
lamp-light, which illuminates a gay orgy. I have allowed myself
a certain amount of pictorial licence, which may well surprise
the general spectator at first glance, but which to me heightens
the poetical impression of the whole.

Five other pictures are smaller, and three of the subjects are
idyllic or fanciful (_e.g._ a shepherd playing on a flute, an
Oriental girl with a swan, &c. &c.), all carried out with great
love, and certainly my best works.

At present I am busy making studies for a large wall painting
(the "Wise and Foolish Virgins"), which I am giving to a church.
I shall execute it this summer, and tell you more about it.

Now, my dear Friend, I have given you a long and full report of
myself; I hope you also will tell me what you are doing. I am
very anxious to know how the Cologne frescoes get on. How I
should like to see them! PERHAPS I may manage it this autumn. In
the meantime, however, write to me, and believe me to be, your
devoted pupil,

FRED LEIGHTON.

_April 1863, Saturday._

DEAREST MAMMA,--You have seen in the papers that the Review at
Brighton went off capitally. I enjoyed my day very much, and
though I was a _little_ tired and _very_ sleepy for two days
after, was altogether the better for it. It was a stiff day's
work too--nine or ten hours without sitting down, and with the
additional responsibility of having the command of the Artists'
Company. I was sure you would be pleased at the reception of my
"Fruit Girl"[29] by my brother artists--you must understand,
though, that this applies chiefly to the younger men (and not to
_all_ of _them_), for there are several of the older painters
who strongly object to my style of painting and are bent on
suppressing it.

Will you thank Papa for his hint about the _Athenaeum_--I am
pretty sure he is mistaken about it, but I shall take measures
about it--indeed I _have_.

I spoke to _Charles_ Greville (Henry's brother) and told him I
thought I should be coming on before very long; he very kindly
overhauled the lists and said he thought I might be up by the
end of the summer, and, what was still more kind, seeing me
unseconded, he put his name down as seconder.

FOREST BANK, LYNDHURST,
_Thursday, August 6, 1863_.

If I was not more explicit about being with Aide, it was because
I made sure you knew it. You will be pleased to hear that when
after many _peripeties_ I did begin my fresco I got on
capitally; I have now finished the task for this year, having
painted _three_ life-size figures, with a good bit of
background, in _four_ days. I worked hard for it, and am rather
tired--head and eyes; otherwise flourishing.

I am delighted with my new fresco material (Parry's)--the effect
is excellent--nearly as fine as real fresco. Everybody seems
much pleased with what I have done, particularly the parson. I
like it myself; I enjoy working at it immensely; it is my real
element. I find it (for mere _manipulation bien entendu_)
absurdly easy.

The following letter from Mr. Gambier Parry explains the "fresco material" Leighton used.

HIGHNAM, GLOUCESTER,
_August 3, 1863_.

MY DEAR LEIGHTON,--In reply to your last note about the use of
the wall itself rather than of canvas, there can be no doubt on
the subject, if only the plaster is _good_ and _well put on_.
You speak of two or three months to get it dry. I assure you
that that is _not near enough_. When the surface feels dry to
your hand you must not suppose that it is all dry inside, and if
the _wall_ is new, I doubt a year being enough to dry it. The
water must evaporate somewhere--it is drawn _to the_ surface of
_interiors_ because they are the warmest.

You ask whether the rough cast on the wall must be scraped off
before you wash the wall for painting. If by the _rough cast_
you mean rough plaster, which is a totally different thing to
rough cast, certainly use it as it is. The coarser the plaster
the better, because it is all the more porous, so long only that
it is of the best materials (viz. perfectly _washed_ sand, and
good lime), and well put on a good wall. _Nothing in the world
could equal it for painting upon_, except a surface of _coarse
clean_ Bath stone, with _all its pores open_. If you have such
plaster as I have just described, and both it and the wall
thoroughly dry, nothing could be better. The smooth surface,
with what granulated texture you please, can be got according to
the directions in my paper--viz. after two or three washes of
pure diluted medium, give another or two more of the same, with
dry whiting and a little white-lead, then go ahead _while it is
all fresh_, viz. _two or three days_ after the process of
preparation has been completed.

Take care in painting not to rub it up too much, for fear of
_drawing up the glossy resins to the surface_ away from the wax.
Paint right _into_ your prepared surface _solidly_ and with
_decision_ in the way of fresco painting, not as oil. Keep the
brush clean, and the volatile oil in the dipper clean, and then,
oh! how shall I envy you your power to use them all![30]

At the _Ely ceiling_, which is of hard wood _not_ porous, but
prepared with three coats of oil white-lead, I am painting with

Liquid Measure.
Pale drying oil 2
Japan gold size 2
Turpentine 2
Artist copal 1

well shaken up every time it is used. The colours are all ground
up in it, and then painting is done as in water-colour, using
_pure spirits of turpentine_ as a vehicle. Colours dry extremely
rapidly and with a dead surface. The stuff looks horribly black,
but the colours are not materially affected by it. Of course it
is not to be compared with my former medium, because there is
that bane of the palette oil in it, but I used it because of its
great facility (used transparent like _water-colour on a white
ground_), and because the surface was hard, so that wax might
(in great heat) shrink or play tricks on it, as it has done in
Murillo's pictures and many others.--Ever most sincerely yours,

T. GAMBIER PARRY.

If I can do anything for you, command me; we go to Scotland on
the 14th.

LONDON, _April 26, 1863_.

DEAREST MAMMA,--You were no doubt surprised to see a sock arrive
in Bath in solitary grandeur, unaccompanied by any sort of note.
The fact is, for some days past I have been working at a rate
which made me altogether unfit for correspondence. I have just
returned from Lyndhurst, where I have been doing a bit more
fresco--and very stiff work it was--up and at work at seven, and
at it best part of the day, perched generally on an
uncomfortably narrow ladder, and with my head almost blown off
by the agreeable but overpowering smell of the vehicle with
which I painted. The result is as far as it goes tolerably
satisfactory--everybody there is delighted, and though that, of
course, does not prove much, it is at all events agreeable to me
that they derive so much pleasure from my work. The
stained-glass window, too, which has been executed at my desire
from Jones' designs, gives great satisfaction--is a lovely piece
of colour, and (which was, to me, of paramount importance) does
not hurt my fresco, though, of course, in the nature of things,
it outshines tenfold in point of brilliancy; hence the folly, to
my mind, of ever putting glass and wall painting in immediate
juxtaposition. I shall go and paint another slice in June, after
which Aide leaves, so I may not be able to finish my work till
he returns in autumn. On my road to Lyndhurst, I paid a visit
to Lady Dorothy Neville (Lady Pollington's sister) at
Dangstein--a very beautiful place near Petersfield.

On Monday week the Royal Academy opens--I shall be curious to
see what pictures they have taken; my work at present will be a
woodcut for Dalziel--then that for the _Cornhill_--then a
drawing for Cundall's Bible--Mrs. Magniac's portrait--the
cartoon for the remainder of the Lyndhurst fresco--then perhaps
a new picture. I wish some one would buy the old ones!

Have you read "Sylvia's Lovers"? Don't read "Salammbo"--it is
hideous.

DEAREST MAMMA,--My chair has arrived safe and sound; once more,
my very best thanks for it.

Aide _is_ one of the most _excellent_ men that ever lived--I
like him extremely.

By-the-bye, I am made one of the ensigns in our Rifle Corps, so
that when you come to town you have a chance of seeing me
strutting about with a sword.

I write in haste. Good-bye, best love to all.--From your very
affectionate boy,

FRED.

In a letter to his father dated 1864 Leighton announced the completion of the fresco, "The Wise and Foolish Virgins." The design of the whole and the lines of the draperies in each figure are all admirable, and the work is one which proves Leighton's powers of achieving rapidly, and under great difficulties, a complete work and one in which his great sense of beauty is very salient. There is also sufficient dramatic feeling in the gestures and expressions of the faces. Perhaps the most interesting (because the most spontaneous) attitude in the figures of the wise virgins is that which is kneeling, profile-wise, under the figure of the angel, who is indicating to her the presence of her Saviour. She seems dazed with awe and rapture. Her arm is caught up with a sudden unstudied angularity of movement which, though not so beautiful intrinsically as are most of those in Leighton's work, is very expressive, and produces a happy effect amid the more obviously arranged lines in the rest of the design. Among the many drawings preserved in the Leighton House Collection made for this fresco there is a slight but very sensitive sketch for this figure, also a finished pencil drawing for the head of Christ. The model who sat for this head was the Italian whom Leighton painted in "Golden Hours," and whom Watts used for the picture he (many years after its execution) entitled "A Prodigal." The type of this model may be felt by some to have been an unfortunate one to choose for the central imposing figure in the design of the fresco. It is, perhaps, weak--too good-looking in a commonplace style for such a subject.

Ruskin, on seeing the photograph of this work, wrote to Leighton (a postscript to a letter): "I was much struck--seriously--by the photograph from your fresco; it is wonderfully fine in action."

Leighton wrote to Steinle on receipt of his criticisms on the Lyndhurst fresco:--

_Translation._]
_3rd December._

MY DEAR FRIEND,--Just now returned from a long journey (to
Constantinople and Athens), I find two very welcome letters from
you, by which I see with great pleasure that your old pupil may
still reckon upon your invaluable friendship and sympathy, and I
see it all the more certainly because you enclose a kind but
pertinent criticism of the photographs I sent you.[31] I agree
entirely, and can only pretend in my defence that it was
difficult, with the long space (all having to be filled) and the
altar standing in the middle of it, not to fall into rather a
panic. That, after all, is but a lame excuse, and I hope that
you will always rap me over the knuckles with the same friendly
sincerity.

My dear Friend, the idea of appearing as a collaborator beside
you, my master, would be in the very highest degree delightful
and flattering to me. It is therefore only after mature
deliberation, and in the firm confidence that you will at least
appreciate the sincerity of your Leighton, that I have to
decline with real regret Herr Bruckmann's flattering invitation.
_You_, more than any one else, will agree with me that an artist
can execute no first-rate work, indeed dare undertake no work,
that is not a genuine expression alike of his feelings and his
convictions. I must candidly confess I cannot agree about a
complete illustration of the Shakespearian plays, those
masterpieces already in existence as _exhaustively finished_
works of art; it seems to me that in literature only those
subjects lend themselves to pictorial representation which stand
in the written word more as _suggestion_. Subjects perhaps which
are provided in the Bible or in mythology and tradition in great
variety, or are not already generally in possession of the minds
of the spectators of living plays (_e.g._ the Greek Tragedies).
It is for the most part a struggle with the incomparable,
already existing _complete_--which is quite intimidating to my
capabilities. Do not take this ill, my dear Friend, and do not
consider it too great a presumption that I, your pupil, declare
so plainly against you where you think so differently. To go
back over one detail, I must also confess that _to me_ a
_coloured cartoon_ is not a natural mode of expression; a
_drawn_, or a _grey in grey_ (grau in grau) painted
cartoon--well enough. A size five feet high is to me, for a
_suggestion_ of colour, at least five times too large; just as
little could I give a suggestion of form in this size. Colour is
not necessary; but if one should use it in half life-size, it is
too noble and poetic, I think, for one to venture, so to speak,
to clarify it. Will you forgive me for all this, dear master?
However, I shall see with deep interest the progress of the
beautiful work which you will certainly execute.

I have heard with some sorrow of the burning of the venerable
Dome, and am just writing to Otto Cornhill in respect to a
lottery which is to be arranged for the re-erection of the
tower.

I have read what you tell me of your dear family with great
pleasure; please remember me most kindly to your wife and
children; also to my old comrades V. Mueller, Wecker, and the
rest. I am very glad to hear that G. Wecker, the apostate, has
returned to art. He was, undoubtedly still is, a very gifted
man, but had to guard somewhat, had he not? against the
_ornamental_.

But my letter is becoming too long.

Farewell, my dear Master; take nothing amiss from your grateful,
devoted pupil,

FRED LEIGHTON.

_Friday 10, 1864._

DEAR PAPA,--You will be disappointed, after waiting so long, to
receive no paper after all, and a skimpy note instead. I am
amused at the studied ill-nature of the _Spectator_; I wonder
who _V._ is. The author of an article on sensation pictures in
the _Realm_, in which I am flatteringly quoted, is by Mrs.
Norton. _En somme_ I think my "_Golden Hours_" is the most
successful of my pictures (perhaps more than anything since
"Cimabue") and the "Orpheus" (deservedly) the least. I am about
to begin two new pictures. Mrs. Guthrie's portrait--a full
length--is postponed for her health till the winter.

1864.

I should not leave the place I am in except to build; a mended
house would be most unsatisfactory and _temporary_. I feel sure
I shall nowhere get standing room for a house for less than L28,
still less room for a house and _large garden_. If I find the
terms exactly as I expect and my lawyer (Nettleship) satisfied
with the title I shall, I think, close the bargain, the more so
that another painter (I don't know who) is after it.[32] I am
staying for a day or two at Dangstein (Lady Dorothy Neville's).
I met here last night Mr. Henry Woolfe, who very kindly offered
me introductions to one or two charming Venetian families
(Mocenigo) which will be very pleasant for me, as I want to see
a Venetian interior. Gambart has paid the L1050 for "Dante." The
"Honeymoon" was bought by a Cornhill dealer yclept Moreby.

I will let you know how all goes off on Saturday at the Council,
meanwhile best love to Mamma.--From your affectionate son,

FRED.

_August 23, 1864._

I found your letter on returning from Lyndhurst this morning. I
may as well tell you at once that I have finished my fresco,
retouching a great deal of what was already painted, and I think
I may add, greatly improving it--so much for that.

With regard to the draft, my assent was only general and
preliminary (besides being subject to the approval in the
details of my solicitor) and bound me to nothing. My surveyor
and solicitor have conferred together and with Lady H.'s agent,
and though the agreement is not yet signed, the matter is
virtually settled. I have several minor clauses altered which
had been inserted originally in the general draft to meet cases
different from my own. With regard to the title, I was surprised
and vexed to hear that it was stipulated that _no title should_
be called for. My lawyer told me that this was frequently the
case--that he would go to Doctors' Commons to see the Will to
ascertain the truth of the statement that the property was Lady
H.'s in fee simple (as it is). Even this he said did not
_legally_ exhaust the matter, as there might be encumbrances not
alluded to in the Will. He said, however, that many other leases
had been granted on that property on precisely the same terms,
that the matter turned on the character of the landlord, and
that, _en somme_, I ran but little risk. _Since then_ I have
seen him, and he tells me that he has fortunately been able to
ascertain through a very respectable firm of solicitors, who
_have_ seen the titles, that _it is all right_; he has therefore
not thought it desirable to put me to the expense of
investigating the Will--so far so good. As to the possible
expense of the house, my dear Papa, you have taken, I assure
you, false alarm. I shall indeed devote more to the
architectural part of the building than _you_ would care to do;
but in the first place architecture and much _ornament_ are not
inseparable, and besides, whatever I do I shall undertake
_nothing without an estimate_.

You need never fear that I shall take otherwise than it is
meant the advice that your experience and interest in me suggest
to you. You will also, I am sure, allow for the difference of
feeling between yourself and an artist who lives by his eyes.

A line will find me at Venice, _poste restante_, all September.
I am just off.

Best love to Mammy.--From your affectionate son,

FRED.

I knew neither _Poole_ nor _Jones_. Grant said he thought it
probable I should be an R.A. before long.

VENICE, _September 20, '64_.

MY DEAR PAPA,--Many thanks for your letter, which reached me
safely a few days ago. I do indeed contemplate building my house
so as to be enlarged at a future day. I find, however, that I
shall probably be obliged to build at once rather more than I
absolutely require for practical building reasons, but I need
not therefore furnish more than I require. About the well I am
now entirely in the dark. It would never have occurred to me to
ask myself the question, Are there not _pipes_ or something?
With regard to the Will, if the perusal of it only cost a
guinea, it might have been worth while to look at it, though
Palmer and Nettleship thought it superfluous; but then P. and N.
tell me it would cost L20! to have it gone over, and as my
expenses with Browne (Lady H.'s agent) are already very
great--he makes a preposterous charge, _which I can't dispute_,
for the agreement--I don't think I shall care to add to them.