CHAPTER VToC

Thank you for what you tell me about Puvis de Chavannes' work. I admire the designs for Ste. Geneviève hugely, and am altogether anaficionadoof that odd, incomplete, but refined and poetic painter; but for emptiness of modelling he seeks his peer in vain. I am seeing Velasquez again for the third time; this is the place in which to see him in all his splendour, and in all his nakedness—but that would be a chapter, and not a hasty note.—Very truly yours,Fred Leighton.

Fred Leighton.

From Spain Leighton crossed to Tangiers, whence he wrote:—

Tangiers,October 4, 1877.My dear Papa,—You are probably not a little surprised at the superscription of this letter; so am I. It was a sudden and a happy thought that brought me here. I reflected that, whilst I had long wished to see Tangiers, I should not very probably come to Spain again, and should therefore not have another chance of visiting Morocco without a journey made on purpose. The run from Gibraltar is only four hours, and I wonder the trip did not form part of my original scheme. It will have one drawback for me, that I shall get to Granada a few days later, and be by so much the longer in getting news from England; but my journey will not be prolonged on the whole, as I shall endeavour to cut off at the end what I put on now. I the more owe myself what enjoymentI can get here, that as I told you—did I not?—in my last, my journey has been hitherto rather a dismal failure. I told you how vile the weather was in Madrid, so that all technical study of the pictures was out of the question. Well this is, since then, the first perfectly fine afternoon we have had. Observe, I only say afternoon, for it poured in the morning, and the phenomenon of a wholly bright day has still to come. I am also still further in arrears of enjoyment from the fact that I got rather out of order, God knows why, the day I went to Toledo, to the utter spoiling of what should have been one of my most delightful trips, and am only now pulling round again, having called in Æsculapius (at 2 dollars a consultation), whilst at Gibraltar. An attack of this nature is simply fatal to any real pleasure on one's journey, and, coming on the top of dark weather and the contretemps just as the closing of the Alcazar in Seville (one of the things I especially wanted to see) made rather an absurd failure of the whole thing. At Seville I was fool enough to go again to a bull-fight, and was so disgusted that I got up and went away when the performance was only half over. Meanwhile the aspect of the arena itself, with the Cathedral and its marvellous tower rising just above into the sky, is a very striking sight, and one I should regret to have missed. The processional entry, too, of the whole of the performers—picadors, capeodors, espadas, &c. &c.—is very picturesque and stately. It is when the goring and torturing begins that the sight is revolting; and the enormous popularity of this form of sport with a nation, not, that I am aware of, exceptionally cruel, only shows how easily our worst instincts stifle our better nature, such as it is.This is a prodigiously picturesque place, and I enjoy more than I can say watching the Arabs swarming up the streets and markets, stately and grand in their picturesqueness beyond any population that I know, and particularly instructive and valuable to an artist from the sculpturesquedefinitenessof their forms. The Jewish women here are said (by Ford) to be prodigiously handsome. I have seen no Rebeccas amongst them yet. I have not yet opened my box, and shall at best do little or nothing; I have no time. Next week I shall be in Granada, from where I hope to have to acknowledge a letter dated in Kensington Park Gardens. Meanwhile I am, with best love to Lina and yourself,—Yours affectionately,Fred.

Tangiers,October 4, 1877.

My dear Papa,—You are probably not a little surprised at the superscription of this letter; so am I. It was a sudden and a happy thought that brought me here. I reflected that, whilst I had long wished to see Tangiers, I should not very probably come to Spain again, and should therefore not have another chance of visiting Morocco without a journey made on purpose. The run from Gibraltar is only four hours, and I wonder the trip did not form part of my original scheme. It will have one drawback for me, that I shall get to Granada a few days later, and be by so much the longer in getting news from England; but my journey will not be prolonged on the whole, as I shall endeavour to cut off at the end what I put on now. I the more owe myself what enjoymentI can get here, that as I told you—did I not?—in my last, my journey has been hitherto rather a dismal failure. I told you how vile the weather was in Madrid, so that all technical study of the pictures was out of the question. Well this is, since then, the first perfectly fine afternoon we have had. Observe, I only say afternoon, for it poured in the morning, and the phenomenon of a wholly bright day has still to come. I am also still further in arrears of enjoyment from the fact that I got rather out of order, God knows why, the day I went to Toledo, to the utter spoiling of what should have been one of my most delightful trips, and am only now pulling round again, having called in Æsculapius (at 2 dollars a consultation), whilst at Gibraltar. An attack of this nature is simply fatal to any real pleasure on one's journey, and, coming on the top of dark weather and the contretemps just as the closing of the Alcazar in Seville (one of the things I especially wanted to see) made rather an absurd failure of the whole thing. At Seville I was fool enough to go again to a bull-fight, and was so disgusted that I got up and went away when the performance was only half over. Meanwhile the aspect of the arena itself, with the Cathedral and its marvellous tower rising just above into the sky, is a very striking sight, and one I should regret to have missed. The processional entry, too, of the whole of the performers—picadors, capeodors, espadas, &c. &c.—is very picturesque and stately. It is when the goring and torturing begins that the sight is revolting; and the enormous popularity of this form of sport with a nation, not, that I am aware of, exceptionally cruel, only shows how easily our worst instincts stifle our better nature, such as it is.

This is a prodigiously picturesque place, and I enjoy more than I can say watching the Arabs swarming up the streets and markets, stately and grand in their picturesqueness beyond any population that I know, and particularly instructive and valuable to an artist from the sculpturesquedefinitenessof their forms. The Jewish women here are said (by Ford) to be prodigiously handsome. I have seen no Rebeccas amongst them yet. I have not yet opened my box, and shall at best do little or nothing; I have no time. Next week I shall be in Granada, from where I hope to have to acknowledge a letter dated in Kensington Park Gardens. Meanwhile I am, with best love to Lina and yourself,—Yours affectionately,

Fred.

Granada,October 19, 1877.My dear Papa,—To-morrow is my last day in Granada. On Sunday I turn my face Londonward, and my holiday will be pretty nearly at an end, as I have, from want of time, given up my original intention of seeing Valencia, Alicante, Tarragona, &c. &c. Travelling in Spain is so infinitely slower than I had remembered it, and so ideally inconvenient in regard to hours of starting and arriving, that my programme has altogether undergone considerable modifications. I reached this place a good week later than I expected, and I did not get your letter till some days later yet, owing, I suppose, to the difficulty experienced by the postal authorities in the art of reading. This will account to you for the time that will have elapsed between your receipt of my two epistles. I am truly sorry to hear that poor Lina is below par; tell her so, with my love. As you do not speak of yourself, I presume that you are in good form, and am glad to hear it. There is one passage in your letter which suggests to me a strong protest. I think it preposterous that the ambulant spinsters, or otherwise, with whom you foregather on your journeys, should expectyouto furnish them with photos of your "celebrated son." I like enthusiasm; butgenuineenthusiasm does not halt at a shilling, which is the sum for which my effigy is obtainable in the public market;verb. sap.I will not describe to you Toledo, Cordova, Seville, Granada, &c. (under which heads see Murray's guide-book). I have done so before (probably), and they have altered less than I, with the exception, perhaps, of Granada, or rather the Alhambra, which, alas! is changed indeed, thanks to the restoring mania, and is now all but brand new. I ought, perhaps, to remark that the changes inmeare not precisely in that direction. Taking a bird's-eye view of my holiday, I don't think I should call it altogether a success, though I have had many very delightful moments, and have seen many very beautiful things; but, in the first place, I have failed to fulfil one of the special objects of my trip, that, namely, of making a few sketches of sky effects, particularly seaside skies, which I sorely want for my picture of the girls and the skein of worsted. I have not done so, because I have notonceseen anything even resembling the skies I mean, and which are generally forthcoming at this season. The weather has indeed of late been fine, often ifnot always, and here even, at times, superb; but it is the before the rains, and not, as it should be, the clear, keen, autumn weather, after the air has been well swept and purged by the equinoctial broom and pail, which I had a right to demand of a Mediterranean October. This is a great disappointment. I did not want towork, and God knows I have not (five little sketches in all!); but just this document I did peremptorily require. In the second place, I have been rather seedy (am all right now), not very, but enough to poison my pleasure; and just so much that, after two or three little amateur attempts (local apothecary, fellow-travellers, &c. &c.), I thought it right (at Gibraltar) to see a doctor, notbecauseI was ill, butlestI should get worse and develop more serious symptoms, as internal disturbance occasionally does in hot countries. In a few days (and two large bottles of physic) I was much better, and am now, I repeat, quite "myself" again.But I perceive that this uninteresting twaddle has filled my paper, and barely left me space to tell that I have been to Africa, and shall be home on the 28th (evening). Yes, to Africa; Tangiers in four hours' steam from Gibraltar, and a most picturesque spot, of which more when we meet. On my way home I shall spend part of a day in Madrid, in the hopes of seeing the pictures this time. On my road through France I shall make a short break at Poitiers.À bientôt.—Affectionate son,Fred.

Granada,October 19, 1877.

My dear Papa,—To-morrow is my last day in Granada. On Sunday I turn my face Londonward, and my holiday will be pretty nearly at an end, as I have, from want of time, given up my original intention of seeing Valencia, Alicante, Tarragona, &c. &c. Travelling in Spain is so infinitely slower than I had remembered it, and so ideally inconvenient in regard to hours of starting and arriving, that my programme has altogether undergone considerable modifications. I reached this place a good week later than I expected, and I did not get your letter till some days later yet, owing, I suppose, to the difficulty experienced by the postal authorities in the art of reading. This will account to you for the time that will have elapsed between your receipt of my two epistles. I am truly sorry to hear that poor Lina is below par; tell her so, with my love. As you do not speak of yourself, I presume that you are in good form, and am glad to hear it. There is one passage in your letter which suggests to me a strong protest. I think it preposterous that the ambulant spinsters, or otherwise, with whom you foregather on your journeys, should expectyouto furnish them with photos of your "celebrated son." I like enthusiasm; butgenuineenthusiasm does not halt at a shilling, which is the sum for which my effigy is obtainable in the public market;verb. sap.I will not describe to you Toledo, Cordova, Seville, Granada, &c. (under which heads see Murray's guide-book). I have done so before (probably), and they have altered less than I, with the exception, perhaps, of Granada, or rather the Alhambra, which, alas! is changed indeed, thanks to the restoring mania, and is now all but brand new. I ought, perhaps, to remark that the changes inmeare not precisely in that direction. Taking a bird's-eye view of my holiday, I don't think I should call it altogether a success, though I have had many very delightful moments, and have seen many very beautiful things; but, in the first place, I have failed to fulfil one of the special objects of my trip, that, namely, of making a few sketches of sky effects, particularly seaside skies, which I sorely want for my picture of the girls and the skein of worsted. I have not done so, because I have notonceseen anything even resembling the skies I mean, and which are generally forthcoming at this season. The weather has indeed of late been fine, often ifnot always, and here even, at times, superb; but it is the before the rains, and not, as it should be, the clear, keen, autumn weather, after the air has been well swept and purged by the equinoctial broom and pail, which I had a right to demand of a Mediterranean October. This is a great disappointment. I did not want towork, and God knows I have not (five little sketches in all!); but just this document I did peremptorily require. In the second place, I have been rather seedy (am all right now), not very, but enough to poison my pleasure; and just so much that, after two or three little amateur attempts (local apothecary, fellow-travellers, &c. &c.), I thought it right (at Gibraltar) to see a doctor, notbecauseI was ill, butlestI should get worse and develop more serious symptoms, as internal disturbance occasionally does in hot countries. In a few days (and two large bottles of physic) I was much better, and am now, I repeat, quite "myself" again.

But I perceive that this uninteresting twaddle has filled my paper, and barely left me space to tell that I have been to Africa, and shall be home on the 28th (evening). Yes, to Africa; Tangiers in four hours' steam from Gibraltar, and a most picturesque spot, of which more when we meet. On my way home I shall spend part of a day in Madrid, in the hopes of seeing the pictures this time. On my road through France I shall make a short break at Poitiers.À bientôt.—Affectionate son,

Fred.

During the nine years that Leighton was a Royal Academician he worked most energetically in many directions towards establishing the principles which he considered sound and essential to the growth of the best Art instincts in England. He was one of the Professional Examiners in Art from 1866 to 1875 at the Victoria and Albert Museum. In 1884 he became one of the Art Referees for the Museum, and was consulted by Sir Henry Cole to a considerable extent. He aided, as far as lay in his power, all Art Societies to expand and to grow on the lines of Catholicity. He was a member of the Committee of the Society of Dilettanti, for the purpose of obtaining information as to the probablesuccess of renewed search for monuments of Greek Art. The following extract from a report proves what an active part he took in the business of the society:—

"In the autumn of the same year two hundred cases of inscriptions and sculptures from Priene were transported from Priene to Smyrna, and thence conveyed to England in H.M.S.Antelope. In March 1870 the society presented these marbles to the trustees of the British Museum. In May 1870 the committee, then consisting of Earl Somers, Lord Houghton, Mr. Watkiss Lloyd, Mr. Penrose, Mr. Cartwright, Mr. Leighton, and Mr. Newton, held several meetings. The committee at their meetings went carefully over all the drawings and details obtained by the society of the Temple of Bacchus at Teos, Apollo Smintheus, and Minerva Polias at Priene; they were of opinion that they would form an interesting and valuable publication, and should be proceeded with as soon as possible, and executed in a style worthy of the former productions of the society. Mr. Leighton offered to redraw the sculpture on some of the friezes, and Lord Somers to prepare the landscape illustrations."

In 1871 the President of the Artist Benevolent Fund, Mr. J.K. Kempton Hope, wrote to Leighton: "I am peculiarly proud that the first act which I have to perform in my new character is to say how honoured and grateful we all should be if you would kindly consent to accept the position of Vice-President."

The following letter to his father announces that Leighton had been elected President of the International Jury of Painting, Paris Exhibition, 1878:—

Hôtel Westminster, 1878,Friday.Dear Papa,—I have been waiting to write till I should have something to say beyond the fact that the weather is odious, and shows no signs of relenting. On Saturday afternoon we had our meeting of the Royal Commissioners, which had for its object the hearing of an address from the Prince of Wales. OnMonday morning thewholeInternational Jury (some six hundred or seven hundred members) met at the Ministère de Commerce, and was little more than formal.To-daythe group of sections which are concerned with Art held its first meeting under the presidency of Signor Tullio Massarani, an Italian, with Meissonier as Vice-President, the chief object of the meeting being to inform the various sections of the groups whom the Minister had appointed as their respective presidents. My section, composed of forty members, isPaintings and Drawings; there are twenty Frenchmen—nearly all the first artists of the country, in fact—and you will be surprised and very much gratified to learn that I was named president of this section—a very high honour, of course, and one of which I am extremely sensible, but which we must not misinterpret; it is, of course, only by an act of international courtesy that the French placed a foreigner at the head of their section, and amongst the other foreign artists there were few names of much weight or standing; still, it is a courtesy which will, I am sure, give you pleasure. Our section being thus constituted, we then appointed our ownvice-president, reporter, and secretary; they were unanimously elected; the first was my old friend, Robert Fleury; the second was Emile de Savelege, the Belgian writer whom you know of; and the third an old and kind friend of mine, Maurice Cottier, a man much mixed up in the official artistic world and possessing a magnificent picture gallery. To-morrow we begin our labours at the Exhibition, and in the afternoon I shall go to theséanceof theInstitut, which always takes place on Saturdays. This is my budget.

Hôtel Westminster, 1878,Friday.

Dear Papa,—I have been waiting to write till I should have something to say beyond the fact that the weather is odious, and shows no signs of relenting. On Saturday afternoon we had our meeting of the Royal Commissioners, which had for its object the hearing of an address from the Prince of Wales. OnMonday morning thewholeInternational Jury (some six hundred or seven hundred members) met at the Ministère de Commerce, and was little more than formal.To-daythe group of sections which are concerned with Art held its first meeting under the presidency of Signor Tullio Massarani, an Italian, with Meissonier as Vice-President, the chief object of the meeting being to inform the various sections of the groups whom the Minister had appointed as their respective presidents. My section, composed of forty members, isPaintings and Drawings; there are twenty Frenchmen—nearly all the first artists of the country, in fact—and you will be surprised and very much gratified to learn that I was named president of this section—a very high honour, of course, and one of which I am extremely sensible, but which we must not misinterpret; it is, of course, only by an act of international courtesy that the French placed a foreigner at the head of their section, and amongst the other foreign artists there were few names of much weight or standing; still, it is a courtesy which will, I am sure, give you pleasure. Our section being thus constituted, we then appointed our ownvice-president, reporter, and secretary; they were unanimously elected; the first was my old friend, Robert Fleury; the second was Emile de Savelege, the Belgian writer whom you know of; and the third an old and kind friend of mine, Maurice Cottier, a man much mixed up in the official artistic world and possessing a magnificent picture gallery. To-morrow we begin our labours at the Exhibition, and in the afternoon I shall go to theséanceof theInstitut, which always takes place on Saturdays. This is my budget.

Perhaps the most important work inside the Academy which Leighton effected during this time was that of establishing the winter exhibitions of Old Masters at Burlington House. No one exemplified practically better than did Leighton the value of the motto, "What is worth having is worth sharing." He had been fed from early youth from the fountain-heads of Art, and one of his first objects after being elected a member of the Royal Academy was to endeavourto secure the same inspiring stimulus for students which he had himself imbibed from the work of the greatest men. He told me also that his chief object in making conscientious studies in colour when he travelled, was to endeavour to convey to students who were not able to go abroad some idea of the varieties in the aspects of nature found in different countries. Leighton was much appreciated in London society, but theintimesof the old Roman days remained still the nucleus of his friendships; also every year he tried to find himself in his beloved Italy, and he generally succeeded. From his old friend Lady William Russell, mother of Odo Russell (afterwards Lord Ampthill and Leighton's ally in Rome), and Arthur Russell—the notable lady whose charm attracted to hersalonall that was most interesting among the magnates of Europe—two notes record her affection for Leighton and the death of Henry Greville in 1872, the severest blow which Leighton had sustained since the death of his mother.

I was in hopes of seeing you, to thank youvivâ vocefor theambrosiayou sent me from Italy. I didnotwrite during your pictorial tour, not exactly knowingwhereyou might be. It was,and is, for I have some still,excellent; Paolo Veronese did not eat any better, nor Titian, nor any of yourBrethren in Apollo.Guidoyouare—the English Guido—butnot"da Polenta"; I willnotaccept that "terre à terre" denomination. I now thank you most gratefully—it was one of the seven works of mercy, for I really could not eat and wasstarving. The Indian cornflour was arenovation. If ever you can make up your mind to pay a visit to una povera vealisa—zoppa—sorda—brutta and seccante, and forget "Aurora," I shall be charmed. But I know that your time is better employed; so a million of thanks, and as many regrets not to be able to see yourmarvelsof which I hear.—Believe me, most sincerely your obliged Serva and Amica,E.A.R.2 Audley Square Mayfair, W.Sunday, 26th November 1871.

Guidoyouare—the English Guido—butnot"da Polenta"; I willnotaccept that "terre à terre" denomination. I now thank you most gratefully—it was one of the seven works of mercy, for I really could not eat and wasstarving. The Indian cornflour was arenovation. If ever you can make up your mind to pay a visit to una povera vealisa—zoppa—sorda—brutta and seccante, and forget "Aurora," I shall be charmed. But I know that your time is better employed; so a million of thanks, and as many regrets not to be able to see yourmarvelsof which I hear.—Believe me, most sincerely your obliged Serva and Amica,

E.A.R.

2 Audley Square Mayfair, W.Sunday, 26th November 1871.

Dear Guido(butnotof Polenta),—I have been quitemortifiedat your neglect of me, and invoked the muses in vain! and call'd on the ghosts of Titian and Raffael, but they did not heed my sighs! I am always glad to see you, and wish I couldsee your works! All my cotemporaries and comrades are dying off, and Icannotlast long—so come to my "Evenings at Home" when you dine in my "Quartier" and are going to your club.Alas! for dear Henry Greville! I knew him from his most early youth.Bothhis parents were myearlyfriends frommyyouth, and his elder brother my cotemporary.Come! Benvenuto Cellini—venite!Monday, February 1873.

Alas! for dear Henry Greville! I knew him from his most early youth.Bothhis parents were myearlyfriends frommyyouth, and his elder brother my cotemporary.

Come! Benvenuto Cellini—venite!

Monday, February 1873.

Leighton's passion for music led him to encourage all that was best in instrumental as well as in vocal performance. The Monday Popular Concerts were started by Messrs. Chappell in 1859, the first being given on the 3rd January. From their commencement Leighton was a subscriber, and very rarely missed being present.

It was in the 'seventies that Leighton instituted those yearly feasts of music, which were among the real treats of the year.[54]His dear friend Joachim was to the end thepièce de résistanceof these gatherings. Never did the Great Master seem so inspired as when he played in that studio. Leighton wrote to his sister, Mrs. Matthews, April 1871:—

Dearest Gussy,—You heard, no doubt, that I gave a party the other day, and that it went off well. To me perhaps the most striking thing of the evening was Joachim's playing of Bach's "Chacone" up in my gallery. I was at the other end of the room, and the effect from the distance of the dark figure in the uncertain light up there, and barely relieved from the gold background and dark recess, struck me as one of the most poetic and fascinating things that I remember. At the opposite end of the room in theapse was a blazing crimson rhododendron tree, which looked glorious where it reached up into the golden semi-dome. Madame Viardot sang the "Divinités du Styx," from the "Alcestis," quite magnificently, and then, later in the evening, a composition of her own in which I delight—a Spanish-Arab ditty, with a sort of intermittent mandoline scraping accompaniment. It is the complaint of some forsaken woman, and wanders and quavers in a doleful sort of way that calls up to me in a startling manner visions and memories of Cadiz and Cordova, and sunny distant lands that smell of jasmine. A little Miss Brandes, a pupil of Madame Schumann, played too. She is full of talent and promise, and has had an immense success. Mme. Joachim sang "Mignon" (Beethoven) excellently.

Sketch by Theodore Blake WirgmanSketch executed on the spot by Mr. Theodore Blake Wirgman of their Majesties the King and Queen attending a Popular Concertin St. James's Hall, Lord Leighton being one of the Royal party. About 1893.ToList

Sketch executed on the spot by Mr. Theodore Blake Wirgman of their Majesties the King and Queen attending a Popular Concertin St. James's Hall, Lord Leighton being one of the Royal party. About 1893.ToList

Mrs. Watts Hughes writes the following notes relating to those years of the 'seventies:—

I remember the incident you refer to at Eton College. TheOrfeoperformance was given by the Eton boys, who had formed a society among themselves with the view of making acquaintance with the music of the great masters. I took the part ofOrfeo, and a niece of Darwin's, Miss Wedgwood, who is now Lady Farrer, sang Euridice's part. I believe Lord Leighton sang in some of the quartettes and choruses. I often met Lord Leighton at Mrs. Sartoris' musical gatherings at her house in Park Place, St. James', when he would sing very heartily the tenor parts of the old madrigals, in which also Mrs. Douglas Freshfield, Miss Ritchie, and others took part with Mrs. Sartoris, who on some occasions would sing one of her great operaticAriaswhich brought her so much fame in her former years.

In 1877 Leighton began to build the famous Arab Hall.[55]

The following letters from Sir Richard Burton refer to the collecting and sending of one instalment of the precious tiles:—

Damascus,March 22, 1871.Dear Mr. Leighton,—I have just returned from a pilgrimage to Jerusalem, or yours of April 14th, 1871, would not have remained so long unanswered. And now to business. I am quite as willing to have a house pulled down for you now as when at Vichy,[56]but the difficulty is to find a house with tiles. Thebric-à-bracsellers have quite learned their value, and demand extravagant sums for poor articles. Of course you want good old specimens, and these are waxing very rare. My friends, Drake and Palmer, were lucky enough, when at Jerusalem, to nobble a score or so from the so-called Mosque of Omar. Large stores arethere found, but unhappily under charge of the Wakf, and I fancy that long payments would be required. However, I shall send your letter to my colleague, Moore, who will do what he can for you. The fact is, it is a work of patience. My wife and I will keep a sharp look-out for you, and buy up as many as we can find which seem to answer your description. If native inscriptions—white or blue, for instance—are to be had, I shall secure them, but not if imperfect. Some clearing away of rubbish is expected at Damascus; the Englishman who superintends is a friend of mine, and I shall not neglect to get from him as much as possible.We met Holman Hunt at Jerusalem; he was looking a little worn, like a veritable denizen of the Holy City. I hope that you have quite recovered health. Swinburne, the papers say, has been sick; his "Songs before Sunrise" show even more genius than "Poems and Ballads." What has become of Mrs. Sartoris? I saw her son's appointment in the papers. Poor Vichy must be quite ruined—veritably it was a Cockney hole. Syria is a poor Chili; the Libanus is a mole-hill compared with the Andes—do you remember? I am planning a realistic book which has no Holy Land on the brain, and the public will curse her like our army in Flanders. Pilgrims see everything through a peculiar medium, and tourists shake hands (like madmen) when they sight the Plain of Esdraelon or Sharon, as the case may be.N.B.—Both plains are like the poorer parts of our midland counties. My wife joins in kind remembrances.—Ever yours sincerely,Richard F. Burton.

Damascus,March 22, 1871.

Dear Mr. Leighton,—I have just returned from a pilgrimage to Jerusalem, or yours of April 14th, 1871, would not have remained so long unanswered. And now to business. I am quite as willing to have a house pulled down for you now as when at Vichy,[56]but the difficulty is to find a house with tiles. Thebric-à-bracsellers have quite learned their value, and demand extravagant sums for poor articles. Of course you want good old specimens, and these are waxing very rare. My friends, Drake and Palmer, were lucky enough, when at Jerusalem, to nobble a score or so from the so-called Mosque of Omar. Large stores arethere found, but unhappily under charge of the Wakf, and I fancy that long payments would be required. However, I shall send your letter to my colleague, Moore, who will do what he can for you. The fact is, it is a work of patience. My wife and I will keep a sharp look-out for you, and buy up as many as we can find which seem to answer your description. If native inscriptions—white or blue, for instance—are to be had, I shall secure them, but not if imperfect. Some clearing away of rubbish is expected at Damascus; the Englishman who superintends is a friend of mine, and I shall not neglect to get from him as much as possible.

We met Holman Hunt at Jerusalem; he was looking a little worn, like a veritable denizen of the Holy City. I hope that you have quite recovered health. Swinburne, the papers say, has been sick; his "Songs before Sunrise" show even more genius than "Poems and Ballads." What has become of Mrs. Sartoris? I saw her son's appointment in the papers. Poor Vichy must be quite ruined—veritably it was a Cockney hole. Syria is a poor Chili; the Libanus is a mole-hill compared with the Andes—do you remember? I am planning a realistic book which has no Holy Land on the brain, and the public will curse her like our army in Flanders. Pilgrims see everything through a peculiar medium, and tourists shake hands (like madmen) when they sight the Plain of Esdraelon or Sharon, as the case may be.

N.B.—Both plains are like the poorer parts of our midland counties. My wife joins in kind remembrances.—Ever yours sincerely,

Richard F. Burton.

Sir Richard BurtonPORTRAIT OF SIR RICHARD BURTON, K.C.M.G. 1876ToList

PORTRAIT OF SIR RICHARD BURTON, K.C.M.G. 1876ToList

Trieste,July 13, 1876.My dear Leighton,—One word to say that the tiles are packed, and will be sent by the first London steamer—opportunities are rare here. Some are perfect, many are broken; but they will make a bit of mosaic after a little trimming, and illustrate the difference between Syriac and Sindi. They are taken from the tomb (Moslem) of Sakhar, on the Indus. I can give you analysis of glaze if you want it; but I fancy you don't care for analyses. The yellow colour is by far the rarest and least durable apparently. The blues are the favourites and the best.Here we are living in a typhoon of lies. I am losing patience, and shall probably bolt to Belgrade in search of truth. Austria is behaving in her usual currish manner, allowing her policy to be managed by a minority of light-headed, Paddy-whack Magyars and pudding-headed, beer-brained Austro-Germans. How all Europe funks the Slavs, and how well the latter are beginning to know it.Very grand ofla grande Bretagneto propose occupying Egypt without any army to speak of. Sorry that you don't understand the force of the expression, the "world generally," but will try some time or other to make it clear. United best regards and wishes. Why don't you take a holiday to Turkey?—Ever yours,R.F. Burton.P.S.—I hear that W. Wright has subsided into an Irish conventicle, and that Green doesn't like prospect of returning to Dan!

Trieste,July 13, 1876.

My dear Leighton,—One word to say that the tiles are packed, and will be sent by the first London steamer—opportunities are rare here. Some are perfect, many are broken; but they will make a bit of mosaic after a little trimming, and illustrate the difference between Syriac and Sindi. They are taken from the tomb (Moslem) of Sakhar, on the Indus. I can give you analysis of glaze if you want it; but I fancy you don't care for analyses. The yellow colour is by far the rarest and least durable apparently. The blues are the favourites and the best.

Here we are living in a typhoon of lies. I am losing patience, and shall probably bolt to Belgrade in search of truth. Austria is behaving in her usual currish manner, allowing her policy to be managed by a minority of light-headed, Paddy-whack Magyars and pudding-headed, beer-brained Austro-Germans. How all Europe funks the Slavs, and how well the latter are beginning to know it.

Very grand ofla grande Bretagneto propose occupying Egypt without any army to speak of. Sorry that you don't understand the force of the expression, the "world generally," but will try some time or other to make it clear. United best regards and wishes. Why don't you take a holiday to Turkey?—Ever yours,

R.F. Burton.

P.S.—I hear that W. Wright has subsided into an Irish conventicle, and that Green doesn't like prospect of returning to Dan!

The construction of this thing of beauty, the Arab Hall, is a visible and permanent proof of the side in Leighton's artistic endowments which are so rarely found in northern, or indeed any modern nations, and the want of which are gradually leading our world into being very ugly—namely, the sense of the appropriate, of balance, of proportion, and of harmony in the construction and decoration of buildings. As an adherent of the pre-Raphaelites, William Morris had been battling with this tasteless condition of things for some years—strenuously working to counteract the unmeaning adaptations of foreign designs of all times and of all countries into English work, and the general muddledom into which the decoration in the surroundings of domestic life had fallen, by starting afresh on the lines of simple good designs of English pre-Puritan days. Leighton's taste had been inspired, in the first instance, by the crafts as well as by the art of Italy. Subsequently, the East had fascinated him. He admired greatly the frank, courageous beauty in the colouring of the decorations of her buildings; but, having an acute sense of the appropriate, he felt that they would not harmonise successfully with the necessarysurroundings of English domestic life. He was therefore inspired to erect a special shrine for his collection of enamels. It has been truly said that the Arab Hall is as notable a creation in Art as any of Leighton's pictures or statues. The beauty of its effect is greatly enhanced by the arrangement of light and shade which leads on to the wonderfully beautiful casket of treasures. Monsieur Choisy, the distinguished French architect, wrote as follows in theTimesof April 27, 1896, when advocating the preservation of this house for the public: "Nowhere have I found in an architectural monument a happier gradation of effects, nor a more complete knowledge of the play of light. The entrance to the house is by a plain hall that leads to a 'patio' lit from the sky, where enamels shine brilliantly in the full light; from this 'patio' one passes into a twilight corridor, where enamel and gold detach themselves from an architectural ground of richness somewhat severe; it is a transition which prepares the eye for a jewel of Oriental Art, where the most brilliant productions of the Persian potter are set in architectural frame inspired by Arab Art, but treated freely; the harmony is so perfect that one asks oneself if the architecture has been conceived for the enamels, or the enamels for the hall. This gradation, perhaps unique in contemporary architecture, was Leighton's idea; and the illustrious painter found in his old friend Mr. G. Aitchison, who built his house, a worthy interpreter of his fine conception. This hall, where colour is triumphant, was dear to Leighton, and even forms the background to some of his pictures. Towards the end of his life he still meant to embellish it by substituting marble for that small part that was only painted. The generous employment of his fortune alone prevented him from realising his intention.

"England has at all times given the example of honouring great men; she will, I am sure, find the means of preservingfor Art a monument of which she has such reason to be proud."[57]

View Of Arab Hall. 1906VIEW OF ARAB HALL. 1906ToList

VIEW OF ARAB HALL. 1906ToList

[42]In the Leighton House Collection is a splendid study for the wrestling figure of Heracles, also for the recumbent Alcestis, and the drapery for the phantom figure of Death. The figure of Heracles, fine as it is in the picture, lacks somewhat of the ardent quality in the action of the sketch. Owing to the public-spirited generosity of its owner, the late Right Hon. Sir Bernhard Samuelson, this picture has travelled all over the world for exhibition. It was also lent to Leighton House for more than a year in 1901.

[43]In the Leighton House Collection is a head in oils (presented by the late Alfred Waterhouse, R.A.) which Leighton painted actually by moonlight in Rome, as a study for one of the figures in "Summer Moon." SeeList of Illustrations.

[44]See study for picture in Leighton House Collection.

[45]Leighton had a cast made of this, and his copy is still in the collection in his house. Another copy he gave to Watts, who admired it beyond measure. Watts recounted to me that so preciously did he value it, that, not daring to expose it to the danger of housemaids' dusting, he carefully wrapped it up in handkerchiefs and put it in a drawer. One day, alas! forgetting it was there, in a hurry, he pulled the bundle of handkerchiefs out; it fell to the floor and was smashed.

[46]The Athenæumdescribed the work when it appeared. "There is the grandeur of Greek tragedy in Mr. Leighton's 'Clytemnestra watching for the signal of her husband's return from Troy.' The time is deep in the fateful night, while the city sleeps; moonlight floods the walls, the roofs, the gates, and the towers with a ghastly glare, which seems presageful, and casts shadows as dark as they are mysterious and terrible. The dense blue of the sky is dim, sad, and ominous. But the most ominous and impressive element of the picture is a grim figure—the tall woman on the palace roof before us, who looks Titanic in her stateliness, and huge beyond humanity in the voluminous white drapery that wraps her limbs and bosom. Her hands are clenched and her arms thrust down straight and rigidly, each finger locked as in a struggle to strangle its fellow; the muscles swell on the bulky limbs. Drawn erect and with set features, which are so pale that the moonlight could not make them paler, the queen stares fixedly and yet eagerly into the distance, as if she had the will to look over the very edge of the world for the light to come."

[47]The Hon. Mrs. Grenfell.

[48]Purchased by the trustees of the Chantrey Bequest and placed in the Tate Gallery.

[49]Leighton gave this group to Watts, who expressed to me an unbounded admiration for it. "Nothing more beautiful has ever been done! Pheidias never did anything better. I believe it was better even than Pheidias!" were the words Watts used when deploring the fact that he had lent it to a sculptor to be cast—something had gone wrong in the process of casting, and it had been destroyed. When giving me the modelled sketch for the "Python," Watts said, "I am giving you the most beautiful thing I have in my place."

[50]The group of singing girls modelled as a study for "The Daphnephoria."

[51]See complete list inAppendix.

[52]The "Arts of War" lunette was commenced in 1870 and finished in 1880. The "Arts of Peace," begun in 1881, was completed in 1886. An account of these two frescoes appeared in theMagazine of Artwritten by Mr. J. Ward, the master of the Macclesfield School of Art, who assisted Leighton in the work.

[53]In a letter from Mr. J.G. Hodgson, A.R.A., praises are bestowed on this picture and the "Moorish Garden" at the expense of "Clytemnestra" and the "Antique Juggling Girl." The letter is a good example of the criticisms which Leighton's serious work often received—that work in which, nevertheless, he was most true to himself. The ordinary English eye neither longed for nor appreciated Leighton's native Hellenic strain.5 Hill Road,Friday, April 4, 1874.My dear Leighton,—I was immensely delighted with your two pictures of the Jew's house and the Alhambra ("Moorish Garden: A Dream of Granada"). I was at the opera last night, but thought much less of Crispin and his Comara than of them; they are quite charming, and excite me with the desire of emulation, at that safe distance which is inherent in the nature of things. For your "Clytemnestra" and the other ("Antique Juggling Girl"), I, being a Philister, care nothing at all. From those to turn to these, seems like leaving a garden fragrant with roses and citron blossoms, where I hear the murmur of cooling streams, Abanah and Pharpar, rivers of Damascus, to enter a museum filled with dusty plaster casts.After all, the woes of the house of Atreus are now of very little importance to mankind, or interest either. The most of the latter they possess, is that they serve as themes for some good Greek play, which had better have been burnt, as they have hampered the genius of modern Europe and taught us nothing. Had only Homer and the lyrics survived, we should have done better. At all events, if a man must illustrate, why does he not illustrate Shakespeare, a bigger man head and shoulders than any of the Greek tragedists? But it appears to me you are made for a much better and more intellectual purpose than illustrating anybody. You have the eye to see and power to represent what you see. You have special gifts and faculties highly trained. The aspect of nature, as it appears to such a mind, would be of the highest intellectual value to us, and would lead to progress. I don't think modern art differs from that of any other day. It has always been the effort to represent what is seen every day, bringing to bear upon the representation the greatest possible amount of culture,i.e.of reflection and selection. The women and that dear little girl in the courtyard of your Jew's house will outlive all the "Clytemnestras," &c.; they live with blood in their veins, the others are but galvanised corpses. There I have had it out; you must not complain, because you have had to apologise for slashing into me, and now it is my turn. In the prologue to Goethe's "Faust," if you remember, the poet, a stubborn fellow, has his notions of the high aim of his art. He will do nothing but what is extremely sublime, &c. The clown quite agrees that such things may possibly do for the future, but who, says he, is to amuse the present? I am that sort of clown, I suppose. Don't be riled, and believe me,—Very much your admiring friend,J.G. Hodgson.

5 Hill Road,Friday, April 4, 1874.My dear Leighton,—I was immensely delighted with your two pictures of the Jew's house and the Alhambra ("Moorish Garden: A Dream of Granada"). I was at the opera last night, but thought much less of Crispin and his Comara than of them; they are quite charming, and excite me with the desire of emulation, at that safe distance which is inherent in the nature of things. For your "Clytemnestra" and the other ("Antique Juggling Girl"), I, being a Philister, care nothing at all. From those to turn to these, seems like leaving a garden fragrant with roses and citron blossoms, where I hear the murmur of cooling streams, Abanah and Pharpar, rivers of Damascus, to enter a museum filled with dusty plaster casts.After all, the woes of the house of Atreus are now of very little importance to mankind, or interest either. The most of the latter they possess, is that they serve as themes for some good Greek play, which had better have been burnt, as they have hampered the genius of modern Europe and taught us nothing. Had only Homer and the lyrics survived, we should have done better. At all events, if a man must illustrate, why does he not illustrate Shakespeare, a bigger man head and shoulders than any of the Greek tragedists? But it appears to me you are made for a much better and more intellectual purpose than illustrating anybody. You have the eye to see and power to represent what you see. You have special gifts and faculties highly trained. The aspect of nature, as it appears to such a mind, would be of the highest intellectual value to us, and would lead to progress. I don't think modern art differs from that of any other day. It has always been the effort to represent what is seen every day, bringing to bear upon the representation the greatest possible amount of culture,i.e.of reflection and selection. The women and that dear little girl in the courtyard of your Jew's house will outlive all the "Clytemnestras," &c.; they live with blood in their veins, the others are but galvanised corpses. There I have had it out; you must not complain, because you have had to apologise for slashing into me, and now it is my turn. In the prologue to Goethe's "Faust," if you remember, the poet, a stubborn fellow, has his notions of the high aim of his art. He will do nothing but what is extremely sublime, &c. The clown quite agrees that such things may possibly do for the future, but who, says he, is to amuse the present? I am that sort of clown, I suppose. Don't be riled, and believe me,—Very much your admiring friend,J.G. Hodgson.

5 Hill Road,Friday, April 4, 1874.

My dear Leighton,—I was immensely delighted with your two pictures of the Jew's house and the Alhambra ("Moorish Garden: A Dream of Granada"). I was at the opera last night, but thought much less of Crispin and his Comara than of them; they are quite charming, and excite me with the desire of emulation, at that safe distance which is inherent in the nature of things. For your "Clytemnestra" and the other ("Antique Juggling Girl"), I, being a Philister, care nothing at all. From those to turn to these, seems like leaving a garden fragrant with roses and citron blossoms, where I hear the murmur of cooling streams, Abanah and Pharpar, rivers of Damascus, to enter a museum filled with dusty plaster casts.

After all, the woes of the house of Atreus are now of very little importance to mankind, or interest either. The most of the latter they possess, is that they serve as themes for some good Greek play, which had better have been burnt, as they have hampered the genius of modern Europe and taught us nothing. Had only Homer and the lyrics survived, we should have done better. At all events, if a man must illustrate, why does he not illustrate Shakespeare, a bigger man head and shoulders than any of the Greek tragedists? But it appears to me you are made for a much better and more intellectual purpose than illustrating anybody. You have the eye to see and power to represent what you see. You have special gifts and faculties highly trained. The aspect of nature, as it appears to such a mind, would be of the highest intellectual value to us, and would lead to progress. I don't think modern art differs from that of any other day. It has always been the effort to represent what is seen every day, bringing to bear upon the representation the greatest possible amount of culture,i.e.of reflection and selection. The women and that dear little girl in the courtyard of your Jew's house will outlive all the "Clytemnestras," &c.; they live with blood in their veins, the others are but galvanised corpses. There I have had it out; you must not complain, because you have had to apologise for slashing into me, and now it is my turn. In the prologue to Goethe's "Faust," if you remember, the poet, a stubborn fellow, has his notions of the high aim of his art. He will do nothing but what is extremely sublime, &c. The clown quite agrees that such things may possibly do for the future, but who, says he, is to amuse the present? I am that sort of clown, I suppose. Don't be riled, and believe me,—Very much your admiring friend,

J.G. Hodgson.

[54]Mr. William Spottiswoode wrote of one of these:—"Dear Leighton,—Best of thanks from Mrs. Spottiswoode and myself for another of the happiest day-dreams of the year, viz. your afternoons at home."

[54]Mr. William Spottiswoode wrote of one of these:—

"Dear Leighton,—Best of thanks from Mrs. Spottiswoode and myself for another of the happiest day-dreams of the year, viz. your afternoons at home."

[55]Mr. Aitchison, R.A., wrote: "During his visits to Rhodes, to Cairo, and Damascus, he made a large collection of lovely Saracenic tiles, and had besides bought two inscriptions, one of the most delicate colour and beautiful design, and the other sixteen feet long and strikingly magnificent, besides getting some panels, stained glass, and lattice-work from Damascus afterwards; these were fitted into an Arab Hall, something like La Zira at Palermo, in 1877."The Arab Hall was begun November 1877, virtually completed by the end of 1879, but some small matters not till 1881. Materials—Bastard statuary,i.e.the marble columns in the angle recesses. These caps are of alabaster, designed by George Aitchison, R.A., and modelled by Sir E. Boehm. The large columns are of Caserta marble, caps of stone, birds modelled by Caldecott; column niches lined with Devonshire spar; dado, Irish black; string, Irish green, and bases of small columns. Those of the large columns are of Genoa green and Belgian blue; the marble lining behind big columns is of Pyrennean green, and the panel overhead; the lintel of Irish red. The marble work was done by White & Son, Vauxhall Bridge Road. Mosaic floor, designed by George Aitchison, R.A.; executed by Messrs. Burke & Co., who replaced fountain of white marble with the single slab of Belgian black. Chandelier, designed by G.A. Aitchison, R.A., executed by Forrest & Son, now extinct. The lattices to the lower part of the gallery designed by George Aitchison, R.A.Sir Caspar P. Clarke wrote: "I was commissioned in 1876, by the authorities at South Kensington, to proceed to the East to buy artistic objects for the Museum. Before I started Leighton asked me, if I went to Damascus, to go to certain houses and try to effect the purchase of certain tiles. I had no difficulty in finding my market, for Leighton, with his customary precision, had accurately indicated every point about the dwellings concerned, and their treasures. I returned with a precious load, and in it some large family tiles, the two finest of which are built into the sides of the alcove of the Arab Hall. Leighton made no difficulty about the price, and insisted upon paying double what I had given. He never spoke of picking things up cheap, and scouted the idea of 'bargains in Art objects.'"

The Arab Hall was begun November 1877, virtually completed by the end of 1879, but some small matters not till 1881. Materials—Bastard statuary,i.e.the marble columns in the angle recesses. These caps are of alabaster, designed by George Aitchison, R.A., and modelled by Sir E. Boehm. The large columns are of Caserta marble, caps of stone, birds modelled by Caldecott; column niches lined with Devonshire spar; dado, Irish black; string, Irish green, and bases of small columns. Those of the large columns are of Genoa green and Belgian blue; the marble lining behind big columns is of Pyrennean green, and the panel overhead; the lintel of Irish red. The marble work was done by White & Son, Vauxhall Bridge Road. Mosaic floor, designed by George Aitchison, R.A.; executed by Messrs. Burke & Co., who replaced fountain of white marble with the single slab of Belgian black. Chandelier, designed by G.A. Aitchison, R.A., executed by Forrest & Son, now extinct. The lattices to the lower part of the gallery designed by George Aitchison, R.A.

Sir Caspar P. Clarke wrote: "I was commissioned in 1876, by the authorities at South Kensington, to proceed to the East to buy artistic objects for the Museum. Before I started Leighton asked me, if I went to Damascus, to go to certain houses and try to effect the purchase of certain tiles. I had no difficulty in finding my market, for Leighton, with his customary precision, had accurately indicated every point about the dwellings concerned, and their treasures. I returned with a precious load, and in it some large family tiles, the two finest of which are built into the sides of the alcove of the Arab Hall. Leighton made no difficulty about the price, and insisted upon paying double what I had given. He never spoke of picking things up cheap, and scouted the idea of 'bargains in Art objects.'"

[56]Leighton, Sir Richard Burton, Algernon Swinburne, and Adelaide Sartoris passed some weeks together at Vichy in September 1869. Swinburne wrote in 1875: "We all owe so much to Leighton for the selection and intention of his subjects—always noble, always beautiful—and these are always worthy of a great and grave art."—"Essays and Studies," A.C. Swinburne.

[57]Letters from Lord and Lady Strangford to Leighton exist on matters concerning the East, on which both were great authorities."Will you accept," Lady Strangford wrote, "as a token of my admiration of your house, a piece of ancient Persian needlework? It is really old, and it is said that they no longer do anything of the kind in Persia, and that these pieces are valuable. I do not know if this is true or not, butifyoulikethe thing, please use it among the many treasures you have already accumulated. It is to my eyes a nice bit of harmonious colouring. Let it say to you how much, how very much, I enjoyed your sketches.—Yours very truly,E.A. Strangford."P.S.—I bought the work from a Persian at Antioch."To Professor Church Mr. Aitchison wrote after Leighton's death: "I cannot urge the preservation of his home and surroundings, as I built the house, for there are always too many to attribute low motives to everybody, and it would be called personal advertisement; though when one's work is done it becomes almost impersonal, and if it did not, the fact remains the same, that here he (Leighton) lived and drew part of his culture and inspiration from his surroundings. As a mere matter of reverence, how many would come from all parts of the civilised world to see his abode!"

[57]Letters from Lord and Lady Strangford to Leighton exist on matters concerning the East, on which both were great authorities.

"Will you accept," Lady Strangford wrote, "as a token of my admiration of your house, a piece of ancient Persian needlework? It is really old, and it is said that they no longer do anything of the kind in Persia, and that these pieces are valuable. I do not know if this is true or not, butifyoulikethe thing, please use it among the many treasures you have already accumulated. It is to my eyes a nice bit of harmonious colouring. Let it say to you how much, how very much, I enjoyed your sketches.—Yours very truly,

E.A. Strangford.

"P.S.—I bought the work from a Persian at Antioch."

To Professor Church Mr. Aitchison wrote after Leighton's death: "I cannot urge the preservation of his home and surroundings, as I built the house, for there are always too many to attribute low motives to everybody, and it would be called personal advertisement; though when one's work is done it becomes almost impersonal, and if it did not, the fact remains the same, that here he (Leighton) lived and drew part of his culture and inspiration from his surroundings. As a mere matter of reverence, how many would come from all parts of the civilised world to see his abode!"

Professor Giovanni CostaPROFESSOR GIOVANNI COSTAPainted at Lerici, October 1878ToList

PROFESSOR GIOVANNI COSTAPainted at Lerici, October 1878ToList

Leighton was at Lerici in the autumn of 1878, visiting his dear old friend Giovanni Costa ("an artist in a hundred—a man in ten thousand," were Leighton's words describing him), when he received a telegram stating that Sir Francis Grant was dead. "The President is dead! Long live the President!" exclaimed Costa. Leighton remained in Italy, sketching landscapes and painting heads—one, the portrait of Costa—till his holiday was over, the end of October. On the 18th of November he was elected President of the Royal Academy. Thirty-five Academicians voted for Leighton, five for Mr. Horsley.

Leighton wrote to his younger sister:—

1878.Dearest Gussy,—You perhaps have heard from Lina that I had an overwhelming majority, and that the outer world beyond artistic has warmly received my election, which is of course infinitely gratifying, but fills me with a dread of disappointing everybody. Monday I go to Windsor to be knighted. Yes, I got a first-class gold medal for my statue[58]—at least, it was awarded, and I shall get it some time. I also don't mind telling you instrict confidence—because it is not yet afait accompli—that I am, I believe, to have the "ruban" of an Officier de la Légion d'Honneur. I am so glad, dear, your wrists are better—may they keep so. Love to old Joseph (Joseph Joachim) when you see him.

1878.

Dearest Gussy,—You perhaps have heard from Lina that I had an overwhelming majority, and that the outer world beyond artistic has warmly received my election, which is of course infinitely gratifying, but fills me with a dread of disappointing everybody. Monday I go to Windsor to be knighted. Yes, I got a first-class gold medal for my statue[58]—at least, it was awarded, and I shall get it some time. I also don't mind telling you instrict confidence—because it is not yet afait accompli—that I am, I believe, to have the "ruban" of an Officier de la Légion d'Honneur. I am so glad, dear, your wrists are better—may they keep so. Love to old Joseph (Joseph Joachim) when you see him.

Most treasured of all congratulations were doubtless these lines from his beloved master, Steinle:—

Translation.]Frankfurt am Main,December 1, 1878.Dear and honoured Friend,—To-day I have read in the paper that the choice of President of the Royal Academy has fallen upon you, and since I am convinced that this distinguished position is both appropriate to your services to art, and also certainly well merited, you must permit an old friend, who remains bound to you in love only, to offer you his dearest and warmest good wishes upon this honour. I pray God, that your position may provide you with great power in your country for good so as to enable you to encourage the noblest things in art. I am convinced that you, dear friend, will make a right and fruitful use of it. I often set my pupils to make enlarged drawings of single groups from your medieval Equipment for the Defence of the Town,[59]and rejoice in the admirable studies which you made for that cartoon. I, dear friend, am in my old age still active and industrious, and would gladly go on learning. Should God grant life, I shall next year complete my work on the Strassburg master, which will demand all my love and strength. Here we have now built a new gallery, on the other side of the river Main, and a new studio. The collections are good, and more suitably accommodated than heretofore, and there is no want of space for future additions. Perhaps one of your journeys will bring you again to the old Main town, and so to the arms of your old friend. My dear President, I repeat my good wishes, and remain with all my heart, your truly devoted,Edw. Steinle.

Translation.]

Frankfurt am Main,December 1, 1878.

Dear and honoured Friend,—To-day I have read in the paper that the choice of President of the Royal Academy has fallen upon you, and since I am convinced that this distinguished position is both appropriate to your services to art, and also certainly well merited, you must permit an old friend, who remains bound to you in love only, to offer you his dearest and warmest good wishes upon this honour. I pray God, that your position may provide you with great power in your country for good so as to enable you to encourage the noblest things in art. I am convinced that you, dear friend, will make a right and fruitful use of it. I often set my pupils to make enlarged drawings of single groups from your medieval Equipment for the Defence of the Town,[59]and rejoice in the admirable studies which you made for that cartoon. I, dear friend, am in my old age still active and industrious, and would gladly go on learning. Should God grant life, I shall next year complete my work on the Strassburg master, which will demand all my love and strength. Here we have now built a new gallery, on the other side of the river Main, and a new studio. The collections are good, and more suitably accommodated than heretofore, and there is no want of space for future additions. Perhaps one of your journeys will bring you again to the old Main town, and so to the arms of your old friend. My dear President, I repeat my good wishes, and remain with all my heart, your truly devoted,

Edw. Steinle.

From his birthplace Leighton received the following announcement:—

Back to Index Next