The Life, Letters and Work of Frederic Leighton Volume II Part 12

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

Ade _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.

[Ill.u.s.tration: THE FRESCO PRESENTED BY LORD LEIGHTON TO LYNDHURST CHURCH--"THE WISE AND FOOLISH VIRGINS." Completed 1864]

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) att.i.tude 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) ent.i.tled "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 s.p.a.ce (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 ill.u.s.tration 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 n.o.ble 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. Muller, 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 28, 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 t.i.tle 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 1050 for "Dante." The "Honeymoon" was bought by a Cornhill dealer yclept Moreby.

I will let you know how all goes off on Sat.u.r.day 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 a.s.sent 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 t.i.tle, I was surprised and vexed to hear that it was stipulated that _no t.i.tle 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 enc.u.mbrances 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 t.i.tles, 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 a.s.sure 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 20! 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.

My architect is Aitchison, an old friend.

I wrote to the Academicians (Poole, Grant, and Jones) almost immediately on hearing from them, and expressed a hope, vague but polite, that we might meet on my return. _Poole_ I should like to know; he is a man of poetic mind. I need scarcely tell you that the idea of my being elected President (!!!) for many years to come is simply _ludicrous_, even if there is a chance of my ever having the offer of that dignity.

I am quite aware that people do talk of it _laughingly_, but I don't think it goes beyond "chaff" yet. No doubt many other young artists are chaffed in the same way with imaginary dignities. I am delighted that Mamma is better; I should have said this before but that I have answered your letter systematically. I trust the improvement will be lasting.

I congratulate you on Colenso's visit, and shall be very anxious to hear from you how it went off.

As for myself, I am very snugly ensconced in a little mezzanino on the Grand Ca.n.a.l, with a sort of pa.s.sage which I use as a studio and a bath-room, inasmuch as it opens straight on the water, and enables me to take a very jolly swim every day. I am not attempting a picture, but am making a sketch for one which I shall probably paint on the spot next autumn, staying here a couple of months or so. Meanwhile I have got several heads in hand--_studies_, _not_ for _sale_, for use--and a few sketches in Saint Mark's, which I think promise well. _Et voila._

I stay here a fortnight longer, so that a letter written on receipt of this would still catch me; after that _Rome_ is the safest address. I shall be there from the 20th to the 28th of October.

Best love to Mamma, and believe me, your affectionate son,

FRED.

In the preceding letters mention is made of the final arrangements for the building of Leighton's house in Holland Park Road. Mr. George Aitchison, R.A., his old friend, undertook to be the architect. It was begun in 1865, and first occupied by Leighton in 1866.

Referring to opinions expressed regarding Florentine Art, past and present, Leighton wrote to his younger sister: "----'s remark about ----, if I remember it, was utter bosh and pedantry. The Florentines of the end of the fifteenth century were _emphatically_ realists, though their realism was animated by a higher genius and a deeper humanity than the modern Italians exhibit, though _they_, by-the-bye, are mostly not _realists_ but mannerists. The chief characteristic of English Art is (I speak of course of the better men) originality and humanity on the one hand, and on the other, absence of acquired knowledge and guiding taste. Some day I will write you a lot more about it."

Fully launched into the English art world, deeply interested in every phase of sincere work produced by contemporary brother artists, Leighton nevertheless adhered in his own practice to the views and principles which he held from the time he became Steinle's devoted pupil. To a question which referred to his art development, asked by Mrs. Mark Pattison when she was about to write an account of his life in 1879, Leighton answered, "I can only speak of what is not a _change_ but virtually a growth, the pa.s.sage from Gothicism to Cla.s.sicism (for want of better words) _i.e._ a growth from multiplicity to simplicity. Artists' manners are not changed by books!" "As regards English artists," he writes in the same letter, "I can only of course speak with great reserve. Elmore treated me with marked kindness, lending me a studio. Millais, Rossetti, Hunt were most cordial and friendly, though I openly told them I was wholly opposed to their views; but, indeed, few men have more cause to speak well of their brethren."