Indeed, by his very next picture, "The Triumph of Music," which was exhibited in 1856, he brought himself into conflict with the critics and students of what was accepted as correct art. "The Triumph of Music" represented Orpheus playing a violin to Pluto and Proserpine, and the combination of figures from a classic story with an instrument invented only in the Middle Ages was resented by every one who did not understand, or did not sympathise with the artist's decorative and symbolical intention. But in this instance also he was following the lead of the great Italian masters, who had provided him with many precedents for such a pictorial combination; and it is quite probable that he knew beforehand what would be the effect upon a modern public of his attempt to give new life to an ancient tradition. At least, he proved that he was quite ready to go to all necessary lengths in his advocacy of freedom of practice, and showed that he was not likely to enrol himself among the conventionalists and the followers of the mid-Victorian fashion.
PLATE IV.—CLYTEMNESTRA
(At Leighton House, Kensington)
The strength and statuesque dignity of this figure are not less remarkable than the power with which the subject as a whole is suggested. The picture has a wonderful degree of dramatic effect, and is especially impressive in its reticence and scholarly restraint. The admirable drawing of the draperies should be particularly noted.
PLATE IV.—CLYTEMNESTRA
This picture was painted in Paris, whither he had gone in the autumn of 1855. He made that city his headquarters for some two years during which he worked assiduously, and found many friends among the leaders of French art. In 1858 he stayed for a time in London, and by coming in contact with some of the younger painters, who were then contributing an important chapter to our art history—with men like Millais, Rossetti, and Holman Hunt—he obtained a closer insight into certain artistic movements of which, while abroad, he had probably heard but the faintest echoes. By this time the Pre-Raphaelite rebellion had produced its effect and was not in need of his support, but it may fairly be assumed that, if the need had arisen, he would have been on the side of those who were fighting for the emancipation of British art.