GREEK GIRLS PLAYING AT BALL (1889)
By permission of the Berlin Photographic Co.
THE BATH OF PSYCHE (1890)
By permission of the Berlin Photographic Co.
In 1891 appeared Perseus and Andromeda, a very original version of a theme which it seems the destiny of every painter and sculptor of classical subjects to attempt at some time. In this Andromeda is bound to a rock, the monster stands over her with outstretched wings, while from the clouds above, Perseus, on his winged steed, is discharging arrows. The clay models for Perseus are reproduced elsewhere (at p. [68]). The Return of Persephone was another important work shown this year. It represents Persephone, supported by Hermes, being brought back to the upper world, where she is awaited with outstretched arms by Demeter. A Portrait of A. B. Mitford, Esq., and a marble version of the Athlete Struggling with a Python, were also shown in the same exhibition.
In 1892 a version of a panel of the proposed decoration for the dome of St. Paul's appeared with the title, And the Sea gave up the Dead which were in it; this, purchased by Mr. Henry Tate, is now among the pictures he gave to the Gallery at Millbank. The most important of Leighton's later works, The Garden of the Hesperides, in many respects the most sumptuous piece of decoration he ever achieved, was shown this year. It is a large circular picture, the centre occupied by a tree bearing golden apples; under its branches recline the three Hesperides, caressing the dragon who assists them to guard the treasure. A superbly brilliant sea is in the distance. The charm of this picture is mainly in its colour, but as an example of elaborately artificial composition it is hardly less noteworthy. Unfortunately, despite every effort of Lord Leighton, most kindly exerted on behalf of the editor of this volume, the owners of the copyright refused under any condition to allow it to be illustrated herein. A Bacchante, and At the Fountain, a girl in fawn-coloured and violet draperies, with a bunch of lemons overhanging the marble wall behind her, were shown this year; and also a Clytie, which must not be confused with another known by the same title, the last picture on which the artist was at work before his death. The 1892 version, shown in the retrospective exhibition, is thus described in its catalogue: "A small figure of Clytie is seen on the right, kneeling on a stone building with arms outstretched towards the sun, which is setting behind a range of moorland hills."
In 1893 Hit, The Frigidarium, Farewell, Corinna of Tanagra, and Rizpah were exhibited at the Academy. Of these the most important is the last named. It illustrates the story of the two sons of Rizpah, by Saul, Armoni and Mephibosheth, who were slain by the Gideonites. Rizpah, robed in dark blue, is seen in the act of fetching away their bodies, which are shrouded by dull lilac and blue draperies. Vultures circle above, and two leopards approach stealthily. Farewell is a single figure in olive green and plum-coloured peplis under a portico above the sea, where she pauses to take a last look at an outward-bound ship.
Atalanta depicts the bust only of a dark-haired girl in purple and white drapery, with a snake-like ornament twisted round her arm, which is bare to the shoulder. Corinna of Tanagra is a half-length figure crowned with leaves, in coloured drapery, resting her clasped hands upon her lyre. The Frigidarium is an upright figure in semi-transparent red drapery, which with the background of gold is reflected in the water beneath her feet.
