DECORATION FOR THE CEILING OF A MUSIC-ROOM
We have had occasion to refer frequently, in passing, to Leighton's decorative works, but we have purposely deferred any description of them, preferring to treat them separately. To know how present was his feeling for decorative effect at all times, it is sufficient to glance never so casually at his own house, about which we hope presently to say something,—genuine expression as it is of his Art. Now we wish rather to touch on his more public performances. Of these, the famous frescoes which fill large lunettes in the central court at South Kensington, The Industrial Arts of War and The Industrial Arts of Peace, are the best known, as they are among the most characteristic of all the artist's productions.
The fresco of The Arts of War is a very complex piece of work. It is crowded with figures, full of that orderly disorder which one must expect to find, on the hurried morning of a day of battle, in these delightfully decorative warriors. "In the centre"—we quote here Mrs. Lang's description—"is a white marble staircase, leading from the quadrangle to an archway, beyond which is another courtyard. Seen through the archway, knights are riding by.... The busy scene in the courtyard suggests an immediate departure to the seat of war. In the corner to the right crossbows are being chosen and tested; a man is kneeling by a pile of swords, and descanting on their various merits to an undecided customer, while those weapons that he has already disposed of are having their blades tried and felt. A little way off, to the left of the archway, some men-at-arms are trying on the armour of a youth who has still to win his spurs.... The whole is distinguished by the extreme naturalness and simplicity of all the actions, and by soft, glowing colours, chiefly dark olive green and splendid saffrons."
In The Arts of Peace, its companion, the central portion of the fresco is devised as the interior of a Greek house, where within a semicircular alcove we see a number of Greek maidens and older women, delightfully grouped, mainly occupied in the art of personal adornment. Before this house is the waterside, with a very decorative boat, confined by a gracefully-looped chain, whose curve, as it hangs, is very subtly designed to complete the salient lines of the whole composition. On either side of this interior we have groups of men, more vigorously treated,—drawing water, bearing burdens, pushing a boat from land. The total effect of these finely posed contrasted groups, of the admirably architectured walls, piers, and pavements, and of the striking background, as of another hill-crowned Athens, is most complete and satisfying. The colouring throughout, diversified with extreme art as it is, is full of that southern radiance, and clear, sunlit glamour, so often found in the artist's pictures. To realize this fully, South Kensington must be visited, for word-painting at its best but poorly reproduces the art that it doubtfully imitates.
FRESCO: THE INDUSTRIAL ARTS OF WAR (1872)
FRESCO: THE INDUSTRIAL ARTS OF PEACE (1873)