The most recent criticism of importance on the art of Leighton is contained in an admirable volume by M. de la Sizeranne.[13] We take this opportunity of quoting a few sentences from an appreciation which opens with the significant remark that Sir Frederic Leighton is officially the representative of English painting on the Continent, and, in reality, the representative of Continental painting in England, and concludes by tracing the definitely English ideal that underlies the artist's work. Elsewhere the critic says, "Ce qui est britannique en M. Leighton, quoique bien voilé par son éclectisme, transparaîtra encore." Apart from Leighton's distinctively native predilection for certain subjects, M. de la Sizeranne finds him very English in his treatment of draperies, for instance, a treatment which he traces ingeniously to the much study given to the Greek drapery of the Elgin marbles by the English School, since the days of the Pre-Raphaelites. Elsewhere, taking as his text the picture The Spirit of the Summit, he says: "Des sujets qui élèvent la pensée vers les sommets de la vie ou de l'histoire, de sorte qu'on ne puisse se rappeler un nez ou une jambe sans se souvenir de quelque haute leçon évangélique, ou de moins de quelque grande nécessité sociale, voilà ce que M. Leighton a traité. Et un style beaucoup plus sobre que celui d'Overbeck, beaucoup plus viril que celui de M. Bouguereau, voilà comment il les a traités." Again: "La grandeur de la communion humaine, la noblesse de la paix, tel est le thème qui a le plus souvent et le mieux inspiré M. Leighton. Et cela il ne l'a pas trouvé en France, ni ailleurs. C'est bien une idée anglaise." No better summing up of the chronicle of the life work of the artist could well be found.
But we have pursued far enough this study of an artist's progress through the thorny, devious ways of art criticism. We have reached the point, in fact, where the comparative uncertainties of an artist's career make way for the certainties. With one quotation more, in which we have a tribute from another critic, Mr. Comyns Carr, we may fitly close: "No painter of our time," said Mr. Carr, "maintains a firmer or more constant adherence to those severe principles of design which have received the sanction of great example in the past. Sir Frederic Leighton has never lowered the standard of his work in deference to any popular demand, and for this persistent devotion to his own highest ideals he deserves well of all who share his faith in the power of beauty."
ELISHA AND THE SHUNAMITE'S SON (1881)
CHAPTER XII
Conclusion
In now bringing this record to a close, we will of set purpose remain true to the chronicler's function, pure and simple; attempting no profounder or more critical summing up of our subject, than consists with the plain record of a remarkable career.