Fred Leighton.
Translation.]
Saturday, 9th May 1857.
My dear Friend and Master,—Your letter, just received, has given me intense pleasure. Your constant and affectionate remembrance of a pupil who is under so many obligations to you, rejoices my heart. On this occasion, however, your letter was particularly welcome, because I had already begun to worry myself a little about your long silence, and was almost afraid you might imagine that I had not exerted myself sufficiently in the matter of your cardinal.
But first of all I offer my best congratulations on the completion of the Cologne affair, and on the splendid field which is offered to you also in Münster. At last you have work which is worthy of your abilities and your efforts, and will give them scope. With such employment I must not regret that I shall not have the pleasure of seeing you again in Paris. That I have not seen the "Marriage of Cana" is, I candidly confess, a source of regret to me; I know the design of the composition, and should have liked extremely to have seen how it has turned out. When shall I see one of your works again?
What shall I tell you about myself, my dear friend? I am getting on with my pictures, and have now got them all three into a fairly forward state of under-painting; completion, however, will only be reached in the course of next winter, for I intend to execute them with minute care. I have simplified my method of painting, and foresworn all tricks. I endeavour to advance from the beginning as much as possible, and equally try to mix the right tint, and slowly and carefully to put it on the right spot, and always with the model before me; what does not exactly suit has to be adapted; one can derive benefit from every head. Schwind says that he cannot work from models, they worry him! a splendid teacher for his pupils! nature worries every one at first, but one must so discipline oneself that, instead of checking and hindering, she shall illuminate and help, and solve all doubts. Has Schwind, with his splendid and varied gifts, ever been able to model a head with a brush? Those who place the brush behind the pencil, under the pretence that form is before all things, make a very great mistake. Form is certainly all important; one cannot study it enough; but the greater part of form falls within the province of the tabooed brush. The everlasting hobby of contour (which belongs to the drawing material) is first the place where the form comes in; what, however, reveals true knowledge of form, is a powerful, organic, refined finish of modelling, full of feeling and knowledge—and that is the affair of the brush (Pinsel).
You see I have again begun discoursing, my dear Master; you must excuse all this silly talk, and ascribe it to the pleasure I feel whenever I enjoy intercourse with you, even if only by letter. How much we have already talked over together!
And now adieu, dear Friend. Rest assured that you have not wasted your affection on an ungrateful man, and keep always in remembrance—Your faithful pupil,
Leighton.
Please remember me most kindly to your wife.