The life, letters and work of Frederic Leighton. Volume I

by Mrs. Russell Barrington

Leighton's work in every direction was complete work, because his mind grasped completely the proportion and aspect of everything he undertook. His inborn affection for, and sympathy with, his fellow-creatures impelled him to feel that the area of self-interest, however gifted that self might be, was too restricted for him to find full completeness therein. This could only be attained by working with and for others. Such feelings and doctrines are common in religious and philanthropic men; but in the ego of the modern artist there is generally something which seems to demand a concentration of attention on his own ego in order to develop his gifts as an artist. The attitude of Leighton towards his own work, and towards that of others, was essentially contrary to this concentration.

In his letters to his mother, and to his master, Eduard von Steinle, are found the bases on which the superstructure of his after career rested, the underpinning of that monumental feature of the Victorian era—namely, in unflagging industry, in ever striving to make his life worthy of the beauty and dignity of his vocation as an artist, and in ever endeavouring to make his work an adequate exponent of "the mysterious treasure that was laid up in his heart": his passion for beauty.

In my attempt to write Leighton's life I have purposely devoted more space to the earlier than to the later years of his career as an artist. With an artist more than with others is it specially true that the boy is father to the man; and if Leighton's example is in any way to benefit students of art, the early struggles, the failures, more even than the successes, will teach the lesson that there is no short cut on the road which has to be travelled even by the most gifted. From the family letters and those to his master, which are, with a few exceptions, given in full, it will also be seen that, however high was the pedestal on which Leighton placed his mistress Art, he felt keenly likewise the beauty of his family relationships, and a deep, grateful affection for the master who had given him his start on the road to fame.

If this endeavour to present a true picture of Leighton the man has any value, it is owing mainly to the fact that Mrs. Matthews has placed at my disposal the family and other letters in her possession,—an act which demands the thanks of all those who are interested in the fame of her brother.

I also wish to acknowledge with gratitude the considerate kindness of several of Leighton's friends in contributing "notes" and letters, which are of true value in bringing before the public a right view of the man and of the artist. First and foremost among these contributors must be placed Dr. von Steinle, son of Professor Eduard von Steinle of Frankfort-on-Main, the beloved master to whom Leighton in 1879 referred as "the indelible seal," when writing of those who had influenced him most for good. The first letter of the correspondence which was carried on between the master and pupil, and preserved preciously by each, is dated August 31, 1852, the last 1883. Only second in interest to this correspondence, which discloses Leighton's intimate feelings and aspirations as an artist, are the notes supplied by Mr. Briton Rivière, R.A.—notes which could only have been written by one whose own nature in many ways was closely attuned to that of Leighton's, and which give the intimate aspect of Leighton as an official. "It would be difficult for any one," writes Mr. Briton Rivière, "to give in a short space any adequate account of a character so full and complex as Leighton's." And indeed it would require a great deal more than two volumes even to touch on all the events of this eventful life, which might further illustrate Leighton's character; but Mr. Briton Rivière has noted certain salient characteristics of his friend with a sympathy, and a fine touch, which I think will prove of very rare interest in this record. The tribute to Leighton of Mr. Hamo Thornycroft, R.A. (from a sculptor's point of view), carries great weight, and gives also, as does that of another old comrade in the Artists' Volunteer Corps, an appreciative account of Leighton as the soldier. To these, to Lady Loch, the Hon. Mrs. Alfred Sartoris, Sir William Richmond, R.A., Mr. Walter Crane, Mr. Alfred East, P.R.B.A., I offer my thanks for so kindly contributing notes which help to solve the problems presented by "a character so full and so complex." For courteous permission to publish letters I wish to express my thanks to Alice, Countess of Strafford, the executor of Mr. Henry Greville, who was one of, if not the most intimate of the friends who loved Leighton; the Hon. Mrs. Leigh, Mrs. Fanny Kemble's daughter and executor; the Right Hon. Sir Charles Dilke, executor of Mrs. Mark Pattison (afterwards Lady Dilke); the Right Hon. John Morley, Dr. von Steinle, Mr. John Hanson Walker, Mr. Cartwright, Mr. Robert Barrett Browning, Professor Church, Mr. T.C. Horsfall, and Mrs. Street, daughter of the late Mr. Henry Wells, R.A.; the executor of George Eliot, Mrs. Charles Lewes; and the executors of John Ruskin. There are many other letters and notes of interest which have been preserved by Mrs. Matthews, but which cannot be inserted for want of space. Among these are affectionate notes from Joachim, Burne-Jones, Hebert, Robert Fleury, Meissonier, Gérome, Tullio Massarani; also friendly letters from Cardinal Manning, Viscount Wolseley, Sarah Bernhardt, John Tyndall, Froude, Anthony Trollope, Sir John Gilbert, Lady Waterford, and Lord Strangford. A number of letters exist from members of the Royal Family to Leighton, all evincing alike admiration for the artist and an affectionate appreciation of the man.

In these pages there will be found a repetition of several sentences. This is intentional. Watts would often remark, "A really wise and true saying can't be repeated too often"; and in Leighton's letters are several tallying with this description, which it would be a pity to detach from their own context, and yet which are also required elsewhere to enforce the argument.

As regards the kindness shown in allowing reproductions of pictures, I have to tender my loyal gratitude to the Queen for the gracious loan of the picture presented to her Majesty by Leighton; also to the Prince of Wales for allowing the "Head of a Girl," given to his Royal Highness as a wedding present by the artist, to be reproduced in these pages.

Other owners of pictures to whom I proffer also my warm thanks are Lord Armstrong, Lord Pirrie, the Rt. Hon. Joseph Chamberlain, the Hon. Lady Leighton-Warren, Sir Bryan Leighton, the Hon. Mrs. Sartoris, Sir Elliot Lees, Sir Alexander Henderson, Mr. E. and Miss I'Anson, Mr. S. Pepys Cockerell, Mr. T. Blake Wirgman, Mrs. Stewart Hodgson, Mr. Hanson Walker, Mrs. Henry Joachim, Mrs. Stephenson Clarke, Mrs. C.E. Lees, Mrs. James Watney, Mr. Hodges, Mrs. Charles Lewes, Mr. H.S. Mendelssohn, Mr. Phillipson, and Dr. von Steinle.

Also to the Fine Art Society, the Berlin Photographic Co., Messrs. Agnew & Son, Messrs. P. & D. Colnaghi, Messrs. Henry Graves, Messrs. Lefevre, Messrs. Smith, Elder, & Co., and the directors of the Leicester Galleries.