I must tell you that for some time past she has been looking dreadfully ill, getting daily worse, haggard and thin. I, in common with all her friends, had been growing very anxious, and conjectured that some day or other a crisis must come in which only the surgeon could avail her. I little thought how near at hand the moment was! She on her part had borne up with an amount of moral and physical courage which everybody says was quite incredible. Her nearest relations have not known from her that she was in so dangerous a state. A week ago I arrived at Francport, the château of the Marquis de l'Aigle, where I expected to find Mr. and Mrs. Sartoris and their children. I found instead Mme. de l'Aigle in the deepest anxiety and commotion, having received a letter saying that on that very day poor Mrs. S. was undergoing an operation of which the event was very doubtful! I need hardly say that I instantly hurried off to England in the greatest alarm, and in fear and trembling lest she should have succumbed. You may judge of my relief, next morning, on hearing from the servant in Park Place that she was doing well. I hurried off to the doctor, a friend of mine, and heard that for six hours her life had been in jeopardy, but that, thank God, she was doing amazingly well, that for a week there could be no certainty of her recovery, but that the possible chances doubled every day. Since then, thank God, she has progressed so astoundingly owing to her immense roots of vitality and health, that one may be almost certain (unberufen) of her complete recovery, in which event she will enjoy life more than she has done for several years. Her family and friends have escaped an entirely irreparable loss.
The very beautiful picture, "Greek Girls Picking up Pebbles by the Shore of the Sea," was also exhibited in the Academy in 1871, likewise a smaller work, "Cleoboulos Instructing his Daughter Cleobouline." This is one of several which proves Leighton's gift for catching the grace and singular refinement of childhood. "Lord Leighton's drawings and paintings of children show the protecting, caressing tenderness he felt towards them. He loved little things, little children, kittens—'caressing littleness, that littleness in which there is much of the whole woeful heart of things'—everything lovely that had in it the unconscious grace of helplessness seemed especially to touch him."
In 1872 "Summer Moon" was exhibited—the picture Watts told me he thought he preferred to all of Leighton's paintings. I believe the cause of this preference arose from the fact that the quality and texture in "Summer Moon" is looser and more vibrating, and gives a greater sense of atmosphere than is suggested by Leighton's works as a rule. Moonlight mystifies the tints of purple and blue, and creeps over and into every fold of the beautiful drapery—glistening on the white garment of the recumbent figure. In every line and touch in the exquisite design of the figures and drapery lurks the poetry of moonlight; the song of a nightingale perched on the branch of a pomegranate tree enhancing the sense of deep restfulness in the scene.[43]
"SUMMER MOON." 1872
By permission of Messrs. P. & D. Colnaghi, the owners of the Copyright[ToList]
"A CONDOTTIERE." 1872[ToList]