MASTERPIECES
IN COLOUR
EDITED BY
T. LEMAN HARE
LEIGHTON
1830-1897
PLATE I.—"AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."—Rev. xx.13. (Frontispiece)
(At the Tate Gallery, London)
This panel was intended to form part of a scheme of decoration for theDome of St. Paul's Cathedral, and is interesting as an example ofLeighton's methods of design. Both in subject and mode of treatment itdeparts markedly from the customary direction of his paintings, but itslargeness of style and imaginative power give it an important place inthe series of his works.
PLATE I.—"AND THE SEA GAVE UP THE DEAD WHICH WERE IN IT."
LEIGHTON
BY A. LYS BALDRY
ILLUSTRATED WITH EIGHT
REPRODUCTIONS IN COLOUR
LONDON: T. C. & E. C. JACK
NEW YORK: FREDERICK A. STOKES CO.
1908
LIST OF ILLUSTRATIONS
Plate I. "And the Sea gave up the Dead which were in it." (Rev. XX. 13) . . . . . . . . . . . . Frontispiece At the Tate Gallery II. The Syracusan Bride In the possession of F. B. Mildmay, Esq., M.P. III. Gathering Citrons In the possession of F. B. Mildmay, Esq., M.P. IV. Clytemnestra At Leighton House, Kensington V. The Bath of Psyche At the Tate Gallery VI. A Noble Lady of Venice In the possession of Lord Armstrong, Rothbary VII. Elijah in the Wilderness At the Walker Art Gallery, Liverpool VIII. Portrait of Sir Richard Burton At the National Portrait Gallery
It is true that a definite connection can almost always be tracedbetween the temperament of an artist and the work that he produces.One of the first things that must be taken into account in any study ofhis achievement is the manner of his training during the mostimpressionable years of his boyhood. Youthful associations andsurroundings must obviously have a very real influence upon thedirection in which any man develops in after life, and much of