[10] "Apres de pareilles emotions, il avait besoin d'etre seul, de savourer sa joie, de chanter sa liberte definitivement conquise, sur tous les sentiers le long desquels il avait tant gemi, tant lutte.

"Il ne voulut donc pas retourner immediatement a Saint-Damien. Sortant de la cite par la porte la plus voisine, il s'enfonca dans les sentiers deserts qui grimpent sur les flancs du Mont Subasio. On etait aux tout premiers jours du printemps. Il y avait encore ca et la de grandes fondrieres de neige, mais sous les ardeurs du soleil de mars l'hiver semblait s'avouer vaincu. Au sein de cette harmonie, mysterieuse et troublante, le coeur de Francois vibrait delicieus.e.m.e.nt, tout son etre se calmait et s'exaltait; l'ame des choses le caressait doucement et lui versait l'apais.e.m.e.nt. Un bonheur inconnu l'envahissait; pour celebrer sa victoire et sa liberte, il remplit bientot toute la foret du bruit de ses chants.

"Les emotions trop douces ou trop profondes pour pouvoir etre exprimees dans la langue ordinaire, l'homme les chante."--_Vie de S. Francois d'a.s.sise, par Paul Sabatier._

[11] "Notes on Lord Leighton," _Cornhill Magazine_, March 1897.

[12] The _Morning Post_ of February 4, 1896.

CHAPTER I

ANTECEDENTS AND SCHOOL DAYS

1830-1852

Some light is thrown on Leighton's ancestry by the following letter, written by Sir Baldwyn Leighton to Sir Albert Woods, Garter, at the time when a peerage was bestowed on Frederic Leighton. It deals with the question of a.s.sociating the name of Stretton with the Barony.

"TABLEY HOUSE, KNUTSFORD, _January 10, 1896._

"DEAR SIR,--In answer to yours of January 9, I beg to say that there are two places called Stretton in the County of Salop; one, now known as Church Stretton, having become a small town, was formerly in the possession of my family through the marriage of John de Leighton, my lineal ancestor, with the daughter and heiress of William Cambray of Stretton in the fourteenth century, whose arms we still quarter (see Herald's Visitation for Shropshire). This no longer belongs to me, having been mortgaged and sold by Sir Thomas Leighton, Kt.

Banneret, temp. Hen. VIII. But there is another Stretton in the parish of Alderbury with Cardeston which does still belong to me, and has always belonged to the family from time immemorial. I have been in communication with Sir Frederic Leighton on the subject, and it _is_ my wish that he should adopt the supplemental t.i.tle of Stretton. According to a pedigree made out by a Shropshire antiquarian some thirty years ago, Sir Frederic's branch descends from the younger son of the John de Leighton who married the Cambray heiress, and who was admitted burgess of Shrewsbury in 1465. Therefore I am of opinion that it _is_ a very proper supplemental t.i.tle for Sir Frederic to a.s.sume.--I remain, yours, &c.,

"BALDWYN LEIGHTON.

"To Sir ALBERT WOODS, Garter."

In 1862, Leighton writes to his mother:--

"You must know that I received some time back a letter from the _Rev.

Wm. Leighton_ (address, _Luciefelde, Shrewsbury_) asking me very politely to give him whatever information I could about our family, as he was making a pedigree of the Leighton family, and was anxious to find out something about a branch that had settled and been lost sight of in London. I answered that I regretted I could give him no definite information on the subject, beyond our belief that we were of a younger branch of the Shropshire Leightons, whose arms and crest we bore, that I knew personally nothing of my family further back than my grandfather, telling him who and what he was. I ended by referring him _to Papa_, to whom I immediately wrote, telling him the nature of Mr.

Leighton's request, and begging him to write to him at once in case he could give him any clue that might facilitate his researches. I then received a second, and very interesting, letter from Mr. L. telling me that he had found in Yorkshire some Leightons (I forget the Christian names, but not Robert) who claimed to descend from the Shropshire stock, and whose crest differed from the Leighton crest exactly as ours does, _i.e._ in the _forward_ expansion of the right wing of the Wyvern; a peculiarity, by the by, which did not appear to be of weight with him. There was more in this letter which I don't clearly remember, but nothing establishing our claim; this letter I immediately forwarded to you, and since then both myself and Mr.

Leighton have been waiting to hear from Papa."

The conclusion arrived at from these inquiries was--that, three or four hundred years ago, the descendants of John de Leighton and the Cambray heiress migrated from Shropshire to Yorkshire, and that Leighton's grandfather, Sir James Leighton, court physician to the Emperor Nicholas of Russia, was a descendant of this branch. Dr.

Leighton, the artist's father, married the daughter of George Augustus Nash of Edmonton. He and his wife, early in their married life, went to St. Petersburg, and it was supposed that he would probably succeed his father as court physician to the Czar, who favoured Sir James Leighton with his intimacy; but the climate of St. Petersburg not suiting Mrs. Leighton's health, they remained there but a few years.

It was at St. Petersburg that the two eldest children were born, f.a.n.n.y, who died young, and Alexandra, the G.o.d-child of the Empress Alexandra, who became Mrs. Sutherland Orr. From St. Petersburg, the family moved to Scarborough, and it was at Scarborough, on December 3, 1830, that the most famous member of the Leighton family was born. The question as to which was the actual house in which the event took place was satisfactorily settled at the time when Leighton was raised to the peerage, in letters which appeared in the press,--one containing the testimony of Mrs. Anne Thorley, who was in Dr.

Leighton's service for three years with the family at Scarborough, and for two years after they moved to London. She affirms that Leighton was born in the house in Brunswick Terrace, now numbered 13, but which at that time consisted only of three houses. Mrs. Thorley adds, "Fred's mother was a splendid lady--such a good one with her children, and most affectionate."

A second son named James, who died in his infancy, was also born at Scarborough, and five years after the birth of Leighton his younger sister Augusta, now Mrs. Matthews, was born in London.

[Ill.u.s.tration: Lord Leighton when a Boy From a Portrait by Himself By permission of Mr. H.S. Mendelssohn]

[Ill.u.s.tration: Lord Leighton's younger Sister when a Child From a Drawing by Lord Leighton By permission of Mr. H.S. Mendelssohn]

Dr. Leighton had every prospect of excelling among those most distinguished in his profession. Deafness, however, by which he was unfortunately attacked about that time, made it impossible for him to practise any longer as a physician. Deprived of his active work, he turned his attention to more abstract lines of study, and to philosophy.

In 1840, Mrs. Leighton, after a severe illness, required a drier climate than that of England, and the family travelled on the Continent, visiting Germany, Switzerland, and Italy.

Family annals record the delight with which Leighton, the boy of ten, enjoyed the beauty of nature in Switzerland, the flowers and everything he saw in the land of mountains. When he reached Rome, the buildings, the fountains, the ruins, the models awaiting hire on the Piazza di Spagna, fascinated him, and he filled many sketch-books with records of all the picturesque scenes that struck him as so new and wonderful. From earliest days, drawing was Leighton's greatest amus.e.m.e.nt, and he had it always in his own mind that he would be an artist and nothing else. When in Rome, he was allowed to study drawing under Signor Meli, but his father insisted on other lessons being carried on with regularity and industry. We hear of his elder sister and Leighton learning Latin together from a young priest. Dr. Leighton had a commanding intelligence, and made his will felt. As with many fond fathers who centre their chief interest on an only son, and foster thoughts of a notable future for him, Dr. Leighton seems to have felt that the greater his interest and affection, the greater must be the exercise of strict discipline over his boy. Leighton received, to say the least, a stern upbringing from his father, mitigated, however, by the greatest tenderness from his mother. The boy's will respecting his future career proved sufficient for the occasion, and he had reason to be thankful that the general knowledge, which Dr. Leighton insisted on his acquiring, was instilled at so early an age. From the time he was ten years old he was made to study the cla.s.sics, and at twelve he spoke French and Italian as fluently as English. Dr. Leighton had himself taught the boy anatomy, ever cherishing the hope that he would, when he came to years of discretion, renounce the idea of being an artist, and follow in the footsteps of his father and grandfather by becoming a doctor. In either case a knowledge of anatomy was thought necessary, and, in after years, Leighton declared he knew much more anatomy when he was fourteen than he did when he was President of the Royal Academy. "I owe," he said, "my knowledge to my father. He would teach me the names of the bones and the muscles. He would show them to me in action and in repose; then I would have to draw them from memory; until my memory drawing was perfect, he would not let it pa.s.s."

The family returned to England for the summer of 1841, spending it at the paternal grandfather's country house at Greenford; and during the following winter Leighton studied at the University College School in London. Mrs. Leighton's health again declined in England, and the family migrated to Germany, the country chosen by Dr. Leighton as that in which the education of the children could be best carried forward.

Leighton studied under tutors at Berlin, it being only in his spare moments that he found time to sketch, or to visit the galleries. Then followed a move to Frankfort, and thence to Florence. There he was allowed to enter the studio of Bezzuoli and Servolini, celebrated artists in Florence, but of whose real greatness Leighton, even at that early age, entertained his doubts. It was in Florence that the father's will had finally to submit to the son's pa.s.sion for his vocation. Dr. Leighton was too wise to allow prejudice to affect his serious actions. He could no longer blind himself to the fact, that this desire to be an artist was a vital matter with his son. He felt it would be wrong to try and override the boy's desires without seeking the opinion of an expert on art matters as to whether there was any probability of Leighton excelling. He therefore took him and his drawings to Hiram Powers, the sculptor, for the verdict to be given. The well-known conversation took place after Powers had examined the work.

"Shall I make him a painter?" asked Dr. Leighton.

"Sir, you cannot help yourself; nature has made him one already,"

answered the sculptor.

"What can he hope for, if I let him prepare for this career?"

"Let him aim at the highest," answered Powers; "he will be certain to get there."

Leighton had won: he had now to prove good his cause. Even though theoretically his father had given in, he yet hoped that, as years went on, a change in his boy's views might come about; but he was allowed to work at the Accademia delle belle Arti, under Bezzuoli and Servolini, and besides continuing his study of anatomy with his father, Leighton attended cla.s.ses in the hospital under Zanetti. Of this time in Florence, one of his life-long friends, Professor Costa, writes: "I knew, both from himself and from his fellow-students, that at the age of fourteen Leighton studied at the Academy of Florence under Bezzuoli and Servolini, who at this time (1842) had a great reputation. They were celebrated Florentines, excellent good men, but they could give but little light to this star, which was to become one of the first magnitude. Leighton, from his innate kindness, loved and esteemed his old masters much, though not agreeing in the judgment of his fellow-students that they should be considered on the same level as the ancient Florentines. 'And who have you,' said Leighton one day to a certain Bettino (who is still living), 'who resembles your ancient masters?' And Bettino answered, 'We have still to-day our great Michael Angelos, and Raffaels, in Bezzuoli, in Servolini, in Ciseri.' But this boy of twelve years old could not believe this, and one fine day got into the diligence, and left the Academy of Florence to return to England. Although the diligence went at a great pace, his fellow-students followed it on foot, running behind it, crying, 'Come back, Inglesino! come back, Inglesino! come back,' so much was he loved and respected. He did come back, in fact, many times to Italy, which he considered as his second fatherland."

It was, however, at Frankfort, where the family settled in 1843, that Leighton fell under the real, living art influence of his life, in the person of Steinle. Leighton described this artist later as "an intensely fervent Catholic, a man of most striking personality, and of most courtly manners." In the temperament of this religious Catholic was united a fervour of feeling with a pure severity in the style of his art which belonged to the school of the Nazarenes, of which Steinle was a follower, Overbeck and Pfuhler having led the way. A spiritual ardour and spontaneity placed Steinle on a higher level as an artist than that on which the rest of the brotherhood stood.

Leighton, boy as he was, at once realised in his master the existence of that "sincerity of emotion,"--to use his own words when preaching, nearly forty years later, to the Royal Academy students; a quality ever considered by him as an essential attribute of the true artist-nature--of that inner vision of the religious poet, of that finer fibre of temperament which endowed art in Leighton's eyes with higher qualities than science or philosophy alone could ever include.

Steinle viewed art with the reverence and n.o.bility of feeling which accorded with those aspirations that had been hinted to the boy's nature in his best moments, but which had had no sufficiently clear, decisive outline to inspire hitherto his actual performances. In Steinle's work he found the positive expression of those aspirations; there, in such art, was an absolute confutation of the creed that art was but a pleasant recreation, having no backbone in it to influence the serious work of the world; the creed which meant that, if taken up as a profession, it led but to the making of money by amusing the aesthetic sense of the public in a superficial manner. The view taken by the magnates--the "Barbarians" of the time--was, that unless a painter were a Raphael, a t.i.tian, or a Reynolds, his position was little removed from that of the second-rate actor or the dancer. It was not the profession, but the individual prominence in it which alone saved the situation. In Steinle, Leighton found an exponent of art, who reverenced the vocation of art itself as one which should be sanctified by the purest aims and the highest aspirations.

In the nature of one who exercises a strong influence over another is often found the real clue to the nature influenced. Circ.u.mstances had led Leighton to be reserved with regard to his deepest feelings respecting art, but with Steinle that reserve vanished. Under the influence of this master he realised an adequate cause for this deep-rooted, peremptory pa.s.sion. Steinle's nature explains that of his pupil; for Leighton was, in an intimate sense, introduced to a full knowledge of his own self by Steinle. This influence, to use his own words, written more than thirty years later, was the "indelible seal,"

because it made Leighton one with himself. The impress was given which steadied the whole nature. There was no vagueness of aim, no swaying to and fro, after he had once made Steinle his master. The religious nature also of the German artist had thrown a certain spell over him.

Leighton possessed ever the most beautiful of all qualities--the power of feeling enthusiasm, of loving unselfishly, and generously _adoring_ what he admired most. Fortunate, it may possibly have been, that his father's strict training developed his splendid intellectual powers at an early age; fortunate it certainly was, that, when emanc.i.p.ated from other trammels, he entered the service of art under an influence so pure, so vital in spiritual pa.s.sion as was that of Steinle.

However, it was not till Leighton reached the age of seventeen that he was allowed to give his time uninterruptedly to the study of art. At that age he had acquired sufficient knowledge of the cla.s.sics and of the general lines of knowledge even to satisfy his father. He had also completely mastered the German, French, and Italian languages. The vitality of his brain was almost abnormal, otherwise his const.i.tution was not strong. Constantly such phrases as "I am not ill, but I am never well" occur in his letters, and he suffered from weakness and heat, also from "blots" in his eyes, perhaps the result of scarlet fever, which he had as a child. His school days seem to have had their _mauvais moments_. When he was fifteen, his parents and elder sister went to England, leaving him and his little sister at school during their holidays. The love for his mother, and his longing to be with her, is told in the following pathetic appeal:--

"FRANKFORT A/M., _Friday, June 26, 1845._

"[DEAR MAMMA],--Your letter, which I have just received, caused me the greatest pleasure, for I have been anxiously expecting it for three long days. I am very pleased to hear that Lina is getting stronger, though slowly, and hope that Hampstead will agree with her and you better than London. I am very sorry to hear that you are not very well. I hope that the country will refresh Papa after all his fatigues. I need not tell you that I was very unhappy when I heard what you said about my going to England; ever since I have been here, from the time I wake to the time I go to bed, I think of London; the other night, indeed, I went in my dream to see the new British Museum. However, if there is nothing to be done....

From Hampstead you can see London, and there is the dear old common where I and the Coodes used to play, and the pretty little lake where I went to slide, and it's such a pleasant walk to London and the galleries, and ... is there _no_ little hole left for poor Punch?[13] On the 16th July all the schoolboys go on a three weeks' journey, whose wing but yours can take care of me for so long a time? I will ask for money to buy a clothes-brush, I have none; 2 fl. I spent on water-colours for the painting lesson, 5 fl. a splendid book, 'Percy's Relics of Old English Poetry,' 1 fl. sundries, my last florin I lent to Bob, but he was fetched away in a hurry before his money was given to him, however he said he would send it me from Mayence, but I have not seen it since. It is a great bore to have no money; that 1 fl. would have lasted the second month very well as I only want it for sundries. I have dismissed Mottes, my _new_ boots have already been _re_soled, and he made me wait three weeks for a pair of boots, which of course I did not take. I wish I had had turning clothes, my jacket is very shabby, and I cannot afford to put on my best whilst it goes to the tailor; my black trowsers are ruined, but I must wear them whilst my blue ones go to be lengthened.

Little Gussy looks very well, she is very well, and has sundry 'zufrieden's' and 'tres content's.' On the advice of _Pappe_, the master of mathematics and nat. phil., I have got a 'Meierhirsch's Algebraische Aufgaben.' I want a Euclid, mine is in England, how shall I get at it? I am quite well, but _long_ to see you all, and to have some _wing_; pray write very soon. Give my best love to Papa and Lina, and believe me, dear Mamma, your affectionate and _speckfle_ son,

F. LEIGHTON."

[Ill.u.s.tration: EARLY COMIC DRAWING, About 1850 By permission of Mr. Hanson Walker]

History does not record whether the "little hole for poor Punch" had been found or not. Together with other studies, Leighton was allowed to attend the model cla.s.s at the famous Staedelsches Inst.i.tut, and, in 1848, when the family went to Brussels, he painted his first picture, Oth.e.l.lo and Desdemona, his elder sister sitting as model for the Desdemona, and also a portrait of himself. From Brussels he went to Paris, studying in an _atelier_ in the Rue Richer, among a set of Bohemian students, and then to Frankfort, to work seriously under his beloved master Steinle. The following letter to his father shows how unsatisfactory he considers his studies had been in both Brussels and Paris, and that now, as he expressed it, he is girding his "loins for a new race."

"CRONBERG, _Friday evening_.

"[DEAR PAPA],--As I have reason to believe that you are not indifferent to the fate of the studies which met with Dielmann's censure, and at the same time opened my eyes to the fact that I have not yet (to use a German phrase) 'die Natur mit dem Loffel gefressen,'[14] I now write to tell you that I have retouched better parts of them, and _that_ to Burger's satisfaction as well as to mine. Of course some are better than others. Independently of the intense irritation which bad sitting (as well you know) occasions to my nerves, they give me great trouble, and I take it; but this can hardly astonish me, when I consider that, in point of fact, during the whole time that has elapsed between my leaving the model cla.s.s in the Staedelsches Inst.i.tut up to my return to Frankfurt, I have _never_ studied from nature; that I did not in Brussels, I need not remind you, and you must also remember that everything I painted in Paris, in the way of portraits, was done _before_ nature, I grant, but with a certain _ideal_ colour or tone, the consistency of which might be ill.u.s.trated by putting Rubens, Reynolds, t.i.tian, Tom Lawrence, Vand.y.k.e, Velasquez, Correggio, Carracci, Rembrandt, and Rafael into a kaleidoscope, and setting them in a rotatory motion, in a word--

When taken Well shaken.

(What's his name--Hem!)

I am therefore girding my loins for a new race, far from discouraged, but rather with the persuasion that one with my innate love for colouring, and, I think I may add, sharp perception of the merits and demerits of the colouring of others, has a fair chance of success; nor am I dissatisfied with my beginning."