Frederic Leighton: The Daphnephoria

"The Daphnephoria" by Frederic Leighton . Oil on canvas, 7.57 ft. x 17.22 ft.

"Nearly every year Frederic Leighton used to spend some time in Italy, in order to make studies of heads and of landscape backgrounds, which he might make use of in his pictures. For example, the heads in the 'Daphnephoria' he painted in Rome, Capri, Lerici, and Venice; whilst the background he studied in the pine forest of Pisa. So dearly did he love that beauteous land that even after enjoying the delights of travel in Spain, Egypt, Greece, or the Holy Land, he always on his way home passed through Italy, that he might take back new draughts of inspiration from the Great Masters and from the Nature which environed them.

The 'Daphnephoria' is considered by some to be his greatest masterpiece. It is a representation of the triumphal procession held every ninth year at Thebes in honour of Apollo, to whom the laurel was sacred, and to commemorate also a victory of the Thebans over the AEolians of Arne.

At the head of the procession is a youth bearing the standard with the symbols of the sun and other heavenly bodies. Behind him marches the majestic figure of the Daphnephoros or Laurel-bearer, towering above his fellow processionists. Just behind him a boy carries on a pole the brass armor of a warrior with the others holding a shield and helmet commemorating the Theban victory. One's attention then is diverted to the imposing Choragos, who is depicted full-back to the spectator. He is the typical strong man of the Olympian Games, the champion of the Lists, no less than the Leader of the Chorus. In his left hand he holds his golden lyre, and with his right he is beating time to the singing girls who follow him. All of these figures are keeping strict time as they march on the level marble pavement, and each girl carries a branch of laurel. 

The composition of the picture is quite remarkable for its simplicity in depicting a scene of fervid activity. There is no confusion: every figure is distinct and yet united in a completely satisfactory whole. There is dignity and balance, so that no one part outshines another. In it religion and poetry, beauty and pathos are all combined. Everything exactly reflects the character as well as the art of the painter in one word - thorough!

The 'Art Journal' commenting on this piece noted that 'No painter of our time maintains a firmer or more consistent adherence to those severe principles of design which have received the sanction of great examples in the past. Frederic Leighton has never lowered the standard of his work in deference to popular demand, and for this persistent devotion to his own best ideals he deserves well of all who share his faith in the power of beauty.'" 

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)