Leighton himself was adept in the art of architecture. 'Every stone, every brick - even the mortar and the cement - no less than all the wood and metalwork passed directly under his personal observation,' noted architect George Aitchison. Often of a morning he used to lean out of a window or from a portion of the scaffold and thereon criticize each course and ornament. His eagle eye at once detected any scamped work and woe betide the idler!
When the time came for him to start for his winter's quarters (in Spain that year), he handed over the responsibility for the building and fitting of the house and studio - down to the shape, size and decoration of the furniture - to Aitchison and others.
On his return he moved into his new house and studio. He was delighted overall, and was soon busy arranging his belongings - treasures of all sorts and kinds. The suites of tables, cabinets, bookcases, etc., had been stained black with arabesques in white holly, varnished over until they produced the effect of ebony inlaid with ivory. These admirably set off the collections of artistic items. To this very day photographs and engravings after Michael Angelo in the Sistine Chapel and after paintings by Titian and Tintoretto, and from remains of Grecian sculptures, still adorn the walls almost exactly as in Lord Leighton's time.
Leighton was greatly delighted, as year after year brother artists gathered around him in his new home. After converting the stables and oddly-shaped buildings into studios, they settled down in order to be near their brilliant comrade. Thus was formed a Leighton Settlement of such artists as George Watts, Valentine Prinsep, Luke Fildes, Hamo Thornycroft, Marcus Stone, and J.J. Shannon."
To be continued
(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)
No comments:
Post a Comment