e sleeping Iphigenia, a crouching figure of her attendant,
and a nude figure of Cymon, all, of course, for _Cymon and Iphigenia_.
These models were made to be clad in wet drapery of exquisitely fine
texture, and were prepared only for ten minutes' drawing of the first
idea of the figures; all serious study being made from the draped model,
or the lay figure. Such help as they have rendered must all be referred
to the period before the finished cartoon was ready to be traced on the
canvas. Since Lord Leighton's decease most of these have been
successfully cast in bronze, and are the property of the Royal Academy.
In the studio were also the first sketches in clay for _The Sluggard_,
and also for _The Athlete_, which was not originally intended to be
carried further. Indeed, several people mistook it for a genuine
antique, and admired it accordingly; Dalou, the great French sculptor,
was especially so struck by it, that he advised its author to work out
the idea in full size. The three years' labour devoted to the task, the
failures by the way, and its ultimate triumphant success, both here and
in Paris, are too well known to need recapitulation. A replica was
commissioned for the Copenhagen Gallery, and probably no work of its
accomplished author did more to win him the appreciation of French and
German artists.

[Illustration: BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)]

[Illustration: BRONZE STATUE: AN ATHLETE STRUGGLING WITH A PYTHON (1877)]

[Illustration: STUDY IN CLAY FOR "CYMON"]

[Illustration: STUDY IN CLAY FOR "THE SLUGGARD"]

[Illustration: STUDY IN CLAY FOR "PERSEUS"]

[Illustration: STUDY IN CLAY FOR "ANDROMEDA"]

In this brief mention of Lord Leighton's achievements in sculpture, the
medal commemorating the Jubilee of Queen Victoria, a study for which is
reproduced at p. 130, must not be overlooked.

Although to those who have not followed closely the splendid period of
English illustration which may be said to have reached its zenith at the
time when Dalziel's "Bible Gallery" was published, it may be a surprise
to find "Frederic Leighton" figuring as an illustrator, yet the nine
compositions in that book are by no means his sole contribution to the
art of black and white.

For each instalment of "Romola," as it ran through the pages of the
"Cornhill Magazine," the artist contributed a full page drawing, and an
initial letter. The twenty-four full pages were afterwards