the entrance. The remainder
had to be filled with English imitations.

Returning now to the staircase, we find it ends on the first floor in a
landing leading to the great studio. On the left it is open to the
little studio; so-called because, having a skylight, Lord Leighton used
it for painting out-of-door effects until he had the glass studio built.
Adjoining it, or forming an extension of it, is another room, built only
a year or two before the late owner's death. After the addition of the
glass studio the two were only used as an antechamber, and were hung
with the pictures presented by brother artists, and with a few old
masters. The mouldings round the skylights are very pretty. The latticed
window before mentioned looks down from the little studio into the Arab
Hall.

The great studio is a large room about sixty feet by twenty-five and
about seventeen in height. In the centre of the north side is the lofty
window forming a bay and extending into a skylight in the top. High up
on either side of it are the three small openings mentioned when
speaking of the exterior. A curtain hangs in front of them, and in point
of fact they were never used. In the west wall is an apse with a gilt
semi-dome, which appears in some of Lord Leighton's pictures. Across the
east end runs a gallery at about eight feet from the floor with
bookshelves under it on either side, and in the middle a broad passage
leads into the glass studio, and still outside this is a wide balcony
looking into the garden. Casts of a portion of the Panathenaic frieze of
the Parthenon run along the upper part of the wall of the great studio, fit
emblem of the lifelong devotion of the President to classic art. Such
then is the workshop. Even now, comparatively bare as it is at the
present moment of writing, this is one of the most picturesque suites of
rooms in existence; but to see it on one of the grand occasions of
Leighton's musical receptions was a very different sight and one not
easily to be forgotten. Then when walls and easels were covered with
pictures, when rare carpets hung from the gallery, flowers and palms
filled the bay window, beautiful women and men of every form of
distinction crowded the floor to listen to Joachim and Piatti, nothing
was wanting which could give beauty or interest to the spectacle.

It will be seen that the house is still rich in artistic beauty and
still has objects of value. But the most precious of its contents are
af