nderlies the artist's work.
Elsewhere the critic says, "Ce qui est britannique en M. Leighton,
quoique bien voile par son eclectisme, transparaitra encore." Apart from
Leighton's distinctively native predilection for certain subjects, M. de
la Sizeranne finds him very English in his treatment of draperies, for
instance, a treatment which he traces ingeniously to the much study
given to the Greek drapery of the Elgin marbles by the English School,
since the days of the Pre-Raphaelites. Elsewhere, taking as his text the
picture _The Spirit of the Summit_, he says: "Des sujets qui elevent la
pensee vers les sommets de la vie ou de l'histoire, de sorte qu'on ne
puisse se rappeler un nez ou une jambe sans se souvenir de quelque haute
lecon evangelique, ou de moins de quelque grande necessite sociale,
voila ce que M. Leighton a traite. Et un style beaucoup plus sobre que
celui d'Overbeck, beaucoup plus viril que celui de M. Bouguereau, voila
comment il les a traites." Again: "La grandeur de la communion humaine,
la noblesse de la paix, tel est le theme qui a le plus souvent et le
mieux inspire M. Leighton. Et cela il ne l'a pas trouve en France, ni
ailleurs. C'est bien une idee anglaise." No better summing up of the
chronicle of the life work of the artist could well be found.

But we have pursued far enough this study of an artist's progress
through the thorny, devious ways of art criticism. We have reached the
point, in fact, where the comparative uncertainties of an artist's
career make way for the certainties. With one quotation more, in which
we have a tribute from another critic, Mr. Comyns Carr, we may fitly
close: "No painter of our time," said Mr. Carr, "maintains a firmer or
more constant adherence to those severe principles of design which have
received the sanction of great example in the past. Sir Frederic
Leighton has never lowered the standard of his work in deference to any
popular demand, and for this persistent devotion to his own highest
ideals he deserves well of all who share his faith in the power of
beauty."

[Illustration: ELISHA AND THE SHUNAMITE'S SON (1881)]

CHAPTER XII

CONCLUSION

In now bringing this record to a close, we will of set purpose remain
true to the chronicler's function, pure and simple; attempting no
profounder or more critical summing up of our subject, than consists
with the plain record of a remarkable career.

After a year of indifferent health, during part of w