A picture of a little girl with yellow hair and pale blue eyes, entitled with a verse by Robert Browning: "Yellow and pale as ripened corn Which Autumn's kiss frees,--grain from sheath,-- Such was her hair, while her eyes beneath Showed Spring's faint violets freshly born," was in the same exhibition, and also a design for the reverse of the Jubilee medallion, executed for her Majesty's Government. In 1888 appeared another large work, which, although not absolutely a procession, has much in common with the _Cimabue_, the _Syracusan Bride_, and _The Daphnephoria_. It was entitled _Captive Andromache_, and accompanied by a fragment of the "Iliad," translated by E. B. Browning: ... "Some standing by Marking thy tears fall, shall say, 'This is she, The wife of that same Hector that fought best Of all the Trojans when all fought for Troy.'" This, and a _Portrait of Amy, Lady Coleridge_, were the artist's only contributions to the Royal Academy of 1888. The _Portraits of the Misses Stewart Hodgson_ is also of this year, which saw four landscape studies exhibited at the Royal Society of Painters in Water Colours, and five at the Royal Society of British Artists, Suffolk Street. The _Sibyl_, exhibited in 1889, is a full-length figure swathed in lilac drapery, seated with her legs crossed, on a chair, her chin supported by her left hand, and gazing out of the picture. Beside her are scrolls, and a sombre sky is behind the figure. _Invocation_, a girl in white robes with arms raised above her head, and a _Portrait of Mrs. F. Lucas_, were also shown; but _Greek Girls playing at Ball_ is not only the most important, but is also a picture that shows the mannerism of Lord Leighton's treatment of drapery at its finest. Elsewhere the undulating snaky coils may be somewhat distressing, here they float in the air and help the suggestion of movement. The landscape at the back is also both typical and beautiful. An _Elegy_ was the fifth of the artist's contributions to the Academy of 1889. In 1890 _The Bath of Psyche_ appeared at the Academy. This at once established its position as a popular favourite, and has probably been more widely reproduced than any other. It was purchased under the terms of the Chantrey Bequest, and is now in the Tate Gallery. It was suggested, so Mr. M. H. Spielmann tells us, by the "paper-knife" picture, as Lord Leighton called it, which he had painted for Sir L. Alma-Tadema's wall screen. _Solitude_ was also shown this year, and the _Tragic Poetess_, a full-length figure, clad in blue and purple drapery, on a terrace, with the sea beyond. The fourth picture at the Academy was a very faithfully painted transcript of _The Arab Hall_, at No. 2, Holland Park Road. [Illustration: GREEK GIRLS PLAYING AT BALL (1889) _By permission of the Berlin Photographic Co._] [Illustration: THE BATH OF PSYCHE (1890) _By permission of the Berlin Photographic Co._]