The landscape studies in oil (of which a list almost complete will be found in Appendix II.), show equal observation and sympathetic perception of the beauty of colour, as well as of the beauty of form. The truth of these carefully recorded impressions of scenery was no less patent than the masterly "selection" which had set itself to depict all that seemed of value, and escaped at once the photographic imitation of one school, and the evasion of detail of another. They all preserve a certain classic repose, without violence to topographical accuracy, or painter-like intention. [Illustration: STUDY FOR THE CEILING OF A MUSIC-ROOM] [Illustration: STUDY FOR THE CEILING OF A MUSIC-ROOM] [Illustration] [Illustrations: DECORATION FOR THE CEILING OF A MUSIC-ROOM] We have had occasion to refer frequently, in passing, to Leighton's decorative works, but we have purposely deferred any description of them, preferring to treat them separately. To know how present was his feeling for decorative effect at all times, it is sufficient to glance never so casually at his own house, about which we hope presently to say something,--genuine expression as it is of his Art. Now we wish rather to touch on his more public performances. Of these, the famous frescoes which fill large lunettes in the central court at South Kensington, _The Industrial Arts of War_ and _The Industrial Arts of Peace_, are the best known, as they are among the most characteristic of all the artist's productions. The fresco of _The Arts of War_ is a very complex piece of work. It is crowded with figures, full of that orderly disorder which one must expect to find, on the hurried morning of a day of battle, in these delightfully decorative warriors. "In the centre"--we quote here Mrs. Lang's description--"is a white marble staircase, leading from the quadrangle to an archway, beyond which is another courtyard. Seen through the archway, knights are riding by.... The busy scene in the courtyard suggests an immediate departure to the seat of war. In the corner to the right crossbows are being chosen and tested; a man is kneeling by a pile of swords, and descanting on their various merits to an undecided customer, while those weapons that he has already disposed of are having their blades tried and felt. A little way off, to the left of the archway, some men-at-arms are trying on the armour of a youth who has still to win his spurs.... The whole is distinguished by the extreme naturalness and simplicity of all the actions, and by soft, glowing colours, chiefly dark olive green and splendid saffrons."