poetic, in spite of much that invites criticism in the architectural forms themselves." Still more interesting is the word-picture of the great Cathedral of Cologne, "a monument of indomitable will, of science, and of stylistic orthodoxy ... its beautiful rhythm, its noble consistency and unity, its soaring height, rivet the beholder's gaze"; and yet, the building, in spite of all, does not entirely convince: "the kindling touch of genius" seems to be wanting. Take, finally, this description of Albert Dürer: "He was a man of a strong and upright nature, bent on pure and high ideals, a man ever seeking, if I may use his own characteristic expression, to make known through his work the mysterious treasure that was laid up in his heart; he was a thinker, a theorist, and as you know, a writer; like many of the great artists of the Renaissance, he was steeped also in the love of science.... Superbly inexhaustible as a designer, as a draughtsman he was powerful, thorough, and minute to a marvel, but never without a certain almost caligraphic mannerism of hand, wanting in spontaneous simplicity--never broadly serene. In his colour he was rich and vivid, not always unerring in his harmonies, not alluring in his execution--withal a giant." With this tribute to a great predecessor we must leave these Discourses, which need, to be properly appreciated, to be studied as a whole; as indeed they form Leighton's deliberate exposition of his whole principles of Aesthetics. In working this out, Discourse by Discourse, he was not content to rely upon convenient literary sources, or previously acquired knowledge of his subject; but undertook special journeys, and spent long periods, abroad, to procure his own evidence at first hand. This gives his Discourses all the value of original research, based on new materials, to add to their purely critical value. Had they been completed, they would have formed an invaluable contribution to the history and the philosophy of Art. CHAPTER IX LORD LEIGHTON'S HOME If we seek for practical expression of Leighton's sympathy for decorative art, we may find it most satisfactorily in his own home as it appeared during his life. Mr. George Aitchison, R.A., designed the whole house;--even the Arab Hall being largely built from drawings made specially by him in Moorish Spain. Although the exterior of No. 2, Holland Park Road has individuality, rather than distinction, it was within that its special charms were found. One of the first things seen on entering was a striking bronze statue, "Icarus," by Mr. Alfred Gilbert; a typical instance of Leighton's generous recognition of artistic contemporaries.