There are many mansions in the city of Art, and if the one of Lord Leighton's building was not to the taste of all his contemporaries, the edifice can be left to await the final test of years. Fashions in taste change rapidly, and much of his finish that finds disfavour to-day may in time charm once again. A career overburdened by official honour was destined to provoke a certain amount of envious protest; but as a man, no voice has urged a word against his ideally perfect performance, not merely of his official duties, but of others which indeed were laid upon him by his position. These he obeyed without ostentation--almost without men's knowledge. His kindly help, by commendation or by commission given to young artists; his broad and tolerant view of work conceived in direct opposition to all he valued himself, was not hidden from his friends. "It is with a sense of amazement," a critic writes in a private letter, "that one afternoon after a protest that nothing he said was to be published, I heard him discuss the prospects and the works of our ultra-modern painters. Even in fields beyond his sympathy he picked out the chaff from the wheat, and was judicially accurate in his verdicts of the difference between 'tweedle-dum' and 'tweedle-dee,' both one would have said, entirely unknown to him." In Lord Leighton British artists lost a truer friend than many of them suspected, one who wielded his power justly to all, and was more often on the side of progress than not, a power for reform that can never be estimated at its actual value, working within a highly conservative body, full of vested interests and prejudice--as is the habit of academies of Art and Literature abroad no less than at home. That Leighton, who controlled its destinies so long, was loyal to its true interests, and never forgot the institution with which he was associated so many years is evident from his last words: "Give my love to all at the Academy." [Illustration: BOOKPLATE OF LORD LEIGHTON. DESIGNED BY R. ANNING BELL.] APPENDIX I LIST OF PRINCIPAL WORKS _With date and place of exhibition_ 1850 (_circa_). *CIMABUE FINDING GIOTTO IN THE FIELDS OF FLORENCE.[15] (49-1/2 × 37 in.) Steinle Institute (Frankfort). 1850. THE DUEL BETWEEN ROMEO AND TYBALT. (37 × 50 in.) 1851 (_circa_). THE DEATH OF BRUNELLESCHI. Steinle Institute. 1851. [EARLY PORTRAIT OF LEIGHTON BY HIMSELF.] 1852. *A PERSIAN PEDLAR. " [BUFFALMACCO, THE PAINTER. A humorous subject, taken from Vasari, was undertaken about this date.] 1853. PORTRAIT OF MISS LAING (Lady Nias).