[Illustration: "EUCHARIS." 1863 By permission of Mrs. Stephenson Clarke] * * * * * Having settled in England in 1860, Leighton found that there, contrary to his expectations, his sense of colour became developed; and with this his individuality as a _painter_ asserted itself. Between the years 1863 and 1866 he painted pictures which proved that, as a distinct artificer in painting, he had found himself, and was no longer under the controlling influences of German or Italian Art, though, unfortunately, hints of German methods in the actual manipulation of his brush clung more or less to his painting to the end. From boyhood Leighton's power of designing, his sense of beauty in line and form and of dramatic feeling, his extraordinary facility in drawing with the point, proved his genius as an artist; but it was not till the early sixties that his pictures proved him to be possessed of individual distinction as a painter, probably because the method of handling the brush associated with the teaching which, in other respects, commanded his reverence and admiration, were alien to his finest artistic sense. No later works are to be found more notable in luminous quality of painting than "Eucharis," 1863, and "Golden Hours," 1864; none in strength and solidity of texture, or in beauty of distinguished handling, than "A Noble Lady of Venice," about 1865; none in richness of arrangement combined with the fair aerial atmosphere appropriate to a Grecian scene, for which Leighton had so native a sympathy, than "A Syracusan Bride Leading Wild Beasts in Procession to the Altar of Diana," 1866.[1] Later works may claim a greater public prominence among his achievements, but for actual individuality and feeling for the beauty which appealed most strongly to Leighton in colour as in form, none he painted after evinced any fresh departure. [Illustration: "A NOBLE LADY OF VENICE." 1866 By permission of Lord Armstrong] As early as 1852, at the age of twenty-one, Leighton wrote to Steinle from Venice: "I must candidly confess that great as my admiration for Titian (& Co.) was, yet the well-known art treasures here have seized me and entranced me anew. You, dear master, are so familiar with all these things that there is nothing I can write you about them; but on one point I am fairly clear, namely, that the admirers and imitators of Titian (particularly the latest) seek his charms quite in the wrong place, and I am convinced that the impressiveness of his painting lies far less in the ardour of his colouring than in the stupendous accuracy and execution of the modelling." In another letter to Steinle he refers to the necessity of mastering the capacities of the brush in order to render form in a complete manner independently of the function of the brush to render colour.