Leighton's very notable words written to Steinle, "What reveals true knowledge of form is a powerful, organic, refined finish of modelling full of feeling and knowledge--and that is the affair of the brush." The principal scheme of colour is effectively carried throughout the picture--in the golden flesh tint against the ivory-white of the parchment banner hung as a screen background, the crown of dark ivy leaves and the golden balls telling out as notes of a deeper tone; the crinkled folds of white drapery resting on the darker mass, the full tawny browns and yellows of the leopard skins on which the figure stands making a dark, luminous basis, the metal jar and the dense foliage of deep verdant green enriched by the orange of the fruit springing up and continuing the dark framework of the central design. This picture is a very original work, and should, I think, be placed very high in the rank of Leighton's achievements. "Clytemnestra from the battlements of Argos watches for the beacon fires which are to announce the return of Agamemnon" is, in every sense, a contrast to the "Antique Juggling Girl." The figure is powerful and heavily draped, the drapery being superb, and the limbs those which might truly overpower even Agamemnon.[46] [Illustration: "ANTIQUE JUGGLING GIRL." 1874 By permission of Mr. George Hodges] [Illustration: "CLYTEMNESTRA WATCHES FROM THE BATTLEMENTS OF ARGOS FOR THE BEACON FIRES WHICH ARE TO ANNOUNCE THE RETURN OF AGAMEMNON." 1874 Leighton House Collection] [Illustration: STUDY FOR "CLYTEMNESTRA." 1874 Leighton House Collection] [Illustration: STUDY FOR "SUMMER MOON" From Oil Sketch painted by Moonlight in Rome Given by the late A. Waterhouse, R.A., to the Leighton House Collection]