Many were the voices heard exclaiming that Leighton ought to give himself entirely to sculpture. His masterly power in understanding form, and giving expression to it in Art, was readily understood and appreciated when he worked in the round, whereas it had been but scantily appreciated in his painting; the fact being, that the public is unaccustomed to find that power developed in modern pictures, whereas in sculpture it is the principal and obvious aim in any statue. However, whatever the public thought or expressed, Leighton went on painting. In 1878 "Nausicaa" and "Winding the Skein" were exhibited, both among Leighton's happiest works. A reticent grace in the attitude of the figure, and a tender yearning sadness in the face, makes this rendering of "Nausicaa" very attractive. "Winding the Skein" is the best example of those fair pictures which Leighton painted, and evidently delighted in painting, as records of Southern--and more particularly--Greek light and atmosphere. For the special charm in the tone and colouring to be understood, the picture itself must be seen; but the design and delightful feeling in the movement of the figures can be rendered in the reproduction. Again in this work the fascinating little figure of Cleobouline appears and also the teacher in the "Music Lesson." In all, Leighton painted thirty-six important pictures, twenty-six slighter works,[51] and executed his first statue, "Athlete Strangling a Python," in the ten years between 1869 and 1879. [Illustration: "NAUSICAA." 1878] During these years the Royal Academy Exhibition took place in Burlington House, it having previously been held in a suite of rooms at the National Gallery in Trafalgar Square. Leighton sent photographs of the cartoons for the "Industrial Arts of War" and of "Peace"[52] to Steinle, who wrote his criticisms on the designs. The following is Leighton's answer:-- _Translation._] _February 3, 1874._