Leighton was made a Baronet in 1886. The following letter from Gladstone, written in 1885, refers to Leighton having submitted to him the names of Millais and Watts as artists worthy to receive the honour, at the same time begging him earnestly not to include his own:-- _Private._] 10 DOWNING STREET, WHITEHALL, _June 17, 1885_. MY DEAR SIR F. LEIGHTON,--Your letter has given me much pleasure. I can assure you that I in return highly appreciate the generous spirit you have shown, and I value the advice you kindly tendered in this matter of Art Honours. I am reporting rather fully to Her Majesty on our conversation of Monday, and on the personal abnegation on your own part, which commands my cordial respect.--I remain always, very faithfully yours, W.E. GLADSTONE. On Watts declining the honour, Leighton was at first much vexed; but Watts, having explained to him the reason which made it inadvisable for him to accept a baronetcy, Leighton fully, as he told my husband and myself, saw the necessity of his declining. Since the first years when Leighton settled in London he had been favoured by the personal friendship of many members of the Royal family, who very greatly esteemed him. He not only attended the State banquets and entertainments to which he was summoned, but was frequently the guest at receptions of a private and a more intimate character at Marlborough House and elsewhere. In these pages there is only space to note a few, among the very many directions in which he served the Art interests of his country. In foreign lands, and in the Colonies no less than in England, he extended the knowledge and appreciation of the best English Art by his unwearying exertions; and yet it must always be remembered he ever remained "a workman first, an official after." Professor Church, appointed in 1879 to the Professorship of Chemistry in the Royal Academy of Arts in London, has preserved letters and notes from Leighton on the subject of pigments.[80] It is almost incredible that his mind could have penetrated with such accuracy into all the details of his craft as fresh questions arose as to the value of new vehicles and colours, considering his endless labours connected with the wider interests of Art, and the absorbing nature of his own work. But there exist over sixty letters, and more than twenty cards, dating from 1880 to November 1895, two months before his death, in which he proves his insistency to master thoroughly every detail of his craft. He wrote: "It is, I feel, rather a duty in me to ascertain about these various new vehicles." The following extracts may prove of interest and value to painters.[81] _8th._