me before the President's death; 'Sir Frederic knows
exactly how long it will take to do a certain thing, and he apportions
his time accordingly.' This being the case, no one will be surprised to
learn that he attached the greatest importance to punctuality. He
himself never failed to keep an appointment at the exact moment fixed
upon, and he expected, of course, similar punctuality on the part of
others. The stroke of eight from the Academy clock was the signal for
Sir Frederic to enter the Council Room at Burlington House, and to open
the deliberations of the body over which he presided. 'They will never
again get a man to devote so much time and energy to the business of the
Academy,' said Sir Frederic Leighton's most distinguished colleague
shortly before his death; 'never again.'" And since that time the same
tribute has been paid ungrudgingly in public and private often enough.

In 1880, we are tempted by five canvases; of which the _Sister's Kiss_
and _Psamathe_, are perhaps the most important. The former turns a
garden wall to delightful account, in its picture of a child, who is
seated upon it, and of her charmingly drawn elder sister, who gives the
kiss. The composition of this picture may be seen in our reproduction,
but the colour of the bronze green robe--of singular beauty--is of
course not even suggested. More classic, perhaps, and not less
picturesque, is the Greek maiden, Psamathe, who was, if we remember
aright, one of the Nereides. The artist has painted her sitting by the
seashore, gazing over the Aegean, with her back turned to the spectator.
Filmy garments, which have slipped from her shoulders on to the sand;
arms folded about her knees; every detail of the picture carries out the
effect of dreamy loveliness that pervades Psamathe and her surroundings.
_Iostephane_ is a three-quarter length figure, less than life size, of a
girl in light yellow drapery, with violets in her fair hair, who stands
facing the spectator and arranging her draperies over her right arm;
there are marble columns and a fountain in the background. _The Light of
the Harem_ is a version of one of the groups in the fresco of _The
Industrial Arts of Peace_ at South Kensington. The picture now known as
the _Nymph of the Dargle_ was also exhibited this year under the title
of _Crenaia_. It represents a small full-length figure facing the
spectator; the river Dargle flows through Powerscourt, and forms the
waterfall here represented