neath
Showed Spring's faint violets freshly born,"

was in the same exhibition, and also a design for the reverse of the
Jubilee medallion, executed for her Majesty's Government.

In 1888 appeared another large work, which, although not absolutely a
procession, has much in common with the _Cimabue_, the _Syracusan
Bride_, and _The Daphnephoria_. It was entitled _Captive Andromache_,
and accompanied by a fragment of the "Iliad," translated by E. B.
Browning:

... "Some standing by
Marking thy tears fall, shall say, 'This is she,
The wife of that same Hector that fought best
Of all the Trojans when all fought for Troy.'"

This, and a _Portrait of Amy, Lady Coleridge_, were the artist's only
contributions to the Royal Academy of 1888. The _Portraits of the Misses
Stewart Hodgson_ is also of this year, which saw four landscape studies
exhibited at the Royal Society of Painters in Water Colours, and five at
the Royal Society of British Artists, Suffolk Street.

The _Sibyl_, exhibited in 1889, is a full-length figure swathed in lilac
drapery, seated with her legs crossed, on a chair, her chin supported by
her left hand, and gazing out of the picture. Beside her are scrolls,
and a sombre sky is behind the figure. _Invocation_, a girl in white
robes with arms raised above her head, and a _Portrait of Mrs. F.
Lucas_, were also shown; but _Greek Girls playing at Ball_ is not only
the most important, but is also a picture that shows the mannerism of
Lord Leighton's treatment of drapery at its finest. Elsewhere the
undulating snaky coils may be somewhat distressing, here they float in
the air and help the suggestion of movement. The landscape at the back
is also both typical and beautiful. An _Elegy_ was the fifth of the
artist's contributions to the Academy of 1889.

In 1890 _The Bath of Psyche_ appeared at the Academy. This at once
established its position as a popular favourite, and has probably been
more widely reproduced than any other. It was purchased under the terms
of the Chantrey Bequest, and is now in the Tate Gallery. It was
suggested, so Mr. M. H. Spielmann tells us, by the "paper-knife"
picture, as Lord Leighton called it, which he had painted for Sir L.
Alma-Tadema's wall screen. _Solitude_ was also shown this year, and the
_Tragic Poetess_, a full-length figure, clad in blue and purple drapery,
on a terrace, with the sea beyond. The fourth picture at the Academy was
a very f