I was afterwards uncomfortable lest I had misrepresented my feelings

Novelist George Eliot worked together with Frederic Leighton on her only illustrated novel, Romola (1862-1863), set in 15th-century Florence. While not a fan of illustrated fiction, Eliot had her novel published by George Smith, owner of The Cornhill Magazine and a strong supporter of literary illustrations. In May 1862, Frederic Leighton —at the time still an emerging painter— was commissioned by Smith to illustrate Romola, which was to appear in The Cornhill Magazine in twelve installments between July 1862 and August 1863. Leighton was considered the best man for the job, as he had lived and studied in Florence and knew the city by heart. In addition, he had successfully illustrated two of Elizabeth Barrett Browning's poems a few years earlier, also published in The Cornhill.

The working relationship between Eliot and Leighton was not without problems. Although genuinely satisfied with some of Leighton's illustrations, Eliot was disappointed with many others. The two letters below from Eliot to Leighton show her mixed feelings about his work, as well as her acknowledgment that there could be no "perfect correspondence between [her] intention and the illustrations". Eliot's letters are preceded by a letter from Leighton to his father, in which he discussed the Romola assignment and his first meeting with Mary Ann Evans —George Eliot was her pen name— and her life partner, the literary critic George Henry Lewes. In the letter, Leighton also gave his father a detailed description of Eliot's looks and manner.

Incidentally, the letters from Eliot to Leighton regarding Romola survived since they were preserved by Leighton. Leighton's letters to Eliot, however, are believed to have been destroyed prior to Eliot's death in 1880.

Tuesday.

Dear Papa,

Though I am not able, I am sorry to say, to report the sale of any more of my pictures, you will be glad to hear of a commission just given me by G. Smith of the Cornhill which is very acceptable to me. I am to illustrate (by-the-bye this is "strictly confidential") a novel about to appear in the Cornhill from the hand of Adam Bede [Eliot's debut novel, 1859]. It is an Italian story, the scene and period are Florence and the fifteenth century, nothing could "ganter" me better. It is to continue through twelve numbers, in each of which are to be two illustrations.

I am to have for each number £40; for the whole novel, therefore, £480. I have conferred with the authoress to-day, and am to get the first-proof sheets this week. The first number will be published in July. Miss Evans (or Mrs. Lewes) has a very striking countenance. Her face is large, her eyes deep set, her nose aquiline, her mouth large, the under jaw projecting, rather like Charles Quint; her voice and manner are grave, simple, and gentle. There is a curious mixture in her look; she either is or seems very short-sighted. Lewes is clever. Both were extremely polite to me; her I shall like much.

I have no other news; no one asks about my pictures, though their success is decidedly great; hard times! Are you writing to Gussy [his sister]? if so will you tell her that I mean to give her some lessons with Hallé when she comes to London? she shall have three a week for a month. Tell Lina with my love not to be jealous, it will be her turn next. How is she? and how is Mamma? Give them my best love, and believe me, your affectionate boy,

Fred.

F. Leighton, Esq.

16 Blandford Square, N.W.,

Wednesday.

Dear Mr. Leighton,

I feel for you as well as myself in this inevitable difficulty—nay, impossibility of producing perfect correspondence between my intention and the illustrations.

I think your sketch is charming, considered in itself, and I feel now with regret that if we had seen each other and talked a little together after you had read the proof, the only important discrepancy might have been prevented. It is too late for alterations now. If it had not been, I should have wished Bardo's head to be raised with the chin thrust forward a little—the usual attitude of the blind head, I think—and turned a little towards Romola, "as if he were looking at her."

Romola's attitude is perfect, and the composition is altogether such as gives me a very cheering prospect for the future, when we have more time for preparation. Her face and hair, though deliciously beautiful, are not just the thing—how could they be? Do not make yourself uneasy if alteration is impossible, but I meant the hair to fall forward from behind the ears over the neck, and the dress to be without ornament.

I shall inevitably be detestable to you, but believe that I am

(Unfinished)

16 Blandford Square, N.W.,

Thursday.

Dear Mr. Leighton,

Unmitigated delight! Nello is better than my Nello. I see the love and care with which the drawings are done.

After I had sent away my yesterday's note, written in such haste that I was afterwards uncomfortable lest I had misrepresented my feelings, the very considerations you suggest had occurred to me and I had talked them over with Mr. Lewes—namely, that the exigencies of your art must forbid perfect correspondence between the text and the illustration; and I came to the conclusion that it was these exigencies which had determined you as to the position of Bardo's head and the fall of Romola's hair. You have given her attitude transcendently well, and the attitude is more important than the mere head-dress. I am glad you chose Nello's shop; it makes so good a variety with Bardo and Romola. In a day or two you will have the second part, and I think you will find there a scene for Tessa "under the Plane Tree." But perhaps we shall see each other before you begin the next drawings.—Ever yours truly,

M.E. Lewes. 

Notes:

-While Romola received great critical acclaim, over the years it enjoyed little public success and is probably the least read of Eliot's books. It is the only novel by Eliot set outside Britain.

-In the early 1860s, Leighton was still years away from the height of his career, with his iconic painting Flaming June not created until 1895, the last year of his life. Eliot was already successful with novels such as Adam Bede (1859) and The Mill on the Floss (1860), yet her most acclaimed novel Middlemarch (1871–1872)  was still to come.

Source letters: The Life, Letters and Work of Frederic Leighton (1906) by Mrs. Russell Barrington

Via: Project Gutenberg

Images from top to bottom:

-Illustrations made by Frederic Leighton for Romola

-Leighton's illustration The Blind Scholar and his Daughter, depicting the scholar Bardo de' Bardi and his daughter Romola in the barber Nello's shop; the drawing is referenced in Eliot's letters

-Frederic Leighton painted by George Frederic Watts, 1881 (left); George Eliot by Sir Frederic William Burton, 1865

Source of all images: Wikimedia Commons