Frederick Leyland, who was only two years older than Burne-Jones, was a collector of a very different type. He too had a genuine feeling for painting, and was as well a talented pianist, but he was also a ruthless self-made businessman, masking his humble origins behind a chilling reserve, and he liked his pictures to be large set pieces which served partly as status symbols. It was typical that his first purchases from Burne-Jones were The Wine of Circe (fig. 24), Phyllis and Demophoon (cat. no. 48), and a set of the Seasons (private col- lection), all of which were among the artist's most impressive works of the late 1860s. Leyland had begun his career as a col- lector by buying conventional works of the day. It was Rossetti who directed his energies into more adventurous channels, and he remained heavily dependent on the advice of artists and men of taste. If this was very different from Graham s self- reliant and intuitional approach, so was Leyland's sense of display Graham loved pictures for their own sake, and at his house in Grosvenor Place they lined the walls, sat about on chairs and tables, or stood in ranks on the floor. Leyland, on the other hand, saw his pictures as part of a decorative ensem- ble, for which they would often be specially commissioned. He was to create two great Aesthetic interiors in the Knightsbridge area, at 22 Queens Gate from 1868 and at 49 Princes Gate from 1874, thus realizing his dream of living "the life of an old Venetian merchant in modern London." 10